Concerto for Harmonica and Orchestra, Op. 86 by Alexander Tcherepnin: an Arrangement for Marimba with a Performance Guide

Concerto for Harmonica and Orchestra, Op. 86 by Alexander Tcherepnin: An Arrangement for Marimba with a Performance Guide

James McDonald, B.M., M.M.

A Dissertation

Percussion Performance

Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of

Doctor of Musical Arts

Approved

Lisa Rogers Chair of Committee

Alan Shinn Co-Chair of Committee

Kevin Wass

Mark Sheridan Dean of the Graduate School

May 2014

Texas Tech University, James Payton McDonald, May 2014

ACKNOWLEDGMENTS

I would like to thank Professor Alan Shinn, Dr. Lisa Rogers and Dr. Kevin Wass for their unwavering support, encouragement, knowledge, and guidance through the years.

ii Texas Tech University, James Payton McDonald, May 2014

TABLE OF CONTENTS

Acknowledgments ...... ii

Abstract ...... iv

List of Figures ...... vi

Chapter

I. Introduction: The Why...... 1

II. The Who, When and Where ...... 5 Alexander Tcherepnin...... 5

John Sebastian...... 9

When and Where...... 9

III. The What: The Instruments...... 10 The Harmonica...... 10

The Marimba...... 13

IV. The What: A Description of the Composition ...... 24 Concerto for Harmonica and Orchestra, Op. 86...... 24

V. The How...... 34 The Arrangement and Arranging Process...... 34

VI. Conclusion...... 46

Bibliography ...... 47

Appendices

A: Program from Premiere...... 48

B: Tuning Marimba Bars...... 49

iii Texas Tech University, James Payton McDonald, May 2014

ABSTRACT

Paul Creston’s Concertino for Marimba and Orchestra, the first marimba concerto written in 1940, along with Ney Rosauro’s Concerto for Marimba and

Orchestra written in 1986, are considered two of the most performed marimba concertos to date.1 While these two pieces are both great works in the repertoire of the marimba concerto, the question is raised as to why these early pieces have not been surpassed by recent compositions? It is because of this question that the author feels there is a need for further depth in the repertoire of the marimba concerto. The goal of this study is to shed new light on an underperformed work written for an even more obscure instrument than the marimba and to add another quality work to the marimba concerto repertoire.

The first chapter will discuss the status of the marimba concerto repertoire and the reasons behind this project, including limitations, justification, and a review of related literature. The second chapter is a look at the people involved in the original work, including a biographical sketch of the composer, Alexander Tcherepnin, along with brief remarks about the piece’s premiere performer, John Sebastian Sr., and the details surrounding the premiere. Chapter three will discuss the history and manufacturing of the instruments involved; the harmonica and the marimba. The last two chapters focus on the work itself, with the fourth chapter providing a somewhat formal description of the work,

Concerto for Harmonica and Orchestra, Op. 86 by Alexander Tcherepnin, and the last chapter providing an examination of the arranging process and, through specific examples, the arrangement itself.

Due to the perceived undervalued view of the composer, and the “novelty” status of both instruments involved in this project, the author hopes that this arrangement project will elevate awareness about the composer and the work itself. The scope of this study is to examine the life of Tcherepnin, understand the basics of the instruments involved including their history and manufacturing, and formally describe and arrange the work in question. Limitations of literature and/or other materials on the composer, premiere performer, and the work itself have hindered the finding of any related literature. However, there are a few sources discussing the life of Tcherepnin that the author has found very helpful. The author was unable to find any related literature in the area of the work itself, with the exception of a scan of the program from the premeire performance.

v Texas Tech University, James Payton McDonald, May 2014

LIST OF FIGURES

3-1 Comb and reed-plates ...... 11

3-2 Reed-plates mounted on a comb...... 11

3-3 Diatonic harmonica (Blues Harp) layout ...... 12

3-4 Solo tuning on a chromatic harmonica ...... 13

3-5 Classical tuning on a chromatic harmonica ...... 13

3-6 Primitive African gourd marimba...... 17

3-7 Underside of African gourd marimba with spherical resonators...... 17

3-8 Large marimba being carried on a man’s back...... 19

3-9 The Hurtado Brothers Royal Marimba Band of Guatemala ...... 19

3-10 Deagan 5-octave nabimba...... 20

3-11 Clair Omar Musser and his 4.3 octave marimba...... 22

3-12 “First Lady of the Marimba” Vida Chenoweth...... 22

3-13 Gordon Peters (center) and the Marimba Masters ...... 23

4-1 Exposition, A section, Theme 1...... 25

4-2 Exposition, A section, Theme 2...... 25

4-3 Exposition, B section, Theme 1 ...... 25

4-4 Development, Theme 1 (from 2nd theme in exposition) ...... 26

4-5 Recapitulation, A section, Theme 2 (new key)...... 26

4-6 Recapitulation, B section, Theme 1 (new key)...... 27

4-7 Coda, motive 1 from Theme 1 of the exposition ...... 27

4-8 Theme 1 (including motive 1 on beat two)...... 27

4-9 Theme 2 ...... 28 vi Texas Tech University, James Payton McDonald, May 2014

4-10 Theme 3 ...... 28

4-11 Theme 1 ...... 29

4-12 Theme 2 ...... 29

4-13 Theme 3 ...... 29

4-14 Theme 2 & 3 when repeated in new keys...... 30

4-15 Cluster chords from half-depressed slide button ...... 30

4-16 Cadenza motive 1...... 31

4-17 Cadenza motive 2...... 31

4-18 Allegretto, A section, Theme 1...... 31

4-19 Allegretto, B section, Theme 2 ...... 32

4-20 Poco Meno Mosso, C section, Theme 3 ...... 32

4-21 Allegretto, second B section, Theme 2 (in new key)...... 32

5-1 Original exposition, A section, Theme 2 ...... 35

5-2 Arranged exposition, A section, Theme 2 ...... 36

5-3 Extreme angles for blocked chord playing on marimba ...... 36

5-4 Original C# Major ninelet...... 37

5-5 Original C Major ninelet...... 38

5-6 Arranged accidental and natural glissandi ...... 38

5-7 Original fivelet grace notes...... 39

5-8 Arranged grace notes ...... 39

5-9 Original sequence of arpeggios...... 39

5-10 Arranged sequence of arpeggios...... 39

5-11 Original sixty-fourth note ninelets...... 40

vii Texas Tech University, James Payton McDonald, May 2014

5-12 Arranged “black note” glissando ...... 40

5-13 Original eight-note cluster chords...... 42

5-14 Arranged cluster chords ...... 42

5-15 Original arpeggiated sequence...... 42

5-16 Arranged arpeggiated sequence ...... 42

5-17 Original call and response...... 43

5-18 Arranged call and response...... 44

5-19 Original ending ...... 45

5-20 Arranged ending...... 45

viii Texas Tech University, James Payton McDonald, May 2014

Chapter 1

Introduction: The Why

The solo concerto form was first developed during the Baroque Era (1600-1750), with Johann Sebastian Bach writing numerous concertos for string instruments in the early 1700s. Once the construction of the piano occurred, it too became one of the more common instruments for concerto composition, particularly in the Classical Era (1750-

1820). The first marimba concerto, however, was written over two hundred years later in

1940. Clearly the marimba is a “young” instrument when compared to the age of instruments like the violin and the piano; therefore, the repertoire for the marimba concerto is still relatively small. In his dissertation, “Marimba Concerto Performances in the United States Orchestras: 1940 through 2002,” Nathan Daughtrey cited a list of eighty-nine marimba concertos that had been performed.1 While this is not a comprehensive list of all of the marimba concertos, it is however a relatively comprehensive list of the “standard” marimba concerto works. According to Michael

Lasley’s dissertation, “Eric Ewazen’s Concerto for Marimba, Orchestrated for Chamber

Ensemble: A Performance Edition,” there are now over two hundred marimba concertos in print today.2

1 Nathan Daughtrey, “Marimba Concerto Performances in the United States Orchestras: 1940 through 2002” (D.M.A. diss., The University of North Carolina at Greensboro, 2004), 90- 92. 2 Michael Lasley, “Eric Ewazen’s Concerto for Marimba, Orchestrated for Chamber Ensemble: A Performance Edition” (D.M.A. diss., The University of North Carolina at Greensboro, 2008), 3. 1 Texas Tech University, James Payton McDonald, May 2014

Overview Paul Creston’s Concertino for Marimba and Orchestra, the first marimba concerto written in 1940,3 along with Ney Rosauro’s Concerto for Marimba and

Orchestra written in 1986, are considered two of the most performed marimba concertos to date.4 While these two pieces seem to be popular choices in the repertoire, other more recent marimba concertos still have not seemingly surpassed the popularity of the Creston and Rosauro concertos. The author feels there is a need for further marimba concerto options for performers. The goal of this study is to shed light on an underperformed work written for an even more obscure instrument than the marimba, and to add another quality choice, via arrangement, to the marimba concerto repertoire. Concerto for Harmonica and Orchestra, Op. 86 by Alexander Tcherepnin is a concerto with virtuosic solo lines and fantastic interplay between the soloist and the accompaniment. This concerto, originally written in 1953, currently has only two recordings and is rarely performed, the author believes, mainly due to the declining view of the harmonica in the United States.

The first chapter will discuss the status of the marimba concerto repertoire and the reasons behind this project, including limitations, justification, and a review of related literature. The second chapter addresses the people involved in the original work for harmonica, including a biographical sketch of the composer, Alexander Tcherepnin, brief remarks about the piece’s premiere performer, John Sebastian Sr., and the details surrounding the premiere. Chapter three will present a brief history and construction of the instruments involved; the harmonica and the marimba. The last two chapters focus on

3 Rebecca Kite, Keiko Abe: A Virtuosic Life (Virginia: GP Percussion, 2007), 176. 4 Daughtrey, “Marimba Concerto Performances,” 43. 2 Texas Tech University, James Payton McDonald, May 2014 the work itself, with the fourth chapter providing a somewhat formal description of the work, Concerto for Harmonica and Orchestra, Op. 86 by Alexander Tcherepnin, and the last chapter providing an examination of the arranging process and, through specific examples, the arrangement itself.

Justification Due to the perceived undervalued view of the composer, and the “novelty” status of both instruments involved in this project, the author hopes that this arrangement project will demonstrate an increased awareness of the composer and the work itself. The scope of this study is to briefly examine the life of the composer Alexander Tcherepnin, the basics of the instruments involved including their history and manufacturing, and formally provide a description and an arrangement of his concerto for harmonica and orchestra.

Limitations The goal of this project is to arrange one concerto from a more obscure instrument, like the harmonica, for marimba. The author feels that this project is a valuable resource to expound upon in further studies, but for the sake of this project only one piece was arranged. Due to copyright issues and rental prices, the author was only able to obtain a piano reduction of the concerto, yielding all analysis and arranging from this reduction. The ability to check for discrepancies between the piano reduction and the original orchestral parts has not been possible for the purposes of this study. The inclusion of the chapters relating to the composer, premiere performer, the instruments involved, and the composition are included to provide a ground work or context for the arranging process. This project is not meant to provide conclusive research and/or a detailed analysis, rather to enhance the music being arranged.

3 Texas Tech University, James Payton McDonald, May 2014

Related Literature Limitations of availability of resources on the composer, premiere performer, and the work itself have hindered the finding of related literature. However, there are a few sources discussing the life of Tcherepnin that the author has found very helpful, most notably Ludmila Korabelnikova’s biography of Tcherepnin entitled, Alexander

Tcherepnin: The Saga of a Russian Émigré Composer. The Tcherepnin Society, dedicated to providing information on the Tcherepnin family, hosts a website with detailed biographies, lists of works, and other related details about the family. There are, in particular, three books that the author was unable to use and/or examine via interlibrary loan. The first two are biographies on Alexander Tcherepnin,5 one in

German,6 and the third is a set of manuscripts and letters relating to John Sebastian,7 located at the library of Haverford College, of which Sebastian is an alum. The author was unable to find any related literature in the area of the work itself, except for a scan of the program from the premiere performance (See Appendix A).8

5Arias, Enrique. Alexander Tcherepnin: A Bio-Bibliography. New York: Greenwood, 1989. 6 Reich, Will. Alexander Tcherepnin. Bonn: Belaieff, 1970. 7 Sebastian, John. Papers 1940-1974. Haverford College. 8 “Stadium Concerts Review,” New York Philharmonic Digital Archives, accessed January 24, 2014, http://archives.nyphil.org/index.php/artifact/abf5fca0-aab7-4fd8-956a- 1388f6591919. 4 Texas Tech University, James Payton McDonald, May 2014

Chapter 2

Who, When, and Where

Alexander Tcherepnin

Alexander Tcherepnin was born in 1899 in St. Petersburg, Russia to Nikolai and

Maria Tcherepnin. Nikolai Tcherepnin was a distinguished composer, conductor, and pedagogue while his mother was a singer who often sang Russian, German, and French songs in the parlor. Because of his parents’ rich musical lives and careers, most importantly his father’s position as conductor of Serge Diaghilev’s famed Ballet Russe,

Tcherepnin met many of the prominent figures in Russian music and dance, among them

Nikolai Rimsky-Korsakov, Anatoly Liadov, Alexander Glazunov, and Igor Stravinsky.

Also, Sergei Prokofiev would frequently play his latest compositions for Tcherepnin, when he would visit for a lesson from the elder Tcherepnin.

The immersive nature of music in his household led Tcherepnin to feel that, “In our home… music was religion.”9 He learned the fundamentals of music at age five, before he had learned even the alphabet. His mother would support his early efforts to become a composer while his father initially hoped he would find a more lucrative and less stressful life than composing. However, Tcherepnin’s serious intent would eventually lead his father to embrace the idea. By the time Tcherepnin was fifteen, he had already become a prolific composer, having written several symphonies, piano concertos, operas, piano sonatas, and a few dozen piano pieces. At age eighteen, Tcherepnin enrolled at the

St. Petersburg Conservatory, where his father also taught. About this time, Tcherepnin

9 Ludmila Korabelnikova, Alexander Tcherepnin: The Saga of a Russian Émigré Composer, Trans. Anna Winestein, ed. Sue-Ellen Hershman-Tcherepnin (Illinois: Indiana University Press, 2008), 183. 5 Texas Tech University, James Payton McDonald, May 2014 developed a preoccupation with the major-minor triad that would ultimately lead to his development of the nine-tone scale that would later become known as the “Tcherepnin

Scale.”10 The scale would be as follows, on C: C, Db, Eb, E, F, G, Ab, A, B, [C], and contains six major-minor triads: on C, Db, E, F, Ab, and A.11

In 1918, the Tcherepnin family left the famine and cholera of St. Petersburg and moved to the republic of Georgia, where Nikolai Tcherepnin had been appointed Director of the Tbilisi Conservatory. It is here that another lifelong influence on Tcherepnin’s music would be found, Georgian folk music. In 1921, the civil war that had been ongoing in Russia made its way to Tbilisi. The Tcherepnins would move once again, this time out of Russia, to France, where they would settle in Paris. Tcherepnin would finish his studies in Paris and began his international career as a composer/pianist. In 1927,

Tcherepnin gained notoriety as the premiere of his First Symphony at the Paris Theatre du

Chatelet nearly incited a riot because of the work’s “Scherzo,” which was written for mainly unpitched percussion instruments and stringed instruments tapped with the bow as if they were wooden drums. His First Symphony, and more specifically the “Scherzo,” predates what is largely considered to be the first percussion ensemble work, Ionisation by Edgar Varèse, by four years.

Throughout the 1920s, in Paris, Tcherepnin began producing works with a much more distinctive character than before, attributed to the influence of such companions as

Maurice Ravel, Igor Stravinsky, Darius Milhaud and others, as well as the influence of the culture of Paris. Tcherepnin initially believed in simplification, but eventually

10 “Biography of Alexander Tcherepnin,” The Tcherepnin Society, accessed January 17, 2014, http://www.tcherepnin.com/alex/bio_alex.htm. 11 Korabelnikova, Alexander Tcherepnin, 186. 6 Texas Tech University, James Payton McDonald, May 2014 realized that if simplification continued then nothing would be left. Thus he began to move in the opposite direction creating what he called “Interpoint,” a system of often dissonant polyphony where rhythmic units were employed thematically.

In the 1930s, Tcherepnin visited China and Japan multiple times to teach composers and established a press, Collection Tcherepnine, to publish his pupils’ works.

He was seen as a sort of father figure to the composers of Japanese serious music. On one of his trips to China, he met a young pianist named Lee Hsien Ming, who would later become his wife. During World War II the family was stuck in Nazi-occupied Paris, having failed to escape. Furthermore, Tcherepnin wrote many pieces that he felt were trite in order to make any amount of money with which to support his family during these times. By the time the war was over, Tcherepnin had regained his fervor and resumed his traveling and concertizing.

After Tcherepnin toured America in 1948, he, along with his wife, accepted teaching positions at DePaul University in Chicago and he would later write that coming to America in 1949 was “the great change in my life.”12 Tcherepnin, Ming, and their three sons, Peter, Serge, and Ivan, would live in Chicago until he resigned from DePaul in 1964 and they would then move to New York. Ivan Tcherepnin would eventually become a composer in his own right, graduating from Harvard University (B.A. 1964;

M.A. 1969) and teaching at the San Francisco Conservatory of Music, Stanford

University and Harvard University.13 Ivan, unlike his father, focused in the avant-garde realm of combining electronic music with acoustic, studying with composers like

12 Ibid., 190. 13 “Biography of Ivan Tcherepnin,” The Tcherepnin Society, accessed February 12, 2014, http://www.tcherepnin.com/ivan/bio_ivan.htm. 7 Texas Tech University, James Payton McDonald, May 2014

Karlheinz Stockhausen and Pierre Boulez. In 1996, Ivan won the University of Louisville

International Grawmeyer Prize for Music Composition for his Double Concerto for

Violin, Cello, and Orchestra, written for his students Lynn Chang, violin, and Yo-Yo Ma, cello.

While Tcherepnin was in America, his compositional style can be considered a synthesis of all the styles he had gone through, as he attempted to consolidate and develop all of the earlier elements he had utilized. It was also during these years that

Tcherepnin wrote many of his most notable works, including Symphony No. 2 &

Symphony No. 4, premiered by the Chicago and Boston Symphony Orchestras respectively. In 1967, Tcherepnin became the second Russian émigré composer invited back to the U.S.S.R., the first being Stravinsky. Unfortunately Tcherepnin’s compositional output was cut short due to his death in 1977 in Paris. Tcherepnin wrote a book entitled Basic Elements of My Musical Language discussing all the different scales he used including a nine-note “Chromatic Perfect” scale. In specific regard to percussion,

Tcherepnin also composed a solo timpani piece titled Sonatine for Timpani and Piano. It is difficult for this author to determine if Tcherepnin used his nine-note scale in this piece as the solo line is more rhythmically based with few pitch changes, and the piano accompaniment is constantly changing keys through introduced chromatics that change from measure to measure. The piece is in four movements and involves many different timpani playing techniques such as rolls, odd metered rhythms, multiple grace notes, dampening, and pitch changes between drums.

8 Texas Tech University, James Payton McDonald, May 2014

John Sebastian

John Sebastian was born in Philadelphia, Pennsylvania in 1914, and died in

France in 1980. Sebastian graduated from Haverford College in 1936. He wrote a beginner’s method book entitled, Introduction to the Chromatic Harmonica in 1972. In this method book he takes a beginner, with no assumed knowledge of music, through learning notes, scales, and specific techniques involved in playing the harmonica, and uses popular folk tunes to demonstrate these techniques. His son, also John Sebastian, started out playing the harmonica like his father, but would eventually become a guitar player for his band The Lovin’ Spoonful, which was inducted into the Rock and Roll Hall of Fame in 2000. There is a collection of papers and letters relating to John Sebastian Sr., his life, and his musical career, however, the author was unable to get copies of these prints to conduct further research in this area due to copyright issues.

When and Where

Concerto for Harmonica and Orchestra, Op. 86 was written specifically for John

Sebastian Sr. in 1953. Sebastian and the New York Philharmonic, conducted by Thomas

Scherman, premiered the concerto in New York in July of 1957 at Lewisohn Stadium in

Manhattan, NY, as part of the New York Philharmonic’s Stadium Tours that summer.14

At the time of this writing there are only two major recordings of this work, the first was recorded by John Sebastian and the Stuttgart Radio Symphony Orchestra in 1959, while the second was released in 2007 by Joseph Ashley, conducted by Co Nguyen, orchestra unknown. There are slight differences between the two recordings; however, the author believes both performers provide excellent performances.

14 New York Philharmonic Digital Archives, “Stadium Concerts Review.” 9 Texas Tech University, James Payton McDonald, May 2014

Chapter 3

The What: The Instruments

The Harmonica

The harmonica, also referred to as the French harp, blues harp, or mouth organ, is a free-reed wind instrument in which a reed is fixed at one end of a chamber while the air passes through the opposite end creating a vibration of the reed. There are two main types of harmonicas, the diatonic harmonica and the chromatic harmonica.

The construction of the harmonica consists of five main parts: the reed-plate(s), the comb, the windsavers, the cover plate, and the mouthpiece.15 The reed-plates are a group of reeds fixed to a single housing (See Figure 3-1). Most commonly, the reeds and the housing are made out of brass, with some other possible materials being aluminum, steel, and plastic. The reeds are fixed at one end with a rivet, although they may be nailed or glued, and there are reeds on both sides of a hole so that the inner reed reacts to blowing while the outer reed reacts to suction. The comb, named for its similarity to a hair comb, is the main body of the instrument, which contains the air chamber covering the reeds (See Figure 3-2). Traditionally, the comb was made from wood, but now is usually made from metal or plastic. While there is a slight difference in the sound production between these materials used, the main difference is the durability of the comb itself. With most wooden combs, the exposure to moisture, through the saliva of the player, would cause the wood to expand. Also, overtime, the wood would shrink creating holes in the “air tight” formation of the comb and reed-plates causing air to leak

15 William Melton and Randy Weinstein, The Complete Idiot’s Guide to Playing the Harmonica, (Indianapolis: Alpha, 2002), 30. 10 Texas Tech University, James Payton McDonald, May 2014 between reeds and cause incidental activation of the neighboring reed. One solution for this was to use a one-way valve, the windsaver, usually made of plastic or leather, to prevent air from leaking through the inactive blow reed when a draw note is being played. However, many performers prefer the wood combs and developed ways to deal with the shrinking effects by dipping the harmonica in water to help expand the wood.

With the advances in technology, the use of plastic has become a popular replacement for the wood combs.

Figure 3-1. Comb and reed-plates Figure 3-2. Reed-plates mounted on a comb

The cover plate is usually made of metal, although wood and plastic have been used, and will determine much regarding the tone quality of the sound produced. The cover plate is probably the most customizable feature about the harmonica as there is not a true standard way of making one. The final component of the harmonica is the mouthpiece. This is the part of the harmonica that covers the openings of the air chambers to allow for a smoother playing surface for the performer. During World War

II, the harmonica experienced a certain “rebirth” as many of the soldiers would carry a small harmonica, usually the diatonic harmonica.16 Because of the high demand, harmonica makers like the Hohner Company, began making harmonicas completely out

16 Melton and Weinstein, Playing the Harmonica, 15. 11 Texas Tech University, James Payton McDonald, May 2014 of plastic. The durability of these harmonicas, and their tones, were not as good as the wood or metal alternatives, but they could be mass-produced; therefore, the harmonica began to be viewed, by some, as a toy rather than a serious musical instrument.

The two main types of harmonicas differ not only in their construction but also in their function and through different playing techniques. The chromatic harmonica, for which Concerto for Harmonica and Orchestra, Op. 86 was written, can have 12, 14, or

16 holes, can play in any key and uses a button-activated sliding bar to redirect the air to a different reed-plate, which would be the reed for the note a half step higher (See

Figures 3-4 and 3-5). The range of the chromatic harmonica is 4 octaves for a standard

12-hole instrument, while a 16-hole harmonica would include an extra octave in the bass range. The chromatic harmonica is used more commonly in classical or jazz music. The diatonic harmonica is usually a 10-hole instrument and is designed to play in a single key

(See Figure 3-3). The range of the diatonic harmonica is technically three octaves, although the only full scale available is in the middle octave. However, through techniques such as “overblowing” or “overdrawing,” the performer can bend the pitches and turn the diatonic harmonica into a chromatic harmonica. Howard Levy is considered, by many, to be the foremost pioneer of this technique, demonstrated in his Concerto for

Diatonic Harmonica, written specifically around this technique. This is of note since the diatonic harmonica is typically used in the blues and rock genres and not in the classical genre due to the diatonic harmonica’s limited range and key.

Figure 3-3. Diatonic harmonica (Blues Harp) layout

12 Texas Tech University, James Payton McDonald, May 2014

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 `1 `2 `3 `4 1 2 3 4 5 6 7 8 9 10 11 12 ------blow: |C |E |G |C |C |E |G |C |C |E |G |C |C |E |G |C | key out draw: |d |f |a |b |d |f |a |b |d |f |a |b |d |f |a |b | ------1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 `1 `2 `3 `4 1 2 3 4 5 6 7 8 9 10 11 12 ------blow: |C#|F |G#|C#|C#|F |G#|C#|C#|F |G#|C#|C#|F |G#|C#| key in draw: |d#|f#|a#|c |d#|f#|a#|c |d#|f#|a#|c |d#|f#|a#|d | ------

Figure 3-4. Solo tuning on a chromatic harmonica

`1 `2 `3 `4 1 2 3 4 5 6 7 8 9 10 11 12 ------blow: |C |E |G |B |C |E |G |B |C |E |G |B |C |E |G |B | key out draw: |d |f |a |c |d |f |a |c |d |f |a |c |d |f |a |c | ------`1 `2 `3 `4 1 2 3 4 5 6 7 8 9 10 11 12 ------blow: |C#|F |G#|C |C#|F |G#|C |C#|F |G#|C |C#|F |G#|C | key in draw: |d#|f#|a#|c#|d#|f#|a#|c#|d#|f#|a#|c#|d#|f#|a#|c#| ------

Figure 3-5. Classical tuning on a chromatic harmonica

The Marimba

The marimba is arguably one of the oldest instruments and yet is also considered

one of the youngest in terms of established pedagogy and repertoire. It is the intention of

the author in this chapter to provide a basic understanding of the marimba’s development

geographically as well as its construction. For a more detailed account of the marimba’s

history, refer to the sources cited in the Bibliography. Other early keyboard percussion

13 Texas Tech University, James Payton McDonald, May 2014 instruments closely related to the marimba, such as the xylophone or vibraphone, are excluded from this project.

The marimba made its debut as a solo instrument with orchestral accompaniment in 1940 when Ruth Jeanne premiered Paul Creston’s Concertino for Marimba and

Orchestra.17 The origins of the marimba; however, can be traced back to different struck keyboard instruments found in Asia, Africa and Guatemala. Some accounts from different paintings and documents cite a similar type keyboard instrument as far back as

3700 B.C. in places like Greece, China, and even in the great pyramids of Giza.18 While these instruments were crude versions of the marimba we know today, the generic idea of striking a tuned slab and creating a defined pitch has been around for centuries. For many centuries, these crude marimbas were made of different materials, sometimes stone, wood, or even bamboo, and included many different methods of construction. The French

National History Museum in Paris has what it calls the oldest music instrument in the world, the lithophone, constructed like a stone marimba.19

Through research of documents, archaeology, and art, it is believed that the marimba was established in the Middle East and travelled outward from there. It is unclear when exactly the keyboard we now call a marimba made its way between these different civilzations; however, there are many theories. In Indonesia, the marimba family of instruments were used to a much greater extent than any culture previously, in the

17 Kite, Keiko Abe, 176. 18 Gordon B. Peters, The Drummer: Man, A Treatise on Percussion (Illinois: Kemper- Peters Publications, 1975), 125-126. 19 Ibid. 14 Texas Tech University, James Payton McDonald, May 2014 early parts of the 12th century.20 Instruments like the saron and gender are both forms of metallophones that are believed to have made there way through Asia from the earlier forms of the marimba. From Asia, the marimba is thought to have made its way into

Africa, where it became a standard among many tribes. In Africa, the developments of the marimba made at this time are similar to the current instrument. The use of wood for the bars instead of stone or bamboo, the use of individual resonators for each bar, as opposed to the trough-like resonators that had been used in many of the keyboards of

Asia, were present in these African instruments. From Africa, the marimba made its way across the Atlantic to Guatemala. The transfer of the instrument between the Asian,

African, and Guatemalan cultures is believed to have transpired through the slave trades that predominated in those regions. While the marimba made many travels around the world, it is interesting to note that it made its way to Europe very late. The following account, used to show that even the xylophone was rare in Europe at this time, is taken from the Origin of the Xylophone by Georges Servieres (translation by Camille Marcel

Siquot, Baltimore, Maryland, 1953):

All those who, like me (Servieres), are of an age to have heard in 1875 the first production of the Danse Macabre by Camille Saint-Saens will remember the deep impression of surprise for the ear produced by the strange sound of the xylophone playing the rhythm of the ‘skeleton waltz.’ The realistic click of the bones even caused some scandal. The originality of color, also the truthfulness of the plan, and the clarity of the selection contributed to its quick diffusion over the whole of Europe. Where did the idea come to the composer to use for an imitative effect these kinds of tonal wooden blocks? The xylophone was not even listed in a book about orchestration used in his time. In Berlioz’ treatise on instrumentation, published in 1844, a book which Saint-Saens considered of paramount importance, writing about keyboard percussion instruments mentions only the glockenspiel used by Mozart in the Magic Flute and the

20 Ibid., 129. 15 Texas Tech University, James Payton McDonald, May 2014

harmonica with the glass blades. Berlioz himself refers to the general treatise on instrumentation written by his predecessor, J.G. Kastner in 1837, which was most useful to him; but in that book Kastner did not mention the xylophone either.21

One theory as to why the marimba stayed mainly in the areas of Africa and

Guatemala for so long is due to the availability of suitable wood. The best suited wood, mahogany, hormigo, or Honduras rosewood, that can be used for marimba making, most importantly the bars, is usually found in tropical locations. Because of these limitations in terms of wood, most marimbas today utilize these same types of wood, shipped in from other parts of the world. However, with all the research, speculation, and inquiry into the origin of the marimba, there are many different views as to where the marimba came from and how it travelled across the globe. There are even accounts suggesting how or why the marimba originated, like the legend of the Zulu nation of Africa about a goddess named “Marimba” who created the first keyboard, named marimba after the goddess.22

Furthermore, Jesús Castillo, a prominent musicologist in Guatemala, has stated that the native name of the China Jul Mountain means “marimba of the ravines.”23 This project, however, does not aim to solve that mystery, instead allowing for a brief knowledge of the instrument’s history and its construction.

The African and Guatemalan marimbas are relatively similar and would be again what most people consider as the ancestor to the marimba we know today. In Africa, different areas have different names for this instrument, such as balafo, mahambi, malimba, mbila, gyil, amadinda, or ambira, but the generally accepted name is marimba.

21 Ibid., 132. 22 Frank MacCallum, The Book of the Marimba (New York: Carlton Press, 1969), 13-15. 23 Peters, 144-145. 16 Texas Tech University, James Payton McDonald, May 2014

The African marimba would be considered a gourd marimba (See Figures 3-6 and 3-7).

This marimba is usually laid out diatonically, with a possible range of two to three octaves, with each note having its own specific resonator, made from a hollowed out gourd, often with some sort of wax or thin membrane inside the gourd to create a unique buzzing sound. This marimba is also seen in Guatemala under the same name.

Figure 3-6. Primitive African gourd marimba24

Figure 3-7. Underside of African gourd marimba with spherical resonators25

It wasn’t until 1894 when Sebastian Hurtado made the first marimba in the style we see today, with two rows of bars separating the accidentals and the naturals.26 In

Guatemala, this is called the chromatic marimba, or often seen as marimba doble, or double marimba. The marimba doble is a pairing of two marimbas, one larger than the other, played by up to seven performers with three on the smaller marimba and four on

24 MacCallum: 36. 25 Ibid. 26 Ibid., 16. 17 Texas Tech University, James Payton McDonald, May 2014 the larger. This is the most common appearance of the marimba in Guatemala. These marimbas were crafted solely out of wood, for the inclusion of metal would change the sound. The marimba makers, throughout the different civilizations, often had strange beliefs about what type of wood, how long it had to be dried, or even what gender the tree was that the wood came from. The construction of the marimba involves a sturdy frame to support the weight of the instrument, rails on which the bars rest, the bars themselves, and small pegs that go between each bar so as to keep them in place. The frame and construction of the marimba also needed to be sturdy enough to support the transportation methods of the time (See Figure 3-8). The most important aspect of the construction of the marimba is the tuning of the bars (See Appendix B), the stringing of the bars, and the placement and construction of the resonators. The bars themselves are tuned by cutting out a curve on the underside of the bar. Either shaving under the center to lower the pitch or shaving the edge of the bar to raise the pitch provides fine-tuning. The stringing of the bars is done through a precise process to find the node of the bar. This process usually involves pouring sand on the bar, striking it and finding where the sand collects, as this indicates where there are no vibrations and a hole is then cut through the bar in this place.

The final detail is the resonators themselves. A resonator must be in tune with the bar that it is supposed to resonate. This is achieved through creating resonators of different lengths or sizes, often times the lowest resonators must be curved in order to fit within the scope of the instrument.

18 Texas Tech University, James Payton McDonald, May 2014

Figure 3-8. Large marimba being carried on a man’s back27

The Hurtado family, featuring many of the first notable names in marimba playing, formed the Hurtado Brothers Royal Marimba Band (See Figure 3-9). This marimba band, performing on the marimba doble, toured across America and Europe in the early 1900s and also recorded some of the earliest recordings of the marimba in

1915.28

Figure 3-9. The Hurtado Brothers Royal Marimba Band of Guatemala29

27 Ibid., 37. 28 Ibid., 24-25. 29 Ibid., 35. 19 Texas Tech University, James Payton McDonald, May 2014

Because of this exposure for the marimba, and the use of the xylophone in

Vaudeville shows, the marimba began to grow rapidly in popularity in the United States.

It was around this time that the Deagan Company was founded by J.C. Deagan in

Chicago. The Deagan Company started making glockenspiels in 1880 and became incorporated in 1913 as the J. C. Deagan Musical Bells, Inc., changing their name to J. C.

Deagan, Inc. three years later. Deagan, Inc. and the Leedy Co. were both instrumental in creating new versions of the marimba, like the Deagan nabimba (See Figure 3-10). This was Deagan’s attempt to recreate the feel of the Central American marimbas with the unique buzzing resonators.

Figure 3-10. Deagan 5-octave nabimba30

In the 1930s Clair Omar Musser, under the auspices of the Deagan Company organized a marimba orchestra of fifteen players. A few years later, at the Century of

Progress Exhibition in Chicago, there were one hundred marimbas playing together, and in 1935 Musser formed the International Marimba Symphony Orchestra, also with one hundred players, performing all across Europe and even in Carnegie Hall, of which a review in the New York Times stated:

30 Ibid., 44. 20 Texas Tech University, James Payton McDonald, May 2014

The International Marimba Symphony Orchestra… gave its first New York Concert last night in Carnegie Hall before a large and enthusiastic audience. Clair Omar Musser is the conductor of this organization which has been touring Europe. The program had considerable variety, from two movements of César Franck’s Symphony, and the Pilgrims’ Chorus from Wagner’s Tannhäuser through a group of arrangements of music by Chopin, Rosales, Ketelby, Thomas, Rubinstein, Elgar and Dvorak. It gave admirable opportunites for the display of virtuosity and of varied and brilliant tone color by the assembled instruments. Mr. Musser’s orchestra, which seeks to restore the classic marimba to its place as an ensemble instrument is made up of fifty men and fifty women. It uses specially fabricated marimbas valued at more than $100,000. The marimbas… were said to weigh more than twenty tons. The perfection of intonation of the ensemble, its rich sonority and the uniqueness of the effect gave last night’s concert exceptional distinction. There was the impression of the most ancient of musical instruments capable of awakening atavistic emotions, developed and subtilized to a point when it made an intimate appeal to the intelligence and emotions of the man of today.31

Musser would go on to create his own company, eventually standardizing the range of the marimba to four and one-third octaves (See Figure 3-11). Other people who have been considered extremely influential in the development and advancement of the marimba include: Vida Chenoweth, the “First Lady” of the marimba (See Figure 3-12);

Gordon Peters and the Marimba Masters (See Figure 3-13), an ensemble that Peters started at the Eastman School of Music which even made appearances on television; and

Carolyn Reid, the first marimba major in history, graduating from Northwestern

University in Chicago, taught at that time by Musser, and also the founder of the

International Guild of Mallet Percussionists in 1957.

31 Ibid., 58-59. 21 Texas Tech University, James Payton McDonald, May 2014

Figure 3-11. Clair Omar Musser and his 4.3 octave marimba32

Figure 3-12. “First Lady of the Marimba” Vida Chenoweth33

32 Ibid., 78. 33 Ibid., 95. 22 Texas Tech University, James Payton McDonald, May 2014

Figure 3-13. Gordon Peters (center) and the Marimba Masters34

34 Ibid., 82. 23 Texas Tech University, James Payton McDonald, May 2014

Chapter 4

The What: A Description of the Composition

Concerto for Harmonica and Orchestra, Op. 86

Concerto for Harmonica and Orchestra, Op. 86 is a four-movement work, with the layout of the movements following the Classical era symphonic model of fast-slow- fast-fast. The first movement is in a quick “Allegro,” the second in a slow “Lento,” the third in a very fast “Presto,” and the fourth begins with a “Poco Sostenuto” and

“Cadenza” but is mainly in a quick “Allegretto.” The formal layout of this concerto is very traditional in nature, relating very closely to the piano concertos of Beethoven.

The author’s intention of this chapter is not to provide a detailed theoretical analysis of the work. Instead it should serve as a guide, highlighting the basic formal structure. Additionally, the author hopes this overview will serve as a performance guide for any marimbist interested in performing this concerto.

The first movement is in a sonata-allegro form with the exposition being from the beginning to measure 112, the development section then occurs from measure 112 to measure 168 and the recapitulation starts at measure 168 and ends at measure 279 with conclusion of a short coda following. The exposition contains two main sections, the opening “Allegro” and a “Poco Meno Mosso” section. The A section of the exposition, the “Allegro,” has two main themes. The first theme is stated almost immediately in the third measure and is rooted around one of the main motives of the movement (See Figure

4-1). The second theme appears later in measure 45, this theme begins the transition between the A and B sections of the exposition (See Figure 4-2). The B section is mainly

24 Excerpts from ConcertoTexas Tech for University, Harmonica James Payton McDonald,& Orchestra May 2014 ExcerptsbasedMovement around 1: onefrom theme, Concerto which is built around for the Harmonica second main motive & of theOrchestra movement, Theme 1 of the Exposition (which includes Motive 1 starting halfway through the 2nd bar): and is stated first by the orchestra then repeated by the soloist (See Figure 4-3). Movement 1: . œ. . œ. . œ. . œ. . œ. . ˘œ Theme 1œ of the Expositionœ Figureœ (which 4-1. includes Exposition,œ. œ . œMotive Aœ 1section,. startingœ œ Themeœhalfwayœ 1 œthroughœœ the 2ndœœ bar): & c ‰œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ J ‰ Œ Ó æ æ œ œ œ . œ. . œ. . œ. . œ. . œ. . ˘œ Otherf occurrencesœ œ of Motiveœ 1 in theœ. Exposition:œ œ. œ œ œ. œMotiveœœ. œ 1 inœ theœ. œ Development:œœ. œ œœ. œ c ‰œ œœ œœ œœ œœœœ œœ.œœœ. œ œœœ. œ œœœ œœœ œœœ œœœ J ‰ Œ Ó & c ‰ æ æ œ œ . . ‰ Œ Ó œ. æ æ œœ œ nœ.bœ œ. œ Otherfœ occurrencesœ of MotiveCopyright 1 in the ©1953 œExposition: Associatedœ Music PublishersMotive 1Inc. in the Development: Otherœf occurrences. œ . of Motive b1œ inbœ theœ. Exposition:œœ Motive 1 in the#œ Development:.œ. #œ .œ. œ œœ. . œœ. Reproduced‰ by Permission. from G. .Schirmer Inc.,‰ used by permission#œ . .œ #œ . œ œ & . œ cresc. .bœ. . œ. #œ . œ #œ . œ œ. œ. œ œ bœ .nœ.bœ œ œ. œ #œ œ. poco cresc.œ . #œ œ .œ Themeœ œœ.. 2. ofœ theœœ ..Exposition:. Figurebœ 4b-œ2.œ. Exposition,œ œœ œ A section, Theme #2œ .œ. #œ .œ. œ œœ. .. œœ. ‰ ‰ #œ.#œ. œ.œ #œ.#œ. œ.œ œ. & œ ‰cresc. ‰ #œ poco. cresc.œ #œ . œ œ. > cresc. > #œ#œœ poco cresc.œœ #œ#œ œœ œœ Theme 2 of the Exposition: . Theme3 œ 2 of the Exposition:2 œ œ œ œ 3 œ 2 œ œ œ œ œ & 4 œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 ≈ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ > œ œ œ œ œ > œ œ œ œ œ œ f œ ˘ œ œ œ 3 œ >œ œ œ œ œ œ 2 œ œ œ œ œ>œ 3>≈ œ œ œ œ œ œ œ 2 œœ bœœ œ œ œ œ & 4 œbœœ œ œb>œœœ œbœœ> 4bœœ œœbœœœœœ bœœ œœ œ4œ≈ œbœœ >œ œbœ œ>œœœœœbœ bœ4nœœ œœ œ œ œ c fb œœœœ b œœbœ œœ ‰ bœbœœœ b œ œœ œ œ b œœbœ bœœ œœœœ œJ ‰ Œ Ó & f b œ œ b œ œ b œ œœ b˘œ Fb>œ œ b>œ > bœ b>œ œ œ >œ bœ > > œbœ bœ œ Sbœ bbœ œ bœ œ bœ œ> Copyrightbœ œ b©1953œœœ Associatedbbœ œ œ Musicœ bPublishersœ >œ bœ Inc.b>œ œœœbœ œ nœ œ Themec b œ 3 œofb theœ bExpositionœ bœ œ ‰ (includingbœbœb œ Motiveœ œb œ 2œ inœ theœ 2ndb œ bar):bœ bœbœœœœ œ œ nœ Jœ ‰ Œ Ó & c b œbœbReproducedœ œ ‰b byœ bPermissionœb œœœ from G. Schirmerb Inc.,œb usedœb byœ permissionœœœœ . J ‰ Œ Ó F œ S j bF˙ œ œ bœ œ œ S Themeb œ 3 of the Expositionœ b Figureœ (including 4œ-3. Exposition,œ Motiveb˙ 2 in B the ˙section, 2nd bar): Themeœ 1 Theme 3 of the Exposition (includingœ Motiveb ˙ 2 in the˙ 2nd bar):œœ œ bbœ nœ bœ bœ œ æ æœ æ æ æ æ æ æ æ æ œ b œ œ œ & j b˙ œ œ bœ œ œ æ æ æ æ æ b œj b˙ œ œ bbœ œ œ œ b˙ ˙ œ æ æ Firstb œ half of Themeœ 2 inb aœ new keyœ in œthe Development:bb˙ ˙ œœ œ bbœ nœ bœ bœ æ æ æ æ æ æ æœ b ˙ ˙ œœ æœ bbœ nœ bbœ bœ œ œ & æ æ æ æ æ æ æ æ æ æ æ æ æœ b æœ æ œ œ & > . . . . > > > æ . . . . > æ >æ æ æ ˘æ æ First half of Theme 2 in a newCopyright key in ©1953 the Development:Associated Music Publishers Inc. > bœ æ First3 half of Theme 2 in a new key in the Development:bœ bœ œnœbœnœœbœnœ œ ‰ Œ Œ & 4 œ bœ œ œbœ nœ Reproducedœ œbœnœ byb Permissionœœœnœb œfromnœ G.b Schirmerœbœœœ Inc.,œ usedœ bœ byb permissionœ bœœ œ. œ œœ œn œ J œbœ œ œ. œbœ œb>œœœn>œbœnœ b œœœ.bœ. œ.b œ. >b œ > >f œ..bœ..nœ.. . > > > . . . . > > > Sb˘œ 2nd3 The half developmen of Theme 2 int anothersection new is unusualkey in the from Recapitulation:bœ most Classicalbœ eraœn œsymphoniesbœnœœbœn>œ binœ that‰ Œ Œ & 4 œ bbœ œ œbœ nœ œ œbœnœ bœœœnœbœnœ bbœbœœœ œ œ bœ bbœ bœœnœbœnœœ œn œ Jœ ‰ Œ Œ œbœ œ œbbœnnœ œ œbœ œb œœœnœbœnœ b œb œœœbœ œb œ b œb œœ œ œ œ ˘ J this developmentf>bœ œ œ>b œisn œactuallyœ bœ half as long> as the> expositionbœ and recapitulationœ œ œ sections.S In 2nd fœhalf œof Themeœ œ 2 in> anotherœ newœ œ keyœ inœ theœ Recapitulation:œ œ >œ > œ œ œ œ œ S 2ndc œhalf œof Theme œ2 inœ another‰ œ new keyœ œ inœ theœ Recapitulation:œ œ œ ≈ œ œ œ J ‰ Œ Ó & œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ ˘ classical>œf modelsœ >, the development> section>œ œ wasœ >œ where> most> composersœ œ wouldœ S˘œ spend their Theme>œ 3œ in aœ> newœ œkey in theœ Recapituation:œ œ œœ >œ œ œ >œ œ œ œ œ œ œ œ œ œ œ & c œ œ œ œ œ œ> ‰ œœ œ œ œœ œ œ œ œ >œ œ >œ ≈ œ œ œ œ œ œ J ‰ Œ Ó time& expandingc œuponœ œ themeœ ‰ s œandœ œ seeingœœ how drasticœ œ ofœ variœ ations≈ œ œ œ and experimentationsJ ‰ Œ Ó √f œ œ bœ S Themef 3 in œa new key in thebœ Recapituation: œ œ œ Sbœ Themej ˙ 3 in œa newbœ key œin btheœ Recapituation:œ æ æ æ œ œ bœ œ b œ œ æ they couldœ create.œ This practiceœ bœ b ledœ toœ longer˙ developmentb˙ œ bsectionsœ œ in comparisonœ bœ bœ to theœ & √˙ bœ œ b œ bœ b ˙ æ bœ œ b œ bœ æ√ crescendoæœ æ poco æa pocobæœ æ ˙ b˙ æœ bœ æœ æ bæœ expositionj p˙ andœ recapitulationbœ œ bbœ sections.œ æ Theæ developmentæ œ sectionœ œœ inb thisœ workæœ bb œis 56æœ æ œj ˙ œ bœ œ b œ bœ œæ ˙æ b˙æ œ bœ œ bœ œ b œ bœ œæ & œ ˙ œ bœ œ bœ bbœ œ ˙ bb˙ œ bœ œ bœ œ bœ bbœ œ meausres& ˙ longcrescendoæ comparedbœ poco aœ poco toæ theb 112œ b measuresœ ˙ bforb˙ the expositionæ æ æ andbœ recapitulationœ æ b œ each,bœ æ crescendoæ æ poco æa pocoæ æ bœ ˙ b˙ æ æ æ æ æ æ æ bœ pæ æ æ æ æ æ æ 25 Excerpts from Concerto for Harmonica & Orchestra

Movement 1: Theme 1 of the Exposition (which includes Motive 1 starting halfway through the 2nd bar): . œ. . œ. . œ. . œ. . œ. . ˘œ œ œ œ œ. œ . œ œ . œ œœ œœ œœ œœ & c ‰œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ J ‰ Œ Ó æ æ œ œ œ Otherf occurrences of Motive 1 in the Exposition: Motive 1 in the Development: . .bœ. . œ. œ œ œ bœ .nœ œ œ . . œ œ. . œ œ. . bœ œ œ #œ#œ œ.œ #œ#œ œ.œ œ & œœ. œ ‰ ‰ . . . . . cresc. #œ#œœpoco cresc.œœ #œ#œ œœ œœ Theme 2 of the Exposition: . > > Texasœ Tech University, James Payton McDonald, Mayœ œ 2014œ 3 œ œ œ œ œ œ œ 2 œ œ œ œ œ 3 ≈ œ œ œ œ œ œ œ 2 œ œ œ œ œ & 4 œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ 4 œ œ œ œ preciselyf half as long. The author believes the composer did this on purpose. The˘ b>œ œ > b>œ œ œ >œ bœ bœ œ bœ Excerptsb œ œ frombœ œ bœ >œConcertobœ œ bœœœb œforœ œ œHarmonicabœ >œ bœb>œœœœ œ &œ n œOrchestraœ development& c sectionb œbœb isœ builtœ ‰ baroundœbœb œtheœœ first half of btheœb secondœb œ œ œthemeœœ of the A Jsection‰ Œ Ó in theMovement expositionF 1: (See Figure 4-4). Tcherepnin also notably includes the motive Sfrom the Theme 3 of the Exposition (including Motive 2 in the 2nd bar): Theme 1 of the Exposition (which includes Motive 1 starting halfway through the 2nd bar): first theme as part of his developmental material. This thematic material is also in a new j b˙ œ œ bœ œ ˘ b œ œ œ b œ œ œ œ b˙ . . . œ . . œ. bœ.˙œ ˙ œ. œ œœ. œ œ bbœ.œœnœ œ. œ bœœ.bœœ key from theœ originalœ expositionœ theme.œ œ . œ . œ œ œœ b œ J œ œ & c ‰æœ œ æœœæ œ œæœ œæ æ œæ œ œ æ œ æœ œ æ æœ æ œ œ æ ‰ Œ Óœ æ æ œ œ œ æ æ æ æ FirstOther fhalf occurrences of FigureTheme of 42- Motivein4. aDevelopment, new 1 key in the in theExposition: Theme Development: 1 (from Motive2nd theme 1 in in the exposition) Development: . > . . . . > > .>bœ. . œ. . . . . > > 3œ œ œ bœ .nœ œ œ bœn>œ b˘œ & 4œœ bœ.œ.œœ œ. . œ œbœnœbœbœœœœnœbœœnœ bœbœœœ œ œ bœ bœ#bœœnœ.bœ.nœœ œn œ#œ œ ‰.œŒ. Œœ œbœœœ. œbœ nœœ œ œbœ ‰œb œœœnœbœnœ b œb œœœ ‰œb œ b #œœ.b œ. œ œœ #œ. . J œ œ. & œœbœnœ cresc. bœ #œ poco cresc.œ #œ œ œ f Copyright ©1953 Associated Music Publishers#œ Inc.œ. œ #œ Sœ œ Theme2nd half 2 ofof Themethe Exposition: 2Reproduced in another by newPermission key in from the G. Recapitulation: Schirmer Inc., used by permission. ˘ >> > >> > œ œ œ Theœ œrecapitulationœ œ œ > beginsœœ œ withœœ œ a œnearœ exactœ œ rep>œ œetition> œofœ theœ œ beginningœ œ œ statements & 3c œ œ œ œ œ ‰ 2 œœœ œ œœœ œœœ œ 3 œ œœ œ ≈ œ œ œ 2 œJ ‰ Œœ œÓœ œ & 4 œ œ œ œ œ œœ œœ 4œ œ œ œ œ œ œ 4 ≈ œ œœ œœœ œ œ œ 4 œ œ œ œ œ œ of the exposition.f œ œ œThereœ are some slightœ differencesœ in œtheœ melodiesœ œthat areS playedœ Themef 3 in a new key in the Recapituation: ˘ b>œ œ > b>œ œ œ >œ bœ bœ œ bœ between√b theœ œorchestralbœ œ bœ accompaniment>œ bœ œ bœœ œandb œ theœ œ soloist,œ bœ from>œ bœ bthe>œœ exposition,œœ œ œ nœ butœ the main & c œb œbœb œ b‰œb œbœb œœœ b œbœœbbœœ œœœœ bœ J ‰ Œ Ó j ˙ œ bœ œœ b œ œ æ æ æ œ œœ bœ œ b œ œ æ materialœ F is generallyœ theœ same.bœ bWhenœ œ Tcherepnin˙ b˙ gets toœ thebœ secondœ themeœ ofbœ Stheb œA œ & ˙ bœ œ b œ bœ b ˙ æ bœ œ b œ bœ Themeæ 3crescendo ofæ the æExposition poco æa pocoæ (includingæ Motive˙ 2 inb the˙ 2nd bar):æ æ æ æ sectionp, he only states the second half of the theme and by now has goneæ into a newæ key j b˙ œ œ bœ œ b œ œ œ b œ œ œ œ b˙ œ (See Figure 4-5). The form remains theœ same,b ˙ continuing˙ œ œthroughœ bbœ thenœ new key,bœ b œand when æ æ æ æ æ æ æ æ œ b œ œ œ & æ æ æ æ æ æ æ œ the B section arrives Tcherepnin again utilizes a new key, keeping the theme as æ æ First half of Theme 2 in a new key in the Development: announced earlier. From. here there> is> a transition into. .the. coda,. > highlighted> by the 3 > . . . > bœn>œ b˘œ & 4 œ bœ œ œ œbœnœ bœœœnœbœnœ bœbœœœ œ œ bœ bœ bœœnœbœnœœ œn œ œ ‰ Œ Œ repetitionœ bofœ œoneœb œchordnœ œ inœ btheœ œsolob œœ lineœnœ bwithœnœ ab slightœb œœ œritardandoœb œ b œintob œœ theœ coda. J f œbœnœ bœ S 2nd half of ThemeFigure 2 in another4-5. Recapitulation, new key in the A Recapitulation: section, Theme 2 (new key) ˘ >œ œ > >œ œ œ >œ œ œ œ œ œ œ œ œ œ >œ œœ œ œœ œ œ œ œ œ >œ œ >œ œ œ œ œ œ œ & c œ œ œ œ ‰ œœ œ œœ œ œ œ œ ≈ œ œ œ J ‰ Œ Ó S Themef 3 in a new key in theCopyright Recapituation: ©1953 Associated Music Publishers Inc. Reproduced by Permission from G. Schirmer Inc., used by permission. √ œ bœ œ bœ œ bœ j ˙ œ bœ œ b œ œ æ æ æ œ œ bœ œ b œ œ æ œ œ œ bœ bœ œ ˙ b˙ œ bœ œ œ bœ bœ œ & ˙ bœ œ b œ bœ b ˙ æ bœ œ b œ bœ æ crescendoæ æ poco æa pocoæ æ ˙ b˙ æ æ æ æ æ æ p 26 Excerpts from Concerto for Harmonica & Orchestra

Movement 1: Theme 1 of the Exposition (which includes Motive 1 starting halfway through the 2nd bar): . œ. . œ. . œ. . œ. . œ. . ˘œ œ œ œ œ. œ . œ œ . œ œœ œœ œœ œœ & c ‰œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ J ‰ Œ Ó æ æ œ œ œ Otherf occurrences of Motive 1 in the Exposition: Motive 1 in the Development: . .bœ. . œ. œ œ œ bœ .nœ œ œ . . œ œ. . œ œ. . bœ œ œ #œ#œ œ.œ #œ#œ œ.œ œ & œœ. œ ‰ ‰ . . . . . cresc. #œ#œœpoco cresc.œœ #œ#œ œœ œœ Theme 2 of the Exposition: . > > œ œ œ œ 3 œ œ œ œ œ œ œ 2 œ œ œ œ œ 3 ≈ œ œ œ œ œ œ œ 2 œ œ œ œ œ & 4 œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ 4 œ œ œ œ f ˘ b>œ œ > b>œ œ œ >œ bœ bœ œ bœ b œ œ bœ œ bœ>œ bœ œ bœœœb œ œ œ œ bœ >œ bœb>œœœœ œ œ nœ œ & c b œbœb œ œ ‰b œbœb œœœ b œbœb œ œœœœ J ‰ Œ Ó F S Theme 3 of the Exposition (including Motive 2 in the 2nd bar): œ j b˙ œ œ bœ œ œ b œ œ b œ œ œ bb˙ ˙ œœ œ bœ bœ ˙ b œ nœ bbœ œ œ œ & æ æ æ æ æ æ æ æ æ æ æ æ æ œ æ æ æ æ First half of Theme 2 in a new key in the Development: Concerto for Harmonica & Orchestra . 7 > . . . . > > > . . . > > > ˘ 3 bœ bœ œnœbœnœœbœnœ bœ ‰ Œ Œ & 4 œ bœ œ œbœ nœ œ œbœnœ bœœœnœbœnœ b œbœœœ œ œ bœ b œ bœœ œ œ œœ œn œ J 239 œbœ œ œ œbœ œb œœœnœbœnœ b œœœ œb œ b œ œbœnœ #œ jbœœ j#œ √ f #œ j œ j#œ j œ # œ œ S 2nd half of Themej# 2œ in anotherj#œ j newœ key# inœ the Recapitulation:# œ j ˙ œ bœ œ bbœ œ æ #œ j#œ# œ # œ # œ œ ˙ œ œ bœ œ Œ #œ j#œ j # œ æ æ æ Texasæ Techæ ŒUniversity,æ æ Jamesæ Payton˙ œ McDonald,bœ ˘œ b œMay 2014œ & j#œ j # œ #>œ æœ >æ > >œ œ œ >œ > > œ œ œ œœ b œ bœ j#œ# œ # œ æ æ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œæ œcrescendoæœ œæ pocoæ a poco # œ æ æ & c œ œ œ œ ‰ œœ œ œœ œ œ œ œ ≈ œ œpœ Jæ ‰ Œ Óæ p f S 245 (√) bœ Theme 3 in a newFigure key in 4 the-6. Recapituation:Recapitulation, B section, Themeœ 1 (newœ key)œ b bœ bbœ nnœ œ œ œ œœ bœ√ bœ bœ nœbbœnnœ œ bbœ nnœ b œ b œ œ œ æ æ bœ œ œb œœ bœ œæ bœ bœæ nœæœ œ œ œ œœ bœ œœ œ bœ bœ bœ nœ œ œ ˙ b˙ œ œ j ˙ bœœ bœ œœ Œb œb œœ œæœ bæœn œæ bœ nœœ œ bœ œ b œ œ æ œ & b ˙ æ œbœ œ œ b œ œ bbœ bœœn œœœ ˙bœ nbœ˙ œ bæœ æœ æ œæ bœ æbœ æœ æ œ ˙ b˙ æ &æ æ˙ æ bœ bœœ bbœœ nbœœ b æ˙ æ æ æ bœ œ b œ bœ æ æcrescendoæ æ æpoco æa pocoæ æ æ ˙æ b˙ æ æ æ æ f æ p Copyright ©1953 Associated Music Publishers Inc. æ æ Reproduced by Permission from G. Schirmer Inc.,> used by permission. 252 œ œ bœ œ bw œ bœ. œ œ b˙ œTheœ codaœ œis brelativelyœ œ short and draws most of its material from the first theme of bb ˙ œ bœ œ œ œ œ œ bœ œ 3 bœ. œ bw œbœ.œ œ.œ œ œ bœ. œ ˙ b b˙˙n œ b œ Œ œ œ œ æ æ Ó Œ æ & œ bœ the expositionœ æ æ and, mostæ importantly, the motivebœ. œ usedæ in the firstbœ theme..œ œæ bœ. œ æ æ æ æ æ poco rit. Figure 4-7. Coda, motive 1 fromf Theme 1 of the exposition Allegro œ. 262 œ œ . œ œ ä ä ä œ œ œ. . . . œ. œ œbœ.œ œ œ œ n˙ œœ 2 j . œ ‰ Ó ‰œœœ. ‰‰ J‰ ‰ ‰Œ‰? œ œœ ? & bœ.œ œ œ n˙ œ æ J œ j œ. . & œ æ æ æ œ œ œ œ œ Copyright ©1953 Associated Music Publishers Inc.. Reproducedp by Permission from G. Schirmer Inc., used by permission. 270 The second movement is in a slow “Lento.” This movement incorporatesbœ œ threen œ œ bœ nœ bœbœ nœ œ bœ nœ œ bœ bœ œ nœ œ bœ nœ ? ≈ œ bœ œ nœ œ bœ nœ ≈ œ œ & œ different themes throughout, although it could be argued that the first theme is actually crescendo poco a poco p stated three times, separated by the differing material played by the soloist. The soloist 272 opens the movement with the statement of the first œtheme which,bœ includingbœ theœ nœ œ œ & ≈ bœ œ œ œ œ œ bœ œ œ bœ bœ œ nœ œ bœ bœ nœtransitionalœ œ œ material,bœ lastsnœ for twelveœ measuresœ (See Figure 4-8). This theme is based off the motive introduced on the second beat of the first measure, in particular the half step 274 bœ nœ relation between the first two sixteenthbœ notesœ and the last twoœ sixteenthbœ notes.bœ This œ œ œ bœ bœ œ œ œ nœ nœbœ œ œ œ bœ bœ nœ nœ œ bœ nœ & ≈ œ bœ motiven œis constantly in use throughout the entire movement. cresc. Movement 2: Theme 1 (includingFigure Motive 4- 8.1 onTheme beat 2): 1 (including motive 1 on beat two) 276 . œ. b . œ. œœœœ.œœœ.œœœœœ . œœ.œœœœœœ.œœœ.œ œœ.œ œœ.œœœœœœœ œœ˘œ œ œœœœœœœ œ & b bbœb 43 ≈œœœœœœœœœœœœœ≈œœœœœœœœœœœœ ≈œ œ >œœ>œœ>œ >≈œ j œœœœœ œ . œ . œ œ œ œ J ‰ œ œ œ œ pœ œCopyright ©1953œ Associated Musicœ Publishers Inc.œ œ œ œ œ ‰ Œ Ó & Reproduced by Permission from G. Schirmer Inc., used by permissionœ œ œ. œ œ Theme 2: œ œ œ œ œ f œ œ œ-. œ œ œ œ œ œ. œ- œ #œ- œƒ S & c Ó ≈ æ J æ J æ æ 27 Repeated occurencesP of Motive 1: n>œ œ n œ œ b nnœ œ ? nœœ œœnœ œ œ & b bbb 43 œ œ nœ œ n œœ & œ œœœ ≈nnœœœœbœœœœnnœœœœ œ œbœ n œ œ œ œœœ Theme 3: f p √œ- œ . . . - b b œ œ œ œ œ œ œ œ œ œ œ. œ- œ œ œ œ œœœœ & b b b ‰ æ æ J œ œ œæ œæ nœæ. œœ˙æ dolce, espressivo æ æ æ æ æ - Movement 3:p Theme 1: > j . œ. œ ˘ . . œ œ b˙. œ œ bœ œ œ & œ œ æ œ œ Themef 2: - œ. œ. ˙- . . ˙- œ. œ. ˙ 3 œ Œ œ Œ ˙ œ Œ œ Œ ˙ œ Œ œ Œ ˙ & 4 ˙ œ œ ˙ æ f æ æ Theme 3: >´ ´ ´ >´ ´ ´ >´ ´ ´ >´ ´ ´ 3 bœœ œœ & 4 œ œ œ # #œ œ œ œ œ œ b œ bœ œ œ # œ #œ œ œ œ Themef 2 & 3 when repeated in different keys: . . bbœ œ b˙- bœ. œ. b˙- >´ ´ >´ ´ >´ ´ >´ ´ ´ 3 œ œ bb ˙ b œ œ bb ˙ ´ ´ ´ bœ œ & 4 Œ Œ Œ Œ b bœ œ œ œ œ œ b bœ œ œ b œ œ œ æ æ b œ bœ œ œ œ œ b œ bœ œ bœ f œ Texas Tech University, James Payton McDonald, May 2014

This is followed by the statement of the first theme, in the accompaniment, simultaneously with the second theme being played by the soloist. The second theme lasts for fifteen measures, again including the transitional material into the third theme.

Figure 4-9. Theme 2

œ œ œ-. œ œ Movement 2: œ œ . - œ nœ- œ Theme 1 (includingb b Motive3 1 on beatœ 2): œ œ & b b b 4 Ó ≈ æ J æ J æ æ Œ ∑ ∑ ∑ œœœœ œœœœœ œœœœ œœœœœ œœ œ œ œœœœœœœ œœ œ œ œœœœœœœ b b 3 œœœœœœœœœCopyrightœœ Pœ ©1953œœœ œAssociatedœœœœœ Musicœ Publishersœœ œInc.œ œœœœœ œœ œœœœœœœ & b b b 4 ≈ Reproduced by Permission≈ from G. Schirmer≈ Inc., used by permission. ≈ p ThemeThe 2:soloistb plays the third theme while the accompaniment again plays the first b b œ œ∑œ-. œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & b b œ œ - theme; however, in thisœ occurrence the firstœ themeœ. œ- isœ started#œ œ after the previously & c Ó ≈ æ J æ J æ æ exampledRepeated first occurences fourP measures. of Motive Thi 1:s encompasses the last thirteen measures of the b b movement, interestingly&nn>œbœb b using∑ the same∑ transitional∑ material∑ employed ∑from the first∑ to ∑ ∑ œ œ œ b b 3 nnœ œ ? nœœ œ nœœœœnœ œbœ the& secondb b b themes4 to concludeœ nœ œ then movement.œœ & œ œœ œ ≈nnœœœœbœœœœn œœœœ œ œ n œ œ œ œœœ Theme 3: f p b Figure 4-10. Theme 3 b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ √&œ- œ b . . - b œ œ œ œ œ œ œ œ œ œ. œ. - œ œ œ œœœ b bb ‰ æ æ œ œ œœ œ œæ æ æ. œœ˙æ & b dolce, espressivo æ J æ æ æ œ nœ- p Copyright ©1953 Associated Music Publishers Inc. æ Movement 3: Reproduced by Permission from G. Schirmer Inc., used by permission. Theme 1: bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ The third& movementb b is similar to the second in that there are three main themes > j b˙. œ œ. œ. œ b˘œ œ. . employed. This movementœ œ is more akin to the “Scherzo” typeœ movements found in the & œ œ æ œ œ classicalf symphonies.b b The use of staccato notes and short, syncopated rhythms suggests a Theme 2: & b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ - hint at theœ. scherzoœ. movement˙- .of Tchaiko. vsky’s˙- Fourthœ. Symphonyœ. ˙. This movement is in a 3 œ Œ œ Œ ˙ œ Œ œ Œ ˙ œ Œ œ Œ ˙ & 4 ˙ œ œ ˙ æ quick three,f felt in one,æ and due to the fast tempo,æ is the shortest movement of the Theme 3: b concerto. It beginsb wbbith an introduction∑ lasting twenty-∑four measures, of which∑ the mood ∑ >´ &´ b > >´ ´ >´ ´ 3 ´ ´ ´ ´ ´ ´ is &rather4 œdark andœ poignant.#œ This isœ followedœ byœ the bfirstbœœ theme,œ œ œplayed by the soloist, œ œ œ ## œ œ œ œ œ œ bœ œ #œ œ28 Themef 2 & 3 when repeated in different keys: . . bbœ œ b˙- bœ. œ. b˙- >´ ´ >´ ´ >´ ´ >´ ´ ´ 3 œ œ bb ˙ b œ œ bb ˙ ´ ´ ´ bœ œ & 4 Œ Œ Œ Œ b bœ œ œ œ œ œ b bœ œ œ b œ œ œ æ æ b œ bœ œ œ œ œ b œ bœ œ bœ f œ Movement 2: Theme 1 (including Motive 1 on beat 2): b œœœœœœœœœœœ œœœœœœœœœœœ œœ œ œ œœœœœœœ œœ œ œ œœœœœœœ & b bbb 43 ≈œœœœœœœœœœœ ≈œœœœœœœœœœœ ≈œ œœœœœ ≈œ œœœœœ p Theme 2: œ œ œ-. œ œ œ œ œ œ. œ- œ #œ- œ & c Ó ≈ æ J æ J æ æ Repeated occurencesP of Motive 1: > œ nnœ œ œ nœ œ œ œ bb b 3 n œ œ ? nnœœ œœ ≈ n œ œbœœœœnnœœœœnœ œbœ & b b 4 nnœ œ œ & œ œœœ n œ œ Movement 2: œ œ p ThemeTheme 1 3:(includingf Motive 1 on beat 2): Movement 2: Texas Tech University, James Payton McDonald, May 2014 √ Theme 1 (includingœ-œœœœ œ Motiveœœœœ 1œ on œbeatœœ.œ 2):œ. . œœœœœ œœ œ- œ œœœœœœœ œœ œ œ œœœœœœœ which thenb goesb bb through3 ≈œœ aœ variationœœœœœœ andœœœœœ transitionœ≈œœœœœ leadingœœœ.œ-œ œintoœœœ theœ≈ œsecondœ œ œtheme.œœœœœœ Theœœœ ≈œœ œœœœœœœ & bb bbb 4‰ æ æ œ œ œœ œ œæ æ æ. œœ˙æ & b dolce, espressivo æ J æ œæœ œ œœæ œ œ œnœ-œ œœ first theme andb btransition3 ppœ lastsœœœ forœœ fortyœœœ œmeasures.œ œœœ œœœœœœœœ œœ œ œ œœœœœæœœ œœ œ œ œœœœœœœ Movement&Themeb b b 2:4 3:≈ ≈ ≈ ≈ Theme 1: œ Figureœ œ-. 4-11.œ Theme 1 p œ œ - Theme 2: œ œ œ. œ- œ #œ œ c Ó ≈ - j & > œ œæœ. œ œ J. æ œ J˘æ æ Pœœ b˙. œ œ.œ œ œœ. œ- bœ #œ- œ. œ œ. Repeatedc Ó occurencesœ œ≈ ofæ Motiveæ 1: J && œ œ J æ æ æ œ > œ P Repeatedf n occurencesnœ œ Copyright of ©1953 Motive Associated 1: Music Publishers Inc. Theme 2:Reproducedœ œ by Permission from G. Schirmer Inc., used by permission. b nnœ œ ? nœœ œœnœ œ œ b bb . 3 n.>œ œ œ œ- œ n œœ & œ-œœ . .≈nnœœœ˙-œbœœœœnnœœœœ œ œbœ &The second3 bœ4 themen œœ isœ a much˙n nmoreœ œœ. subdued,œ. romanticœ œ˙œœ soundingœ melodyœ utilizing˙ a & 4b œ Œ œ Œnn˙œ˙œ œ œ ?Œ nœœœ Œœ ˙˙ œ Œ œ Œ œœnœ œ œ Themeb b 3:3 f œ œ n œœ œœ ≈ np œæ œbœœœœnnœœœœ œ œbœ two over& threeb feelfb 4in the solo lineæ, whilennœ œ the accompanimentœ & œæœœ isœ in a more flowingn œ waltzœ - Theme 3: œ œ œ œ Theme√ 3:- f p like feel. This theme,œ whileœ syncopated,œ œ œ actuallyœ. œ .creates. . - an overlay ofœ- 3/2œ time on top of b b >´ æ ´ œ œ>´ œ œ ´ œ>œ´ œ œ ´œ œ >´ œœ´ œœ ´ æ æ the accompaniment’s& b b b ‰ ´ 3/4 time. The secondæ´ theme is relatively´ J short, only twelve œ œæ œæ nœ. œœ˙ 3 œ √œ- dolce,œ œ espressivo . . .œæ œæ æbœ-œ æ œœ - & 4b bœ pœ œ œ#œ#œœœ œœœ œ œœ œ œœœ. œ-œ œœœ œb œœ bœœœœœ œæ measuresMovement long,b before ‰3:œæ it is interrupted# œ byœ two œmeasures ofœ sharp, syncopatedœ hitsœ inœ the æ æ œ æ & b b dolce, espressivo#æœ J æ æ œ œæ nœ. œ ˙ ThemeThemef 1: 2 & 3 when repeated in different keys:æ æ æ - accompanimentMovement which 3:p lead into the third theme. The third theme is the same length as the . . j > > > >Themebbœ 1: œ b˙- bœ. œ. b˙-. œ ˘ ´ ´ ´ >´ ´ ´ ´ ´ ´ ´ ´ second theme3, but œis completelyœ œ bbb ˙different˙. b œ in feelœ asœ.b theb ˙ œthird themebœ is moreœ. aggressiveœ. ´ bœ œ & 4 œŒ œ Œ æ Œ Œ j b bœ œ œ œ œ b bœ œ œ b œ œ œ & > œ æ æ . œ ˘b œ œ œ œ œ œ b œ œ œ œ bœ œ and syncopated.œ œ œ b˙. œ œ. œ bœ œ.bœ œ. œ bœ œ œ æ f &Themef 2:œ Figure 4-12. Theme 2 œ œ . . . . - Themef œ 2: œ ˙- . . ˙- œ œ ˙ 3 œ Œ œ Œ ˙ œ Œ œ Œ ˙ œ Œ œ Œ ˙ & 4 ˙ œ œ ˙ æ - œ. œ. æ - . . æ - œ. œ. ˙ fœ œ Copyright˙ ©1953 Associatedœ Musicœ Publishers˙ Inc. œ œ ˙ Theme3 œ 3:Œ œ Œ ˙ œ Œ œ Œ ˙ œ Œ œ Œ ˙ & 4 Reproduced by˙ Permission fromœ G. Schirmerœ Inc., used˙ by permission. æ f æ æ Theme>´ 3: ´ >´ Figure 4-13.´ Theme>´ 3 ´ >´ ´ ´ 3 ´ ´ ´ œ œ & 4 œ œ œ #œ œ œ œ œ bbœ œ œ œ>´ œ´ œ´ ## œ>´ œ´ œ´ œ>´ œ´ œ´ >´ bœ´ ´ 3f #œ bœœ œœ &Theme4 œ 2 &œ 3 whenœ repeated# #œ inœ differentœ keys:œ œ œ b œ bœ œ œ # œ œ œ œ œ . . Copyright ©1953# Associatedœ Music Publishers Inc. Themefbœ 2 &œ 3 when -repeated in different keys:- > > > b œ Reproducedœ byb˙ Permissionbœ. from œG.. Schirmerb Inc.,˙ used by permission. ´ ´ >´ ´ ´ ´ ´ ´ ´ 3 œ œ bb ˙ b œ œ bb ˙ ´ ´ ´ bœ œ & 4 bœ.Œ œ. Œ æ - Œ Œ æ - b bœ>œ œ œ œ œ b bœ>œ œ b œ>œ œ b œ œ b b˙ bœ. œ. b b˙ b œ´bœ´œ´ œ>´ œ´ œ´ b œ´bœ´œ´ ´bœ´ ´ 3 œ œ b ˙ b œ 29œ b ˙ f bœ œ & 4 Œ Œ Œ Œ b bœ œ œ œ œ œ b bœ œ œ b œ œ œ æ æ b œ bœ œ œ œ œ b œ bœ œ bœ f œ Movement 2: Theme 1 (including Motive 1 on beat 2): b œœœœœœœœœœœ œœœœœœœœœœœ œœ œ œ œœœœœœœ œœ œ œ œœœœœœœ & b bbb 43 ≈œœœœœœœœœœœ ≈œœœœœœœœœœœ ≈œ œœœœœ ≈œ œœœœœ p Theme 2: œ œ œ-. œ œ œ œ œ œ. œ- œ #œ- œ & c Ó ≈ æ J æ J æ æ Repeated occurencesP of Motive 1: n>œ œ n œ œ Texas Tech University, James Payton McDonald, May 2014 b nnœ œ ? nœœ œœnœ œ œ & b bbb 43 œ œ nœ œ n œœ & œ œœœ ≈nnœœœœbœœœœnnœœœœ œ œbœ n œ œ œ œœœ After a short transition, ten measures, Tcherepnin makes the listener think there is Theme 3: f p a return to the first theme; yet, he quickly moves on through variations and development √œ- œ . . . - b b œ œ œ œ œ œ œ œ œ œ œ. œ- œ œ œ œ œœœœ of theseb b ideas‰ æ into a repeat of the second theme. This time the œsecondœ œæ themeæ isæ. inœ œa ˙newæ & b dolce, espressivo æ æ J æ æ œ nœ p æ æ - keyMovement; furthermore, 3: the form between second theme, sharp and syncopated interruption, and Theme 1: third t>heme, also in a new key, is the same as beforej (See Figure 4-14). This then leads . œ. œ ˘ . . œ œ b˙. œ œ bœ œ œ in&to the coda,œ œ which lastsæ for thirty-four measures, the longest section of the piece. The œ œ coda is highlighted by unison, syncopated hits in the accompaniment and soloist, slowly Themef 2: - dying awayœ. to theœ. end ˙of- the piece.. The. movement˙- œ. ends withœ. the˙ soloist utilizing a 3 œ Œ œ Œ ˙ œ Œ œ Œ ˙ œ Œ œ Œ ˙ & 4 ˙ œ œ ˙ æ techniquef where the slideæ button is only halfwayæ depressed, allowing for the air to pass Theme 3: through both reeds creating a cluster chord of half steps between the desired notes (See >´ ´ ´ >´ ´ ´ >´ ´ ´ >´ ´ ´ 3 bœœ œœ Figure& 4 4œ-15)œ. œ # #œ œ œ œ œ œ b œ bœ œ œ # œ #œ œ œ œ Themef 2 & 3 whenFigure repeated 4-14. in differentTheme 2keys: & 3 when repeated in new keys bœ. œ. - . . - > > > > b œ œ b b˙ bœ œ b b˙ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ 3 Œ Œ b ˙ b œ Œ œ Œ b ˙ bœ œ bœ œ bœ œ & 4 æ æ bb œ œ œ œ œ œ bb œ œ œ b œ œ œ bœ œ œ œ bœ bœ Copyright ©1953 Associated Music Publishersf Inc. Reproduced by Permission from G. Schirmer Inc., used by permission.

Figure 4-15. Cluster chords from half-depressed slide button

The fourth movement begins with a “Poco Sostenuto” section with the accompaniment playing staccato notes in a very mysterious and dark fashion. This then leads into a “Cadenza” for the soloist, highlighted by two different motives.

30 Texas Tech University, James Payton McDonald, May 2014

Figure 4-16. Cadenza motive 1

Immediately following the “Cadenza” is the∑ “Allegretto” section, which from ∑this ∑ && ∑ ∑ ∑ point forward is in the form of a rondo, ABaCABa, with three contrasting themes. The first theme is stated at the beginning of the “Allegretto.” This is the primary theme used in the A section of the rondo. This section lasts∑ for forty-two measures leading∑ into the B ∑ && ∑ ∑ ∑ section. Movement 4:

A sectionFigure Theme 4-18. Allegretto, 1 (including A section, Motive Theme 1 in the 1 3rd bar): ∑ ∑ ∑ >. & . . . œ œ. . œ ∑œ. œ œ. œ œ-. ∑ ∑ 2 & œ œ. œ. œ œ œ œ œ œ. ‰ & 4 J Copyright ©1953 Associated Music Publishers Inc. AReproduced section byTheme Permission 2 (includingfrom G. Schirmer some Inc., used borrowing by permission from. Theme 1 of Movement 3 in the 4th bar) : & ∑ ∑ ∑ j The primary themeof the- B section œ(See. Figure 4-19) utilizes a slower- thanb œ ˘œ . . . œ- bœ œ-&œ äœ. œ. bœ ∑œ. œ œ œ äœ. œ. bœ œ. œ. œ ∑ œbœ œ. bœ œ. œ œ œ ä˙ ∑ average rhythmic& speed than the A sectionæ J theme; however, it isæ notJ as lyrical as the C æ ∑ ∑ ∑ section theme that followsp . One& of the unifying features of this B theme is the use of the S Fragments of Theme 1 and variations of those fragments creating the Transition into the B section: grace note in a very similar manner to that of the first theme from the third movement. œ œ œ œ œ >œ >&>œ>>œ > ∑ >œ > > ∑ œ œ œ œ œ œ ∑ œ œ œ œ œ œ. ∑ œ œ >œ >œ >œ ∑ ∑ œ & Œ ‰ &œ œ œ. ‰ ∑ Œ ‰ J œ œ œ Œ ‰ J ‰ Œ J ƒ ƒ B section Theme 1: ∑ ∑ ∑ ∑ ∑ ∑ œ œ&&œ. 31œ œ œ œ œ œ 3 œ œ œ. œ & 4 tranquilloæ J æ æ p J B section& Theme 2: ∑ ∑ ∑ & ∑ ∑ ∑ 3 Œ - Œ - & 4 bœ œ #˙æ œ bœ œ #˙æ œ b œ œ ### ˙˙ œ b œ œ ### ˙˙ œ P Theme 2 in the return of the A section in a new key: j - - - ä œ . ä - bœ ˘œ . . . ä œ- bœ œ œ œ. œ. bœ œ. œ œ œ œ. œ. bœ œ. œ. œ œbœœ. bœ œ. œ œ œ ˙ & æ J æ J æ P S Fragments like before from Theme 1 in a new key transitioning to the end: b>œ > b>œ > >œ >. b>œ > > bb œ bbœ bb œ œ œ bbœ. b œ bœ bbœ b>œ >œ b>œ 3 & Œ ‰ J ‰ ∑ Œ ‰ J œ b œ Œ 4 ƒ Movement 4: A section Theme 1 (including Motive 1 in the 3rd bar): >œ. . œ. . œ. . œ. - 2 œ œ. . . œ œ œTexasœ œ Techœ. University, James Payton McDonald, May 2014 & 4 MovementJ œ œ 4:œ œ œ. ‰ A section ThemeA 2 section(includingFigure Theme some 4-19. borrowing1 Allegretto, (including from B Motive section,Theme 1 1 Themeof in Movement the 2 3rd bar): 3 in the 4th bar) : j ˘ - bœ- - œ- ä .>.œ bœ. . œ œ ä . bœ- . .. œ bœ. œ œ. bœ. . bœ. . œ œ ä œ œ œ. œœ œ. œ . œ. œ œ. œœœ œ. œ œ-. œ œ œ ˙ & æ2 J œ œ. æœ. œJ œ œ œ œ œ. ‰ æ Movement 4:& 4 J p Copyright ©1953 Associated Music Publishers Inc. S FragmentsA section Theme of ThemeA 1 section Reproduced(including 1 and variationsTheme by Motive Permission 2 of 1(including inthose from the G. 3rdfragments Schirmer bar): some Inc., creating borrowing used by thepermission Transition from. Theme into the 1 Bof section: Movement 3 in the 4th bar) : œ œ œ œ After>. a brief return to some fragmentsj and variations of the Aœ œsection’sœ œ œ œ theme,œ we œ>œ >œ>œ.>œ>œ >œ œ. -. œ. . œ.>œ œ>œ-> > œ bœœ œ ˘ . 2 œ œ œœœ œœ.-œb..œ- . -œ œœ œäœ .œœ œb.œœ.>œ >œ. œ œ œ ä . bœ- . . œ œ œbœ. . bœ. . œ œ ä &&Œ4 ‰ J J œ œ. œ‰ œ ∑œ œŒ.œ‰œJ œ. œ‰œœ Œ œ. œ‰ œ œ J ‰ Œ œ œ œ ˙ come to the C section, which is inæ a newJ tempo marked with æa “PocoJƒ Meno Mosso.” This æ A sectionƒ Theme& 2 (including some borrowing from Theme 1 of Movement 3 in the 4th bar) : sectionB section begins Theme withp 1:an introduction in the accompaniment followed by the statement of S j - - Fragmentsœ . of Theme 1 and variations- ofbœ those˘œ . fragments. . creating the Transition into the B section: œ- bœ œœ- œœ. äœ. œ. œbœ œ. œ œ œœ œäœ. œœ. œbœœœ. œ. œ œbœ œ. bœ œ. œ œ œ ä˙ the primary3 theme inœ theJ œ soloœ .line.œ This themeJ was actually written by Tcherepnin’s son œ œ &&4 tranquilloæ æ J æ æ æ œ œ œ œ œ œ 35> æ> >J > œ œ œ œ Ivan,p at pthe age of six, œwho>œ wouldœ>œ œ later>œ. grow up to be a composerœ >œ >œ > in> his> own right. SThis œ œ Fragments of Theme 1œ andœ variationsœ œ œ œof. those fragments creating theœ Transitionœ œ œ œinto the B section: B section Theme& Œ 2: ‰ J ‰ ∑ Œ ‰ J œ œ Œ ‰ J ‰ Œ melody goes through a few variations before we finally return to theœ Aœ œsectionœ again. œ œ œ œ œ œ œ œ ƒ 3 >œ >œ>œ>œ>œ >œ.ƒ - >œ >œ >œ >> > - œ œ & 4 Œ œ œ œ œ œB œsectionFigure. 4 Theme-20. Poco 1: MenoŒ œ Mosso,œ œ œ œC section, Theme 3 & Œ ‰ Jbœ œ # ‰#˙æ˙ ∑ œ Œ ‰ Jbœ œ œ œ #Œ#˙æ˙ œ ‰ J ‰ Œ b œ œ # # ˙ œ b œ œ # # ˙ œœƒ Pƒ œ œ œ. œ œ œ œ œ œ ThemeB section 2 in Theme the return3 1: of the A section in aœ new key:œ. œ & 4 tranquilloæ J æ j œ æ J œ œ œ. œ œ œ œ œ œ ˘ - - œ- äœ .pœ Copyright.œ.. œ©1953œ Associatedä . Music- . Publishersœ bœ Inc. œœ. . . . . œ œ ä œ-3bœ œ œ Reproducedœ bœ œbyœ Permissionœ fromœ G.œ Schirmerbœ œ Inc.,œ. used by permissionbœœ. bœ œ œ ˙ && 4 tranquilloæ .J . æ æB sectionJ Themeæ J 2: æ J æ P p S B sectionUpon Themereturn 2:to the original A section, there are only a few minor differences in Fragments like before3 Œ from Theme 1 in a new -key transitioningŒ to the end: - the melody and& the4 interplayœ betweenœ the soloæ and accompanimentœ œ œlines. However,æ as weœ 3 Œ b>œ > b>œbb>-œ >œ œ >. #Œ# #˙˙ œ - bb>œbœ > œ> ## #˙˙ œ & 4 bbœœ œbbœ bb œ#˙æœ œ œbœbœ. #bœ˙ œ œ #˙æ b œ œbœ bœbœ b>œ >œ # b˙>œ œ3 progress,& Œ ‰ Tcherepninb œJ œ #changes#P# ˙˙ keysœ multiple‰b œ timesœ∑ throughout##Œ# ˙‰˙ J theœ repeat ofœ theb Bœ section.Œ 4 Pƒ Theme 2 in the return of the A section in a new key: Theme 2 in theFigure return 4- 21.of the Allegretto, A section insecond a new B key: section, Theme 2 (in new key) j j - œ bœ ˘ . - - - ä- bœ- œ -. œ ä . ä bœ. .- œ œbœ ä˘œ . .. bœ- . . œ äœœbœ. . bœ. . œ œ ä œ- bœ œ œ œœ. œ. œbœ œ. œ œœ. œœ œ. œ. œbœœœ. œ. œ œ.œbœœœ. bœ œ. œ. œ œ ˙ œ œ œ ˙ & & J æ J J æ J æ æ æ æ P P Copyright ©1953 Associated Music Publishers Inc. S S Fragments like beforeFragmentsReproduced from Theme likeby Permission before 1 in a fromnew from G. key Schirmer Theme transitioning Inc., 1 usedin a byto new permissionthe end:key. transitioning to the end:

b b>œ b>œ b b>œ >œ>>œ b>œ. > > bb>œ b>œ b>œ > > b œ b œ b œb œbœœ bb>œ.b bœ >œ œ b>œ. œ b œ bœ >œ b>œ bbœ 3b>œ b>œ > & Œ ‰ J b œ b œ b‰œ œ ∑œ b Œœ. ‰ J b œ Œ 4œ b œ bœ >œ b>œ 3 ƒ& Œ ‰ J ‰ ∑ Œ ‰ J b œ Œ 4 35 “Biography of Alexanderƒ Tcherepnin,” The Tcherepnin Society, accessed January 17, 2014, http://www.tcherepnin.com/alex/bio_alex.htm. 32 Texas Tech University, James Payton McDonald, May 2014

From there Tcherepnin uses fragments of the A theme to build into a cascading interplay between the solo and the accompaniment building until a sudden drop occurs in the last six measures of the movement. These last six measures are notated as a slow whole note arppeggiation of an A minor seven chord leading to the final C major downbeat. Yet, in John Sebastian’s recording of this work, these last six measures are treated with more flare and showmanship through Sebastian’s use of glissandi and cluster chord blowing and drawing techniques to create a fuller and denser sound leading to the final note.

In this work, Tcherepnin has created a virtuosic concerto for the harmonica player. This is evidenced through the melodic, harmonic, and rhythmic aspects of the solo line itself, as well as the work as a whole. The author believes Tcherepnin’s use of the

Classical symphony model and the sheer length of the work provides an exciting musical adventure for the soloist and the orchestra as well.

33 Texas Tech University, James Payton McDonald, May 2014

Chapter 5

The How

The Arrangement and Arranging Process

The arrangement of Tcherepnin’s harmonica concerto for marimba involved not only a transcription, but also a re-arrangement. Throughout the arranging process for marimba, there were several specific sections that required some alteration. Excluding these sections, the solo part transferred smoothly from harmonica to marimba, as neither is a transposing instrument. Additionally, the natural parallel motion used to play the harmonica allows the marimbist to move in a natural parallel motion as well. The range of the marimba is large enough to cover more than the range of the harmonica, negating the need for octave adjustments. Due to the nature of the harmonica, and its ability to play four or even five note chords in rapid succession through specific techniques, there were multiple sections needing simplified chords or rhythms to allow the marimba performer to achieve Tcherepnin’s basic melodies and harmonies. Two other factors unique to the harmonica, the use of the slide button and the use of man-made vibrato, also accounted for some of the passages requiring re-arrangement on marimba.

The first passage involving a major adjustment occurs in the first movement during the exposition’s A section, Theme 2 (See Figures 5-1 and 5-2). In this passage the original solo line utilized the harmonica’s ability to sound full chords in rapid rhythmic succession. While the author believes modern techniques of four-mallet marimba playing has progressed, this technique is limited in the speed, accuracy, and maneuverability of

34 Texas Tech University, James Payton McDonald, May 2014 blocked36 chords along the instrument. The layout of the marimba’s bars also hinders the performers ability to change chords quickly (See Figures 5-3). The most dramatic changes of this passage happen in the last measure shown, where the original line contains steady sixteenth notes leaping octaves. This is a feat the author believes to be near impossible on the marimba, thus he was forced to change the rhythm, allowing for a split second of time for the performer to maneuver the distance.

Figure 5-1. Original exposition, A section, Theme 2 > > œ œ œ œ 3 œœ œ œ œœ œ œœ œ 2 œœ œ œœ œ œœœ 3 ≈ œœ œ œ œœ œ œœ œ 2 œœ œ œœœœœ œ c & 4 œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ 4 œ œ œ œ f b>œ œ b >œ b œ b>œ œ œ >œ b œ œ b œ œ œ >œ b œ bœ œ œ œ œ œ œ œ & c b œ bœ bœœ œ ‰bb œœb œ œ œ œœ F . ˘ œ bœ œ bœ œ bœ œ œ œ . bœ œ b b œ b>œ œ >œ œ œ œ bœ œ nnœ b œ œ bœ œ nnœ bb œ nnœ & b œœ b œ bœœ œ œœ œ œœ œ bœ œ. œ œ œ b œ œ S f ˘ œbœ œ. œbœ n>œ bœ bœ œ œ œ . bœ œ n >œ bœ œ œn œb œ bœ œ b œ œ œ œ nœbb œnnœ œœb œ > œ bœ œ nœbb œnnœ & œ bœœ. œbœ œn œ œ bœ nœ bœœb œ œn œ œb œœ œb œn œb œ S f Copyright ©1953 Associated Music Publishers Inc. Reproduced by Permission from G. Schirmer Inc., used by permission.

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑ ∑ &

36 Referring to the striking of multiple notes at the same time. 35 Texas Tech University, James Payton McDonald, May 2014

Figure 5-2. Arranged exposition, A section, Theme 2 > > œ œ œ œ 3 œ œ œ œ œ œ œ 2 œ œ œ œ œ 3 ≈ œ œ œ œ œ œ œ 2 œ œ œ œ œ c & 4 œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ 4 œ œ œ œ f b>œ œ > b>œ œ œ >œ b œ œ bœ œ bœ >œ bœ œ bœ œ œ b œ œ œ œ & c b œ bœ b œ œ ‰ b œ bœb œ œ œ F ˘ œ bœ œ. bœ œ bœ œ œ œ . bœ œ bœ >œ bœ b>œ œ œ œ bœ œ nœ œ œ bbœ œ nnœ b œ nœ & b œ bœ b œ œ œ œ œ bœ œ. œ œ œ b œ œ S f ˘ œ bœ œ. bœ n>œ bœ bœ œ œ œ . bœ œ n>œ bœ œ n œ b œ bœ œ œ œ bœ œ nœ b œ nœ œ œ > bœ œ nœ b œ nœ & œ bœ œ. œ b œ œ n œ bœ nœ bœ b œ œ n œ œ b œ œ b œ n œ b œ S f

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑

Figure 5-3. Extreme angles for blocked chord playing on marimba37

The next three adjustments are relatively similar in nature; however, different techniques had to be deployed to create the most natural sound. The first occurrence is in the beginning of the development section in the first movement. Originally, Tcherepnin wrote a group of nine sixty-fourth notes, also called a ninelet, in the space of eight sixty- fourth notes (See Figure 5-4). Due to the relatively small nature of the harmonica, and thus its extremely close note layout, the performer could play an entire three-octave scale with one breath in a relatively quick motion. The ability to slur these notes together

37 Leigh Howard Stevens, Method of Movement (Leigh Howard Stevens, 1979), 34. 36 Texas Tech University, James Payton McDonald, May 2014 through a single breath allows for a wide-ranging scale to be played quickly. However, for the marimba player, the author felt the only way to recreate this idea was to perform a glissando, a technique where the mallet is set on a low note of the marimba and, without lifting, slides up the keyboard. This technique can also be performed on the piano with the use of the performer’s hands. The glissando technique is limited to the individual registers, the naturals and the accidentals, similar to the black and white keys on a piano, thus making any glissandi involving both naturals and accidentals relatively impossible.

Since the orginially written ninelet uses notes on both the natural and accidental registers the glissando technique would normally not be adequate, however, in this specific instance a glissando of just the accidentals achieves the same idea of the ninelet since it is based off the C# major arpeggio. The second instance of this ninelet is based off the C major arpeggio leaving all the notes on the natural register (See Figure 5-5). While the glissando technique is not perfect in replicating the exact notes and rhythm of the ninelet

Tcherepnin originally had written, it does allow for the marimba performer to achieve the same effect as the harmonica performer with minimal distinction between the parts (See

Figures 5-6).

Figure 5-4. Original C# Major ninelet

& ∑ ∑ ∑

9 & ∑ ∑ ∑ 37 12

& ∑ ∑ ∑

& ∑ ∑ ∑ Some of the big changes that occured during the arranging process:

Arranging excerpt #1: Movement 1 - taking 3 and 4 note chords to 2 Some of the> big changes that occured during the arranging process: > > > 3 œ 2 œ œœ œ 3 œ 2 œ œœœœ bbœ œ bœ œ bœ >œ œœ œ œ œ œ Arrangingœ excerpt #1:œ Movement≈ œ 1œ - takingœ œ œ3 andœ 4 note chordsœ to œ2 œ c b œbœ & 4 œ œœ œ œ œ œ 4 œ œ œœ œ œ 4 œœœœ œ œ œ 4 œ œ œœ b œ œ > > F f . œœ b>œ œ b>œ œ > 3 œ œœ œ œ œ œ 2 œTexasœ œœ œ Techœ 3 University,≈œœœœ œ œJamesœ˘2œ Paytonœbœœœœ œMcDonald,œ c b œ Mayœ b œ 2014bœ bœ œ &>4 œ œœ>œ œ œ œ 4 œ œ œœ œ œ 4 œbœœœœœœ œbœœ4œœ œœœœ . b œ œbœ œ bœ œ bœœœbbœ œf œ œ bœ >œ bœb>œœœœbœ œ nœ œ Fœbbœ œ nnœ b œ nœ & ‰b œbœb œœœ b œbœb œ œœœ ˘ œ bœ œ.œ bœœ. œ Figure 5-5.œ Original C Major nineletœ bœ œ œ œ . œ œ bœœ b>œ œ œ >œ bœ >œ > œœbœ bœS f œ œ b œœœ bœ œ nœ bœ ‰ bœbœb œœœb œ œ œ œ b œbœ bœbœœœœ œ œ nœ bœœ. œb œ œ n œ b œ nœ & b œ œ b œ9 œœ œ . > S f œ b œœ ˘ œbœ œ > bœ nœ bœ œ √ > bœ œ œ œ . . bœ œ nœbœ œn œ bœ œ >œ œ bœ œ nœ œ œ ˘bœœbœœ œnœ 2œ œ œ œ> bœ nœ bœ > Œbœ œ nœ ∑ > œ ∑ . œbœœœ œœnœ œb œnbœ&œ œ. 4nœ bœœœœ nœbœ œn œb œ b œbœœœn nœœbbœœœnœnœ ≈‰ Œ Ó & œ bœœ œ œb œ œn œœb œnœ œ œ bœ nœ bœ> b œ œn œb œnœ œ R œb œœ& œ bœCopyrightœ. œ ©1953f Associated Music Publishersb œn œb Inc.œb n œœ bœ R ≈‰ Œ Ó Sf Reproducedb œœ by5 Permission from G. Schirmer Inc., usedb byœ permissionn œb œ . Sf œ f Arranging excerpt #2: Movement 1 - gliss instead of nine-let f ArrangingFigure excerpt 5-6. #2: Arranged & Movement accidental 1 - gliss∑ instead and naturalof nine-let glissandi ∑ ∑

#~˙ #~˙ ~ ~ ~œ ~ 8 ~~ ~~œ 2 ~ ~ 2 ~~~~ 2 ~Œ ‰ ~~ æ 2 ~ ~ æ Œ ‰ & 4~~ æ j~ 4 ~ ~ æ & 4 j~ ~ ∑ 4 ~~œ ~ ∑ ∑ #œ ~ #œ & œ f The secondArranging similar excerpt occurrencef #3: Movement is seen 1 - grace later notes in the first fmovement during the Arranging excerptf #3: Movement 111 - grace notes development where Tcherepnin originally wrote a group of five grace notes, or a- fivelet, œ. œ-. œ. œ. œ. œ-. œ #œ 2 Œ œ J œ.& œ œ ∑ œ J œ. ∑œ . # œ ∑ leading to the.& main4- noteœ œof a three. -noteœ œ chord. (Seeœ-œ Figure 5-7). Like the œfirstœ occurrence,- œ œ. œ æœ œ.œ œœ œ. æ ˙æ œ œ æ#œ 2 Œ œ J œ. f œ œ œ J œ. œ œ ˙ œ . # œ & 4 œ œ 14 œ . . - œ the speedœ of theArranging notes involved œexcerpt #4: in Movement the graceœ 2 -note black are note written gliss p foræ the muchœ smaller æ œ æ œ œ æ œ œ ˙ œ f ~ ∑ œ œ - ~ ∑ ∑ harmonica and are- beyond the ~ abilities& of the marimbist., according. to the~ author. In order ˙ œ ~ ~œ ˙ œ ~ Arranging excerpt #4: ˙Movement ~2 - black~ œ note gliss p ˙ ~ ~ ~ ˙ ~ ~ ~ ~ ~œ ~ ~ ~ ~ œ to alleviate this,3 the author subtr17~ acted~ the last note of the five3 let and the bott~ om ~two notes ~ æ ~ ~ æ Œ Œ æ ~ ~ ~ Œ Œ & 4 ~ 4 ~ ~ - ~ ~ ~ ~ æ ˙ œ ~ ~œ ~ ˙ œ ~ ~ ˙ ~ ~ œ œ ˙ ~ œ of the release chord~ to help~ keep the continually∑ rising idea˙ of the passage~ ∑(See Figure 5- ∑ ~ ~ & ~ ~œ ~ ~ ~ ~ œ 3 æ Arranging~ ~ excerptæ #5: Movement 3 - Range of instrument3 æ & 8-note chords ~ ~~ 8). The most interesting,~ ~ and difficult,Œ Œ aspect of this passage is the fact that~ the marimba~ Œ Œ & 4 ~ ~ 4 ~ ~ æ U ~ 20 . ~ b˙. œ . œ. œ œ b ˙. performer will be playing this section with two mallets. œ. œ instead- of four. This is actually 3 Ó & œ Ó œ ∑œ Œ ˙æ˙. ˙æ˙. bb˙˙∑. ˙æ˙. ∑ æ ∑ Arranging excerpt& #5:4 Movementœ 3 - œRange. ofœ instrument. & 8-noteb˙ . ˙chords. ˙ . b˙ . due to the section immeœ œ. diately. œ prior,œ. . in whichœ. . a sequence of arpeggios ascendsæ and œ. . . p p U 23 . b˙. descends rapidly throughp different chords (See Figuresœ. œ 5-9 and 5-10). Because of the b ˙. . œ. œ. - 3 Ó Ó & œ ∑ Œ ˙æ˙. ˙æ˙. b˙˙∑. ˙æ˙. ∑ æ ∑ & 4 wideœ rangeœ of thisœ section,œ œ. the lackœ œ ofœ. enough time to addb ˙the˙. other˙˙. twob mallets,˙˙. b ˙and˙. the œ . . œ . . . . p æ p œ.grace. note arpeggios. themselves,26 the use of two mallets proved to be the best solution by p the author for both of these sections,& albeit proving as ∑one of the most difficult sections of ∑

the piece. 38 Texas Tech University, James Payton McDonald, May 2014

Figure 5-7. Original fivelet grace notes

5 5 5 5 œ. -. œ. . œ. -. œ. #œ- 2 Œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ## œ & 4 œ œ œ J œ œ œ œ œœ J œ œ œ J œ œ ˙ f œ. œ. S-p f 7 Copyright ©1953 Associated Music Publishersp Inc. Reproduced by Permission from G. Schirmer Inc., used by permission. ∑ ∑ ∑ & Figure 5-8. Arranged grace notes

10 œ. -. œ. . œ. -. œ. #œ- 2 Œ œ J œ. œ œ œ J œ. œJ # œ &&4 œ œ œ ∑ œ œ œ œ œ∑œ æ œœ∑œ æ æ æ œ œ ˙ f œ. œ. S-p f 7 p 13 ∑ Figure 5-9. Original sequence∑ of arpeggios ∑ && ∑ ∑ > ∑ . œ œ œ bbœœ œœ œ œœ . œ 3 œ œ œ œ œ œ œ œ œ b œ bœ œ œ œ œ œ œ . 10 & 4 ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœœ œ bœœ 16 œ œ œ œ œ œ. œ œ . œ œ œ . œ S & p ∑ ∑ ∑ bœ & ∑ ∑ . bœ. ∑œ œ œ œ œ bbœ œ œ œ œ. œ bœ œ œ œ œ œ œ œ œ œbœœ œœ œœ œ œœ œœ œ œœ ‰ bœ bœ œ œ œ œ œ b œ bœ œ œ 13 & b œ bœ œ œ œ œ bœ œ œ œ œ œ 19 . œ. b œ . ˘ P œ œ œ∑ œ ∑ ∑ && œ œ œœ œ ∑œœ. œ œœ œœ œœ œ. œœ œœ∑œ œœ . œ ∑ œ œ œ œ œ œ œ œ œ œ 2 . & œ œ œœ œœ œ œ 4 j ‰ Œ 16 œ œ œœ 22 S œ Copyright ©1953 Associated Music Publishers Inc. S ∑ Reproduced by Permission from G. Schirmer∑ Inc., used by permission. ∑ && ∑ ∑ ∑ & ∑ ∑ Figure∑ 5-10. Arranged∑ sequence∑ of∑ arpeggios∑ ∑ ∑ 19 25 œ b>œ . œ. œ œ œ œ œ œ bœœ bœ œœ œ. œ œ œ & 3 ‰ ∑∑ œ œ œ œ œ œ œ œ ∑œ bœ ∑œ∑ œ œ bœœ. && 4 œ œ œ œ œ. œ œ œ & ∑ œ œ . œ∑ ∑ ∑ ∑ S ∑ ∑ ∑ p 22 bœ . bœ. œ œ œ œ œ bbœ œ œ œ œ. œ bœ œ œ œ œ œ œ œ bœœ œ œ. œ œœ œ œœ ‰ bœbœ œ œ œ œ œ bœ && ∑bœ œ bœ bœ œ . ∑œ ∑ . P ˘œ 25 œ œ œ œ . œ œ œ . œ œ œœ œ œœ œ œ œ œœ œ œœ œ. œ œ . œ œ œ œœ œ 2 j ‰ Œ & ∑ ∑ œ œ 4∑œ & S œ 39 S

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Texas Tech University, James Payton McDonald, May 2014

The final occurrence appears in the second movement. In this occurrence the original passage is written for the harmonica performer to play two, sixty-fourth note, ninelet scales down and back up the instrument (See Figure 5-11). The author’s solution to the problem of performing these quick scalar passages, this time with double stops,38 was the use of the glissando technique again. However, for this passage the use of two glissandi is needed to get down the instrument with one mallet and back up with the other. Although, due to the key signature, most of the notes played are accidentals, which led to the author employing what can be called a “black note”39 glissando (See Figure 5-

12). Because of the slow tempo marking of this movement and the long range of the glissando, the author feels the performer has to be extra careful when performing this task as the gaps between the sets of notes pose many problems to the glissando technique.

Figure 5-11. Original sixty-fourth note ninelets - ˙ œ œ œ œ ˙ b œ œ œ œ b bb 3 œ œ œ œ ∑ ∑ & b 4 œ œ œ œ 9 œ œ œ 9

- ~ ˙ œ ~ œ ˙ ˙ œ ~ ~~œ ˙ ~ ~ ~ ~ ~ ~ b b b b 3 ~ ~ b b b∑ æ ∑ ∑ ~ ∑ ~ æ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & b &b b 4 ~ ~ ~~ œ

The next passage,b b locatedb b at the end of the third movement, contained one of the & b b &b b b∑b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ more challenging parts to arrange. In this section, as discussed in chapter four,

38 Referring to the technique of playing two notes at the same time on the marimba. 39 b Referring tob thebb blackbb ∑ bnotes of∑ the∑ piano.∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & &b b b 40

b b b b & b b &b b b∑b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b b b & b b &b b bbb ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b b & b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b b & b b b ∑ Texas Tech University, James Payton McDonald, May 2014

Tcherepnin wrote a large eight-note cluster chord. The performance of this chord on the harmonica utilized the special technique of depressing the slide button on the side of the harmonica halfway. Therefore, when the performer then blows through the desired holes, he is activating both sets of reeds involved, in this case a B diminished seven chord mixed with a C diminished seven chord for two measures, a C Major mixed with D-flat

Major for one measure, and then returning to the B diminished seven/C diminished seven mixed chords (See Figure 5-13). On the harmonica, these chords are actually all played in the same position; the difference is created through the use of the draw reeds and the blow reeds. In order to maintain the multi-chord effect on the marimba, the author used the top two notes of each chord, except for the use of the G-flat instead of the B-flat on the C diminished seven chord. In order to also match the difference between the blow and the draw sounds the author believes the marimba performer must also put more weight onto the third measure to accentuate the change in tonality that would be present on the harmonica. Also of note, the preceding measures created a problem with the range of the two instruments. The harmonica is capable of playing up to a D two octaves above the treble clef staff, while the marimba can only play up to the corresponding C. In the preceding measures the author faced two options, the first, to take the entire passage down one octave, and the second to start on a lower note of the arpeggio on the second and third statements of the sequence (See Figures 5-15 and 5-16). The author decided instead of changing the notes intended by Tcherepnin, to take the passage down the octave, even though this would technically put the beginning notes out of the range of the originally intended harmonica.

41 Some of the big changes that occured during the arranging process:

Arranging excerpt #1: Movement 1 - taking 3 and 4 note chords to 2 > > œœ b>œ œ b>œ œ > 3 œ œœ œ œ œ œ 2 œ œ œœ œ œ 3 ≈œœœœ œ œ œ 2 œ œ œœœœ c b œ œ b œbœ bœ œ & 4 œ œœ œ œ œ œ 4 œ œ œœ œ œ 4 œœœœ œ œ œ 4 œ œ œœ b œ œ f F ˘ œ bœ œ. bœ b>œ œ œ >œ bœ > œbœ bœ œ bœ œ œ œ œ bœ œ. nœ bœ œ bœ œ œœb œ œ œ œ œ bœb>œœœ œ œ nœ œ œb œ œ n œ b œ nœ & ‰b œbœb œœœ b œbœb œ œœœœ œ bœœ. S f œ b œœ . > ˘ œbœ œ > bœ nœ bœ > bœ œ œ œ bœ œ. nœ bœ œ nœbœ œn œb œ bœ œ nœ bœ œ nœ œ œb œ œn œb œnœ œ œ > b œ œn œb œnœ œ & œ bœœ. œ bœ nœ bœ R ≈‰ Œ Ó œb œœ b œn œb œ Sf f Arranging excerpt #2: Movement 1 - gliss instead of nine-let

#~˙ ~~ ~œ ~ ~~ 2 ~~ 2 ~ & 4 Œ ‰ j ~ æ 4 ~~ æ ~~ œ ~ #œ f Arranging excerptf #3: Movement 1 - grace notes

. - . . . - Texas Tech University, James#œ- Payton McDonald, May 2014 2 œ œ. œ œ œ œ. œ. # œ & 4 Œ œ œ J œ. œœ œ œ œ J œ. œœ œ œ œ œ œ œ æ œ œ æ æ æ œ œ ˙ f œ. œ. - Arranging excerpt #4: Movement 2 - black note glissFigurep 5-13. Original eight-note cluster chords

~ ~ - ~ ~ ˙ œ ~ ~œ ˙ œ ~ ˙ ~ ~ œ ˙ ~ ~ ~ ˙ ~ ~ ~ ~ ~œ ~ ~ ~ ~ œ 3 æ ~ ~ æ 3 æ ~ ~~ ~ ~ Œ Œ ~ ~ Œ Œ & 4 ~ ~ 4 ~ ~ æ ~ ~ œ Copyright ©1953 Associated Musicœ Publishers Inc. Reproduced by Permission from G. Schirmer Inc., used by permission. Arranging excerpt #5: Movement 3 - Range of instrument & 8-note chords Figure 5-14. Arranged cluster chords U . œ. b˙. . œ. œ - b ˙. 3 œ. œ æ˙. æ˙. b˙˙. æ˙. & 4 œ Ó œ œ. Ó œ œ. Œ b˙˙. ˙˙. b ˙˙. b˙˙. ∑ æ œ œ. . œ œ. . œ. . æ œ. . . p p p Figure 5-15. Original arpeggiated sequence . √ . œ. œ . œ. . . œ. œ œ 3 Ó œ œ Ó œ œ Œ ∑ & 4 œ œ. œ œ. . . œ œ . . . . Copyright ©1953 Associated Music Publishers Inc. Reproduced by Permission from G. Schirmer Inc., used by permission.

& ∑ ∑ Figure 5-∑16. Arranged∑ arpeggiated∑ sequence∑ ∑ ∑ ∑ . œ. . œ . . . . œ. . œ. œ ? 3 œ œ Ó œ œ Ó & œ œ Œ ∑ 4 œ œ œ œ . . . œ . . & p∑ ∑ ∑ ∑ ∑ . ∑ ∑ ∑ ∑ The last two sections are located at the end of the fourth movement and posed

some of the biggest questions for the author about how to truly end the piece with as & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ much &flair and∑ energy ∑as was originally∑ intended.∑ The∑ first passage∑ starts∑ with what∑ could ∑

be considered a short codetta at the end of the movement. In this passage, the soloist uses

the motive used in the A section theme played in a call and response with the & ∑ ∑ ∑ ∑ ∑ ∑ ∑ accompaniment, gradually using less and less of the motive until the call and response is

42 Texas Tech University, James Payton McDonald, May 2014 only two eighth notes long followed by a unison crescendo of eighth notes (See Figure 5-

17). In the full orchestration; however, there is a tertiary line that could not be covered in a piano reduction and was inserted into the solo part by the author (See Figure 5-18).

Through the addition of this line, the call and response is no longer as apparent, since the soloist is playing during the response. Yet, this allowed for more excitement and build leading to the end.

Figure 5-17. Original call and response > b>œ b>œ >œ b>œ > j b>œ b>œ >œ b>œ > 2 bb œ b œ œ b œ b b œ >œ >œ bœ bb œ b œ œ b œ b b œ >œ >œ & 4 ‰ œ œ b œœ bœbœœ b œ ‰ Œ ∑ ‰ œ œ b œœ bœbœœ ƒ > j b>œ b>œ >œ b>œ > bœ bb œ b œ œ b œ b b œ >œ & b œ ‰ Œ ∑ ‰ œ œ b œœ bœ ‰ ∑ œ J b>œ > >œ > b>œ > >œ > bb œ bœ œ bœ b b >œ >œ bb œ bœ œ bœ & ‰ œ b œ œ b œ b œœ bœ ‰ ∑ ‰ œ b œ œ b œ ‰ Œ J J b b>œ b>œ >œ b>œ b b>œ b>œ b b>œ b>œ b b>œ b>œ b œ b œ œ b œ b œ b œ b œ b œ b œ b œ & ‰ J ‰ Œ ‰. ‰ ‰. ‰ ‰. ‰

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &

& ∑ ∑

43 Texas Tech University, James Payton McDonald, May 2014

Figure 5-18. Arranged call and response > > > > . œ. > > > > bbœ bœ œ bœ bb>œ >œ >œ > œ œ œ œ bbœ bœ œ bœ bb>œ >œ >œ 2 ‰ bœ œ bbœ nœ œ œ. œ J bœ œ & 4 J œ œ œ. ƒ . œ œ. œ b>œ b>œ > œ œ. b>œ . œ œ œ J b œ œ bœ b>œ b>œ >œ . œ œ œ & b œ œ nœ œ œ œ bœ nœ œ œ J œ œ . J œ. b>œ > > œ. œ. b>œ > > œ. b œ bœ bœ >œ b>œ > . œ œ œ b œ bœ bœ >œ œ œ œ & J bœ œ bœ nœ œ œ œ J bœ nœ J J . . . . œ b>œ b>œ > œ œ. œ b>œ b>œ nœnœ œ b>œ b>œ nœnœ œ b>œ b>œ nœnœ J b œ œ bœ b>œ nœ œ œ J b œ œ J b œ œ J b œ œ & J . . . œ œ œ œ œ œ œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ " œ œ œ œ œ œ œ œ œ œ œ & cresc.

The last passage is the final six measures of the work. In these measures, the original& part∑ is a long ∑ascending∑ whole note∑ sequence.∑ However,∑ as stated∑ in chapter∑ 4, the written ending and the one performed by John Sebastian are not the same. In light of this fact&, the author chose to∑ emulate Sebastian’s performance to allow∑ for a much more exciting finish as opposed to the single notes themselves. The author used a technique called the “Musser roll,” sometimes also referred to as the “flop roll” or “ripple roll,” where the inside mallets are left loose and “flop” in-between the roll of the outside mallets. In order to create the dense clusters akin to Sebastian, the author took the original note and added the three lower diatonic pitches (See Figures 5-19 and 5-20).

Though this may not be the most impressive technique and other options may be available to the marimba performer for the close of this work, the author felt that this is

44 Texas Tech University, James Payton McDonald, May 2014 the best way to not only keep what was originally written and also follow the idea of the premiere performer.

Figure 5-19. Original ending L'stesso tempo, tranquillo ˘œ ˙ ˙ œ c w w œ Œ Ó & w w

Figure 5-20. Arranged ending L'stesso tempo, tranquillo ˘ ˙ œ c æ wæw ˙˙ ˙˙ œ Œ Ó & æ æw ww ww æ wwcresc. ww æ ww ç p

45 Texas Tech University, James Payton McDonald, May 2014

CONCLUSION

Through the arrangement of Concerto for Harmonica and Orchestra, Op. 86 by

Alexander Tcherepnin, the author feels that this work is worthy of a place in the concerto repertoire for the marimba. Not only has Alexander Tcherepnin proven to be a valuable contributor to the art of percussion, through his First Symphony and Sonatine for

Timpani, but also for his contributions to music theory and his unique compositional styles. The author believes Concerto for Harmonica and Orchestra, Op. 86 serves as a challenging four-movement concerto rivaling many of the standards in difficulty and musicality whether on harmonica or marimba. The author suggests that both the piece and composer deserve a “rebirth” in the marimba concerto genre.

Implications for Further Research The scope of this project has been limited to the arrangement of Concerto for

Harmonica and Orchestra, Op. 86 by Alexander Tcherepnin for marimba. The author feels that the arrangement of works from more obscure instruments to marimba, will not only enhance the marimba repertoire, but also provide composers with increased awareness of and performance opportunities for their works.

There is still much research to be done in regards to this harmonica concerto. The scope of this project did not include a full and detailed theoretical analysis of the work.

Furthermore, the author did not address nor provide information regarding Tcherepnin’s more notable compositional techniques such as the nine-note scale, “Interpoint,” or unusual chord modulations and whether any or all of the techniques were present in his

Concerto for Harmonica and Orchestra, Op. 86.

46 Texas Tech University, James Payton McDonald, May 2014

BIBLIOGRAPHY

Blades, James. Percussion Instruments and their History. Connecticut: The Bold Strummer Ltd., 2005.

Chenoweth, Vida. The Marimbas of Guatemala. Kentucky: University of Kentucky Press, 1964.

Daughtrey, Nathan. “Marimba Concerto Performances in United States Orchestras: 1940 through 2002.” D.M.A. diss., The University of North Carolina at Greensboro, 2004.

Kite, Rebecca. Keiko Abe: A Virtuosic Life. Viriginia: GP Percussion, 2007.

Korabelnikova, Ludmila. Alexander Tcherepnin: The Saga of a Russian Émigré Composer, translated by Anna Winestein, edited by Sue-Ellen Hershman-Tcherepnin. Illinois: Indiana University Press, 2008.

Lasley, Michael Lee. “Eric Ewazen’s Concerto for Marimba, Orchestrated for Chamber Ensemble: A Performance Edition.” D.M.A. diss., The University of North Carolina at Greensboro, 2008.

MacCallum, Frank K. The Book of the Marimba. New York: Carlton Press, 1969.

Melton, William and Randy Weinstein. The Complete Idiot’s Guide to Playing the Harmonica. Indianapolis: Alpha, 2002.

New York Philharmonic. “Stadium Concerts Review.” New York Philharmonic Digital Archives. Accessed January 24, 2014. http://archives.nyphil.org/index.php/artifact/abf5fca0-aab7-4fd8-956a-1388f6591919

Peters, Gordon B. The Drummer: Man, A Treatise on Percussion. Illinois: Kemper- Peters Publications, 1975.

Ramey, Phillip. “Biography of Alexander Tcherepnin.” The Tcherepnin Society. Accessed January 17, 2014. http://www.tcherepnin.com/alex/bio_alex.htm.

Sebastian, John. An Introduction to the Chromatic Harmonica. New York: M. Hohner, 1972.

Stevens, Leigh Howard. Method of Movement. Leigh Howard Stevens, 1979.

Tcherepnin, Alexander. Concerto for Harmonica & Orchestra, Op. 86. New York: Associated Music Publishers, 1953.

The Tcherepnin Society. “Biography of Ivan Tcherepnin.” Accessed February 12, 2014. http://www.tcherepnin.com/ivan/bio_ivan.htm.

47 Texas Tech University, James Payton McDonald, May 2014

Appendix A

Excerpts from Program of Premiere Performance40

40 New York Philharmonic Digital Archives, “Stadium Concerts Review.” 48 Texas Tech University, James Payton McDonald, May 2014

Appendix B

Tuning Marimba Bars41

41 MacCallum, 106-107. 49