ANALYSIS OF RESURRECTION A COMPOSITION FOR STRING QUINTET
A Thesis Presented to the Graduate Faculty
of California State University, Hayward
In Partial Fulfillment·
of the Requirements for the Degree
Master of Arts in Music
By Fred H. Randolph
September 1994 ANALYSIS OF RE8URRECT%ON A COMPOSITION FOR STRING QUINTET
By Fred H. Randolph
Approved: Date:
ii i would like to thank the following people for helping to unlock some of the many doors to the mysterious art of music to me: Jay Rizzeto, Frank Larocca, Jerry Cournoyer, and Tim Smith. Thank you.
iii TABLE OF CONTENTS
Page
PART I- INTRODUCTION .. . 1
A) INFLUENCES ON THE PIECE . 1 B) TECHNIQUES USED ..... 4
C) INSTRUMENTS USED ...... 9
PART II - FORM ...... 11
A) SEQUENCE OF EVENTS . 11
B) INTERRELATIONSHIPS ...... •. 22
PART III - THEMES ...... 28
PART IV - HARMONY .... 34
A) HARMONIC LANGUAGE ...... 34
B) TONAL PLAN .... 37 PART V- SUMMARY ...... 41 APPENDIX I- MUSICAL EXAMPLES ..... 44 APPENDIX II - FIGURES ...... 55
APPENDIX III - RESURRECTION SCORE 60
iv PREFACE
The following comments concern the composition Resurrection which was completed in March of 1994. The piece, a string quintet, is scored for two violins, viola, cello, and contrabass. The analysis of the piece is divided into five sections. The first, an introduction, discusses influences on the piece, techniques used, and the instruments involved. The second section discusses the form of the piece, first in terms of the sequence of events, then in terms of relationships within each movement. The third section discusses thematic material and how it relates to form. The fourth section discusses the harmonic language used, as well as the tonal scheme. The fifth and last section is a comparison between the two movements.
v I. INTRODUCTION
A. INFLUENCES ON THE PIECE Like many students of composition I have found myself drawn to the work of the French Impressionists Claude Debussy and Maurice Ravel. Each composer wrote one string quartet; Debussy's qpus 10 was in G minor, while Ravel's Quartet (no opus nUmber) was in F major. Much was learned from the study of these two scores, especially in terms of the coloristic possibilities which can be achieved with a small string ensemble. In writing my own quintet I have kept in mind the fact that I would be performing the piece with limited rehearsal time. As a result the textures and techniques absorbed through the study of the French masters' pieces were kept at a level of modest difficulty. Parts of the Ravel and Debussy quartets are extremely difficult. Numerous examples of the direct influence of these pieces on my own work can be cited. One texture which I found particularly effective because of its misterioso quality occurs in the Ravel quartet in bar 8 of movement III
(see example 1 in Appendix ~.) When listening to the piece I returned to this passage often and decided to incorporate the basic texture into my piece in bar 10 of movement I, as it forms part of a transitional passage between the opening thematic material and its second statement in the bass. Naturally, I altered
1 2 the figure to reflect the harmonic language of my own piece. The intervallic structure of the soprano voice (violin I) is the same, but the second violin, while also starting a major sixth below, differs in intervallic structure from the Ravel example. The viola and cello parts, while having the same time values as the Ravel example, differ in their intervallic relationship to the first violin (see example 2 in Appendix I). Another similar example can be found in bars 71 and 72 of Ravel's quartet, movement II. The lightness of the rising pizzicato cello figure passing to the viola juxtaposed against the descending first and second violin tremolo notes give the figure a typically dreamlike impressionistic effect (see example 3 in Appendix I). In my quintet I needed a transitional passage between successive statements of my third theme, the first statement in the cello and viola, the second statement in the two violins. This texture provided a perfect contrast, with its pizzicato and tremolo, to the legato and cantabile thematic statements. Again I took the basic figure and altered it to fit my harmonic context. Where the Ravel example outlines a G# seventh chord, my example leans more toward the jazz harmonic vocabulary with an E dominant 13th augmented 11th. I also added the contrabass to the texture (see example 4 in Appendix I). Debussy's fondness for running sixteenth notes in 3 several voices was an influence on my quintet as well. In bar 13 of movement I in the Debussy quartet, three voices (second violin, viola, and cello) run together in sixteenth notes while the first violin floats freely over this background (see example 5 in Appendix I). In my example I use the same basic texture and harmony (seventh chords alternating with first inversion major and minor triads) as a background. The melody in my first violin is very different though, leaping an octave, then down a half step. As in the previous example I add a bass note to expand the texture (see example 6 in Appendix
I) • As can be seen, the main influence which the study of the Ravel and Debussy scores produced was textural and, in some cases, harmonic rather than in areas of form or melody. A third influence must be cited as important since it contrasts with Ravel and Debussy. When studying the work of the two Frenchmen I became conscious of the need to balance their lush impressionistic harmonies with a more dissonant edge. The study of Bela Bartok's quartets provided just such an edge. One resource in particular proved useful in creating dissonant, almost keyless chords. That resource is the octatonic scale. Bartok used this, along with many other synthetic and folk scales, in his work. The octatonic scale is particularly attractive because of its symmetrical nature--it alternates whole and half steps. 4
In his String Quartet No.4, 4th movement at measures 120-121, we see fragments of the scale used in the first and second violin parts (see example 7 in Appendix I). In my own work I rarely used the scale melodically but instead chose to use it as a harmonic resource from which many dissonant chords could be created. The climactic chord of movement I at rehearsal 11 is based entirely on notes from the octatonic or diminished scale with an f root (see example 8 in Appendix I). The work of the above composers, then, provided the main background influences on the present work.
B. TECHNIQUES USED The composition of "Resurrection" was guided by musical factors rather than by abstract concepts or deliberate attempts to achieve expansion in the areas of technique, however valid these ways of composing might be. Therefore there are few unusual or particularly ground breaking technical innovations found in the score. Had they been in the ears of the composer at the time of composition, they would certainly have appeared in the score, although as mentioned the constraints of an actual performance with limited rehearsal time also played a role in determining the general level of technical expertise required to play each part. 5
The use of pizzicato and its contrast in arco is an important part of the technical skill required of each player in my piece. At rehearsal 4 in movement II, for example, the three lower parts set up a rhythmic background for the melody in the 1st and 2nd violins. The cello and contrabass play the same note on the downbeat but the cello plays the tonic and dominant of the chord arco while the bass plays only the tonic pizzicato. This adds just a bit of edge to the figure which will make it much more effective than if the cello was playing alone (see example 9 in Appendix I). In movement I at rehearsal 12 pizzicato in the bass and 1st violin reinforce the tonality and provide a contrast to the running 16th notes of the inner three voices (see example 10 in Appendix I). The example already cited in the discussion of Ravel's textural influence (example 4) shows the effective juxtaposition of pizzicato and tremolo in the same bar to produce a dreamlike effect. In each case I have been careful to allow enough time for the player to easily transfer from pizzicato to arco and vice versa. The use of tremolo is very important in my quintet. The bowed measured tremolo is used as a means of shorthand notation as can be seen at rehearsal 9 of movement I. Here it is convenient to notate the viola part using 8th notes with an extra slash across the stem rather than writing out 6 a series of repeated 16th notes (see example 11 in Appendix
I) • The bowed unmeasured tremolo sees frequent use throughout the piece, mostly providing a very useful background texture. In bar 109 of movement I the mp melody in the cello voice is offset by a sustained bass note pp and pp tremolo in the two violins (see example 12 in Appendix
I) . Such use of bowed unmeasured tremolo in no way detracts from the effectiveness of the softly played melody, yet with bass provides all the harmonic fabric needed for a complete soundscape. Occasionally this type of tremolo is more prominent, even seeing placement at the forefront of the musical texture. At rehearsal 5 of movement II the sustained arco notes of the two violins and contrabass are a background for the bowed unmeasured tremolo lines. of the viola and cello which move in contrary motion (see example 13 in Appendix I). The fingered tremolo is often used, both in place of the traditional trill notation where the alternating notes are a major or minor 2nd apart and when the interval of alternation is larger than a 2nd. In bar 23 of movement I the fingered tremolo is used to indicate the alternation between 0 and F on the same string (the 0 string) which is an interval of a minor 3rd. Again the figure is part of a background to the melodic 1st and 2nd violins (see example 7
14 in Appendix I). Harmonics are rarely used and appear only in the 1st violin part. In bar 70 of movement II the first violin plays a double stopped harmonic on the A and E strings which produces the notes an octave above. The notation used is the traditional two circles above the notes to indicate that they are to be played as harmonics. Both harmonics are 2nd partials and are achieved by lightly touching the string halfway between the nut and the bridge (see example 15 in Appendix I). Another use of the second partial occurs in bar 33 of movement I. Here the D note is lightly tapped again halfway between the nut and the bridge, this time on the D string to produce the D an octave above (see example 16 in Appendix I). Double stops are used frequently to fill out chords and to emphasize climactic material. I was careful to use double stops which are easily playable throughout, avoiding intervals of the perfect 5th, with a few exceptions. In movement I at rehearsal 4 the primitive sounding double stop of the 5th is essential to the musical setting in the upper strings. It would have been possible to play the same figure using just the B note in the first violin and the E in the 2nd, but the aggressive attack would not have been as pronounced. Also the 2nd double stop in the violins in the same measure, the d and a perfect 5th, uses the open string 8 D which makes this double stop easy to finger (see example 17 in Appendix I). All other double stops are easily within the technical reach of the intermediate player. The occasional perfect 5th in the lower strings is more easily played since the size of the fingerboard is larger. Other intervals such as major 6ths, perfect 4ths, augmented 4ths, major and minor 3rds, and octaves are often used, mainly to give a full harmonic sound when necessary. The climax of movement I, for example, at rehearsal 11 uses notes of an octatonic scale to create a chord of extreme harmonic tension and breadth of sound. This is achieved by using a tritone double stop in the first violin, a minor 3rd in the 2nd violin, a diminished 5th in the viola, an octave in the cello, and the lower notes of the cello octave doubled an octave lower in the contrabass, the only single note in the chord (see example 18 in Appendix I). Most single note material throughout the piece is easily executed. The occasional rapid 16th note passages in the first movement, as shown in example 5 under the discussion of Debussy's influence on the piece are not particularly difficult for an experienced string player. They are scalar and largely remain within the tessitura of an octave. certain passages which occur as accompanimental figures, however, are more difficult. In movement I at 9 rehearsal 5, the 3rd statement of the 2nd main theme requires a different background from the previous two statements, each of which uses tremolo as background. In keeping with the influence of Ravel, I chose to use a very characteristic four note arpeggio which alternated between the four strings of the instrument as my basic texture. I wanted a D minor chord of some kind beneath the melody in the violins so I chose the viola and cello to provide this harmony. It proved to be more difficult to achieve than anticipated though. The 1st two attempts were difficult to execute as they involved all four fingers of the left hand in an unplayable stretch. Professor La Rocca suggested that, like Ravel in most instances of this type of figure, I incorporate open strings. In the cello this meant using the open D string, and in the viola it meant using the open A and open G strings. After showing this figuration to a violist in the music department here at CSUH, I was assured that it was playable. By juxtaposing upward motion in one instrument with downward motion in the other,I achieved a fuller texture (see example 19 in Appendix I).
C. INSTRUMENTS USED The instruments used in this piece reflect a tendency in my studies of composition to deal with different areas of the orchestra with the final result of familiarity with the instruments, and the ability to write for them in 10 the larger context of the full orchestra, should the need arise. Thus, after writing a choir piece, a piano piece, a harp trio with viola and flute, a brass quintet, and an octet for brass and woodwinds, the possibilities, problems, strengths, and weaknesses of many important instruments were revealed. It remained necessary and essential, though, to experience the string section of the orchestra first hand. After considering several possible aggregations of string quintets including double cellos and double violas, the decision was made to compose for standard string quartet plus contrabass, as this group is a microcosm of the full symphonic string section. This pattern of writing was my own gradual way of preparing to write for the symphony orchestra in a practical and reasonable manner. with the foregoing material in mind as a foundation, it is now possible to discuss the piece Resurrection in the larger context of form. II. FORM
The composition of Resurrection involved no a priori structural or tonal plan. It was composed based on the general concept that one idea leads to the next. Indeed, following this plan rather than a preconceived one led to many doors of discovery. Although in retrospect a basic outline of structure in each movement can be discerned, every decision in this regard was made spontaneously rather than planned ahead of time. Thus the form was a result rather than a cause, each decision contributing to the overall structure, being a result of what had already been composed.
A. SEQUENCE OF EVENTS What results in movement I is a three-part structure containing the basic elements of sonata form. An exposition introduces the first five themes while leading to the first of two climaxes. Following this first climax, development of previous material begins and a 6th theme is introduced. After a second larger climax a recapitulation of theme I occurs followed by further development and more expansion CUlminating in a restatement of the first theme at a reduced tempo. Theme I first appears in violin I, accompanied in bar 2 by a counter theme figure in violin II. After 6 bars
11 12 of transitional material, theme I reappears in the bass starting on the same degree as the first entrance, Bb. This is accompanied by counter thematic material in the cello unrelated to that which first appeared in violin II. A radically different second theme follows at rehearsal 2. This theme is more of a texture than a melodic idea, which reappears in various transformations throughout the movement and is important structurally. Directly following the 3/4 of the second theme is the first appearance of theme III in 4/4. Due to the close proximity of the themes it is tempting to connect them into one larger theme group but since this is the only occurrence of theme II directly followed by theme III, the connection between them is unimportant and they are in every subsequent appearance clearly separate themes. The theme first appears in the cello and viola twice, accompanied by tremolo in the violins, then after a two-bar transitional figure, is heard at bar 23 in the two violins, accompanied by tremolo in the viola and a pizzicato figure in the cello. This contrast of accompanimental figures is important in sustaining the listener's interest when the theme recurs. At rehearsal 3 theme IV is first heard in the contrabass part. As the theme ends on a sustained Eb in the bass, the upper strings remind us of theme III by playing the dotted quarter to eighth figures of that theme. In 13 measure 29 the grace note and octave leap in the bass remind us of theme IV which had just been played a few bars before. The 2/4 bar in which this occurs plus the rising dynamic of the crescendo lead us to the 2nd appearance of theme II, this time at the dynamic marking of mezzo forte at rehearsal 4. up until this point the dynamic markings have been p . or mp; thus. the crescendo leading to the mf at rehearsal 4 is the first evidence of a build toward a climax within the movement. The contrast between the first appearance of theme II at the p dynamic and the present one at mf especially points this out. After a few bars of transitional material and a decrescendo, theme V is introduced in the viola. The crescendo at the end of this bar (measure 34) leads to a 3/4 measure whose eighth note tremolo notes resemble the steady eighth notes of theme II, this time at a still higher dynamic of forte, showing further evidence of a build. Another decrescendo brings the dynamic back to mf for the next appearance of theme III at rehearsal 5. The background figure again differs from previous ones. This time arpeggios are used in the cello and viola as discussed previously under the discussion of techniques. Here the 4/4 bar appears with an extension of a 2/4 bar rather than the 3/4 which followed in the previous appearance of this theme. The build which we have seen throughout the movement 14 thus far is intensified by the increased rhythmic activity of 16th notes plus the crescendo in measure 40 and we are led to the first of two climaxes, this one at rehearsal 6. The sharply dissonant chords, articulated by a down bow followed by an up bow, stand out clearly as climactic material. A subito mp dynamic which follows this first climax contrasts abruptly with the previous material. Theme V is heard in the cello and 1st violin at the interval of an octave, beginning the development section. Theme I returns in the contrabass to a tremolo background while a counter theme is presented in the cello which resembles the counter theme of the 2nd bar of the movement in terms of rhythmic values, though not in terms of pitch intervals. At measure 49 the viola plays theme I while the cello harmonizes. Two bars later at rehearsal 8 we hear theme IV in the 2nd violin. At measure 54 a new theme is introduced though only the latter part of this (beginning at bar 57) is developed later in the movement. This latter part I have called theme VI. In measure 60 theme IV is heard in the contrabass while the upper strings play a triplet figure accompaniment. After two 3/4 bars of Debussyian figures the movement toward the main climax of the movement begins at rehearsal 10. This movement is really a paraphrase and expansion of theme II. The ostinato pedal notes are heard here in the 15 bass and cello where in the first appearance of theme II they were heard in the 2 violins. The original was in 3/4 meter but here it starts in 4/4. In the original version of the theme the viola played double stops in 5ths on the 1st and 3rd beats of the 1st measure. Here the viola plays 5ths only on the 4th beat of the measure held over to the downbeat of the 2nd measure which is in 3/4. The meters continue to shift while the ostinato bass figure continues as a pedal point until at measure 70 all instruments play the same 7/8 rhythm leading to the extreme tension, both tonal and rhythmic, which explodes at rehearsal 11. This figuration of 16ths is like the previous climax a rehearsal 6 but is at a dynamic of ff while the previous one was at f. It is also spread out to two measures rather than 1. The tension is greater since where the figures in rehearsal 6 were on beats 1 and 3, here only the first and last groups are on the beat (beat 1 of the 1st and beat 4 of the 2nd measure respectively). The others are offbeat figures and the rests between them give the climax an added element of "pregnant silence" between interactions of the figure. Just as the climax at rehearsal 6 was directly followed by a subito mp dynamic, this main climax is followed by a dynamic of pp with a bass solo at mp.- Where the dynamic contrast in the earlier climax was forte to subito mp, the present one is ff to pp with only one part at 16 mp - clearly a more drastic contrast in keeping with every other aspect of the expansion of this climax over the earlier one. The theme heard in the contrabass is the opening theme (theme I) in augmentation. Where the original time values were quarter notes and eighths, here they are half notes and quarters. The return to theme I at this point can be seen then as a recapitulation. The accompaniment figure of triplets in 4ths which was a background for theme IV at bar 60 returns here as a background for the latter part of theme I in the bass, although it is only in two voices, this time the 2nd violin and viola rather than the upper 4. Also the viola plays eighth notes rather than triplets. Nonetheless the mood created is similar to that at bar 60 as a background texture. Theme IV now reappears in the cello in bar 79, accompanied by sustained chords in the other strings. The octave leap which began the original form of this theme is missing at the beginning of this appearance of theme IV. For this reason the pizzicato octave leap in the 1st violin which is an accompaniment to the running 16th notes at rehearsal 12 makes sense as it fills in what the ear had missed in the previous bars. At rehearsal 13 theme III returns, this time in the viola and cello with tremolo accompaniment in the violins 17 and a sustained tone in the bass. After a bar of 16th triplets theme III is again heard in the violins. At rehearsal 14 the cello plays 5ths alternating with 6ths, somewhat resembling the 5ths of theme II, followed by another appearance of theme III in the violins. At rehearsal 15 the repeated bass notes of theme II return in the cello and bass while the upper parts are added. At bar 99 theme IV is interjected and at rehearsal 16 theme II is heard again modified to 4/4 as was the case during the approach to the climax between rehearsals 10 and 11. This time though the climax is cut off after two bars by another interjection of theme IV in the 1st violin and cello. Theme VI follows directly in the 2nd violin and viola as the tempo and dynamic decrease until the cello states theme I tenuto at a significantly reduced tempo of = 72. Layered entrances culminating in an open ended chord based on perfect 5ths prepare us for movement II. Figure I illustrates the previous discussion in a simplified but easily understood manner. As can be seen, the form is basically in three parts, the first of Which, the Exposition, is shaped by the introduction of the first five themes, and a build toward the first climax at rehearsal 6. Development of existing thematic material follows as well as the introduction of theme VI, leading to the main climax at rehearsal 11. Recap of theme I occurs and a general unraveling and development of previous 18 material brings us to the final statement of theme I in the cello. We have, then, the basic elements of sonata form: Exposition, Development, and Recapitulation. The concluding portion, though it has characteristics of a coda such as reworking of previous material, cannot properly be so named as there is no conclusion of the section preceding it setting it off as a coda section. The latter part of the movement following the recapitulation simply includes further development and manipulation of themes while it winds down to the concluding bars. The lyrical movement II contrasts with movement I not only in mood but also in terms of form. Where movement I follows the basic outline of sonata form, movement II is basically through-composed, in a four part structure, not resembling any conventional outline of form. Where movement I began with the opening theme, movement II begins with an introductory passage before the first theme. The themes are then spelled out, and a build leads to a climax and violin cadenza. Unlike movement I no recapitulation follows this but instead material taken from the accompaniment of the third theme. The opening theme is finally restated, but instead of functioning as a recapitulation, it sets the mood for a reflective closing section at a reduced tempo which leads to the solemn mood of the closing bars of the piece. The introduction of movement II consists of 19 staggered entrances reminiscent of the end of movement I. This was deliberate and, by expanding.on an idea that was merely touched upon at the end of the previous movement, the unity between the two is enhanced. After this brief section, theme I is introduced at rehearsal 1 in the 1st violin. After a bar of accelerando the original tempo of = 88 is returned and the meter switches back from 6/8 to 4/4. This is all achieved at rehearsal 2 where theme II is introduced in the cello. This theme is really in two parts, each of two measures length, the 2nd two bars answering the 1st two. The theme is stated again in the cello beginning at bar 21. This time the answering quality of the 2nd two bars is underscored by the fact that the answer is in the upper strings rather than the cello itself. In bar 25 the upper strings (violins I, II, and viola) are juxtaposed against the cello in a figure which is used later in the movement. This texture is expanded to include the contrabass at bar 30. Two bars of bowed tremolo mysterioso figures similar to those used in movement I prepare us for the vamp figure at bars 33 and 34 which is the background texture for theme III. Theme III begins at bar 35, rehearsal 4, stated in violins I and II. A brief ritardando separates the first and second statements of the theme. The 2nd statement is in 3rds, the 2nd violin up an octave from its previous position giving variety and emphasis, although it is cut short by 20 another bowed tremolo texture at rehearsal 5. This figure is developed into a non tremolo variation which at rehearsal 6 becomes a 6/8 pattern in the viola and cello accompanied by bowed tremolo in the violins and a sustained contrabass note. The build to the climax begins here. Two measures later the violins take over the melody as the meter shifts to 3/4 in the following measure, accenting each first 8th note of groups of two. This further heightens the tension which continues to build until the climax at rehearsal 7 where an extremely dissonant chord is held by a firmata. Here the tension is released as the 1st violin plays a written cadenza in rubato time. At bar 62 the tempo resumes as the 2nd violin enters, then at rehearsal 8 the lower strings return in a texture based on the vamp figure of theme III. In bar 69 a fragment of theme I is harmonized in the viola and cello, not unlike the manner in which this is done in bar 49 of movement I. This in turn is developed until rehearsal 9. Here 16th triplets in the viola and cello are juxtaposed against fingered tremolos in the violins and a sustained note in the bass in a texture influenced by Ravel. At bar 75 the running 16ths often heard in movement I appear in the violins as accompaniment to an appearance in the viola and cello of theme V from movement I. In bar 76 the texture of theme III without the theme itself is returned to briefly as the tempo slows and the dynamic 21 decreases to = 69 at rehearsal 10. Here the pp bowed tremolo chords of the outer four string parts provide a lush background for the viola to restate the opening theme solo. This restatement begins a closing section whose mood is more serious than that of the earlier parts of the movement, making the solemn feeling of the ending a natural development. The meter switches from 9/8 back to 6/8 as in the 1st statement of theme I and the texture of theme I returns briefly while the 1st violin states a fragment of theme II altered here from the original 4/4 to fit the current 6/8 context. At rehearsal 11 the texture first heard at bar 25 is expanded with a maestoso feeling for two bars. At bar 87 the opening introductory bar of the movement is heard again slightly altered as bowed tremolo returns in bar 88 as background for a final fragmentary statement of theme I in the 2nd violin. The lower three strings sustain an open 5ths texture as the two violins lead us contrapuntally and by way of decrescendo to the final texture of open 5ths similar to and thus connected with the close of movement I. Movement II is, then, basically a through-composed movement which can be divided into four parts: Intro duction, Exposition and build toward climax, Development of fragments of previous themes such as their accompan1ments (without actually stating them), and a final more subdued Closing section. certainly this is not a conventional 22
outline of form. In this way it differs from movement I which adheres to the basic outline of sonata form. Figure II illustrates the above findings.
B. INTERRELATIONSHIPS Having shed light on the sequence of events and basic form of movement I, it is important to note that beyond the resemblance to sonata form there are two structural aspects of this movement which show how many of its parts interrelate. The first is the use of contrasting material, which generally occurs between successive thematic statements throughout the movement, as a transitional device. The frequent use of these "inserts" was, I believe effective in achieving a bridge between thematic statements which were sometimes the same theme and other times different. The contrasting nature of these short passages kept the return to thematic material fresh. At the same time these passages of "inserts" form a pattern of their own as a contrast or undercurrent to the more obvious thematic structure of the movements. The first such passage occurs in bars 9 and 10, forming a transition between statements of theme I. Although not all of the "inserts" need be mentioned, this one is important as many of its characteristics are seen in the other examples. One of the characteristics is the use 23 of rapid bowed tremolo which is a marked contrast to the material surrounding it. The length of the passage is two bars which is the average length of such an insert. The mood of the passage is eerie, in contrast with the marcato introductory nature of the thematic material which surrounds it. The "insert" at measures 21 and 22, separating successive statements of theme III, shows how similar the two passages mentioned thus far are. In this "insert" there is again use of tremolo, the passage is two bars in length, and there is an eerie quality which contrasts with the surrounding material. other examples vary in length. Some are as short as one bar, but again as in the "insert" at bar 35, bowed tremolo is used and the difference between one bar and two is unimportant to the listener's ear. other figures such as triplets are used in bar 89, though tremolo, this time fingered, is again present in the 2nd violin and the mood as always is in contrast with the surrounding material. Toward the end of the movement actual thematic material is used as a contrasting "insert". At rehearsal 15, theme II begins a build which is interrupted by the contrasting two bar "insert" of theme IV at measure 99. The build begins again and is interrupted for a second time at measure 103, this time being halted in keeping with the general mood of winding down of the conclusion of the 24 movement. Theme IV is stated twice, the second time including part of theme VI in an expansion of the pattern of "inserts" throughout the movement. These "inserts" can be seen, then, as an important "counterpoint" to the basic sonata form of the movement and an examination of them points out how many short passages in the movement are interrelated. The second structural aspect which shows how many parts of this movement are interrelated is the fact that there is a constant theme of expansion throughout. Many passages within movement I point to evidence of this. The first climax at rehearsal 6 is one bar long, whereas the second climax at rehearsal 11 is twice as long, two bars. Following the first climax is theme V in augmentation while the second climax is likewise followed by a theme in augmentation, this time theme I, giving us a recapitulation. The material leading up to the second climax is an expansion of theme II (various chords juxtaposed over an ostinato bass). This expansion is seen again toward the end of the movement. Where theme II was originally two bars long it is expanded at bar 96 to three bars in length. Finally the last statement of theme I at a significantly slower tempo of = 72 is an expansion in time value over the original = 120 (the time value of each note is augmented by this slowing of tempo). This second structural aspect, the expansion which 25 pervades the entire movement, shows the interrelationships of many parts of the movement on a deeper level than is immediately apparent. The differences between the two movements go further still than basic form and mood. When examining the underlying relationships between the parts of movement II, one finds tendencies which differ from those of the 1st movement. It was mentioned that in movement I contrasting material was inserted on occasion mainly as a transition between successive thematic statements. In movement II material of this kind is occasionally found but it does not form a bridge between successive statements of the same theme, since themes are here repeated without a break between them. At bar 31 such a figure appears with one of the same characteristics as those used in movement I, the eerie feeling created by the bowed tremolo, but it is less of a contrast. Here the descending bass line moves from Ab of the previous bar into the Gb of bar 31, thus it is less of a jolt and more of a continuation of a larger transitional passage into the 3rd theme. Another such figure is seen at measure 47 directly following the 2nd statement of theme III. The mysterioso bowed tremolos are present and the figure presents a contrast to the previous material, but in bar 49 the tremolo 8th notes of the cello and viola in the previous bar are basically retained and transformed into a more legato figure 26 in the inner voices. This figure is then repeated and transformed into the 6/8 figure at rehearsal 6 which leads to the climax at rehearsal 7. Again, as in the first example, the "insert" of contrasting material is more of a natural part of the surrounding music rather than the quick two bar contrast which we saw often in movement I. Where the "inserts" of movement I make sense when seen as a pattern of their own, the "inserts" of movement II make more sense as they relate to the music around them. We saw how the material of the "insert" at bar 47 was transformed into important transitional material leading toward the climax of movement II. It seems that where there was an undercurrent of expansion in movement I, there is an undercurrent of transformation in movement II. Immediately following the main climax of movement I, a statement of theme I in augmentation clearly showed, by the expansion of time values, the tendency toward expansion of that movement. Similarly, the transformation of the 3rd theme which follows the main climax at rehearsal 8 of movement II shows clearly the pattern of transformation of this movement. The three lower strings play the accompanimental figures of theme III while the two violins play material which is new but appropriate in the rhythmic context. Together these form a transformation of the theme. This figure is in fact further transformed at bars 76 and 77 towarqs the end of the piece as the rhythm slows 27 for the restatement of theme I. The restatement at rehearsal 10 is a transformation of the 1st theme. The first statement was in 6/8 with flowing accompaniment. Here it is transformed to 9/8 with tremolo accompaniment. One final example should be mentioned. The transitional material at bar 29 in 3/4 is transformed at rehearsal 11 to 4/4 and given the indication maestoso as it now becomes an important element in setting the mood for the final bars of the movement. Clearly, then, the pattern of expansion of movement I finds a parallel pattern of transformation in movement II. III. THEMES
Having seen how movements I and II of "Resurrection" differ in terms of form, a brief discussion of the themes in use will shed light on another area of contrast between them. In movement I there are six themes. The first theme sets the upbeat mood of the opening with its marcato quarter and eight note movement. Its melodic contour is basically an ascending scale with occasional leaps, reaching a full range of a major ninth before descending in a similar manner. The first appearance of this theme is in the first bar of the piece in the 1st violin. Its length is a full four measures. Subsequent appearances of it such as those at measures 44, 49, 73, and 109 often alter the end of the theme but nonetheless maintain the strong upward movement and tessitura of at least an octave if not the full ninth, which are its primary characteristics. Theme II is more of a texture than a melodic idea, thus considerations of tessitura are not relevant. Its primary characteristic is the juxtaposition of double stopped chords against steady staccato 8th notes. This basic feeling, first seen at its first appearance in bar 15, is maintained throughout its subsequent uses. This theme is probably the most important structurally in movement I, as its steady 8ths which are later transferred from violins to
28 29
bass and cello provide the basis of the build toward the main climax between rehearsals 10 and 11. Toward the end of the movement this ominous mood is returned to briefly at rehearsal 15, but only as a reminder as the "insertion" of theme IV steers us to the more subdued ending material. The first appearance of theme III directly follows that of theme II in bar 17. It lasts four full measures and has a range of a perfect 4th. This theme is a good lyrical foil to the more martial theme I. It has two distinctive features, one of which is the harmonization of the melody in 4ths. In later appearances of this theme the same harmonization is always maintained. The second distinctive feature is the odd rhythm of a bar of 4/4 followed by a bar of 3/4. Though the rhythm is varied in later appearances of the theme, this feature is generally maintained by having a longer rhythm in the first bar of the theme followed by a shorter rhythm in the second. This can be seen at bars 94 and 95 where instead of a bar of 4/4 followed by one of 3/4, we have a bar of 4/4 followed by a bar of 2/4. Theme IV first appears in bar 25 in the contrabass, lasting three measures with a tessitura of a full octave. The octave leap and the grace note both distinguish this theme and both of these features are exploited. In bar 29, for example, the features are combined to produce an octave grace note leap on the C note in a 2/4 bar which would not otherwise remind us of theme IV. In bar 81 an octave leap 30 with a grace note is all we need to remind us of the theme. Other transformations of the theme dispense with the octave but maintain the melodic contour, often including the grace note. Such is the case at bar 99. Theme V is short but is important structurally as it is used in movement II, thereby literally linking the movements thematically. It is first introduced in the viola at bar 34, has a range of a perfect 5th, and lasts two measures. Its main distinguishing characteristic is its close resemblance to a chromatic scale. Structurally this theme is important in movement I as it follows the first climax and as such is a precursor to the recapitulation of theme I which follows the second climax. The chromaticism of its original form is maintained in all subsequent appearances. The final theme of movement I is really a-fragment of a larger theme as previously mentioned in the discussion on form. The only part of the theme beginning at bar 54 and ending at bar 59 which is developed later is the latter part, the two bar section beginning at bar 57, its first appearance. This two bar melodic motive in the 1st violin I have called theme VI. It has a range of a major 6th and is distinguished mainly by its rhythm of four eighth notes followed by an eighth, a quarter, and an eighth. This distinctive rhythm when repeated is useful structurally in bars 106 and 107 as connective material leading to the final 31 statement of theme I at the close of movement I. Movement II has only three themes, half as many as movement I. The first theme begins at measure 7 in the 1st violin and lasts nine bars, making it the longest theme in the piece. It has a range of an octave and is distinguished by its long lyrical lines and balance between rising and falling passages. After an initial climb of an octave, it drops a perfect 5th, then rises a perfect 4th and drops again a perfect 4th, showing a lot of motion in both directions. Also, this theme is reminiscent of theme III in movement I in that it is occasionally harmonized in 4ths. In keeping with the through-composed nature of this movement, theme I is not later developed but instead a fragment of it is stated at rehearsal 10 in solo viola as part of the concluding material. Theme II, first introduced at rehearsal 2 in the cello, provides a good contrast to the lyrical 1st theme. Its four measures and range of a major 6th feature several leaps of a perfect 5th which alternate with scalar passages to give it a bright feeling.not unlike theme I of movement I. In fact the un poco marcato marking is close to the marcato marking of theme lis first theme. After being stated twice, this theme is no longer stated, further supporting the description of movement II as through composed. The last theme in movement II is its most memorable, 32
I believe. Theme III is first heard at rehearsal 4 in the 1st violin harmonized by the second violin. It lasts seven bars, making it the second longest theme in the piece and has a range of a major 6th. The use of octaves followed by 3rds as harmonization distinguishes this theme from theme III of movement I and theme I of movement II which are both largely harmonized in 4ths. This theme, by being placed in 3rds in a high register against an undulating figure in the lower strings, coupled with the occasional quick passage of 16th notes as well as a slight ritardando at the proper place, achieves more of a romantic feeling than any of the other themes. Though this theme is only again stated briefly in the second violin at measure 88 as part of the conclusion, the undulating accompaniment figure is used later at rehearsal 8 and at measure 76 as a subtle way of using previous material without changing the essentially through-composed nature of the movement. The contrast between the movements is, then, further made clear by a study of the themes involved. An examination of them shows that while the ranges of the themes are similar, the active movement I has twice as many themes as the lyrical movement II. The average length of themes is greater in movement II where the 1st and 3rd themes are the longest in the piece, in keeping with its lyrical nature. In keeping with the basic sonata form of movement I there is extensive thematic reuse and 33 development, whereas the through-composed movement II keeps development and reuse of previous thematic material at a minimum. IV. HARMONY
A. HARMONIC LANGUAGE It remains to discuss the harmonic vocabulary and scheme of the piece. Although as noted "Resurrection" was not methodically written, in either form or harmonic style, certain chord types appear often enough to represent trends within the overall harmonic vocabulary of the piece. Having been a student of jazz improvisation and arranging for several years, I naturally included some harmonies which are jazz-influenced. The challenge, of course, was to make them sound natural in the context of this piece. I believe I achieved this in the introduction to the 2nd movement. In the 2nd measure of movement II, staggered entrances have smoothly led to what can easily be heard as an altered dominant chord in a jazz manner. It could be termed a C seventh altered or a G flat altered chord since they share the same tritone of E natural and Bb. The root of neither chord is present, aiding to its ambiguity. AG major triad at end of this bar acts as a passing chord into another typical jazz voicing, a Bb minor eleventh with the eleventh, Eb, in the bass (see example 22) . Both of the chords mentioned arise, I believe, in a manner which does not set them apart as stylistically different but rather as a part of the modern harmonic
34 35 context of the whole. Quartal harmony and the use of 4ths in general are quite prevalent in both movements. In movement I, the 3rd theme is harmonized in 4ths giving it its unique character (see example 23). In measure 60 of the same movement, the background for theme IV which appears in the contrabass consists of quartal harmony with the addition of either a major or minor 3rd in the upper two voices (see example 24). Open 5ths are often used in both movements. In the first movement at rehearsal 2, the open 5ths double stopped in the cello provide an eerie background to the staccato 8th notes in the violins (see example 25). Also, both movements end in open 5ths as mentioned previously. The octatonic or diminished scale saw use at climactic points of both movements. This symmetrical scale, made up of alternating whole and half steps, has a unique character, especially when used to construct chords. At the first climax of movement I, rehearsal 6, the chord is taken from the notes of an E diminished scale with the exception of the bass note B (see example 26). At the main climax of the movement, rehearsal 11, all notes of the chord are taken from the F diminished scale (see example 27). In movement II the climactic chord at rehearsal 7 is entirely constructed from notes of the E diminished scale 36 (see example 28). Pedal point is used extensively, particularly as a build toward climaxes. In movement I the build between rehearsals 10 and 11 begins with various chords over a B natural pedal of repeated 8th notes (a transformation of theme III). Naturally various chord types arise as a result of this. For example, in the first bar of this build, bar 64, a D seventh chord over the B pedal creates a D dominant 13th inverted. The next chord is an Ab major seventh over its own minor 3rd, creating a major seventh containing both major and minor 3rds, a most interesting dissonance. Then the viola adds a double stop of F and C, the 13th and 3rd reinforced--an even more complex sound (see example 28). This manner of creating complex chordal textures is used extensively in both movements. Even more modern sounds are created through the use of intervals of the second and fourth in the upper voices juxtaposed against a bass note which is chosen to contrast with the above aggregation of notes, similar to a pedal point but without specific tonal function. Thus chords are created based on interval structure and aural texture rather than function. As an example, in measure 27 of movement II, the second chord is based on intervals of a perfect 4th over a bass note of Eb (chosen for its sound and for its own melodic contour). As the bass note moves down to Bb, the upper voices move to a configuration of a major 2nd and a 37 perfect 4th. The resultant chords are essentially nonfunctional but have a unique modern color (see example
29) • Contrasting to the sounds mentioned are more traditional chords of the dominant seventh which we find often in the context of running 16th notes in the first movement. At measure 38, movement I, over an Eb pedal in the contrabass, the inner string parts alternate between dominant seventh chords and minor triads as they rise and fall in a Debussy influenced figuration of 16ths (see example 30). In movement II at measure 49, over a G pedal, a similar series of running dominant seventh chords is heard in 8th notes instead of 16ths (see example 31).
B. TONAL PLAN There was no preconceived tonal plan for either movement during the composition process. Moreover many chords were based more on sound or linear movement than on triadic construction. However it is interesting to view the basic tonal plan which evolved on its own, especially with reference to major structural points in the piece, and in so doing discover some important facts about tonal movement within it. When one views the tonal plan of movement I, one notices that there are many temporary tonalities. One also notices that certain root movements such as movement by a 38 tritone, down a perfect fifth, by whole or half steps, and by various types of thirds occur frequently. One type of root movement, however, characterizes the entire tonal plan of the movement. That is movement down a major third. In the first few bars we see movement from the opening tonality of C minor down a major third to Ab major in measure five. The tonality returns to C minor at rehearsal 1, then the piece takes many harmonic twists and turns until the first climax at rehearsal 6. Directly following this temporary climax, at measure 42, we are in the basic tonality of A minor, a half step above Ab. When we reach the real climax at rehearsal 11, the corresponding tonality directly following it which is the recapitulation of theme I at measure seventy-three is an Ab minor, the parallel minor of Ab major. This important structural point clearly shows a pattern of movement toward Ab from the opening in C minor, first to the lowered supertonic of Ab (A minor), then to Ab major itself. Toward the end of the movement at rehearsal 15, we are again in the key area ot the lowered supertonic, A minor. The tonality finally moves down to Ab and the movement ends in Ab. As in the earlier part of the movement, the time spent in A minor is merely a brief pause in the overall descending motion toward Ab. Clearly, then, the opening movement down a major third from C minor to Ab major is a microcosm of the same root movement on a larger 39 scale throughout the entire first movement of the piece. Figure three illustrates the above findings. The same kinds of root movements such as tritone motion, movement down a fifth, and movement by half step are found in movement II, but there is a fundamental difference. Where movement I was rarely in one tonality for any length of time, here there are two basic tonalities which pervade much of the movement. After the introduction a tonality of Ab minor is reached in measure six. This becomes the first major tonal area which, though colored by an alternation with E major, remains the dominating tonality until measure 33 where Bb minor takes over as theme III is introduced. This second tonal area is maintained until rehearsalS, where the introduction of various dominant chords leads to F seventh at measure fifty-two, the dominant of Bb minor. At this point the tonality becomes ambiguous, leading to the climax on an E diminished chord at rehearsal 7. Finally at rehearsal 11 a Bb pedal with chords in the upper parts of Bb minor and Ab minor shows not only a return to the tonality of Bb minor, but also a reminder of the opening tonality of Ab minor. In the closing bars (90 and 91), though the bass note is Bb, the chords are closer to an Eb tonality which makes the final drop to a bass note of Eb in bar 92 a logical move. Thus there is first a movement up a whole 40 step from the opening in Ab minor to Bb minor and a final drop of a 5th to Eb, suggesting an overall scheme of subdominant to dominant to tonic in the key of Eb and an overall movement down a perfect 4th from Ab to Eb. Though both movements move downward harmonically, movement I's motion down a major 3rd is seen throughout the movement, where the movement down a perfect 4th of movement II is only seen when the final bars are reached. Figure 4 illustrates the above findings. v. SUMMARY
To summarize we can compare the two movements, using the discoveries which the present analysis has revealed. In terms of form, movement I is basically a sonata form with extensive reuse and development of thematic material. There is in this movement a sub-structure of "inserts" which contrast with surrounding material and provide bridges between successive thematic statements. Another important structural aspect of movement I is its constant theme of expansion, which was achieved through the use of such devices as rhythmic augmentation. Movement II by contrast is basically through composed, bearing no resemblance to traditional forms and with hardly any reuse or development of thematic material. Where passages with similar characteristics to the "inserts" of movement I are introduced, here they are a more natural part of the surrounding music and make more sense as part of it than as a contrast to it. The theme of expansion in movement I finds its parallel in the theme of transformation in movement II. Instead of being reused, material is often transformed to meet the needs of the musical situation at hand. A comparison of the thematic content of the movements revealed that movement I has twice as many themes, a total of six, the longest of which is 4 measures. In
41 42 keeping with its more lyrical nature, movement II has less themes (only three) which are longer--the shortest of the three is as long as the longest of measure I at 4 measures, while the longest is nine measures in length, more than twice as long as the longest of movement I. An examination of each theme's distinguishing characteristics showed how the character of each was shaped, as well as how this often led to structural importance. The harmonic language is basically similar in the two movements, but an examination of the tonal plans (discovered in retrospect as they were not preconceived) pointed out some important differences. The adventurous movement I has an overall tonal movement down a major 3rd from C minor to Ab, which is alluded to throughout the movement with many temporary tonalities interspersed. There is no real feeling of tonal stability and there is a high prevalence of tritone root movement as well as movement down a perfect 5th and by whole and half step. Movement II uses the same root movements by tritone, leaps down a perfect 5th, and by whole and half steps, but has much more of a feeling of tonal stability. Where movement I was rarely in one tonality for any length of time, in movement II two tonalities, Ab minor and Bb minor are predominant. The overall tonal movement is down a perfect 4th contrasting with the overall major 3rd motion of 43 movement I. The more conservative lyrical nature of the movement is reflected by its greater tonal clarity. Each of the areas examined pointed out fundamental differences between the movements which could be directly related to their differing characters. We see finally that a balance can be achieved by contrast. The differing qualities of the movements are complimentary, contributing to the larger whole. The areas in which they are linked- basic harmonic language, types of root movement, use of staggered entrances near the end of one movement and at the beginning of the next, and the similar endings of chords in open 5ths and 4ths, all show that there is an underlying relationship between them. Neither of these individually would be sufficient, yet together they achieve an artistic completion which is greater than the sum of the parts. APPENDIX I MUSICAL EXAMPLES
44 45
Example 1: Maurice Ravel String Quartet in F ~jor Movement III, Measure 8
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Example 30: Fred Randolph, Resurrection, Movement II, Measure 49 APPENDIX II FIGURES
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