FLOWING EVER OUTWARD
Corey Keating
A Thesis
Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of
MASTER OF MUSIC
August 2013
Committee:
Marilyn Shrude, Advisor
Mikel Kuehn ii
ABSTRACT
Marilyn Shrude, Advisor
Flowing Ever Outward is an eleven–minute work scored for a large chamber ensemble consisting of flute, oboe, clarinet, bassoon, horn, trumpet, trombone, piano, percussion (two players), two violins, viola, violoncello, and double bass. The harmonic and melodic material is derived from an [012347] hexachord (6-Z36) and its complement [012356] (6-Z3). These two normal sets are used primarily within the piano part, and sequential transpositions of each hexachord are generated and assigned to the various instruments of the ensemble.
These pitch collections, to a certain extent, also determine the overall structure of the work–– which can be described as something of a ternary arch form (A-B-A’)––as well as its internal sectional construction and respective instrumentation. Overall, the work is highly episodic in nature, and contains fragmented melodic figurations which gradually propel the work forward. The interaction between the
piano and the ensemble focuses mainly on timbre and gesture, and instruments are combined in such a way as to create more complex aggregate gestures, effectively making the ensemble one large meta– instrument. iii
Instrumentation
Flute Oboe Clarinet in B-flat Bassoon Horn in F Trumpet in B-flat Tenor Trombone Piano Percussion (2 players) Bass Drum Bell Tree Crotales (2 octaves) Glockenspiel Suspended Cymbal Tam-Tam Triangle Vibraphone Violin I Violin II Viola Cello Double Bass iv
Performance Notes
Score is non-transposed; all instruments are written at sounding pitch, excepting octave transpositions in the crotales, double-bass, and glockenspiel.
Accidentals carry throughout the measure; courtesy accidentals are sometimes given to clarify certain passages.
Unless otherwise indicated, the damper pedals of both the piano and vibraphone are to be held down throughout. Some discretionary pedaling is allowable if it results in greater clarity of the overall sound.
The melodic figurations throughout the piece should have a certain improvisatory flexibility, and performers are encouraged to use rubato.
Tenuto markings indicate an emphasis on the note, which can be brought out of the prevailing texture, although not as aggressively as a traditional accent.
Trills always begin on the written (principle) note, alternating with the adjacent note above it in the staff. The accidental modifier indicates whether this upper auxiliary is natural, sharp, or flat.
Example:
Abbreviations and Symbols
General: n niente; crescendo from/diminuendo to silence s.t. s.p. gradually transition from one manner of playing to another
Strings: s.p. sul ponticello s.t. sul tasto e.s.p extreme sul ponticello; on/near the bridge norm. play at a normal position ricochet/jeté attack; bounce bow quickly and with accent
Percussion: arco play with bow l.v. let vibrate ord. play in the traditional manner
Duration ca. 11’00” Gently ( )
Flute n n
Oboe
n
Clarinet in B
n
Bassoon
Horn in F
Trumpet in C
Tenor Trombone
Piano
Crot. plastic l.v. Percussion 1
Vib. B.D. soft yarn 3 (l.v.) take bow arco Percussion 2 n
Violin 1
n
Violin 2
n n
III
Viola n n
Cello
n
Bass
* All instruments written at sounding pitch, excepting octave n transpositions in the double bass, crotales, and glockenspiel. 5
Fl.
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
3
Pno. 5
B.D. Perc. 1
n 6 ord. Perc. 2
5
Vln. 1
Vln. 2 n
Vla. n
Vlc. n
Cb.
- 2 - riten. A a tempo 8 jet whistle
Fl. n n n
3 Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
3 Pno. 3
Crot. l.v. Perc. 1
B.D. 6
Perc. 2
8
Vln. 1 n n s.p. Vln. 2 n n
Vla. n
Vlc.
Cb.
n n - 3 - 13
Fl.
Ob.
B Cl. n 5 3
Bsn.
Hn.
n n C Tpt.
T. Tbn. n n
3
3 3
Pno. 6
3
Sus. Cym. B.D. arco l.v. l.v. Perc. 1
n n Tri. l.v. Vib. Perc. 2
13
Vln. 1 n
Vln. 2 n n
Vla. n
Vlc.
Cb.
n - 4 - accel. poco a poco 17 3
Fl. n
Ob. n n
B Cl. n n n
Bsn. n
Hn.
n
C Tpt.
T. Tbn. n
3 5:3 5:4 5:3
Pno. 3 r.h.
B.D. Perc. 1
n n
Tri. l.v. Perc. 2
17
Vln. 1
Vln. 2
Vla. n
Vlc.
Cb. n n
- 5 - B ( ) 22
Fl.
7
Ob. n
B Cl. n
Bsn. n
Hn.
n
C Tpt.
T. Tbn. n
5 3 l.h.
Pno.
4:3 B.D. Crot. l.v. B.D. Perc. 1
n n 11:6 Tri. l.v. Vib. Perc. 2
22
Vln. 1 n
Vln. 2 n
Vla. n
Vlc. n n n
Cb.
n n
- 6 - 27
Fl.
Ob. n
B Cl.
n
Bsn.
n
Hn.
C Tpt.
T. Tbn.
3
loco
l.h. Pno. relaxed
Bell Tree l.v. Perc. 1
Tri. l.v. Perc. 2
27
Vln. 1 n
Vln. 2
n
Vla.
n
Vlc.
n
Cb.
- 7 - rit. C ( ) 31
Fl.
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
loco
Pno. loco
B.D. l.v. Perc. 1
Tri. l.v. l.v. Perc. 2 Tam
31
Vln. 1
Vln. 2
Vla.
Vlc.
Cb. n n
- 8 - 35
Fl.
Ob.
B Cl.
n
Bsn.
Hn.
5:4
C Tpt.
T. Tbn.
5:4 Pno.
5:4
Crot. l.v. B.D. Perc. 1
Vib. arco
Perc. 2 n
35 3 3
Vln. 1 n n
Vln. 2 n
Vla. n 5:4
Vlc. n
Cb. n
- 9 - poco rit. poco accel. D ( ) 40
Fl.
Ob.
B Cl.
n n
Bsn.
Hn. n
C Tpt.
T. Tbn.
Pno.
B.D. B.D. Tam Perc. 1
n
Vib. echo Perc. 2 3 3
5 40
Vln. 1
n n espress.
4:3 Vln. 2 n n espress. 4:3 Vla. n espress.
Vlc. n
Cb. n
- 10 - 45 loco
Fl. n
Ob. n
B Cl.
n
Bsn. n
3
Hn.
C Tpt.
T. Tbn.
Pno.
Perc. 1
Perc. 2
45
Vln. 1 n
Vln. 2 n
Vla. n
Vlc. 3 n 3
Cb.
- 11 - poco rit. 51
Fl.
3
Ob. n 5 B Cl.
n n
Bsn. n
Hn.
C Tpt.
T. Tbn.
3 3
Pno. 3
B.D. Perc. 1
Vib. Perc. 2 3 3
51
Vln. 1 n n 3 3 Vln. 2 n
Vla.
n 3 3
Vlc. n
Cb.
- 12 - ( ) 56
Fl.
Ob.
B Cl.
n
Bsn.
Hn.
C Tpt.
T. Tbn.
3 3 Pno.
Perc. 1
n
Perc. 2
56
Vln. 1
Vln. 2
Vla.
Vlc. n
* Cb. n
* Sounding pitch - 13 - poco rit. a tempo 62
Fl.
5:3
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
Pno. 3 3
B.D. Perc. 1 echo Tri. l.v. Vib. Perc. 2
s.p. 62
Vln. 1
Vln. 2 n s.p.
Vla.
Vlc. n
Cb. n
- 14 - 68
Fl.
Ob. n
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
3 Pno. freely 3
B.D. Perc. 1
n Tam Perc. 2
n
68
Vln. 1
Vln. 2
Vla. n n
Vlc. n n
Cb.
n n
- 15 - rit. poco a poco 73
Fl.
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
Pno.
3 Tri. l.v. B.D. l.v. Perc. 1
l.v. Vib. Perc. 2
73 l.v.
Vln. 1
3
espress. 3 3 Vln. 2
espress. 3 3 Vla.
espress.
Vlc. n
Cb.
- 16 - E a tempo 78
Fl. n
Ob. n 3 n 3
B Cl. n
Bsn.
Hn.
n
C Tpt.
T. Tbn. n
Pno. 3 3
l.v. Perc. 1
n 3 3
echo Perc. 2
3 78
Vln. 1 n n
Vln. 2 n
Vla. n
Vlc. n
Cb.
- 17 - poco rit. 84
Fl. 3
Ob. 3 n
B Cl.
n
Bsn.
Hn. n
C Tpt.
T. Tbn.
5
Pno.
5 Tri. Sus. Cym. Tri. soft yarn l.v. Perc. 1
n
Vib. Perc. 2
3 84
Vln. 1 n
5:4
Vln. 2 n espress. 5:4
Vla. n
espress. Vlc. n
Cb.
n - 18 - F Slightly Slower ( ) 3 3 Fl.
Ob. n n 3 3 B Cl.
Bsn.
n
Hn. n
C Tpt.
T. Tbn.
Pno. 3 r.h.
Perc. 1
echo Perc. 2
89
Vln. 1 n
Vln. 2
Vla.
Vlc. n
Cb.
n - 19 - poco accel. ( ) rit.
93
Fl.
Ob.
B Cl.
3 3
Bsn.
Hn.
C Tpt.
T. Tbn.
Pno.
Tri. l.v. l.v. Perc. 1 B.D. n arco Vib. Glock plastic Vib. Perc. 2 n
93
Vln. 1 n
Vln. 2 n n
Vla.
Vlc. n
Cb.
n - 20 - G ( ) 99
Fl.
Ob.
B Cl.
Bsn.
Hn. n
C Tpt. n
T. Tbn.
3 Pno. 3:2
Sus. Cym. arco l.v. Perc. 1
n
Perc. 2
3 3 99
Vln. 1
Vln. 2
3
Vla.
Vlc. 3
Cb.
- 21 - 104 3 3 Fl.
Ob.
B Cl.
n Bsn.
Hn.
C Tpt.
T. Tbn.
3
Pno.
3
Crot. arco l.v. Perc. 1 n
Perc. 2
104
Vln. 1 n
Vln. 2 n
Vla. n
Vlc. n
Cb.
n
- 22 - H 110
Fl.
Ob. n
B Cl. n
Bsn. n
Hn.
C Tpt.
T. Tbn.
Pno.
Crot. ord. l.v. B.D. Perc. 1 n
3 Glock 3 Vib. Perc. 2
110
Vln. 1 n
Vln. 2 n
Vla. n
Vlc. n
Cb.
n - 23 - 115
Fl.
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
Pno.
3
3
B.D. Crot. Perc. 1 n B.D.
Vib. 3 3 Perc. 2
115
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
- 24 - 118
Fl.
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
7
Pno.
6
Tam l.v. Perc. 1
n 6
Perc. 2 3
118
Vln. 1 n
Vln. 2 n
Vla. n
Vlc. n
Cb. n
- 25 - I accel. poco a poco
Fl.
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
7 10 11:5
Pno. freely 8:5 5 8
B.D. Perc. 1
Perc. 2
121
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
- 26 - ( ) poco rit. J ( ) 124
Fl.
Ob. n
B Cl. n
Bsn. n
Hn.
C Tpt.
T. Tbn.
3 3 loco
Pno. loco
3
Crot. Perc. 1
5 Sus. Cym. Vib. soft yarn l.v. Perc. 2
5
124
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
- 27 - 129
Fl.
Ob. n
B Cl. n
Bsn. n
Hn.
C Tpt.
T. Tbn.
5
Pno.
Crot. arco l.v. arco l.v. Perc. 1
n n
Vib. Perc. 2 5
129
Vln. 1
Vln. 2 3
Vla.
Vlc.
Cb.
- 28 - 135
Fl. n
3 Ob.
n
B Cl.
n
Bsn.
n
Hn.
C Tpt.
T. Tbn.
5 3
Pno. marcato
arco l.v. Tri. l.v. Perc. 1
Perc. 2
135
Vln. 1
Vln. 2
7 n
Vla.
Vlc.
Cb.
- 29 - rit. K ( ) 140
Fl. n
Ob.
B Cl. n
Bsn. n
Hn.
C Tpt.
T. Tbn.
Pno.
Tam l.v. Tri. l.v. B.D. Perc. 1 n 5 Vib. 5 Perc. 2 n
140
Vln. 1
Vln. 2
Vla. n
Vlc. n
Cb.
n - 30 - 147 3
Fl.
Ob.
3 3 B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
echo 3
Pno.
Sus. Cym. arco Perc. 1 n echo
Perc. 2
147
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
- 31 - L 152 3
Fl.
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
l.h. 3
Pno.
B.D. Tri. l.v. Perc. 1
Vib. Glock Perc. 2
152
Vln. 1
3
Vln. 2
Vla.
s.p.
Vlc.
Cb.
- 32 - M 157
Fl.
n n
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
echo
Pno.
Crot. l.v. Perc. 1
3 3 Vib. Perc. 2
157
Vln. 1
Vln. 2
Vla.
3
Vlc.
Cb.
- 33 - 163
Fl. n
Ob.
n
B Cl.
n
3 Bsn. 3
Hn.
C Tpt.
T. Tbn.
3
Pno. 4:3 4:3 4:3
B.D. Perc. 1 n
3 3 3 Glock Vib. Perc. 2
163
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
- 34 - N
Fl. 5
Ob.
5 B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
Pno.
Perc. 1
Glock 3 l.v. Perc. 2
5
169
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
- 35 - rit. O a tempo 174 5
Fl.
Ob.
B Cl.
Bsn.
3 3 Hn.
C Tpt.
T. Tbn. 3
Pno. 13:8
B.D.
Perc. 1
Tam l.v. Perc. 2
174
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
- 36 - rit. P Tempo Primo ( ) 178
Fl.
Ob. n
B Cl. n
Bsn.
3 3 Hn.
C Tpt.
T. Tbn. 3
loco
3 Pno.
Crot. l.v. Perc. 1
Vib. l.v. Perc. 2
5
178
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
- 37 - 3 184
Fl. n
Ob. n n
B Cl. n n
Bsn.
Hn.
C Tpt.
T. Tbn.
3
Pno. 3
Perc. 1
Perc. 2
184
Vln. 1 n n n
Vln. 2 n n n
Vla. n n n
Vlc. n n n
Cb. n
- 38 - 190
Fl. n
Ob. n
B Cl. n
Bsn.
Hn.
C Tpt.
T. Tbn.
3 3 Pno.
Perc. 1
Perc. 2
190
Vln. 1 n n
Vln. 2
n n
Vla. n n
Vlc. n
Cb.
n n n n - 39 - 196
Fl.
Ob.
B Cl.
Bsn.
Hn.
C Tpt.
T. Tbn.
Pno.
arco l.v. arco l.v.
Perc. 1 n n Vib. Perc. 2
196
Vln. 1
Vln. 2
Vla.
3
Vlc.
espress.
Cb.
n n n - 40 - 200
Fl. n
Ob. n
B Cl.
n
Bsn. n
Hn.
C Tpt.
T. Tbn.
Pno.
arco l.v.
Perc. 1 n
Perc. 2
200
Vln. 1 n n
Vln. 2 n n
Vla. n n 3
Vlc.
3 n
Cb.
n - 41 -