Fabrications for Winds and Percussion: an Analysis Douglas G

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Recommended Citation Nicholson, Douglas G., "Fabrications for Winds and Percussion: An Analysis" (1992). Masters Theses. 2197. https://thekeep.eiu.edu/theses/2197

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Date Author

m FABRICATIONS for Winds and Percussion: An Analysis

j (TITLE)

Douglas G. Nicholson

THESIS

SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF

Master of Arts in Music

IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS

1992 YEAR

I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE

~ /~199~ f DA FABRICATIONS for Winds and Percussion (1992):

An Analysis

Submitted in Partial Fulfillment

of the Requirements for the Degree

Master of Arts in Music

By Douglas G. Nicholson

Eastern Illinois University

Charleston, Illinois

May, 1992 ABSTRACT

FabricaUons for Winds and percussion: Analysis

Douglas G. Nicholson

Eastern Illinois University, 1992

Advisor: Dr. Peter Hesterman

The purpose of this thesis is to give an analytical description of FabricaUons for Wjnds and Percussjon. Part one of this document includes discussion, charts of information, and musical examples.

Part two is the original score of the work.

The analysis describes each of the main musical elements, and relates the elements to one another. Charts are included showing relationships between different parts of the composition. Musical examples are presented to help identify and explain the main melodic ideas and accompanimental structures.

Fabrications is in one movement and is approximately eight and one-half minutes in duration. The formal structure of the work is ABA '. Instrumentation is that of the standard wind ensemble with the following exceptions: horns and trombones are written in only two parts, and three separate flute parts plus piccolo are required. The score also includes Eb contra-bass clarinet, double bass, and four percussion parts plus timpani.

The work features two main themes. One of the main themes is derived from the octatonic symmetrical scale. The rest of the melodic material in the work is derived from one pitch series. This pitch series contains two intervallicly equivalent hexachords which are each derived from whole-tone scales. Serial techniques used in manipulating the series include the rotation of hexachords and the use of vertical arrays. These techniques are explained in the analysis.

A serial background texture is used as accompaniment during much of the work. This background texture is made up of short repetitive fragments of the pitch series. The repetitive nature of these background textures, along with the lack of directed chord progressions, lend the piece the characteristics of minimalistic music. TABLE OF CONTENTS

LARGE DIMENSIONS

General Description ...... 2 Form ...... 2 Instrumentation ...... 3 Orchestration ...... 4 Tessitura ...... 5 Dynamics ...... 5 Tonality...... 6

MIDDLE DIMENSIONS

Pitch Selection ...... 7 Pitch Series ...... 8 lntervallic Characteristics ...... 9 Background Textures ...... 1 O First A Section Description ...... 1 3 B Section Description ...... 1 6 Last A Section Description ...... 2 2 Dynamics ...... 2 4 Rhythm...... 27

SMALL DIMENSIONS

Melodic Analysis/ Theme 1 ...... 2 9 Melodic Analysis/ Answering Motive . . . 3 1 Melodic Analysis/ Theme 2 ...... 3 3 Melodic Analysis/ Fanfare Motive ...... 3 4 Melodic Analysis/ Closing Theme ...... 3 6 Harmonic Analysis/ Chorale ...... 3 7 Harmonic Analysis/ Final Cadence ...... 4 1

SUMMARY ...... 44 2

ANALYSIS

LARGE DIMENSIONS (L.D.)

General Description (L.D.)

Fabrications tor Winds and Percussion (1992), is in one movement and is about eight and one half minutes in duration. The piece has a three-part design with slower tempi in the middle section and a da capo-like final section. Orchestrational features include the prominent use of percussion, various soli sections, and featured soloists.

Pitch content is derived from whole-tone and octatonic symmetrical scales. Serialism is used in most of the pitch selection. Minimalistic textures are used as static harmonic backgrounds throughout the work.

Brun (L.D.)

The formal design is symmetrical and can be abbreviated as

ABA' . The two A sections are in 3/4 meter, with the quarter note at 120 beats per minute. The two main themes of the work are 3 introduced in the first A section, and a closing theme is added in the last A section. The B section contains five short episodes which are in various meters and tempi.

The following diagram shows the relative lengths of the large sections of the piece and the thematic content of each section.

RELATIVE LENGTH OF SECTIONS

Minutes:O 1 2 3 4 5 6 7 8 II <------A section ----><------8 section-----><---A' -----> _Closing <-Theme 1·><·--Developmental Episodes···><·Theme 2· Theme>

Instrumentation (L.D.)

Instrumentation includes the following separate wind parts:

Woodwind Brass Piccolo Bb Trumpet 1,2,3 Flute 1,2,3 Horn in F 1,2 Oboe Trombone 1,2 Bb Clarinet 1,2,3 Euphonium Bb Bass Clarinet Tuba Eb Contrabass Clarinet Bassoon String Eb Alto Saxophone 1,2 Double Bass Bb Tenor Saxophone Eb Baritone Saxophone 4

Percussion is assigned to five separate parts:

Timpani - also plays chimes and lion's roar

Percussion 1 - marimba, timbales, field drum, small suspended cymbal

Percussion 2 - xylophone, tam tam, temple blocks, medium suspended cymbal

Percussion 3 - bells, triangle, snare drum, wind chimes, large suspended cymbal

Percussion 4 - vibraphone, bass drum, triangle

Orchestration (L.D.)

Percussion instruments are used as an important feature of the work. As shown above, the five parts include five different mallet instruments, timpani, and non-pitched instruments. They are used as accompaniment and melody throughout the piece, and they are the only accompaniment during a timpani solo (measure 129).

Solo parts are present for other principal instruments, such as the clarinet (measure 12), flute (measure 24), and euphonium

(measure 153). Flutes and piccolo are featured in a canonic section

(measure 163), and trumpets are featured with a fanfare-like motive which is developed over the course of the piece. 5

Tessitura (L.D.)

The tessitura spans the extreme ranges of the instruments by extending from Eb1 in the tuba and double bass (measure 253) up to

G7 in the piccolo (measure 121). Many of the cadence points are written in the low registers of the instruments (as at measures

101, 129, and 227). In contrast to these low sounds, the flutes and piccolo are often scored in their highest registers as in the third phrase of theme 2 (measures 93, 121, and 218 ).

Dynamics (L.D.)

The three loudest moments of the piece occur at the fortissimo markings at the end of each section. The first of these

(measure 129) includes full instrumentation except for alto saxophones, tenor saxophones, and trumpets. The second fortissimo

(measure 182) is the loudest of the three, because it calls for the full ensemble. The texture at the third fortissimo (measure 251) is thinner than the rest, keeping it from being as loud as the earlier climax.

The following diagram shows the overall dynamic shape of the piece. 6

OVERALL DYNAMIC SHAPE

m. 1 m.129 m. 182 m. 251 ff f mf mp p

Tonality (L.D.)

The tonal center of the work is Eb, and most of the main cadence points in the piece are on Eb. In addition to the cadence points on Eb, there are two instances of Bb rooted harmonies acting as dominants to Eb during the coda of the piece. Also, the statements of Iheme 1 in the first A section outline a whole tone scale leading to Eb. The following chart shows the frequency of cadences on Eb as well as other factors causing Eb to be the tonal center of the piece.

MAIN CADENCE POINTS

m. 61 - Eb as top note of major third m. 101 - Eb cadence in octaves m. 129 - Eb cadence In octaves m. 163 - Eb root of augmented fifth m. 182 - Db root, but harmony contains Eb m. 216 - Bb root of augmented fifth m. 227 - Eb cadence In octaves m. 238 - Bb root of augmented fifth m. 245 - Eb root of augmented fifth m. 254 - Eb root of perfect fifth In final cadence 7

MIDDLE DIMENSIONS (M.D.)

Thematic Material (M.D.)

Five melodic ideas make up the thematic material used in the piece. These melodic ideas are listed in the following chart. The location where the thematic idea first occurs is also given.

THEMATIC MATERIAL

Thematic Idea Location of First Occurrence

Theme 1 .... Measure 12 (solo clarinet)

Answer to Theme 1 . Measure 28 (solo alto saxophone) Theme 2 ...... Measure 77 (tuba, bass clarinet, flute, oboe) Fanfare Motive Measure 80 (trumpets) Closing Theme Measure 202 (chimes, tpt., bassoon, bari. sax)

Pitch Selection (M.D.)

One pitch series and the octatonic symmetrical scale provide the basis for the pitch selection in the entire work. The octatonic symmetrical scale (Example 1) is used only for Theme 2. The other melodic material is taken from forms of the pitch series, or it is derived using techniques such as hexachord rotation and the use of 8 vertical arrays. [These serial techniques are found in some of

Stravinsky's later works such as lntroitus T.S. Eliot in memoriam

(1965) and Requiem Canticles (1966). The octatonic symmetrical scale (Example 1) was used in an earlier work by Stravinsky, Octet for Wind Instruments (1923) .]

Example 1 - Octatonic Symmetrical scale

Octaton1c Symmetr1cei Scale: ~

Pitch Serjes (M.D.)

The pitch series contains two intervallicly equivalent hexachords, each containing the notes of one of the two possible whole-tone scales. The second hexachord is a transposition of the first at a minor third higher (Example 2).

Example 2 - pitch series

Hexachord A Hexechord B ' •r j F J J ~J I F r r ~r d ~J II 0 1 2 3 4 5 6 7 8 g 10 11 9

Hexachords A and B are used separately in composing Theme 1

and in most of the fragments which make up the serial background

textures. Since hexachord B is intervallicly equivalent to hexachord

A, it is impossible to tell whether a particular six-note set is a

form of hexachord A, hexachord B, or a transposition of either

hexachord, unless the two hexachords occur in succession. For this

reason, the hexachords being discussed will not always be labeled

as A or B, but will be referred to as "the hexachord".

lnterval!ic Characteristics (M.D.)

The interval content of either hexachord in the pitch series is

made up of six major seconds/ minor sevenths, six major thirds/

minor sixths, and three tritones. (The interval vector is 060603, which is the same as the whole tone scale.) The most prominent

intervals in the piece are the two intervals found between the ordered pitches of the hexachord, the major second and the major third . .The inverse-related intervals, minor seventh and augmented fifth, are produced through octave transposition of some of the notes in the ordered hexachord. These intervals are also used prominently in the composition. 10

Background Textures (M.D.)

A contrapuntal background texture which consists of repeated fragments of the pitch series is salient to this work. These serial background textures start as a repetitive fragment in a single voice. Other fragments are added, one at a time, in other voices until the complete series is being played over and over with a continuous eighth-note pulse. This constant repetition of short contrapuntal ideas creates a static harmonic background which serves as accompaniment for thematic ideas. This background material is often presented by the mallet instruments as in the following example (Example 3). 1 1

Example 3 - serial background texture - mm 184 -224

m.187

I I mar ..,...... - -.. . .. _ .. . .. _ ..- ~ -- .------,, 1...-J " - ~ " - ~ series: 0 1 2 3 4 5 ~ xyl. -~ -~ --·~ .. -"' ~ - -·. I -· ,, ~ . . -· . 6 7 I I .. -,, ~-.

m.192 m.196

8 9

The non-pitched percussion instruments help form rhythmic background textures in several sections. Instead of repeating melodic fragments from the pitch series, the non-pitched instruments add short rhythmic ideas to the serial background texture. In the following example, non-pitched percussion are added 12 to saxophones, horns, and mallet instruments to form the background texture (Example 4).

Example 4 - background texture - mm 66-74 (Concert Pitch)

jl m. 66 a It o sax ... ,...... , m. 69 I I -~ ...... - ~ - - .. - - - .. -~ ------I) ten. sax p ··1 11J'-1 (hexachord 1nvers1on) 1l hn.1 _6 ...... ~ . 7 .. -~ ., -·- .... series order: mar. 0 1 2 3 j t ~ ~ 4_5 r---, -~ .. _ . ~ . . - . - - ··-- .. -~ ------·-- - - ., LI S.D. u . ~ I • ·--~ - . - - ~ ------B.D. r r· '--""" "·-

m.73 13

First A Section Description (M.D.)

The first A section begins with a serial background texture in

the m·anet instruments. This background texture is interrupted by

the first statement of Theme 1 , starting on E, in the solo clarinet

(measure 12). Then the background texture is redeveloped in the

mallet instruments only to be interrupted again, this time by the

flute (measure 24). The flute states Theme 1, starting on G, and an

answering motive is introduced in the saxophones. The background

structure is developed again, but this time Theme 1 is stated,

starting on A, before the background texture stops. The background

texture is developed once more and continues while two complete

statements of Theme 1 occur. One statement starts on B, and the

next on C#. The starting notes of the five Theme 1 statements

outline a whole-tone scale ascending from E (measure 12) to D#(Eb)

(measure 60).

A trumpet fanfare-like motive answers the last statement of

Theme 1, and the background texture pauses briefly. More

instruments are then added to a new development of the background texture. Theme 2 is stated twice above this background texture

(measure 76). A different transposition of the trumpet fanfare 14 motive is played after each phrase of Theme 2. Also, at the end of each phrase of the first statement of Theme 2, the chimes play one note of a descending broken chord, F augmented. Lower sounding instruments join the chimes and other instruments at the cadence on Eb (measure 101 ). Bass instruments then play the same descending broken chord during the second statement of Theme 2.

The first A section ends at measure 129 with a cadence on Eb.

The following chart lists the instrumentation and measure numbers for each event that occurs during the first A section.

Numbers in parentheses indicate the overlapping of events. 15

A SECTION EVENTS

Measures Event Instruments Involved

1 Background Texture mallet percussion 12 Theme 1 on F solo clarinet 1 6 Background Texture mallet percussion 24 Theme 1 onG solo flute 28 Answering Motive solo alto sax 31 (-43) Background Structure mallet percussion 39 Theme 1 on A flute,clarlnet 42 Answering Motive alto, tenor, clarinets 47(-61) Background Texture mallets 54 Answering Motive oboe, alto, tenor, clarinets 57 Theme 1 on B flutes, clarinets 60 Answering Motive oboe, alto 61 Fanfare Motive trumpet 1&2 63(-99) Background Texture mallets.alto, tenor.horns 77 Theme 2-phrase 1 tuba, bass clar., flute, oboe 80 Fanfare Motive trumpet 1&2 81 C#sounded chimes 85 Theme 2-phrase 2 same as phrase 1 88 Fanfare Motive trumpet 1&2 89 A sounded chimes 93 Theme 2-phrase 3 add contra,bari.sax,picc.,bn. 98 Fanfare Motive trumpet 1,2,&3 99 Fsounded chimes 99 Theme 2-phrase 4 like 93 - contra. & tuba 101 Eb sounded lower brass, w.w, chimes 102(-127) Background Texture mallets, tymp.,clar.,saxes, 105 Theme 2- phrase 1 like meas. 77 ,add bn., barl.sax,plcc. 108 Fanfare Motive trumpets, horns 109 C#sounded contra,tbn. euphonlum,double bass 113 Theme 2-phrase 2 like meas. 105 116 Fanfare Motive trumpets, horns 117 A sounded like meas. 109 121 Theme 2-phrase 3 like meas. 113 125 Fanfare Motive trumpets, horns 126 Fsounded like 117 127 Theme 2-phrase 4 like meas.105 - tuba 128 Eb sounded full band -tpts., alto & tenor sax 16

B Section Description (M.D.)

The B section begins at measure 129 and contains five brief episodes. The outer episodes include a percussion soli section which bridges A to B, and a chorale passage which bridges B to the final A section. The inner three episodes are devoted to developing melodic ideas introduced in the first A section. The following chart shows the instrumentation, tempos, and meters of each episode. 17

B SECTION EPISODES

DESCRIPTION INSTRUMENTATION (T)TEMPO MEASURE#

(M)METER

1. percussion soli: solo timpani, snare drum, (T) J ·60 m.129

bass drum, temple blocks (M) 5/4

tlmbales, suspended cymbal

2.fanfare motive development: trumpets, horns, (T) J -90 m. 13 9

trombones, timbale (M) 4/4

3. Theme 1 development: clarinets, euphonium solo, (T) J ==90 m. 153

wind chimes, triangle (M) multiple

lower brass.lower woodwinds,

4. Theme 1 canon 3 part flutes, piccolo (T) J =90 m. 1 63

bells, triangle (M)alternatlng 5/4,6/4

5. Antiphonal chorale brass(no trumpets) (T) J =76 m. 170

woodwinds, snare drum, (M)6/4

tlmpanl,fleld drum, bass drum,

suspended cymbal, tam tam, lion's roar

The first episode of the B section, the percussion soli, begins with short repetitive phrases in the snare drum, bass drum, and 18 timbales. These three instruments continue the same rhythmic patterns until the end of the episode, forming a rhythmic background for the timpani solo. Temple blocks and suspended cymbal are also used during the episode. (The four timpani are tuned to B, Eb, F, and A. These pitches are derived from the whole tone scale, and can be related to several forms of the hexachord.

However, the order in which the pitches are used does not readily indicate one certain hexachord.) The timpani solo utilizes variations of duple and triple rhythms, using values ranging from quarter note through thirty-second note. The solo contains four asymmetrical phrases which last six measures and end on A

(measure 139).

The second episode starts in measure 139 with a statement of the trumpet fanfare motive layered above a rhythmic pattern in the timbale. The three trumpet parts state the first hexachord of the motive on F, and then expand this motive to include the complete pitch series. Horns and trombones are also added to the texture with their own statement of the hexachord on F.

A rhythmic feature of the second episode is the use of different metrical patterns in each part, although the meter 19 marking, 4/4, is the same for each instrument. The first trumpet is in 4/4, the second trumpet in 3/4, the third trumpet in 5/4. the timbale in 7/4, the second trombone in 3/4, and the first trombone in 4/4. The meter of the horns is ambiguous due to the number of accents and shortness of the pattern (Example 5). 0 C\I Example 5 - B section episode 2, showing meters and pitch series

(Concert Pitch)

meuurc 146 ,,,.---- ...... _meu. 147 __, ,....., _, ._ A U\ Ip\.. r .. _I . I . - 4 ~ - -· a) 4 I - I o. . 1 3 2 6 3 Seti es: I 3 • ,., 2nd Tpl. I ' I I "T - - - I - ~~ . ~ ,a) I I I I 4 3 I 7 3 :~ ,., 3rdTpl. 3 ... 3 .•

I - ial • s 5 9 10 11 .. htHn. - ' - "'( .... !&I ...... _,,, ~~~y ...... )' vv ~;t ;t ~ ~ ~ ~ ,., 2nd Hn. -

l&l ..;·- - ~- Ii' - ,---~- ,- '-- I 2114 Tbn. - . ,....--- - ...... _ • ! ...

. I t I I -..... I I I' ' ' I ' Timb1lc 3 I 3 '7 - - - - A 21

A clarinet duet overlaps the end of episode two and continues through all of episode three. This duet is simply a repetitive statement of the first five notes of the hexachord set a major third apart. The clarinets play a syncopated rhythmic pattern in 3/4 time disregarding the changing meters in the rest of the episode.

Episode three starts with a euphonium solo stating Theme 1.

The answering motive to Theme 1 is stated in the solo horn. Then the tenor saxophone, bassoon, and trombones join in stating Theme

1 as a two-part canon. The alto saxophone adds ascending harmonic major thirds to the texture, and all parts of the episode cadence on an Eb augmented chord (measure 163). The fifth of this chord, B, is picked up in the first flute which starts the next episode.

The fourth episode features three flutes and piccolo in a four part canonic development of Theme 1. The bells are added to reinforce important notes in the flute parts. At the height of this development, measure 168, the bells reinforce flute notes on every quarter-note beat and actually play the complete hexachord twice in thirds starting on D#(Eb) and G. This episode cadences to A three part chord containing a perfect fifth over a perfect fourth, C#, F#, and C#. 22

The fifth episode, a chorale, begins at measure 170. The chorale is in four parts with each part orchestrally doubled in octaves. The episode before it alternated between 5/4 and 6/4 meter, but the chorale stays in 6/4 meter. The first three phrases alternate antiphonally between woodwinds and brass with percussion filling the sustained chords. The fourth phrase is played by both groups, and the trumpets and full percussion are added for the final chord (measure 182). This measure is the end of the B section and the climax of the piece.

Last A Section Description (M.D.)

The last A section starts with the development of a serial background texture much like the opening of the piece. The marimba again makes the first statement, but this time, the statement is a complete hexachord on Db, one step higher than at the beginning of the piece. Despite .these differences, the effect is that of a da capo.

The mallet instruments then continue through the pitch series as the background texture is developed.

Theme 2 replaces Theme 1 as the opening melody and the closing theme replaces the trumpet fanfare motive which answered 23

Theme 2 in the first A section.

The coda starts after Theme 2 cadences on Eb octaves at measure 227. All of the melodic material for the coda is derived from earlier material. The coda serves as a kind of review of the motivic events that have taken place since the beginning of the piece.

The bass drum and field drum play a rhythmic background texture, and the timpani supports the Eb and Bb cadences. Instead of a serial background texture made up of short motives, melodic ideas from earlier in the piece are put together into a background texture. Pitches used are those of the whole-tone scale starting on

E natural. The clarinets quote their motive in thirds from the third episode of the B section. Then the alto and tenor saxophones add alternating statements of Theme 1. The second and third trumpets complete the background texture by quoting from the trumpet fanfare motive.

The background texture continues as the bells, first trumpet, and remaining woodwinds begin the closing theme (measure 235).

The end of the first phrase of the closing theme is punctuated by a

Bb augmented chord played forte by the lower brass and timpani. 24

The second phrase of the closing theme ends with an accented Eb augmented chord which decrescendos immediately. During this decrescendo, the trumpets begin a six-measure statement which is a further and final development of their fanfare motive. The trumpets are joined by other brass, and the fanfare ends with a hemiola figure, caused by two measures of 2/4 meter, which leads to the final cadence of the piece (measure 253). The harmony of the final cadence is sustained for five measures. During this time, the xylophone and woodwinds state the hexachord twice, starting and ending on Eb. The timpani makes a final two-measure statement which imitates the rhythm of the trumpet fanfare motive, but

reinforces the tonic and dominant of the Eb tonal center. The final note, the tonic Eb sounded in the bass instruments, is on the second beat of the measure, and brings the work into metric balance with the third beat pick up notes which began the piece.

Dynamic Contour (M.D.)

The dynamic markings for the themes in the A sections build slowly from mezzo-piano to fortissimo, while the background textures are consistently marked mezzo-forte. The scoring at the 25 beginning of each A section is thin. The background texture is first developed in the mallet instruments, and new instruments are added to the texture with each thematic statement. Due to this additive process, each A section culminates into a thick-textured, loud sound.

Dynamic markings in each of the B section episodes are used to create a high point within the episode itself, thus creating points of high and low dynamic levels within the B section instead of an overall crescendo as in the A sections. Points of high dynamic levels occur at the end of the timpani solo (measure 138), about two-thirds of the way through the trumpet fanfare development (measure 147), near the end of the Theme 1 development (measure 160), and at the end of the flute canon

(measure 170). The chorale (measure 170) starts forte and builds through the last measure where it crescendos to fortissimo

(measure 182).

The following graphs show the dynamic contour of each section. 26

GRAPHS OF DYNAMIC CONTOUR

First A Section m. 1 m.30 m.61 m.92 m.129 ff ~'//\ mp p

B Sect1on m. 132 m. 139 m. 153 m. 163 m. 170 m. 162 ff f mf mp * p

A' Section m. 184 m.212 m.227 m.245 m.257 rr f'*IV\ ~,/\ mp p 27

Rhythm. Meter. and Tempo (M.D.)

Both A sections are in 3/4 meter, with the quarter note at

120 beats per minute. The most common submetric value used in both A sections is the eighth note. The constant eighth-note patterns in the background texture dominate the rhythmic activity in the two A sections. Eighth-note patterns, combined with shifting accents and syncopations, are also common features of the themes used in the A sections. Theme 1 contains values ranging from sixteenth-note to half-note, but the prominent value is the eighth note. Theme 2 contains mostly eighth-notes and uses much syncopation. The closing theme also has an eighth-note divisions of the beat because of the staggered entrances between bass and treble instruments (measure 235).

Rhythmic patterns are more varied in the B section. The first two episodes contain a wide range of rhythmic values, and both simple and compound subdivisions are used. The largest amount of rhythmic activity in the piece occurs in these two episodes. The third and fourth episodes develop Theme 1 at a slower tempo than in the A section. As in the first occurrence of Theme 1, the beat is mainly divided into eighth-note patterns. The last episode of the B 28 section is set in a relatively slow tempo with relatively few divisions of the beat. This episode, the chorale, has the least amount of rhythmic activity in the piece.

The following chart shows meters, tempos, and most common type of rhythmic activity for the entire work.

RHYTHMIC CHARACTERISTICS

Theme or Quarter Note Most Common Measure Episode Meter Tempo Rhythmic Value

1 - Theme 1 3/4 120 eighth note 65 - Theme2 3/4 120 eighth note

105 - Theme 2 3/4 120 eighth note

129 - Episode 1 5/4 60 sixteenth note

140 - Episode 2 4/4 90 sixteenth note

153 - Episode 3 5/4,3/4,or2/4 90 eighth note

163 - Episode 4 5/4 I 6/4 90 eighth note

170 - Episode 5 6/4 76 quarter note

184 - Theme 2 3/4 120 eighth note

228 - Closing Theme 3/4 120 eighth note 29

SMALL DIMENSIONS (S.D.)

Melodic Analysis /Theme 1 (S.D.)

The augmented fifth and minor seventh are both used prominently in Theme 1. Theme 1 begins with a descending whole tone scale in the first measure and an upward minor seventh leap into the second measure. The second and third measures contain descending augmented fifth spans followed by ascending minor seventh leaps (Example 6).

Example 6 - Theme 1- flute, measure 24

m· 24 r--..... >-whole-tone scole - - < ,.... -. .. /-8UQ. 5th spon < >-oug. 5th spon<

>mf n. 7th< >min. 7th< >mi 11.

Hexachordal rotation is used to derive the pitches for Theme 1 from the hexachord transposed to G. The prime hexachord on G is first inverted. This inversion is written vertically starting on the G 30 pitch of the transposed hexachord and continuing downward. Then, new prime forms of the hexachord are written horizontally starting on each pitch of the inversion.

PRIME FORMS OF HEXACHORD ONG

(Inversion Is Spelled Downward On Left)

PO- G , Eb, F , Db, B , A

P4- B , G , A , F , Eb, Db

p2- A , F , G , Eb, Db, B

ps- Db, A , B , G , F , Eb

PB- Eb, B , Db, A , G , F

p10- F, Db, Eb, B , A , G

Finally, each new prime form is rotated so that G is the starting pitch. Theme 1 uses the pitches in the last three rotated prime forms. Subsequent transpositions of Theme 1 used in the piece retain this intervallic structure even when the last note is omitted, or when the next to last note is repeated one octave higher. The following chart shows the prime hexachord on G and the 31 five possible rotations with the Theme 1 pitches underlined.

ROTATIONS OF HEXACHORD ONG

ro (PO)- G , Eb, F , Db, B , A

Rotations : (r) r1 (P4)- G , A, F, Eb, Db, B

r2 (P2)- G , Eb, Db, B , A, F

Theme 1 Pitches-> r3 (PG)- G . F . Eb. Ob. A . B

-> r4 (PB)- G . F . Eb. B . Db A

-> rs (P1 O)- G . F . Ob. Eb. B . A

Melodic Analysjs/Answerjng Motive (S.D.)

A particular motive answers Theme 1 in every occurrence except the first. This answer is always transposed so that it starts a major third below the final note of Theme 1 . This motive is sometimes imitated a major third lower in the fashion of a canon

(as at measures 42 and 54). The motive is first stated in the solo alto saxophone at measure 28 (Example 7). 32

Example 7 - answering motive to Theme 1 · "'· 28 j j ' I y J) J i A y J) j3J y J~ I J. II Hexachordal rotation is again used to derive the pitches for

this answering motive. The pitches come from the first four

rotations of the retrograde transposed to F. The motive does not

finish any of the rotations, but stops after reaching the pitch a

major third above its starting pitch. The following chart shows the

rotations of the retrograde on F. The pitches of the answering

motive, as first stated by the alto saxophone (measure 28), are underlined .

ROTATIONS OF RETROGRADE(R) ON F

Answering motive pitches ->ro (RO) F. G . A, C#, B , D#

Rotations : (r) ->r1 (R1o) F . G . B . A , C#, D#

->r2 (RB) F . A , G , B , C#, D#

->r3 (R4) E , D#, G , A , B , C#

r4 (RG) F , A , B , C#, D#, G

r5 (R2) F, G , A, B , D#, C# 33

Melodic Analysis/ Theme 2 (S.D.)

Theme 2 is derived from an octatonic symmetrical scale and is stated in four separate phrases. Each of the first two phrases begin with an ascending diminished fifth, from D to Ab. This D functions as a leading tone to Eb which is both the last note of Theme 2 and the tonal center of the entire piece. The first phrase also ends with a diminished fifth on a strong beat. The third phrase contains two descending diminished fifth intervals on strong beats. These prominent diminished fifths provide contrast with the augmented fifths which were stressed in Theme 1. The diminished fifth, or its enharmonic equivalent is also a part of the background whole-tone harmony. The fourth phrase strongly sets the tonal center on Eb, since it descends a major tenth through the octatonic symmetrical scale, and cadences on Eb. Theme 2 is stated at the same pitch level three times during the piece (measures 77, 105, and 200), and it is consistently orchestrated with two to three octaves between doubling voices (example 8). 34

Example 8 - Theme 2- measure 77

dtm. 5th m. 76 flute 1 ~ ~b 1 wrrtr dim.5th t. ~ ~ bE 1 f f F I f I i t • I - t I - t I dim.5th 8ue- ~ ~b ' · ,. bp I CJ f f t F 1 tr i b I

(:% I I 1- I- t I- t I dim.5th dim.5th 8va until end -- 1 ' • ,. ·~ 1 r:.t ,. rt!F 1 •r r E 1 r:.t ,. rt!f 1 >-perf. 5th span -l. I I ~ --i - ~ •r re r 1 =r r ,. P r 1 r 1 1 r ca •m 1 -< >-perf.5th span -<

Melodic Analysis/Fanfare Motive (S.D.)

During the first A section, each phrase of Theme 2 is answered by a motive in the trumpets which resembles a fanfare. 35

This motive is developed as the only musical material played by the trumpets. It is usually played in three parts, although it is introduced in two parts before Theme 2 begins. The trumpets are sometimes joined by other brass instruments in developing the motive, as in the second episode of the B section (measure 139), and during the coda (measure 245).This fanfare motive is based on the hexachord with the last three pitches coming in varying orders.

The first trumpet starts the series by playing an ascending augmented fifth followed by a descending minor seventh. These intervals are stressed here just as they are throughout the piece

(Example 9). 36

Example 9 - Trumpet Fanfare motive

(Concert Pitch)

he> tpt. 1 1f4I" "---"' '- j t ., .

~ - ·- -. - .. - - - ~- - - ~- 1> ., tpt. 2 ~- ~f 3 rf j I 4 ., . ., I I .,

~ - .. ·- -. - . . --- - . •> - --- ....._., -- tpt. 3

II ' _,/J. ' ~J. II ' £QjJ II

Melodic Analysis/ Closing Theme (S.D.)

During the last A section, the closing theme is introduced. The pitch content of this Closing Theme is simply the first eight 37

pitches of the series. The first phrase of the theme uses only the

first hexachord, but the second phrase starts over and uses all of

the first eight notes of the series.The theme is played starting on

Eb when used as an answer to Theme 2, and transposed to E natural

when used as the main melody of the coda. By starting the eight

note theme on E natural, the last note becomes Eb which is the

tonal center (Example 10).

Example 1o - Closing Theme

m. 235 ~r ~ r r IF ~r I tJ - - I F r I r ~r I Ser;es:O 2 3 4 5 0 2 3 ~~ ~~ I ~~· bf. I ' 4 5 6 7

Harmonic Analysis/Chorale (S.D.)

Pitches for the chorale harmonies are from four transformations of the pitch series, Rl11, Ro, P11, and 10. Only the first five pitches of each of the four forms are used. These five- note pitch sets are arranged vertically as in the chart below. 38

Vertical arrays from the chart are used as· chords in the first

phrase of the chorale.

PITCH SETS ARRANGED VERTICALLY

Rl11 C# 8 A F G

Ro F# G# A# D C

p11 G# E F# D C

10 C# F D# G A

The chorale is written in four-part harmony, and the parts will

be labeled like a four-part chorus. All parts of the chorale are

doubled in other instruments, and some instruments switch from

one part to another during each phrase. The soprano part can be

followed in the first flute; the alto part can be found in the second

flute; the tenor part can be found in the bassoon. The bass part of

the chorale can be followed in the baritone saxophone. An exception

must be made for the third note, in the bass part, an E natural, because it is borrowed from the alto part.

The first part of the following chart lists the actual pitches used in the four voice parts. The second part of the chart lists the 39

four pitch sets with the pitches labeled to indicate which voice

uses each pitch.

FIRST PHRASE OF CHORALE (measure 170)

1. Actual Pitch Usage By Four Voices

Soprano (S): C# B A F G

Alto (A) : F# E D# D c

Tenor (T) : G# G# A# G A

Bass (B): C# F F# D c

2. Five-Note Sets Labeled S, A, T, or B

Rt11 C#s Bs As Fs Gs

RO F# A G#r A#r DA CA

p11 G#r EA F#e De Ce

to C#e Fe D#A Gr Ar

Superimposed fifths with common tones appear at the beginning of the first two measures. These sets of intervals are more consonant than the dissonance that follows them. The rhythmic suspension of the tenor voice in the third measure causes 40

a perfect fifth as the penultimate harmony which moves to the

final harmony, a perfect fifth over a major sixth, which ends the

phrase (Example 11 ).

Example 11 - reduction of chorale harmony, first phrase

(Concert Pitch)

The first measure of the phrase, (measure 170), states only

three pitches in each part, and the second measure starts over

again and completes the statement of all five pitches.

The second phrase of the chorale uses the same pitches as the

first but is transposed up a minor third (recalling the interval

between the first notes of each hexachord in the series). The third

phrase is a repetition of the pitches in the second phrase, with an alteration on the last two harmonies. 41

The fourth phrase again copies the pitch usage of the second phrase, but the last harmony, on beat five of measure 181, is altered to contain a strongly voiced minor seventh on D. This harmony becomes the penultimate chord in the section, and functions like an augmented sixth chord with the minor seventh on

D resolving outwardly by half steps to octaves on Db. The other two notes in the penultimate harmony move by step to the final cadence containing three pitches: B, Db, Eb. The trumpets join the cadence, with the first trumpet sounding the Eb, which is the tonal center for the piece. However, this cadence has as its root, Db, and the first note of the last A section is also Db(C#). Therefore, the tonal center of the piece is not firmly established as Eb until the coda section, where Eb is the root of a perfect fifth cadence, and where the hexachord is stated on Eb.

Harmonic Analysjs/Ejnal Cadence (S.D.)

The last harmony, defined only by a perfect fifth, will most likely imply Eb major because of the use of G natural in the material leading up to the final cadence. Eb major is clearly indicated by the last measure of the closing theme (measure 243), 42 which contains a major third descent, G natural to Eb. In addition to this, the first of two penultimate chords, G augmented (measure

251 ), has the major third of Eb as its root. However, the actual penultimate chord, Bb augmented, contains a Gb, and would normally resolve to Eb minor in common-practice harmony. But this

Bb augmented chord can also be analyzed as a passing chord filling in A progression of three chord roots which spell an inverted Eb major triad: G, Bb, and Eb. Finally, Eb major is firmly established by the final two hexachord statements which sound the major third, G natural, while the final perfect fifth on Eb is being sustained

(Example 12). 43

Example 12 - Final cadence harmonic reduction, mm. 251-255

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II ..... I - ' . .·- ~·" . -. . - ., : ... ~. .... -...... ~ !>. ·- ~ .. '~ . ~· - - . 4. •• .L...i " 44 SUMMARY

Certain characteristics of the piece help define the overall style. A repetitive serial background texture replaces a conventional chord progression as accompaniment. Expressive melodic elements are employed to balance the somewhat mechanical nature of the accompaniment. All melodic elements are related to the whole-tone or octatonic symmetrical scales. Serial techniques are used for most of the pitch selection. Each element in the B section is developed separately, while materials in the A sections are often presented concurrently in layers. These characteristics of Fabrications for Winds and Percussion give the piece its own unique identity. FABRICATIONS

for Winds and Percussion ( 1992) by Doug Nicholson

This composition is presented in partial fulfillment

of the Master of Arts Degree at Eastern Illinois University.

Appreciation is extended to Dr. Peter Hesterman, graduate advisor,

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