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Alternative Instrumentation ALTERNATIVE INSTRUMENTATION: A STUDY OF SELECTED INSTRUMENTS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY PAUL GERACI DISSERTATION CHAIR: DR. DON ESTER BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2003 ABSTRACT This study includes information on nonstandard instruments. The purpose of this document is to benefit composers who may wish to write for instruments not found in the standard orchestra. Since composers are constantly seeking new sounds, they often turn to exotic or less frequently used instruments. These nonstandard instruments can provide fresh timbres in addition to those of standard Western instrumentation, or aid the composer in alluding to the characteristic sounds of a particular culture. A study such as this is needed because most nonstandard instruments do not appear regularly in orchestration texts. The instruments included in this study are: accordion, carillon, didgeridoo, erhu, glass harmonica, hammered dulcimer, cimbalom, hardanger fiddle, harmonica, highland bagpipes, Irish flute, tin whistle, koto, shakuhachi, sitar, theremin, and uillean pipes. Entries contain information about each instrument's timbre, dynamics, physical description, history and origins, and limitations. Photographs and musical examples from well-known composers are included with each entry. A significant portion of information was collected from personal interviews with expert performers and composers. CONTENTS FIGURES…………………………………………………………………………... iii TABLES…………………….……………………………………………………... viii CHAPTER 1: INTRODUCTION…………………………….……………….…… 1 CHAPTER 2: METHODOLOGY…………………………………….…………… 8 CHAPTER 3: ACCORDION……………………………………………………... 15 CHAPTER 4: CARILLON……………………………………………………….. 27 CHAPTER 5: DIDGERIDOO………………….…………………..…………….. 45 CHAPTER 6: ERHU……………………………………………………………… 56 CHAPTER 7: GLASS HARMONICA…………………………………………… 66 CHAPTER 8: HAMMERED DULCIMER AND CIMBALOM………………….. 75 CHAPTER 9: HARDANGER FIDDLE…………………………………………... 90 CHAPTER 10: HARMONICA……………………………………………………. 99 CHAPTER 11: HIGHLAND BAGPIPES…………………………………………. 110 CHAPTER 12: IRISH FLUTE AND TIN WHISTLE…………………………….. 119 CHAPTER 13: KOTO………………………………………………………….….. 129 CHAPTER 14: SHAKUHACHI…………………………………………………… 143 CHAPTER 15: SITAR……………………………………………………………... 154 CHAPTER 16: THEREMIN………………………………………………………. 163 CHAPTER 17: UILLEAN PIPES…………………………………………………. 176 CHAPTER 18: CONCLUSION…………………………………………………… 188 APPENDIX A……………………………………………………………………… 192 BIBLIOGRAPHY………………………………………………………………….. 194 ii FIGURES CHAPTER 2: METHODOLOGY Figure 1 Photograph of the author taking pictures…………………………... 13 Figure 2 Photograph of the author performing on the carillon…………….... 14 Figure 3 Photograph of the author on top of Schaffer Tower……………….. 14 CHAPTER 3: ACCORDION Figure 4 Photograph of an accordion…………………………………….…. 15 Figure 5 Range of the accordion……………………………………………. 16 Figure 6 Accordion symbols………………………………………………... 17 Figure 7 Bellows Shake and Bellows Normal………………………………. 17 Figure 8 Photograph of an accordion………………………….…………….. 19 Figure 9 Introduction and Dance by David Diamond………………………. 20 Figure 10 Accordion Concerto by Alan Hovhaness………………………….. 20 Figure 11 Hans Palm's fingering chart for a stradella accordion……………... 21 Figure 12 Hans Palm's fingering chart for a free-bass accordion…………….. 21 Figure 13 Concerto Brevis by Henry Cowell………………………………… 22 Figure 14 Accordion Concerto by Alan Hovhaness………………………….. 23 CHAPTER 4: CARILLON Figure 15 Photograph of Schaffer Tower, Ball State University………….…...27 Figure 16 Range of the carillon……………………………………………….. 28 Figure 17 Photograph of a large carillon bell…………………………………. 29 Figure 18 Photograph of the carillon console………………………………… 29 Figure 19 Summer Fanfares by Roy Hamlin Johnson………………………... 30 Figure 20 Parable for Carillon by Vincent Persichetti………………………. 32 Figure 21 Photograph of the inside and outside clappers……………………... 34 Figure 22 Photograph of the chain-driven swing……………………………... 34 Figure 23 Photograph of Dr. Kirby Koriath performing on the carillon……… 35 Figure 24 Photograph of the console…………………………………….…… 35 Figure 25 Photograph of a close-up view of the console……………………... 35 Figure 26 Photograph of the wires connecting the bells to the manuals……… 36 Figure 27 Illustration of the mechanical action……………………………….. 36 Figure 28 Photograph of the cross section of the console…………………….. 36 Figure 29 Photograph of a large bell from the Schaffer Tower………………. 37 Figure 30 Overtones of the bells……………………………………………… 38 Figure 31 Suite No. 1 by John Courter...……………………………………… 39 Figure 32 "Canzone" from Six Compositions by Gian-Carlo Menotti……….. 41 Figure 33 "Dirge" from Suite for Carillon by Samuel Barber………………... 42 Figure 34 Novena di Natale by Nino Rota……………………………………. 44 iii CHAPTER 5: DIDGERIDOO Figure 35 Photograph of a didgeridoo………………………………… ……... 45 Figure 36 Scan of Schellberg's didgeridoo notation (Dingo)………………… 49 Figure 37 Scan of Schellberg's didgeridoo notation (Kangaroo)…………….. 49 Figure 38 Photograph of a didgeridoo………………………………………… 50 Figure 39 "Ancient Voices" from "Survivor II: the Australian Outback"…….. 51 by Russ Landau Figure 40 The Summoning by Paul Geraci……………………………………. 54 Figure 41 The Summoning by Paul Geraci……………………………………. 55 CHAPTER 6: ERHU Figure 42 Photograph of an erhu……………………………………………… 56 Figure 43 Range of the erhu…………………………………………………... 57 Figure 44 Photograph of the captive bow…………………………………….. 59 Figure 45 Bird's Song in a Desolate Gorge by Liu Tianhua………………….. 60 Figure 46 Photograph of the frog of the bow…………………………………. 61 Figure 47 Cold Spring Wind by Xiazi Abing…………………………………. 64 Figure 48 Listening to the Pines by Xiazi Abing……………………………... 65 CHAPTER 7: GLASS HARMONICA Figure 49 Photograph of a glass harmonica…………………………………. 66 Figure 50 Range of the glass harmonica…………………………………….. 67 Figure 51 Photograph of a glass harmonica…………………………………. 69 Figure 52 Carnival of the Animals by Camille Saint-Saëns………………….. 72 Figure 53 "Melodram" from Leonore Prohaska by Ludwig van Beethoven… 73 Figure 54 Adagio und Rondo in C by W.A. Mozart………………………….. 74 CHAPTER 8: HAMMERED DULCIMER AND CIMBALOM Figure 55 Photograph of a hammered dulcimer………………………………. 75 Figure 56 Photograph of a cimbalom…………………………………………. 76 Figure 57 Illustration indicating the parts of the dulcimer……………………. 76 Figure 58 Range of the cimbalom…………………………………………….. 77 Figure 59 Mason's tuning chart for the hammered dulcimer…………………. 78 Figure 60 Stiller's tuning chart for the cimbalom……………………………... 78 Figure 61 Photograph of a pair of hammers…………………………………... 79 Figure 62 First Rhapsody by Béla Bartók…………………………………….. 81 Figure 63 Eclat by Pierre Boulez……………………………………………... 83 Figure 64 Seating chart for Boulez's Eclat……………………………………. 83 Figure 65 Ragtime by Igor Stravinsky…………………………………………84 Figure 66 Ragtime by Igor Stravinsky……………………………………….. 85 Figure 67 Photograph of Laurence Kaptain and Sir George Solti……………. 86 Figure 68 Renard by Igor Stravinsky…………………………………………. 88 iv Figure 69 Renard by Igor Stravinsky………………………………………… 89 CHAPTER 9: HARDANGER FIDDLE Figure 70 Photograph of a hardanger fiddle………………………………….. 90 Figure 71 Range of the hardanger fiddle……………………………………... 91 Figure 72 Tuning of the strings………………………………………………. 91 Figure 73 Example of troll tuning……………………………………………. 92 Figure 74 Photograph of the sympathetic strings…………………………….. 93 Figure 75 Photograph of the scroll and pegbox………………………………. 93 Figure 76 Hardanger Concerto by Peter Hamlin…………………………….. 95 Figure 77 Hardanger Concerto by Peter Hamlin…………………………….. 95 Figure 78 Photograph of a close-up view of the hardanger fiddle……………. 96 Figure 79 Photograph of the scroll and pegbox………………………………. 96 Figure 80 Førnesbrunen - A slaatter example…………………………………97 Figure 81 The Bay from Förnes - A slaatter example………………………… 98 CHAPTER 10: HARMONICA Figure 82 Photograph of a twelve-hole chromatic harmonica……………….. 99 Figure 83 Range and available notes on the harmonica………………………. 100 Figure 84 Range of the bass and double bass harmonica…………………….. 100 Figure 85 Photograph of a double bass harmonica…………………………… 101 Figure 86 Pitch chart for a twelve-hole chromatic harmonica……………….. 101 Figure 87 Harmonica Concerto by Malcolm Arnold………………………… 104 Figure 88 Suite Anglaise by Darius Milhaud…………………………………. 106 Figure 89 Romance for Harmonica by Ralph Vaughn Williams……………... 107 Figure 90 Romance for Harmonica by Ralph Vaughn Williams……………... 108 CHAPTER 11: HIGHLAND BAGPIPES Figure 91 Photograph of Highland bagpipes………………………………….. 110 Figure 92 Available notes on the chanter……………………………………... 111 Figure 93 Drone pitches………………………………………………………. 111 Figure 94 Photograph of the chanter………………………………………….. 112 Figure 95 An example of piobaireachd……………………………………….. 116 Figure 96 Photograph of a piper………………………………………………. 116 Figure 97 Photograph of Highland bagpipes………………………………….. 116 Figure 98 Sinfonia in D "Die Bauernhochzeit" by Leopold Mozart………….. 117 CHAPTER 12: IRISH FLUTE AND TIN WHISTLE Figure 99 Photograph of two Irish flutes………………………………………119 Figure 100 Photograph of a tin whistle………………………………………… 119 Figure 101 Photograph of a variety of tin whistles…………………………….. 120 Figure 102 Range of the Irish flute and tin whistle……………………………. 121 v Figure 103 Larsen's scale chart for Irish flute………………………………….. 122 Figure 104 Celtic Trilogy by Paul Geraci……………………………………… 124 Figure 105 Larsen's roll and crann chart……………………………………….. 125 Figure 106 Griffin from the Bridge…………………………………………….. 126 Figure 107 Photograph of Grey Larsen………………………………………… 127 Figure 108 Bean Uí
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