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SCHERZO Andrew Frederick a Thesis Submitted to the Graduate College SCHERZO Andrew Frederick 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 May 2020 Committee: Christopher Dietz, Advisor Elainie Lillios © 2020 Andy Frederick All Rights Reserved iii ABSTRACT Christopher Dietz, Advisor Scherzo is a non-programmatic work that develops two main themes. The overall character of the piece is that of a quirky march, with abrupt skips or elongations that keep the theme from settling into predictability. Scherzo consists of three main sections in ABA form. The two A sections are comprised of the scherzo material that gives the piece its name. This theme cycles through variations of orchestration, rhythm, key, accompaniment, and other musical characteristics. The B section contains contrasting material in a much slower tempo. The B theme is lyrical and expressive, with less of the quirky and abrupt character of the A material. The harmonic language in Scherzo is mainly triadic but not functionally tonal. In the A section, various chord extensions and color tones plus an emphasis on the tritone are explored. The B section follows a more typical chord progression as fits its lyrical nature. Rhythmically, Scherzo has a constant pulse like a march, which is continuously interrupted and evaded to contribute to the playfulness of the A sections. Importantly, I drew upon my experience being a member of concert bands for twelve years. My aim is that the piece fit within the performance capabilities (Grade V) of an average collegiate, or very good high school, concert band. Composers who influenced Scherzo include David Maslanka, Igor Stravinsky, Vincent Persichetti, and Paul Hindemith. Among Maslanka’s band works, A Child’s Garden of Dreams and The Unending Stream of Life have been particularly influential, and I look to his works as ways to develop material in new and interesting ways within an audience-accessible idiom. Hindemith’s and Persichetti’s band pieces, Konzert für Blasorchester and Symphony for Band, respectively, were also influential. I tried to emulate their Neo-Classical elements, including their harmonic language and developmental techniques. Several works by Stravinsky provided direct iv inspiration, especially those that match the whimsical nature of my scherzo sections. These pieces include the Marche Royale movement of L'Histoire du soldat, Circus Polka: For a Young Elephant, Symphony of Psalms, and Symphonies of Wind Instruments. v INSTRUMENTATION Piccolo Flute 1 Flute 2 Bb Clarinet 1 Bb Clarinet 2 Bb Clarinet 3 Bb Bass Clarinet Eb Alto Saxophone 1 Eb Alto Saxophone 2 Bb Tenor Saxophone Eb Baritone Saxophone Oboe 1 Oboe 2 Bassoon 1 Bassoon 2 Contrabassoon Bb Trumpet 1 (str./cup mute) Bb Trumpet 2 (str./ cup mute) Bb Trumpet 3 (str. mute) F Horns 1-2 F Horns 3-4 Trombone 1 (str. mute) Trombone 2 (str. mute) Bass Trombone (str. mute) Euphonium 1-2 (str. mute) Tuba String Bass Timpani Percussion 1 Percussion 2 Percussion 3 vi PERCUSSION INSTRUMENTS/INSTRUCTIONS Percussion 1: Marimba [Mar.], yarn-wrapped and hard rubber mallets Crash Cymbal [C. Cym.] Suspended Cymbal [Sus.], yarn mallets Temple Blocks [T. Bl.] Percussion 2: Vibraphone [Vib] Snare Drum [S.D.], snares on Suspended Cymbal [Sus.], yarn mallets Triangle [Tri.] Percussion 3: Glockenspiel [Glock.] Bass Drum [B.D.] Tom-toms (4) [T-t.] Triangle [Tri.] Performance Instructions Vibraphone: Change pedal on each note-change. Hold pedal for given duration of note. Marimba: For Ripple-roll, repeatedly arpeggiate from bottom to top note of the chord, not in time Program Notes Scherzo was composed in 2019-20. While not programmatic, the piece juxtaposes two distinct characters in a playful way, living up to its title. The first section and its return are quirky and unpredictable, while a more somber middle-section with soaring, lyrical melodies lies in between. A lengthy coda at the end brings the two themes together, the lyrical theme having been transformed to the scherzo-like quality of the first section. .
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