Madrigals, Book Ii and Federico's Little Song

ORGANIZATIONAL PRINCIPLES IN

TWO OF GEORGE CRUMB’S CHAMBER WORKS WITH FLUTE:

MADRIGALS, BOOK II

AND

FEDERICO’S LITTLE SONGS FOR CHILDREN

A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the Requirements for the degree of Master of Arts

Krystal R. Kuhns

August, 2011

KUHNS, KRYSTAL R., M. A., AUGUST, 2011 MUSIC

ORGANIZATIONAL PRINCIPLES IN TWO OF GEORGE CRUMB’S CHAMBER

WORKS WITH FLUTE: MADRIGALS, BOOK II AND FEDERICO’S LITTLE

SONGS FOR CHILDREN (264PP.)

Director of Thesis: Richard O. Devore

George Crumb developed his mature style in 1962 and wrote eight chamber works with flute between 1965 and 1986. The first, Madrigals, Book II (composed 1965) was written for soprano, alto flute (doubling flute in C and piccolo) and percussion. The last, Federico’s Little Songs for Children (composed 1986) was written for soprano, flute

(also piccolo, alto flute and bass flute) and harp. This thesis explores the organizational principles that are the essence of Crumb’s unique individual style with a detailed analysis of pitch-class content and contour, along with a general survey of rhythm and special effects in both pieces. Also included is an essay on the performance of the extended flute techniques throughout all eight of Crumb’s chamber works with flute.

Written 21 years apart, Madrigals, Book II and Federico’s Little Songs for

Children employ many of the same organizational principles, including chromaticism, symmetry, dissonance, and disjunct motion. Both of these pieces are highly chromatic, often emphasizing pitch-class sets that are symmetrical and contain the tritone, such as

(0167). Small sets are often expanded into larger supersets while large sets are generally fragmented and broken down into smaller subsets. The contour of the music is often disjunct, with displaced chromaticism and frequent large leaps of dissonant intervals such as tritones, sevenths and ninths. Crumb also utilizes irregular rhythmic patterns and special effects that contribute to his individual style. Irrational divisions of the beat, ties over barlines and radical time signatures often distort any sense of time and meter.

Thesis written by

Krystal R. Kuhns

B. M., Wayne State University, 2008

M. M., Kent State University, 2011

M. A., Kent State University, 2011

Approved by

______, Advisor Richard Devore

______, Director, School of Music Denise Seachrist

______, Dean, College of the Arts John Crawford

TABLE OF CONTENTS

Table of Contents……………………………………………………………………….. iii

List of Musical Examples……………………………………………………………….. iv

List of Figures………………………………………………………………………….. xvi

Acknowledgments…………………………………………………………………….. xix

Preface………………………………………………………………………………….. xx

Chapter 1: Pitch-Class Content in Madrigals, Book II…………………………………... 1

Chapter 2: Intervallic Contour in Madrigals, Book II…………………………………... 31

Chapter 3: Pitch-Class Content in Federico’s Little Songs for Children……………….. 52

Chapter 4: Intervallic Contour in Federico’s Little Songs for Children……………...... 115

Chapter 5: Conclusion…………………………………………………………………..173

Appendix A: Rhythm and Special Effects in Madrigals, Book II and

Federico’s Little Songs for Children……………………………………………….. 176

Appendix B: A Practical Guide to the Extended Techniques in

George Crumb’s Chamber Works with Flute………………………………………. 198

References……………………………………………………………………………… 263

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LIST OF MUSICAL EXAMPLES

Example Page

1.1a Madrigals, Book II1, Soprano, m. 6 (4/1)…………………………………………… 2

1.1b Madrigals, Book II1, Alto Flute, m. 2 (4/1)………………………………………… 2

1.1c Madrigals, Book II1, Percussion, m. 4 (4/1)………………………………………… 2

1.2 Madrigals, Book II1, Soprano and Percussion, m. 9 (4/2)…………………………… 3

1.3 Madrigals, Book II1, Alto Flute, m. 10 (5/1)………………………………………… 4

1.4 Madrigals, Book II1, Percussion, mm. 10-11 (5/1)…………………………………... 4

1.5a Madrigals, Book II1, Alto Flute, m. 12 (5/1)………………………………………... 5

1.5b Madrigals, Book II1, Percussion, m. 15 (5/1)………………………………………. 5

1.6a Madrigals, Book II1, Soprano, m. 6 (4/1)…………………………………………… 6

1.6b Madrigals, Book II1, Percussion, mm. 10-11 (5/1)…………………………………. 6

1.7a Madrigals, Book II1, Soprano, mm. 11-13 (5/1)……………………………………. 7

1.7b Madrigals, Book II1, Percussion, m. 14 (5/1)………………………………………. 7

1.7c Madrigals, Book II1, Alto Flute, m. 12 (5/1)………………………………………... 7

1.8a Madrigals, Book II1, Soprano, mm. 2-3 (4/1)………………………………………. 8

1.8b Madrigals, Book II1, Percussion, mm. 16-17 (5/2)…………………………………. 8

1.9a Madrigals, Book II1, Soprano, m. 5 (4/1)…………………………………………… 9

1.9b Madrigals, Book II1, Percussion, m. 18 (5/2)………………………………………. 9

1.10 Madrigals, Book II1, Soprano, mm. 18-19 (5/2)……………………………………. 9

1.11 Madrigals, Book II1, Alto Flute, mm. 19-20 (5/2)………………………………… 10

1.12a Madrigals, Book II1, Alto Flute, m. 1 (4/1)………………………………………. 12

1.12b Madrigals, Book II1, Alto Flute, m. 16 (5/2)……………………………………... 12

1.13a Madrigals, Book II1, Alto Flute, m. 2 (4/1)………………………………………. 13

1.13b Madrigals, Book II1, Alto Flute, m. 17 (5/2)……………………………………... 13

1.14 Madrigals, Book II1, Soprano, m. 20 (5/2)………………………………………… 13

1.15 Madrigals, Book II1, Percussion, m. 26 (6/1)……………………………………… 15

1.16a Madrigals, Book II1, Soprano, mm. 2-8 (4/1-2)………………………………….. 16

1.16b Madrigals, Book II1, Alto Flute, mm. 28-33 (6/1-2)……………………………... 17

1.17 Madrigals, Book II2, Timpani, (6/3)……………………………………………….. 19

1.18 Madrigals, Book II3, Piccolo, m. 1 (8/2)…………………………………………... 23

1.19 Madrigals, Book II3, Percussion, mm. 1-5 (8/2)…………………………………... 23

1.20 Madrigals, Book II3, Soprano, mm. 2-3 (8/2)……………………………………... 24

1.21 Madrigals, Book II3, Soprano, mm. 6-7 (8/2)……………………………………... 24

1.22 Madrigals, Book II3, All Voices, mm. 15-17 (8/3)………………………………… 26

1.23 Madrigals, Book II3, Piccolo, m. 23 (9/1)…………………………………………. 27

2.1a Madrigals, Book II1, Soprano, mm. 2-4 (4/1)……………………………………… 36

2.1b Madrigals, Book II1, Percussion, mm. 16-17 (5/2)………………………………... 36

2.1c Madrigals, Book II1, Soprano, mm. 18-19 (5/2)…………………………………… 36

2.1d Madrigals, Book II1, Alto Flute, mm. 19-20 (5/2)………………………………… 37

2.2a Madrigals, Book II1, Alto Flute, m. 1(4/1)………………………………………… 37

2.2b Madrigals, Book II1, Alto Flute, m. 16 (5/2)………………………………………. 37

2.2c Madrigals, Book II1, Soprano, m. 20 (5/2)………………………………………… 38

2.3a Madrigals, Book II1, Soprano, mm. 11-12 (5/1)…………………………………… 39

2.3b Madrigals, Book II1, Soprano, mm. 22-24 (5/3)…………………………………... 39

2.4a Madrigals, Book II1, Alto Flute, m. 24 (5/3)………………………………………. 40

2.4b Madrigals, Book II1, Alto Flute, m. 25 (5/3)………………………………………. 40

2.5 Madrigals, Book II1, Percussion, mm. 23-24 (5/3)…………………………………. 40

2.6 Madrigals, Book II1, Alto Flute, mm. 28-30 (6/1)………………………………….. 41

2.7 Madrigals, Book II1, Percussion, mm. 28-29 (6/1)…………………………………. 42

2.8 Madrigals, Book II2, Flute and Percussion, (6/3)…………………………………… 43

2.9 Madrigals, Book II2, Soprano, (6/3)………………………………………………… 44

2.10 Madrigals, Book II2, Flute and Percussion, (6/3)………………………………….. 44

2.11 Madrigals, Book II2, Soprano, (7/1)……………………………………………….. 45

2.12 Madrigals, Book II3, Soprano, mm. 2-3 (8/2)……………………………………... 46

2.13 Madrigals, Book II3, Soprano, mm. 6-7 (8/2)……………………………………... 46

2.14 Madrigals, Book II3, Soprano, mm. 16-17 (8/3)…………………………………... 47

2.15 Madrigals, Book II3, Piccolo, m. 1 (8/2)…………………………………………... 47

2.16 Madrigals, Book II3, Piccolo, mm. 4-5 (8/2)………………………………………. 48

2.17 Madrigals, Book II3, Percussion, mm. 1-5 (8/2)…………………………………... 49

2.18 Madrigals, Book II3, Percussion, mm. 19-23 (9/1)………………………………... 50

3.1a Federico’s Little Songs for Children, 1, Piccolo and Harp, mm. 1-3 (6/1)………... 54

3.1b Federico’s Little Songs for Children, 1, Piccolo and Harp, mm. 9-10 (6/2)………. 54

3.2a Federico’s Little Songs for Children, 1, Soprano, mm. 5-8 (6/1)…………………. 55

3.2b Federico’s Little Songs for Children, 1, Soprano, mm. 12-15 (6/2)………………. 55

3.3a Federico’s Little Songs for Children, 1, Piccolo and Harp, mm. 2-3 (6/1)………... 56

3.3b Federico’s Little Songs for Children, 1, Piccolo and Harp, mm. 17-20 (7/1)……... 56

3.4a Federico’s Little Songs for Children, 1, Soprano, mm. 5-8 (6/1)…………………. 57

3.4b Federico’s Little Songs for Children, 1, Soprano, mm. 21-24 (7/1)………………. 57

3.5a Federico’s Little Songs for Children, 1, Harp, m. 25 (7/2)………………………... 59

3.5b Federico’s Little Songs for Children, 1, Harp, m. 43 (8/1)………………………... 59

3.6a Federico’s Little Songs for Children, 1, Soprano, mm. 5-8 (6/1)…………………. 61

3.6b Federico’s Little Songs for Children, 1, Piccolo, mm. 53-55 (8/3)……………….. 61

3.7a Federico’s Little Songs for Children, 1, Harp, m. 43 (8/1)………………………... 64

3.7b Federico’s Little Songs for Children, 2, Harp, m. 1 (9/3)…………………………. 64

3.8 Federico’s Little Songs for Children, 2, Harp, m. 8 (10/1)…………………………. 66

3.9 Federico’s Little Songs for Children, 2, Harp, mm. 11-12 (10/1-2)………………... 67

3.10 Federico’s Little Songs for Children, 2, Soprano, m. 12 (10/2)…………………… 68

3.11a Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)…………………. 74

3.11b Federico’s Little Songs for Children, 3, Alto Flute, m. 3 (12/1)………………… 74

3.12 Federico’s Little Songs for Children, 3, Soprano, m. 4 (12/1)…………………….. 74

3.13a Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)…………………. 76

3.13b Federico’s Little Songs for Children, 3, Alto Flute, m. 6 (12/2)…………………. 76

3.14a Federico’s Little Songs for Children, 3, Alto Flute, m. 4 (12/1)…………………. 78

3.14b Federico’s Little Songs for Children, 3, Alto Flute, m. 7 (12/2)…………………. 78

3.15a Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)…………………. 79

3.15b Federico’s Little Songs for Children, 3, Alto Flute, m. 8 (13/1)…………………. 79

3.16 Federico’s Little Songs for Children, 4, Harp, m. 5 (14/2)………………………... 81

3.17 Federico’s Little Songs for Children, 4, Harp, m. 5 (14/2)………………………... 82

3.18a Federico’s Little Songs for Children, 5, Alto Flute, m. 1 (11/2)…………………. 84

3.18b Federico’s Little Songs for Children, 5, Soprano, m. 1 (16/1)…………………… 84

3.19 Federico’s Little Songs for Children, 5, Alto Flute, m. 1 (16/1)…………………... 85

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3.20 Federico’s Little Songs for Children, 5, Alto Flute, mm. 3-4 (17/2)……………… 86

3.21 Federico’s Little Songs for Children, 5, Soprano, m. 8 (17/2)…………………….. 87

3.22 Federico’s Little Songs for Children, 5, Alto Flute, mm. 9-13 (17/3)…………….. 88

3.23a Federico’s Little Songs for Children, 2, Harp, m. 1-3 (9/3)……………………… 89

3.23b Federico’s Little Songs for Children, 5, Harp, mm. 9-13 (17/3)………………… 89

3.24a Federico’s Little Songs for Children, 5, Soprano, m. 14 (18/1)………………….. 91

3.24b Federico’s Little Songs for Children, 5, Alto Flute, m. 14 (18/2)………………... 91

3.25 Federico’s Little Songs for Children, 2, Harp, mm. 1-3 (9/3)…………………….. 92

3.26a Federico’s Little Songs for Children, 2, Flute, m. 21 (11/1)……………………... 93

3.26b Federico’s Little Songs for Children, 6, Flute, mm. 4-5 (18/3)………………….. 93

3.27 Federico’s Little Songs for Children, 6, Soprano, mm. 7-8 (18/3)………………... 94

3.28a Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)…………………. 95

3.28b Federico’s Little Songs for Children, 6, Flute, mm. 9-10 (19/1)………………… 95

3.29 Federico’s Little Songs for Children, 6, Harp, mm. 19-21 (19/2)………………… 98

3.30a Federico’s Little Songs for Children, 6, Harp, mm. 1-4 (18/3)…………………... 98

3.30b Federico’s Little Songs for Children, 6, Soprano, mm. 20-22 (19/2)……………. 99

3.31 Federico’s Little Songs for Children, 6, Flute, m. 22 (19/2)………………………. 99

3.32 Federico’s Little Songs for Children, 6, Harp, m. 22 (19/2)…………………….. 100

3.33 Federico’s Little Songs for Children, 6, Soprano and Harp, mm. 28-30 (19/3)… 101

3.34 Federico’s Little Songs for Children, 6, Soprano and Flute, mm. 34-37 (20/1)… 102

3.35 Federico’s Little Songs for Children, 6, Soprano, mm. 43-44 (20/2)…………… 102

3.36a Federico’s Little Songs for Children, 5, Alto Flute, m. 1 (16/1)……………….. 105

3.36b Federico’s Little Songs for Children, 7, Piccolo, m. 1 (21/2)………………….. 105

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3.37a Federico’s Little Songs for Children, 1, Harp, mm. 1-3 (6/1)………………….. 106

3.37b Federico’s Little Songs for Children, 7, Harp, m. 1 (21/2)…………………….. 107

3.38a Federico’s Little Songs for Children, 1, Soprano, m. 5 (6/1)…………………... 108

3.38b Federico’s Little Songs for Children, 7, Soprano, m. 4 (21/2)…………………. 108

3.39 Federico’s Little Songs for Children, 7, Piccolo, m. 18 (22/2)………………….. 110

3.40a Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/3)……………….. 111

3.40b Federico’s Little Songs for Children, 7, Alto Flute, m. 23 (22/2)……………… 111

3.41a Federico’s Little Songs for Children, 2, Harp, mm. 1-3 (9/3)………………….. 112

3.41b Federico’s Little Songs for Children, 7, Soprano, m. 25 (22/3)………………... 112

3.42 Federico’s Little Songs for Children, 7, All Voices, mm. 26-30 (22/3)………… 113

4.1 Federico’s Little Songs for Children, 1, Piccolo, m. 1 (6/1)……………………… 115

4.2 Federico’s Little Songs for Children, 1, Soprano, m. 5 (6/1)……………………... 116

4.3a Federico’s Little Songs for Children, 1, Piccolo, m. 3 (6/1)…………………….. 116

4.3b Federico’s Little Songs for Children, 1, Soprano, m. 8 (6/1)……………………. 116

4.4a Federico’s Little Songs for Children, 1, Harp, mm. 1-3 (6/1)…………………… 117

4.4b Federico’s Little Songs for Children, 1, Harp, mm. 5-8 (6/1)…………………... 117

4.5a Federico’s Little Songs for Children, 1, Harp, mm. 5-6 (6/1)…………………… 119

4.5b Federico’s Little Songs for Children, 1, Piccolo, m. 20 (7/1)…………………… 119

4.6 Federico’s Little Songs for Children, 1, Harp, mm. 17-18 (7/1)…………………. 120

4.7 Federico’s Little Songs for Children, 1, Harp, mm. 22-24 (7/1)…………………. 121

4.8 Federico’s Little Songs for Children, 1, Piccolo and Harp, mm. 25-26 (7/2)…….. 121

4.9 Federico’s Little Songs for Children, 1, Piccolo, mm. 35-36 (7/3)………………. 122

4.10 Federico’s Little Songs for Children, 1, Soprano, m. 37 (7/3)…………………... 123

4.11 Federico’s Little Songs for Children, 2, Harp, mm. 1-3 (9/3)…………………... 125

4.12 Federico’s Little Songs for Children, 2, Soprano and Flute, mm. 3-5 (9/3)…….. 126

4.13 Federico’s Little Songs for Children, 2, Soprano, mm. 6-7 (10/1)……………… 126

4.14a Federico’s Little Songs for Children, 2, Harp, mm. 1-3 (9/3)………………….. 127

4.14b Federico’s Little Songs for Children, 2, Harp, m. 8 (10/1)…………………….. 127

4.15 Federico’s Little Songs for Children, 2, Harp, mm. 10-12 (10/1-2)…………….. 128

4.16 Federico’s Little Songs for Children, 2, Harp, mm. 13-14 (10/2)………………. 129

4.17 Federico’s Little Songs for Children, 2, Soprano, m. 11 (10/2)…………………. 129

4.18 Federico’s Little Songs for Children, 2, Flute, m. 10 (10/1)…………………….. 130

4.19 Federico’s Little Songs for Children, 2, All Voices, mm. 15-18 (10/3)………… 131

4.20 Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)………………… 132

4.21 Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)………………… 133

4.22 Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)………………… 133

4.23a Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)……………….. 134

4.23b Federico’s Little Songs for Children, 3, Alto Flute, m. 3 (12/1)……………….. 134

4.24 Federico’s Little Songs for Children, 3, Alto Flute, m. 4 (12/1)………………… 135

4.25 Federico’s Little Songs for Children, 3, Alto Flute, m. 6 (12/2)………………… 135

4.26 Federico’s Little Songs for Children, 3, Alto Flute, m. 7 (12/2)………………… 136

4.27 Federico’s Little Songs for Children, 3, Alto Flute, m. 8 (13/1)………………… 138

4.28 Federico’s Little Songs for Children, 3, Alto Flute, m. 9 (13/2)………………… 138

4.29 Federico’s Little Songs for Children, 3, Soprano, m. 2 (11/2)…………………... 139

4.30a Federico’s Little Songs for Children, 3, Soprano, m. 4 (12/1)…………………. 139

4.30b Federico’s Little Songs for Children, 3, Soprano, m. 5 (12/2)…………………. 139

4.31 Federico’s Little Songs for Children, 3, Harp, m. 2 (11/1)……………………… 140

4.32 Federico’s Little Songs for Children, 3, Harp, m. 4 (12/1)……………………… 140

4.33 Federico’s Little Songs for Children, 3, Harp, mm. 7-8 (13/1)…………………. 141

4.34 Federico’s Little Songs for Children, 3, Harp, m. 8 (13/1)……………………… 141

4.35 Federico’s Little Songs for Children, 4, Bass Flute, m. 1 (14/1)………………... 142

4.36 Federico’s Little Songs for Children, 4, Soprano, mm. 2-4 (14/1)……………… 144

4.37 Federico’s Little Songs for Children, 4, Soprano, mm. 1-2 (14/1)……………… 144

4.38 Federico’s Little Songs for Children, 4, Soprano, m. 6 (14/2)…………………... 144

4.39 Federico’s Little Songs for Children, 4, Harp, m. 5 (14/2)……………………… 145

4.40 Federico’s Little Songs for Children, 4, Harp, m. 6 (14/2)……………………… 146

4.41 Federico’s Little Songs for Children, 4, Harp, m. 12 (15/2)…………………….. 146

4.42 Federico’s Little Songs for Children, 4, Bass Flute, mm. 7-8 (14/2)……………. 147

4.43a Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)……………….. 148

4.43b Federico’s Little Songs for Children, 5, Soprano, m. 1 (16/1)…………………. 148

4.44 Federico’s Little Songs for Children, 5, Soprano, m. 8 (17/2)…………………... 149

4.45a Federico’s Little Songs for Children, 3, Soprano, m. 2 (11/2)…………………. 149

4.45b Federico’s Little Songs for Children, 5, Soprano, m. 14 (18/1)………………... 150

4.46a Federico’s Little Songs for Children, 4, Soprano, m. 2 (14/1)…………………. 151

4.46b Federico’s Little Songs for Children, 5, Soprano, m. 4 (17/1)…………………. 151

4.47 Federico’s Little Songs for Children, 5, Alto Flute, m. 1 (16/1)………………… 152

4.48a Federico’s Little Songs for Children, 2, Flute, m. 10 (11/1)…………………… 152

4.48b Federico’s Little Songs for Children, 5, Alto Flute, mm. 3-4 (17/1)…………... 152

4.49a Federico’s Little Songs for Children, 5, Alto Flute and Harp, mm. 3-5 (17/1)… 153

4.49b Federico’s Little Songs for Children, 5, Alto Flute and Harp, mm. 9-10 (17/3).. 153

4.50 Federico’s Little Songs for Children, 5, Harp, m. 1 (16/1)……………………… 154

4.51a Federico’s Little Songs for Children, 2, Harp, m. 1 (9/3)……………………… 155

4.51b Federico’s Little Songs for Children, 6, Harp, m. 1 (18/3)…………………….. 155

4.52a Federico’s Little Songs for Children, 1, Harp, mm. 5-8 (6/1)………………….. 156

4.52b Federico’s Little Songs for Children, 6, Harp, mm. 11-12 (19/1)……………... 156

4.53a Federico’s Little Songs for Children, 3, Harp, m. 2 (11/2)…………………….. 157

4.53b Federico’s Little Songs for Children, 6, Harp, m. 18 (19/1)…………………… 157

4.54a Federico’s Little Songs for Children, 2, Flute, m. 21 (11/1)…………………… 158

4.54b Federico’s Little Songs for Children, 6, Flute, mm. 4-5 (18/3)………………... 158

4.55a Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)……………….. 159

4.55b Federico’s Little Songs for Children, 6, Flute, mm. 9-10 (19/1)………………. 159

4.56a Federico’s Little Songs for Children, 6, Harp, m. 3 (18/3)…………………….. 160

4.56b Federico’s Little Songs for Children, 6, Flute, mm. 22-24 (19/2)……………... 160

4.57a Federico’s Little Songs for Children, 1, Soprano, m. 5 (6/1)…………………... 161

4.57b Federico’s Little Songs for Children, 6, Flute, mm. 34-35 (20/1)……………... 161

4.58a Federico’s Little Songs for Children, 1, Soprano, mm. 5-6 (6/1)……………… 162

4.58b Federico’s Little Songs for Children, 6, Soprano, mm. 7-9 (18/3)…………….. 162

4.59a Federico’s Little Songs for Children, 6, Harp, mm. 1-4 (18/3)………………… 163

4.59b Federico’s Little Songs for Children, 6, Soprano, mm. 11-14 (19/1)………….. 163

4.60 Federico’s Little Songs for Children, 6, Soprano, mm. 20-23 (19/2)…………… 164

4.61a Federico’s Little Songs for Children, 7, Piccolo and Harp, mm. 1-3 (21/2)…… 164

4.61b Federico’s Little Songs for Children, 3, Alto Flute, m. 1 (11/2)………………. 165

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4.61c Federico’s Little Songs for Children, 7, Piccolo, m. 3 (21/2)………………….. 166

4.61d Federico’s Little Songs for Children, 3, Alto Flute and Harp, m. 9 (13/2)…….. 166

4.61e Federico’s Little Songs for Children, 7, Piccolo and Harp, m. 3 (21/2)……….. 167

4.62a Federico’s Little Songs for Children, 7, Soprano and Harp, mm. 4-5 (21/2)…... 167

4.62b Federico’s Little Songs for Children, 2, Soprano, m. 9 (10/1)…………………. 168

4.63 Federico’s Little Songs for Children, 7, Soprano and Harp, m. 6-7 (21/3)……... 169

4.64a Federico’s Little Songs for Children, 2, Harp, m. 1 (9/3)……………………… 170

4.64b Federico’s Little Songs for Children, 2, All Voices, mm. 15-16 (10/3)……….. 170

4.64c Federico’s Little Songs for Children, 7, Soprano, m. 25 (22/3)………………... 171

4.65a Federico’s Little Songs for Children, 6, Harp, mm. 1-3 (18/3)………………… 171

4.65b Federico’s Little Songs for Children, 7, Soprano, m. 28 (22/3)……………….. 171

4.65c Federico’s Little Songs for Children, 7, Soprano, m. 30 (22/3)………………... 172

A.1a Madrigals, Book II1, Alto Flute, m. 1 (4/1)……………………………………... 178

A.1b Federico’s Little Songs for Children, 5, Soprano, m. 1 (16/1)………………….. 178

A.2 Madrigals, Book II1, Soprano, mm. 6-7 (4/2)…………………………………….. 178

A.3 Madrigals, Book II1, Soprano, mm. 2-5 (4/1)…………………………………….. 179

A.4a Federico’s Little Songs for Children, 6, Flute, mm. 9-10 (19/1)………………... 179

A.4b Federico’s Little Songs for Children, 7, Harp, mm. 6-7 (21/3)…………………. 179

A.5 Madrigals, Book II1, Percussion, m. 1 (4/1)……………………………………… 180

A.6 Madrigals, Book II2, All Voices, (6/2)…………………………………………… 181

A.7a Federico’s Little Songs for Children, 2, Soprano, mm. 3-4 (9/3)………………. 181

A.7b Federico’s Little Songs for Children, 6, Harp, m. 22 (19/2)……………………. 182

A.8 Madrigals, Book II1, Time Signature, m. 1 (4/1)…………………………………. 182

xiii

A.9 Madrigals, Book II1, Soprano, mm. 11-13 (5/1)………………………………….. 184

A.10 Madrigals, Book II3, Soprano, mm. 21-22 (9/1)………………………………… 184

A.11 Madrigals, Book II3, Soprano, mm. 16-17 (8/3)………………………………… 184

A.12 Madrigals, Book II3, Soprano, mm. 35-36 (9/3)………………………………… 185

A.13 Madrigals, Book II3, Soprano, m. 51 (10/2)…………………………………….. 185

A.14 Federico’s Little Songs for Children, 1, Soprano, m. 35 (7/3)………………….. 186

A.15 Federico’s Little Songs for Children, 4, Soprano, m. 2 (14/1)………………….. 186

A.16 Federico’s Little Songs for Children, 5, Soprano, mm. 4-6 (17/1)……………... 187

A.17 Madrigal, Book II1, Alto Flute, m. 1 (4/1)………………………………………. 187

A.18 Madrigals, Book II1, Alto Flute, m. 11 (5/1)……………………………………. 188

A.19 Madrigals, Book II2, Flute and Percussion, (6/3)……………………………….. 188

A.20 Federico’s Little Songs for Children, 1, Piccolo, m. 3 (6/1)……………………. 189

A.21a Federico’s Little Songs for Children, 2, Flute, m. 21 (11/1)…………………... 189

A.21b Federico’s Little Songs for Children, 5, Alto Flute, mm. 3-4 (17/1)………….. 189

A.22a Federico’s Little Songs for Children, 2, Flute, mm. 4-5 (9/3)…………………. 190

A.22b Federico’s Little Songs for Children, 2, Flute, m. 20 (11/1)…………………... 190

A.23 Federico’s Little Songs for Children, 6, Flute, mm. 34-355 (20/1)…………….. 191

A.24 Madrigals, Book II1, Percussion, mm. 23-24 (5/3)……………………………… 191

A.25 Madrigals, Book II2, Percussion, (6/3)………………………………………….. 192

A.26 Madrigals, Book II2, Percussion, (6/3)………………………………………….. 192

A.27 Federico’s Little Songs for Children, 1, Harp, m. 35 (7/3)……………………... 193

A.28 Federico’s Little Songs for Children, 3, Harp, m. 2 (11/2)……………………... 194

A.29a Federico’s Little Songs for Children, 4, Harp, m. 6 (14/2)……………………. 194

xiv

A.29b Federico’s Little Songs for Children, 5, Harp, m. 1 (16/1)……………………. 195

A.30 Federico’s Little Songs for Children, 5, Harp, m. 8 (17/2)……………………... 195

A.31 Federico’s Little Songs for Children, 6, Harp, mm. 47-48 (20/2)………………. 196

A.32a Federico’s Little Songs for Children, 1, Harp, mm. 5-6 (6/1)…………………. 196

A.32b Federico’s Little Songs for Children, 7, Harp, m. 4 (21/2)……………………. 196

LIST OF FIGURES

Figure Page

1.1a Original Soprano Pitch Material, mm. 1-8 (4/1), Madrigals, Book II1…………… 11

1.1b Pitch Material in all Three Voices in Return of Soprano Motive,

mm. 16-22 (5/2), Madrigals, Book II1……………………………………………… 11

1.2 Tritones in Percussion and Alto Flute, (6/3), Madrigals, Book II2………………… 20

1.3 Tritones in Percussion (7/1), Madrigals, Book II2…………………………………. 21

2.1a Soprano Contour, mm. 2-6 (4/1), Madrigals, Book II1…………………………… 33

2.1b Soprano Contour, mm. 11-13 (5/1), Madrigals, Book II1………………………… 33

2.2a Alto Flute Contour, m. 3 (4/1), Madrigals, Book II1……………………………… 34

2.2b Alto Flute Contour, m. 10 (5/1), Madrigals, Book II1……………………………. 34

2.3a Percussion Contour Written Pitches, mm. 10-11 (5/1), Madrigals, Book II1…….. 35

2.3b Percussion Contour Sounding Pitches, mm. 10-11 (5/1), Madrigals, Book II1…... 35

2.4 Percussion Contour, mm. 1-5 (8/2), Madrigals, Book II3………………………….. 49

3.1a Piccolo, mm. 57-58 (8/3), Overlapping (0257) Sets, Federico’s Little Songs for Children, 1…………………………………………….. 61

3.1b Harp, mm. 58-62 (9/1), Overlapping (0257) Sets, Federico’s Little Songs for Children, 1…………………………………………….. 62

3.2 Harp, mm. 1-3 (9/3), Dotted Line of Symmetry, Federico’s Little Songs for Children, 2…………………………………………….. 65

3.3 Harp, mm. 11-12 (10/1-2), Highlighting (027) Sets, Federico’s Little Songs for Children, 2…………………………………………….. 67

3.4a Soprano, m. 12 (10/2), Symmetrical Set (0167), Federico’s Little Songs for Children, 2……………………………………………. 68

3.4b Symmetrical Set Containing Two Perfect Fourths……………………………….. 68

xvi

3.5 All Voices, mm. 15-17 (10/3), (027) in all voices, Dotted line of symmetry in flute and harp, Federico’s Little Songs for Children, 2…... 69

3.6a Flute, mm. 4-5 (9/2), Federico’s Little Songs for Children, 2……………………. 70

3.6b Flute, mm. 19-20 (10/3), Federico’s Little Songs for Children, 2………………... 70

3.7 Alto Flute, m. 1 (11/2), Federico’s Little Songs for Children, 3…………………... 72

3.8a Alto Flute, m. 1 (11/2), Federico’s Little Songs for Children, 3…………………. 77

3.8b Alto Flute, m. 6 (12/2), Federico’s Little Songs for Children, 3…………...…….. 77

3.9 Chord Cluster with D “Pitch Center”………………………………………………. 81

3.10 Alto Flute, m. 1 (16/1), Chromatic Subsets Create a Larger Symmetrical Set, Federico’s Little Songs for Children, 5…………………………………………….. 85

3.11 Harp, mm. 3-7 (17/1), “Ostinato” Figure, Metric Displacement, Federico’s Little Songs for Children, 5…………………………………………….. 87

3.12 Harp, mm. 1-4 (18/3), (016) Sets, Federico’s Little Songs for Children, 6………. 92

3.13 Soprano and Harp, mm. 11-12 (19/1), Federico’s Little Songs for Children, 6…………………………………………….. 96

3.14 Soprano and Harp, mm. 13-14 (19/1), Federico’s Little Songs for Children, 6…………………………………………….. 97

3.15 Piccolo, m. 3 (21/2), (012) Sets within the Alto Flute Third Idea, Federico’s Little Songs for Children, 7……………………………………………. 106

4.1a Soprano, mm. 5-8 (6/1), Federico’s Little Songs for Children, 1……………….. 118

4.1b Soprano, mm. 12-15 (6/2), Federico’s Little Songs for Children, 1…………….. 118

4.1c Soprano, mm. 21-24 (7/1), Federico’s Little Songs for Children, 1…………….. 120

4.2 Harp, mm. 10-12 (10/1-2), Contour Reduced to One Staff, Federico’s Little Songs for Children, 2……………………………………………. 128

4.3a Alto Flute, m. 1 (11/2), Third Idea Contour, Federico’s Little Songs for Children, 3……………………………………………. 136

xvii

4.3b Alto Flute, m. 8 (13/1), Beats 2-3, Altered Contour of Third Idea, Federico’s Little Songs for Children, 3……………………………………………. 137

4.3c Alto Flute, m. 8 (13/1), Beats 3-4, Altered Contour of Third Idea, Federico’s Little Songs for Children, 3……………………………………………. 137

4.3d Alto Flute, m. 8 (13/1), Beat 6, Altered Contour of Third Idea, Federico’s Little Songs for Children, 3……………………………………………. 137

4.4a Original Bass Flute Motive, m. 1 (14/1), Federico’s Little Songs for Children, 4……………………………………………. 143

4.4b Expanded Bass Flute Motive, mm. 2-3 (14/1), Federico’s Little Songs for Children, 4……………………………………………. 143

4.4c Fragmented Bass Flute Motive, m. 3 (14/1), Federico’s Little Songs for Children, 4……………………………………………. 143

4.5 Harp, m. 5 (14/2), Reduction of Harp Material to One Stave, Federico’s Little Songs for Children, 4……………………………………………. 145

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ACKNOWLEDGMENTS

This thesis would not have been possible without the constant support and guidance from my advisor Richard Devore. I am so thankful for all of the time he has taken to read countless drafts, answer a million questions and keep me motivated. I would also like to thank Ralph Lorenz and Frank Wiley for their help with this project, as their insight has been invaluable. Special thanks to my husband, Christopher Kuhns, for his endless encouragement and faith in me, and for his patience with the oversized scores cluttering our home.

Finally, I would like to thank C.F. Peters Corporation for allowing me to use examples from all eight of George Crumb’s chamber works with flute.

xix

PREFACE

This thesis focuses on a detailed analysis of pitch-class content and intervallic contour in two of George Crumb’s chamber works, Madrigals, Book II (1965) and

Federico’s Little Songs for Children (1986). These two pieces were chosen to represent

Crumb’s early and late chamber works including flute. In addition, an analytical overview of rhythmic techniques and special effects in these two works is included in an appendix. A second appendix, A Practical Guide to the Extended Techniques in George

Crumb’s Chamber Works with Flute, examines the extended techniques in all eight of

George Crumb’s chamber works with flute, including Madrigals, Book II and Federico’s

Little Songs for Children.

Since many of Crumb’s works do not bear measure numbers, specific passages are described by their page number and system within parentheses, (page number/system). For example, page six, second system is abbreviated (6/2). In the event that a passage extends from one system to another, the second system to the third system on page six for instance, it is notated as (6/2-3). In describing multiple systems on the same page, as in page six, second and third systems, the notation is (6/2, 3). Measure numbers are given when present along with the page number and system.

Madrigals, Book II has three movements in which the shorthand for a specific movement includes the movement number as a subscript: Madrigals, Book II1 refers to the first movement of Madrigals, Book II; when identifying specific movements in

Federico’s Little Songs for Children, the movement number is given after the title:

Federico’s Little Songs for Children, 1, indicates the first movement of this piece. The term “pitch class” is abbreviated as “pc,” and sets are always listed in their prime form.

The approach to contour analysis taken in this thesis is somewhat different from

traditional contour theory. Emphasis is placed on spatial relationships based on intervallic

size, not on the reduction to a basic shape, so conventional contour terminology is not

used. Instead, intervallic contour is described by the number of semitones between adjacent pitches notated within brackets (plus “+” and minus “-” signs indicate direction).

For example, [-3, +3] illustrates a figure descending three semitones and then ascending

three semitones. This approach to contour highlights Crumb’s use of spatial and

symmetrical relationships, as well as his octave displacement of chromatic pitches.

In the musical examples and figures, the soprano and flute are always assumed to

be in treble clef where no clef is present; if no clef is present for percussion or harp, the

clef is specified in the text below. “Examples” are those taken directly from the score or

engraved in a music notation program; “figures” are excerpts from the score that have

been altered in any way and also include abstract representations of the music.

xxi

CHAPTER 1

PITCH-CLASS CONTENT IN MADRIGALS, BOOK II

The first and second movements of this work begin with small pc sets that are later expanded to larger sets as motives are developed. The third movement begins with large pc sets that become fragmented and broken down, withdrawing smaller pc sets from larger ones. The pc material is examined both individually by instrument and as a whole, noting relationships that are important to the overall structure of the piece.

I. BEBE EL AGUA TRANQUILA DE LA CANCIÓN AÑEJA

(DRINK THE TRANQUIL WATER OF THE ANTIQUE SONG)

PC sets in this movement are often entirely chromatic or mostly chromatic with

an added tritone, for example (0126). The total pitch material in the first section is fairly

limited. The percussion begins this movement, acting as an accompaniment to the alto

flute/soprano duet with a (05) dyad. This dyad is repeated in m. 2 then expanded in mm.

4-6 by an added grace note creating a (016) trichord. The dissonant tritone is added only

after the soprano has entered, almost as if the percussion is unable to play consonant

intervals while the soprano is singing. This completes the percussion pc content for the A

section.

The alto flute begins the duet in m. 1 with a short, three-note figure, also (016), that is expanded in mm. 2 and 3 to (0146) and (02368) respectively. The alto flute uses no new pitch material throughout this section. The soprano joins the duet after the second alto flute statement in m. 2 with a (02) dyad that is repeated in mm. 3-4. New pitches are introduced in mm. 5 and 6, expanding the original set to (012) and then (0126). With very

little pitch material in the A section, Crumb establishes the tritone as an important

interval and (016) as a prominent pc set in which all three voices play variations. The largest set in the soprano is (0126), the alto flute plays primarily (0146) and the percussion is comprised mainly of (016).

Example 1.1a Soprano, m. 6 (4/1) (0126)

Example 1.1b Alto Flute, m. 2 (4/1) (0146)

Example 1.1c Percussion, m. 4 (4/1) Both staves treble clef (016)

The B section begins at m. 9 and provides a striking contrast to the A section by

introducing a wide range of new pitch material. The soprano and percussion begin this section simultaneously with a (0167) set. The G# in the soprano is a tritone above its starting pitch in the A section in m. 2; the trichord in the percussion is an inversion of the trichord in m. 4. This combination blurs the lines between the A and B sections.

Example 1.2 Soprano and Percussion, m. 9 (4/2) B Section (0167)

The alto flute also begins the B section with material from the A section with a

(016) set transposed up a perfect fifth from the original motive. This A section material however does not linger. The alto flute plays a flurry of new pitches in m. 10, as if to bring the other voices out of the A section. The new pitches in m. 10 are an expansion of the previous statement in m. 9 and create a (012678) symmetrical set. Crumb often uses pc sets such as this one in which the intervals used can be grouped symmetrically around the “hole” in the middle of the set. In the following example the “hole” is between E6 and

G#5, according to the octave designation system of the American Acoustical Society.

Example 1.3 Alto Flute, m. 10 (5/1) (012678)

The alto flute then continues to alter this motive, stating it at different pitch levels and

shortening the rhythm three times until it fades out in m. 12. The first statement brings

back the (016) set, followed by two different statements of (012).

The percussion, playing an entirely different role in this section, presents the

entire chromatic aggregate between mm. 10-13, often emphasizing a tritone between consecutive pitches. The first note in m. 10 is a grace note F#5 descending a tritone to C5, followed by C#4 ascending a tritone to G4.

Example 1.4 Percussion, mm. 10-11 (5/1) Both staves treble clef

After the chromatic aggregate is presented, the percussion echoes the alto flute (012) set from m. 12 with a (012) statement in m. 14.

Example 1.5a Alto Flute, m. 12 (5/1) (012) sets

Example 1.5b Percussion, m. 14 (5/1) Both staves treble clef (012)

The soprano enters the B section in m. 11 and sings words, not phonetic sounds as in the previous section, beginning with the interval of a tritone G#4/D4. The first statement of the soprano, “Bebe el agua tranquila” (“Drink the tranquil water”) is sung to a (01234568) set. The second statement, “de la canción añeja” (“of the antique song”) is sung to a (01235679) set. Each of these two phrases contains the “missing” pitch classes the other does not have to complete the aggregate; together, they form (0123456789te).

The visual aspects of the pitch material play a very important role in this movement as Crumb tends to refer to other voices and make pitch material look the same

even when it sounds different. The percussion line in mm. 11-12 looks similar to the

soprano line in m. 6, as it begins with similar pitch material.

Example 1.6a Soprano, m. 6 (4/1)

Example 1.6b Percussion, mm. 10-11 (5/1)

In the soprano in mm. 12-13, the pitch center appears to be C#5 accented by D5. The percussion ends the B section with a (012) set comprised of Cn4/C#5/D4. The alto flute line in mm. 11-12 reinforces the appearance of these pitches by repeating a written D6

(sounding A5), and the last motive in m. 12 is made up of written Cn4/C#5/D5. Examples

1.7a, b, and c are all visually similar, but the alto flute actually sounds a perfect fourth

lower than written. Crumb frequently makes use of such apparently similar passages,

which could be referred to as “Augenmusik” (eye music). This visual aspect of pitch

material plays an important role later in the movement and in Federico’s Little Songs for

Children, as discussed in chapters 3 and 4.

Example 1.7a Soprano, mm. 11-13 (5/1) C#5 pitch center

Example 1.7b Percussion, m. 14 (5/1) Both staves treble clef Reinforcing C# pitch center

Example 1.7c Alto Flute, m. 12 (5/1) Reinforcing Written C# pitch center

The pitch material in the B section is much more chromatic than the A section, with longer phrases in all voices. (016) is still present in almost every phrase of all three instruments, expanding on the pitch material from the A section.

The A’ section begins in m. 16 with the percussion recalling the original soprano motive. Here, the percussion begins a diminished fifth higher and descends an augmented fourth lower than the original figure, continuing the outward expansion of the C5 pitch center. Although the pitches and intervals are altered, the percussion still retains the (02) dyad in mm. 16-17 and the (012) trichord in m. 18 as reminiscent of mm. 2-3 and m. 5, respectively.

Example 1.8a Soprano, mm. 2-3 (4/1) (02) dyad

Example 1.8b Percussion, mm. 16-17 (5/2) Both staves treble clef (02) dyad

Example 1.9a Soprano, m. 5 (4/1) (012)

Example 1.9b Percussion, m. 18 (5/2) Both staves treble clef (012)

The soprano imitates the same motive in m. 18, also transposed, this time beginning a minor third higher than the original on Fn5 descending to D#5 then E4, maintaining the (02) dyad between the first two pitches and the collective (012) set between all three pitches.

Example 1.10 Soprano, mm. 18-19 (5/2) (02) dyad followed by (012)

The alto flute distorts this motive in m. 19, beginning a perfect fourth higher than

the original, descending not a major second but a tritone, destroying the original (02)

quality between the first two notes. The alto flute also plays a total of four notes in this motive, not three, creating a (0126) set. Combined, these imitations repeat almost the

entire soprano line from the A section.

Example 1.11 Alto Flute, mm. 19-20 (5/2) (06) dyad followed by (012)

The expansion of pitch material in the original motive is more symmetrical in this section than in the A section. Before, the pitches around C5 were mostly “bottom-heavy”; there were more pitches below the pitch center than above. In the return of this material,

Crumb balances this distribution by adding more pitches above C5, filling in gaps with chromatic pitches.

Figure 1.1a Original Soprano Pitch Material mm. 1-8 (4/1), A Section (0126) C5 Pitch Center

Figure 1.1b Pitch Material in all Three Voices in Return of Soprano Motive mm. 16-22, A’ Section (012345678) C5 Pitch Center

The alto flute motive from the A section is also exploited in the A’ section. The alto flute states its original motive a perfect fifth higher than the opening and expands

upon the three-note motive in a similar manner. First restated by the alto flute in m. 16, the original contour is greatly expanded, with written Bb5/E5/F6, but the pc set remains the same, (016).

Example 1.12a Original Alto Flute motive, m. 1 (4/1) A Section (016)

Example 1.12b Original Alto Flute motive transposed, m. 16 (5/2) A’ Section (016)

Stated again in m. 17 adding written D#6, the integrity of the (0146) statement from m. 2 is destroyed, creating (0127).

Example 1.13a Alto Flute, m. 2 (4/1) (0146)

Example 1.13b Alto Flute motive transposed, m. 17 (5/2) (0127)

The alto flute states this motive for a third time in m. 18 with the same pc set as m. 16,

varying the rhythm. After three statements of this material in the original instrument, the

soprano imitates the motive in mm. 20-21. Interestingly, the first instance of this material

in the soprano looks very similar to the original alto flute motive in m. 1, with a C#5 grace note down to D4 ascending to G#4.

Example 1.14 Soprano, m. 20 (5/2) (016)

The imitations of the alto flute motive in the soprano create (016) and (0157) sets respectively. The three-note imitations of the original motives maintain the integrity of the original (016) set, while the longer imitations differ slightly from the original (0146) set.

The pc sets in the A’ section differ from those in the previous sections as each voice recalls earlier motives. The percussion plays mainly short, chromatic passages avoiding the tritone, the alto flute plays combinations of (016) and (0126) sets maintaining the tritone sonority, while the soprano sings a (012) set followed by (016) and (0157).

The B’ section combines elements from both the original A and B sections. The soprano sings similar figures in mm. 22-28 as in mm. 11-15. The pitch material works in the same way as well, each motive presenting only part of the chromatic aggregate:

(012345789) and (01234678t). This time, however, the entire chromatic aggregate is not present when both motives are combined. G is conspicuously absent.

The alto flute plays A section material in mm. 24 and 25, using first material transposed and inverted from m. 3, then an exact repetition of the figure from m. 2, both

(0146) sets. In the following measure (m. 25), the alto flute plays the exact figure from m.

2, another (0146) set. To close the section, the alto flute plays a trill for the first time, descending through three grace notes, creating (0167).

The pitch material in the percussion from this section that can be analyzed is limited, as mm. 22-25 are marked “approximate pitches.” There is, however, an approximate tritone relationship between the glockenspiel and the antique cymbals as the glockenspiel plays “natural” (n) notes while the antique cymbals play “sharp” (#) notes,

creating a “white-black key” relationship as on a piano. In m. 26 absolute pitches return,

hinting back to the accompaniment figure in the A section with a grace note C5

descending to F4, then B3.

Example 1.15 Percussion, m. 26 (6/1) Similar to Accompaniment Figure in A Section

The dissonant tritone is now sounded melodically rather than harmonically as before. The percussion ends this section with a forzando F#6 followed by a B3/A3 trill. The absolute pitch material in this section occurs only in m. 26 and creates a (01367) set. Interestingly, this music occurs during a (01234678t) set in the soprano and it is clear that the percussion material is a subset of the larger set in the soprano.

The pc material in the B’ section is similar to the B section in that the soprano has longer phrases comprising (016), while the alto flute and percussion play subsets of the soprano set. The alto flute returns to its original (0146) set as heard in the A section, while the percussion retains the tritone sonority, although no absolute pitches are present at first.

The coda has a duet between the alto flute and percussion that combines elements from all three voices from the A section. The alto flute line is almost an exact copy of the soprano line in mm. 2-8, another instance of “Augenmusik.”

Soprano, mm. 2 - Soprano, Example Example A Section 1 .16 8 (4/1

- 2)

Alto Flute, mm. 28 Example Example Coda 1

.16b - 33

(6/1 - 2)

Pitches are registrally fixed and expanded from the original statement. The soprano line in m. 2 begins on D5 while the alto flute begins on written D6 in m. 28. From here, the alto flute descends to G#5, reiterating D6 after each statement of G#5. Measure 30 is where the similarity is especially clear. The rhythms are almost exactly the same as in the beginning and the main difference is that the original D is displaced up an octave and some of the notes are flutter-tongued in the alto flute. The pc material in both the soprano and alto flute material is (0126), even though the sounding pitches are different.

The percussion indulges in the return of this original material by using a version

of the original alto flute material in m. 29, playing a (0167) set, then switching back to its

original accompaniment figure in m. 30, playing (05) consonant intervals as in the

beginning.

The overall pitch material in the Coda is very similar to the A section, only the

soprano is now omitted. The alto flute line looks like the soprano from the beginning and

plays the same set, (0126), while the percussion begins with (0167) and returns to the

consonant (05) dyad to end the movement.

The most predominant pc set in this movement is (016), highlighting the use of

chromaticism and the tritone. Throughout the piece, (016) sets appear in both long and

short phrases creating an ever-dissonant sonority. The (016) trichord often appears within

a larger four-note set, either (0126) or (0167).

II. LA MUERTE ENTRA Y SALE DE LA TABERNA

(DEATH GOES IN AND OUT OF THE TAVERN)

The pc material in the second movement is similar to the first in that the movement begins with short sets that are later expanded, creating larger sets. The percussion begins this movement with low trills and glissandi, creating first a (01) dyad, followed by a (05) dyad, as if to echo elements from the beginning of the first movement.

Immediately following is a short series of “approximate pitches” that appear to be mostly chromatic intervals. This is the first of two “personalities” in the percussion in this movement.

Example 1.17 First Percussion “Personality” Timpani, (6/3)

The second “personality” plays a duet with the C flute throughout this movement and appears first in (6/3) where the two instruments play octave D#’s, a striking consonance after the dissonant first movement and an uncommon event in Crumb’s music. The rate of change in pc material in this duet is generally slow, beginning with D#, followed by three seconds of silence. The next attack in these voices creates a (01) dyad beginning in the percussion with Bb4/A3, immediately followed by A5 in the flute. The

Bb in the percussion creates an enharmonic perfect fifth from the D# played before, but

20 the A5 in the flute creates an augmented fourth with the previous D# in the same line.

Although the rate of change is slow, the tritone is still present in these voices.

Figure 1.2 Tritones in Percussion and Alto Flute (6/3)

The soprano enters towards the end of (6/3) with a short four-note (0167) motive.

Already, the chromatic and tritone patterns seen in the first movement are evident in the second.

The flute and percussion interject after the soprano’s first statement with a (016) set, followed by the first percussion “personality” in (7/1). Timpani II has a tritone trill,

Bb2/E2, while Timpani I has a repeated glissando figure similar to the opening of the movement on Eb3/D3. Together, these figures create a (0126) set. As the trill in Timpani

II is fading (marked “al niente” in the score), the soprano enters with (012345679). All sets that come before this soprano statement are present in this larger superset. After this

set, Crumb writes three seconds of silence before the next entrance of the flute and percussion duet.

The flute and percussion duet returns in (7/1) with similar motives as in (6/3),

with two successive (016) sets, followed by a larger (01256) set. The tritone in the first

two figures is created between the second and third notes in the glockenspiel, C#4/G3 and

A3/D#3, respectively, with G and D# doubled in the flute. The tritone also sounds

harmonically in the third figure in the percussion between A3/D#4, glockenspiel and

whistle, with the flute again doubling D#.

Figure 1.3 Tritones in Percussion (7/1)

The flute repeats D#6 on (7/2) over a return of the percussion’s second “personality,”

consisting this time of a tritone trill in Timpani I and descending chromatic glissandi in

Timpani II, together a (0126).

The soprano returns in (7/2) with the largest collection of pitches in one phrase,

completing the chromatic aggregate. Both timpani trill under the soprano line, creating a

22 tritone between each other, A2/D#3. After the soprano line ends, the percussion abruptly shifts back to its second “personality” playing a duet with the flute, first playing (01), and then expanding to (012), (013) and back to (012) on (7/3). The longest sets between the flute and percussion duet occur on page seven, with (01457), the tritone still present between two pitches, and (01267), separated by an instance of C#6 in the flute.

The soprano takes over as the prominent voice at the end of (7/3) with the flute and percussion acting as accompaniment. The words “La muerte entra y sale, y sale y entra la muerte” (Death goes in and out, and out and in goes the death) are almost palindromic and are sung to a symmetrical set, (01236789). During this soprano phrase, the flute and percussion interject, briefly playing a (0167) set, a subset of the soprano material. To end the movement, the soprano completes the text with the entire chromatic aggregate, (0123456789te), along with a brief interjection from the percussion on a tritone dyad.

The tritone is the most prevalent interval throughout this movement and moves in and out of each voice, as if reflecting “Death” in the title of this movement, “La muerte entra y sale de la taberna” (Death goes in and out of the tavern). The tritone moves in and out, and out and in each instrument throughout the movement.

III. CABALLITO NEGRO ¿DÓNDE LLEVAS TU JINETE MUERTO?

(LITTLE BLACK HORSE, WHERE ARE YOU TAKING YOUR DEAD RIDER?)

Unlike the first and second movements, the third begins with larger pc sets that are broken down and fragmented into smaller subsets.

The piccolo begins this movement with a “furious” (0126) motive that actually foreshadows the material in the B section beginning in m. 16.

Example 1.18 Piccolo, m. 1 (8/1) (01267) Foreshadowing “B Section Motive”

The percussion immediately follows in m. 2 with a symmetrical (012678) set that, like the second movement, reflects the title, “Caballito negro, Done llevas tu jinete muerto?”

(Little black horse, where are you taking your dead rider?) as the articulation, fortissimo dynamic and use of hard mallets make this motive sound like the hoof beats of a running horse.

Example 1.19 “Hoof beat” Motive Percussion, mm. 1-5 (8/2) Both staves treble clef

During the “hoof beat” motive, the soprano enters in m. 3 with a (0167) set that is the first of two motives in the A section (mm. 1-15). During the A (and later A’ and A’’)

section the piccolo and soprano are mostly antiphonal, playing over the percussion “hoof

beats.”

Example 1.20 First Soprano Motive, mm. 2-3 (8/2) (0167)

The piccolo interjects in mm. 4-5 with a (012345678t) set followed by the second soprano motive in m. 6, using a similar (012345679t) that is repeated verbatim in the following two measures, a technique rarely seen in Crumb’s music.

Example 1.21 Second Soprano Motive, mm. 6-7 (8/2) (012345679t)

Under these soprano motives, the percussion plays fragments of the “hoof beat” motive in

mm. 7 and 9, sounding (016) and (012368) sets, respectively. Also in m. 8, the

glockenspiel plays a grace note D#5 when the soprano sings the grace note E5 that begins

this motive, sounding a dissonant minor second and together creating a (012345679t) set,

omitting only D and F from the chromatic aggregate.

The piccolo returns to the opening motive in m. 10, playing a (0126) set that is

transposed a major second higher than the original statement, followed again by the

percussion “hoof beat” motive, this time creating a (0123458t) set. The soprano interjects

with the first motive in m. 12, expanding the original pc set to match the first piccolo

motive (01267). The soprano is answered by the piccolo in a fragmented version of the

motive from mm. 4-5, a (01235) set. The soprano finishes the section with an altered

statement of the second motive in mm. 14-15, singing a chromatic set, (0123456789).

The glockenspiel sounds B4 at the beginning of the soprano statement beginning on F#5,

creating a tritone between the voices. Combined, the soprano motive and single pitch in

the glockenspiel sound every pitch in the chromatic aggregate except C.

The B section begins in m. 16 with the percussion playing a (06) dyad,

characterized by a grace note descending a tritone to a repeated pitch. This figure is

repeated four times, first down a major seventh, then up a perfect twelfth. The soprano

overlaps the first percussion motive with the same figure in unison, repeating the figure

twice at the same pitch levels. Later in the measure, the piccolo overlaps the soprano

motive also with the same figure, but transposed down a minor second, then adds a third

pitch to the motive, playing (016) in mm. 17-18.

Example 1.22 All Voices, mm. 15-17 (8/3) All staves treble clef “B Section Motive” Heard in All Parts

In m. 19 the piccolo continues to change the motivic material by changing the rhythm and adding new pitches. Measure 19 is made up of five three-note figures in the piccolo,

(012), (02), (012), (01) and (016); combined they are (01256). Notably, the pitch material in the piccolo that differs from the main “B Section Motive” collectively creates a symmetrical (012567) set. The percussion also deviates from the “B section motive” in m. 19 as if tempted by the piccolo, playing a (0156) set.

The A’ section begins in m. 20 with the return of the first soprano motive.

Slightly altered, the written pitch material creates a (013569) set, however, the descending glissandi in this motive that span more than two octaves suggest that the entire chromatic aggregate is present. The descending glissandi are the most characteristic feature of the soprano in this section, occurring at the end of four of the five figures. Considering only the written pitch material (not the glissandi), the five figures

27 create (0126), (01), (01268), (01267) and (012367) sets, respectively. Each of these sets is a variation on the original (0167) set from m. 3, and emphasize chromaticism and the tritone.

Under the soprano glissandi in mm. 21-22, the piccolo plays a frenzied motive reminiscent of mm. 4-5, completing the chromatic aggregate. In the following measure, elements from both original piccolo motives are combined; the rhythm and articulation of the first piccolo motive are combined with the contour of the “B Section Motive,” creating a (0127) set that occurs in mm. 23-26. This “integrated” motive forms the basis of most of the piccolo material throughout the rest of the movement. A last, longer

(01234678t) set occurs in m. 28-29, one note shorter than the first statement of this motive in mm. 4-5.

Example 1.23 “Integrated” Piccolo Motive, m. 23 (9/1) (0127)

Below the erratic piccolo motive in m. 21, the percussion begins a new motive that is reminiscent of the first two movements. In m. 21 the percussion plays a (05) dyad, similar to the accompaniment figure in the first movement, then rapidly changes character at the end of m. 22 playing an aggressive B6 rivaling the range of the piccolo, followed by a low (01) trill reminiscent of the second movement that ends abruptly with another forzando B6 strike. This figure is repeated four times until m. 26 where the (05)

dyad replaces the trill, still followed by B6, then a (01) dyad followed again by B6. In m.

27 the percussion line becomes less aggressive, with a (01) dyad in the glockenspiel followed by a (02) dyad in the antique cymbals in m. 28. However, the insistent “hoof beat” motive returns in m. 29, this time playing (012367), slightly different from the original symmetrical (012678) set.

The B’ section begins in m. 32, this time initiated by the soprano and followed by entrances of the piccolo and the percussion in m. 33. The (06) “B Section Motive” comprises the entire pitch material in both the piccolo and percussion, while the soprano blurs the lines of the B’ and A’’ sections by singing material from the A’ section, an altered version of the first soprano motive from m. 3. In m. 36 Crumb notates

“Monteverdi trill, like the neighing of horse,” strengthening the music-text relationship by text painting, making the soprano sound like the horse described in the title of the movement. The (06) “B Section Motive” occurs once more in both the percussion and piccolo before the return of A section material in m. 38, beginning the A’’ section.

The soprano begins the A’’ section with the second soprano motive, beginning a minor third higher than the original and playing almost the entire chromatic aggregate,

(0123456789t), omitting only the pitch Ab/G#. This figure is then repeated two times exactly in mm. 41-42 and 44-45 and completes the written pitch material for the soprano in this movement.

The piccolo, like the soprano, only has one figure that is played three times throughout this section, the “integrated motive” that combines both original piccolo motives. This short figure is a (0124) set, no longer emphasizing the tritone, but minor- second chromatic intervals instead.

The percussion also plays a repeated figure beginning with G#5, the “missing”

soprano pitch, in the glockenspiel followed by a (013679) set played on the marimba with

“very soft mallets.” G#5 is played during the piccolo motive that creates a tritone between

G#5 in the glockenspiel and D6 in the piccolo. It seems as if the tritone will not give up.

Each voice takes it in turn to play in this section, beginning with the soprano,

followed by the piccolo, then the percussion. Each statement is played softer and softer,

beginning piano in m. 38, then pp in m. 41 and next ppp in m. 44. The (013679) set played on the marimba looks very much like the “hoof beat” motive played in the beginning. As the dynamics taper, it is as if the little black horse is riding further and further away.

The coda begins in m. 47 with the little black horse not quite out of view. The piccolo material is reduced to just two pitches sounding a tritone, now combining elements of the A and B sections. The percussion continues to repeat the same (013679) pattern, altering the order of the pitches while both voices continue to taper, as if moving farther and farther away. The piccolo and percussion are reduced to pppp at the beginning of the coda in m. 47 and are marked “quasi niente” for the final statements in mm. 49-50.

After the piccolo and percussion have faded into nothing, the soprano enters on a whisper, with no written pitches, asking “Donde llevas tu jinete muerto?” (“Where are you taking your dead rider?”) as if desperate for an answer.

In the first and second movements Crumb develops small pc sets into larger supersets, often expanding on one specific set. In the third movement larger sets are broken down into smaller subsets with more emphasis on chromaticism than the previous movements. Throughout the piece, there is a general emphasis on the interval of the

30 tritone and symmetry that is evident in the many transpositions of (06), (016) and (0167) sets.

CHAPTER 2

INTERVALLIC CONTOUR IN MADRIGALS, BOOK II

The overall contour of Madrigals, Book II, like many of Crumb’s works, is often disjunct. In each voice there are rapid changes in direction by large, often dissonant intervals (mostly sevenths and tritones). No voice moves in the same direction for more than a few, often short, notes. This chapter will examine the contour of each voice individually and in relationship to the entire texture, emphasizing variety of interval sizes and their development throughout the piece.

I. BEBE EL AGUA TRANQUILA DE LA CANCIÓN AÑEJA

(DRINK THE TRANQUIL WATER OF THE ANTIQUE SONG)

In the first movement, the soprano is treated like an instrument with leaps larger than an octave and no actual words in the first few measures, just phonetic sounds. The first section, the “A” section, mm. 1-8, establishes a tonal center of C5 in the soprano that

Crumb meticulously expands outwards by adding pitches above and below C5 in both the soprano and alto flute. In mm. 2, 3, and 4 in the soprano, C5 is always accented by D5, which always occurs immediately before. In m. 5, Crumb adds C#4, which always occurs between two instances of C5. In m. 6, F#6 is introduced and this tritone away from the tonal center always occurs directly before or after C5, ensuring maximum dissonance.

These four pitches comprise the melodic material in the soprano for the A section and are registrally fixed, which preserves the consistency of the disjunct line.

The alto flute plays a duet with the soprano in this section. Beginning in the first measure with just three notes, written Eb5/D4/G#4, the alto flute expands the tonal center

of C5 established in the soprano. There is an emphasis in the first three measures on the

tritone, which always occurs between the second and third notes in the motive-D4 and

G#4. As the section moves forward, Crumb introduces only one new pitch in the alto flute, G4; the pitch material in the A section is minimal and as in the soprano, the pitches are registrally fixed.

The percussion acts as an accompaniment to the soprano and alto flute duet, playing only when the upper voices are resting or sustaining a pitch. Crumb, who is a master of time and space, makes the percussion line look extremely disjunct by placing it on two staves. The aural perception does not match the visual one here since both lines are written in treble clef. The pitch material here is limited to just three registrally fixed notes: E4/B4/F5. Again, there is an emphasis on the tritone, as the F5 grace note always precedes B4.

The B section begins at m. 9, where the soprano sings words for the first time and the pitches are no longer registrally fixed. Crumb maintains disjunct lines in every voice by expanding the pitch material in relationship to the A section, both by adding more notes to the aggregate and allowing the voices to move more freely in terms of their registral placement.

The soprano introduces the new section by singing a fortissimo G#5 over a

C#4/G4/D5 trichord in the percussion. Returning in m. 11, the soprano has an increased range (Bb3-F5) and now appears to indicate C#5 as a tonal center. While descending motion is more prevalent, the soprano never continues in the same direction for more than two notes, both of which are usually brief in duration. The leaps are also mostly

larger in this section, spanning many sevenths and ninths, creating a stronger sense of

disjunction.

Figure 2.1a Soprano Contour mm. 2-6 (4/1), A Section

Figure 2.1b Soprano Contour mm. 11-13 (5/1), B Section

The alto flute begins this section with the same motive as m. 1 transposed up a perfect fifth, followed by a flurry of new pitches spanning more than two octaves, changing direction after almost every note. The intervals here, considerably larger than previously seen in this voice, emphasize the interval of a seventh.

Figure 2.2a Alto Flute Contour m. 3 (4/1), A Section

Figure 2.2b Alto Flute Contour m. 10 (5/1), B Section

The percussion plays a much more active role in the B section. The sectional lines are blurred in the percussion part, as the accompaniment figure from the A section is still present at the beginning of the B section in m. 9, but the contour is inverted, with the grace note ascending to the open chord instead of descending. In m. 10 the percussion plays its first “independent” line while the soprano and alto flute are both playing, completing the chromatic aggregate. This line is played on both the glockenspiel and antique cymbals, covering two staves that make the music look radically disjunct from a strictly visual standpoint.

Figure 2.3a Percussion Contour Written Pitches mm. 10-11 (5/1), B Section

Figure 2.3b Percussion Contour Reduced to One Staff mm. 10-11, B Section

The A’ section begins in m. 16 and beginning with the percussion, all three voices

recall the opening soprano motive from mm. 2-5, expanding the range in various ways.

As before, pitches are registrally fixed.

Example 2.1a Original Soprano Motive, mm. 2-4 (4/1) A Section Contour [-2, +2, -2, +2, -2, +2, -2, +2, -2, +2, -2, -11, +11, +2, -2, 0, +2, -2, -11, +11]

Example 2.1b Percussion (Glsp.), mm. 16-17 (5/2) Both staves treble clef B Section Expanded Soprano Contour Contour [-14, +14, -14, +14, -14]

Example 2.1c Soprano, mm. 18-19 (5/2) B Section Expanded Soprano Contour Fragment of the Original Soprano Contour Contour [-2, +2, -2, -11, +11, +2, -2]

Example 2.1d Alto Flute, mm. 19-20 (5/2) B Section Expanded Soprano Contour Contour [-6, +2, -2, -11, +11, +2, -2]

The original alto flute motive is also imitated in this section, though only by the alto flute and soprano. In m. 16 the alto flute mimics the original motive beginning on written Bb5, and instead of expanding the contour, plays a complementary contour to the original.

Example 2.2a Original Alto Flute Motive, m. 1 (4/1) Contour [-13, +6]

Example 2.2b Alto Flute, m. 16 (5/2) Altered Alto Flute Motive Contour [-6, +13]

The soprano imitates this motive in m. 20 beginning on C#5 and looks almost exactly like

the original alto flute motive. Written D4 and G#4 are present, but this statement does not

sound exactly the same since the alto flute sounds a perfect fourth lower than written.

Example 2.2c Soprano, m. 20 (5/2) Altered Alto Flute Motive Contour [-10, +6]

The B’ section begins in m. 22 where elements of both the A and B sections are integrated. The soprano sings a line that looks very much like that of mm. 11-13 of the B section, again expanding the contour; in the B’ section, a leap of almost two octaves is present between mm. 22-23.

Example 2.3a Soprano, mm. 11-12 (5/1) B Section Contour [-6, +6, -2, +11, -1, -13, +10, +1, -1, +1, -1, +1, -1, +1, -1, -13]

Example 2.3b Soprano, mm. 22-24 (5/3) B’ Section Contour [-11, +6, -10, +23, -6, -11, +13, -11]

The soprano continues descending in sequence and drops out completely in m. 28.

In m. 24 the alto flute has an altered version of the original motive from m. 1, beginning on F#5, followed by an exact repetition of the original motive from m. 2.

Example 2.4a Alto Flute, m. 24 (5/3) Altered Alto Flute Motive Contour [-13, +13, -7, +7, -7, -2, +2, -2]

Example 2.4b Alto Flute, m. 25 (5/3) Repetition of Original Alto Flute Motive, m. 2 Contour [-13, +3, -2, +3]

The percussion resumes its accompaniment role in m. 23 playing block chords at

“approximate pitches”: natural (n) pitches in the Glockenspiel, sharp (#) pitches in the antique cymbal, creating an almost “white-black key” relationship on a piano that sounds approximately a tritone apart.

Example 2.5 Percussion, mm. 23-24 (5/3) “Approximate Pitches” Both staves treble clef B’ Section

Once the soprano has stopped singing at m. 29, the coda begins and combines characteristics of the A and B sections. The alto flute material here is based on the original soprano motive and again expands the range and distorts the contour. The most striking aspect of this section is the visual resemblance of the alto flute line to the soprano motive from the A section: the pitches are written to look like the original material but because of the nature of the alto flute, everything sounds a perfect fourth lower. The appearance of this line sets up another C5 tonal center accented by D6/G#5/C#4/F#5. The exploited range continues the disjunct contour beginning on written D6.

Example 2.6 Alto Flute, mm. 28-30 (6/1) Coda Contour [-6, +6, -6, +6, -6, +6, -10, -11, +11, +10, -6, +6, -10, -11, +11]

The percussion first obliges the return of the soprano/alto flute duet by playing a version of the opening alto flute motive in m. 29, beginning on F5, combined with the original accompaniment figure from the A section. Interestingly, the accompaniment figure looks like the original alto flute motive when written out melodically, as seen at the end of m. 29 in the following example.

Example 2.7 Percussion, mm. 28-29 (6/1) Both staves treble clef Coda Contour [-19, +13/+6], [-19, +13, -7, +7]

The descending grace note figure is immediately followed by a perfect fifth struck in the glockenspiel on E4/B4. The percussion resumes the accompaniment figure for the rest of the movement in m. 30 alternating consonant dyads of E4/B4 and Bb3/F5.

II. LA MUERTE ENTRA Y SALE DE LA TABERNA

(DEATH GOES IN AND OUT OF THE TAVERN)

The motion in the soprano in the second movement is very much like that of the first: rapid changes in direction by large, dissonant leaps. The harmonic rhythm of the concert flute in this movement is very slow, yet it moves almost entirely by tritones. The percussion plays two distinct roles or “personalities” in this movement. When playing with the soprano or alone, the movement is often slow, descending by half-steps; when playing with the flute, movement is often rapid, descending by large intervals (usually sevenths and ninths).

The percussion begins this movement with low timpani trills followed by glissandi at “approximate pitches” spanning no more than a half-step. The flute enters

43 after five seconds of silence (this movement does not have bar lines) and always plays with the percussion, never as an independent voice. The first statement of the flute and percussion sounds a double octave, D#4 in the percussion and D#6 in the flute. Again, the rate of change in the flute is slow, and the next statement occurs three seconds later, playing a septuplet with the percussion, sounding Bb4/A3 in the percussion followed by a repeated A5 in the flute.

Example 2.8 Flute and Percussion, (6/3)

The second figure in the above example has the contour [-13, +24] between the percussion and flute. The contour of just the flute line within its slow rate of change,

D#6/A5, is [-6], a tritone. The second percussion/flute figure is repeated with the exact same pitches, extending to a 13-note subdivision with the same contour as before.

The flute and soprano generally work antiphonally in this movement and the first statement in the soprano occurs after the third statement of the flute on (6/3). The words

“La muerte” (“Death”) have the contour [+11, -5, -1]. This short, four-note motive will be the basis from which all other soprano material is derived and the length and contour of the motive will continue to expand as the movement progresses.

Example 2.9 Soprano, (6/3) Contour [+11, -5, -1]

The percussion and flute interject with similar figures after the first soprano statement in (6/3). The percussion plays a quick E5 grace note descending to a D#4 that

the flute doubles at the double octave before descending to A5.

Example 2.10 Flute and Percussion, (6/3) Contour: [-13] in Percussion [+11] from E5 in Percussion to D#6 in Flute [-6] in Flute

The percussion’s first “personality” returns at the top of page 7, (7/1) with a low tritone trill in Timpani II (Bb2/E2) and slow, descending glissandi in Timpani I (Eb3/D3)

that barely disrupt the contour. The next soprano entrance occurs during the tritone trill in

Timpani II that expands the original motive and contour, beginning an enharmonic octave

higher than before on Ab4. Note the virtual symmetry of the figure.

Example 2.11 Soprano, (7/1) Contour [-1, -10, +6, +7, +1, -1, +1, -1, +7, -11, -6]

After three seconds of silence the flute and percussion duet returns, with

D5/C#4/G3 in the percussion and the flute doubling G at the double octave again at G5.

The contour that develops is [-13, -6] in the percussion, [+18] from C#4 in the percussion to G5 in the flute. This idea is repeated three times at different intervals, creating similar contours. The low timpani trills and descending glissandi return briefly at (7/2), preparing the third soprano entrance.

The soprano enters again on (7/2), singing a complete phrase for the first time in this movement. The range is expanded from the original, G#3-Gn4 to Gn3-F5. Leaps are extended past the octave and continue to highlight dissonant intervals. Beginning on Bb3, the contour starts with [+11, -1, -6, +11, -13, +11]. The rest of this movement continues in the same manner, alternating voices, expanding the range of each motive and emphasizing dissonance.

III. CABALLITO NEGRO ¿DÓNDE LLEVAS TU JINETE MUERTO?

(LITTLE BLACK HORSE, WHERE ARE YOU TAKING YOUR DEAD RIDER?)

This movement is also characterized by large dissonant leaps, but each voice is treated differently than in the previous movements. The soprano sings mostly descending lines beginning with much smaller consecutive intervals than before. The piccolo line is the most “schizophrenic” as the direction changes rapidly and each figure usually spans at least two octaves. The percussion is again visually deceiving, written on two staves in the same clef, with a much larger range than before.

The soprano begins in m. 2 by ascending more than an octave then rapidly descends through smaller intervals to where it began.

Example 2.12 Soprano, mm. 2-3 (8/2) First Soprano Motive Contour [+13, -6, 0, -1, -6]

The second motive in mm. 6-7 begins in a higher octave than the first and descends by mostly small intervals spanning an octave and a half (E5-Bb4).

Example 2.13 Soprano, mm. 6-7 (8/2) Second Soprano Motive Contour [-3, -1, -1, -4, -1, -3, +6, -1, -10]

These two motives are the basis for the soprano material in the A, A’ and A’’ sections of this movement and are expanded in both range and duration.

The melodic material in both the B and B’ sections is limited in both pitch content and duration, causing little disruption to the contour. The B section begins at m. 16 and the main motive is essentially the same for all three voices: a grace note descending a tritone.

Example 2.14 Soprano, mm. 16-17 (8/3) “B Section Motive” Contour [-6, 0, 0, 0, 0, 0, +6, -6, 0, 0, 0]

This contour, essentially [-6, +6], is also present in the B’ section in m. 32 (comprised of

F4/B3 and D#4/A4).

The piccolo’s frenzied character is not entirely evident in the first measure of the movement. At the beginning of the A section, the piccolo foreshadows the “B Section

Motive” by beginning on B5 and descending a tritone to F5. Once F5 is repeated six times the piccolo plays a grace note G5 ascending to F#6.

Example 2.15 Piccolo, m. 1 (8/2) Foreshadow of “B Section Motive” Contour [-6, 0, 0, 0, 0, 0, 0, +2, +11]

This contour, essentially [-6, +2, +11], is the most “balanced” in the piccolo in this

movement.

The figure in mm. 4-5 shows a more accurate representation of the piccolo’s

character in this movement.

Example 2.16 Piccolo, mm. 4-5 (8/2) Contour [-13, -6, +13, +10, -7, -11, +16, -7, -11]

Such widely disjunct movement comprises the majority of the piccolo material

throughout this movement with the exception of the B’ section in which the piccolo

maintains only the “B Section Motive” of the grace note descending a tritone. In the B

section, the piccolo plays the “B Section Motive” and a variation of the more frenzied figure from mm. 4-5.

The range of the percussion in this movement is greatly expanded from the previous movements. The opening material is similar to that of the B section of the first movement with a melodic line played on both staves, giving the visual impression of a highly disjunct line; however, both staves are in the same clef and played on the same instrument. The contour of the line in mm. 1-5 is relatively “smooth” in comparison to what it actually looks like. Figure 4 following Example 2.17 shows a reduction of the

percussion to one line, displaying a “smoother” contour than what is written in the score.

Example 2.17 Percussion, mm. 1-5 (8/2) Both staves treble clef Contour [-6, -2, -11, +17, -11, +13, -6, -2, etc]

Figure 2.4 Percussion Contour mm. 1-5 (8/2), A Section

This motive and fragments and variations of it (much like the piccolo) are found in all

sections of this movement except the B’ section. In the B section at m. 19, the percussion

has another short variation of the opening motive, playing large leaps across staves, whereas in the B’ section, the only material present in the percussion is the “B Section

Motive.”

The percussion plays a different, third idea that again blurs sectional lines. In m.

19, the end of the B section, the percussion plays a dissonant dyad on antique cymbals on

A#4/B4. Two measures later the glockenspiel plays a consonant dyad on D5/A5, followed two measures later by B6 on the Marimba. These three short ideas build up to create an entirely new percussion figure: an antique cymbal trill of E#4/F#4 followed by a

fortzando B6 on the marimba creating an incredibly wide contour, [+25]. Furthermore,

the antique cymbal trill is then transposed down to C4/Db4 in mm. 25-26 to create a gap

of [+35], the widest contour of the entire piece.

Example 2.18 Percussion, mm. 19-23 (9/1) Both staves treble clef Contour: Ant. Cym.-Glsp. [+4/+10] Glsp.-Marimba [+21/+13] Marimba-Ant. Cym.-Marimba [-30, +30]

The overall contour of this piece is quite disjunct, with each voice generally changing direction after each pitch, often leaping octaves and other large intervals.

Moreover, chromaticism is often displaced by octaves, creating an ever-changing contour. The first movement begins with registrally fixed pitches that are later transposed to various octaves expanding the original fixed contour. The second movement has a smaller range making the music seem less disjunct, but each voice generally changes direction after every pitch. This is most evident in the soprano line because there is a faster rate of change among motives. The third movement appears the most disjunct from a strictly visual standpoint, as many of the percussion figures are spread across two

51 staves; however, both staves are often in the same clef, so the aural perception does not always correspond with the visual.

CHAPTER 3

PITCH-CLASS CONTENT IN

FEDERICO’S LITTLE SONGS FOR CHILDREN

This piece is organized symmetrically in terms of flute instrumentation and general content. Within the seven movements, the first and seventh use piccolo, the second and sixth use concert flute, the third and fifth alto flute and the fourth movement uses bass flute. The content within this pairing of movements is also similar, with material in the later movements (after the fourth) utilizing elements from their earlier counterparts. For example, the third and sixth movements look remarkably alike. Similar to chapter 1, this chapter examines pc material in individual voices as well as a whole, highlighting relationships important to the overall structure of the piece.

1. LA SEÑORITA DEL ABANICO (SEÑORITA OF THE FAN)

This movement is largely based on pc set (0257), which comprises about half of the soprano and harp material and nearly all of the piccolo material. The piece begins with a short two-note motive in the piccolo in m. 1 that is repeated in m. 2 and then expanded in m. 3. The two-note motive, F#5/D#5, a (03) dyad, expands to a four-note motive, F#5/D#5/G#5/C#5, pc set (0257). The idea of stating and repeating a smaller motive followed by an expansion of that motive into pc set (0257) is the basis for nearly all of the piccolo and soprano material in this movement. The harp often acts as an accompaniment, yet sometimes imitates the melodic material in the other voices.

The harp accompanies the piccolo in the first three measures with chords that create pc sets (0146), (014) and (014), respectively. These sets, comprised mainly of

(014), are the basis for the rest of the harp material in this movement. After one measure

of rest (m. 4) the soprano enters with a two-note idea, B4/D5, (03), that is repeated for three measures (expanded one measure further than the piccolo) and is then altered to a four-note idea, D5/B4/E5/A4, creating (0257). The harp accompanies the soprano here as well, this time with descending harmonic pitches, Bb4/G#4/F4/D#4, one pitch per

measure, creating another instance of (0257) over four measures. No other pitch material

is heard in the A1 section, mm. 1-8.

The A2 section, beginning at m. 9, rehearsal number 1, is very similar to A1 in that

it begins with the piccolo accompanied by chords in the harp, followed by a measure of

silence, and the soprano is again accompanied by descending harmonics in the harp. The

piccolo material is comprised of the same set, (0257), but it is transposed to a higher level

this time beginning on C6, lasting only two measures instead of three as before. The

chords that accompany the piccolo are (014) sets. The effect is as if Crumb has

eliminated the first measure of the three-measure idea this second time around.

Example 3.1a Piccolo and Harp, mm. 1-3 (6/1) A1 Section Piccolo (03), (03), (0257) Harp (0146), (014), (014)

Example 3.1b Piccolo and Harp, mm. 9-10 (6/2) A2 Section Piccolo (03), (0257) Harp (014), (014)

The soprano material is different in this section, creating another prominent set for this voice. Beginning in m. 12 the soprano becomes more chromatic, with (012) in mm. 12, 14 and 15, and (0126) in m. 13. Visually the material is similar to the first statement in mm. 5-8, but through subtle changes another prominent set, (0126), is created.

Example 3.2a Soprano, mm. 5-8 (6/1) A1 Section (03), (03), (03), (0257)

Example 3.2b Soprano, mm. 12-15 (6/2) A2 Section (012), (0126), (012), (012)

The harp accompaniment in these measures retains the original (0257) set, now

transposed to Ab3/Bb3/C#4/Eb4.

The A3 section begins at m. 16, rehearsal number 2 and sees more variation in the

harp and piccolo lines. Measures 16 and 17 in the piccolo are a transposition of mm. 2-3, beginning this time on Ab5, creating yet another (0257) set. Over the next three measures however, Crumb fragments this motive and repeats it at lower and lower pitch levels, maintaining the (0257) set. Under the piccolo in mm. 16-17 the harp has chords as before, and then in mm. 18-19 imitates the (0257) sets melodically.

Example 3.3a Piccolo and Harp, mm. 2-3 (6/1) All staves treble clef Piccolo (03), (0257) Harp (014), (014)

Example 3.3b Piccolo and Harp, mm. 17-20 (7/1) A3 Section Piccolo (0257) Harp (014), (0257), (0257)

The soprano enters again in m. 21 with a combination of both previous soprano statements that also looks very much like the first statement in m. 5.

Example 3.4a Soprano, mm. 5-8 (6/1) A1 Section (03), (03), (03), (0257)

Example 3.4b Soprano, mm. 21-24 (7/1) A3 Section (014), (014), (03), (0257)

This material creates a (01257) set that is obviously more chromatic and contains the

(0257) set within it. The harp accompanies the soprano again with single harmonic

pitches, this time with a (0145) set, reflecting not upon the (0257) set, but the (014) set

from the opening chords of the piece. Moving into the A4 section Crumb begins to combine elements from different sections of the piece.

A4 begins at m. 25, rehearsal number 3 with each voice playing fragments of

earlier ideas. The harp begins, playing an imitation of the (03) piccolo motive in the right

hand and a single pitch in the left reflecting the earlier soprano accompaniment figure.

The pitches in this measure, Cb4/E#4/F4/Bb4, make up a (016) set, melodically recalling the opening (0146) chord in m. 1. The piccolo enters in the following measure, m. 26, with a (0257) set recalling the piccolo figure in m. 3. These ideas are repeated over the next three measures at different pitch levels with the harp figure extended over two

measures. The soprano enters in m. 30 with the same (012) figure from m. 15, then sings

the same figure from m. 13 two measures later. In between these soprano statements the

harp interjects with (016) fragments of the motives from mm. 25-28. Finally, the soprano ends this section with a newly formed (012367) set. Within this “new” set (012), (0126), and parts of (0257) are present.

Measure 35, rehearsal number 4, finally sees contrasting melodic and harmonic

material signaling the start of the B section. There is very little specific pitch material

here as the soprano is instructed to “sing in ‘Sprechstimme style’ (without definite pitch),” 1 and the harp is instructed to tremolo with a percussionist’s wire brush somewhere in the low bass register. There is one specifically notated pitch in the harp,

A#5, that occurs immediately before the piccolo entrance. The piccolo has one new idea that is stated and immediately altered, C5/Bb5, and A4/Bb5, creating (02) and (01) dyads respectively. As A# in the harp is enharmonically equivalent to Bb in the piccolo, the entire pitch material in this section comprises a (013) set. The rest of the movement uses a combination of elements up to this point.

The A5 section begins at m. 38, rehearsal number 5, this time with the soprano.

Measures 38 and 39 are an exact repetition of mm. 7-8 from the A1 section, almost as if

the soprano is trying to return to the opening, or “correct” material. The soprano is

accompanied by harp harmonics in the form of a trichord cluster of (013) in m. 38,

reminiscent of the pitch material in the B section. The piccolo continues to play B section

material in the A5 section, with three statements of the two-note idea, accompanied again

by one instance of A#5 in the harp. The harp then recalls imitative material from the A4

1 George Crumb, Federico’s Little Songs for Children (New York: C. F. Peter’s Corporation, 1987), 7.

section and combines the idea with the single pitch reminiscent of the B section. This creates a new set, (0157), that is a combination of fragments of both prominent pc sets in the soprano and piccolo: (0257) and (0126).

Example 3.5a Harp, m. 25 (7/2) A4 Section Upper Staff (05)

Example 3.5b Harp, m. 43 (8/1) A5 Section Both staves treble clef Upper Staff (05) Lower Staff (04)

The piccolo completes this section, never abandoning the material from the B section, by

repeating the two-note motive in mm. 44, 46, and 47.

The B2 section begins at m. 48, rehearsal number 6, this time without any definite

pitch material; the soprano is again singing in “Sprechstimme style,” the harp uses a wire

brush to tremolo in the low range of the instrument, and the piccolo is omitted in this

section.

A6 begins at m. 49, “Tempo I.” The piccolo now plays an imitative figure based

on the soprano material from the A2 section, creating another new set, (01237), which is a

combination of (013) from the B section and the prominent (0257) set. The harp again

has a chord cluster of harmonics, this time a chromatic (012) set. The soprano enters

again in m. 50 with material from the A2 section; m. 50 is the same as m. 13 and m. 51 is

the same as m. 15. These two measures form a (0126) set, and finally the music appears

to be “rounding” and repeating material from the beginning.

After a measure of silence (m. 52), A6 begins at m. 53, rehearsal number 7. This

section acts as a “recapitulation” as the piccolo returns to the original idea: (03) for two measures, followed by an expansion to (0257) with (0146) and (014) chordal accompaniment in the harp. Interestingly, the two notes of the (03) piccolo motive are

D6/B5, the inversion of the opening two-note soprano motive, B4/D5 in m. 5. The expansion of this idea three measures later uses the same pitches in the same order as the soprano transposed up the octave.

Example 3.6a Soprano, mm. 5-8 (6/1) A1 Section (03), (03), (03), (0257)

Example 3.6b Piccolo, mm. 53-55 (8/3) A6 Section (03), (03), (0257)

At m. 56 Crumb begins to fragment this motive again, stating it at different pitch levels and using the harp to imitate the piccolo melodically (as seen in mm. 18-19), stating (0257) several more times. Beginning in m. 58, Crumb even overlaps the sets in the piccolo and then in the harp to blur the (0257) sound and the appearance of the set.

Figure 3.1a Piccolo, mm. 57-58 (8/3) A6 Section Overlapping (0257) sets

Measures 58-62 in the harp work in much the same way, moving smoothly through one

instance of (0257) to another.

Figure 3.1b Harp, mm. 58-62 (9/1) A6 Section Both staves treble clef Overlapping (0257) sets

This section ends with a statement of the two-note piccolo motive from the B sections in

m. 63.

The final A section, A8, begins in m. 67, rehearsal number 8 with the imitative

harp motive combined with the harp harmonic, as in the A4 and A5 sections answered by the piccolo B section motive in mm. 68-69. The harp repeats the imitative material again in m. 72, this time extending over two measures answered again by the piccolo B section motive in mm. 74-78. The harp plays one last accompaniment pitch to this motive, and this final time it is the “correct” pitch, Bb instead of A#, to sound with the (013) piccolo

figure going on above; previously the pitches were written as enharmonic equivalents

because the notation of the harp cannot always follow the same written pitches as the

other voices. The soprano ends this movement with the same material it began this

movement: a repeated two-note figure (03) for three measures followed by an expansion

of the figure to (0257).

2. LA TARDE (AFTERNOON)

This movement is based on the trichord (027), a subset of the prominent (0257)

from the previous movement. Crumb uses (027) openly in each voice and also “hides” the set among longer, seemingly unrelated sets. Comprised of two perfect fourths, the

(027) set is not always immediately noticeable as Crumb often uses enharmonic spellings to disguise this main idea.

The harp begins this movement with a symmetrical rising and falling perfect-

fourth motive in the right hand that creates a (027) set in mm. 1-3. Already, (027) is

established as a prominent melodic set. C2 in the left hand acts as a pedal tone in mm. 1

and 3, and the harmonic pitches at the end of each measure in the left hand combine with

the pitches in the right to form (0157) in mm. 1 and 3, and (0247) in m. 2. If C2 is not

considered a pedal tone, the sets in m. 1 and 3 are (01457). These harmonic pitches are

reminiscent of material in the first movement, as can be seen by comparing the harp

material in m. 43 (8/1) of the first movement to the harp material in mm. 1-3 in (9/3) of

the second movement. Further, the main motive of the second movement can be seen as a

variation of the “altered” harp motive of the first.

Example 3.7a Harp, m. 43 (8/1) Both staves treble clef First movement A5 Section Upper Staff (05) Lower Staff (04)

Example 3.7b Harp, m. 1 (9/3) Second movement A section Upper Staff (027)

Melodically, the layout of the pitches in the first three measures of the harp (right hand) is also symmetrical with F#6 in m. 2 as the center.

Figure 3.2 Harp, mm. 1-3 (9/3) A section Dotted line of Symmetry

The soprano enters in m. 4 and sings a mostly descending chromatic line (012345) that is repeated and extended in the flute from mm. 4-5, (01234567). The soprano ends the A section with a rising and falling motive similar to that of the harp in mm. 1-3, but does not create a (027) set, rather (013479). The soprano then fragments the motive in the following measure, singing a (016) set. At m. 6 the harp again alludes to the previous movement with a single pitch that is enharmonically equivalent to the starting pitch of the soprano above it: Db in the harp is enharmonically equivalent to the C# in the soprano and fits within the (013479) set.

The B section begins at m. 8, rehearsal number 9, with similar harp material as in the A section. Here the harp motive of the first three measures is condensed to one measure with three harmonic “accompanying” pitches in the left hand and the rising and falling melodic figure in the right. The three pitches in the right hand create a (027) set; the pitches in the right hand combined with the Db in the left hand, a (0157) set is created; all five pitches in the measure create a (01457) set. This melodic material is the same as mm. 1 and 3 transposed to a different pitch level and this same figure is repeated in the following measure (m. 9).

Example 3.8 Harp, m. 8 (10/1) Both staves treble clef B section

The soprano material in the B section becomes more and more like the motion in the harp; in m. 9 the soprano sings C5/F5/C5/G4/E4. This entire set is (0237), and (027) is created by C5/F5/G4. The (027) set does not last long as in the next measure the soprano sings a similar contour with (016) on Bb3/E4/A4. The flute then answers with a short four-note motive, E4/D#4/A4/E4, a (016) set similar to the previous soprano set.

The flute repeats this motive in mm. 11 and 12 and comprises the entire flute material for this section. In mm. 11-12, very near the center of the movement, the harp has an entirely symmetrical figure comprising a (012468) set.

Example 3.9 Harp, mm. 11-12 (10/1-2) B section Symmetrical Figure

This symmetrical figure is based on several three-note ideas: Bb3/A4/E4, D5/A4/G#5,

D5/C6/D5, followed by the retrograde of the first two, G#5/A4/D5, E4/A4/Bb3. The first

(and last two) sets are (016), and the D5/C6/D5 in the center is a (02) dyad. If the outer two sets are combined, several (027) sets are present between A4/E4/D5.

Figure 3.3 Harp, mm. 11-12 (10/1-2) B section Highlighting (027) sets

The soprano works in a similar manner above the symmetrical harp motive in mm. 11-12. Measure 11 is very similar to the first measure of the harp with a (0157) set

created by E4/A4/D5/G#5 in the soprano. The pitches themselves are laid out almost

symmetrically in the measure and there is a “hidden” (027) set between E4/A4/D5. The

following measure (m. 12) is similar in that the pitches are also laid out almost

symmetrically: however, the set they create is (0167). (027) is not present within this set

but it is symmetrical, comprising two intervals of a perfect fourth separated by a minor second.

Example 3.10 Soprano, m. 12 (10/2) B section (0167) set Symmetrical Set Containing Two Perfect Fourths

Figure 3.4a Soprano, m. 12 (10/2) B Section Symmetrical Set (0167)

Figure 3.4b Symmetrical Set Containing Two Perfect Fourths

The harp ends this section with grace notes and harmonics, descending from A4 to Db3,

creating a (02479) set. (027) is clearly a subset of this descent.

The A’ section begins at m. 15, rehearsal number 10. The harp material is the

same in mm. 15-17 as in mm. 1-3, while the flute and soprano continue the rising and

falling motion of the harp with several statements of (027). Like the harp, the pitches in

the flute line are laid out symmetrically on two levels, both within each statement of

(027) and as a whole, with Ab4 in m. 16 as the center.

Figure 3.5 All voices, mm. 15-17 (10/3) A’ Section (027) in all voices Dotted line of symmetry in flute and harp

In m. 18 the soprano continues the rising and falling motion but destroys the integrity of the (027) sets with chromaticism that recalls the first soprano motive in m. 4. The flute follows suit and returns to the original material from m. 5, playing a mostly descending

chromatic line beginning on D4 to A#3 creating a (012345) set. Discreetly, Crumb

70 connects this statement with the original in m. 5 with four of the same pitches:

C#4/Db4/D4/Eb4. Note that there are enharmonically equivalent pitches in both figures.

Figure 3.6a Flute, mm. 4-5 (9/3) A Section (01234567)

Figure 3.6b Flute, mm. 19-20 (10/3) A’ Section (012345) Subset of the first flute motive

The final section, B’, begins at m. 21, rehearsal number 11. The material here is very similar to the B section; the harp begins with the original idea “compressed” within one measure. In m. 21 the right hand states (027) with B4/E5/A5; with F4 in the left hand

(0157) is formed; (01457) is formed with both F4 and G#4 in the left hand. This is repeated in m. 22 with an added pitch, D5, which alters the entire pitch material in the right hand to (0257), alluding to the first measure. With the added D5 all of the pitches in this measure create (023679). Measure 23 contains the same pc material as m. 21 with the pitches in a different order stating (027) three times. (016) is also present within all three measures between E4/F4/A5. This was not the case in the B section, however the soprano

and flute do not have (016) sets in this section, so the different voicing of the harp motive

allows a sense of balance between the two B sections. The added D5 also maintains the contrast between the three-measure idea of the harp; mm. 1-3 and 15-17 have set classes

(01457), (0247) and (01457) respectively. These three sets are palindromic, and D5 in m.

22 allows the last three measures of the harp to be palindromic as well: (01457),

(023679), (01457).

The soprano and flute have very limited pc material in the final section. The

soprano has one final figure in mm. 21-22 that continues the rising and falling motion set

up in the harp, creating a (014) set. The motive is then fragmented three times in mm. 22-

23 to end the piece. The flute has a four-note figure similar to the B section, comprised of

F#6/D#6/G6/F#6, this time a (013) set. As before, this short figure is repeated in the

following two measures.

3. CANCIÓN CANTADA (A SONG SUNG)

The third movement, unlike the first and second, is not based on one set; instead

the melodic material is mostly chromatic and the tritone seems to be present in almost

every statement in all three voices.

The alto flute begins this movement with one long statement that can be broken

down into three ideas:

Figure 3.7 Alto Flute, m. 1 (11/2) First Idea (01267) Second Idea (0123468) Third Idea (012345679t)

As expected of Crumb, the pc sets show a small idea that is expanded into larger sets.

The pc sets in the first, second and third ideas are (01267), (0123468) and (012345679t), respectively. Notice the use of the tritone in each set: (06) is present in each pc set between written Bb and En (the alto flute sounds a P4 lower than written). Additionally, the combination of these sets yields almost the entire chromatic aggregate:

(0123456789t). The only pitch that is not present in this measure is written D, sounding

The soprano enters in the second measure with a similar chromatic set creating

(0123456789t). Here, the missing pitch is D#/Eb, a tritone away from the missing alto flute pitch in the previous measure. The soprano statement in the second measure also begins a tritone higher than the alto flute statement in the first between sounding Bb in the alto flute and En in the soprano. In just two measures, Crumb has already established the tritone as a prominent interval.

The harp also enters in m. 2 with a (0134) set in the first four beats that is imitative of the first soprano figure in the same measure. On beat five, the harp plays

D#6, completing the soprano aggregate. The entire pitch material in the harp in m. 2 is

(013468) and the tritone is present between the first pitch, Cb4 in the left hand and F1 on

beat six in the left hand. The first note of the soprano in m. 2 is also a tritone higher than

the first note in the right hand of the imitative harp figure in the same measure, Bb4. In

the following measure, the harp has another figure that imitates the first soprano motive,

this time creating a symmetrical (0167) set, followed by a (016) fragment at the end of

the measure.

The original alto flute ideas are expanded and transposed through the next three

measures. In m. 3, the first idea is transposed to a new pitch level, this time beginning on

written G4, and instead of the last pitch ascending it descends to written Eb. The (01267)

set is, however still intact. Following this statement is a fragment of the second idea that

is enharmonically equivalent to the third set of grace notes in the original statement and

(0126) set.

Example 3.11a Alto Flute, m. 1 (11/2) Second Idea (0123468)

Example 3.11b Alto Flute, m. 3 (12/1) Fragment of Second Idea (0126)

Similar development of the first and second ideas occurs in the following measure, altering the first idea to (01268) yet retaining the (01267) transposition of the second idea at a different pitch level.

The soprano returns on beat two of m. 4 after the alto flute “development” with two short motives that are immediately restated and expanded in the alto flute.

Example 3.12 Soprano, m. 4 (12/1) (01267)

The first three descending notes create a (027) set alluding back to the first and second

movements followed by the symmetrical (0167) set of ascending pitches. Together, these

sets form (01267). In the same measure the alto flute imitates and expands upon the descending (027) set at a higher pitch level with an added grace note creating (0127), a subset of the entire soprano material in the above example. The alto flute then elaborates the (0167) soprano set with (012345789t). The harp also uses the same material in m. 4, this time harmonically, with (016) and (0167) chords, both subsets of the larger (01267) soprano set.

The soprano sings again in m. 5 with two descending lines, (012678) and (01258).

In these sets “hidden” tritones lie between G5/Db5 in the first statement, and G4/C#4 in the second. The harp plays a tritone between these soprano statements with A6 and Eb1.

In m. 6 the alto flute has material similar to the first measure; the three original ideas are transposed, and the second and third have altered contours.

Example 3.13a Alto Flute, m. 1 (11/2) First Idea (01267) Second Idea (0123468) Third Idea (012345679t)

Example 3.13b Alto Flute, m. 6 (12/2) First Idea (01267) Second Idea (012345789) Third Idea (012345679t)

The first and third ideas retain the integrity of the original sets, (01267) and

(012345679t), respectively. The second idea is altered in that each set of grace notes followed by repeated pitches is entirely chromatic, (012), while in the original statement they varied among the sets, (014), (016) and (0126). The pitch material in the altered second idea creates (012345789), an expansion of the original (0123468) set.

Figure 3.8a Alto Flute, m. 1 (11/2) Second Idea (014), (016), (0126)

Figure 3.8b Alto Flute, m. 6 (12/2) Second Idea (012), (012), (012)

Measure 7 serves as a transition into the “closing” material of this movement. The measure begins with a (01268) chord in the harp followed by a descending (0126) set in the alto flute. This alto flute motive can be seen as an inversion of the alto flute motive in m. 4.

Example 3.14a Alto Flute, m. 4 (12/1) (012367)

Example 3.14b Alto Flute, m. 7 (12/2) (0126)

The soprano then sings a short chromatic motive (012) above the alto flute trill. All three

of these ideas are immediately restated in the same order within the same measure,

slightly altered to (012568) in the harp, (01256) in the alto flute, and (0125) in the

soprano. In both instances, the harp provides the pitch material that the soprano and alto

flute derive their motives.

Measures 8-9 form the “closing” material for the movement in which the same set

is repeated several times until the end, much as a classical piece of music would reiterate the tonic. As in the previous measure, the harp plays first followed by the alto flute and then the soprano. The harp begins with a (01267) figure that is reminiscent of the first harp motive in m. 2. The alto flute then plays an expansion of the first idea (from m. 1)

79 retaining the original (01267) set. The soprano enters after the alto flute with a trichord

(014) that is an inversion of the very first soprano statement in m. 2.

Immediately following, the voices enter in the same manner, all expanding upon each previous statement; the harp enters with a symmetrical (012678) set followed by

(012578) in the alto flute that is again an expansion upon the first idea, and (0167) in the soprano. The soprano ends before the alto flute and harp, with a brief chromatic (012) set at the end of m. 8. The entire soprano material in m. 8 creates a (01234678) set that foreshadows the return of the pitch material from the third alto flute idea heard in m. 1.

The alto flute material is limited to two figures that are repeated several times throughout the next two measures. Still, in m. 8, while the soprano is singing her last statement, the alto flute has yet another variation of the second idea from m. 1.

Example 3.15a Alto Flute, m. 1 (11/2) Second Idea (014), (016), (0126)

Example 3.15b Alto Flute, m. 8 (13/1) Second Idea (014)

This time Crumb uses the first three pitches of the second idea in a different order and

transposes them up an octave for another (014) set. This set is followed by a variation of

the third idea, a (012346789) set, slightly different from the original (012345679) from

m. 1. Below the alto flute, the harp has a new figure that recalls the first alto flute idea,

(01267). These two alto flute ideas and the harp figure comprise the material for the rest

of the movement.

4. CARACOLA (SNAIL)

This movement is divided into three very distinct sections with specific pitch

material in the bass flute and harp; there is no absolute pitch material in the soprano in

this movement as Crumb employs whispering and more “Sprechstimme style” singing.

The bass flute begins this movement with a chromatic motive in m. 1 that is

expanded and fragmented in mm. 2-3 and then repeated in m. 4. The original motive is a

(012346) set that outlines the tritone between the first two pitches, written C4/Gb4 (the bass flute sounds an octave lower than written). The expanded motive in mm. 2-3 is

(01234678t), followed by a (0126) fragment in m. 3 and finally a return to the original

(012346) motive in m. 4. The soprano whispers the first line of poetry in mm. 2-4, with no definite pitch material.

The B section begins at m. 5, rehearsal number 14 with contrasting material in the harp. The harp begins with a dissonant chord cluster creating a (013568t) set.

Example 3.16 Harp, m. 5 (14/2) Both staves treble clef B Section (013568t)

Interestingly, the center of this set is D, which is displaced an octave higher than the rest of the pitches in the chord.

Figure 3.9 Chord Cluster with D “Pitch Center” (013568t)

The chord is not exactly symmetrical based on semitones around D; however, it seems as if Crumb wants this pitch to be heard as the center of the chord; after the chord is sounded the pitches around D are fleshed out melodically while D5 is sustained above.

Example 3.17 Harp, m. 5 (14/2) Both staves treble clef B Section

In the following measure the harp has a different motive in which the harpist is to

“slide [the] tuning key along the strings to produce the indicated pitches.” 2 Two statements of this idea through mm. 6 and 7 create (01256) and (0145) respectively.

Combined, these sets create a larger (01234789) set. The bass flute plays a fragment of this set in mm. 7-8, (012479) on fourth-partial harmonics, while the soprano sings in

“Sprechstimme style.”

The rest of this movement is based on the above ideas; there is no new melodic material after this point. The harp cluster appears again in m. 8 at a different pitch level with Gb as the center of the chord using the same pc set as before. The second harp motive follows (sliding the tuning key along the strings to produce specific pitches) in mm. 9-10, with two statements again creating (01256) and (0145) below the soprano singing in “Sprechstimme style.” The bass flute plays more fourth-partial harmonics that create a subset of the combined previous harp pitches, (012479), followed by one more chord cluster in the harp, this time with A as the center. The harp then imitates the bass

2 Crumb, Federico’s Little Songs for Children, 14.

flute harmonics in m. 12, playing (012479) and (0236). The A section returns verbatim in

mm. 13-16 to end the movement.

This entire piece has seven movements, and as Crumb loves symmetry, the fourth movement acts as the center of palindromic layout of movements. This symmetry is especially evident in his use of the instruments of the flute family: the first and seventh movement use piccolo; the second and sixth use concert flute; the third and fifth use alto flute; the fourth movement uses the bass flute. The remainder of this piece is based off of material already presented in previous movements.

5. ¡EL LAGARTO ESTÁ LLORANDO! (THE LIZARD IS CRYING!)

The fifth movement is based on mostly chromatic, symmetrical sets and is

visually similar to the third movement. The harp begins this movement with a “double

pedal glissando” 3 creating a symmetrical (0167) set that comprises the majority of the

harp material in this movement. The soprano enters next with a figure so strikingly

similar to the alto flute motive in the third movement that the connections between the

two cannot be denied.

3 Ibid., 16.

Example 3.18a Alto Flute, m. 1 (11/2) Third Movement First Idea (01267) Second Idea (0123468) Third Idea (012345679t)

Example 3.18b Soprano, m. 1 (16/1) Fifth Movement “First Idea” (0126) Remaining Material (012367)

The first four notes of this motive, A4/Bb3/G#5/D5, form a (0126) set, a subset of the first alto flute idea in the third movement, (01267). The remaining material expands upon the first set creating (012367). The entire pitch material combined in this figure is a chromatic symmetrical (01236789) set. It is also evident that the harp derives its pc material from this longer soprano set, as the harp figures that frame the soprano motive are (0167) and (0126) sets.

The alto flute enters after the soprano with a short imitation of the soprano

motive, (0268), followed by a symmetrical figure based on two sets of chromatic figures,

(012678).

Example 3.19 Alto Flute, m. 1 (16/1) Imitation of Soprano Motive (0268)

Figure 3.10 Alto Flute, m. 1 (16/1) Chromatic Subsets Create a Larger Symmetrical Set

Combined, the pitch material in the above example and figure creates a longer symmetrical set: (012346789t). The second idea in Figure 3.10 is immediately restated at a different pitch level on (16/2) and fragmented to (012) and (02).

All of the material presented up to this point is repeated at different pitch levels through (17/1), where the B section begins. The soprano motive is slightly altered in

(16/2) to create a longer chromatic set; (0126) is followed by (012345679t), creating

86 almost the entire chromatic aggregate, (0123456789t). As in the first soprano statement in the third movement, D#/Eb is the only pitch that is not present.

The B section begins at rehearsal number 18, m. 3 and uses highly contrasting material. The soprano no longer has specific pitches, but rather spoken text. The alto flute recalls a figure reminiscent of the B section material from the second movement with a repeated four-note motive creating a (0268) set similar to the first alto flute motive in m.

1. This figure is repeated three times in mm. 3-7 and comprises the entire alto flute material for this section.

Example 3.20 Alto Flute, mm. 3-4 (17/2) B Section (0268)

The harp plays an ostinato-like bass figure below the alto flute motive in mm. 3-7 comprised of F4/B4/A4, a (026) subset of the alto flute figure. In m. 7 the harp adds Eb4 to the figure completing the (0268) set. The “ostinato” harp figure is also metrically displaced as each statement begins on a different part of the measure.

Figure 3.11 Harp, mm. 3-7 (17/1) “Ostinato” Figure Metric Displacement mm. 3-6 (026) sets m. 7 (0268)

The A section returns at rehearsal number 19 with another (0167) pedal glissando in the harp followed by a similar quarter-tone pitch bend. These two figures are immediately repeated with the pitches of the pedal glissando inverted and the quarter- tone pitch bend stated a tritone lower than before. The soprano returns to pitched material with a new figure that is also immediately repeated a tritone lower. There is no alto flute material in this section.

Example 3.21 Soprano, m. 8 (17/2) A’ Section (01258)

The B section material returns at rehearsal number 20 and is slightly altered.

Again, there is no specific pitch material in the soprano as the text is spoken. The (026)

“ostinato” figure that was in the harp in the B section is now in the alto flute and begins

with one statement of (026) followed by the complete (0268) set from before. Similar to

the earlier statement, there is also some rhythmic displacement as the set begins on a different part of the measure each time.

Example 3.22 Alto Flute, mm. 9-13 (17/3) B’ Section (0268)

Conversely, the harp has the alto flute material from the B section. The same set of pitches, Cb5/D#5/F5/A4, is repeated several times in three statements (as in the B section), but the harp also adds accompanying harmonic pitches in the left hand that extend the set from (0268) to (01268). Further, the addition of the harmonic pitches below the rising and falling (0268) figure in the right hand recall the palindromic rising and falling harp figure from the second movement.

Harp, mm. 9 mm. Harp, Second Movement Second Harp, m. 1 - m. Harp, Top Staff Top Movement Fifth Example 3.23b Example Top Staff Top Example 3.23a Example B’ Section A Section

- (0268) 13 (17/3) (027)

3 (9/3)

Rehearsal number 21 is the A’’ section, yet combines elements of both the A and

B sections and can therefore be seen as a summary of the entire movement. The opening

(0167) harp statement returns followed by fragments of the opening soprano motive,

(016) comprised of three of the original pitches from m. 1 and (01267) comprised of

different pitches than before. Combined, these pitches form an almost symmetrical set,

(01235679). The harp and soprano motives are then repeated and expanded with (01267)

in the harp and (0124569) in the soprano.

At rehearsal number 22 the B section material briefly returns with another (0167) pedal glissando in the harp followed by the B section soprano motive transposed to a lower pitch level than before, creating a (0126) set. The harp has a single A4 harmonic that combines with the soprano figure, similar to m. 6 (10/1) of the second movement.

These figures are repeated at lower pitch levels after a brief statement in the alto flute.

This statement is a transposition of the first figure from m. 1, (16/1). This time, the triplet

figure is a chromatic (0123) set instead of (0268) as before, followed by three-note

chromatic sets that form a larger, symmetrical set (012678), similar to the beginning of

the movement. To end the movement, the chromatic set is fragmented to resemble the B

section soprano motive.

Example 3.24a Soprano, m. 14 (18/1) A’’ Section, B Section Material (0126)

Example 3.24b Alto Flute, m. 14 (18/2) A’’ Section, Imitation of Soprano B Section Material (0126)

The alto flute material that closes this movement creates an entirely chromatic

(012345678) set.

6. CANCIONCILLA SEVILLANA (A LITTLE SONG FROM SEVILLE)

The sixth movement is based largely on material heard in the second and third movements and is dominated by (016) sets that expand to create other prominent sets such as (0167) and (01267). The movement begins with a rising and falling motive in the harp that is clearly reminiscent of the second movement.

Example 3.25 Harp, mm. 1-3 (9/3) Second Movement Treble Staff (027)

Figure 3.12 Harp, mm. 1-4 (18/3) Sixth Movement (016) Sets

In the first measure the notes above the Bb in the left hand create a (016) set and can be considered the initial motive played above a pedal tone similar to the second movement; the addition of the Bb creates a symmetrical (0167) set. A (01) dyad follows in m. 3 and the original (016) set is repeated and followed by an apparently descending triplet figure

(01268), that due to the clef change in the bottom staff actually ascends at the end. The first (016) motive and the descending triplet figure form the basis of the melodic material throughout this movement.

The flute enters in the fourth measure with a variation of the B section motive

from the end of the second movement.

Example 3.26a Flute, m. 21 (11/1) “B Section Motive” Second Movement (014)

Example 3.26b Flute, mm. 4-5 (18/3) Sixth Movement (0123456789te)

These two measures present the entire chromatic aggregate in the flute by means of tritone (06) dyads.

Similar to the first movement, there is one measure of silence between the first

flute and soprano entrances. The soprano enters in m. 7, rehearsal number 23, with a

figure also reminiscent of the beginning of the first movement that alternates between just two pitches, but the motion changes in the following measure to imitate the descending triplet figure from the harp four measures earlier.

Example 3.27 Soprano, mm. 7-8 (18/3) (01236)

Ab4 in the soprano in m. 8 is anticipated by a G#4 harmonic in the harp on the downbeat of the measure. This pairing of enharmonically equivalent pitches between the harp and soprano occurs frequently throughout this movement and serves as a reference point for the soprano. As in the first movement, the pitches are only written as enharmonic equivalents because the notation of the harp cannot always follow the same written pitches as the other voices.

Measures 9 and 10 see a restatement of the harp material from mm. 1-2 below a

“new” flute motive that is obviously a variation of the opening alto flute material from the third movement.

Example 3.28a Alto Flute, m. 1 (11/2) Third Movement First Idea (01267) Second Idea (0123468) Third Idea (012345679t)

Example 3.28b Flute, mm. 9-10 (19/1) Sixth Movement (0123678)

The first four pitches of this motive form a (0167) set, followed by (016) and (012) sets that combine to form a larger (0123678) set. This larger set is an expansion of the first soprano motive in mm. 7-9.

Measures 11-14 combine the soprano and harp to recreate the opening harp

material from mm. 1-4. In mm. 11-12, the soprano sings (016) sets that look like the

opening (016) sets in the harp, while the harp provides the “pedal tones.” Combined,

these voices create (0167) sets.

Figure 3.13 Soprano and Harp, mm. 11-12 (19/1) All staves treble clef

Measures 13-14 employ the same concept but this time combine the soprano and harp to recreate mm. 3-4 of the opening harp line; here the harp presents a (016) set followed by a descending triplet figure in the soprano, (01457).

Figure 3.14 Soprano and Harp, mm. 13-14 (19/1) All staves treble clef

The chord in the harp in m. 14 is another (016) set, and the harmonic arrangement of this

set foreshadows the ways in which Crumb develops this idea later on in the movement.

In mm. 15-16 the flute repeats the figure from mm. 9-11 but with a different harp accompaniment figure. In m. 15, the harpist is to “rap wood” as in m. 2 and in m. 16 is to

“scrape along metal winding of string with a fingernail”4 on a very low note, F#1, a

technique first introduced in the third movement. These two measures are then repeated

at different pitch levels maintaining the same pc sets in mm. 17-18.

Measure 19, rehearsal number 24, sees the return of the opening material in all

voices, now using various types of augmentation, expansion, and alteration. Some material in the harp is also presented harmonically rather than melodically. The harp

begins this section with material that looks very much like the beginning statement, but

4 Crumb, Federico’s Little Songs for Children, 19.

98 instead of a (016) set followed by a (01) dyad, Crumb alters the pitches to form a (014) set in m. 19 followed by another (014) set in m. 20. This time the low “pedal tone” comes at the end of the figure, altering the ordered pc sets.

Example 3.29 Harp, mm. 19-21 (19/2) Treble and bass clefs in m. 19 m. 19 (014) m. 20 (014)

In m. 20 the soprano enters with fragments of all three original harp ideas.

Example 3.30a Harp, mm. 1-4 (18/3) Sixth Movement

Example 3.30b Soprano, mm. 20-22 (19/2) (06), (0126), (01)

In m. 20, A5 and D#5 create a (06) dyad reminiscent of the original (016) harp motive from the beginning of the movement. The soprano then alters the descending triplet motive forming a familiar (0126) set followed by a (01) dyad in m. 22. The soprano repeats the (01) dyad at a different pitch level in mm. 22-23, followed by another version of the triplet figure in m. 25 that retains the (0126) alteration from m. 21. Crumb then expands the (01) dyad to (02) in mm. 25-26.

In m. 22 the flute imitates the soprano material from the previous measure with added grace notes that further expand the pc set.

Example 3.31 Flute, m. 22 (19/2) (0123468)

Without the grace notes, this figure is another (0126) set; the added ornamentation expands the set to a more chromatic (0123468) set. Crumb continues with this idea through m. 27 and continues to expand and alter the “original” set. The figure in m. 23 is

100 the same as m. 22 transposed to a lower pitch level. In m. 24 Crumb expands the figure by adding more grace notes and using all three notes of the triplet figure (instead of one eighth rest followed by two triplets). Interestingly, the “main notes” of this figure

(without the triplets) form a (01236) set, the same set as the original soprano motive in mm. 7-9. Including the grace notes, this figure creates an almost symmetrical

(012346789) set. These two measures are repeated in mm. 26-27 at lower pitch levels maintaining the same sets.

In mm. 22-27 the harp presents the original (016) idea harmonically instead of melodically as before.

Example 3.32 Harp, m. 22 (19/2) Both hands treble clef (016)

This harmonic presentation of the prominent (016) set occurs in mm. 22, 23, 25, 26 and

27, each time at a lower pitch level, similar to the descending motion of the flute and soprano.

The next several measures emphasize (01267) in the soprano and (0126) in the harp. In mm. 28-30 the soprano has an expanded version of the motive from mm. 20-21 accompanied by an altered version of the harp motive in mm. 19-20.

101

Example 3.33 Soprano and Harp, mm. 28-30 (19/3) Harp treble and bass clefs Soprano (01267) Harp (0126)

The soprano sings another (01267) set in mm. 32-33; the harp plays a single Db4 harmonic on the downbeat of m. 33 that is the enharmonic equivalent to C#4 in the

soprano.

In m. 34, rehearsal number 25, Crumb employs the technique of “speak-flute” in a

passage that is very similar to the original soprano motive in mm. 7-9 and refers to the

initial soprano and piccolo motives in the first movement. The “speak-flute” motive creates a (02) dyad that is followed by similar motion in the soprano in mm. 36-37.

102

Example 3.34 Soprano and Flute, mm. 34-37 (20/1) Flute (02) Soprano (0124678)

During these four measures the harp alternates between (01) dyads and scrapes on very low pitches. The flute returns to the (0126) triplet motive with added grace notes in mm.

39-40 accompanied again by (016) chords in the harp, followed by another two measures of “speak-flute” with a (01) dyad and a low scrape in the harp.

The soprano material in mm. 43-44 is another combination of previous ideas. In just three beats Crumb brilliantly incorporates the (02) figure from mm. 7-9 (similar to the “speak-flute” motive), the triplet figure and the (01) dyad that are imitative of the opening harp material.

Example 3.35 Soprano, mm. 43-44 (20/2) (01246) followed by (01267)

103

Measure 43 is a chromatic (012) set followed by an expansion of the (01) dyad to (02) in m. 44. Together, these beats create a (01246) set that is followed by “gentle laughter” in the form of an expanded descending triplet figure that forms a (01267) set. The harp

returns to its original (016) motive in m. 44, and these two measures are immediately repeated at lower pitch levels (with slight alteration of the soprano pitches in m. 45 to

(01257)) in mm. 45-46.

In m. 47 the harp has another low scrape, though no distinct pitches are notated.

Above, the flute returns to the original (06) idea from the beginning of the movement in

mm. 4-5. The chromatic aggregate is not immediately present this time, however, as

Crumb fragments the idea over several measures. The first statement in mm. 47-48

creates a (012346789t) set, followed by yet another (0167) in m. 49, then (013679) in m.

51, and finally another (0167) in m. 52. In m. 51 the harp plays a single harmonic pitch,

D4, but this time it is not immediately answered by the soprano. Crumb allows the pitch

to die away and notates one measure of silence before the soprano enters on D4 in m. 54,

rehearsal number 26. The (016) figures in the harp in mm. 44 and 46, along with the (06)

dyads in the flute in mm. 47-52, slowly piece together material from the beginning of the

movement and act as a sort of “retransition” to the opening material that is not obvious

until m. 54, rehearsal number 26, where the opening soprano, flute and harp material

from mm. 7-10 is restated verbatim through m. 57.

In mm. 58-59 the harp has yet another variation of the opening motive, this time

(0248) followed by (01). The flute has a fragment of the previous motive in m. 59, (016)

followed by (012), combined to create (012367). The (0167) harp figure returns in the

following measure, in which Crumb utilizes a single harmonic pitch, G5, to complete the

104

(0167) set; this time it is not answered by the soprano. The flute follows in m. 62 with

(06) dyads that again do not complete the chromatic aggregate, only a (012346789t) set as in mm. 47-48. The harp ends the movement in m. 63 with another low scrape across the strings at indistinct pitches.

7. CANCIÓN TONTA (SILLY SONG)

This “silly song” is a compilation of motives from all previous movements. In general, the voices take turns presenting material in an organized fashion, beginning with the piccolo and harp. The piccolo material is taken mainly from the second, third, fifth and sixth movements, while the harp material is generally from the first, third, fifth and sixth. The soprano has three main statements in this movement that are broken down into three smaller fragments: one fragment from the first movement, one from the second, and one from the third. The soprano material is always presented in this order until the end of the movement, where Crumb employs material from the sixth movement instead of the third.

The movement begins with three (012) sets in the piccolo accompanied by (012) chords in the harp. The chromatic piccolo material is easily compared to the opening alto flute material in the fifth movement.

105

Example 3.36a Alto Flute, m. 1 (16/1) Fifth Movement (012) Sets

Example 3.36b Piccolo, m. 1 (21/2) Seventh Movement (012) Sets

The piccolo material in m. 2 is comprised of repeated (05) dyads that are obviously reminiscent of the (06) dyads from the previous movement. The third measure uses another variation of the third alto flute idea from the third movement but this time Crumb also incorporates the three-note chromatic set idea.

106

Figure 3.15 Piccolo, m. 3 (21/2) Seventh Movement (012) Sets within the Alto Flute Third Idea

The accompanying harp figures in mm. 1 and 3 are reminiscent of the first and third movements, respectively. Measure 1 of the seventh movement is essentially the same idea as the first three measures of the first movement.

Example 3.37a Harp, mm. 1-3 (6/1) First Movement (0146), (014), (014)

107

Example 3.37b Harp, m. 1 (21/2) Seventh Movement (012), (012), (012)

The harp has a similar figure in the third measure with three ascending chords, (012),

(012) and a slightly altered (0126) chord. In m. 2 the harp recalls the B section of the first movement with an individual pitch, C#6, that combines with the piccolo material above to form the recurring (016) set. In the B section of the first movement, the harp combined a single pitch with the piccolo to create a (012) set in m. 35.

The soprano enters in m. 4, rehearsal number 27 and begins with a (03) dyad taken directly from the first movement.

108

Example 3.38a Soprano, m. 5 (6/1) First Movement (03) Dyad

Example 3.38b Soprano, m. 4 (21/2) Seventh Movement (03) Dyad

The soprano then sings a (025) set similar to a (05) figure in the second movement, mm.

8-9. The last figure in mm. 6-7 is most similar to the opening soprano material in m. 2 of the third movement. In the sixth movement the material creates a (012345679t) set, while in the third movement the chromatic aggregate is almost present, (0123456789t).

The harp accompanies the soprano during these measures as well, drawing on ideas from the first movement. A harmonic trichord cluster accompanies the (03) soprano dyad in m. 4 that was originally seen in m. 38 of the first movement. Originally the cluster formed a (013) set in the first movement, Crumb alters it slightly in the seventh to

(014). In m. 5 the harp plays individual descending harmonic pitches that were first presented in mm. 5-8 of the first movement, also as a soprano accompaniment. In the first movement these harmonics comprised the main set, (0257), and in the seventh movement

109

they prolong (014) as in the previous measure. The harp strikes a low A1 in m. 6 that

reflects back to the “scraped” pitches from the third movement and then plays a (014)

chord in m. 7, once again referring to the beginning of the first movement.

Measure 8, rehearsal number 28, recalls the opening piccolo and harp material

from mm. 1-2 at a lower pitch level. This time Crumb extends the (05) piccolo dyads for

four measures, restating them at lower and lower pitch levels. The harp accompanies as

before with a single pitch in the second measure of the figure, m. 9, that combines with

the piccolo to form another (016) set. In m. 10 Crumb thickens the texture of the

accompaniment to form a (016) set in the harp below (05) dyads in the piccolo. In m. 11 a

single harp pitch returns under the piccolo figure. Combined they form not (016) but

(015).

The soprano returns in m. 13, rehearsal number 29, with fragments from the first, second and third movements respectively in mm. 4-7. The pc material is essentially the same the second time around, with slight alterations in the third-movement material.

Measures 15-16 have a smaller set than mm. 6-7, with (01245689) followed by a (0134) fragment of the same motive. The harp accompaniment is the same as mm. 6-7 played at different pitch levels.

The piccolo enters again in m. 17, rehearsal number 30, with another statement of

(05) dyads accompanied by a single pitch in the harp that combine to create another (016) set. In m. 18 Crumb changes the piccolo material, combining the chromatic (012) figure from m. 1 with a (04) dyad reminiscent of the first movement.

110

Example 3.39 Piccolo, m. 18 (22/2) (01248)

Eb4/D5/C#5 form the (012) figure, while A5/F5 recalls the opening figure in both the piccolo and soprano in the first movement, emphasizing the interval of a third. These pitches combined form a (01248) set. This figure is altered in the following measure, with a (014) followed by two statements of (03), forming a larger (01469) set. While Crumb destroys the original chromatic statement in this set, he rectifies the (03) dyad. The harp accompanies the piccolo in these two measures with (01) in m. 18 and a single harmonic

Db4 in m. 19. Combined, these pitches create a (013) set, further emphasizing (03).

One measure of silence precedes yet another statement of (05) dyads in the piccolo in m. 21 above a single harp pitch that again forms (015). Material from m. 18 is repeated in m. 22 at a higher pitch level in both the piccolo and harp. Instead of repeating the “combination idea” of (012) followed by (03) in m. 23, Crumb resurrects the third alto flute idea from the third movement. Interestingly, the pitches he uses create a

(01469) set that parallels the piccolo figure in m. 19.

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Example 3.40a Alto Flute, m. 1 (11/3) Third Movement Third Idea (012345679t)

Example 3.40b Alto Flute, m. 23 (22/2) Seventh Movement (01469)

The soprano enters again in m. 24, rehearsal number 31, the same as before with a

(03) dyad from the first movement accompanied by a (014) chord cluster in the harp. This time, however, the soprano does not proceed to the same figure from the second movement and instead resurrects the rising and falling figure from the harp in the second movement.

112

Example 3.41a Harp, mm. 1-3 (9/3) Treble and bass clefs Second Movement (027)

Example 3.41b Soprano, m. 25 (22/3) Seventh Movement (0134679t)

At m. 26, rehearsal number 32, the piccolo and harp material from the first three

measures returns. Again at different pitch levels, the sets are generally the same; the (05)

dyads in the piccolo combine with a single harp pitch in m. 33 to form a (015) set and the harp chords in m. 35 are (014) sets that more closely resemble the harp material at the beginning of the first movement. It is as if Crumb has altered these chords to end the piece the same way it began. However, the harp does not have the final word. The soprano interjects new material during this last statement of the opening figure, singing a

(012) set in m. 28, interrupting the piccolo and harp. This (012) figure, which looks very

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much like the opening harp material in the sixth movement, is altered in m. 30 to (013)

followed by a (01) dyad to end the piece.

Example 3.42 All Voices, mm. 26-30 (22/3) Restatement of Opening Material with Soprano Singing “New” Material

The first movement is based on (03) motives that expand to (0257) sets in all voices. (014) is also a prominent set in the harp, and (0126) in the soprano. A subset of the prominent (0257) set, (027) is the basis for the material in the second movement. The third movement is not based on one specific set; instead, it is mostly chromatic, often emphasizing the tritone in all voices. The fourth movement, the center of the piece, is also highly chromatic with no specific pitch material in the soprano. The soprano sings in

“Sprechstimme style” and whispers throughout. The fifth movement is very much like the third, emphasizing chromaticism and this time symmetry, also playing on figures from the second movement. The sixth movement also draws on material from the second and third movements. It is dominated by (016) sets that often expand to (0167) and

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(01267) sets. The seventh and final movement utilizes material from all previous movements, creating a “summary” of the entire piece.

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CHAPTER 4

INTERVALLIC CONTOUR IN FEDERICO’S LITTLE SONGS FOR CHILDREN

As stated in Chapter 3, this piece is organized symmetrically based on the flute instrumentation and content. This chapter examines the contour of each voice independently and as a whole, emphasizing the development of interval sizes throughout the piece. The contour varies by movement, growing from relatively smooth in the first to radically disjunct as the music progresses.

I. LA SEÑORITA DEL ABANICO (SEÑORITA OF THE FAN)

The first eight measures of this movement form an “A” section that will be restated and altered several times throughout the movement. The contour of the first movement is relatively smooth; the piccolo, soprano and harp move mostly in stepwise motion or by thirds. The piece begins with a ff chord in the harp followed immediately by the piccolo, alternating between just two pitches, F#5/D#5, outlining the basic contour of the A sections in the piccolo and soprano, [-3, +3], and [+3, -3].

Example 4.1 Piccolo, m. 1 (6/1) A1 Section Contour [-3, +3, -3]

This figure repeats in m. 2 and is altered in m. 3 to expand the contour in both directions

to [-3, +5, -2, -3, -2]. The soprano enters in m. 5 with the inverse of the original piccolo

contour, [+3, -3].

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Example 4.2 Soprano, m. 5 (6/1) A1 Section Contour [+3, -3, +3, -3]

These pitches continue to alternate through m. 7 and the pattern changes in m. 8 as

Crumb alters the original idea. The contour of the soprano is expanded in m. 8 to [-3, +5,

-2, -3, -2], exactly the same as the altered piccolo motive in m. 3. This “altered” contour will return many times throughout this movement.

Example 4.3a Piccolo, m. 3 (6/1) A1 Section “Altered” Contour [-3, +5, -2, -3, -2]

Example 4.3b Soprano, m. 8 (6/1) A1 Section “Altered” Contour [-3, +5, -2, -3, -2]

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The harp has two different roles at the beginning of this movement: when the piccolo is playing, the harp acts an accompaniment figure; while the soprano is singing,

the harp plays only individual pitches. Underneath the piccolo motive in mm. 1-3, the

harp plays one chord per measure that ascends a tritone [+6], then descends a third [-3]

while the individual harmonics in mm. 5-8 descend [-2, -3, -2].

Example 4.4a Harp, mm. 1-3 (6/1) A1 Section Piccolo Accompaniment Figure Contour [+6, -3]

Example 4.4b Harp, mm. 5-8 (6/1) Both staves treble clef A1 Section Soprano Accompaniment Figure Contour [-2, -3, -2]

The contour in the first eight measures is the basic contour that will be altered and expanded throughout the many repetitions of the A sections in this movement.

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Measure 9, rehearsal number 1, begins the A2 section and the piccolo is again

accompanied by chords in the harp, yet the piccolo material is altered after just one

measure while the contour in the harp expands as well. The piccolo begins as before with

[-3, +3], transposed up from the original in m. 1, and expanded to a longer version of the

“altered” contour in m. 10. Beneath the piccolo, the harp chords descend by six semitones

instead of ascending.

The soprano enters again in m. 12 with the same general contour as the previous

statement with more variety of contour.

Figure 4.1a Soprano, mm. 5-8 (6/1) A1 Section

Figure 4.1b Soprano, mm. 12-15 (6/2) A2 Section

The harp accompaniment this time is an ascending line of harmonics, creating

[+2, +3, +2], the exact opposite contour of the A1 section.

This material begins to “develop” in the A3 section beginning at rehearsal number

2, m. 16. The piccolo material is altered and fragmented, while the harp accompaniment

is no longer comprised exclusively of chords. In m. 16 the piccolo maintains the original

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[-3, +3] contour followed again by the “altered” contour in m. 17. The piccolo then plays fragments of this longer, altered motive in the following three measures, reducing the contour to just [-2, -3, -2] in m. 20. This fragment is not only part of the “altered” motive, but is also the original contour of the harp accompaniment to the soprano in mm. 5-8.

Example 4.5a Harp, mm. 5-8 (6/1) Both staves treble clef A1 Section Contour [-2, -3, -2]

Example 4.5b Piccolo, m. 20 (7/1) A3 Section Fragment of “Altered” Motive Same Contour as Harp Accompaniment Figure, mm. 5-8 Contour [-2, -3, -2]

The harp accompaniment in these measures begins with chords in mm. 16-17 with the same contour as the A2 section but then imitates the piccolo with the familiar

“altered” contour in mm. 17-18 and again in m. 19. Although this contour has been seen

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several times already, the melodic material looks much more disjunct here as the pitches are dispersed across two staves in the harp.

Example 4.6 Harp, mm. 17-18 (7/1) Both staves treble clef A3 Section “Altered” Contour Contour [3, +5, -2, -3, -2]

The soprano in this section is similar to the previous A sections in that there are

still only four measures of material, but there are more alterations in contour.

Figure 4.1c Soprano, mm. 21-24 (7/1) A3 Section

The harp accompaniment is still comprised of single pitches, but this time it resembles

the opening soprano motive.

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Example 4.7 Harp, mm. 22-24 (7/1) Both staves treble clef A3 Section Similar to Opening Soprano Motive Contour [+3, -4, +5]

The A4 section, which begins at rehearsal number 3, m. 25, is by far the most altered A section. The harp and piccolo have now changed roles; in m. 25 the harp plays an imitation of the piccolo line in the right hand with an “accompaniment” pitch in the left, while in m. 26 the piccolo answers with the “altered” contour from the original A section. This idea is repeated in the following three measures with the harp figure repeated and altered over two measures, answered by the piccolo in m. 29.

Example 4.8 Piccolo and Harp, mm. 25-26 (7/2) A4 Section Piccolo Contour [-3, +5, -2, -3, -2] Harp Contour E#4/F4/Bb4/E#4/F4 [+5, -5, +5, -5]

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In mm. 30-34 the soprano and harp alternate every other measure. In mm. 30 and

32 the soprano repeats material from mm. 15 and 13 from the A1 section,

[+1, -1, +2, -1, -2] and [+1, -1, +6, -4, -1] respectively. In the harp, the right hand plays a contour of [+5, -5] above a single pitch in the left hand, a fragment of the previous statement. These single pitches in the left hand in mm. 31 and 33 recall the original descending accompaniment motive from the A section with a contour of [-6]. The soprano finishes the phrase in m. 34, in which the contour expands to its widest thus far,

[+1, -1, +11, -1, -3, -1].

Finally, at rehearsal number 4, m. 35, there is harmonic and rhythmic contrast— the B section has arrived. The harp has no melodic material in this section, just a tremolo in the right hand and a scrape across the strings in the left, followed by only one distinctly articulated pitch that is enharmonically equivalent to the main pitch of the piccolo motive. The piccolo has a very short repeated motive, creating a contour of [+10] the first time followed by [+13] the second time.

Example 4.9 Piccolo, mm. 35-36 (7/3) B Section Contour [+10], [+13]

The soprano has no distinct pitches and is instructed to sing in “Sprechstimme style.”

Crumb writes in the performance notes that “the rhythmic values and overall pitch

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contour as given in the score should be faithfully observed.” 5 Although there are no

specific pitches here, the range appears to span above and below the treble staff,

approximately D4 to B5, the widest soprano range so far.

Example 4.10 Soprano, m. 37 (7/3) B Section Approximate Range of Almost Two Octaves

The B section is very brief and the A5 section begins in m. 38, rehearsal number

5, incorporating elements from the B sections. The soprano begins with material taken

directly from the A1 section; mm. 38-39 are exactly the same as mm. 7-8 accompanied by

a chord cluster in the harp in m. 38. In m. 40, the piccolo and harp play material taken

directly from the B section; m. 40 is the same as m. 35. In mm. 42-43 the harp plays a

figure reminiscent of m. 25 of the A4 section while the piccolo continues the B section

material through m. 47, fading into the B1 section at m. 48, rehearsal number 6. The B1 section is very similar to the original B section except there is no piccolo this time, only a tremolo and scrape across the strings in the harp with the soprano singing again in

“Sprechstimme style” with approximate pitches and a contour very similar to that of the

B section.

A6 is also very brief, beginning at m. 49 with the piccolo accompanied by a chord

cluster in the harp. The piccolo contour here is [+1, -1, +11, -1, -4, +1, -1], similar to the

5 George Crumb, Federico’s Little Songs for Children (New York: C.F. Peters Corporation, 1987), 3.

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soprano contour at the end of A4 in m. 34. Also, for the first time in this movement the

soprano overlaps the piccolo; before the piccolo finishes the brief motive in mm. 49-50, the soprano enters at the beginning of m. 50 with material from mm. 32 and 31 respectively.

A7 begins at m. 53, rehearsal number 7, this time with the soprano omitted. The

piccolo material is comprised of elements from and fragments of the A1 and B sections,

beginning with the original [-3, +3] contour, followed by the “altered” contour that is

extended, fragmented, and finally extended again through mm. 53-58. Underneath, the

harp accompanies with chords in mm. 53-55, [-6, +9], then promptly imitates the piccolo

as in mm. 17-19 of the A3 section. The harp plays the now familiar “altered” contour,

[-3, +5, -2, -3, -2], and repeats it at different pitch levels through m. 62. As before, the

harp contour looks more disjunct than it actually sounds, as the music is written across

two staves. This section ends with one statement of the piccolo motive from the B section

in m. 63, contour [+10].

A8, the final section of the movement, begins at rehearsal number 8, m. 67 after

three measures of silence with the harp imitating the piccolo motive in the right hand and

a single pitch in the left as in m. 25 of the A5 section. The piccolo answers with the B

section motive, which concludes the pitch material for the piccolo in this movement. The

soprano finally enters again in m. 77 with all of the same material as in mm. 5-8, the

original motive.

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2. LA TARDE (THE AFTERNOON)

The second movement is characterized by a rising and falling pattern first

introduced in the harp that is imitated and altered in the soprano and flute throughout the

movement. All voices eventually come together with this figure at the climax of the

movement to create one seamless motive.

The contour of the A section is characterized by a rising and falling figure in the harp and descending imitative lines in the flute and soprano. The harp plays a short introduction repeating the same basic figure in the first three measures with a pedal tone in the left hand and a melodic figure in the right.

Example 4.11 Harp, mm. 1-3 (9/3) A Section Contour Excluding C2 Pedal Tones m. 1 [+5, +5, -5, -5, -6] m. 2 [+5, +5, -5, -5, -10] m. 3 [+5, +5, -5, -5, -6]

The soprano enters in m. 3 with a mostly descending chromatic line and narrow range that is expanded in the flute in mm. 4-5.

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Example 4.12 Soprano and Flute, mm. 3-5 (9/3) Soprano Contour: [+1, -1, -1, -1, -1, +1, -1, -1] Flute Contour:[+1, -1, -1, -1, -1, +1, -1, -1, +1, -1, -1, +1, -1, -1]

The soprano ends the A section with an embellishment of the first soprano statement from mm. 3-4. The figure in m. 6 is an expansion of both the range and contour that is then fragmented in m. 7.

Example 4.13 Soprano, mm. 6-7 (10/1) A Section Contour m. 6 [+6, +5, -3, -5, +3, -3, -1] m. 7 [-5, -6]

The B section begins at m. 8, rehearsal number 9 with a “compressed” version of the opening harp motive that condenses the first three measures of the harp material into one. The contour is generally the same, with larger leaps in the “compressed” motive.

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Example 4.14a Harp, mm. 1-3 (9/3) A Section

Example 4.14b Harp, m. 8 (10/1) Both staves treble clef “Compressed” Motive B Section

This figure is repeated and slightly altered in mm. 9-10, followed by a completely different harp motive that is the most disjunct so far; there are five three-note groupings in mm. 10-12 that when combined form a symmetrical contour. This disjunct line appears even more broken as both staves are written in treble clef and the larger intervals appear to span two staves, while they sound within an octave.

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Example 4.15 Harp, mm. 10-12 (10/1-2) B Section Contour [+11, -5, +10, -5, +11, -6, +10, -10, +6, -11, +5, -10, +5, -11]

Figure 4.2 Harp, mm. 10-12 (10/1-2) B Section Contour Reduced to One Staff Contour [+11, -5, +10, -5, +11, -6, +10, -10, +6, -11, +5, -10, +5, -11]

The harp ends the B section with another figure that again looks highly disjunct, but both staves are written in the same clef.

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Example 4.16 Harp, mm. 13-14 (10/2) B Section Both staves treble clef m. 13 Contour [-5, -5, -5, -5]

In the B section the soprano has more melodic material that covers a greater range than before, becoming more like the opening harp figure in mm. 9-12.

Example 4.17 Soprano, m. 11 (10/2) B Section Similar to Opening Harp Figure Contour [-5, +5, +5, +6, -6, 0, -5, -5]

The flute has one repeated motive in this section, playing the same four-note motive in mm. 10, 11, and 12; the contour of this motive, [-1, +6, -5] suggests a combination of material from the A section that had a very narrow range and smooth contour with the disjunct motion now present in both of the other voices.

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Example 4.18 Flute, m. 10 (10/1) B Section Contour [-1, +6, -5]

The A’ section begins at m. 15 with the opening harp material from mm. 1-3. The flute and soprano imitate the harp figure, filling in the rests in the harp with similar motion. The flute plays the same pitches as the harp with an inverted contour, while the soprano sings mostly the same pitches with a contour similar to the flute.

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Voices, mm. 15 All mm. Voices,

Example 4.19 Example

A’ Section

18 (10/3)

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The movement ends with a B’ section that sees the return of most of the original

B section material: the “compressed” motive in the harp; a repeated four-note figure in the flute; continued contour variety in the soprano from the previous A’ and B sections.

3. CANCIÓN CANTADA (A SONG SUNG)

This movement is characterized by short, often disjunct passages in the soprano, long phrases in the alto flute and accompanimental figures in the harp. The foundation for all alto flute material in this movement is present in the first measure; all alto flute material after m. 1 is in some way a repetition, alteration, or transposition of the material in the first measure. This phrase is made up of three distinct ideas that will later be repeated, fragmented, extended, transposed, and taken apart and put back together. The first idea is a disjunct grouping of five notes.

Example 4.20 Alto Flute, m.1 (11/2) First Idea Contour [+7, -1, -4, +11]

The second idea has a smoother contour with grace notes preceding repeated pitches.

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Example 4.21 Alto Flute, m. 1 (11/2) Second Idea Contour [-1, -3, 0], [-6, +7, -1, 0, 0], [-10, +6, +5, -1, 0, 0, 0]

The third idea is characterized by three groupings of four, four, and five notes within a

quarter note triplet with a wide-ranging contour.

Example 4.22 Alto Flute, m. 1 (11/2) Third Idea Contour [+1, +1, -1, -6, +5, +6, -5, -9, +6, +5, +6, -4]

The alto flute returns in m. 3 and immediately alters the first idea. The contour of the first four notes remains the same, whereas the fifth note that ascended in the original statement this time descends. Compared to the contour of the original statement in m. 1

[+7, -1, -4, +11], the first alteration is [+7, -1, -4, -6]. An ascending triplet figure follows, which is enharmonically equivalent to the third statement of the second idea, F#4/C5/F5,

[+6, +5, -1, 0].

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Example 4.23a Alto Flute, m. 1 (11/2) Second Idea Contour [-1, -3, 0], [-6, +7, -1, 0, 0], [-10, +6, +5, -1, 0, 0, 0]

Example 4.23b Alto Flute, m. 3 (12/1) First and Second Ideas Altered Contour [+5, -1, -4, -6, +3, +6, +5, -1, 0, 0, 0, 0, 0, 0]

This conjunction of altered ideas is immediately restated at a different pitch level in mm.

3-4, extending the repeated pitches to four notes instead of three, slightly altering the contour from [+6, +5, -1, 0] to [+6, +5, +6, -1, 0]. Immediately following this statement is a short descending motive, [-1, -5, 0, -5] that can be seen as a fragment of the third idea preceding an expansion of the third idea.

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Example 4.24 Alto Flute, m. 4 (12/1) Expansion of Third Idea Contour [+6, +5, +6, +4, +1, +3, -1, -4, -4, -3, -4, -6]

Returning in m. 6, the alto flute restates the opening material at a different pitch level. All three ideas are present and connected as before with some expansion of ideas.

Example 4.25 Alto Flute, m. 6 (12/2) Contour of First Idea [+7, -1, -4, +11] Second Idea [-1, -10, 0], [+6, -1, -10, 0, 0], [-3, +11, -1, 0, 0, 0] Third Idea [-1, -5, -1, +4, -1, -5, -1, +4, -1, -5, -1, -3]

In m. 7 grace notes return in the alto flute, this time leading to one long pitch as opposed to several repeated pitches as in the second idea. The contour is similar to the second idea in that it is descending, but an added trill on the long note changes the contour to [-1, -1, -4, +4].

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Example 4.26 Alto Flute, m. 7 (12/2) Contour [-1, -1, -4, +4]

This motive is immediately repeated, expanding the range above and below with Cb5

above, descending to Cn4 to trill to F#4. The contour of this expanded motive is

[-3, -1, -1, -6, +6].

The remainder of the alto flute material in this movement plays on the second and

third ideas. In m. 8 there is an alteration of the third idea that consists of a four- and five-

note grouping within a quarter note triplet (this alteration omits the first four-note grouping of the original idea) altering the original contour. This altered idea is then repeated at different pitch levels two more times within this measure.

Figure 4.3a Alto Flute, m. 1 (11/2) Third Idea Contour

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Figure 4.3b Alto Flute, m. 8 (13/1) Beats 2-3 Altered Contour of Third Idea

Figure 4.3c Alto Flute, m. 8 (13/1) Beats 3-4 Altered Contour of Third Idea

Figure 4.3d Alto Flute, m. 8 (13/1) Beat 6 Altered Contour of Third Idea The first two notes from the previous figure are omitted in this statement. This statement is also repeated once in m. 9.

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Also in m. 8 is a variation of the second idea, this time with two grace notes followed by

five repeated pitches, [+4, -1, 0, 0, 0, 0]. This is immediately repeated and is heard twice

in m. 9.

Example 4.27 Alto Flute, m. 8 (13/1) Beat 5 Altered Second Idea Contour [+4, -1, 0, 0, 0, 0]

To complete the material for the movement there is one more variation of the third idea repeated three times in m. 9.

Example 4.28 Alto Flute, m. 9 (13/2) Altered Third Idea Contour [-1, -5, +6, +5, -6, -2, +7, -1, +7, -3]

The soprano has limited material in this movement, often singing when the alto flute is not playing or holding long notes. The lines are very disjunct and often span more than an octave within a phrase. The first phrase for example, mm. 2-3, spans from C4 to

A5.

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Example 4.29 Soprano, m. 2 (11/2) Contour [-11, +8, -11, +18, -5, -6, -10, +11, -5, +2, -1, -1, -4]

The second phrase is less disjunct and spans two measures.

Example 4.30a Soprano, m. 4 (12/1) Contour [-5, 0, -5, -1, +6, +5, +6]

Example 4.30b Soprano, m. 5 (12/2) Contour [-1, -4, -1, -1, -4, +4, -1, -4, -3, -3]

The contour of the third phrase is very smooth; beginning in m. 7 on Eb4 it is [0, 0, 0, -1,

-1, +2, +3, -3, -1, -1, +2]. The final phrase, however, is much like the first: in m. 8, beginning on E4, [+13, -4, -9, +6, +11, -6, -3, -11, +22].

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Crumb exploits the range of the harp in this movement, using its ability to play

both very high and very low notes in a mostly accompanimental fashion. This wide range

is seen in the first harp statement in m. 2, where the range spans 58 semitones, almost

five octaves.

Example 4.31 Harp, m. 2 (11/1) Treble and Bass Clefs Contour Beats 2-4, [+11, -14, +11] Beats 4-5 [+20] Beats 5-6 [-58]

Measure 3 is similar to m. 2, beginning with [+11, -17, +11] followed by [-6,

+11]. Measure 4 sees nothing but chords in the harp, and the harmonic contour is reduced as both hands play in treble clef.

Example 4.32 Harp, m. 4 (12/1) Both staves treble clef Harmonic Contour, D#4-Db4/G4 [-2/+4] E4/A4-C5/F#5 [+8, +9]

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The material in m. 5 is much like the harp material on beats 5 and 6 of m. 2, but with a

much wider contour; from A6 in the right hand to Eb1 in the left, the contour is [-66], a range of more than five octaves. Crumb then fills in the huge gap with the next statement

(m. 7) with closely-spaced chords similar to those in m. 4. It is as if Crumb is pushing the extremes of the range and then filling in the space to ease the tension.

From m. 7 on Crumb gradually expands the contour outward both melodically and harmonically with figures similar to those in m. 2.

Example 4.33 Harp, mm. 7-8 (13/1) Outward Expansion of Close Chords

The third figure in m. 8 is similar to the second in that there is a harmonic contour of

[+11] followed by [+6] from D#5. The [+11] chord is then repeated, followed by a [+13] chord that is made up of the last two notes of the previous figure.

Example 4.34 Harp, m. 8 (13/1) Both staves treble clef

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Crumb then alters this figure slightly, changing the first chord to F5/Gb5, harmonically

[+1] and repeats it once. To end the movement, Crumb repeats only the second part of the

figure in the above example.

4. CARACOLA (SNAIL)

This movement is made up of three distinct sections based on the framework of

the poetry. The A section is four measures long and contains only the first line of text in

the soprano along with a bass flute melody. The B section is eight measures long and

contains the six-line stanza with material in all three voices. The A section returns at

rehearsal number 16 and is an exact repetition of the first four measures.

The movement begins with a low, slow melody in the bass flute that first outlines

an ascending tritone [+6], then systematically fills it in with gradually smaller intervals.

Example 4.35 Bass Flute, m. 1 (14/1) A Section Contour [+6, -4, +3, -1, -1]

The complete motive in m. 1 is rhythmically and registrally expanded in mm. 2-3,

fragmented in m. 3, then restated in the original form in m. 4.

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Figure 4.4a Original Bass Flute Motive, m. 1 (14/1) A Section

Figure 4.4b Expanded Bass Flute Motive, mm. 2-3 (14/1) A Section

Figure 4.4c Fragmented Bass Flute Motive, m. 3 (14/1) A Section

The soprano has no specific pitches in this movement; rather, as in the B sections of the first movement, the text is either whispered or sung in “Sprechstimme style.” In the

A section all of the text is whispered on a pitch located on the line given with no change in contour.

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Example 4.36 Soprano, mm. 2-4 (14/1) A Section Contour [0]

The soprano enters again in the B section in m. 6 in a wide-ranging

“Sprechstimme style” that allows a general contour to come through without the need for specific pitches. As in the first movement, the pitch is approximate and relative to the B4 line on the treble staff.

Example 4.37 Soprano mm. 1-2 (14/1) A Section

A repeated figure in m. 6 looks as if to span from G4 to B5, then D4 to E5, changing direction after every note. Within this one measure, the range appears to be almost two complete octaves.

Example 4.38 Soprano, m. 6 (14/2) B Section

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In m. 8, the soprano begins with a figure similar to the first three notes of m. 4 but

changes direction to an almost completely descending line. This idea is also immediately

repeated with a slight alteration in m. 9. The general character of the soprano contour in

this section can be described as changing direction after every note, rising to a very clear

climax in the phrase in m. 9, then descending far below that focal point to create a very

wide range.

The harp begins the B section at rehearsal number 14 with a dissonant close-

spaced cluster chord that is then fleshed out melodically.

Example 4.39 Harp, m. 5 (14/2) B Section

Although this excerpt appears very disjunct at first glance, both harp staves are actually in treble clef, so the aural perception is quite different from the visual.

Figure 4.5 Harp, m. 5 (14/2) B Section Reduction of Harp Material to One Staff

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Following this figure is a much simpler arch-like idea that rises in small intervals,

descends back to the starting point and is immediately repeated at a lower pitch level in

mm. 6-7.

Example 4.40 Harp, m. 6 (14/2) B Section Both staves treble clef Top Staff Contour [+2, 0, +3, 0, +1, 0, -1, -3, 0, +3, -3, -1, -1]

The D4 in the left hand acts as a pedal tone in much the same way the left hand pitches did in the first harp motive of the second movement. The remainder of the harp material in the B section is made up of these two ideas, expanded and transposed until m. 12, where the harp imitates the bass flute harmonics in a descending line.

Example 4.41 Harp, m. 12 (15/2) Both staves bass clef B Section Imitation of Bass Flute Harmonics Contour [-2, -3, -2, -3, +2, +1, -3, -1]

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The bass flute plays a simple descending line of fourth-partial harmonics in the B section, first in mm. 7-8 and again in mm. 10-11 on a different pitch level with the same contour. Crumb’s use of bass flute harmonics is explained in detail in Appendix B.

Example 4.42 Bass Flute, mm. 7-8 (14/2) B Section Contour [-2, -3, -2, -3, +5, -2, -3, -1]

5. ¡EL LAGARTO ESTÁ LLORANDO! (THE LIZARD IS CRYING!)

The contour of the fifth movement resembles much of what has already been presented in previous movements. The soprano line is much more virtuosic in the A sections and resembles the disjunct alto flute line in the third movement; the B section material contains spoken text, notated on one line as in the previous movement. The alto flute line is similar to the alto flute material in the third movement as well, but is more disjunct and erratic than ever. The harp has a more complex contour than before and also contains elements of the second movement.

The opening soprano line is extremely similar to the opening alto flute material in the third movement.

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Example 4.43a Alto Flute, m. 1 (11/2) Third Movement

Example 4.43b Soprano, m. 1 (16/1) Fifth Movement A Section

The beginning of the soprano motive is similar to the first idea in the alto flute; while the repeated figure of the second alto flute idea is not present in the soprano motive, the grace note is present and a repeated figure is developed in a later section; the end of the soprano motive is an inversion of the third idea in the alto flute. Similar to the third movement, the soprano soon restates this idea at a different pitch level (16/2).

The A2 section sees the use of repeated pitches in the soprano at rehearsal number

19, (17/2) that resembles the second alto flute idea of the third movement.

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Example 4.44 Soprano, m. 8 (17/2) A2 Section

Comparing the alto flute material in the third movement and the soprano in the A sections

in the fifth movement, it seems that where the soprano differs from the alto flute, it does

so in contrary motion, creating the alto flute’s complement. Further, these movements in

general are each other’s complement, as the piece as a whole is organized as a

palindrome based on the flute instrumentation: 1. Piccolo 2. C Flute 3. Alto Flute 4. Bass

Flute 5. Alto Flute 6. C Flute 7. Piccolo.

The A3 section at rehearsal number 21 uses figures similar to those in the soprano line of the third movement in a more disjunct manner.

Example 4.45a Soprano, m. 2 (11/2) Third Movement

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Example 4.45b Soprano, m. 14 (18/1) Fifth Movement A3 Section

As before, the contour is inverted in the fifth movement from the third, but the same idea

is there: large leaps in opposite directions. Also similar to the third movement, the motive

in the above example is followed by generally descending motives. This idea combined

with two more versions of the repeated-note figure comprises the material of the A3

section that ends the movement.

The soprano material in the B and B1 sections is essentially an expansion of the soprano A section material in the previous movement.

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Example 4.46a Soprano, m. 2 (14/1) Fourth Movement A Section

Example 4.46b Soprano, m. 4, (17/1) Fifth Movement B Section

While words are whispered in the fourth movement and spoken in the fifth the rhythms are varied and there is no pitch contour.

The alto flute takes on three different personalities in this movement. The first is similar to the alto flute material in the third movement yet greatly expanded in terms of contour and range. The first statement of the alto flute in the third movement begins as an imitation of the soprano motive followed by a rapid, disjunct motive that frequently leaps more than an octave.

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Example 4.47 Alto Flute, m. 1 (16/1) A Section Contour: [+2, -2, -4, +10, -17, +13, -2, -5, +13, -2]

The alto flute takes on a new character in the B section, which is similar to the concert flute material in the B section of the second movement:

Example 4.48a Flute, m. 10 (11/1) Second Movement B Section Contour: [-3, +4, -1]

Example 4.48b Alto Flute, mm. 3-4 (17/1) Fifth Movement B Section Contour [+4, -4, +6, -2, -4, +4, -4, -2]

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The third alto flute character appears in the B’ section, imitating the harp material from the B section. In this section the alto flute and harp have symmetrical roles opposite that of the B section; what the alto flute played in the B section is now in the upper staff of the harp, and what was in the upper staff of the harp is now in the alto flute.

Example 4.49a Alto Flute and Harp, mm. 3-5 (17/1) B Section All staves treble clef Alto Flute Contour mm. 3-4 [+4, -4, +6, -2, -4, +4, -4, -2] Harp Contour Top Staff [-2, +2, -2, +2, -2, +2]

Example 4.49b Alto Flute and Harp, mm. 9-10 (17/3) B’ Section Alto Flute Contour [-2, -4, +6, -2, -4, -2, +2, +6, -2] Harp Contour Treble Clef [+4, -4, +6, -2, -4, +4, -4, -2]

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The harp also has three characters in this movement; the second and third are presented in the above examples. The first character very likely depicts the “crying lizard” described in the text with glissandi. This “double pedal glissando” has a “double- contour” in itself because of its thick texture.

Example 4.50 Harp, m. 1 (16/1) A Section

The two hands create a multi-layer contour that on a large scale moves inward, outward, and then up that is paralleled on a smaller scale as each hand alone creates the same motion. This figure is inverted and repeated at different pitch levels throughout the A sections.

6. CANCIONCILLA SEVILLANA (A LITTLE SONG FROM SEVILLE)

The sixth movement also appears to be a combination of elements previously seen throughout the piece and, like the third movement, does not have clearly defined sections.

Some figures are slightly altered to create “new” ideas, but their origins can be traced back to previous movements. For example, the movement begins with a rising and falling motion in the harp that is similar to figures at the beginning of the second movement.

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Example 4.51a Harp, m. 1 (9/3) Second Movement A Section Contour Eb4/G#4/Db4/G#4/Eb4 [+5, +5, -5, -5]

Example 4.51b Harp, m. 1 (18/3) Sixth Movement Contour F3/E4/Cb4/A4 [+11, -5, +10]

The harp continues in this manner for the first ten measures of the movement and then recalls single descending harmonics accompanying the soprano from the first movement.

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Example 4.52a Harp, mm. 5-8 (6/1) Both staves treble clef First movement Contour [-2, -3, -2]

Example 4.52b Harp, mm. 11-12 (19/1) Both staves treble clef Sixth movement Contour [-2]

Soon after, Crumb writes very low notes in the harp (F#1/E1) that reflect parts of the third movement, and the harpist is even instructed to play these pitches the same way: “scrape along string with fingernail (a single very rapid upward stroke!).” 6

6 Crumb, Federico’s Little Songs for Children, 11.

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Example 4.53a Harp, m. 2 (11/2) Bass clef Third movement

Example 4.53b Harp, m. 18 (19/1) Treble and bass clefs Sixth movement

In this movement the flute recalls elements from earlier movements, especially the second, and transforms them in unique ways. The first statement in the flute begins in the fourth measure and looks similar to the B section material from the second movement.

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Example 4.54a Flute, m. 21 (11/1) “B Section Motive” Second Movement Contour [-3, +4, -1]

Example 4.54b Flute, mm. 4-5 (18/3) Sixth Movement Contour [-6, -5, +6, -3, -6, -3, +6, +3, -6, -5, +6, -5, -6]

While the material in the sixth movement is obviously an extended variation of the material in the second movement, the general shape of the contour is present. The next entrance in the flute recalls figures from the third movement as shown in the following examples:

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Example 4.55a Alto Flute, m. 1 (11/2) Third Movement Contour First Idea [+7, -1, -4, +11] Second Idea [-1, -3, 0], [-6, +7, -1, 0, 0], [-10, +6, +5, -1, 0, 0, 0] Third Idea [+1, +1, -1, -6, +5, +6, -5, -9, +6, +5, +6, -4]

Example 4.55b Flute, mm. 9-10 (19/1) Sixth Movement Contour [-5, -1, -5, +1, +5, +1, -1, -5, -1, -1, -1, +1, +1]

There are two more instances of this figure (one an exact repetition, the other transposed to a lower pitch level) before the flute changes character yet again, this time to imitate the harp material of this movement, expanding on the descending triplet motive at the end of the first harp statement.

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Example 4.56a Harp, m. 3 (18/3) Sixth Movement Contour [-1, -1, -4, +22]

Example 4.56b Flute, mm. 22-24 (19/2) Sixth Movement Contour m. 22 [+10, -4, -1, -3, +1, +1] mm. 23-24 [+10, -3, -2, -3, +1, +1, -3, -1, -1, -4, -1, -1, +4, -7, -6]

There is one more figure in the flute in this movement, and it is more reminiscent of the soprano line of the first movement than any other flute line. First appearing on the top of page 20 (20/1), the flute has a stepwise up-and-down contour that recalls the motion in the soprano from the beginning of the first movement.

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Example 4.57a Soprano, m. 5 (6/1) First Movement A Section Contour [+3, -3, +3, -3]

Example 4.57b Flute, mm. 34-35 (20/1) Sixth Movement Contour [0, +2, -2, +2, -2, +2, -2, +2, -2, +2]

This particular example shows greater similarity to the soprano line than any previous flute motive because Crumb employs “speak-flute” here, in which the flutist speaks the indicated words over the lip-plate while fingering the given pitches, producing a “ghost- like” tone with the flute while the words are produced.

The soprano has two basic ideas in this movement that recall the soprano idea from the first movement and imitates the opening harp line of this movement. Both of these ideas are, as expected, greatly altered and expanded through the movement. The soprano enters in m. 7 after both the harp and flute have begun with a mostly stepwise contour that is reminiscent of material from the first movement.

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Example 4.58a Soprano, mm. 5-6 (6/1) First Movement A Section Contour [+3, -3, +3, -3, +3, -3, +5, -2, -3, -2]

Example 4.58b Soprano, mm. 7-9 (18/3) Sixth Movement Contour [+2, -2, +2, -2, +6, -3, -1, -1, -1, +6]

This motion makes up the majority of the soprano material throughout this movement, altered and transposed in various ways.

The soprano also imitates the harp in this movement, playing on the opening harp motive.

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Example 4.59a Harp, mm.1-4 (18/3) Treble and Bass Clefs Contour mm. 1-2 F3/E4/Cb4/A4 [+11, -5, +10] mm. 3-4 [+11, -5, +11, -1, -1, -4, +22]

Example 4.59b Soprano, mm. 11-14 (19/1) Contour m. 11 [+11, -5] m. 12 [+11, -5] m. 14 [-1, -3, -1, +10]

Excluding the pedal tone, the contour of the first and third measure in the harp in the above example is [+11, -5] and the soprano contour in mm. 11-12 is the same. The contour of the descending triplet motive in the harp is [-1, -1, -4, +22] and is altered in the soprano due to the reduced range to [-1, -4, -1, +10], but the general shape is still present. Later in the movement the soprano expands upon these ideas again with a wider range than before. Where the descending triplet figure in m. 14 was [-1, -4, -1, +10], it

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becomes [-4, -1, -1, -3, +13] in mm. 21-22; where the opening harp motive began with

[+11] the soprano expands the figure to [+13] in mm. 22 and 23.

Example 4.60 Soprano, mm. 20-23 (19/2) Contour [-6, +4, -4, -1, -1, -3, +13], [0, +13]

7. CANCIÓN TONTA (SILLY SONG)

In the final movement of this piece Crumb brilliantly blends elements of the previous movements together to form seemingly new material. The first three measures are a combination of elements from the first three movements.

Example 4.61a Piccolo and Harp, mm. 1-3 (21/2)

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The first measure recalls the very first measures of the piece in which the harp

accompanies rapid lines in the piccolo. The piccolo contour is expanded from [-3, +3, -3]

in the first movement to [-1, -10, -3] and then inverted to [+11, -1, -4], which is

immediately repeated. The overall range of the harp part is smaller in this movement than

in the first. Where the chords in the first movement all had a range of 13 semitones, the chords in the last movement are reduced to within an octave, a range of 11 semitones.

The second measure utilizes ideas from the second and sixth movements in the piccolo; the rhythm and descending contour originate in the B section of the second movement (10/1), and the motive is broken into duplets and cemented to a contour of

[-5], reminiscent of the [-6, +6] figure in the sixth movement. The repeated [-5] figures are supported by a single ffz pitch in the harp that has been seen in the first and third movements.

The third measure retains the harp accompaniment figure from the first movement, this time with ascending chords only instead of ascending and descending as before. The range of the chords is still within an octave [11], and the piccolo continues with a line similar to the opening alto flute motive of the third movement, inverted and expanded in range.

Example 4.61b Alto Flute, m. 1 (11/2) Third Movement A Section Contour [+1, +1, -1, -6, +5, +6, -5, -9, +6, +5, +6, -4]

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Example 4.61c Piccolo, m. 3 (21/2) Seventh Movement Contour [-1, -10, +6, +2, -1, -10, +6, +8, -1, -10, +6, +10]

The harp and piccolo material in the third measure are also similar to the material at the end of the third movement.

Example 4.61d Alto Flute and Harp, m. 9 (13/2) All staves treble clef Third Movement

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Example 4.61e Piccolo and Harp, m. 3 (21/2) All staves treble clef Seventh Movement

The next four measures incorporate elements of the first, second, third, fifth and sixth movements in the soprano and harp.

Example 4.62a Soprano and Harp, mm. 4-5 (21/2) All staves treble clef Seventh Movement

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The first two pitches in the soprano clearly refer back to the first two notes in the soprano

in the first movement, alternating thirds, [+3, -3]. The chord cluster in the harp in m. 4 and the descending harp harmonics in m. 5 also reflect accompaniment material from the first movement. The soprano material in the second measure of this example is a combination of material from the second movement, with the [-5] motive at the end changed to a [-3].

Example 4.62b Soprano, m. 9 (10/1) Second Movement Contour [0, 0, 0, 0, +5, -5]

In the following measure, m. 6, the soprano expands the original [-3, +3] motive from the first movement to [-4, +4] and is accompanied this time by a single, low pitch in the harp, A1, as seen in the third and sixth movements. The last measure of this “section” uses material from the fifth and sixth movements in the soprano and another chord cluster in the harp, similar to the beginning of this movement as well as to the second, third, fourth and sixth movements.

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Example 4.63 Soprano and Harp, m. 6-7 (21/3) All staves treble clef

The next five measures are similar to the first four in which the harp accompanies

the piccolo. The contour is very similar, with the [-5] motive in the piccolo extended an extra three measures and stated at four different pitch levels.

The rest of the movement continues in this manner, alternating between

piccolo/harp and soprano/harp motives, expanding, fragmenting, and altering the

“original” ideas in various ways. The soprano alone sees the introduction of different

material near the end of the movement, as in (22/3) the soprano recalls the continuous rising and falling motion from the second movement.

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Example 4.64a Harp, m. 1 (9/3) Treble and Bass Clefs Second Movement A Section Contour Eb4/G#4/Db4/G#4/Eb4 [+5, +5, -5, -5]

Example 4.64b All Voices, mm. 15-16 (10/3) Second Movement

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Example 4.64c Soprano, m. 25 (22/3) Seventh Movement Contour [+3, -4, -2, -4, -3, +6, +10, -3]

The soprano also alters the opening harp motive from the sixth movement again in the seventh.

Example 4.65a Harp, mm. 1-3 (18/3) Treble and Bass Clefs Sixth Movement Contour mm. 1 and 3, F3/E4/Cb4 [+11, -5, +10]

Example 4.65b Soprano, m. 28 (22/3) Seventh Movement Contour [-11, +13]

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Example 4.65c Soprano, m. 30 (22/3) Seventh Movement Contour [+10, -1, +5, -13]

The contour of this piece varies by movement, beginning with a relatively smooth line in the first movement. The voices generally move stepwise or by thirds, emphasizing a [+3, -3] contour that is expanded to [-3, +5, -2, -3, -2]. The second movement is characterized by a rising and falling motive first stated in the harp and later imitated by the flute and soprano. Expanding on the first movement, [+5, -5] is a common contour in this movement. The third movement is more disjunct than the previous two, with short phrases in the soprano, long phrases in the alto flute and frequent accompanimental figures in the harp. In the fourth movement the contour is generally conjunct in the bass flute and harp, while in the middle of the movement the soprano sings in “Sprechstimme style” with a wide range and irregular contour. The fifth movement is similar to the third with a greater sense of disjunction, while the sixth movement contains elements of the previous movements with a more varied contour. Finally, the seventh movement contains elements from all previous movements, and acting as a “summary” of the piece, consequently has the most erratic and inconsistent contour.

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CHAPTER 5

CONCLUSION

Written 21 years apart, Madrigals, Book II (1965) and Federico’s Little Songs for

Children (1986) use similar compositional devices that are defining factors of Crumb’s music, emphasizing chromaticism, symmetry, dissonance and disjunct motion in many ways. In terms of pitch-class material, Crumb generally expands short sets into larger supersets by repeating and extending phrases, often at different pitch levels. Larger sets, conversely, are often broken down into smaller subsets by fragmenting motives again and again until the idea is reduced to just a few pitches. This music is highly chromatic, frequently employing symmetrical chromatic sets such as (0167). The tritone is a prominent interval, present in almost every set or highlighted by the omission of pitches a tritone apart. Chromaticism is systematically displaced by octaves and there is an emphasis on dissonant intervals such as tritones, sevenths and ninths.

In the first and second movements of Madrigals, Book II, small pc sets are developed into larger supersets, expanding on specific sets such as (012) and (016). The third movement begins with larger sets that are fragmented, generally highlighting (016).

Throughout the piece (0167) is a prominent set, emphasizing chromaticism, symmetry and the tritone, highlighted by the movement of the flute in the second movement and personifying “Death” in the third.

In Federico’s Little Songs for Children, a symmetrical (0257) set dominates the first movement, and the second is based on the subset (027). The third movement is chromatically based, the alto flute beginning the movement with almost the entire chromatic aggregate (0123456789t). This movement also emphasizes pervasive use of

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the tritone within sets, between voices and by the omission of pitches. For example, the

“missing” pitches in the first alto flute statement, sounding Bb, and the first soprano

statement, En, are a tritone apart. The fourth movement is highly chromatic with the

soprano singing in “Sprechstimme style.” The remainder of the piece continues to use

mainly chromatic sets, deriving material from the previous movements.

The contour throughout both pieces is generally disjunct, with voices often

changing direction after every pitch. In Madrigals, Book II, the contour is characterized

by large leaps and displaced chromaticism, both of which are immediately evident in the

first soprano motive of the first movement with D5/C5/C#4. These techniques are used

consistently throughout all three movements in all three voices. Crumb uses a greater

contour variety in Federico’s Little Songs for Children, from no contour at all in the

spoken and whispered words to “Sprechstimme style” in the soprano, as well as

chromatic passages to highly erratic motives in all voices.

In both pieces the contour can also be visually deceiving, as the percussion and

harp are written on two staves, producing an aural effect that can be quite different from

the visual one seen by the performers. In Madrigals, Book II, the percussion is visually

deceiving; for example, in m. 29 of the first movement, Crumb writes Bb4 on the upper

staff descending to Bn4 on the lower staff. The music appears to descend more than an

octave but because both staves are in treble clef the sounding contour is actually

ascending by only a semitone. Similar techniques are used in the harp in Federico’s Little

Songs for Children.

Pitch-class content and intervallic contour are two of the most characteristic elements of Crumb’s music. His use of chromaticism, symmetry, dissonance, and ever-

175 changing contour helps create a unique individual style in both of these pieces that is elegantly crafted. Other aspects of Crumb’s compositional style, such as rhythm, special effects and a preoccupation with history and culture, are also important in creating his musical language. All of these topics would provide numerous possibilities for further research. APPENDIX A

RHYTHM AND SPECIAL EFFECTS IN

MADRIGALS, BOOK II

AND

FEDERICO’S LITTLE SONGS FOR CHILDREN

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RHYTHM AND SPECIAL EFFECTS IN

MADRIGALS, BOOK II AND FEDERICO’S LITTLE SONGS FOR CHILDREN

RHYTHM

Rhythm and special effects are important factors in Crumb’s music and contribute

significantly to his unique style. A detailed analysis of these elements is beyond the scope

of this thesis due to the already exhaustive analysis of pc content and intervallic contour

but would be a suitable topic for future study. Therefore, this brief survey of rhythm and

special effects is augmented by a performance-oriented discussion of special effects for

flute in Appendix B.

The rhythm in these two pieces often obscures any sense of time, tempo and

meter through the use of extreme beat divisions and tempi, unusual time signatures and

ties over barlines. In the first measure of Madrigals, Book II1, the percussion enters on the

third sixteenth of the beat in 3/e., the first alto flute figure contains sixty-fourth notes while the first soprano figure sustains C5 over barlines, further obscuring the beat.

Federico’s Little Songs for Children begins with a time signature of 5/s with the piccolo playing thirty-second notes at a tempo marked s = 300.

In Madrigals, Book II, the rhythmic values range from the sixty-fourth to the half note, while Federico’s Little Songs for Children uses values up to the dotted-whole note.

Both pieces use unusual divisions of the beat, often employing thirty-second and sixty- fourth notes preceded by grace notes.

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Example A.1a Alto Flute, m. 1 (4/1)

Madrigals, Book II1

Example A.1b Soprano, m. 1 (16/1) Federico’s Little Songs for Children, 5

As seen in the above example, small beat divisions are often grouped into some kind of tuplet.

Example A.2 Soprano, mm. 6-7 (4/2)

Madrigals, Book II1

Longer rhythmic figures are used to suspend time and further obscure the beat by tying shorter rhythmic values together, often across barlines. This technique is more

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prevalent in Madrigals, Book II and the first three measures of the soprano motive in the first movement are an excellent representation of this practice.

Example A.3 Soprano, mm. 2-5 (4/1)

Madrigals, Book II1

Longer figures are not as common in Federico’s Little Songs for Children; however,

tying figures over barlines does happen a few times throughout the piece.

Example A.4a Flute, mm. 9-10 (19/1) Federico’s Little Songs for Children, 6

Example A.4b Harp, mm. 6-7 (21/3) Federico’s Little Songs for Children, 7

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Unconventional divisions of the beat not only apply to what is being played, but to rests in the music as well. This is one main reason it is imperative that all players read from the score when performing Crumb’s works. Motives often begin on an unusual division of the beat, easily puzzling the ear and body as to where the beat actually falls.

Madrigals, Book II1 begins with the antique cymbals on the third sixteenth of the first beat and the percussionist is to let them ring through the remainder of the measure.

Unless the listener is subdividing by the sixteenth note, the beat is virtually indiscernible.

Such writing is consistent in all voices throughout the first and third movements of

Madrigals, Book II.

Example A.5 Percussion, m. 1 (4/1)

Madrigals, Book II1

The second movement has no meter; only a tempo indication, and rests are notated in seconds. For example, Crumb calls for three seconds of silence after the first soprano entrance in (6/2).

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Example A.6 All Voices, (6/2) All staves treble clef

Madrigals, Book II2

In Federico’s Little Songs for Children the rests are not as extreme since the meters are more conventional; however, it is rare for a figure to begin on a downbeat.

Example A.7a Soprano, mm. 3-4 (9/3) Federico’s Little Songs for Children, 2

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Example A.7b Harp, m. 22, (19/2) Both staves treble clef Federico’s Little Songs for Children, 6

The tempo of a piece determines just how “irrational” a beat division is, and often

both the tempo and time signature are also complex in this music. As described above,

the first movement of Madrigals, Book II is written in 3/e. with a tempo of e. = 78.

Example A.8 Time Signature, m. 1 (4/1)

Madrigals, Book II1

There are no meter or specific tempo changes in the first movement, and the second

movement has no time signature, with a tempo marking of s = 52 and later 76. The third

movement has many changes in meter and a tempo marking of z = 304. The movement

begins in 7/ z and changes several times throughout (to 5/z., 3/s and 1/s.).

Federico’s Little Songs for Children employs unorthodox tempo markings;

however, the meter is not as unusual: the first movement begins in 5/s at s = 300; the second is in 9/8 at q. = 50; the third is in six-four at q = 48; the fourth is in four-two at

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h = 40; the fifth does not have a meter, like Madrigals, Book II2 and begins at e = 54; the

sixth is in 2/4 and begins at q = 80; the seventh, more like Madrigals, Book II begins in

3/ s. with s. = 190. The use of these unusual time signatures combined with irrational divisions of

the beat, tempo and longer rhythmic values held across barlines often suspends time and

obliterates any sense of the beat within these two pieces.

SPECIAL EFFECTS

Special effects are used in all voices in both Madrigals, Book II and Federico’s

Little Songs for Children and are often used to enhance the programmatic nature of the

music. Most special effects are described in Crumb’s performance notes in the beginning

of the score, or are marked with an asterisk and described below the music on the page

they first occur. A detailed discussion of special effects for the flute is found in Appendix

In Madrigals, Book II and Federico’s Little Songs for Children the soprano has

glissandi, percussive phonetic sounds, whispering and “Monteverdi trills.” Federico’s

Little Songs for Children also requires the soprano to sing in “Sprechstimme style” and speak.

Glissandi first appear in Madrigals, Book II1 in m. 13 and are first used on the

word “tranquila” (tranquil) in m. 13 and later in mm. 23-24, 24-25, and 26-27.

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Example A.9 Soprano, mm. 11-13 (5/1)

Madrigals, Book II1

There are no glissandi in the second movement, but the third makes extensive use of them. Beginning in mm. 21-22, almost every figure in the soprano ends with a glissando through the end of the movement.

Example A.10 Soprano, mm. 21-22 (9/1)

Madrigals, Book II3

In mm. 16-17 and 31-33 of the third movement the soprano has phonetic symbols, and Crumb describes in the performance notes that they “should be pronounced very percussively!” 7

Example A.11 Soprano, mm. 16-17 (8/3)

Madrigals, Book II3

7 George Crumb, Madrigals, Book II (New York:C.F. Peters Corporation, 1965), 2.

185

In m. 36, Crumb notates a “Monteverdi trill” marked “like neighing of horse.” 8

Example A.12 Soprano, mm. 35-36 (9/3)

Madrigals, Book II3

The performance notes marked with the asterisk say “Monteverdi trill, i.e. “ne-he-he-he-

(etc.)-gro.” This particular special effect has a music-text relationship in that the title of

this movement is “Caballito negro, ¿Dónde llevas tu jinete muerto?” (Little black horse,

where are you taking your dead rider?) To end the piece, Crumb has the soprano whisper at indistinct pitches.

Example A.13 Soprano, m. 51 (10/2)

Madrigals, Book II3

Glissandi first appear in Federico’s Little Songs for Children in the first

movement while the soprano is singing in “Sprechstimme style.”

8 Ibid., 9.

186

Example A.14 Soprano, m. 35, (7/3) Federico’s Little Songs for Children, 1

In the performance notes, Crumb writes “half-singing (or Sprechstimme), which implies indefinite pitch and a liberal use of glissando. However the rhythmic values and overall pitch contour as given in the score should be faithfully observed.” 9 “Sprechstimme style”

singing also occurs later in this movement, m. 47, and in the fourth movement in m. 6

and mm. 8-10.

Whispering occurs in the fourth movement of Federico’s Little Songs for

Children in mm. 2-4 and 14-16.

Example A.15 Soprano, m. 2 (14/1) Federico’s Little Songs for Children, 4

Similar to the whispering effect, speaking occurs in the fifth movement of Federico’s

Little Songs for Children in mm. 4-7 and 10-13.

9 George Crumb, Federico’s Little Songs for Children (New York: C.F. Peters Corporation, 1986), 3.

187

Example A.16 Soprano, mm. 4-6 (17/1) Federico’s Little Songs for Children, 5

The special effects in the flute in Madrigals, Book II are flutter-tonguing and third- and fourth-partial harmonics. The effects in Federico’s Little Songs for Children are the same and also include pitch bends and “speak-flute.”

Flutter-tonguing appears in Madrigals, Book II1 in the first alto flute motive and occurs in most of the figures throughout the movement, as well as in many of the piccolo figures of the third movement.

Example A.17 Alto Flute, m. 1 (4/1)

Madrigals, Book II1

The alto flute plays third-partial harmonics in mm. 11-12 of the first movement of

Madrigals, Book II.

188

Example A.18 Alto Flute, m. 11 (5/1)

Madrigals, Book II1

In the second movement, the concert flute material is made up almost exclusively of third- and fourth-partial harmonics, often alternating between two fundamentals or a fundamental and a natural pitch. These oscillating harmonics are often paired with a single pitch in the percussion that create a “ringing” effect, almost like that of a bell tone reverberating in a church. Crumb notates in the score that “a gentle oscillating effect is intended.” 10

Example A.19 Flute and Percussion, (6/3)

Madrigals, Book II2

10 Crumb, Madrigals, Book II, 6.

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The third movement does not employ harmonics.

Found in the first, third and seventh movements of Federico’s Little Songs for

Children, flutter-tonguing first occurs in m. 3 of the first movement.

Example A.20 Piccolo, m. 3 (6/1) Federico’s Little Songs for Children, 1

Harmonics are also found in the second, fourth and fifth movements of the piece. The second and fourth movements employ fourth-partial harmonics while the fifth movement uses third-partial harmonics.

Example A.21a Flute, m. 21 (11/1) Federico’s Little Songs for Children, 2

Example A.21b Alto Flute, mm. 3-4 (17/1) Federico’s Little Songs for Children, 5

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Pitch-bends only occur in the second movement and are limited to half-step bends. In the last instance, Crumb uses the pitch-bend to push the extreme low range of the flute below B3 to A#3.

Example A.22a Flute, mm. 4-5 (9/3) Federico’s Little Songs for Children, 2

Example A.22b Flute, m. 20 (11/1) Federico’s Little Songs for Children, 2

Crumb also employs “speak-flute” in this piece directing the flutist to “speak the indicated words over the mouthpiece of the instrument so that both the words and the flute pitches project distinctly.” 11 This technique is only found in the sixth movement.

11 Crumb, Federico’s Little Songs for Children, 20.

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Example A.23 Flute, mm. 34-35 (20/1) Federico’s Little Songs for Children, 6

In Madrigals, Book II, the percussion has special effects in the first and second movements. In mm. 23-25 of the first movement the percussion is to play the glockenspiel with wire brushes at “approximate pitches” that create a tritone effect similar to the “white-black-key” relationship on a piano.

Example A.24 Percussion, mm. 23-24 (5/3) Both staves treble clef

Madrigals, Book II1

In the second movement the timpani plays almost exclusively glissandi, in which Crumb instructs the performer that the “Timpani are always to be played with the fingertips!” 12

12 Crumb, Madrigals, Book II, 6.

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Example A.25 Percussion, (6/3)

Madrigals, Book II2

Also in the second movement, the percussionist is required to whistle, and the instructions in the score indicate that the whistling should sound two octaves higher than written.

Example A.26 Percussion, (6/3)

Madrigals, Book II2

In Federico’s Little Songs for Children, Crumb writes in his performance notes that the harpist will need:

a. a percussionist’s wire brush (for the tremolando effect in 1. La señorita del abanico). b. a tuning key (for the pitch-bending in 4. Caracola) c. a 15-inch strip of metal or wood (for the scraping effect in 6. Cancioncilla sevillana).13

13 Crumb, Federico’s Little Songs for Children, 3.

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In the first movement the harpist is to “tremolando with a percussionist’s wire brush14”

with the right hand and “scrape along low strings with four fingernails (a single very

rapid upward stroke!)” 15 in the B sections.

Example A.27 Harp, m. 35 (7/3) Federico’s Little Songs for Children, 1

In the above example, the harpist is also required to pluck a specific pitch with a fingernail; in the return of the B section later in the piece there are no specific pitches. In the third and sixth movements Crumb calls for pitches to be played by scraping a fingernail across the string.

14 Ibid., 7. 15 Ibid., 7.

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Example A.28 Harp, m. 2 (11/2) Treble and bass clefs Federico’s Little Songs for Children, 3

In the fourth movement the harpist is to glissando by means of a metal tuning key.

Crumb’s notes state: “Slide tuning key along the string to produce the indicated pitches

(the pitches must be accurate!). Each phrase begins with key at the precise center of the string. Pluck string only at points indicated by the symbol.” 16

Example A.29a Harp, m. 6 (14/2) Both staves treble clef Federico’s Little Songs for Children, 4

In the fifth movement Crumb writes another type of glissando called a “double pedal glissando.”

16 Ibid., 14.

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Example A.29b Harp, m. 1 (16/1) Federico’s Little Songs for Children, 5

Also similar to the glissando in the fifth movement are quarter-tone pitch bends and

Crumb instructs the harpist to “bend pitch by pressing string above bridge.” 17

Example A.30 Harp, m. 8 (17/2) Treble and bass clefs Federico’s Little Songs for Children, 5

In the sixth movement the harpist is required to “scrape over metal winding of strings with a 15-inch strip of metal or wood (a single rapid upward stroke).” 18 Notated below the bass staff, Crumb does not indicate specific pitches, but rather a general range.

17 Ibid., 17. 18 Ibid., 20.

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Example A.31 Harp, mm. 47-48 (20/2) Federico’s Little Songs for Children, 6

Crumb also employs harmonics in the harp in every movement except the third, and they occur as individual pitches as well as chords, always sounding as written.

Example A.32a Harp, mm. 5-6 (6/1) Both staves treble clef Federico’s Little Songs for Children, 1

Example A.32b Harp, m. 4 (21/2) Both staves treble clef Federico’s Little Songs for Children, 7

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Special effects are an important factor in Crumb’s music that make his style personal, like no other. In both of these pieces he requires all players to push the bounds of standard techniques and create sound effects that heighten the programmatic elements of the music. His imagination for playing instruments in unconventional ways and combining techniques from different instruments help create a sound word unique unto himself.

APPENDIX B

A PRACTICAL GUIDE TO THE EXTENDED TECHNIQUES

IN GEORGE CRUMB’S CHAMBER WORKS FOR FLUTE

A PRACTICAL GUIDE TO THE EXTENDED TECHNIQUES IN GEORGE CRUMB’S CHAMBER WORKS WITH FLUTE

An essay submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Music

Krystal R. G. C. Kuhns

May, 2011

Essay written by

Krystal R. G. C. Kuhns

B. M., Wayne State University, 2008

M. M., Kent State University, 2011

Approved by

______, Advisor Diane McCloskey

______, Director, School of Music Denise Seachrist

______, Dean, College of the Arts John R. Crawford

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TABLE OF CONTENTS

Table of Contents…………………………………………………………………….... 201

List of Musical Examples……………………………………………………………... 202

List of Exercises………………………………………………………………………. 205

Acknowledgements…………………………………………………………………… 206

Introduction…………………………………………………………………………… 207

Chapter 1: Flutter-tonguing…………………………………………………………… 209

Chapter 2: Harmonics…………………………………………………………………. 223

Chapter 3: Singing and Playing Simultaneously……………………………………… 232

Chapter 4: Whistle Tones……………………………………………………………… 237

Chapter 5: Other Techniques………………………………………………………….. 242

Speak-Flute………………………………………………………………... 242

Tongue-Click……………………………………………………………… 245

Key-Clicks………………………………………………………………… 246

Pitch-Bends……………………………………………………………….. 248

Glissandi…………………………………………………………………... 252

Multiphonics………………………………………………………………. 254

Index of Techniques by Piece…………………………………………………………. 257

Index of Techniques…………………………………………………………………... 259

Index of Pieces………………………………………………………………………... 260

Bibliography…………………………………………………………………………... 261

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LIST OF MUSICAL EXAMPLES

Example 1.1a Madrigals, Book II1, Alto Flute, m.1…………………………………... 210

Example 1.1b Madrigals, Book II1, Alto Flute, m.6…………………………………... 211

Example 1.1c Madrigals, Book II1, Alto Flute, m.9…………………………………... 211

Example 1.2 Night of the Four Moons, III, Piccolo, (7/1) …………………………… 212

Example 1.3 Vox Balaenae, Cenozoic [Var. V], Flute, (12/2)………………………... 213

Example 1.4 An Idyll for the Misbegotten, Flute, (4/3)……………………………….. 213

Example 1.5 Federico’s Little Songs for Children, 1, Piccolo, (6/1)…………………. 213

Example 1.6 Madrigals, Book II3, Piccolo, mm. 4-5…………………………………. 214

Example 1.7 Night of the Four Moons, III, Piccolo, (7/4)……………………………. 215

Example 1.8 Vox Balaenae, Cenozoic [Var. V], Flute, (12/2)………………………... 215

Example 1.9 An Idyll for the Misbegotten, Flute, (10/1)……………………………… 216

Example 1.10 Federico’s Little Songs for Children, Piccolo, (21/2)…………………. 216

Example 1.11 Eleven Echoes of Autumn, Eco 4, Alto Flute, (5/2)…………………… 216

Example 1.12 Eleven Echoes of Autumn, Eco 5, Alto Flute, (7/4)…………………… 218

Example 1.13 Madrigals, Book II3, Piccolo, mm. 28-29……………………………... 218

Example 1.14 Madrigals, Book IV1, Flute, mm. 6-7………………………………….. 218

Example 1.15 Vox Balaenae, Vocalise, Flute, (6/4)…………………………………... 219

Example 1.16 Lux Aeterna, Bass Flute, (5/1)…………………………………………. 219

Example 1.17 Federico’s Little Songs for Children, 1, Piccolo, (7/3)………………... 219

Example 1.18 Eleven Echoes of Autumn, Eco 4, Alto Flute, (5/3)…………………… 220

Example 1.19 Madrigals, Book II3, Piccolo, mm. 4-5………………………………... 220

Example 1.20 Madrigals, Book IV1, Flute, m. 24…………………………………….. 221

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Example 1.21 Vox Balaenae, Cenozoic [Var. V], Flute, (12/2)………………………. 221

Example 1.22 Lux Aeterna, Soprano Recorder, (7/1)………………………………… 221

Example 1.23 An Idyll for the Misbegotten, Flute, (9/3)……………………………… 222

Example 1.24 Federico’s Little Songs for Children, 1, Piccolo, (7/2)………………... 222

Example 2.1 Third-Partial C Flute Harmonics………………………………………... 223

Example 2.2 Fourth-Partial C Flute Harmonics………………………………………. 224

Example 2.3 Third-Partial Alto Flute Harmonics…………………………………….. 224

Example 2.4 Third-Partial Bass Flute Harmonics…………………………………….. 224

Example 2.5 Fourth-Partial Bass Flute Harmonics…………………………………… 225

Example 2.6 Fourth-Partial Bass Flute Harmonics…………………………………… 225

Example 2.7 Madrigals, Book II2, Flute, (6/3)………………………………………... 226

Example 2.8 Madrigals, Book II2, Flute, (6/3)………………………………………... 226

Example 2.9 Madrigals, Book II2, Flute, (6/3)………………………………………... 229

Example 2.10 Lux Aeterna, Bass Flute, (8/3)…………………………………………. 230

Example 3.1 Vox Balaenae, Vocalise, Flute, (6/1)……………………………………. 232

Example 3.2 Vox Balaenae, Vocalise, Flute, (6/1)……………………………………. 235

Example 3.3 Vox Balaenae, Vocalise, Flute, (6/4)……………………………………. 236

Example 4.1 An Idyll for the Misbegotten, Flute, (11/1)……………………………… 237

Example 5.1 Eleven Echoes of Autumn, Eco 10, Alto Flute………………………….. 242

Example 5.2 Madrigals, Book IV3, Alto Flute, (9/3)………………………………….. 243

Example 5.3 Night of the Four Moons, I, Alto Flute, (5/4)…………………………… 243

Example 5.4 Vox Balaenae, Proterozoic [Var. II], Flute, (9/2)………………………. 244

Example 5.5 An Idyll for the Misbegotten, Flute, (7/1)……………………………….. 244

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Example 5.6 Federico’s Little Songs for Children, VI, Flute, (20/1)…………………. 244

Example 5.7 Night of the Four Moons, I, Alto Flute, (4/1)…………………………… 245

Example 5.8 Night of the Four Moons, II, Alto Flute, (6/4)………………………….. 247

Example 5.9 An Idyll for the Misbegotten, Flute, (7/3)……………………………….. 248

Example 5.10 Eleven Echoes of Autumn, Eco 9, Alto Flute, (9/2)…………………… 249

Example 5.11a Night of the Four Moons, III, Alto Flute, (7/2)………………………. 249

Example 5.11b Night of the Four Moons, IV, Alto Flute, (9/3)………………………. 250

Example 5.12a An Idyll for the Misbegotten, Flute, (4/1)…………………………….. 250

Example 5.12b An Idyll for the Misbegotten, Flute, (4/3)…………………………….. 250

Example 5.13 Lux Aeterna, Soprano Recorder, (9/2)………………………………… 251

Example 5.14 Federico’s Little Songs for Children, II, Flute, (9/3)………………….. 251

Example 5.15 An Idyll for the Misbegotten, Flute, (7/2)……………………………… 252

Example 5.16 Vox Balaenae, Vocalise, Flute, (6/4)…………………………………... 253

Example 5.17 An Idyll for the Misbegotten, Flute, (12/1)…………………………….. 254

Example 5.18 An Idyll for the Misbegotten, Flute, (8/2)……………………………… 255

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LIST OF EXERCISES

Exercise 1.1 Expanding Flutter-to-Straight-Tone Exercise…………….…………….. 212

Exercise 1.2a Flutter-tongued Descending Expanding Interval Exercise…………….. 214

Exercise 1.2b Flutter-tongued Ascending Expanding Interval Exercise……………… 215

Exercise 1.3 Moving from Straight Tones to Fluttered Notes………………………... 217

Exercise 2.1a Find Correct Harmonic Partials………………………………………... 227

Exercise 2.1b Find Correct Harmonic Partials………………………………………... 227

Exercise 2.1c Oscillating Harmonics with Different Fundamentals………………….. 228

Exercise 2.2 Oscillating Harmonics with Different Fundamentals Complete Exercise. 228

Exercise 2.3 Oscillating Harmonics with Natural Fingerings Complete Exercise……. 229

Exercise 2.4 Harmonic “Link-and-Chain” Exercise………………………………….. 231

Exercise 3.1 Sing and Play Simultaneously…………………………………………... 233

Exercise 3.2 Sing and Play “Link-and-Chain” Exercise……………………………… 234

Exercise 4.1 Whistle Tone Matching Exercise……………………………………….. 238

Exercise 4.2a “Fill in the Gaps” Exercise…………………………………………….. 240

Exercise 4.2b “Fill in the Gaps” Exercise…………………………………………….. 240

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ACKNOWLEDGMENTS

This paper was written with the help of several people, first and foremost my flute teacher at Kent State University Diane McCloskey. Through our many meetings we experimented with these techniques on the piccolo, concert, alto and bass flutes and discovered different ways to execute them. Much of this paper was also written from my general knowledge of the flute and playing, to which Diane has contributed greatly during my years of study with her.

During the course of writing this paper I also sought the help of two other amazing flutists, Brandy Hudelson and Laura Larson. I had heard of Brandy’s interest in extended techniques and contemporary music from a friend a few years earlier, and she was highly recommended to me by Laura Larson. I had one incredible lesson with

Brandy in which she helped me a great deal with harmonics and singing and playing simultaneously. Laura Larson is a former teacher of mine from Wayne State University and I very much appreciate her enthusiasm in helping me with this project. During my lesson with Laura I learned much about playing these techniques on piccolo and on the performance practice of Vox Balaenae, as she had performed the piece several years before.

Richard Devore and Frank Wiley are also two very important contributors to this paper. Their support and willingness to read and re-read pages upon pages of text helped me write my best paper to date. For their patience, I thank them.

Finally, I would like to thank my husband, Christopher Kuhns, who, a flutist himself provided me a wealth of knowledge and insight into performance practice like no other.

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INTRODUCTION

This paper is intended to be a practical guide to performing the chamber works with flute by George Crumb. There are eight works in all: Madrigals, Book II (1965),

Eleven Echoes of Autumn (1966), Madrigals, Book IV (1969), Night of the Four Moons

(1969), Vox Balaenae (1971), Lux Aeterna (1971), An Idyll for the Misbegotten (1986) and Federico’s Little Songs for Children (1986). This paper explores the extended techniques used in these works and offers helpful practice tips and exercises for their proper execution. The exercises in this paper are a culmination of the author’s experience as a flutist. For instance, Exercise 1.1 (pg. 4) is an adaptation of a long-tone exercise studied from such authors as Trevor Wye, Marcel Moyse, and Geoffrey Gilbert.

Exercises 4.2a and 4.2b, “Fill in the Gaps” (pg. 32), are adaptations of an expanding interval exercise, learned from several private teachers and printed in numerous method books.

While these techniques are no longer considered avant-garde and are rather part of the twenty-first century flute player’s standard technique, it is imperative that any flutist performing these pieces be fluent in their language. The author assumes the reader has some prior knowledge and experience with each of these techniques, therefore little time is spent discussing the mechanics or physics involved. The techniques are presented chronologically by piece; for example, flutter-tonguing is the first technique discussed and appears first in Madrigals, Book II, followed by Eleven Echoes of Autumn,

Madrigals, Book IV, etc. All musical examples are taken directly from the score, except those from Night of the Four Moons; as the score is too large to scan excerpts were copied into a music notation program. All musical examples are of the flute line (except

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those taken from Vox Balaenae in which the reader must remember that the flute part of

the Vocalise is written on two staves, one for playing, the other for singing) and are

assumed to be in treble clef where no clef is present.

Page references are as follows: for scores without measure numbers the examples are listed by page and system, (page/system), for example, (6/2) indicates page six, second system. Instances in which multiple systems on the same page are indicated are notated as (6/1, 2, 3), indicating page six, the first, second, and third systems. In the event that an example runs onto the next system, the notation (6/1-2) is used, indicating page six, first through second system. Measure numbers are only given for those movements with measures in both books of Madrigals.

Each chapter discusses a given technique, lists the pieces in which it is found, examines the occurrences of a technique throughout this repertoire, and finally lists (for easy reference) where each technique can be found in the score. Each technique and piece are also cross-referenced in indexes.

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CHAPTER 1

FLUTTER-TONGUING

Present in all eight of George Crumb’s chamber works with flute, “flutter- tonguing is a purring sound produced by allowing the airflow to rapidly flutter (or roll) the tip of the tongue or uvula while playing a note.”1 Flutter-tonguing occurs in many

different contexts and on all instruments of the flute family throughout this repertoire,

including fluttering on very short notes, through large intervals, lengthy passages, and

even while singing and playing simultaneously. This chapter will examine occurrences of

flutter-tonguing throughout all eight pieces, grouping pieces with similar contexts

together and listing all the instances of a particular technique for quick reference.

First and foremost, flutter-tonguing is required throughout the range of the flute in

these pieces. Therefore, it is imperative to have control over the flutter in any octave, on

any instrument. Fluttering with the tip of the tongue, as in rolling a Spanish “r,” can be

troublesome in the low range of the flute, as well as in soft passages and is therefore most

useful in high, loud passages. The uvular flutter, as in saying a French “r” can be more

consistent throughout the range of the flute and is better suited for soft passages, as

fluttering with the tip of the tongue can cause the air to move faster and higher than what

low and soft tones require, often making low notes slip into the high register or not sound

at all.2 Additionally, flute authority Robert Dick has found the uvular flutter to be

“superior for all applications except those which call for an audible noise component in

1 Susan J. Maclagan, A Dictionary for the Modern Flutist (The Scarecrow Press, Toronto, 2009), 71. 2 Jennifer Anne Borkowski, From Simple to Complex: Extended Techniques in Flute Literature; Incentive to Integrate Cognitive and Kinesthetic Awareness in University Programs (Ph.D. diss, Universität für Musik und darstellende Kunst Graz, 2008), 87.

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the sound.”3 Therefore, if fluttering in the low register is difficult with the tip of the

tongue, one may try the uvular flutter. Either way, “the best method to practice flutter- tonguing is for a short period daily—perhaps just two to three minutes devoting as many weeks of work as necessary.”4 When flutter-tonguing, remember that breath pressure

controls the speed, dynamic, and prominence of the flutter activity. Increased breath

pressure produces a somewhat more prominent flutter, while decreased air pressure yields

less presence of the flutter.5

Beginning with the first chamber work employing flute, Madrigals, Book II

(1965), the very first note the flutist plays is fluttered. The first movement begins with a

fluttered (written) Eb5 grace note descending to a straight tone D4.

Example 1.1a

Madrigals, Book II1 Alto Flute, m.1

This figure appears throughout the movement, with almost every alto flute statement beginning with a fluttered grace note.

3 Robert Dick, The Other Flute (Multiple Breath Music Company, New York, 1989), 136. 4 Ibid., 136. 5 Roberta Brokaw, Performance of Extended Flute Techniques of the Twentieth Century Based on Aspects of Traditional Flute Technique ( Ph.D. diss, Indiana University, 1980), 119.

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Example 1.1b

Madrigals, Book II1 Alto Flute, m. 6

Example 1.1c

Madrigals, Book II1 Alto Flute, m. 9

This figure requires a smooth transition from the fluttered grace note to the straight tone,

no matter the interval between them; it is important to practice making a smooth

connection between these notes. Begin with the first instance (Example 1.1) by slowly

connecting the fluttered Eb5 to the straight tone D4. As it can be difficult to produce a

good tone (or any at all) when fluttering to or from notes that are extremely high or low,

it may be beneficial to practice an expanding interval exercise. First, flutter the Eb5 and

descend to a straight tone D5. Repeat this figure and descend to the next chromatic pitch

over and over again until the desired pitch is reached, D4 in this case.

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Exercise 1.1 Expanding Flutter-to-Straight-Tone Exercise

If it is difficult to produce a good tone and smooth connection between the fluttered note and the straight tone, begin this exercise fluttering both notes, then repeat only fluttering the top note, descending to a straight tone. This exercise is also helpful if practiced in reverse, ascending rather than descending, as this figure is also seen in reverse later in this movement and in other pieces as well. A sampling of these other occurrences is given below.

Example 1.2 Night of the Four Moons, III Piccolo, (7/1) Other instances occur in (7/1), (8/2), and (9/1).

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Example 1.3 Vox Balaenae, Cenozoic [Var. V] Flute, (12/2) This is the only occurrence of this figure.

Example 1.4 An Idyll for the Misbegotten Flute, (4/3) Other instances occur in (5/1, 2), (6/1, 2, 3), (9/1, 2, 3) and (10/3).

Example 1.5 Federico’s Little Songs for Children, 1 Piccolo, (6/1) Other instances occur in (7/1), (8/2), and (9/1).

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Fluttering through longer, often disjunct passages is very common throughout

these works. Beginning with Madrigals, Book II3, the piccolo is required to flutter

through large intervals spanning from D4 to F6.

Example 1.6

Madrigals, Book II3 Piccolo, mm. 4-5

When playing piccolo it is important to keep in mind that actions must be smaller than those on the concert flute, therefore if one is using the tongue to flutter and not the uvula, it may be helpful to think of only fluttering the very tip of the tongue. If it is difficult to sustain the flutter through the disjunct line, make sure the finger exchanges are clean and practice by “filling in the gaps” (in both directions) with an expanding interval exercise

similar to Exercise 1.1, fluttering all notes as one progresses through the intervals.

Exercise 1.2a Flutter-tongued Descending Expanding Interval Exercise

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Exercise 1.2b Flutter-tongued Ascending Expanding Interval Exercise

Such gestures are also found in Night of the Four Moons, Vox Balaenae, An Idyll for the

Misbegotten and Federico’s Little Songs for Children.

Example 1.7 Night of the Four Moons, III Piccolo, (7/4) Other instances occur in (7/2) and (8/3).

Example 1.8 Vox Balaenae, Cenozoic [Var. V] Flute, (12/2) This is the only occurrence of this figure.

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Example 1.9 An Idyll for the Misbegotten Flute, (10/1) Other instances occur in (8/1, 2), (9/2, 3), (10/2).

Example 1.10 Federico’s Little Songs for Children Piccolo, (21/2) Other instances occur in (22/3).

Crumb also requires the flutist to turn flutter-tonguing on and off like a switch.

The first occurrence of this figure is in Eleven Echoes of Autumn, Eco 4 (5/2-3) where an

F#5 is held as a straight tone and is tied to a fluttered note of the same pitch.

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Example 1.11 Eleven Echoes of Autumn, Eco 4 Alto Flute, (5/2)

This figure is repeated three times, beginning with F#5, then C4 and D#5. These transitions from straight tone to flutter-tongue should be seamless. It may be helpful to practice moving back and forth from straight tones to fluttered notes to ensure a seamless connection.

Exercise 1.3 Moving from Straight Tones to Fluttered Notes on Pitches from Eleven Echoes of Autumn, (5/2-3)

If it is difficult to flutter on any of these pitches, C#4 for example, begin fluttering on a

higher pitch and practice descending to the written pitch. This is also helpful in producing

a consistent flutter throughout the range of the instrument.

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Such starting and stopping of the flutter is also found later in Eleven Echoes of

Autumn, as well as Madrigals Book II3, Madrigals Book IV1, Vox Balaenae, Lux Aeterna, and Federico’s Little Songs for Children.

Example 1.12 Eleven Echoes of Autumn, Eco 5 Alto Flute, (7/4) Accompaniment to Violin Cadenza

Example 1.13

Madrigals, Book II3 Piccolo, mm. 28-29 This is the only occurrence of this figure.

Example 1.14

Madrigals, Book IV1 Flute, mm. 6-7 This is the only occurrence of this figure.

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Example 1.15 Vox Balaenae, Vocalise Flute, (6/4) This is the only occurrence of this figure.

Example 1.16 Lux Aeterna Bass Flute, (5/1) This is the only occurrence of this figure.

Example 1.17 Federico’s Little Songs for Children, 1 Piccolo, (7/3) Other instances occur in (13/1) on Alto Flute.

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Eleven Echoes of Autumn has a similar instance of starting and stopping the flutter in which individual fluttered notes are separated by breath marks.

Example 1.18 Eleven Echoes of Autumn, Eco 4 Alto Flute, (5/3)

For these examples, Exercise 1.3 can be used to practice alternating between straight tones and flutter-tonguing at different speeds. Begin slowly on the indicated pitches and gradually accelerate until the desired tempo is reached. For Example 1.18, practice fluttering on the written pitches in short bursts over and over, as one would practice articulating a very soft, short articulation.

Lengthy fluttered passages are also scattered among the other fluttered figures throughout these pieces. It is important to keep air speed in mind, as the air is what causes the flutter in the first place. For long fluttered passages, it will be necessary to use more air than if the passage were written for a straight tone.

Example 1.19

Madrigals, Book II3 Piccolo, mm. 4-5 Other instances occur in mm. 13, 21-22, 28-29, 47, and 49.

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Example 1.20

Madrigals, Book IV1 Flute, m. 24 Other instances occur on Alto Flute in the third movement, (8/1-2), (9/1) and (9/ 2).

Example 1.21 Vox Balaenae, Cenozoic [Var. V] Flute, (12/2) This is the only occurrence of this figure.

Example 1.22 Lux Aeterna Soprano Recorder, (7/1) Other instances occur in (9/1), (10/3) and on Bass Flute in (5/1).

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Example 1.23 An Idyll for the Misbegotten Flute, (9/3) Other instances occur in (8/1, 2), (9/1, 2) and (10/1, 2).

Example 1.24 Federico’s Little Songs for Children, 1 Piccolo, (7/2) Other instances occur in the seventh movement on Piccolo in (21/2) and (22/3).

To perform any of these pieces, one must be able to flutter-tongue almost effortlessly. Flutter-tonguing in any context throughout these pieces can easily be achieved through practice and the aid of the exercises presented in this chapter. As

Robert Dick states, “The poor quality of most flutist’s flutter tonguing is not an inherent flaw in the technique, but is simply due to lack of practice.”6

6 Robert Dick, The Other Flute (Multiple Breath Music Company, New York, 1989), 136.

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CHAPTER 2

HARMONICS

When low-octave regular fingerings are overblown through their overtone series, the flute “produces pitches in the overtone series for pipes open at both ends, called natural harmonics.”7 Crumb calls for harmonics in all eight of his chamber works with

flute written for concert flute, alto flute and bass flute—never piccolo. This chapter will

explore the use of harmonics throughout these pieces and offer practice exercises for the

reader.

The following examples present all of the harmonics Crumb writes for each

instrument; fundamental pitches are notated with diamond-shaped note-heads, while the

sounding pitches are round note-heads with the harmonic symbol ° above them.

Example 2.1 Third-Partial C Flute Harmonics

Madrigals, Book II1 and 2 Vox Balaenae An Idyll for the Misbegotten

7 Robert Dick, Tone Development Through Extended Techniques (Multiple Breath Music Company, New York, 1986), 14.

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Example 2.2 Fourth-Partial C Flute Harmonics

Madrigals, Book II2 Vox Balaenae Federico’s Little Songs for Children

Example 2.3 Third-Partial Alto Flute Harmonics8 Eleven Echoes of Autumn Night of the Four Moons Federico’s Little Songs for Children

Example 2.4 Third-Partial Bass Flute Harmonics Lux Aeterna

8 Crumb does not write fourth-partial harmonics for Alto Flute.

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Example 2.5 Fourth-Partial Bass Flute Harmonics Lux Aeterna (Pitches are written as they appear in the score)

Example 2.6 Fourth-Partial Bass Flute Harmonics9 Federico’s Little Songs for Children

9 Pitches in parenthesis are the actual fundamental pitches. Diamond-shaped note-heads, as used by Crumb, are the fingered fundamental pitches. Pitches with the harmonic symbol above are the actual sounding harmonics. This example is more complex than Example 2.5 because Crumb notates fourth-partial harmonics in Federico’s Little Songs for Children without realizing the transposition (the bass flute sounds an octave lower than written). The pitches in parenthesis in this example are the realized “sounding” fundamental, whereas in Example 2.5, in Lux Aeterna he writes the “sounding” harmonic pitches as if the sounding fundamentals were not an octave lower than written.

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Harmonics first appear in the second movement of Madrigals, Book II, generally oscillating between varying fundamentals or fundamentals and regular notes.

Example 2.7

Madrigals, Book II2 Flute, (6/3) Harmonics oscillating between two fundamentals Other instances occur throughout (6/3) and all of page 7.

Example 2.8

Madrigals, Book II2 Flute, (6/3) Harmonics oscillating between a fundamental and a regular pitch Other instances occur throughout (6/3) and all of page 7.

The figure in Example 2.7 is a mixture of third- and fourth-partial harmonics oscillating between two different fundamentals sounding the same harmonic. The change in the fundamental fingering will slightly alter the pitch and color of the harmonic, creating

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what Crumb will later call a “shimmering” effect. To practice this figure and others like

it, begin by finding the correct harmonic from the fundamental fingering.

Exercise 2.1a Find each harmonic up to the specified partial. Remove pitches in between the fundamental and sounding pitch until the indicated harmonic can be played immediately from the fundamental.

Next, repeat this technique with the other fundamental fingering, yielding the same harmonic pitch.

Exercise 2.1b Find each harmonic up to the specified partial. Remove pitches in between the fundamental and sounding pitch until the indicated harmonic can be played immediately from the fundamental.

Once the harmonic can be produced with both fundamental fingerings, practice moving

slowly between both fingerings while sustaining the same pitch, gradually speeding up

until the desired tempo is reached. It is beneficial to practice this exercise both tied and

articulated.

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Exercise 2.1c

Piece all three steps together and one coherent practice exercise is formed.

Exercise 2.2

Crumb applies this harmonic technique using oscillating fundamentals in many other paces: Madrigals, Book II2, (6/3), and (7/1, 2, 3); Vox Balaenae, Sea Nocturne (14/1, 2);

Lux Aeterna, (5/2).

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A very similar technique is used frequently, most often in addition to oscillating

fundamentals, in which a harmonic fingering will oscillate with a natural fingering.

Example 2.9

Madrigals, Book II2 Flute, (6/3)

A similar approach may be taken to practicing this technique.

Exercise 2.3 Oscillating Harmonic and Natural Fingerings

This exercise may be applied to the other instances of this technique: Madrigals, Book

II2, (6/3) and (7/1, 2, 3); Eleven Echoes of Autumn, Eco 4 (5/4), Eco 9 (9/2); Vox

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Balaenae, Sea Nocturne (14/1, 2) combines both oscillating between different fundamentals and natural fingerings.

Other instances of harmonics throughout this repertoire include playing long passages with third- and/or fourth-partial harmonics. To practice such runs, play the sounding pitches with natural fingerings to hear the correct pitches and then find the appropriate partial with the harmonic fingering, as in the first steps to Exercises 2.1 and

2.2. Once the ear and air are accustomed to the correct pitches, begin linking them together.

Example 2.10 Lux Aeterna Bass Flute, (8/3)

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Exercise 2.4 Harmonic “Link-and-Chain”

Longer passages using harmonics are also found in Madrigals, Book II1 (mm.11-12);

Eleven Echoes of Autumn, (7/circle 2); Madrigals, Book IV1 (mm.14-17); Night of the

Four Moons, (6/1-2); Vox Balaenae (10/1-2); Lux Aeterna (8/2-3); An Idyll for the

Misbegotten (9/2), (11/1,2); Federico’s Little Songs for Children, (11/1), (14/3), (15/1-2), and (17/1-2).

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CHAPTER 3

SINGING AND PLAYING SIMULTANEOUSLY

Crumb uses singing and playing simultaneously only in Vox Balaenae, where he refers to it as “sing-flute.” The first movement, Vocalise (..for the beginning of time), begins with a lengthy flute solo in which the flutist is required to sing and play simultaneously throughout the majority of it. Timbral trills, glissandi (in both the flute and voice), and flutter-tonguing are all also required in addition to singing and playing simultaneously.

The solo begins with flute and voice sounding in unison or octaves, depending on the flutist’s vocal range. Following this unison passage is a short motive in which the flutist sings a specific pitch into the flute while completely covering the lip plate so all sound is directed into the tube, while the fingers move rapidly among several notes creating a “shimmering” effect. Much of the Vocalise is set up in this way, alternating

between unison and “timbral trill” passages.

Example 3.1 Vox Balaenae, Vocalise (..for the beginning of time) Flute, (6/1)

Begin practice by isolating similar passages; practice the singing and playing passages, then move on to the timbral trill motives (these are much easier and will therefore give a greater sense of accomplishment once mastered quickly).

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First, play the first pitch, D4, with the best possible tone (consider long tone exercises). Then sing that same pitch. Next, sing the note again, but this time with a flute embouchure. Finally, sing the note with a flute embouchure and move the flute into playing position while fingering the same pitch, using enough air to produce a solid tone on the flute. This step should be one fluid motion and may take several tries if the flutist is not already accustomed to singing and playing simultaneously.

Exercise 3.1 Sing and Play Simultaneously

If the above steps are difficult, it may be helpful first to practice on a more comfortable pitch that is easy to sing as well as play; this pitch will be different for every person. If this is the case, once it is easy to do the above steps on a more comfortable pitch, move chromatically in the direction of the starting pitch of the piece, D4, until this note can be sung and played simultaneously. Once D4 is mastered, move to the next note of the piece, E4, following the same steps, and continue until every note of the phrase can

234 be sung and played together. In the beginning stages, the vocal cords will fatigue quickly, so take frequent breaks as needed.

Once singing and playing individual notes is comfortable, begin linking multiple notes together, beginning with two, then three, and so on until the entire phrase can be sung and played simultaneously. In these beginning stages, the singing and playing is practiced in an abstract manner, ignoring the rhythm to focus on sound production. Once the technique is acquired, begin practicing with the correct rhythm. It is also important to note the tempo marking at the beginning of this movement: “Wildly fantastic; grotesque…” Although Crumb notes that the sung tones and flute tones should be perfectly balanced, it can be difficult to produce both notes exactly in tune and without cracking, and performances will differ from person to person. Keep in mind that this

Vocalise is intended to sound “grotesque” and not “pretty,” so it is acceptable (at least in the opinion of this performer) to let some of the notes crack into a higher register for effect, while some performers try to do it “perfectly” in tune.

Exercise 3.2 “Link-and-Chain” Exercise10

If sustaining both tones is difficult through larger intervals, as in Ab-E in mm. 4-7 of

Exercise 2.3, practice “filling in the gaps” with chromatic pitches, then eliminating the

10 Square note-heads indicate sung pitches. For men, these should sound an octave lower than written.

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added pitches once the technique becomes more comfortable. See Exercise 4.2 below

also.

The “timbral trill” motives, as stated earlier, are much easier to execute. Crumb

notates “Notes marked with the symbol + are to be sung through the flute, i.e. the lips

cover mouthpiece so that all tone is projected through the tube. The fingering changes

will slightly modify these sung tones, thereby producing a shimmering effect.”11

Example 3.2 Vox Balaenae, Vocalise Flute, (6/1) “Timbral Trill Motive”

This motive is marked ff and it is therefore imperative that the player sing very loudly into the mouthpiece. Although this effect may seem “unconventional,” it is still necessary to use proper breath support while blowing into the tube to achieve the correct dynamic and ensure that the “shimmering” effect will be heard.

Near the end of the Vocalise, Crumb adds more effects to this already unique texture. In (6/4), the flutist is required to flutter-tongue while singing and playing simultaneously, as well as to glissando with both the voice and flute simultaneously.

11 George Crumb, Vox Balaenae (C.F. Peters Co., New York, 1971), 6.

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Example 3.3 Vox Balaenae, Vocalise Flute, (6/4)

The addition of flutter-tonguing to singing and playing simultaneously will require greater overall air speed to keep the flute tone and sung tones sounding equally in tune and in balance. The glissandi are best practiced with a tuner, as seen discussed in Chapter

5 below.

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CHAPTER 4

WHISTLE TONES

Whistle tones, present only in An Idyll for the Misbegotten, are the sound of “the air breaking over the edge of the blowing wall without exiting the air in the flutes’ tube into vibration.”12 Like harmonics, Crumb notates whistle tones with a fundamental and

sounding pitch, indicating the desired fingering and partial. The fingering used has an

important effect on the pitch of the whistle tones, and pitches in the third and fourth

octave may be more readily played, while notes in the lower register are generally more

difficult to produce at first. In An Idyll for the Misbegotten, the whistle tones are actually

harmonic pitches sounded from fundamentals in the first octave. These “third-partial

harmonic” whistle tones are located on (11/1) of the score.

Example 4.1 An Idyll for the Misbegotten Flute, (11/1)

As the whistle tones in this piece are third-partial harmonics, it is beneficial to begin practice with a pitch-matching exercise. First, play the sounding pitch with the

“regular” fingering beginning with E6. Next, match the pitch with the harmonic fingering, A4. Finally, produce a whistle tone with the A4 fingering, sounding E6.

12 Robert Dick, Tone Development Through Extended Techniques (Multiple Breath Music Company, New York, 1986), 26.

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Exercise 4.1 Whistle Tone Matching Exercise

Continue in this manner with the remaining notes of the passage, fundamental fingerings

G4, E4, Eb4, and D4. Follow the same procedure for the second passage of whistle tones, found on (11/2).

As every player is different, a look at two very different yet distinguished sources will be beneficial in properly executing whistle tones. Thomas Nyfenger, in his Music and the Flute, describes whistle tones:

If we begin by fingering A3, we find that if the embouchure opening used for a sustained mezzo forte can be maintained or held stationary while sending up less and less air… the note will “fall” through a number of nebulous, unusable (in standard repertoire) tones and finally result in the emission of a miniature version of the original A3! This is a whistle tone. We have demonstrated that to produce a whistle tone: 1. We do not need a small embouchure opening nor a fast airspeed, just as in producing a normal note. 2. We use the same angle of air for a whistle tone as for a normal note; in fact, finding this angle is the very purpose of whistle tones. 3. Isometrics must be eliminated; the lips must be loose and will not be able to counteract excessive pressure from the abdominal muscles.13

Robert Dick, in Tone Development Through Extended Techniques, describes “whisper tones,” another term for the same technique, and has advice that differs slightly from Nyfenger.

13 Thomas Nyfenger, Music and the Flute (Thomas Nyfenger, New Jersey, 1986) 57-8.

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Whisper tones, also called whistle tones and flageolet tones, are produced by blowing in an extremely slow but focused air stream across the edge of the embouchure hole. The air speed is far below that of the softest normally played notes… Tonguing is not advisable at first; each whisper tone should be started with the gentlest puff of air possible. An absolutely steady air stream is needed, as even the slightest fluctuation of speed or angle of the air will result in the whisper tones flipping back and forth between different pitches… A good way to think of the difference between the whisper tones and normally blown notes is that in the normally played high notes, the air plays a role in supporting the lip opening, while in the whisper tones, the same opening must be made and held open by the lips without any help from the airstream…14

It is a good idea to experiment with several different ideas to figure out the perfect fit for

each individual. Whistle tones may work better for some by making a small aperture as

Robert Dick advises, while others will thrive with an aperture of their usual size, as

Thomas Nyfenger suggests.

With these things in mind, return to the matching exercise. Once the harmonic

pitches can be successfully produced as whistle tones, practice moving from one whistle

tone to the next; the intervals are small (E6-D6-B5-D6-B5-Bb5-A5), so movement from one note to the next should be reasonably simple. If there is difficulty in moving from one note to the next and the correct pitch is lost, “fill in the gap” between two pitches and move through the intervals chromatically. Once this can be done, remove the added pitches and play as written. Practice the second occurrence of whistle tones in the same manner.

14 Robert Dick, Tone Development Through Extended Techniques (Multiple Breath Music Company, New York, 1986), 26.

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Exercise 4.2a “Fill in the Gaps” Exercise If the whistle tone or correct pitch is lost in the movement between the first two notes, fill in the gaps to create a chromatic line.

Exercise 4.2b “Fill in the Gaps” Exercise If the whistle tone or correct pitch is lost in the movement between the first two notes, fill in the gaps to create a chromatic line.

Thomas Nyfenger offers help to those having trouble sustaining whistle tones:

If the whistle tones are difficult to sustain, or tend to shake, break, or vary in pitch, you may be: 1. Too tight in the face, and/or involuntarily shaking. 2. Compressing air in the chest through excessive support, involving the heartbeat or visceral action which caused the tone to wobble. 3. Holding the flute poorly, at the incorrect angle, with too much pressure, etc.15

15 Thomas Nyfenger, Music and the Flute (Thomas Nyfenger, New Jersey, 1986), 58.

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As Robert Dick says, “A state of total relaxation is the key.” Do not try to blow too hard or play too loud; the whistle tones in An Idyll for the Misbegotten are marked ppp.

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CHAPTER 5

OTHER TECHNIQUES

SPEAK-FLUTE

“Speak-flute” is a technique in which the flutist speaks words over the lip-plate of the instrument while fingering given pitches. This technique occurs in six out of the eight chamber works: Eleven Echoes of Autumn, Madrigals, Book IV, Night of the Four

Moons, Vox Balaenae, An Idyll for the Misbegotten, and Federico’s Little Songs for

Children. In studying these scores, it is apparent that Crumb developed this technique throughout the course of these works and never completely settled on a “standard” notation for it; speak-flute is only consistently notated in the last two pieces. Different notation aside, the technique is the same: words are spoken over the lip-plate (Crumb calls it a “mouthpiece”) so both the words and pitches are distinctly heard.

Speak-flute first appears in Eleven Echoes of Autumn, Eco 10 (10/2) and has no name, but a description: “Whisper over flute mouthpiece!” In the accompanying footnote

Crumb writes: “Both the whispered words and the flute tones should be distinctly heard.”16 These directions remain the same in later pieces that employ speak-flute.

Example 5.1 Eleven Echoes of Autumn, Eco 10 Alto Flute, (10/2)

16 George Crumb, Eleven Echoes of Autumn (C.F. Peters Co., New York, 1966), 10.

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It occurs again in the next chamber work for flute notated similarly, and Crumb calls it

“speak-flute” for the first time.

Example 5.2

Madrigals, Book IV3 Alto Flute, (9/3)

The third piece, Night of the Four Moons, uses a different notation but calls for “speak-

flute.” For this piece, Crumb describes the specific sound quality: “A faint pitch-echo should sound under whispering.”17

Example 5.3 Night of the Four Moons, I Alto Flute, (5/4)

As these three pieces were written one after another, it appears that Crumb was developing the idea of speak-flute and searching for the perfect way to notate it. The following examples are excerpts from the remaining pieces including speak-flute.

17 George Crumb, Night of the Four Moons (C.F. Peters Co., New York, 1969), 5.

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Example 5.4 Vox Balaenae, Proterozoic [Var. II] Flute, (9/2)

Example 5.5 An Idyll for the Misbegotten Flute, (7/1) Other instances occur in (7/2 and 3).

Example 5.6 Federico’s Little Songs for Children, VI Flute, (20/1) Other instances occur in (20/2).

As one may have guessed, the shape of the mouth when speaking certain words is not at all conducive to producing any sound on the flute. Though the pitches are intended

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to be “faint,” “ghostly,” or a “pitch echo,” there should be some flute tone present.

Therefore, it is necessary to practice speak-flute while experimenting with the shape of

the mouth while speaking. Begin by making a flute embouchure while blowing soft air to

produce a very faint tone. Proceed to speak the indicated words over the lip-plate taking

care not to change the shape of the embouchure too much. This technique is best

executed when there is minimal lip movement while speaking; it is important to articulate

the words, so it will take some practice speaking with minimal lip movement. This

performer has found it helpful to use more air than usual to produce both the spoken

words and flute tone; think of speak-flute as being related to singing and playing simultaneously, in which greater support is necessary to produce both tones.

TONGUE CLICKS

Tongue clicks appear only in Night of the Four Moons and “are extremely

percussive clicks off the upper palate (not clucking sounds).”18 The tongue clicks in this

piece are always immediately followed by articulated notes: written A4, D4, and Ab4

twice, totaling four tongue clicks.

Example 5.7 Night of the Four Moons, I Alto Flute, (4/1) Other instances occur in (4/1, 2) and (5/1).

18 George Crumb, Night of the Four Moons (C.F. Peters Co., New York, 1969), 2.

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To achieve the correct click, Crumb indicates “off the upper palate (not clucking sounds);” place the middle of the tongue on the upper palate to click. This will create a percussive sound, whereas clicking with the tip of the tongue will produce the “clucking sound.” The clicks are also marked ffz and should be loud, which can be achieved by opening the mouth very wide with the click.

If it is difficult to tongue click and immediately articulate the notated pitches, experiment with different pitches until it can be done. For example, if one cannot immediately articulate C5 after the tongue click, as in Example 5.8, try producing a tongue click followed by C#5 or B4. If those are unsuccessful, continue moving around the given pitch until a pitch can be articulated immediately following a tongue click.

Continuing with a hypothetical example, one finds it is possible to articulate G5 immediately following a tongue click. Once this is consistent, proceed to an expanding interval exercise in which a tongue click precedes G5, then F#5, F5, E5, and so on until the written pitch is achieved. (See the expanding interval exercises in Chapter 1 as a guide.)

It is also beneficial to practice the tongue click without the flute, producing the click then immediately making a flute embouchure and blowing out air. This will allow the player to focus on the quality and dynamic of the click, not the articulated note immediately following.

KEY CLICKS

Key clicks are also present in Night of the Four Moons and An Idyll for the

Misbegotten, although the execution is different in each piece. In Night of the Four

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Moons the player is instructed to cover the lip-plate while clicking the keys with specific fingerings, whereas in An Idyll for the Misbegotten the lip plate is not covered and the flutist is required to articulate a note immediately after the click. Crumb notes that they

“should be very percussive to ensure projection,” and in both pieces they are intended to be loud. Robert Dick writes that “Dynamics are determined by the force with which the key or keys are slapped” and that

there is musically unrelated mechanism noise that may accompany key-clicks, and the best way of reducing this is to use the G-key as the striker whenever possible. This yields the best results, the greatest ratio of resonance to noise, because it is in the center of the tube, and combines actions of two key cups on most flutes. (On flutes equipped with the “split-E” key, the G-key will only activate one key cup for the most part, but is still the musically preferable striker.)19

To this end, the key clicks in Night of the Four Moons and An Idyll for the Misbegotten

may be executed by fingering the written pitches and clicking with the G-key.

Example 5.8 Night of the Four Moons, II Alto Flute, (6/4)

19 Robert Dick, The Other Flute (Multiple Breath Music Company, New York, 1989), 136.

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Example 5.9 An Idyll for the Misbegotten Flute, (7/3) (This figure is repeated on 8/1.)

The key click in An Idyll for the Misbegotten is immediately followed by an articulated

C4, which can be troublesome to produce immediately. In this case it is especially important to have all fingers in the correct position for low C and click with the G-key, as it is unlikely that the note will speak immediately if one attempts to click all of the keys.

PITCH-BENDS

Found in Eleven Echoes of Autumn, Night of the Four Moons, Lux Aeterna, An

Idyll for the Misbegotten and Federico’s Little Songs for Children, pitch bends are used to alter the pitch of a note without changing the fingering. “Basically, this is done by rolling the flute inwards to lower the pitch and rolling it outwards to raise the pitch.”20

Throughout these pieces, pitches are bent downward (with the exception of one bend in

An Idyll for the Misbegotten that is addressed below, under “GLISSANDI”), often at the extreme low range of the instrument, and are notated differently depending on the degree to which the pitch is to bend.

20 Ibid., p. 140.

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In Eleven Echoes of Autumn, the alto flute is to bend B4 down a quarter-tone in

Eco 9 (9/2). The notation is somewhat deceiving, as Crumb notates the B4 bend down to

A#4, however, he includes a performance note “bend Bn down ¼ tone” and includes his

symbol to play “a quarter tone higher than written pitch.”21

Example 5.10 Eleven Echoes of Autumn, Eco 9 Alto flute, (9/2)

Night of the Four Moons uses pitch bends for both quarter-tones and half-steps.

Example 5.11a Night of the Four Moons, III Quarter-Tone Bends Alto Flute, (7/2) This example continues onto (7/3) and is the only occurrence of this figure.

21 George Crumb, Eleven Echoes of Autumn (C.F. Peters Co., New York, 1966), 9.

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Example 5.11b Night of the Four Moons, IV Half-Step Bends Alto Flute, (9/3) This figure is repeated on (9/3).

An Idyll for the Misbegotten makes frequent use of pitch bends, often of a half step.

Example 5.12a An Idyll for the Misbegotten Flute, (4/1) Half-step Pitch Bends Other instances occur in (4/2), (5/3) and (11/1, 2, 3).

Example 5.12b An Idyll for the Misbegotten Flute, (4/3) Whole-step Pitch Bend This bend is unique in that it is paired with a trill to create a specific sound effect. Other instances occur in (5/1) and (12/2).

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Lux Aeterna employs this technique on the soprano recorder, not the flute. Crumb indicates to “bend down… by decreasing the air supply.”22

Example 5.13 Lux Aeterna Soprano Recorder, (9/2) This is the only occurrence of this figure.

Finally, Federico’s Little Songs for Children calls for pitch bends similar to those found in Idyll; they are exclusively half-step bends.

Example 5.14 Federico’s Little Songs for Children, II Flute, (9/3) Other instances occur in (10/3).

The simplest way to achieve these bends (excluding the bend on the soprano recorder) is to roll the flute in or out, and/or to raise or the lower the head, depending on the direction of the bend. There is a danger of rolling the flute too far and bending past the notated pitch. One must avoid such errors, as Crumb is meticulous in his notation. It is best to practice with a tuner to ensure the bend is not falling past the notated pitch.

22 George Crumb, Lux Aeterna (C.F. Peters Co., New York, 1971), 9.

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GLISSANDI

Glissandi appear in Vox Balaenae and An Idyll for the Misbegotten. Beginning

with An Idyll for the Misbegotten, the glissando presented on page seven moves through almost an octave and is an excellent example in which to describe and practice the proper execution of glissandi.

On (7/2) of An Idyll for the Misbegotten, the flutist has a glissando from D4 to

Bb4. Crumb’s performance note says “Make a continuous, unbroken (!) glissando by

gradually sliding over the open holes of the instrument.”23

Example 5.15 An Idyll for the Misbegotten Flute, (7/2)

Although this sounds easy enough, for most flutists, this technique will require, as

Robert Dick says, “sustained, committed practice.”

First, it is possible to modify the finger action when lifting keys, so as to open the holes gradually… In performing glissandi of this type, the usual curve in the fingers is somewhat flattened, and the balls of the fingers first are smoothly lifted off the center holes in the open-hole keys, then the rings are lifted. With considerable practice, very smooth glissandi can be made…24

Luckily, this glissando happens on a rather long note, allowing the flutist ample time to

make a full glissando from D4 to Bb4. Begin practice with one finger at a time starting on

23 George Crumb, An Idyll for the Misbegotten (C.F. Peters Co., New York, 1986), 7. 24 Robert Dick, The Other Flute (Multiple Breath Music Company, New York, 1989), 76.

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D4 (with the Bb thumb). First, slide the third finger on the right hand away from the E-

key towards the flute mechanism (this motion will allow better control over the ring key

when lifted), then slowly allow the key to lift. The glissando should be seamless, with no

sudden “popping” of notes or keys. Move on to the second finger on the right hand, the

first finger, then move on to the left hand. Also with the left hand, slide the fingers

toward the mechanism of the flute. Pay extra care when moving the second finger of the

left hand off of the A key, as there may be a strong tendency for a sudden “pop” from An

to Bb. Once each finger has been attended to individually and can make a smooth and

unbroken glissando, begin to glissando through more notes, beginning with two, then

three, and so on until the full glissando is achieved.

The glissandi in Vox Balaenae are brief and span no more than a whole step, but can and should be practiced in the same manner.

Example 5.16 Vox Balaenae, Vocalise Flute, (6/4) This is the only occurrence of this figure.

Also in An Idyll for the Misbegotten on (12/1) there is a glissando that Crumb describes as a pitch bend. This particular instance falls in this subcategory because the execution of this pitch bend requires the technique of a glissando.

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Example 5.17 An Idyll for the Misbegotten Flute, (12/1) This figure is repeated on (12/1).

Crumb indicates to the performer to “bend the pitch up a quarter-tone by using open

hole”25 therefore utilizing the technique of a glissando. The performer is to finger Eb5

and slide the right hand third finger only about half-way off the E-key, thus bending the

note only a quarter-tone higher. As with other pitch bends, it is best to practice with a

tuner to ensure the note is not bending too far.

MULTIPHONICS

“A multiphonic is a sonority that is generated by means of a fingering that allows

for the simultaneous sounding of two to six audible pitches26” and appear very briefly

only in An Idyll for the Misbegotten.

25 George Crumb, An Idyll for the Misbegotten (C.F. Peters Co., New York, 1986), 12. 26 Morya Elaine Willis, Notation and Performance of Avant-Garde Literature for the Solo Flute (Ph.D. diss, The University of Florida, 1982), 109.

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Example 5.18 An Idyll for the Misbegotten Flute, (8/2)

There are two basic methods available to help sound multiphonics in which he flutist begins with either the lowest or highest frequency of the multiphonic.

Sounding the lowest frequency available of a given fingering, the player must increase the lip tension which alters the air stream direction and forces the air pressure beyond the normal level. This process is very similar to the one used to obtain harmonics from the fundamental octave, but the lips must be spread slightly, creating a larger aperture so that the lower pitch is not lost when the upper tones are activated. The reverse method of beginning a multiphonic is to first produce the highest frequency available. By decreasing the lip tension and widening the aperture to include the lower (as well as higher) pitches, the multiple sonority can be produced.27

Another method to produce multiphonics is to consider the jaw as well as the lips; the jaw and lower lip define the lower pitch, and the upper lip finds the upper pitch.28

Practice in this manner by slowly oscillating between the two pitches as if changing the tone color: slowly move the upper lip while keeping the lower lip and jaw stationary. To play both pitches at the same time, use a large aperture and one air stream, as if trying to

27 Ibid., 111-112. 28 Jennifer Anne Borkowski, From Simple to Complex: Extended Techniques in Flute Literature; Incentive to Integrate Cognitive and Kinesthetic Awareness in University Programs (Ph.D. diss, Universität für Musik und Darstellende Kunst, Graz, 2008), 116.

256 blow between the pitches. For example, for two F’s an octave apart, the embouchure can be set for a C or D in between.29

Robert Dick provides yet another idea in what he has coined “Throat Tuning,” which involves singing a pitch to set the vocal cords to that specific pitch before playing.

For multiphonics, the weaker pitch is sung first to set the vocal cords so it speaks easily.30

Multiphonics require much individual practice and experimentation to find the proper air direction, speed, and lip position for each individual person. As Trevor Wye says, it will require “time, patience, and intelligent work.”31

29 Ibid., pg. 116. 30 For more on throat tuning, see Robert Dick’s The Other Flute. 31 Trevor Wye, Practice Book for the Flute Vol. 1, Tone (Novello & Company Limited, England, 1981), 4.

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INDEX OF TECHNIQUES BY PIECE

An Idyll for the Misbegotten Flutter-tongue, 213, 215, 216, 222 Glissandi, 252, 253, 254 Harmonics, 223, 231 Key-clicks, 246, 247, 248 Multiphonics, 254-55 Pitch-Bends, 248, 250, 251 Speak-Flute, 242, 244 Whistle Tones, 237, 241

Eleven Echoes of Autumn Flutter-tongue, 216, 217, 218, 220 Harmonics, 224, 229, 231 Pitch-Bends, 248, 249 Speak-Flute, 242

Federico’s Little Songs for Children Flutter-tongue, 213, 215, 216, 217, 219, 222 Harmonics, 224, 225, 231 Pitch-Bends, 248, 251 Speak-Flute, 242, 244

Lux Aeterna Flutter-tongue, 217, 219, 221 Harmonics, 224, 225, 228, 230, 231 Pitch-Bends, 248, 251

Madrigals, Book II Flutter-tongue, 210, 211, 214, 217, 218, 220 Harmonics, 223, 224, 226, 228, 229, 231

Madrigals, Book IV Flutter-tongue, 217, 218 Harmonics, 231 Speak-Flute, 242, 243

258

Night of the Four Moons Flutter-tongue, 212, 215 Harmonics, 224, 231 Pitch-Bends, 248, 249, 250 Speak-flute, 242, 243 Tongue-click, 245-246 Key-clicks, 246,247

Vox Balaenae (Voice of the Whale) Flutter-tongue, 213, 215, 217, 219, 221 Glissandi, 252, 253 Harmonics, 223, 224, 228, 229, 231 Sing and Play Simultaneously, 232-236 Speak-Flute, 242, 244

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INDEX OF TECHNIQUES

Flutter-tongue, 209-222

Glissando, 248, 252-254

Harmonics, 223-231

Key-clicks, 246-248

Multiphonics, 254-256

Pitch-bends, 248-251

Sing and Play Simultaneously, 209, 232-236, 245

Speak-Flute, 242-245

Tongue-click, 245-246

Whistle Tones, 237-241

260

INDEX OF PIECES

An Idyll for the Misbegotten, 213, 215, 216, 222, 223, 231, 237, 241, 242, 244, 246, 247, 248, 250, 251, 252, 253, 254, 255, 257

Eleven Echoes of Autumn, 216, 217, 218, 220, 224, 229, 231, 242, 248, 249, 257

Federico’s Little Songs for Children, 213, 215, 216, 217, 219, 222, 224, 225, 231, 242,

244, 248, 251, 257

Lux Aeterna, 217, 219, 221, 224, 226, 228, 230, 231, 248, 251, 257

Madrigals, Book II, 210, 211, 214, 217, 218, 220, 223, 224, 226, 228, 229, 231, 257

Madrigals, Book IV, 217, 218, 221, 231, 242, 243, 257

Night of the Four Moons, 212, 215, 224, 231, 242, 243, 245, 246, 247, 248, 249, 250, 258

Vox Balaenae (Voice of the Whale), 213, 215, 217, 219, 221, 223, 224, 228, 229, 231, 232-236, 242, 244, 252, 253, 258

261

Bibliography

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Brokaw, Rebecca. “Performance of Extended Flute Techniques of the Twentieth Century Based on Aspects of Traditional Flute Technique.” DMA Diss., Indiana University, 1980.

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______. Eleven Echoes of Autumn. New York, NY. C.F. Peters Corporation, 1966.

______. Federico’s Little Songs for Children. New York, NY. C.F. Peters Corporation, 1986.

______. Lux Aeterna. New York, NY. C.F. Peters Corporation, 1971.

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______. Night of the Four Moons. New York, NY. C.F. Peters Corporation, 1969.

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Bernard, Jonathan W. “Pitch/Register in the Music of Edgard Varese.” Music Theory Spectrum, 3 (Spring 1981): 1-25.

Brokaw, Rebecca. “Performance of Extended Flute Techniques of the Twentieth Century Based on Aspects of Traditional Flute Technique.” DMA Diss., Indiana University, 1980.

Crumb, George. Federico’s Little Songs for Children. C. F. Peters Corporation, 1987.

______. Madrigals, Book II. C. F. Peters Corporation, 1971.

______. “Music: Does it Have a Future?” The Kenyon Review, New Series, 2 no. 3 (Summer 1980): 115-122.

Dick, Robert. The Other Flute. New York, NY. Oxford University Press, 1975.

______. Tone Development Through Extended Techniques. New York, NY. Multiple Breath Music Company, 1986.

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______. “The Evolution of the Harmonic Style in the Lorca Works of Crumb.” Journal of Music Theory, 28 no. 1 (Spring 1984): 89-111.

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Kuhns, Krystal. “A Practical Guide to the Extended Techniques in George Crumb’s Chamber Works with Flute.” MM Essay, Kent State University, 2011.

Leatherbarrow, James W. “Angels and Transformations: Symphonic Unity in Rautavaara Symphony No. 7 Angel of Light” (Ph.D. diss., Part II, Kent State University, 2011).

Meador, Rebecca Rae. “A History of Extended Flute Techniques and an Examination of their Potential as a Teaching Tool.” DMA Diss., The University of Cincinnati, 2001.

Morris, Robert D. “New Directions in the Theory and Analysis of Musical Contour.” Music Theory Spectrum, 15 no. 2 (Fall 1993): 205-228.

Nyfenger, Thomas. Music and the Flute. Closter, NJ. Thomas Nyfenger, 1986.

Quinn, Ian. “Fuzzy Extensions to the Theory of Contour.” Music Theory Spectrum, 19 no. 2 (Fall 1997): 232-263.

Rigler, Jane A. “Flute Vocalization: An Integrated Approach to Performance.” Ph.D. Diss., The University of California, San Diego, 1996.

Straus, Joseph N. Introduction to Post-Tonal Theory, 3rd ed. Prentice Hall, New Jersey, 2005.

Willis, Morya Elaine. “Notation and Performance of Avant-Garde Literature for Solo Flute.” Ph.D. Diss., The University of Florida, 1982.