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A collection of musical works composed in 2001-2002 Ludwig, Christopher 2002

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A COLLECTION OF MUSICAL WORKS COMPOSED IN 2001-2002 by CHRISTOPHER LUDWIG B.Mus., The University of British Columbia, 1994 B.Ed., The University of British Columbia, 1995 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF M A S T E R OF MUSIC in THE F A C U L T Y OF G R A D U A T E STUDIES Department of Arts; School of Music; Composition We accept this thesis as conforming to thp required sta/id|trd THE UNIVERSITY OF BRITISH C O L U M B I A APRIL 2002 © Christopher Ludwig, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of MuSf^. The University of British Columbia Vancouver, Canada Date Apr?/ IS^IOQZ DE-6 (2/88) 11 A B S T R A C T This thesis represents my work as a composer from September 2000, to April 2002. The individual works included in this collection feature a wide range of compositional techniques. While only two of these pieces use traditional key signatures (the vocal works Song of Myself and Small Steps), there is the presence of diatonic melodies, as well as, traditional imitative techniques and counterpoint. Such devices can be found in the Five Movements for Saxophone Quartet, Song of Myself, A Curious Chamber Suite, and the movements Chorale and The Finger Twister from Four Contrasting Pieces for Piano. Another example of traditional compositional techniques are the canons found in The Finger Twister of Four Contrasting Pieces for Piano, and Crabby Canon found in A Curious Chamber Suite. The Sneak from Four Vignettes for Orchestra is an example of a fugue that utilizes both subject and counter-subject. Several of the compositions are less traditional. For example, the woodwind quartet Vertical With a Little Horizontal, and the movement Renaissance Moon in A Curious Chamber Suite are more improvisatory, and are constructed using primarily the white keys of the piano. Both the woodwind quartet and the movement Expressivity in A Curious Chamber Suite feature complicated rhythms in addition to their already complex harmonic texture. A more experimental example is the piano piece Where the Wild Things Are, which makes extensive use of clusters and chromatic melodic segments. Finally, the three other movements in the Four Vignettes for Orchestra (The Brat, The Guttersnipe and Ragamuffin) are approachable to the listener, and are orchestrated to make use of the wide array of textural possibilities within the orchestra. Five Movements for Flute Octet is the original source for the orchestra piece. T A B L E OF C O N T E N T S Abstract i i Table of Contents i i i Acknowledgements v 1. Four Vignettes for Orchestra The Brat 1 The Sneak 19 The Guttersnipe 24 Ragamuffin 31 2. Vertical With a Little Horizontal 38 3. Five Movements for Saxophone Quartet First Steps 52 Duality 58 Desert Train 64 Oars Away 69 Luster 72 4. A Curious Chamber Suite Eastern Paradox 79 Renaissance Moon 83 Crabby Canon 88 Expressivity 90 5. Song of Myself 97 6. Small Steps 103 7. Where the Wild Things Are 111 8. Four Contrasting Pieces for Piano Chorale 121 Getting Somewhere 123 Industrial March 125 The Finger Twister 130 9. Five Movements for Flute Octet The Brat 1 3 4 The Sneak 1 4 5 The Urchin I 4® The Guttersnipe 155 Ragamuffin 161 A C K N O W L E D G E M E N T S I would first like to thank my composition professors whose instruction and mentoring made this thesis possible. In specific, I would like to thank professors Stephen Chatman, Bob Pritchard, and Michael Tenzer, who all played an active role in developing my compositional abilities. Their instruction proved especially valuable when I was composing some of the larger works and collections of works. Also of importance were the numerous musicians who performed my music over the course of my degree. Most of the performers were either U.B.C. students or close friends. Finally, I would like to acknowledge both my family, and my wife Catherine, whose constant support made my studies possible. Four Vignettes for Orchestra 1. The Brat Christopher Ludwig J= 100 2 0b. 2 Cl. in Bb Hrn. 1.2. inF Hrn. 3. 4. in F 2 Trp. in C 2Trb. Tuba Viol. 1 Viol 2. D.B. - f p r r ()r l v sempre s sempre staccato sempre staccato 7 7-staccal Copyright 2002 2 V nf f f 8 15 18 2. The Sneak J = 82 Ob. 2 2 Cl. in Bb Hrn. 1. 2. in F Hrn. 3. 4. in F 23 Ob. 2 2 Cl. in Bb Hrn. 1. 2. in F Hrn. 3. 4. in F 3. The Guttersnipe J = 82 2 Fl 2 0b 2 Cl. in Bb 2Fg . Hrn. 1. 2. in F Hrn. 3. 4. in F 2 Trp. in C 2Trb Tuba Viol. 1 Viol 2. D.B PPP 2F1. 2 Ob. 2 Cl. in Bb 2Fg. Hrn. 1. 2. in F Hrn. 3. 4. in F 2 Trp. in C 2Trb. Tuba Viol. 1 Viol 2. Via. Vic. D.B. U i t i t j ft ff 4. Ragamuffin 2 Cl. in Bb PPP 32 2 0b 2 Cl. in Bb Hrn. 1. 2 Hrn. 3. 4. Trp. 1. in C Trp. 2. in C 2Trb . Viol. 1 Viol 2 2F1. 2 Ob 2 Cl. in Bb 2Fg Hrn. 1. 2 Hrn. 3. 4. Tip. 1. inC Tip. 2. in C 2Trb Tuba Viol. 1 Viol 2. D B . 35 Vertical with a little Horizontal Christopher Ludwig • 100 Flute Oboe Bb Clarinet Bassoon f f 7 Pi 7 M r f -p-V ^ » 7 " r y i ~tnp ^ 7 „ h 7 J7 -P. ^ 7 w o — = TO/ / nip I S> 7 7 P 7 P li 4 |! v * | 7 7 r 7 mf f P 7 7 J> mf % 7 1^  5 * 7 h 7 > P 7 7 J) *' 1 * mf f Copyright 2001 40 r 11 1— 1— 1 =s=« # 1 m 0 m m *—i / fl *JT -P-y 5 i ' / --<• 0 lift y » 1 r ~ ; 1 M ' e ^^-^ v r -i—-— f * B — — mp i 7 J ) mp cresc. mf 8 i " 7 I mp cresc mf mf ra ' - » -7 7 1 1 - 1 TO/ i •w- H 7 > 7 / — p mp «l 1 1 , ; 7 m / —*— v F -£ if _ -m / = eJ «ip •— U - = t£= 1— ff *f * ^= mf : - ff --€ =1= — * 3 m / 7 - ^ r ! 7 78 ( •-r mf 7 ' 7 1-i fl > f _(Z_J ^ mf / mp y .... = n „ > I If , / > a f = > = f = f f —f—f~ "~7 ! *rr— 3 7 -g * J J — 1 - j ^ 7 —3 £ i —? 7 mp - 4 ¥ -3 V A •i—^~ mp 83 1 f y f y 1 mf B 1 •> 5— ^ 1 / — — 7 — — » 7 — ^ . , .Hi -£? ? 8 mf \l I 7 %!—— — ?—t y.— — J i 2_ ^ — 7 - = — i / J IT 7 = V = TO/ — " "— ft ? 7 —m—t— mf —«—'—#- l — 1 \ k~ / ' — f y r 7 ^ Mf 7 ~ -~ I 7 3: 7 i ipf 1 / : 43 88 4 = f = 3 - r -mf —I ff—v— 1 cresc. • ... i J J J J y , *—v i - j " ^ — T T j * — ^ ,. $ ... - 4 mf —7 ~. > -*—1—y11— cresc —> ft ... ft I-L * ^. p 7 i J M -j_i 1— mp J"11- a i-¥ I h P f P mf * i 7 cresc. ^ 4 1 y 7 ^ 93 — y — f f - ~t n —7— K 1 V 1 mf — ) 7" ° 7 : / — 5 — K ^ = * P P ' ' ' mf ~f — » ==£ mf t .2. | --—ff * 7 -H» t>gJ u Tl ^ r a ' f -•-1—* : / •i / ^ \ ° l : —^-zf —.—fr u 7 m 1 7 s. */ * ^ 7 — ft ft — cresc. " IT—7 ft •y === s v *r' j ' 7 — / -5 2 > cresc - J H / — Vr V— — W Z -f - 5 -Tf 7 t" mm! ^ 7 a cresc 7 J5» -Ha / cresc — 44 LL20J ; A w 4 ^ ~ J f — — = mf 7 7 * f I 7 w - nf M r " ' •<• fffT" —Essa—> f " ^ ~ V 1 w f —» J 1 y 1 - 1 7 Y s 2 J l ¥ , */ • 571 ^ f 0 r T. ^ • 1 f —0— • • Y = ^ ~~v C 1—' — r — •< ""if —feW" f 131 ^ |j F r f r r tJ 1 4— 2 ff , - f f ,• / •< i I f J f ff .. f 4 • Mj 4 . 1 7 • -4 0 > ci-mf ft 7 * P ' 1 = 4 — — — +-mf <— l — v— 9 j = -> 1 mf —a —« i— v • ' 7 X a 7 7 u«» 7 ' 7 mp mf 46 mf ff 7" J'7 mp 7- J ^ 7 ^ 7 ^ 7 I mp 118 V P v ? ? 7 g T9: mp mf r "P r 49 51 73 76 78 J 1 " Tl 81 > h J 1* s J rrtt* o ffl CQ ft*. I rrtt+ rrtt*< - " i n rrtt* a, | > f j L S Ht>l rrt* rrrr>_ • ( s It-'ll > S f—^ rfTV Ht>. til [ft* 0 rrp> s i>fi, rim rrr> o CQ CQ '•444-r •44 3 '•J44 ':t*AS s rm» MTrft 1*. fk HtH.' rrtt* ) u CQ 8 CQ u Song of M y s e l f text by Walt Whitman Hauntingly J = 60 Chr is topher L u d w i g S E E ^ ^ "•T •Sib. 10 i t ^ M 8 I >-ft 1 = 9: f e: ^ — • • 1 jS , ^ — 1 s <-* < M * — * « M 1 Copyright 2001 13 J ' J 5 J ^ xy ^ you shall as eel e-brate my- self and what 1 I as - sume mm trr trr mp <3i>L m ^a. w f 20] m/ For for Hi eve -ry a- torn eve-ry rTTTS a- torn mp mf , M r <&a. •aa. <aa. ft r P J = eve - ry a-torn — ' — - — -be long - ing to me i n , = & as good be- longs to ft r>>: = ^ -h * 5!_J» _« • LC-JJT' = ^8. f "SaT t mf na like it my - self and know it a  without pedal Small Steps Text by Christopher Ludwig Soprano 1 Soprano 2 Piano kt legatoj = 85 kt Music'by Christopher Ludwig 'Sat. ' 0 'So. #3 m -9-JO <&a. 2> •as. 1 I take small steps when size mat - ters m I take small steps when size mat - ters Copyright 2001 mp p when I'm not strong e- nough mp to scale moun - tains when I'm not strong e- nough to scale moun - tains mp m (0 ,1.1 mf 20 5 or part the kt seas mf or part the mf mf Those days, when mf ev - ery - one is go - ing ev - ery Those days, when ev - ery - one is go - ing ev - ery -a'-mf so on those days when I lay in the mid -did on those days when 1 lay in the mid - diet f ff JJJ ff rit. mf a tempo a in the mid - die ff rit. and mf should my small steps) a tempo z in the mid - die and should my small steps rit. mf a tempo <L* J 60 lead me no - where I shall toss my lead me no - where f= I shall toss my 109 -riVfe-I take small steps| when size I take small steps when size mp .2. S3. 80 mp mat - ters when I'am not strong e- nough a tin. mat - ters when I'am not strong e- nough w Sa. Sa. Sa. Sa. TO/ J 7 J> 7 -»— to scalemoun- tains or part the ; seas a mf small steps P 7 J l ¥ » — to scalemoun-tains or part the seas small steps legato a '«/ Sa. Sa. pp 90 small PP steps small steps m Sa. Sa. Sa. mm mf J) J ~ 3 I j Flutter Pedal 115 117 l a 3 ^ f * = f i 5 5 \ • / *f 1 J kJ ^ v—5—*f—l - j v 7 ? — w LJ J w - - v f H ? / s L J i ! • 120 2. Getting Somewhere 124 I 3 1* J i ^ J r . ^ rt> > 4> 125 3. Industrial March Christopher Ludwig I _ = 6dMolto Perpetuo •*—h-S* P ff mf cresc. Pl)J>f> m tot _5 J •• • * 5=^ 7 ^ 7 7 H 7 1 . . « * h - * 1* - 7 - B M ^ s) 7 _ k 7 = 7 J 3 * 8* ^3 32 / 0 i i— I F— f T n — -* J ^ 5 e 1 i f d -) 1 1 - L j 1 J =Jjg=l S -*f _P 1 *) 1 T T — 1 - t • u l [ X T — — ; ' • 7 J ' 7 •4 * -« > 7 7 7 • •— 1 -t— —a — 1 » — UJ 1 1 i t^f \T9T -0 vm -J * r ff — J — r > •< / *m 1 ^= 1 m-'l V , i — 2 — Q. i i 7 52 3£ i;p.. J " I a ca U11 J ^ f f 1 3 1 ~»———j -mp » r » v J' -|» 49 - v^> 1 "empo 1 r-T"1 J rit. *f *f "1 -I .. K i I — 4 e 1 1 i — * r j T l [ - S — i m i j * ^ = -» — * • H —H 5 » ft J " a "5 = 1 p mp 8 134 CD —^» O O E O 5-1 « PQ S -> o > J a o * 4 t *4 * O. s < s s p tr s 142 143 145 148 149 CN] to in vo t*- oo 150 m «o vo f» oo 151 J 5 = TRR -4* 159 161 162 il *l •44--•44--I 1 • M 41111 44444. 4lhH •4444 •44:5. •44:5-165 166 167 

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