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Corey Keating 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.
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