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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 77-2497 SCHUMACHER, S ta n le y E ., 1942- AN ANALYTICAL.STUDY OF PUBLISHED UNACCOMPANIED SOLO LITERATURE FOR BRASS INSTRUMENTS: 1950-1970. The Ohio State University, Ph.D., 1976 Music
Xerox University Microfilms, Ann Arbor, Michigan 48106
(c) Copyright by Stanley E. Schumacher
1976 AN ANALYTICAL STUDY OF PUBLISHED UNACCOMPANIED
SOLO LITERATURE FOR BRASS INSTRUMENTS: 1950-1970
DISSERTATION
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Philosophy in the Graduate School of The Ohio State University
By Stanley E. Schumacher, B.M., M.M. *****
The Ohio State University
1976
Reading Committee: Approved "by Professor Robert Hare
Professor Norman Phelps Professor William Poland 7 g ' t o v AfX.y ' ^ A d v ise r School of Music ACKNOWLEDGEMENTS
I wish to thank Professors William Poland and
Robert Hare for serving on the reading committee. Their insights into organizational and verbal problems were most beneficial. My sincerest appreciation is extended to my adviser, Professor Norman Phelps. His high standard of scholar ship, genuine interest and creative talent are reflected throughout this study. I w ill, of course, assume responsibility for any substantive error or lack of clarity in expression. VITA
August 9> 19^2 Born - Indianapolis, Indiana 196^ ...... B.M. in Music Education, Butler University, Indianapolis, Indiana
1966 ...... M.M, in Music Theory, Butler University, Indianapolis, Indiana
1966-1970 Research and Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio
1970-1973 Administrative Associate, University College, The Ohio State University, Columbus, Ohio
PUBLICATIONS
Symmetries performers), Media Press, Champaign, Illinois, 1972.
FIELDS OF STUDY
Major Field: Music Theory Studies in Music Theory. Professor Norman Phelps Studies in Contemporary Theories of Music. Professor William Poland Studies in Music Composition. Professors Marshall Barnes and Herbert Brun Studies in Music History. Professor Herbert Livingston TABLE OF CONTENTS
Page ACKNOWLEDGEMENTS...... i i
VITA...... i i i LIST OF TABLES...... v i LIST OF EXAMPLES...... ix
C h a p te r I INTRODUCTION...... 1 I I ANALYSIS OF THEODOR ANTONIOU'S SIX LIKES FOR SOLO TUBA (1 9 6 7 ) ...... 8 I I I ANALYSIS OF HANS ERICH APOSTEL'S SONATINE FUR HORN (F) SOLO, OP. 39*>-- ...... IV ANALYSIS OF MALCOLM ARNOLD’S FANTASY FOR TROMBONE . OP. 1 0 1 ...... 6k V ANALYSIS OF LUCIANO BERIO'S SEQUENZA V (1 9 6 6)... 76 VI ANALYSIS OF BARNEY CHILDS' SONATA FOR SOLO TROMBONE (1 9 61) ...... 93 V II ANALYSIS OF RANDELL CROLEY’S VARIAZIONI. OP. kk, n o . 3 ( 1 9 6 5) ...... 113 V III ANALYSIS OF JOHN EATON'S FIVE THOUGHTS FOR SONNY 135
IX ANALYSIS OF EGON WELLESZ'S FANFARES FOR HORN SOLO. OPUS 7 8...... 163 X ANALYSIS OF CHARLES WHITTENBERG•S POLYPHONY FOR SOLO C TRUMPET...... 172 XI ANALYSIS OF STEVEN WINICK'S EQUINOCTIAL POINTS. . 186
X II SUMMARY...... 201 Page
APPENDIX A ANNOTATED LIST OF PUBLISHED WORKS...... 236
B LIST OF PUBLISHERS...... 252 C COMPOSER BIOGRAPHIES...... 25^
BIBLIOGRAPHY...... 263
v LIST OF TABLES
T able Page C h a p te r I : INTRODUCTION
1 Publication of Twentieth Century Unaccompanied Solo Brass Pieces ...... 3 C h a p te r I I : ANALYSIS OF THEODOR ANTONIOU'S SIX LIKES FOR SOLO TUBA (1967)
2 Form of Movement I ...... 9 3 Form of Movement II ...... 19 k Form of Movement III ...... 27 5 Form of Movement IY ...... 32 6 Form of Movement V ...... 37 7 Unconventional Notational Symbols k6 Chapter III: ANALYSIS OF HANS ERICH APOSTEL'S SONATINE FUR HORN (F) SOLO. OP. 39b
8 Form of Movement I...... k9 9 Form of Movement II ...... 53 10 Symmetrical Use of Meters and Tempi in Movement I I ...... 5^ 11 Form of Movement III ...... 55 C h a p te r IV : ANALYSIS OF MALCOLM ARNOLD'S FANTASY FOR TROMBONE. OP. 10 1
1 2 Form ...... 65 C h a p te r V: ANALYSIS OF LUCIANO BERIO'S SEQUENZ.A V (1 966) 13 Form ...... 77 Ik Unconventional Notational Symbols ...... 89 C h a p te r V I : ANALYSIS OF BARNEY CHILDS' SONATA FOR SOLO TROMBONE ( I 96I)
15 Form of Movement I...... 9k 16 Form of Movement II...... 102
v i T able Page
1? Inverted Symmetry Between Sections I and III of Movement II ...... 105 18 Variants Used to Construct Form of Movement III 107 19 Relationship of the Variants Within Section D of Movement I I I ...... 109 C h a p te r V II: ANALYSIS OF RANDELL CROLEY'S VARIAZIONI. OP. 44, NO. 3 (1965)
20 Macro-Form ...... • • • ...... 113 21 Form of Variation I ...... 115 22 Form of Variation II ...... 117 Form of Variation III ...... 121 i l Form of Variation IV ...... 123 25 Form of Variation V ...... 125 26 Form of Variation VI ...... 128 27 Form of Variation VII ...... 130 C h a p te r V I I I : ANALYSIS OF JOHN EATON'S FIVE THOUGHTS FOR SONNY
28 Form of Movement I...... 137 29 Form of Movement II ...... 142 30 Form of Movement III ...... 145 31 Form of Movement IV...... 148 32 Form of Movement V...... 150 33 Quarter Tone Fingering Chart for Trumpet . 155 C h a p te r IX : ANALYSIS OF EGON WELLESZ'S FANFARES FOR HORN SOLO. OPUS 78
34 Form of Movement I ...... 163 35 Form of Movement II...... 169 C h a p te r X: ANALYSIS OF CHARLES VflHITTENBERG'S POLYPHONY FOR SOLO C TRUMPET
3 6 Form ...... 37 Implied Directional Counterpoint in Section I, Subsection 2 ...... :*’*! ...... 38 Implied Directional Counterpoint in Section I, Subsection 3..... 39 Implied Directional Counterpoint in Section I, Subsection 4 ...... 40
v i i T able Page
41 Symmetrical Structure of Section III, Subsection 2...... 181 42 Sub-sets of Basic How...... 182 C h a p te r X I: ANALYSIS OF STEVEN WINICK'S EQUINOCTIAL POINTS
43 F o rm ...... 188 44 Magic Square ...... 191 45 Relationship Between Meter Signatures and Magic Square ...... 199 Chapter X II: SUMMARY 46 Categories of the Derivation of Form in the Ten Representative Pieces...... 202 47 Special Applications of Pitch Material in the Ten Representative Pieces ...... 213 48 Categories of Temporal Notation in the Ten Representative Pieces ...... 223 49 Categories Based on the Degree of D ifficulty of Performance in the Ten Representative P i e c e s ...... 230 50 Use of Mutes and Percussive Effects in the Ten Representative Pieces..,...... 232
V• l •l l • LIST OF EXAMPLES
Ex. Page C h a p te r I I : ANALYSIS OF THEODOR ANTONIOU'S SIX LIKES FOR SOLO TUBA ( l 967)
1 Line 1 of Movement I...... 10 2 Line 2 of Movement I ...... 10 3 Line 1 of Movement II ...... 21 k Measure 1 of Movement II I ...... 27 5 Line 1 of Movement IV ...... 33 6 Line 2 of Movement IV ...... 33 7 Line 1 of Movement VI ...... kb C h a p te r III: ANALYSIS OF HANS ERICH APOSTEL'S SONATINE FUR HORN (F) SOLO. OP. 39b
8 Basic Series ...... ^8 9 Measures 20-25 of Movement I ...... 51 10 Measures 1-8 of Movement III ...... 57 11 Measures 66-70 of Movement III...... 59 12 Measures 81-8^ of Movement III...... 62 C h a p te r IV : ANALYSIS OF MALCOLM ARNOLD'S FANTASY FOR TROMBONE. OP. 101
13 Measures 3-9 ...... 71 C h a p te r V: ANALYSIS OF LUCIANO BERIO'S SEQUENZA V (1 96 6)
Ik L in e 3 ...... 79 15 L in e 1 ...... 8 7 16 Line Measure 1 ...... 92 C h a p te r V I: ANALYSIS OF BARNEY CHILDS' SONATA FOR SOLO TROMBONE ( I 96I)
17 Part 23 of Movement I ...... , 97 18 Part 19 of Movement I ...... 99
ix Ex. Page
19 Part 22 of Movement I ...... 100 20 Measures 4—6 of Movement II...... 104- 21 Measures 1-2 of Movement II ...... 104- 22 Measure 2, Section C of Movement III... 110 C h a p te r VII* ANALYSIS OF RANDELL CROLEY'S VARIAZIONI. OP. 4-4-, NO. 3 (1965) 23 M easu res 1 - 2 ...... 114- 24- Measure 4'...... 116 25 M easure 14-...... 118 26 Measure 26 ...... 121 27 Measure 27 ...... 123 28 Measure 31 ...... 126 29 Measures 35-36...... 128 C h a p te r V I I I : ANALYSIS OF JOHN EATON*S FIVE THOUGHTS FOR SONNY
30 M easu res 1 -2 o f Movement I ...... 139 31 Measures 3-6 of Movement I ...... 14-1 C h a p te r IX : ANALYSIS OF EGON WELLESZ’S FANFARES FOR HORN SOLO. OPUS 78
32 Measures 1-2 of Movement I ...... 166 33 Measure 29 of Movement I ...... 167 C h a p te r X: ANALYSIS OF CHARLES WHITTENBERG *S POLYPHONY FOR SOLO C TRUMPET
34- Basic Series ...... 182 C h a p te r X I: ANALYSIS OF STEVEN WINICK’S EQUINOCTIAL POINTS
35 Measures 73-74- ...... 193 36 M easu res 68-72...... 195 37 Measures 32-37 ...... 197
x CHAPTER I
INTRODUCTION
Purpose of Study This dissertation is an analytical study of unaccom
panied solo literature for brass instruments, published between 1950 and 1970, inclusive. The author has attempted
to discover the diversity of compositional techniques used in the works included in the study. Performers should find the study useful because it provides information about the nature of the pieces beyond that found in the catalogs and because a more thorough understanding results in a more intelligent performance. This study should also be of value to composers who want to write unaccompanied solo brass pieces for they can learn what has been done in this genre. The composer can use this information by
incorporating, by avoiding, or by modifying the techniques and m aterials discovered.
Reason for Study
The topic was derived from the author's interest, as a composer and performer, in twentieth century music and
1 2 in brass music. Unaccompanied solo brass music w ritten in the twentieth century is a genre which spans both interests. The author wished to develop and present material of value to others with sim ilar interests.
Limiting the Topic
It was necessary to lim it the topic by excluding some of the relevant pieces. First, because of the difficulty of compiling a complete and accurate list of all written works, because of their quantity, and because of the inaccessability of unpublished pieces to the reader and performer, only published pieces were included. Published works intended for educational purposes and those works with optional instrumentations (where one option was an unaccompanied presentation) were then eliminated. When the final lis t of sixty-one works had been compiled, it showed that no twentieth century unaccompanied solo brass pieces had been published before 1950. There has been an increase in the publication of these works since that time as is demonstrated in Table 1. 3
TABLE 1
PUBLICATION OF TWENTIETH CENTURY UNACCOMPANIED SOLO BRASS PIECES
Number o f Y e ars Pieces Published
1900- 19^9 0
1950-1955 2 1956-1960 6
1961-1965 8
1966-1970 ^5
No pieces published after 1970 are included in this study.
The author finished compiling the lis t of published works in 1971 and wished to consider these works as a fixed body of literature from which he could determine the procedure and organization to be used in the dissertation.
Possible explanations for the recent publication of the works examined in this study should be considered. First, a corollary of the trend toward the increased use of brass instruments (since the invention of valves in the nineteenth century) is the realization that brass instru ments are as capable as string and woodwind instruments of functioning effectively in an unaccompanied solo con text. Second, the demand for solo material for brass instruments has increased at least in part because of the popularity of brass instruments fostered by. the expansion of school music programs in the last forty years. Third, there is growing interest in monophonic music because of
increased fam iliarity with medieval western music and
music of non-western cultures.
Procedure and Organization
Since the manner of achieving the purpose of the
dissertation and the manner of presenting the m aterial are necessarily interrelated, they are discussed together to
avoid redundance. The dissertation was organized to show how the pieces were analyzed and summarized, and the con cepts of procedure and organization are thereby inter- •
d e p e n d e n t. A lis t of published works was compiled by consulting
sources in The Ohio State University Music Library, the
Library of Congress, general catalogs, and publishers* catalogs. Lists of publishers and their addresses were obtained by writing to publishers* associations; the author
then wrote to the individual publishers for catalogs of brass music. Ten representative pieces were selected from this list
for analysis. The analysis and discussion of the ten representative pieces appear, one each, in Chapters II-XI. The ten pieces were chosen to represent the diversity of compositional techniques used and to include pieces for all
four principal instruments of the brass family. Although
the author intends the dissertation to be read in 5
conjunction with examination of the scores, the scores
themselves are not included to avoid possible copyright
difficulties. Each piece was analyzed with regard to the following topics: 1) Form; 2) Pitch M aterial; 3) Meter-Tempo-Rhythm;
*0 Unconventional Notational Symbols; and 5) Performance Considerations. These topics appear as subheadings in chapters about single movement works. Chapters about multi-movement works are subdivided first by movements and then further subdivided by the previously listed topic subheadings. Where a topic is relevant to the work as a whole rather than to a particular movement it is discussed as a subhead of the entire chapter. A given topic is omitted when the data are not essential or does not exist as in the case of Unconventional Notational Symbols which are not used in all the pieces. The summary, Chapter XXI, reviews the same five topics discussed in the analyses of the ten representative pieces (Chapters II-XI) and uses these five topics as organizational subheadings. The discussion under each subheading compares and categorizes the important features of the individual pieces with respect to that subheading. Three appendices follow the summary. One-paragraph descriptions of the published works not analyzed in Chapters II-XI are contained in the annotated list of 6 published works, Appendix A. Appendix B provides a lis t
of publishers and their addresses. The biographical
information in Appendix C on the composers of the works in the study came from biographical dictionaries, infor mation found in the scores themselves, and correspondence with various composers.
Definitions
Before the analysis of the individual pieces, three expressions (unaccompanied solo literature, proportional notation, and implied counterpoint) should be discussed.
Although a solo piece is for one performer with or without accompaniment, a term such as solo literature for trombone normally refers to trombone with piano accompaniment, making it necessary to use the term unaccompanied to mean that the piece has no such accompaniment. There is no standardized designation for this medium; representative expressions for it include solo trombone, trombone solo, trombone, one trombone, trombone alone, and unaccompanied trombone. The author selected the last expression, unac companied trombone, because it is explicit and is a frequently used designation on scores and in catalogs.
Proportional notation is a kind of temporal notation which may be described as the placement of sound relative to a given measure, either time or score space. In the first and fifth movements of Antoniou?s Six Likes, the 7 term refers to the relative placement of sound along the horizontal score space of each line; whereas, in Berio*s Sequenza V. it refers to the relative placement of sound within a given time span. Implied counterpoint is counterpoint which is inferred rather than expressly stated. Examples of the ways implied counterpoint is achieved in the pieces in this study are the alternation of accented and unaccented pitches in Antoniou's Six Likes and alternating portions of two rows in Apostel*s Sonatine and Whitteriberg*s Polyphony. Further details of how implied counterpoint is achieved and how it functions are given in the discussions of those pieces in which it is apparent.
Note Designation
In the text and musical examples of pieces for transposing instruments, all notes are to he regarded as w ritten rather than sounding. Whenever, it was necessary to indicate the octave to which a particular note belonged, the following system was used:
e~ lF1
8 CHAPTER I I
ANALYSIS OF THEODOR ANTONIOU*S
SIX LIKES FOR SOLO TUBA ( l 967)
Theodor Antoniou's Six Likes For Solo Tuba is a work consisting of six movements. Each movement is a musical parody of a sonic phenomenon. The specific phenomenon with which each movement deals is indicated by the title of that movement. The six movements are titled from first to lasti "Like A Duet"; "Like A Study"; "Like
A March"; "Like A Cackling"; "Like A Song"; "Like A
Murmuring".
Movement I
Form The first movement ("Like A Duet") divides into those formal sections seen in Table 2.
8 9
TABLE 2
FORM OF MOVEMENT I Section Line
A 1 -2
A1 2 -3
B 3 -5 A2 5 -6
Coda 6
As might "be suspected from its title , the most important aspect of the first movement is the simultaneous sounding of two pitches, one played and one hummed. Indeed, the movement exists primarily for its harmonic intervals. The relationship between the two voices of the duet usually follows one of two formats: 1) both the upper and lower voices begin simultaneously or nearly so and then are sustained for a certain length of time; or 2) the lower of the two voices functions as a pedal point while the upper voice contains pitches which are typically held for short durations and which change frequently. These two formats are illustrated in Examples 1 and 2, respectively. Example 1 (Line 1)
i O i — " j 1 w ■N\)
-b*- i tiy
Example 2 (Line 2)
ff
1 4 J3 b*- P
H O 11
The in itial A section, which begins with Line 1 and continues through the second sixteenth rest in Line 2, is
made up prim arily of sustained pitches which begin simul
taneously or nearly so in both voices. The only exception is near the end of the in itial A section where the two
voices of the duet briefly give way to a single voice. While this brief single voiced passage serves simply as a
way of returning to the opening material of the initial A section as seen in the A"^ section, it is of interest because it helps to further emphasize the fact that the first movement exists primarily for its harmonic intervals. The line in this passage begins with a six-note embellishing figure played as fast as possible. If the pitches which comprise this figure are examined in groups of two, they
are found to be identical except for some octave dis placement with those pitches which comprise the first three harmonic intervals (not counting repetitions) contained in the in itial A section. The embellishing figure is followed by a G two octaves above the G (quarter tone inflections aside) which preceded it. An E and a rhythmically modified restatement of the G and E pitches then follow. This final
•L. E serves as preparation for the return the E as the first pitch of the A^ section by descending, except for octave displacement, a minor second interval. The section, which begins after the second six
teenth rest in Line 2 and continues through the third eighth rest in Line 3, is made up of two voices. The lower voice functions as a pedal point while the upper contains pitches which are held for short durations and T *u change frequently. The A section begins with an E in the lower voice. In keeping with its function as a pedal *K 1 point, this E is sustained throughout the A section.
(This E*5 is identical to the first pitch contained in the lower voice of the initial A section.) Not counting repetitions, the upper voice of the A*** section first intro- h S duces B , D, A, G% G, and E pitches, respectively. Again not counting repetitions, these pitches relate to each new pitch introduced in the upper voice of the initial A section as well as the G and E contained in the conclusion of the initial A section. Thus the first pitch (B ) con tained in the upper voice of the section is identical to the first pitch contained in the upper voice of the M initial A section. The D, A, G;, and G pitches are a half step higher than each of the remaining pitches (not counting repetitions) in the upper voice of the initial A section. In addition, the G and E are identical to (although sounded an octave lower than) the final pitches of the initial A section. The A**" section concludes by introducing three new pitches in the upper voice. 13
The B section begins after the third eighth rest in
Line 3 and continues through the flutter tongued eighth note B in Line 5* That portion of the B section contained in Line 3 is made up of two sustained pitches, one in the lower voice and one in the upper voice, which begin simultaneously. These two pitches are identical to the two pitches in their respective voices which concluded the A"*" section. The lower voice is then sustained into the first part of Line k where it momentarily functions as a pedal point while the upper voice introduces three pitches, each of short duration. Then two pitches in the lower voice and two pitches in the upper voice are simultaneously and rapidly reiterated up to the cut off. The material following the cut off functions as a closing to the B section. This closing is made up for the most part of sustained pitches which begin simultaneously or nearly so in both voices. Most of the pitches used in the closing v *1- are identical to the first three pitches (E , B , D) con tained in the A1 section. An interesting color device occurs at the end of Line k where the composer has allowed the pitch material to disintegrate into the sound of air blown through the instrument, 2 The A section begins after the flutter tongued *K eighth note B in Line 5 and continues through the first simultaneous statement of E13 and D contained in Line 6. •L Except for the simultaneous statement of E and D at its
end, the A section is a return to the first three harmonic intervals (not counting repetitions) contained in the initial A section. As in the initial A section, these
harmonic intervals are presented as sustained pitches which begin simultaneously or nearly so in both voices. An important exception is found at the end of Line 5 where the two voices of the duet momentarily give way to a single voice. The single voiced line at this point is constructed from the second and third harmonic intervals
(not counting repetitions) contained in the in itial A section by first sounding the pitch contained in the lower
voice of the second harmonic interval and following this
pitch with the pitches contained in the upper voice of the second harmonic interval, the lower voice of the third harmonic interval, and the upper voice of the third
harmonic interval, respectively. Thus the emphasis on vertical or harmonic intervals is maintained by the single voice.
The coda begins after the first simultaneous statement of E and D contained in Line 6 and continues to the end
of Line 6. The lower voice of the coda, which functions as a pedal point, consists of an which is sustained - throughout. The composer overlaps the A section with the •u coda by sustaining this E (the last pitch contained in the 15
p lower voice of the A section) into and throughout the
V coda. With the exception of the final B , the upper voice of the coda contains several pitches which are held for short durations. These pitches are identical (except for ■u the octave displacement of A ) to the first three pitches
(not counting repetitions) contained in the upper voice of the initial A section and the first two pitches con tained in the upper voice of the A"*" s e c t i o n .
Pitch Material With regard to the composer's use of pitch material in the first movement, one finds that E is the most prominent pitch. This pitch is confined to the lower voice where it functions as a pedal point much of the time. *K The choice of E as the most prominent pitch and its con finement to the lower voice are no doubt related to the fact that the entire composition was written for an E tuba. The second most prominent pitch, B , is found only in the upper voice except for a brief exception in the middle of Line Prominent harmonic intervals (quarter tone inflections aside) used in the first movement are the major seventh, augmented eleventh, perfect tw elfth, and major fourteenth. The composer uses quarter tone inflections to color various pitches. The quarter tone inflections are typi cally applied to pitches with solid horizontal lines 16 following them and which are thus proportionally notated. These pitches are usually held for longer durations. To indicate that a pitch is to he inflected, Antoniou causes the straight horizontal line to become wavey. If the inflected pitch is then to return to normal, the horizon tal line becomes straight again. When quarter tone inflections are indicated, they are intoned higher and lower with a very slow glissando, but the composer does not make clear whether or not the quarter tone inflections should follow the exact shape of the respective wavey l i n e s . The performer is to sound two pitches simultaneously by humming one while playing the other, the only way to sound two simultaneous pitches on a monophonic instrument. Two items relative to this device need mention. First, throughout the movement each voice of the duet has separate dynamic markings, and secondly, when two pitches occur simultaneously, the composer does not always indicate which pitch is to be played and which is to be hummed. Neverthe less, there are three reasons why one may assume that the higher pitch is hummed and the lower pitch is played.
First, it is easier to perform this way. In this movement, when two pitches are heard simultaneously, they either begin at the same time or the lower pitch begins first and is followed by the higher pitch. By always playing the 17 lower pitch, the performer w ill have a reference for gauging the intonation of the higher (hummed) pitch. The second reason why one may assume that the higher pitch is hummed and the lower pitch is played is that the lower voice sustains itself more throughout the movement and therefore is heard more of the time. It seems reasonable that the voice which is heard for the greatest amount of time should be the played voice. The third reason one may assume that the higher pitch is hummed and the lower pitch is played is that when the composer does indicate which pitch is to be hummed it is always the higher pitch.
Meter-Tempo-Rhythm With regard to rhythm and tempo in the first movement of Six Likes For Solo Tuba, it is important that Antoniou has used both proportional and measured notation, both of which are also used in the third and fifth movements.
Antoniou himself did not use the term proportional nota tion. Based on the composer's usage of temporal notation, the author has defined proportional notation as the rela tive placement of sound along the horizontal score space of each line. Implicit within this definition are an orientation to visual space on the score and a definite element of indeterminacy. Those areas of the first, third, and fifth movements where proportional notation has been employed are identified by the composer's method of 18 notating pitch and duration, in which he indicates the
desired pitches on a conventional staff by means of solid pitch heads with appropriate accidentals and follows them with solid horizontal lines which extend across the page for the desired relative durations. A general degree of time control is applied to both the proportional and measured notation in the first movement through the composer's indication that the movement is to be played a n d a n te . Although proportional notation is used most of the time, brief passages of measured notation are occasionally found. These passages are identified by the fact that they are notated in a conventional manner with the eighth note usually serving as the unit of reference. Further more, the passages of measured notation are found in one of three places. First, they may be inserted into passages of proportional notation. An example is in the middle of Line 1 (Section A). The second location for passages of measured notation is where the two voices of the duet briefly give way to a single voiced line, an example of which may be seen at the very end of Line 1 (Section A). The third place where passages of measured notation are found is in the upper voice of those duet passages where, the lower of the two voices functions as a pedal point while the upper voice contains pitches which are held for 19
short durations and which change frequently. An example is in the section. It is important that the segments of measured notation contained in the upper voice of these
duet passages must also relate to the lower voice which is controlled by the dictates of proportional notation.
As with the proportional notation, a very general degree of time control is applied to the measured notation through the composer's indication that the movement is to be played andante.
Movement II
Form The second movement ("Like A Study”) of Theodor
Antoniou's Six Likes For Solo Tuba divides into those formal sections seen in Table 3*
TABLE 3 FORM OF MOVEMENT I I
Section Line
A 1 -5 B (Cadenza) 6-7 A1 7
The second movement is a musical parody of that traditional study included in the training of all brass players which attempts to develop the performers' ability to execute 20 passages with great speed without sacrificing accuracy.
An important characteristic often incorporated into a study of this kind is implied counterpoint.
In the in itial A section, which occupies Lines 1 through 5, the composer has suggested two-voice counter point by contrasting accented with unaccented pitches.
As may be seen in Example 3» the accented pitches are located on a lower staff and are to be played fortissimo while the unaccented pitches are located on an upper staff and are to be played piano. Example 3 (L ine 1)
p r e s t o I P £ ¥ 22
The contrasting dynamics help to enhance the impression of two voices. There are no accent marks below the pitches located on the lower staff in Line 3 and the final two pitches located on the lower staff in Line no doubt an oversight by the composer or a copyist since the accent marks should obviously have been included for the sake of consistency. In Lines 1 through k of the initial A section, single • accented pitches alternate with groups of seven unaccented pitches. Furthermore, in Lines 1 through 4-, the single accented pitches and groups of unaccented pitches combine to form six discernible units, each of which is made up of four accented pitches and four groups of unaccented pitches. Thus the first four accented pitches contained in the in itial A section and the first four groups of unaccented pitches contained in the in itial A section make up the first unit (see Example 3) while the fifth, sixth, seventh and eighth accented pitches contained in the in itial A section and the fifth, sixth, seventh and eighth groups of unaccented pitches contained in the in itial A section make up the second unit, and so forth. The reason Lines 1 through ^ of the initial A section divide into six discern ible units is the patterns of repetition contained within each individual unit. These patterns are identical for all units. Thus within each unit, the third and fourth 23
accented pitches are identical to the first and second
accented pitches, respectively, while the second and fourth groups of unaccented pitches are identical to the first and third groups of unaccented pitches, respectively
(see Example 3)• Line 5 acts as a closing to the initial A section by evoking a cadential feeling. The beginning of Line 5 continues the alternation of single accented pitches with groups of unaccented pitches as found in Lines 1 through but the composer has used
only two accented pitches (E and F^) which he reiterates
throughout the line. Also, each succeeding group of unac cented pitches contains one less pitch. Near the end of
Line 5 "the groups of unaccented pitches are no longer heard and the line is concluded with the accented pitches M. (E and F") being reiterated in note values of ever increas es? ing duration until the final flutter tongued F" which has a hold sign above it. The B section begins with Line 6 and continues to the
cut off in the middle of Line 7. In keeping with the idea of a parody of a musical study, the B section is written as a cadenza, a characteristic often found in such studies.
The composer has no implied counterpoint in this section. The B section begins in Line 6 with three pitches that have no specific duration indicated and are intended to be played
rubato, a characteristic feature of cadenzas. These pitches are followed by a long passage of thirty-second
notes which occupies most of the remainder of Line 6. The composer has indicated that certain individual pitches within this passage of thirty-second notes are to be played
sforzando. These pitches do not occur at regular intervals. By indicating certain pitches to be played sforzando. the
composer has added emphasis to the melodic shape of the
passage. This emphasis is especially important in a passage where all the notes are of equal value. Line 6 concludes with four pitches, to be played rubato in the same manner as the three pitches that began Line 6. The remainder of the B section (contained in Line 7) is, again,
a passage of thirty-second notes with certain individual pitches marked sforzando. This passage concludes the B section. The termination is clearly marked by a caesura. The extremely short A1 section begins after the
caesura in Line 7 and continues to the end of Line 7. The composer begins the A"*" section with the first accented pitch (A) and the first group of unaccented pitches of the in itial A section. The second accented pitch (C) and the third group of unaccented pitches of the in itial A section follow. The A1 section is then concluded with a thirty- second note C . The composer thus allows this brief restatement of material from the in itial A section to represent a return to the structural ideas contained t h e r e i n . 25
Pitch M aterial With regard to the composer's use of pitch m aterial, it should be pointed out that the second movement has little to do with pitch manipulation. There is not even
a prominent pitch. Furthermore, when numerous thirty-second notes are played -presto on the tuba, clear delineation is difficult, if not impossible. But, the composer is only interested in the general outline and clear deline ation of the pitches probably is not necessary because of the auditor's (and performer's) fam iliarity with this type of study. It appears that the composer has deliberately created a situation where the pitches will be blurred to enhance the purpose of parody. In this respect, it should be pointed out that the movement could have been graphi cally notated with lines of various shapes and placement indicating the general directional outline and flow. The composer has provided pitches, no doubt, for the convenience of the player. The intervals used most frequently throughout the movement are major and minor seconds, with major and minor thirds being the next most frequently found intervals. The seconds outnumber the thirds throughout the movement by a ratio of three to one. Of special interest are the groups of unaccented pitches (see Example 3) contained in the in itial A section and the A1 section, each of which 26
outlines what would best be described as an arpeggiated
tone cluster.
Meter-Tempo-Rhvthm With regard to rhythm and tempo in the second move
ment, one finds that the music has a measured quality. This measured quality results from the almost continuous use of short equal note values, i.e ., thirty-second notes. The exceptions are: 1) the written-out ritardando found
at the end of Line 5? 2) the three rubato pitches found
at the beginning of Line 6; and 3) 'the four rubato pitches found at the end of Line 6. It should be observed that these exceptions have a measured relationship to the basic thirty-second note. A general degree of time control is applied to the measured notation through the composer's indication that the movement is to be played presto.
Movement III
Form The third movement ("Like A March") of Theodor Antoniou's Six Likes For Solo Tuba divides into those formal sections seen in Table 27
TABLE k FORM OF MOVEMENT I I I * S e c tio n M easure
A 1 - 7 B 8 - 1 7 T r a n s i t io n 18-21
22-29 Coda 30-36 Everything between two bar lines is considered a m ea su re . The composer is able to evoke the idea of a march by using both the rhythmic character and pitch emphasis of a typical tuba (bass) part as found in the march style. In measure 1 (Example *0 of the initial A section, the com poser has presented the rhythmic character and pitch emphasis upon which the entire movement is built.
Example 4 (m. 1)
rt\oneiiftTo
The rhythmic character consists of four eighth notes in 'a 2 ^ meter with the pitch emphasis on the tonic and the
v dominant, which are E and B , respectively. Continuing, 28 we find that measure 2 is identical to measure 1. Measure 3 consists primarily of a sustained and flutter tongued D which is preceded hy an embellishing grace note 0%# The measure ends with the performer rapidly executing intona tions according to the shape of the notated graphic symbol. This graphic symbol w ill be discussed in more detail in a later paragraph. Measures k through 7» while using the pitches found in measure 1, are each a slightly different rhythmic variation on measure 1. In addition, measure 6 contains a grace note figure between its first two eighth notes, and measure 7 contains a grace note figure between its last two eighth notes. The B section of the third movement consists of measures 8 through 17. Measure 8 contains a sustained and flu tter tongued A which continues into measure 9» Measure 9 is then concluded with the same two eighth notes that concluded measure 1. Measure 10 continues with three eighth notes which are identical to the first three eighth notes contained in measure 1 and is concluded with a grace # note figure followed by an eighth note G . Measures 11 through 17 maintain the rhythmic character of measure 1, i.e .. eighth notes, but the tonic-dominant pitch emphasis is temporarily abandoned. These measures consist of a chromatic passage which does not suggest any readily definable tonality. This chromatic passage serves as a 29
V\ T\ tonal contrast to the tonic E and dominant B heard
throughout most of the movement. Measures 18 through 21 function as a transition to th e A"1" 'section. With regard to pitch and note-value
pattern, each of these four measures is identical to measure 1. In measures 18 and 19 the performer has been instructed to execute a slow glissando between the first
and second eighth notes and the third and fourth eighth
notes, respectively. Measures 18 through 21, function as a transition because beginning with an adagio in measure
18, there is a gradual accelerando from the beginning of measure 19 through the end of measure 21. In the transi tion (m. 18-21), the composer has provided a rhythmic
accompaniment which is executed by the performer striking the instrument with his fingers in order to realize those
rhythms which have been notated on an additional line above the staff. Also, the rhythmic accompaniment has its own dynamic markings which are distinct from those markings found in the part it accompanies.
The A^ section consists of measures 22 through 29. With regard to rhythm and pitch, measures 22 through 25 are identical to measure 1. With regard to rhythm, measures 26 through 29 are also identical to measure 1, but with regard to pitch, they change the eighth note E*3 contained in measure 1 (see Example *0 to an eighth note F, 30 thereby, introducing a secondary dominant. The rhythmic
accompaniment, which the composer introduced in the transition (m. 18-21), is continued throughout the A"*"
section (m. 22- 2 9)• Measures 30 through 36 function as a coda to the third movement. With regard to rhythm, these measures are iden tical to measure 1. With regard to pitch, one finds that m ea su re s 3 0 , 3 1 , 3 2 , and the first half of 33 reiterate the first two eighth notes contained in measure 1, A brief chromatic passage follows in the last of measure 33 and in measure 3^- Measure 35 continues with three eighth notes which are identical (except for being an octave lower) to the first three eighth notes contained in measure 1. The rhythmic accompaniment, which the composer introduced in the transition (m. 18-21) and continued throughout the A^ s e c t i o n (m. 22- 2 9), is continued through the coda (m. 30-36). The rhythmic accompaniment is heard by itself in the final measure of the coda.
Pitch M aterial In the third movement, Antoniou.has emphasized the
(tonic) and B (dominant) pitches. Intervals most fre quently found in this movement are those which result from an emphasis on tonic and dominant pitches, i.e . . perfect fifth and perfect octave. In the chromatic passages contained in measures 11 through 17 and measures 33 and 3^, 31
the most frequently found intervals are, in addition to the perfect fifth, the major seventh and major fourteenth.
Also, within these two passages, the composer has used numerous intervals larger than the octave. When the perfect
fifth interval is found in the chromatic passages, it does
T. t . not occur between E and B .
The graphic symbol in measure 3 is the only indeter minacy found in the pitch m aterial of the third movement. The performer is to execute intonations according to the
shape of the symbol. Because of the shape of this partic ular symbol, the intonations follow a generally downward direction. The idea in the last of measure 3 is to create the sonic effect of clumsiness. This effect, again,
contributes to the parody.
Meter-Tempo-Rhyt hm p As indicated in the score, a ^ meter is used through
out the third movement. Two notational irregularities 2 exist which concern the use of the ^ meter. The first
notational irregularity is the graphic pitch symbol found in measure 3« The basic rhythm in measure 3 consists of a doubly dotted quarter note followed by the graphic pitch symbol. Measure 3 may be easily related to the £ meter by
assigning the graphic pitch symbol a duration of one
sixteenth note. The second notational irregularity is the proportional notation found in measures 8 and 9. 32
Proportional notation and the means of identifying it were described in the discussion of rhythm and tempo in the first movement (above, Ch. II, pp. 17-19)• Because of the amount of horizontal score space used for measures 8 and 9, the performer w ill very likely relate the dura- tions within these measures to the ^ meter. He can easily do so by assigning the A, which is sustained throughout measure 8 and the first part of measure 9» a duration of one half note tied to one quarter note. The two eighth notes in the last of measure 9 would then fill out the 2 ^ meter for that measure.
Movement IY
Form The fourth movement ("Like A Cackling") of Six Likes
For Solo Tuba divides into those formal sections seen in
T a b le 5 .
TABLE 5 FORM OF MOVEMENT IV
S e c tio n L in e I 1-2
II 2 -k III 5-8 Coda 8 33
As is suggested by its title , the fourth movement is a musical parody of that sonic phenomenon known as cackling, i . e . , the sharp broken cry characteristic of a goose or hen after laying. The cackling effect is achieved through a combination of glissandi and rapidly reiterated rhythmic figures. Typical rhythmic figures, showing the use of glissandi. may be seen in Example 5*
Example 5 (Line 1)
Throughout the movement new rhythmic figures are constantly being derived from earlier figures or combinations of earlier rhythmic figures. An example of a rhythmic figure derived from a combination of two earlier rhythmic figures may be seen in Example 6.
Exam ple 6 (L in e 2) In deriving the rhythmic figure seen in Example 6, the
composer has used the rhythm of the first rhythmic figure found in Line 1 (see Example 5) and the pitches (F, E f A) found in the third rhythmic figure from the end of Line 1.
Delineation of the movement into those larger formal sections seen in Table 5 depends to a large extent on the tempo indications, such as presto, meno mosso. and tempo, found in the score. Section I begins with the presto in Line 1 and continues through the meno mosso in Line 2;
Section II begins with the a tempo indication in Line 2 and continues through the meno mosso in Line k and Section
III begins with the a tempo indication in Line 5 and con tinues into the accelerando in Line 8. The coda begins with the first E found in the accelerando in Line 8 and concludes the movement. Also of some importance in delineating the formal sections of the fourth movement is the fact that both Sections II and III begin with a rhythmic figure, the rhythm of which is almost identical to the first rhythmic figure found in Section I (see •L Example 5). Except for the final thirty-second note (B ), the coda is identical in all respects to the first half of Line 1 as found in Section I.
Pitch M aterial The fourth movement has little to do with pitch manipulation, with the composer placing more emphasis on 35 glissandi and rapidly reiterated rhythmic figures than on pitch. As in the second movement, clear delineation is difficult when numerous thirty-second notes are played •presto on the tuba, hut in the fourth movement, the com poser is only interested in achieving the sonic phenomenon of cackling, for which clear delineation of the pitches is not necessary. The composer has attempted to avoid any feeling of tonality in the fourth movement. It is even difficult to call any pitch truly prominent, although one could possibly point out B.
The most frequently found intervals in the movement are the unison, major and minor second, tritone, and major and minor seventh. The use of these intervals is in keeping with the fact that the composer has 1) utilized prim arily half and whole step movement in order to continue the line from one rhythmic figure to another and 2) employed octave displacement occasionally to produce intervals of a seventh between (as well as within) rhythmic figures.
Section III contains a number of intervals which extend beyond the octave, while Sections I and II contain very few intervals larger than the major seventh. Also of special interest are those occasions when the composer has indicated the pitch upon which a glissando is to begin as well as the direction the glissando is to take but has not Indicated the pitch upon which the glissando will 36 terminate. By not indicating the pitch upon which a glissando w ill terminate, the composer has introduced a small element of indeterminacy into the pitch m aterial of the fourth movement. An example is first seen near the end of Line 3*
Meter-Tempo-Rhythm
The rhythm and tempo in the fourth movement are consistently measured since, except for the grace notes, the pitches contained in the fourth movement are equal thirty-second notes. A general degree of time control is applied to the measured notation through the composer’s indication that the movement is to be played presto. although this basic tempo indication is at times altered through the use of subordinate tempo indications. Of special interest with regard to rhythm and tempo in the fourth movement is Section III. When compared to Sections I and II, Section III takes on a developmental character.
It is of greater length; it has numerous repetitions of short rhythmic figures (often derived from segments of earlier rhythmic figures), and it includes several subordinate tempo variants.
Movement V
Form
The fifth movement ("Like A Song") of Six Likes For
Solo Tuba divides into those formal sections seen in Table & 37
TABLE 6 FORM OF MOYEME’.i' V
S e c tio n L in e
A 1 B 1-2
C 2 -3 D (Cadenza) 3-^
As is suggested by its title , the fifth movement emphasizes the melodic character of the tuba. The formal sections indicated in Table 6 are analagous to the phrases of a song with the D section functioning as a cadenza. Furthermore, the formal sections indicated in Table 6 may be divided into two types: 1) those sections in which sustained pitches predominate; and 2) those sections which contain a mixture of sustained pitches and pitches held for short durations. The sections in which sustained pitches predom inate are characterized by minimal rhythmic activity; whereas, the sections which contain a mixture of sustained pitches and pitches held for short durations are character ized by moderate rhythmic activity. Sustained pitches predominate in the in itial A section, which begins with Line 1 and continues to the cut off near the end of Line 1.
The section begins with a sustained E13 which, without interruption, is heard as an uncolored pitch, a pitch 38 colored by quarter tone inflections, a pitch colored by flutter tongue, a pitch colored by quarter tone inflections, •u and an uncolored pitch, respectively. The sustained E is accompanied by a crescendo followed by a decrescendo.
The crescendo begins pianissimo with the in itial sound and continues to a fortissimo where the flutter tonguing of the •u sustained E begins. The decrescendo begins just before the flu tter tonguing ends and continues to a pianissimo where the sustained E ends. The sustained E is followed by an eighth note B , a sustained A, and an eighth note C, respectively. The sustained A is colored by quarter tone inflections for most of its duration, while the eighth note
C is a sung pitch rather than a played one. Of special importance in the in itial A section is the sustained E which is heard throughout most of the section. Here the composer, through the use of color, non-color and dynamics, has managed to suggest a melodic line.
The B section, which begins after the cut off in Line 1 and continues to the cut off in the middle of Line 2, contains a mixture of sustained pitches and pitches held for short durations. The section begins with a sustained C followed by a sustained B , both of which are held for short durations. Both sustained pitches are colored by quarter tone inflections and both are accompanied by a series of three very short crescendos, each of which goes 39 from piano to forte. The B section continues with a dotted eighth note C. followed by a grace note A^. The grace note A^ is followed by a sustained B which is colored by quarter tone inflections. This B in turn is followed by several A and G pitches which are reiterated in different rhythmic combinations. The B section is then concluded by a sustained G which is colored by quarter tone inflections for most of its duration. The C section begins after the cut off in Line 2 and continues to the cut off in the middle of Line 3* ^he section contains a mixture of sustained pitches and pitches held for short durations. The section begins with
T_ j± a chromatically descending eighth note trip let (A , G, Fy) followed by an eighth note F and a quarter note E, respec tively. These pitches are of special importance because each is simultaneously duplicated at the octave for color.
This occasion is the only one in the fifth movement where two pitches are sounded simultaneously. When two pitches occur simultaneously, the composer has indicated that both are to be hummed. It is, of course, impossible to hum both pitches. Because the simultaneous octave duplication is only for color, the composer probably does not care which pitch is hummed and which is played and is leaving the choice to the performer, but because of the precedent set in the first movement, the performer w ill most likely 4-0 hum the higher pitch and play the lower. The C section
•L- continues with F, E, and E pitches reiterated in different rhythmic combinations. The sustained E which follows is in turn followed ty D, C, B and A pitches reiterated in different rhythmic combinations. The C section is then concluded by a sustained B. The D section, which begins after the cut off in Line 3 and continues through the first six pitches (hold signs above each) found in Line k, functions as a cadenza. As in the B and C sections, the D section also contains a mixture of sustained pitches and pitches held for short durations.
The section begins with six pitches which the composer has indicated to be played as fast as possible, i . e . , a s g ra c e notes. These pitches are followed by three quarter notes which in turn are followed by a sustained C. Of special interest is the end of Line 3 and beginning of Line ^ where the composer has allowed this sustained C to disinte grate into the sound of air blown through the instrument. Furthermore, the sound of air being blown through the instrument is accompanied by the percussive sound of the valves being moved loudly and according to the rhythms indicated. It is important to remember that in a typical cadenza passage containing rapidly played notes, one would hear, in addition to the played pitches, the sound of the valves moving as well as the tuba player inhaling air. Thus we see that the composer has used the sound of air being blown through the instrument and the percussive sound of the valves being moved loudly in an abstracted sense to further the idea that the D section functions as a cadenza. The D section is concluded with six eighth note pitches each of which has a hold sign notated above it. Sustained pitches predominate in the A^ section, which begins after the first six pitches (hold signs above each) found in Line 4 and continues to the end of Line The section begins with a sustained E which is flutter tongued for its entire duration and colored by quarter tone inflec tions for most of its duration. The sustained E13 is followed by an eighth note B and a sustained A, respec- tively. The eighth note B is flutter tongued and the sustained A is colored by quarter tone inflections for its entire duration. The A^ section then continues with ■u y . several F, E , and B pitches which are reiterated in different rhythmic combinations. A briefly sustained A and a quarter note D then follow. The briefly sustained A is colored by quarter tone inflections for its entire duration. A downward glissando is indicated from the
y . -I quarter note D . The A section (and the fifth movement) is then concluded by an eighth note D which is sung rather than played. kz
Pitch M aterial With regard to the composer’s use of pitch m aterial in the fifth movement, one finds that E is the most prominent pitch. The second most prominent pitch is B .
By far the most prominent intervals found in the fifth movement are the seconds, especially the minor second.
The movement also contains several minor sevenths and perfect fourths. Of special interest is the composer’s use of quarter tone inflections to color various pitches. As in the first movement, the quarter tone inflections are applied to pitches which are proportionally notated. Also, these quarter tone inflections are notated and performed as in the first movement (above, Ch. II, pp. 15-16). Special attention should he directed to the sustained G which is found at the end of the B section. This pitch is propor- tionally notated and is followed by a horizontal line that begins straight but immediately becomes wavey. Just before the cut off the wavey line turns downward and must be regarded at this point as a graphic pitch symbol. As in the third movement, the performer is to execute intonations according to the shape of the symbol.
Meter-Tempo-Rhythm
In .the fifth movement, the composer has used both proportional and measured notation, typically alternating 4-3
passages of each. Both proportional and measured notation are defined and notated as described in the dis cussion of rhythm and tempo in the first movement (above, Ch. II, pp. 17-19). As in the first movement, the composer
has applied a general degree of time control to both kinds of notation through his indication that the fifth movement is to be played andante.
Movement VI
Form The sixth movement ("Like A Murmuring") of Six Likes
For Solo Tuba does not divide into formal sections as did the preceding five movements. Instead, the sixth movement
consists of one long and continuous line. Furthermore, as is suggested by its title , the sixth movement is a musical parody of that sonic phenomenon known as murmuring, i .e .F a low, indistinct and often continuous sound (much like the sound of low-pitched and indistinct conversation). The
murmuring effect is achieved prim arily through a combina tion of accents and groups of notes which reiterate a single pitch. As may be seen in Example 7t which is taken from the beginning of the first of the twelve score lines which comprise the movement, the accents are typically
found above pitches coming before and/or after groups of notes which reiterate a single pitch. 44
Exam ple 7 (L in e l )
P«E5To Leg ATU s'i mt> z p ... ■ ■ 3-
~ - ^ i ii ■ ■■ ^ i i i ,n...... I Jfr..i II « i » —. i -t- -t- -t- + ■*.*■•-+. + -f. +*■ * 4 * "* » • ^*v _ _ _ _ I uf _ _ _ _ ( ^ +•*■+■ *4^ ^ -i- +- +• -*-}
Occasionally, an accent will be found within a group of notes which are reiterating a single pitch. Such an accent is typically above either the first or last note in the group. The purpose of the accents is to give emphasis
to the changes in pitch level as the line evolves. The accents also contribute an element of dynamic intensity
which helps to further the murmuring effect. Neither the accents nor the groups of notes which reiterate a single
pitch creates patterns of periodicity within the movement. Although containing many up and down fluctuations, the line
has a generally rising contour throughout the movement. This rising contour climaxes on the flu tter tongued g^ in Line 11. The material following the flutter tongued g1 functions as a cadence.
Pitbh Material With regard to the composer's use of pitch m aterial, it should be pointed out that the sixth movement has little
to do with pitch manipulation, with the composer placing
more emphasis on accents and groups of notes which reiterate 45
a single pitch than on any individual pitch or group of
pitches. As in the second and fourth movements, clear delineation is difficult when numerous notes of short duration are played presto on the.tuba. In the sixth
movement, the composer is only interested in achieving the sonic phenomenon of murmuring for which clear deline ation of the pitches is not only unnecessary but undersir-
able. Antoniou has attempted to avoid the establishment of tonal centers in the sixth movement. The only possible exception is the E, which is prominently heard at the beginning and end of the movement. By far the most frequently found intervals in the sixth movement are the
unison, minor second and major second. Other intervals frequently found are the major third, tritone and major
seventh. Of special interest is the fact that as the line approaches its climax on the flutter tongued
in Line 11, a number of intervals which extend beyond the octave are heard. These large intervals are scattered
throughout Lines 9 through 11.
Me te r-T emp o-Rhythm With regard to rhythm and tempo in the sixth movement, one finds that the music has a measured quality. Because the composer has used only solid note heads in notating pitch material and has given no instructions to the k6 contrary, one can assume that all the pitches contained in the sixth movement are of equal duration. The only exception is the flutter tongued ^ in Line 11 which has a hold sign notated above it. A general degree of time control is applied to the measured notation through the composer's indication that the movement is to be played p r e s t o .
Unconventional Notational Symbols Besides the proportional notation already discussed, Antoniou has used the unconventional notational symbols seen in Table 7»
TABLE 7 UNCONVENTIONAL NOTATIONAL SYMBOLS
- Intoned a quarter tone higher and lower with very slow glissando. - Only blowing. The wind must be heard without p i t c h e s . - Very slow glissando. X - Strike on the instrument with the fingers. ■ r - Move the pistons very loudly, - Very loud. - Like a voice (sung pitch). - Intonations according to the sign (graphic pitch symbol). 47 Performance Considerations In Six Likes For Solo Tuba, the played pitch range
T_ T_ V t.'l extends from AAA to b while the vocal pitch range ■L *J extends from C to a . Within the played pitch range,
there are numerous interval skips which extend beyond an octave and which must be executed with a fair degree of speed. Also, in this work, Antoniou has expanded the
sonic possibilities of the tuba. He has done so by the use of several previously unexploited devices. These
devices include simultaneous execution of vocal and played pitches, quarter tone inflections executed with a very slow glissando. intonations following the shape of a graphic symbol, percussive use of the fingers on the instrument, percussive use of the valves, and blowing air through the instrument without sounding pitches. Of these previously unexploited sonic devices, the simultaneous execution of vocal and played pitches is the most difficult to master. Because of the wide playing range, the numerous interval skips beyond an octave and the composer*s use of sonic devices not common to the traditional tuba repertoire
(especially the simultaneous execution of vocal and played pitches), the work requires a mature performer with a well developed embouchure, an excellent sense of pitch and a willingness to master previously unexploited sonic devices. CHAPTER I I I
ANALYSIS OF HANS ERICH APOSTEL'S
SONATINE FUR HORN (F) SOLO, OP. 39b
Hans Erich Apostel's Sonatine fttr Horn (F) Solo. Op. 39b is based on and adheres throughout to the following series and its permutations.
Exam ple 8
O'
Movement I
Form An important key, not only to the delineation of the larger formal units of the five-section arch form of the first movement but also to the smaller internal structures of these sections, is found in the use of particular row forms for particular sections. These row forms (0, I, R,
^8 U-9
RI) as they are found in each of the large formal sections of the first movement are seen in Table 8. The small x and y of the C section are used to delineate the two
im p lie d contrapuntal voices.
TABLE 8 FORM OF MOVEMENT I
S e c tio n Subsections M easures Row P e rm u ta tio n s
A a 1 - 2 0•j-12 10 b 3 - b a* 5 - 7 011
B a 8-11 b 12-15 R1 a* 1 6 -1 9 RI-1
C Two Implied 1 12 n8 Contrapuntal. 20-37 x=0 - — 0 -----0 ?------r ------L in e s y=RI8 ------R6-----11*------
B» a (e x te n d e d ) 38-^2 R ll b(extended) ^ 3 -^ 7 R5
1 0 A* a 4 8 -^ 9 -j-12 b 50-51 11 a* 5.2-55 0
As may he seen from Table 8, the B section uses only retrograde and retrograde-inversion forms of the row; whereas, the A section makes use of the original and its inversion. Also in the A section the composer has used the inversion form only once surrounded by original forms while in the B section we find the retrograde form used 50
only once surrounded by retrograde inversion forms. The close relationship of the original row to its retrograde as
well as the inversion form to its retrograde, indicate the
composer's intention to produce a basically symmetrical s t r u c t u r e . The row forms used in Section C create a pattern that
is different from the patterns found in Sections A and B. The x voice of the implied counterpoint uses only original
forms whereas the y voice contrasts with x by using the three remaining forms. In addition, there is an interest
ing symmetrical arrangement in that;the first two statements of the row in the x line are interwoven with one statement of the row in the y line. The process then reverses itself and we find one statement of the row in the x line
interwoven with two statements in the y line.
Pitch M aterial Section C is of special interest because it illus trates one approach to the use of implied counterpoint in an unaccompanied solo work. The implied counterpoint here is the result of interweaving, measure by measure,
successive portions of contrasting row forms. Although it might be argued that the time difference in the alter nation of two rows would prohibit its being labelled by the term implied counterpoint, the author finds the evidence
sufficient to call it implied melodic counterpoint. The 51 two implied contrapuntal lines are designated as x and y
in Example 9 "below.
Example 9 (m» 20-25) 52
Meter-Tempo-Rhythm Of particular interest in this movement is the com
poser's use of meter and tempo to aid in the delineation of form. Not only are different tempi assigned to each
Zl 3 section, hut the A and B sections are found in ^ and £
meter respectively at each appearance while the C section k 3 altem ates measure by measure between ^ and As might be expected, the alternation of meters in the C section serves to assist the listener in following the implied counterpoint.
Movement II
Form
Interesting structural patterns created by the manner in which the composer uses row forms are again seen in the second movement (see Table 9)« 53
TABLE 9 FORM OF MOVEMENT I I
Section Measures Row Permutations Theme 1 - 4 0 ®
Variation 1 5 - 7 R1
8- 9 Io(pitches 1 - 6 ) V a r i a t i o n 2 10-11 °fi 12-13 I (pitches 7-12)
Variation 3 14-16 R l9
Theme 17-20 O8
From Table 9 we see that a symmetrical design is present. O The first and last six pitches of I appearing in measures 8 -9 and measures 1 2 -1 3 respectively surround a complete statement of 0^ in measures 10-11. This use of the inversion form in variation two coupled with the retrograde forms of variations one and three and the original of the theme again creates an arch design for the movement. For the movement to form a perfect arch design, variation three would have to have been in simple retrograde form.
The composer chose, rather, to vary the design by using retrograde-inversion at this point.
Meter-Temoo-Rhvthm
Even stronger substantiation of the underlying sym m etrical design of the second movement is found when we note the meters and tempi of each section in the basic diagram (see Table 10).
TABLE 10
SYMMETRICAL USE OF METERS AND TEMPI IN MOVEMENT I I
S e c tio n Row Form M eter Tempo L Theme 0 g Lento
Variation 1 R Etwas bewegter
Variation 2 0 g Allegretto
Variation 3 RI q Tempo I I
L Theme 0 g Tempo I
This strengthening of the basic design by the use of
various meters and tempi is another illustration of the composer*s use of meter and tempo to aid in the
delineation of form.
Movement III
Form In the third movement, the composer uses the traditional rondo form (see Table 11). 55
TABLE 11
FORM OF MOVEMENT III
S e c tio n Subsections Measures Row Permutations
Two Implied A Contrapuntal 1 - 22 x = o i — __0 8 ------L in e s y = I5 ~
a 23 - 32 R22 B b 3 3 - 39 RI a ' 4 0 - 48 RlO
Two Implied A' Contrapuntal ^9- ?6 x==2is “-V ------L in e s y = l -
a 7 7 - 80 RI? C b 8 1 - 89 °10 a* 9 0 - 93 R I ^ a ” 9 * - 97 R IJ"L
Two Implied A" Contrapuntal 98-129 x=0?— — 09------L in e s y - l —
Pitch M aterial The A, A*, and A" sections again illustrate the composer's unique use of implied counterpoint in an unac companied solo work. As in the first movement the delineation of the two lines (x and y) is brought about through the interweaving of contrasting row forms. Here, however, the two lines do not interweave measure by measure but rather the composer uses the more sophisticated idea of interweaving groups of measures. In the initial A 56 section, as can be seen in Example 10, the appearances of the x line are in two measure units, whereas the y line divides into four measure units except for the last unit (m ea su res 21- 2 2 ) which is a two measure grouping. Example 10 (m. 1-8)
G’lOOOtsfc (jTtfltfo X , is CA uo )
0 x moLTO fftOLT* dm** d tT m itfr ^ (P Uy ™T moLTO » lECaftlO d> 8- I r r s g ^ X ¥ Vfr/m?V^'-'r tnai>n^^rt ): £ „ J A. J-R------© ® X — -JT ------^ ' " O r ^ . L “ ------= S S 4---- - r r — 3 — - i - i i n ------h - H r - - - * 1? 9...... ■H------*—I--- t « i g — - 3 ~ v 1 ‘ # 7 ^ rt!j> -— , O' V * - I Alg *
V/i ->3 58
This nearly symmetrical grouping of the respective lines remains basically intact throughout the second and third statements (A* and A") of the A section. Nevertheless, especially in the y line of the second and third statements, rhythmic extensions of some of the basic measure groupings are found (see Example 11). Example 11 (m. 66-70)
VO 6 o
The reader will also note that the x line of the second statement of the A section tends to he grouped into units
of three rather than of two measures. This grouping is the most notable exception to the basic grouping pattern
seen in the first statement of the A section.
Meter-Tempo-Rhythm
Throughout each of the A sections, the composer If, 3 alternates the meter measure by measure between g and g. This alternation of meters does not assist the listener in following the implied counterpoint, as it did in the first movement. Here the respective lines do not consistently appear in one meter, but the listener is aided in following the implied counterpoint through
consistent variance in articulation for the separate lines. The x line units are labelled ritmico or staccato, and the y line units are labelled legato. The reader will note that measure 73 contains only three and one-half beats. Since the composer is consistently alternating meters measure by measure in this section, we can easily deduce h, that this should be a g measure, and, on the basis of his use of rhythm throughout the rest of the movement, we can determine with reasonable confidence that the first beat of measure 73 should probably be an eighth note rather than the sixteenth note indicated. 6 1
Performance Considerations
Throughout the work, Apostel has w ritten for the French horn in a straightforward and idiomatic manner.
No unusual or avant-garde effects are called for and the general range of the work lies within the two octaves 2 between g and g . An additional performance consideration is the use of the human hand as a mute. In Section C, beginning with measures 81 through 89 the composer employs the idiomatic device of stopped notes to produce an "echo effect" (see Example 12). Example 12 (m. 81-8*0 63
As may be seen in Example 12, the composer, employing the
same row form and transposition, follows the statement of pitches one through six in measures 8 1-82 with the same
sub-set in measures 83- 8^ where the pitches are executed as stopped notes. Note that with each repeated sub-set
one pitch is omitted. In Example 12, it is the second pitch of the row, while in the following repeated sub-sets, pitches seven and ten respectively are omitted. CHAPTER IV
ANALYSIS OP MALCOLM ARNOLD'S
FANTASY FOR TROMBONE. OP. 101
Form
Malcolm Arnold has w ritten a composition titled Fantasy for each of the principal instruments of the brass family, trumpet, trombone, French horn and tuba.
The Fantasy for Trombone is Opus 101. The title suggests the rhapsodic character of the work; the formal structure is outlined in Table 12.
6 k 65
TABLE 12 FORM
Sections Subsections Units Measures Tonal Centers
I A Introduction 1- 2 Bh a 3 - 6 B - b, b 7 - 10 g - B *
A' Introduction 1 1 - 12 Bb a 13 - 16 Bb - b c 1 7 - 22 B
B a 23 - 26 Bb - b b 27- 29 c 3 0 - 33 g - bV* d 3 ^ - 36 a C o d e tta 37- 4o a A a 4 l_. 44 Bb - bh b 4 5 - 49 Sb - B T r a n s i t io n 5 0 - 55 B
I I A a 5 6 - 59 f-indeterm i n a te a ' 60- 65 e-indetermi- n a te
B a " 6 6 - 70 e-indetermi n a te a 7 1- 74 f
I I I A a 7 5 - 78 B# ~ g#~ f b 7 9- 82 jj>7T _
B a 8 3 - 86 indeterminate b 8 7 - 90 C o d e tta 9 1 - 93 F# C a 94-100 E » - - b b 101-105 pTr
Coda A 106-112 Bb - g - f B 113-123 Bb 6 6
The composition is comprised essentially of four measure
phrases which then combine to make eight measure periods.
Thus we find in measures 3-6 a four measure phrase which contrasts with the four measure phrase found in measures 7- 1 0 , even though this second phrase (m. 7- 1 0 ) ends with a
full measure of rest. These two phrases combine to create a period which, combining with the two measure introduction (m. 1 - 2 ), constitute Subsection A of Section I. Sub section A* of Section I is a repetition of Subsection A but with a different second phrase (Unit c of Subsection
A*). This new phrase (m. 17-22) contains a two measure extension (m. 21- 2 2 ) which makes it six measures in length.
The repeated two measures of introductory m aterial (m. 11-12), found at the beginning of Subsection A*, and the full measure of rest (m. 10) that concludes Subsection A destroy any feeling that Subsection A and Subsection A* are a double period. Subsection B of Section I contains four phrases, the second (m. 27-29) and fourth (m. 3^-36) o f which contain only three measures. The first two phrases of Subsection B (Units a and b of Subsection B) combine to form a period which is seven measures in length. The last two phrases of Subsection B (Units c and d of Subsection B) also form a seven measure period, making contrasting periods of equal length in Subsection B. Subsection B concludes with a four measure codetta (m. 37-^0). These 67 four measures also function in a rhythmic sense as the introductory measures for the return of A and employ the rhythmic content found in measures 1 and 2. This final
Subsection A is identical to the first except for the extension of the introductory m aterial and a one measure extension (m. k8) of the second phrase (m. ^5-^9)* The remaining measures (m. 50-55) of Section I function as a closing phrase for Section I and, through slowing the rhythmic motion, preface Section II.
Section II consists of a single phrase and three modified repetitions of that phrase. It is important to note that the original a phrase (m. 56- 5 9) contains con trasting x and y elements. Both of the x and y elements are two measures in length (m. 56-57 and m. 58- 5 9» r e s p e c tively). The x element of the a* phrase (m. 6o - 6l ) i s an exact transposition of the x element of the a phrase
(m. 56-57) at the interval of a minor second. The y element of the a* phrase (m. 62- 6 3 ) 1 while similar to the y element of the a phrase (m. 58- 5 9)» is nevertheless rhythmically and intervalically modified. Measures 6k and
65 function as an extension of the a* phrase (m, 60- 6 5) making it six measures in length. The x and y elements of the a" phrase (m. 6 6 -6 7 and 68- 69) are rhythmically iden tical but intervalically modified repetitions of the x and y elements of the a phrase (m, 56-57 and m. 58- 59). 6 8
Measure 70 functions as an extension of the a" phrase (m. 66-70) making it five measures in length. The return of the a phrase (m. 71- 7*0 contains only the x element
(m. 5^-57) of the original phrase. The x element occupies
measures 71 and 72. Measures 73 and 7^ function as a two measure extension of the x element (m. 71- 72) and complete
the four measure phrase while providing a cadential pattern. The reader will note that in the larger sense, Section II divides into two contrasting subsections (A and B) of two phrases each. The elongation of the a* phrase (m. 60- 65) by a two measure extension, the octave reiteration coupled with the lengthening of note values in measures 63 - 6 5, and the quarter rest in measure 65 all contribute to the feeling of cadence and division. Section III divides into three contrasting subsections
(A, B and C). Subsection A contains two four measure phrases (m. 75-78 and 79-82). Subsection B also contains two four measure phrases (m. 83-86 and 87- 90) with the final measures (m. 91-93) functioning as a codetta. Unit a of Subsection C (m. 9^-100) is a curious item in that it consists of a four measure phrase followed by a three measure insertion separating the a and b units of Subsec tion C and extending the original four measure phrase to seven measures. It should be noted that the first four measures contained in Unit a of Subsection C (m, 9^-97) 69
are a transposition of the first four measure phrase (m. 75-78) of Subsection A at the interval of a tritone. The transposition is exact except for the octave shift in
m easure 9 6. The remaining three measures contained in Unit a of Subsection C (m. 98-100) are derived from the first measure in Unit b of Subsection A (m. 79) and also
employ the tritone relationship to their origin. Unit b of
Subsection C (m. 101-105) is a four measure phrase with a one measure extension (m. 105). This unit is identical to Unit b of Subsection B (m. 87-90) except for the change of
interval between measures 101 and 102 (minor tenth to minor th ird ), the slight rhythmic modification in measures 103 and 10^, the added D in measure 10^, and the one measure
extension (m. 1 0 5). The coda divides into two subsections (A and B), Note that the first four measures in Subsection A (m. 106-109) are identical to the first four measures in Subsection A of Section III (m. 75-78). Note also how in the closing measures (m. 120-122) of Subsection B the composer reminds us of the "repeated note" figures found in Section III of th e w ork. 70
Pitch M aterial With regard to the pitch material of Fantasy for Trombone. one finds that the composer has created a sense of fluctuating tonality in the piece through his use of chromatic movement between a member or members of succes sive chords. These fluctuating tonal centers are important to the delineation of the formal sections of the work (see Table 12). An example of the composer*s use of tonality and how it functions in the delineation of form may be seen in Example 13 1 Example 13 (m 72
If the reader w ill note the progression of tonal centers
T. illustrated in Table 12, he will observe that B is the prominent tonality of Section I, The other tonalities found in Section I act as temporary departures from the basic B tonality. In measure 3 of the work (Example 13) we find that the composer continues to outline the B major triad established in the two introductory measures. In m easure k he employs a chromatic shift (second and third Vi b notes) from B to b and continues in measure 5 by suggesting a b minor triad. Measure 6 confirms the b minor tonality by outlining its dominant triad. The com poser does not resolve this dominant in measure 7 but rather employs a chromatic shift (last note of measure 6 and f i r s t ji note of measure 7) from Tr to g taking us to the relative minor of the B major tonality. Measures 7 and 8 o u t li n e a melodic minor scale on g. The use of the melodic form of the minor scale avoids the augmented second between the ascending sixth and seventh scale steps. The first three notes of measure 9 outline the dominant triad of the g m in o r t o n a l i t y . W ith th e A ( t h i r d n o te ) a c t i n g a s a common JL tone between chords and the F (first note) and D (second note) moving by half-step, the composer makes a chromatic shift to the dominant seventh chord of the B *5 tonality in the final four notes of measure 9» After a measure of silence (m. 1 0 ) the dominant chord is resolved in measure 11 73
"by a return to the material found in the introductory Id m ea su re s (B. t r i a d ) . One of the interesting uses of pitch material by the composer is to extend phrase length. Two examples of this
technique may be seen in Section I. In Unit c of Subsec tion A* (m. 17-22), Arnold has extended a four measure
phrase to six measures by simultaneously reiterating the final F of measure 20 in different octaves (m. 21- 2 2 ) and lengthening the note values of the successive reiterations.
In Unit b of the return of Subsection A (m. ^5-^9)> the composer has extended a four measure phrase to five measures by expanding in measure ^8 the dominant seventh
sound begun in measure ^7 and resolved in measure ^9* S till a third and different method of expanding phrase length is
found in Section II. In Unit a* of Subsection A (m. 60- 65)» the composer has expanded a four measure phrase to six measures by continuing the descending chromatic line
(m. 6^ - 6 5) begun in measure 6 3 . Both Sections II and III of the work contain chromatic passages where tonal centers are either indeterminate or nearly so. This indeterminacy plays an important part in
formal delineation by contrasting with the more explicitly defined tonal centers of Section I and the coda. In measures 82-8^ (Section III) the composer's use of
chromaticism culminates in a descending chromatic scale. ?k
Also, the coda serves to reaffirm B as the principal
tonality of the work. In the fourth measure of Section III (m. 78), the seventh pitch is notated as an A, hut there is some ques
tion as to whether this pitch notation is correct. Remem bering that the first four measures of the coda (m. 106-
109) are identical to the first four measures of Section III
(m. 75-78), note in the corresponding fourth measure of the coda that the seventh pitch is notated as a B . It should
be recalled that in Section III the first four measures contained in Unit a of Subsection C (m. 9^-97) are a transposition of the first four measures of Section III
(m. 75-78) at the interval of a tritone. The only excep tion to this tritone transposition is the seventh pitch of
measure 97 which is transposed at the interval of a perfect fifth . Changing the seventh pitch of measure 78 fro m an A *K to a B would remove this inconsistency. Because of the
relationship of measures 9^-97 and measures 10 6 -1 0 9 to measures 75-78, it is most probable that a printing error
was made and that the seventh pitch of measure 78 s h o u ld be a B rather than the A notated.
Meter-Tempo-Rhythm
With regard to his use of rhythm in this composition,
Arnold is conventional and straightforward. Sections I 75 and III as well as the coda have a rhythmic structure that is sim ilar to many technical etudes, while Section II is more flowing and "song like" in character. The composer has used meter and tempo as an aid in delineating the large formal sections of the work. Sections I, II, and III are g |, 2 in g, and ^ meter, respectively, and have tempo indications of allegro. andante. and allegro. respectively.
Performance Considerations "b Id 2 The pitch range of the work extends from A A to d . Owing to the wide range used and to the passages of rhythmic activity in which the player must he able to move rapidly over wide segments of this range, the work requires a performer with a well developed embouchure and firm technical command of the instrument. CHAPTER V
ANALYSIS OF LUCIANO BERIO'S
SEQUENZA V (1966)
After examining Luciano Berio's Sequenza V carefully, it appears that the composer is using the word ''sequenza" or "sequence" in its medieval meaning; i.e ., long melis- matic passages. This meaning, of course, has an obvious connection to any work w ritten for an unaccompanied monodie instrument.
Form
Luciano Berio's Sequenza V is a theatre piece which takes its inspiration from his remembrance of the clown
Grock (Adrien Wettach) to whom the work is dedicated. The piece is a dramatic essay for which the vehicle is the soloist, his instrument and his voice. The composer has superimposed on the instrumental and vocal m aterial a repertoire of gesticulation, thereby causing the performer to be an actor as well as a musician. As may be seen in Table 13» Sequenza V divides into two large formal sections.
76 77
TABLE 13 FORM * Section Line Measure
A 1 2
3
B 4- 1 - 7
5 8-15 6 16-23
7 24-29
8 30-37 9 38-4-2
10 4-3-4B
11 (Codetta) 4-9-56 * Any writing fillin g the space between two bar lines (solid or broken) is counted as one measure. In Line 11, the space enclosed by parentheses is counted as measure 5 1*
This division is the result of the dramatic character of the work. It is suggested that the stage be empty except for one chair and one music stand and that the lighting be a white solo spotlight. Appropriately clad in white tie, the performer is to appear on stage and strike the pose of a variety showman about to sing an old favorite. 78
Inspired, the performer extends his arms and proceeds to raise and lower his instrument (according to the patterns notated in Section A) with movements that appear spon taneous. Occasionally he hesitates. Just before Section B he utters a bewildered "why?" and sits down without paus ing. Seated and with a very low stand before him, he must perform Section B as though rehearsing in an empty h a l l . Various musical elements support the theatrical character of the work and secure its division into two sections. Analysis of these musical elements explains the micro-form of the two large sections. . In Section A, for example, the composer has employed a "pitch additive technique" whereby he introduces a single pitch and repeats it several times, then introduces a second pitch and reiterates both the first and second pitches, then intro duces a third pitch and reiterates the first, second and third pitches, then introduces a fourth pitch and reiter ate? the first, second, third and fourth pitches, and so forth until he has "added" all twelve pitches contained in the chromatic scale. During the "pitch additive technique" process, the reiteration of newly introduced pitches with those pitches previously introduced is not - done in any specified order nor are the individual pitches reiterated a specified number of times. Occasionally one 79
finds, between the introduction of one new pitch and the
introduction of the next new pitch that all of the previously introduced pitches are not reiterated. Because
of the growth characteristic inherent in the "pitch additive technique", the composer is able to use the entire A section for its completion which means that the
A section does not divide into smaller formal sections but
instead is the result of an evolutionary process. Of special interest in the second half of Line 3 (Section A), is an event which displays the perfect blend ing of music and theatre. Here the performer is required to execute for several seconds, a fast and continuous movement of the slide according to the visual pattern indicated (see Example 1^).
Exam ple lb (L in e 3)
The performer is further required to produce unspecified instrumental pitches without concern for the movement of 80 the slide, hut the number and relative location of these pitches in relation to the slide movement is notated
(see Example 1*0. The second half of Line 3 is the only place in the entire work where the composer has not com pletely specified the exact pitches to be used. This departure is obviously for the theatrical effect of the slide movement and coincident outbursts of sound, which together provide a conclusion to the frenzy which increases throughout the A section. It is important that the composer has alternated the "pitch additive technique"
(specified pitches) with the indeterminate use of pitch material (unspecified pitches) in the second half of Line 3. This alternation has been done by including several specified pitches (see Example 1*0 in the second half of Line 3» 'the B pitch being the twelfth chromatic pitch "added".
Despite the "pitch additive technique" used in Section A, Sequenza V has more to do with contrasts of color and texture than with pitch manipulation. This observation is especially true in Section B where the gradual addition and/or subtraction of a prescribed number of colors creates a changing pattern of color which in turn evolves a sense of formal coherence. The colors used in Section B, which in various combinations create the changes of color, divide into three categories: 1) played sounds; 2) vocal sounds; 81
and 3) percussive sound. Played sounds consist of "normal", "breathy sound”, flu tter tongue, harmonic glissando on the same note (on first, third, fifth, seventh position; etc.), double or triple staccato, very high register (above b ), and vowel sound imitated with the instrument (without vocalization). Vocal sounds consist of inhaled vocal sound (pitches executed while inhaling air through the
instrument) and simultaneous vocal sound (pitches executed simultaneously with played pitches). The percussive sound consists of rattling a metal plunger inside the bell of the instrument with a fast movement, according to the indicated pattern and for the indicated length of time. The composer begins in Line ^ to use the colors contained in Section B by alternating measures which contain a predominance of flu tter tongue and "breathy sound" with measures containing inhaled vocal sound. Those measures which in Line b contain a predominance of flu tter tongue and "breathy sound" continue in Line 5 with a predominance of flu tter tongue and simultaneous vocal sound, which at the beginning of the line, supplants
"breathy sound". In Line 5» the measures containing flutter tongue and simultaneous vocal sound alternate with measures containing inhaled vocal sound as in Line 4. The same alternation of colors continues in Line 6 but with the 82 addition of harmonic glissando (measures 17 and 2 3 ) . A g ain , in Line 6, the measures containing flutter tongue, simul taneous vocal sound and harmonic glissando alternate, as did the measures containing flu tter tongue and "breathy sound" in Line ^ and the measures containing flutter tongue and simultaneous vocal sound in Line 5* with measures contain ing inhaled vocal sound. Throughout Lines 5» 6 and the beginning of 7, those measures containing inhaled vocal sound are always accompanied by the percussive rattling of a metal plunger mute. In Lines ^ and 5» "the percussive sound typically begins in the last of the measure preceding and continues into the first of the measure following that measure which contains inhaled vocal sound. In Line 6 and the beginning of Line 7 the percussive rattle is progres sively confined to only the measures which contain inhaled vocal sound. After the beginning of Line 7t the inhaled vocal sound and the percussive sound are not used again except for a brief moment in Line 8, Line 7 continues with simultaneous vocal sound and, to a slightly lesser extent, flu tter tongue. The last use of harmonic grlissando appears in Line 7 (measure 28) while double and triple staccato are introduced for the first time in measure 2 9, A t th e end of Line 7 and the beginning of Line 8, "normal" played sound emerges for the first time in Section B as an impor tant color. It is supplanted in the remainder of Line 8 83 and the first of Line 9 Ly measures which predominate in simultaneous vocal sound. Triple staccato is heard in the middle of Line 8 (measure 33) along with flu tter tongue. Flutter tongue also reappears briefly at the conclusion of Line 8. While simultaneous vocal sound figures prominently in the opening measures of Line 9i it is supplanted in the remainder of Line 9 and most of Line 10 by "normal" played sound. Double and triple staccato is heard again in the last of Line 9 (measure ^-l). Played sound in the very *KT high register (above b ) is introduced for the first time in Section B at the end of Line 9 (measure 4*2). This color is also heard at the beginning of Line 10 (measure *K3) and is not used again. In Line 10, flutter tongue is heard sparingly and does not reappear in the remainder of the work. Double staccato is also heard for the final time in measure 4-5• Vocal sounds im itated with the instrument (without vocalization) are introduced for the first time in Line 10 and continue into the first of Line 11. Beginning with the final measure of Line 10 and throughout Line 11, simultaneous vocal sound reappears as a prominent color. Line 11 functions as a codetta to Section B.
Pitch M aterial Besides the "pitch additive technique" already discussed under form, an important aspect of the pitch m aterial in Sequenza V is the vocal m aterial used through
out the work. This vocal material divides into two categories: 1) pitches produced with the lips away from the mouthpiece; and 2) pitches produced with the lips
inside the mouthpiece. This division into two categories separates the vocal pitches executed apart from the instru ment from those executed through it, Vocal pitches produced with the mouthpiece away from the lips are per
formed by turning the head slightly and quickly to the right. The composer has notated a vowel above each vocal pitch in this category. These specified vowels are to be
sung on the indicated pitches. The composer has further
indicated that the vowels are to be vocalized in a way
which im itates the instrumental sound. The vocal pitches in this category are found in Section A near the end of Line 1 and in Line 2. Interjected between played pitches,
they are found either singly or in groups of two. It is of interest that the vocal pitches in this category con tribute to the theatrical element in Section A by providing what might be called "vocal gestures". The second category (pitches produced with the lips inside the mouthpiece) may be further divided into four sub-categories. The division into four sub-categories is based on the relation of vocal pitches to played pitches as well as the method of producing vocal pitches while 85
the lips are inside the mouthpiece. The first sub-category
would contain those vocal pitches which resulted from singing specified vowels through the instrument. Only one example of this category is found in the work. In the middle of Line 2 (Section A), a single group of two sung vowels is interjected between played pitches. The composer has indicated that the vowels are to be vocalized in a way which im itates the instrumental sound. The second sub category contains pitches which are hummed while inhaling air through the instrument. In Lines k, 5> 6 and the first part of 7 (Section B), the inhaled vocal pitches are found in measures containing only inhaled vocal pitches and which alternate with measures containing played pitches. The third sub-category contains pitches which are hummed while exhaling air through the instrument. These pitches are not hummed simultaneously with played pitches but rather are interjected between played pitches. Near the beginning of Line 2 and of Line 10, one finds the only examples of this sub-category which are contained in the work. The fourth sub-category contains vocal pitches which are hummed simul taneously with played pitches. Beginning in Line 5 (measure 9) "the composer uses simultaneously hummed and played pitches throughout most of the remainder of Section
B. When simultaneously hummed and played pitches are found together, the predominant tendency is for the hummed part 86
either to duplicate a played pitch or to create intervals of
a second with only occasional larger intervals resulting,
generally, from glissandi in either the hummed or played
part. Nevertheless, because of the constant rhythmic
interplay of the hummed and played pitches, the listener
hears a quasi-contrapuntal texture. The composer has thus managed to transform the usually monodic trombone into a two-voiced instrument. Furthermore, the simultaneous
passage along the same tube of two distinct frequencies produces a kind of "beat" or oscillation which, in Section B, indirectly contributes to the dramatic character of the work. In keeping with the introspective aspect of Section
B, the "beat" or oscillation contributes to a feeling of
mental turmoil. Before concluding the discussion of pitch m aterial,
•L. it should be pointed out that E is the most prominent
pitch (both played and vocal) in the work, especially in Section B where numerous reiterations of the E pitch a re fo u n d .
Meter-Tempo-Rhythm
With regard to rhythm and tempo in Sequenza V. Berio
has referred to his method of temporal notation by the term proportional notation which he did not define. The term
proportional notation does not refer to that practice
common from approximately 1250-1600; i.e ., mensural 87 notation nor does it have the same meaning as in Antoniou's Six Likes For Solo Tuba. Rather, based on Berio*s method of temporal notation, the author has defined proportional notation in Sequenza V as the relative placement of sound within a given time span. It is important to note that im plicit within this contemporary definition is a certain element of indeterminacy. Thus in Section A the overall speed or tempo is suggested by a visual unit (see Example
1 5) at the beginning of each line.
Example 15 (Line 1)
The performer must divide the horizontal score space of each line according to the length of the visual unit at the beginning of the line. Performance time of each segment of the divided line is then identical to the time (number of seconds) indicated within the visual unit at the beginning of the line. In Section A, breaths are decided by the per former, but in Section B the overall speed or tempo is 88 controlled by the fact that everything written between bar lines constitutes a breath unit and must be performed in one breath, either exhaling or inhaling. Of course for each performer and at each performance the length of the breath units w ill be slightly different, although the com poser has indicated above the first measure in Section B, that the performer should not take longer than twelve seconds to execute any measure contained in Section B.
Unconventional Notational Symbols In addition to the composer's use of proportional notation throughout the work, it is important that he has also employed unconventional notational symbols. The principal notational symbols employed in Seouenza V are given in Table 1^. 89
TABLE 14
UNCONVENTIONAL NOTATIONAL SYMBOLS
• - Played sound, held to the next sound.
+ - Played sound, as short as possible. Q - Vocal sound, lips inside the mouthpiece, held to the next sound. ^ - Vocal sound, lips inside the mouthpiece, as short as possible. - Vocal sound, lips away from the mouthpiece, held to the next sound. - Vocal sound, lips away from the mouthpiece, as short as possible. *~0 — - Inhaled vocal sound.
I • I - As long as possible, oY*» *s- Double or triple staccato
- Flutter tongue - "Breathy sound" - Harmonic glissando on the same note (on 1st, , 3rd, 5th, 7th position; etc.)
- Metal plunger mute must close bell completely. " - Metal plunger mute must be rattled inside bell with a fast movement and for the suggested length of time.
“ Seven dynamic levels, from © (as soft as ^ possible), to © (as loud as possible).
The first six symbols in Table 14 are placed on a conven tional staff and thereby indicate an exact pitch to be executed. With one exception, the symbol indicating inhaled vocal sound is found only in Section B. It is 90
placed above individual measures and indicates that the
vocal pitches contained in those measures are to he executed while inhaling. With the exception of those
symbols referring to the use of the mute and to dynamic
levels, the remaining symbols in Table 1^ are all placed above the specific pitches to which they refer. Those
symbols referring to the use of the mute are placed below the staff, while the symbols referring to dynamic levels
are placed near the pitches to which they refer. For the symbols indicating flu tter tongue, "breathy sound", and harmonic glissando. the horizontal beam indicates duration.
Performance Considerations In Sequenza V, the played pitch range extends from AA to f2 while the vocal pitch range extends from d*3 to o c . Within the played pitch range, there are numerous
interval skips which extend beyond an octave and which must be executed with a fair degree of speed. Also, in this
work, Berio has expanded the sonic possibilities of the trombone. He has done so by the use of several previously unexploited sonic devices. These devices include the
simultaneous execution of vocal and played pitches, singing of specified vowels through the instrument, humming pitches while inhaling air through the instrument, humming pitches while exhaling air through the instrument, im itation of vowel sounds with the instrument but without vocalization, 91
percussive use of a metal plunger mute, "breathy sound" and harmonic glissando on the same note (on first, third, fifth, seventh position; etc.). The simultaneous execution
of vocal and played pitches is the most extensively used
and also the most difficult of these devices to master.
The work requires a mature performer with a well developed
embouchure, an excellent sense of pitch and an knowledge of, or willingness to learn, previously unexploited sonic
d e v ic e s . It is significant that a metal plunger mute is used
throughout the composition. In addition to the general coloristic dimension, the metal plunger mute is used in two other ways: 1) to modify the trombone tone so that it
resembles certain sonorities of speech; and 2) to produce percussive noise (rattling inside the bell). These two
additional uses contribute to the theatrical/dram atic purpose of the work. Furthermore, in Section B where the composer has indicated that there is to be no break in
sound during the transition between measures that require
inhaling for their execution and measures that require
exhaling for their execution, the use of the metal plunger mute to create percussive noise helps to "smooth" these
transitions. In order to indicate when and how the mute is to be used, the composer has devised a special method of notation. As may be seen in Example 16, the performer 92 is to follow the pattern indicated below the staff which tells him at what point to open or close the mute as well as at what point to execute the percussive rattle.
Example 16 (Line k, m. 1)
12 m«f> CHAPTER VI
ANALYSIS OF BARNEY CHILDS*
SONATA FOR SOLO TROMBONE (1961)
Movement I
Form The first movement of Barney Childs* Sonata for Solo
Trombone divides into those formal sections seen in
T a b le 15 .
93 9^
TABLE 15 FORM OF MOVEMENT I
M easures S e c tio n s P h ra s e s o r P a r t s I a(Introduction) m. 1 - 2
b m. 3 - 5 c m. 6-10 d m. 1 1-12
e m. 13-15
f ( C lo s in g ) P- 1 6 -1 7
II a P* 18
b P- 19-20
c P« 21 d P* 22
e P« 23 f m. 2^-25
g (C lo s in g ) P» 26-27
III a in. 28-32
b m. 33-38 c m. P»
In Table 15» the symbol ’m” ’ indicates that the b a r l i n e s divide the phrase into metered segments called measures, while the symbol "p" indicates that the "bar lines divide the phrase into non-metered segments called parts. 95
Segments of a phrase are numbered sequentially whether they
are measures or parts. The element of indeterminacy plays an important role in delineating the macro-form of the first movement. As
may be seen in Table 15* the first movement divides into three large sections. With only three exceptions, the composer has confined his use of indeterminacy to Section II
(p. or m. 18-27). This use creates a contrast with the almost completely determined first and third sections. In terms of micro-form, the various sections of the first movement are made up of phrases. The term phrase is not used here in the classical sense; i.e ., to delineate
four measure units of a melody. Rather, the phrases, as suggested by the title "Recitative", are made up of rhyth
mic groups which make them analogous to the declamatory and rhetorical manner found in the phrases and sentences of speech. It is as if the musical phrases were following the
literary phrases of some imaginary text. Therefore, their length may vary considerably. The phrases are separated by
three methods: 1) rests indicated in the standard nota- tional manner; 2) rests indicated by the words pause, long pause, or short pause; 3) double bar lines. Attention should be drawn to several phrases of special interest. In Phrase e of Section I (m. 13-15) the meter shift to ^ in measure 1^ helps to effect a feeling of 96 cadence through elongation of the metric unit. Phrase f of
Section I (p. 16-17) confirms the cadential feeling through its reiteration of the final F^ of Phrase e (see m, 15). Phrase f (p. 16-17) is also of interest in that it is the only place where an indeterminate element appears in Section I. In Phrase f of Section II (m. 2^-25) the com poser initiates a feeling of cadence by introducing the only metered phrase found in Section II. This phrase is followed in parts 26 and 27 by Phrase g which acts as the closing phrase of Section II and is sim ilar to the closing phrase of Section I in its reiteration of the final pitch of the immediately preceding phrase. Also, the closing phrases of both Sections I and II are set off by double bar lines. In Phrase a of Section III (m. 28-32), measure
28 and the first beat of measure 29 are an identical trans position of measure 3 and the first beat of measure ^ at the interval of a minor third. This "false return" of the first section helps to confirm that measures 1 and 2 (Phrase a of Section I) act as an introductory phrase to the movement.
Phrase c of Section III (m. 39-^0» P* ^l) contains one of the two indeterminate elements (the other being the "short pause" separating Phrases b and c of Section III) that appear in Section III. Also, the final part of Phrase c of Section III (p. *KL) acts as an abbreviated reminder of the closing phrases seen in Sections I and II. 97
Pitch M aterial With regard to the tonal content of the first movement, we find that the tonal center is essentially E. Two important characteristics of the composer*s use of tonal material are: l) prominent use of the three notes which outline a triad; 2 ) chromatic inflection of those notes. As might he expected, the triads most frequently outlined are based on some form of E. One finds e minor to be the triad form most often used. The composer frequently shifts the mode from e. minor by raising the third of the triad thereby producing E major or by lowering the root and fifth of the triad thereby producing E major. A good illustra tion of the composer's use of the three notes which outline a triad and the chromatic inflection of one of those notes may be seen in Example 17.
Example 17 (p. 2 3 )
©
Example 17 contains the first four pitches of Phrase e of
Section II (p. 23). The second, third, and fourth pitches 98 of Example 17 outline an e. minor triad. Both the first "h pitch (E ) and its alternative (pedal B ) act as chromatic inflections to notes of the e, minor triad.
Me te r-T empo-Rhythm
It is with regard to rhythm, meter, and tempo that perhaps the most interesting aspect of this movement is realized. It is here that the element of indeterminacy comes into play. The composer's use of indeterminacy is primarily"confined to the following items: l) choice of rhythmic values to he applied to given pitches; and 2) absence of clearly defined metric units. An illustration of the composer's use of indeterminacy by giving the performer a choice of rhythmic values to be applied to given pitches is seen in Example 18. Example 18 (p. 1 9)
THESE HDTES ‘tM ODER. RW m V&U&S RM V?Nhft\b& WoJ Mfetl* 100 While the rhythmic element is the primary concern in Example 18, the performer is also allowed to vary the dynamics and the order in which he plays the pitches, thereby giving further definition to the rhythmic values that he chooses. By allowing the performer these choices, the composer has given him the opportunity to essentially shape Phrase b of Section II (p. 19-20) and play a part in evolving the "recitative" character of the movement. The absence of clearly defined metric units is best illustrated by the composer's use of such written instructions as "play note several times at random" or "play note 2 o r 3 times at random" and the use of fermatas over several notes of close proximity as in Example 19* Example 19 (p. 22) LliClL,, QO'iET Though there is only one meter signature with accompanying bar lines indicated in Section II (p. or m. 18-27) of the first movement, one finds the remaining music of this section to be measured but without bar lines. The remain- ing music achieves this measured feel because of the tempo indications, but written instructions such as "play note 101 several times at random” and the fermatas seen in Example 19 introduce a feeling of unevenness in the otherwise measured flow. This combination of measured feel and unevenness serves as yet another device to heighten the "recitative" character of the movement. Movement II Form The second movement of Barney Childs* Sonata for Solo Trombone, which is titled "Double", divides into those formal sections seen in Table 1 6 . 102 TABLE !16 FORM OF MOVEMENT I I Two (L eg a to ) o r Sections Subsections Four (Non-Leeato) M easure; I A ip (N) 1 - 3 B 2 (L) ip- 13 C 2 (L) lip- 21 D 2 (L) 21- 26 E 2 (L) 27- 32 II B 2 (L) 3 3 - ip2 A (N) iP3- ipip C 2 (L) ip5- 53 F ip (N) 5iP- 57 D 2 (L) 58- 62 G ip (N) 63 - 69 E 2 (L) 70- 73 H ip (N) ?ip- 9ip III A ip (N) 95- 96 F ip (N) 97-100 G ip (N) 101-106 H ip (N) 107-125 E 2 (L) 126-130 As may be seen in Table 1 6 , th e movement divides i n t o three large sections each of which contains several 103 subsections. It is with regard to the subsections that the title ’’Double" takes on significance. The word "double" has several different meanings in music. Here, the composer is using the word to refer to the simple idea of contrasting note durations; i.e .. the concept of quickening the note-values by halving, thereby doubling the number of notes within the same time span. If in certain of the subsections the half note is regarded as the basic unit of duration, then those subsections which are a "double" w ill have the quarter note as their basic unit of duration. All subsections which have the half note as their basic unit of duration (Subsections B, C, D and E) a re " in 2 ", are played legato with a lyric and sustained quality, and are made up of a few notes with long durations. By contrast, those sections which have the quarter note as their basic unit of duration (Subsections A, F, G, and H) are "in 4", are played non-iegato with a lightly swinging quality, and are made up of many notes with short durations. We find that the composer has created two kinds or types of subsections through his use of contrasting note durations and contrasting performance instructions. Examples 20 and 21 illustrate the two types of subsections. Example 20 (m. b-6) v * r— ------u - s = ------ffcd-r- o* ------f - 1 * 4 ■ ~ 7...... T r R j r T ...... 1 7 T V p ftU-SECTioMt i ti 1 IeCiPiTD * LNfaC. , EdVrfttAEb, fatiVi toOM. IfiteTO Example 21 (m. 1-2) 0 d s 11 H) 0 - ...... ■.... ■“i ' 1 Tf*7N. . n 1" ft u - I ( . JL I 9 7 I t sJ .ft ■■-JL._y .. .. - ...... w V , A l l Sections ;m ^ t o Be w a d .h s i t , m r 5 J SuJioigidfl^ L'tfiHTlV It is the patterns of occurrence of the two kinds of subsections that delineate the large sections of the form. Section II (m. 33~9^)» for example, consists of eight subsections (see Table 16). These subsections alternate between those which are "in 2 " and are played legato (Subsections B, C, D and E) and those which are "in V and are played non-legato (Subsections A, F, G and H). Sections I (m. 1-32) and III (m. 95-130) contrast with Section II in the fact that they both are primarily made up of only one kind of subsection. Section I consists 105 of five subsections, the first (Subsection A) is "in V and is played non-legato while the remaining four subsec tions (Subsections B, C, D and E) are "in 2" and are played legato. Section III also consists of five subsections, the first four (Subsections A, F, G and H) are "in V and are played non-legato while the remaining one (Subsection E) is "in 2" and is played legato. The reader will note from Table 16 that Section III maintains an inverted symmetry with Section I in the substitution of 2 (L) for Mr (N) and M- (N) for 2 (L), followed by the reversing of positions with the single unit coming at the end instead of at the beginning. Table 17 illustrates the inverted symmetry between Sections I and III, TABLE 17 INVERTED SYMMETRY BETWEEN SECTIONS I AND I I I OF MOVEMENT I I 4 2222 WW 2 The symmetric relationship between Sections I and III, as well as the contrast of these sections with Section II, give an arch design to the macro-form of the second m ovem ent. 106 Pitch M aterial The tonal m aterial of the second movement continues that of the first movement. The second movement is essentially in E for the movement begins and ends in this tonal center. One finds that recurring statements of identically labelled subsections (Table 16) are identical in melodic (and rhythmic) content to the original statement of that subsection except for transposition to different pitch levels and the infrequent alteration or omission of a pitch or rest. Mention should also be made of the com poser’s occasional use of quarter-tone inflections in the melodic line of this movement. These quarter-tone inflec tions function in a coloristic sense and are found only on notes of longer duration. Those pitches to be inflected have a downward-pointing arrow before them indicating that the performer is to lower the notated pitch by a quarter- tone. Lowering the notated pitch a quarter-tone is easily accomplished on the trombone through the use of half p o s i t i o n s . Movement III Form The third movement of Sonata for Solo Trombone is titled "Rondo". The rondo is constructed of those formal elements indicated in Table 18. 107 TABLE 18 VARIANTS USED TO CONSTRUCT FORM OF MOVEMENT I I I Whole o r Sections Variants Partial Measures A A1 o r A2 o r A3 o r A^ 1 - 3+jfs B B1 B2 B3 o r o r 1 " 5+8 s C C1 o r C2 o r C3 1 - ln-$s D D1 o r D2 o r D3 1 - ^H-gS E E1 o r E2 o r E3 1 - *H-gS Coda 1 - 2 Here, as in the first movement, the element of indetermi nacy plays an important part in delineating the form. The indeterminacy comes into play with regard to the choice of the successive units which make up the rondo. The com poser’s instructions indicate that the movement may he as long or short as one wishes, hut the minimum length must he A x A x A, in which A may he any one of the variants contained in the A Section and x indicates any one of the variants contained in any B, C, D or E Section (see Tahle 18). The instructions further indicate that the movement must hegin and end with any one of the variants of the A Section. The coda is of course played after the last A statement. The different A Variants are used throughout 108 the movement as the recurrent portions of the rondo, with either one or two variants from the other sections between them; e.g .. A x A or A x x A. Thus the performer begins with any A Variant and follows it with either x A or x x A, then another x A or x x A, and so on until he decides to stop. It should be remarked that the performer is instruc ted not to use variants from the same section consecutively or immediately to repeat a particular variant; therefore, 1 2 1 1 arrangements such as B B or A A are not available. Of special interest in the third movement is the relationship of the variants within their respective sections. In Section A, for example, each of the variants has a different pitch content but all have an identical rhythmic content. In sim ilar fashion, each of the variants contained in Section B has a different pitch content but again all have an identical rhythmic content. In Section D, one finds that Variant divides into four motivic units. The second of these motivic units begins on the fourth beat of measure 2 and concludes on the first beat of measure 3» The third motivic unit begins on the eighth beat of measure 3 and concludes on the fifth beat of measure Motivic units one and four consist of all pitches which precede and follow motivic units two and three respectively. 2 ^ 1 Variants D and D-^ are related to Variant D in that they contain the same four motivic units found in Variant D3- 109 but transposed to different pitch levels and reordered according to the scheme found in Table 19. TABLE 19 RELATIONSHIP OP THE VARIANTS WITHIN SECTION D OF MOVEMENT I I I V a r ia n ts Order of Motivic Units 1 - 2 -3 -4 ^ -3 -2 -1 3 _ 1 _ ^ 2 It appears that the composer has derived the three variants which make up Section C by applying a process of selection to a source line. This source line, which does not appear in the score, contains all the pitch material found in the three variants. In each variant, the positions of the notes selected are identical with the positions of those particular notes in the source line (see Example 22). 110 Example 22 (m. 2 , S e c tio n C) r - * — i I 1 The composer has constructed measure 2 of Variant C by using the first four pitches in measure 2 of the source line, followed with a dotted quarter rest. Measure 2 of o Variant C begins with a dotted quarter rest, which is followed by the third, fourth and fifth pitches in measure 2 of the source line, which are in turn followed by a quarter rest. In similar fashion, measure 2 of Variant uses the first pitch in measure 2 of the source line, followed by a quarter rest and a dotted quarter rest, followed by the I l l fifth , sixth and seventh pitches in measure 2 of the source line. Finally in Section E, one finds that each of the variants contains the same sequence of pitches hut with different rhythmic values applied. It is because all the variants within a respective section maintain some form of obvious relationship to each other that the identity of a respective section is maintained regardless of the variant the performer chooses to realize when making "his" ro n d o . Pitch M aterial The tonal material of the third movement, as in the first movement, uses the basic tonal center E or some inflection of E, but the E tonal center and its various inflections are less prominent than in the preceding m ovem ents. Meter-Tempo-Rhvthm As indicated in the score, all of the measures in the 9 12 third movement are to be either in a g or g meter. Par tial measures (|s) are found at the end of each of the sections (see Table 18). These partial measures combine with the first measures of the section chosen to follow Q 1 2 and form either a g or g measure so that in performance o no one plays only | or 8 measures* Before concatenation occurs, some of the first measures are whole (g) and some 112 are partial (g). After concatenation, those first measures o ip which were g have become g while those first measures which were 6 g have become 9 g. Performance Considerations In conclusion, it should be noted that this work demands excellent performance ability. Pitches in the extreme upper range of the instrument are frequent. Examples are the d found in measure 108 of the second movement and e which concludes the third movement. High pitches such as these naturally require a well-developed and durable embouchure. In addition, the work demands that the performer have a well-developed rhythmic sense and a firm technical command of the instrument. CHAPTER VII ANALYSIS OF RANDELL CROLEY'S VARIAZIONI. OP. 44, NO. 3 (1965) Form Randell Croley*s Variazioni. Op. 44, No. 3 is a set of variations for unaccompanied trumpet (see Table 20). TABLE 20 MACRO-FORM Hr Variation Measure I 1 -1 3 II 1^-25 III 26 IV 27-30 V 31-34' VI 35-4-3 VII *14-5 o The author has considered everything that falls between two bar lines to be a measure. For example, even though all of Variation III is found between two bar lines, it is, for pur poses of identification, counted as measure 2 6 . 113 114 This set of variations is not preceded or introduced by a theme as might be expected. Upon careful investigation, it becomes evident that the basic motive contained in Example 23 is varied or manipulated and serves as the unifying element of the variations. Example 23 (m. 1-2) 0 © CErtVWJE ilM TO Variations I and VII both use the same motivic m aterial; whereas, Variations II through VI each introduce a new and unique motive which is either related to or derived from the basic motive in Example 2 3 . Exactly how the basic motive above relates to each variation will be discussed as we examine the internal structure of each variation. Variation I Each variation contained in the work consists of a chain of phrases. Table 21 identifies the successive phrases contained in Variation I. 115 TABLE 21 FORM OF VARIATION I Phrase Measure a 1 - 2 a 1 2 - 3 > 3 - h c 5 - 6 2 a 7 d 8 a 9-10 d 11 a 1 2-13 The in itial a phrase of Variation I occupies measure 1 through the eighth rest in measure 2. The phrase consists essentially of the opening statement of the basic motive illustrated in Example 2 3 . The basic motive is elongated into a phrase by preceding the statement of the motive with a rhythmic reiteration of the pitch B. The a"*" phrase begins after the eighth rest in measure 2 and follows through the eighth rest in measure 3. This phrase is a rhythmically modified restatement of the basic motive with the addition of three new pitches between the C and A^. The b phrase begins after the eighth rest in measure 3 and follows through measure This phrase begins with the B and A^ of the basic motive, changes the 4# to an A1*, and evolves 116 a second motive in the final four pitches of the phrase with the addition of an F and E below the A (see Example 2k)* Exam ple 2k (m. *0 © The c phrase begins with measure 5 and follows through measure 6. This phrase acts as a sort of reversed b phrase. After an initial F, a reversed and rhythmically modified version of the second motive (see Example 2k) i s stated. The rapid reiteration of the A, F and E pitches contained in the second motive follows. The phrase con cludes with a return to the three pitches of the basic 2 motive. The a phrase, contained in measure 7, is an embellished restatement of the basic motive as found in the a phrase (m. 1-2). After the initial B, one finds that the C has been displaced an octave higher to r , A descending group of seven thirty-second notes played rapido then 2 follows. The thirty-second notes return to c , providing 3 3 in effect an "embellished octave" between cJ and c . Finally, the remainder of the basic motive is stated with the A^ changed to an A1*. The d phrase, contained in 117 measure 8, is an elaborated statement of the second motive (Exam ple 2k). The rhythmic inspiration for the d phrase, with its rapid eighth note reiteration of the pitches contained in the second motive as well as an occasionally added cs1, is taken directly from the first seven notes of measure 6 (Phrase c). Measures 9 and 10 contain a restate ment of the in itial a phrase (m. 1-2) with only slight rhythmic modification. In measure 11, there is a restate ment with only slight rhythmic modification of the initial d phrase contained in measure 8. Variation I is concluded in measures 12 and 13 with yet another restatement of the initial a phrase (m. 1-2). Again the rhythm is slightly m o d ifie d . Variation II Table 22 illustrates the phrases contained in Variation II. TABLE 22 FORM OF VARIATION I I P h ra se M easure a 14-15 16-17 1 a 1 8 -1 9 c 20-22 a2 2 2 -2 5 118 The motive for Variation II (see Example 25) is related to the basic motive by its final three three pitches being the same as the three pitches which constitute the basic motive. Example 25 (m. 1^) The a phrase of Variation II, which occupies measures Inl and 1 5, contains in measure 1^- the in itial statement of the motive as given in Example 25. This statement is followed in measure 15 by material which functions as an "embellished octave" arriving at a G (octave down) as the opening note of the b phrase (m. 16-17). For the fourth, fifth, sixth and seventh pitches in measure 1 5, the composer has used *h Jl the G , C_, B and of the motive contained in measure 1^. The b phrase of Variation II occupies measures 16 and 17. This phrase is essentially an elaborate restatement of the motive contained in measure 1^ (Example 25). The elabo rated restatement is accomplished by rhythmic modification and octave displacement. Thus the b phrase begins with a G which proceeds down a minor second to an F. There then T_ follow two additional G -F reiterations (rhythm modified each time), the first of which is sounded an octave higher. An E is then introduced as the second pitch in measure 17 and is the only pitch contained in the b phrase which is not also found in the motive stated in measure 14 (Example 25). The third, fourth, fifth and sixth pitches of # b / measure 17 restate the C, B, A and G pitches (rhythm modified) of the motive contained in measure 1^ (Example 25). There then follows an F from which the melodic line proceeds up a minor ninth to G and, in turn, down a minor ninth to F, and again up a minor ninth to G*3 with a fermata. The a"1" phrase of Variation II occupies measures 18 and 19. Measure 18 contains an exact restatement of the motive contained in measure 1^ (Example 25). Measure 19 contains a sixteenth note septuplet followed by a reiterated A . § Note that the A , as the last pitch of measure 19, makes a s sonic link with the A , which serves as the last pitch of measure 18, thereby causing the septuplet to function as an embellishing insertion. The c phrase of Variation II occupies measure 20 through the eighth rest in measure 22. In this phrase, the trilled B and C stand forth as promi nent pitches. All the other pitches of the phrase function to highlight these two prominent pitches. Note that the JL prominence of the A which concludes the a phrase as well as the prominence of the trilled B and C in the c phrase, provide a sonic link that interlocks the a^" and c phrases. £ The A , B and C are of course a reversed statement of those pitches as found in the motive contained in measures 1^ and 18 (Example 25). The a2 phrase of Variation II begins after the eighth rest in measure 22 and follows through measure 25. The initial part of this phrase is a modified restatem ent of the motive contained in measure 1^ (Example 25). In this restatement, the rhythmic content of the original motive remains intact but some of the pitches are altered. This restatement is followed after the eighth £ rest in measure 23 with a reiterated and sustained ]r , which in turn is followed in measure 2^ by an ascending thirty-second note sextuplet, which in turn arrives at a b £ reiterated and sustained G an octave above the F" that concluded measure 23. The sextuplet functions as an embellishing insertion between the reiterated and sustained & ‘h & F and G , while the reiterated and sustained F , the •u sextuplet, and the reiterated and sustained G function together as a codetta to the second variation. Variation III Table 23 illustrates those phrases contained in Variation III. 121 TABLE 23 FORM OF VARIATION I I I P h ra se M easure a Pitches 1- 6 b Pitches 7-22 1 a Pitches 23-32 Although the motive for Variation III (see Example 26) does not contain any pitches which are identical with those found in the basic motive, it is derived from the minor second interval which plays a prominent part in the make-up of the basic motive. In the motive for Variation III (see Example 26), the composer has modified the minor second interval by making it a quarter tone interval. Example 26 (m. 26) ±111. The a phrase of Variation III, which occupies pitches 1 through 6 of measure 2 6 , contains in pitches 1 through 3 the in itial statement of the motive as seen in Example 26. The remainder of the a phrase (pitches k through 6) contains a restatement with only slight rhythmic modification of the motive found in pitches 1 through 3* The b phrase of 122 Variation III occupies pitches 7 through 22 of measure 26. This phrase begins with the quarter tone interval of the motive found in pitches 1 through 3 (Example 26) and proceeds to introduce contrasting m aterial. Of special interest is that pitches 1^ through 22 (with several reit- erations of the G -F pitches provide, a restatement of the pitch sequence found in the motive contained in measure 14- (Example 25). The reader w ill remember that the final three pitches found in the motive contained in measure 1^ (Example 25) are the same as the three pitches which constitute the basic motive. The a"*" phrase of Variation III occupies pitches 23 through 32 of measure 26. This phrase is a slightly modified and enlarged restatement •» of the material found in the a phrase (pitches 1-6). The a phrase (pitches 23 - 3 2 ) begins with several reiterations of the G^ and A (lowered a quarter tone) pitches which were introduced in the a phrase (pitches 1-6). Here, though, the rhythm is modified and the pitches are sounded an octave higher than in the a phrase (pitches 1-6). Then a single C (lowered a quarter tone) pitch and a single B pitch function to return the listener to the final A (lowered a quarter tone) and pitches which conclude Variation III. Note that the final A (lowered a quarter tone) and G^ pitches which conclude Variation III are sounded in the same octave as those pitches in the a phrase (pitches 1-6). 123 Variation IV T a b le 2k illustrates those phrases contained in Variation IV. TABLE 2^ FORM OF VARIATION IV Phrase Measure a 2 7 b 28-29 a1 30 The new motive in Variation IV (see Example 27) is derived & from the final three pitches (C, A f B) of the basic motive JL L by lowering both the A and B a minor second to sound A^ ■i_ and B , respectively. Thus the directionality or contour of the final three pitches (C, A% B) of the basic motive is retained but with a change in the intervallic make-up of the motive. Example 27 (m* 27) .... - 3 The a phrase of Variation IV occupies measure 27. The phrase begins with the in itial statement of the motive seen in Example 27. After the eighth rest, there follow three eighth notes, an ascending sixteenth note quintuplet and a modified version of the rhythmic figure (using different pitches) contained in the motive seen in Example 27. The b phrase of Variation IV occupies measures 28 and 29. The phrase begins with a quarter note triplet the last note of which is tied to an additional quarter note D*3. This figure is related to the motive seen in Example 27 not only by the fact that it is a rhythmic variant of that motive but like the motive in Example 27 it. is related to the final three pitches of the basic motive. Upon careful examina tion, one w ill note that the opening figure of measure 28 uses a retrograde of the interval order (with octave dis placement) contained in the final three pitches of the basic motive but beginning on the same pitch (C.) as the motive seen in Example 2 7. Instead of the major second down followed by a minor second up which is contained in the final three pitches of the basic motive, we have a minor ninth (octave displacement) down followed by a major ninth (octave displacement) up. The remainder of measure 28 contains several reiterations of the B and D pitchesId contained in the opening figure of that measure. The m aterial for measure 29 is derived from the final three. pitches (B, E, DId ) of measure 27 (a phrase). In measure 29, not only the pitches themselves but the directionality of 125 the final three pitches of measure 27 (a phrase) is retained, but the rhythmic make-up is altered. Thus measure 29 begins with a sixteenth note E followed by a r . dotted eighth note D and continues with a sixteenth note B which has been displaced an octave down, another sixteenth note E, and two D eighth notes which are tied together. Measure 29 is then concluded with a final dotted quarter note reiteration of the D I .d The a 1 phrase of Variation IV occupies measure 3°* The phrase begins with an exact restatement of the motive contained in the opening of measure 2? (Example 27). After the eighth rest, a modified restatement of the motive contained in the opening of measure 27 (Example 27) follows. Not only has the rhythm been altered in this final modified restatement but the final pitch of the motive has been changed to sound a B. Variation V Table 25 illustrates those phrases contained in Variation V. TABLE 25 FORM OF VARIATION V Phrase Measure a 31 b 32-33 a 3k 126 The new motive for Variation V (see Example 28) is related to the basic motive by its first four notes (B» A^, C, B) being a retrograde with modified rhythm of the four notes which constitute the basic motive. Example 28 (m. 31) The in itial a phrase of Variation V occupies measure 31* This phrase consists of the initial statement of the motive JL seen in Example 28. After the first four notes (B, A , C, B), which, as we have already noted, are a retrograde with modified rhythm of the four notes which constitute the basic motive, two additional pitches (A and F) are sounded. These two additional pitches are derived from the A and F pitches contained in the second motive of Variation I (Example 2b) . The b phrase of Variation V, which introduces contrasting m aterial, occupies measures 32 and 33* Measure 32 begins with a quarter note followed by two eighth notes, continues with the rhythmic equivalent of two eighth note triplets, and concludes with an eighth note followed by a thirty- second note and a dotted sixteenth rest. Measure 33 begins 12? with a thirty-second rest followed by four ascending thirty-second notes each of which is separated from the other by a thirty-second rest. The measure continues, after a sixteenth rest, with a retrograde of the material just described and concludes with several rapid reitera- tions (mostly thirty-second notes) of the C, D and E pitches heard in the beginning of the measure and its retrograde. It is interesting to note in the b phrase (m. 32-33) of Variation V how the composer has effected increasing motion through the use of smaller note values in successive note patterns. Also of interest in measure 32 (b phrase) is the noticeable use of the tritone interval. The reader w ill remember that this interval was prominent in Variation II. Variation V is concluded in measure 3^ with an identical restatement of the initial a phrase contained in measure 3 1 * Variation VI Table 26 illustrates those phrases contained in Variation VI. 128 TABLE 26 FORM OF VARIATION VI Phrase Measure a 35-36 1 a 37-38 b 39 a k o -b i 2 a In the motive for Variation VI (see Example 29)» the ■L second, third and fourth pitches (E, D , D) are related to . # . the final three pitches (C, A , B) of the basic motive but with an expansion of the larger interval. Therefore, in the motive for Variation VI (Example 29), the second, third and fourth pitches consist of an interval of a minor third down followed by an interval of a minor second up. Exam ple 29 (m. 35-36) © T ' i;j¥ The in itial a phrase of Variation VI occupies measures 35 and 3 6 . This phrase consists of the initial statement of the motive given in Example 29• In addition to the fact 129 that the second, third and fourth pitches are, as we have just seen, related to the final three pitches of the basic Id motive, the first, second and third pitches (B, E, D ) are related to the final three pitches (B, E, Db) of measure 27 (Variation IV). Thus in the first, second and third pitches of the initial a phrase of Variation VI, not only the pitches themselves but the directionality of the final three pitches of measure 27 (Variation IV) is retained, but the rhythmic make-up is altered. The a^ phrase of Variation VI occupies measures 37 and 38. This phrase is a slightly modified restatement of the initial a phrase (m. 35-36)• The composer has included two additional thirty-second notes at the end of measure 37 (a phrase) which were not present at the end of measure 35 (a phrase). The b phrase of Variation VI occupies measure 39* This phrase begins with the same rhythmic figure as that contained in the first measure of the initial a phrase (m. 35)• While the first pitch of measure 39 (b phrase) is identical with the first pitch of measure 35 (a phrase), the second and third pitches in measure 39 (b phrase) are altered. Measure 39 is concluded with an ascending sixteenth note quintuplet and an eighth rest. Measures ^0 and contain an identical restatement of the p in itial a phrase (m. 35-38). The a phrase of Variation VI occupies measures 42 and ^3* This phrase is a slightly 130 modified restatement of the phrase (m. 37-38)• Measure 4-2 contains all of the m aterial found in both measures 37 and 38 of the a1 phrase as well as an additional sixteenth note B. The final eighth note F in measure 38 •» (a phrase) is sounded an octave higher in measure 4-2 2 2 (a phrase). Measure 4>3 then concludes the a phrase of Variation VI with a sixteenth note D followed by a six- v teenth rest, a reiterated sixteenth note D , and a sixteenth rest with a fermata. Variation VII Table 27 illustrates those phrases contained in Variation VII. TABLE 27 FORM OF VARIATION V II Phrase Measure a 4-4—4-5 a 1 4-5-47 b 4-8 a 2 4-9-50 Unlike Variations II through VI, each of which introduced a new and unique motive related to or derived from the basic motive, Variation VII reuses the motivic material of Variation I. The a phrase of Variation VII, which § occupies measure 4-4- through the dotted quarter note D in 131 measure 4*5, uses in measure 44 a transposed retrograde (up a major third) of the interval order contained in the basic motive. The rhythm of the retrograde is modified from that of the basic motive. Two additional notes Jj. A (D and B"") have been interpolated in the rapido of measure 44 between the C/ and the E. These additional notes function to embellish the retrograde. The remainder of the a phrase, which consists of the final quarter note in measure 4-4- through the dotted quarter note in measure 4-5, contains a retrograde of the m aterial found in measure 44, i.e .. a transposed original (up a major third) of the interval order contained in the basic motive. The a1 phrase of Variation VII begins with the final quarter note D in measure 4-5 and follows through measure 4-7. The final two quarter notes in measure 4-5 as well as the eighth note in measure 4-6 function to return the listener to the original pitch level (B) of the basic motive. Measure 4-7 contains a statement of the original pitches as well as the interval order found in the basic motive while retaining the general rhythmic character of the a phrase (m, 4-4—4-5). In measure 4-7> one additional embel lishing note (C) has been interpolated as the final note of the rapido. The b phrase of Variation VII occupies measure 4-8. This phrase is an almost identical restatement of the initial d phrase (m. 8) found in Variation I. The 132 p a phrase of Variation VII occupies measures ^9 and 50* Measure ^9 and the first part of measure 50 contain an identical restatement of the a phrase found in measures 12 and 13 of Variation I which was itself a rhythmically modified restatement of the initial a phrase (m. 1-2) of Variation I. The remainder of measure 50 concludes Variation VII with a final rhythmically modified restate ment of the in itial a phrase (m. 1-2) of Variation I. Pitch M aterial With regard to the pitch material of Variazioni. Op. *14, No. 3» one finds that B is the most prominent pitch in the entire work. In addition to B, each variation contains one other prominent tone. In Variation I this "to additional prominent tone is E, in Variation II G , in Variation III G^, in Variation IV D*3, in Variation V C, in Variation VI D13, and in Variation VII D^. The most prominent interval in the entire work is the minor second. Other prominent intervals found throughout the work are the major second and major and minor thirds. Also, because of its placement, the tritone is an interval of some impor tance in the second and fifth variations, as discussed under the topic Form. Of special interest is the composer's use of quarter tone pitches in Variation III. With the exception of a 133 single C (lowered a quarter tone) pitch, all the quarter tone pitches contained in Variation III are A (lowered a quarter tone) pitches. The A (lowered a quarter tone) pitches and the single C (lowered a quarter tone) pitch serve to emphasize the pitches and B pitch respectively. The reader w ill remember that Gr is a prominent tone in Variation III while B is the most prominent pitch in the entire work. The composer has provided no instructions on how the performer is to obtain the indicated quarter tone pitches on the trumpet. Furthermore, with respect to pitch m aterial, there is unity within the respective variations because the composer begins most of the individual phrases of each variation on the same pitch as the initial phrase of each variation. Met e r-T emp o-Rhythm One finds the rhythmic flow in this composition to be similar to that of a "recitative", i.e .. the rhythmic m aterial often suggests the declamatory and rhetorical manner found in the phrases and sentences of speech. With the exception of Variation II, the work does not use meter signatures, but the music does have a measured quality because of the careful tempo indications. Varia tion II is an exception in that it uses a g meter through out and therefore the bar lines relate directly to this 13^ meter. Because the 0 meter signature is enclosed in brackets, one might suspect that this signature was added as an afterthought to facilitate performance. The composer still intends that the "recitative" character, which is heightened in the other variations by the lack of meter signatures, be maintained throughout Variation II. Performance Considerations The pitch range of the work extends from b to d13-^. While this range is not extreme, the use of the pitch m aterial within the rhythmic context demands that the performer have a good technical command of the instrument. There are several intervals throughout the work which extend beyond an octave and which must be executed with a fair degree of speed. Also, because of the absence of meter signatures in all but one variation, the work requires that the performer have a well-developed rhythmic s e n s e . Variazioni. Op. 44, No. 3# is played con sordino in its entirety. The composer indicates that a Vacchiano straight mute is to be used, and the composer also indicates a preference for the C trumpet. Both the use of a muted instrument throughout the work and the indicated prefer ence for a trumpet pitched in C instead of the more ■u standard B appear to be an attempt by the composer to provide a special color or sound quality for the work. CHAPTER V III ANALYSIS OF JOHN EATON'S FIVE THOUGHTS FOR SONNY Because quarter tones are an integral part of the melodic material in Five Thoughts for Sonny, it is advis able to read the section on Pitch Material (below, Ch. VIII, pp. 151-159) before beginning the other sections. The formal structure of Five Thoughts for Sonny results from a programmatic basis explained by the composer in a letter to the author. The composition is subtitled "A Musical Letter of Sorts" and it is here that we find the program. Eaton is describing to his brother (Sonny) the heartache which he felt at a broken engagement. Each of the five movements describes some aspect of the g irl's person ality, the composer's personality, or their relationship. This description takes the form of two contrasting person alities which are preserved throughout the work. For example, the first movement sets her calm, unexpressiveness in contrast to the composer's overly exuberant, volatile nature, while the second movement describes the joy they. 135 136 both felt at the beginning of the relationship. The third movement describes the g irl's quiet beauty, while the fourth movement describes her logical wit. Finally, the fifth movement portrays the composer's fury at being b e tr a y e d . Movement I Form In musical terms, one finds that the formal structure contained in each movement may be delineated on a textural basis. The textures found in each of the movements are a reflection of the ideas contained in the program. The first movement is made up of sixteen sections which alternate two contrasting textures. These contrasting textures represent the two contrasting personalities contained in the program. See Table 28. 137 TABLE 28 FORM OF MOVEMENT I Sections Measures A 1 - 2 B 3 - 6 A1 7 - 9 B1 10-15 A2 16-20 B2 21-23 A^ 24-25 B3 26-31 32-34 B^ 35-38 A5 39-41 B^ 42-45 A6 46-50 B6 5 1 -5 ^ A? 55-59 B? 60-65 138 The A sections contained in Table 28 represent the male personality of the program. The composer has indicated that these sections are to be played "dramatic”. As may be seen in Example 30» the A sections typically contain pitches which are separated by wide intervals (often more than an octave) and which are connected by long glissandi. Example 30 (m. 1-2) w x \ r - V; O ■31 <* *2; 2: % X t f C£ * ¥• 2 C . 139 1^0 Other features commonly found in the A sections are: 1) fast valve trills (sometimes executed while playing a glissando) : and 2) "rapid as possible" movement through notes of a selected overtone series when moving between principal pitches which are often being flutter tongued. The dynamic indications are typically forte or louder. In most of the A sections, the structural elements just mentioned are combined in such a way that they create a continuous flow of sound throughout an entire section (see Example 30). The contrasting B sections represent the female personality of the program. These sections are to be played "cold". One finds that the B sections typically contain more pitches separated by smaller intervals (less than an octave) than the A sections. As may be seen in Example 31» these pitches are presented in simple rhythmic patterns. Example 31 (m. 3-6) ikz One does not find here the glissandi. fast valve trills and flutter tongue contained in the A sections. The dynamic indications are usually soft. The structural elements contained in the B sections do not typically combine to create a continuous flow of sound as do the structural elements of the A sections hut rather give a feeling of rhythmic precision—helped in part hy the composer's frequent use of staccato. Movement II Form The formal structure of the second movement in Table 29. TABLE 29 FORM OF MOVEMENT I I * S e c tio n s M easures Introduction 1 - 6 A 7-15 B 1 6 -3 1 Coda 32-35 In the second movement the author has considered every thing which falls between two bar lines to be a measure. For example, "measures" 1 and 7, which contain only a single eighth note apiece and act as a n a c ru s e s to m easu res 2 and 8 respectively, are for purposes of identification counted as m e a su re s. 1^3 While the second movement describes the joy both the male and female personalities of the program felt at the beginning of their relationship, the use of A and B to designate the sections of Table 29 (as well as the sections of the tables for the third, fourth and fifth movements) should not be thought of as directly representing the male and female personalities as did the A and B designations which made up the first movement (Table 28). Eaton begins his musical description of joy in the introduction and first measures of the A section by gradually giving the performer an increasing number of notes to be executed at a rapid tempo. The musical description climaxes in measure 13 with several lip trills on different pitches of close proximity which are executed accelerando and without any pause between the individual trills. Measures 1^ and 15 provide a cadential effect for the A section through the final glissando which descends almost two octaves. The B section and the coda are characterized by passages almost entirely made up of shakes, fast trills or glissandi. The shakes, which are by far the.most striking sound in the B section, are found in groups which are executed accelerando, "as fast as possible", and without any pause between the individual shakes. Often the individ ual shakes which comprise a single group are related in that they share a common pitch. The intervals comprising 144 the shakes of a single group are large, usually beginning with not less than a fourth and continuously expanding to well over an octave as the passage proceeds. Of special interest in the coda is the final note where the composer introduces for the first time the use of two simultaneous sounds from a single performer. Here, Eaton has indicated that the performer should sing through the instrument an a * in unison with a played small a. The performer then is to execute a glissando "as low as possible" from the played a while the sung a is held through the initial part of the glissando. The idea of singing in unison with played notes not only reinforces the played note but gives a special color to the total resultant sound. Movement III Form The formal structure of the third movement may be seen in Table 30. Since the initial instructions indicate that sung - sounds are often notated in unison, it can safely be assumed that where sung sounds are separately notated they are written in trumpet transposition. TABLE 30 FORM OF MOVEMENT I I I Sections Measures A 1 - 6 B 7-13 A1 14-21 B1 22-29 A2 30-36 B2 37-42 A3 43-48 B3 49-56 A* 5 7 -6 4 As in the first movement, the formal structure of the third movement divides into a number of sections each of which contain one of two contrasting textures. These two contrasting textures, both of which describe the female's quiet beauty, alternate throughout the movement. The entire movement is to be played "slow and dreamlike". The A sections make considerable use of the idea of simultaneous sounds from a single performer. The idea in the A sections is to create a dreamlike atmosphere. To help achieve this atmosphere the composer uses as a basic underlying sound, an air stream blown through the instrument. This air stream is sustained throughout most of each A section. The air stream is often colored by having the valves depressed to 1 k6 various levels and/or "by trillin g the valves. As indicated in the score, the performer is often instructed to change gradually the depressed valves from one level to another. Against this basic colored air stream notes occasionally emerge. Sometimes precise pitches are indicated but often instructions such as "run hazy, indistinct scales freely as fast as possible between given notes—repeat as often as possible" are found. Another device used by the composer, especially prominent in measures 18-21 of the A^ section, is humming pitches through the instrument. Sometimes the humming is heard simultaneously with the colored air stream and indistinct emerging notes, while other times it is heard against only distinct played pitches. Even when the hummed pitches are heard simultaneously with distinct played pitches, unisons often occur, and it is evident that the harmonic intervals are intended only as another color device to further enhance the dreamlike atmosphere. In measure k6 o f th e A? section the composer introduces a percussive use of the instrument when he indicates for the player to "Pop ". The player is to close rapidly the extended third valve slide, causing a m etallic pop as the metal parts collide. This percussive effect is also found in measures ^9» 50, 56 and 63 of the third movement. Also of interest in the last part of measure ^6 of the A^ section is the indication to "move the third valve slide 1^7 out and in rapidly with the left hand, like a trill". This device serves as yet another way to color the basic air s tre a m . By contrast with the A sections, the B sections convey less of a dreamlike atmosphere. The B sections are melodically and rhythmically more straightforward. The pitch and rhythmic material is always distinct and such devices as the colored air stream and humming are not found. It is as though each individual B section emerges from the haze and uncertainty of the preceding A section, provides a moment of clarity, and then recedes into the haze and uncertainty of the following A section. One of the most noticeable characteristics of the B sections is the obtaining of quarter tones by playing into a handerkerchief which has been placed on a music stand. Another common characteristic is the extensive use of pulsation, a kind of tongue vibrato achieved by waving the tongue up and down in the air stream. The use of pulsation contributes somewhat to the general dreamlike atmosphere of the move ment but at the same time does not obscure the more dis tinct pitch and rhythmic material of the B sections. Movement IV Form The formal structure of the fourth movement may be s e e n i n T a b le 31* 1^8 TABLE 31 FORM OF MOVEMENT IV Sections Measures A 1 - 6 B 7-14- 1 A' 15-21 The in itial A section (m, 1-6) and the A"*" section (m. 15- 21) consist of either single pitches or groups of two consecutive pitches separated by short rests, except in measures 19 and 20, where there is one group of three consecutive pitches. The B section by contrast consists of groups of two or more consecutive pitches (the maximum being seven in measure 11) separated by short rests. In the in itial A section and the A"*" section, the intervals which separate the single pitches and/or groups of two consec utive pitches are all less than an octave. By contrast, many of the intervals which separate the groups of two or more consecutive pitches in the B section are larger than the octave. All three sections use simple rhythms with both A sections containing almost identical rhythmic material. Note also that there is a full measure of rest (measure 6) separating the in itial A section from the B section as well as a full measure of rest (measure 1^) separating the B section from the A1 section. Both of these measures serve as a further aid in delineating the 1^9 three sections of the fourth movement. In the fourth movement, the use of simple rhythms and small groups of notes which are separated by short rests, reminds one of the B sections in the first movement. This sim ilarity follows from the program when we consider that both the fourth movement and the B sections in the first movement describe sim ilar aspects of the female's person ality. The descriptions of logical wit in the fourth movement and calm, unexpressiveness in the B sections of the first movement, are both intended to convey a cold, objective and calculating character. Of special interest in the fourth movement is the frequent use of simultaneous sounds from a single per former. Throughout the movement one finds examples of the performer humming in either unison or octaves with played pitches to reinforce or enlarge the played sound. Measures 18 and 19 contain the only instances of the performer humming a pitch other than one which is either in unison or an. octave with the played pitch. In measure 18 the hummed and played pitch are separated by an interval of a minor second while in the first part of measure 19 the hummed and played pitch are separated by an interval of a quarter tone which resolves into a unison at the conclusion of the measure. Coming at the end of the movement, the purpose of these two exceptions to the idea of humming in unison or 150 octaves with played pitches is for the cadential effect, i . e . , creating a dissonance pattern which is resolved in the conclusion of measure 19 and in measure 20. Movement V Form ' The formal structure of the fifth movement may he seen in Table 32. TABLE 32 FORM OF MOVEMENT V S e c tio n s Subsections M easures A a 1 - 7 b( closing) 8-10 B a 1 1 - 1 5 b 1 6-25 26-30 A* 3 1 -3 8 b( closing) 3 9-41 Coda 42 The in itial A section (m. 1-10) subdivides into two parts with Subsection b (m. 8-10) functioning as a closing to Section A. In Subsection b (m. 8-10) the composer has created a textural contrast with the preceding material and that which follows by indicating that all the pitches except one are to be flutter tongued. This same textural contrast may be observed in Subsection b (m. 39-41) of the A1 section (m. 31-41). 151 In the fifth movement, the composer uses a number of sonic devices to convey the programmatic idea of his fury at being betrayed. Throat growls, trills, rips, shakes, pulsations and flu tter tongue are used in various combina tions and juxtapositions throughout the movement. In addition, loud dynamic levels prevail throughout the move ment. In Section B (m. 11-30), however, one does find brief passages at lower dynamic levels. These passages provide a contrast to the otherwise high "tension level" of the movement. Pitch M aterial One of the most interesting aspects of John Eaton's Five Thoughts for Sonny is his use of quarter tones as an integral part of the melodic material of each of the five movements. The composer has derived a quarter tone scale by dividing the octave into twenty-four equally tempered pitches. As a basic point of departure in notating these twenty-four quarter tone pitches, Eaton has utilized conventional notation for those pitches which are identical to the ones found in the twelve pitch chromatic scale. The remaining twelve pitches are notated either by the addition of a modified sharp sign ) to one of the twelve con ventionally notated pitches, indicating that that pitch is to be played a quarter of a tone higher or by the addition of a modified flat sign (V ) to one of the twelve 152 conventionally notated pitches, indicating that that pitch is to he played a quarter of a tone lower. For example, Jf an F notated as F sounds a pitch a quarter of a tone higher than F^ and a B*5 notated as indicates a pitch a quarter of a tone lower than B^, Because the trumpet is not normally considered a quarter tone instrument, it is important to understand how the player is expected to produce quarter tones on this instrument. As has already heen noted, Eaton has invented a quarter tone notation that assumes division of the octave into twenty-four equally tempered pitches. Twelve of these twenty-four pitches are presently available in the twelve pitch chromatic scale and are performed in the conventional manner. The remaining twelve quarter tone pitches are obtained using either of the following methods: 1) by having the performer play one of the twelve pitches contained in the twelve pitch chromatic scale into a handerkerchief which has been placed on a music stand, thus lowering the played pitch a quarter of a tone; or 2) exploitation of the overtone series through the use of alternate fingerings and manipulation of the tube length by extending the first valve and/or third valve tuning- slides. Of these two methods, the second is by far the most used in this piece. 153 The composer utilizes the valve slide adjustments and special valve combinations in three different ways. The first two of the three ways primarily take advantage of valve slide adjustments. The first is when a valve slide, which normally would be extended in order to provide the "proper intonation" for a certain pitch, is not extended. An example would be fr# which is normally played with all three valves depressed and the third valve slide extended. If the third valve slide is not extended the listener h e a r s f ^ ^ . The second way in which the valve slide plays a primary role in obtaining additional tones is the reverse of the first; i . e . . when a valve slide, which normally would not be extended in order to maintain the "proper intonation" for a certain pitch, is extended. An example would which is normally played with only the second and third valves depressed. If when playing the third valve slide is extended the pitch is lowered dt 1 a quarter tone and the listener hears g' . The third way in which Eaton uses valve slide adjustments and special valve combinations to obtain quarter tones, is concerned with valve combinations as applied to certain pitches contained in the natural overtone series. Here, he employs the intonation characteristics of the natural overtone series such as the seventh partial which is t 2 normally flat. An example would be a which is realized 2 2 . by playing an a using the second valve. The a is the seventh partial of the overtone series which has a B as its 2 first partial. When a is played using the second valve, the performer produces a pitch a quarter tone below equal- 2 I' 2 tempered a ; i . e . . a . It is of course possible that a valve slide adjustment could be combined with a special valve combination in order to obtain a particular quarter 4*2 tone. An example would be f which is realized by playing So an f using the second and third valves and extending the So third valve slide. The f is the seventh partial of the overtone series which has an A*5 as its first partial. When f^2 is played using only the second and third valves, the trumpet sounds a pitch which is not a true quarter tone below the f^2. By extending the third valve slide, the performer is able to lower the pitch still further and thus zj? 2 achieve an accurate f » . After consultation with two professional trumpet players and careful consideration of the possibilities of the modern trumpet, the author has constructed in Table 33 a chart containing those trumpet fingerings and valve slide adjustments which can be used to produce accurately a quarter tone scale on the instrument. TABLE 33 QUARTER TONE FINGERING CHART FOR TRUMPET TABLE 33 (Continued) a. $*. ± *r± ^ f t z H t ■tr— T? O SS 1 -re 5 < Cf 6. - -35* g 1# H U\ o\ 157 For certain pitches the fingerings and valve slide adjust ments provided by the author do not conpletely agree with those fingerings and valve slide adjustments given by the composer in the score. The discrepencies arise for the most part from the fact that the composer did not employ the first valve slide when providing fingerings and slide adjustments. Since all of the better trumpets made today normally contain an easily adjustable first valve slide and since use of the first valve slide in conjunction with various valve and third valve slide combinations often provides more accurate and workable alternatives, the author has at times substituted those alternatives in Table 33 with the hope of supporting the use of the trumpet as a viable quarter tone instrument. In the score, the specified valve combinations written under certain notes give the quarter tones written when the note the quarter tone sign accompanies is played; e.g .. Fy played gives and is notated as If another note is to be played it is written below the valve combinations. If the third valve slide is to be extended, the composer indicates this by the symbol "3s.". This indication is typically found above the note or notes to which it applies. Negation of the third valve slide extension is indicated by the symbol "jd. ", The author would like to suggest that the method utilized in the score to specify valve combinations 158 and valve slide usage could in many cases be sim plified. If instead of placing the "3s." symbol above the note to which it applied, one might place an "s" beside the appropriate valve number when indicating the valve combina tion for a particular note. For example, the indication [ a under a note would mean to play that note using all three valves with the third valve slide extended (see Table 33 for an application of this system), Absence of the "s" beside a valve number would of course mean that the valve slide was not extended but in the normal closed p o s i t i o n . Occasional points of confusion arise in the score where the composer has not been consistent in his method of specifying valve combinations and slide adjustments for certain notes. An example may be seen in measure 16 of the first movement where for the first two notes, the composer JL has indicated an f using all three valves and glissando with the third valve slide down to an f which is shown as being played using all three valves with the third valve slide extended. Measure 16 continues with a glissando S back to f using the third valve slide, a "rapid as possible" passing through several notes of the overtone series which has as its first partial anFy , and f i n a l l y 2 . _ an arriving at f"' as the first note of measure 17* If we assume the fingerings indicated in measure 16 to be correct, 159 then the first two pitches would he more properly notated as f^^ followed by f^ rather than the f^ followed by f^ that the composer has indicated. One finds this same point of confusion again in measure 18 of the first movement. Measure 18 also contains what must be an error in indicating the fingering for performing the final trill of that measure. The instruction should indicate holding down with the left hand the second and third valves (rather than first and third) while using the first finger of the right hand on the first valve. Another important aspect of pitch m aterial, the simultaneous sounding of two pitches, is discussed with Form for each of the three movements in which it appears, Movements II, III, and IV. Me ter-Tempo-Rhythm The rhythmic and metric scoring of Five Thoughts for Sonny presents some notational oddities that should be discussed. In some instances, these are esoteric signs; in other instances these appear to be copyist errors. In measures 21 and 26 of the first movement, a point of tr obscurity arises with regard to the ^ slgna‘kure* ^he composer has indicated below measure 21 an ossia version of measure 21 which has a g signature and contains the same rhythms as the original ^ version. Since g is a more familiar meter than and since the use of contributes 160 nothing to the rhythmic content of measure 21 or measure 26, it would seem preferable to replace the "original" with the ossia and notate these measures in g. An identical situation appears in measure 32 of the first movement which O the composer has notated in an meter. Here, a more 8 fam iliar and equally functional meter would he g. In the first movement, the meter signature in measure 44 should read ^ rather than the | indicated. In the second movement, the meter signature in measure 9 should 9 9 r e a d ^ rather than the g indicated while the meter signature in measure 14 should read ^ rather than the ^ indicated and, also, in measure 30 the meter signature 6 7 should read g rather than the g indicated. In measure 8 and again in measure 39 of the fifth movement two solutions for adjusting the rhythmic content of these measures to the meter signatures indicated can he suggested. The first solution would he to change the meter signatures 1*3 1 1 to read g rather than the g indicated while the second 11 solution would he to retain the g meter signature and change the final quintuplet in each of these measures to sixteenth notes in place of the five eighth notes indicated in the score. In sim ilar manner, the rhythmic content of measure 34 can be adjusted to the meter signature either by 7 2 changing the meter signature to read g rather than the ^ indicated or by retaining the ^ meter signature and having 161 the quintuplet consist of five dotted sixteenth notes rather than the five dotted eighth notes given in the score. Performance Considerations In Five Thoughts for Sonny, attention should he drawn to the composer's use of sonic possibilities not common to the traditional trumpet repertoire. In the third movement, for example, hints of electronically generated and modified sound such as white noise, colored noise, and rapid movement through the overtone series as if through a filte r are found in the A sections where the performer is instructed to blow an air stream through the instrument which he often colors by depressing to various levels and/or trillin g the valves and against which rather hazy notes occasionally emerge. Throat growls, rips, shakes and extensive use of glissandi are found throughout the composi tion and suggest possible jazz origins. It should be noted that partially depressed valves serve two purposes in this work: 1) to facilitate glissandi and 2) for color. In addition, the composer also uses percussive and vocal sounds. Examples of the percussive use of the trumpet are found in the third movement where the player is instructed to close rapidly the extended third valve slide, causing a m etallic pop. Examples of vocal elements are found in the second, third and fourth movements where the player is 162 instructed to hum usually in unisons or octaves with played pitches. 3 The pitch range of the work extends from B to b . Because of the wide range, the extensive use of quarter tones, the composer's use of sonic possibilities not common to the traditional trumpet repertoire, and the generally rather extensive technical demands made, the work requires a very mature performer with an excellent command of the instrument and a desire to exploit devices not commonly found in the traditional trumpet repertoire. CHAPTER IX ANALYSIS OF EGON WELLESZ*S FANFARES FOR HORN SOLO. OPUS 78 Movement I Form The first movement of Egon W ellesz's Fanfares for Horn Solo divides into those formal sections seen in Table 3^. TABLE 34 FORM OF MOVEMENT I Section Subsections Measures I A 1-1 6 B 1 7 -2 4 Closing to Section I 25-28 I I A 29-35 B 36-38 Closing to Section II 39-45 Transition to Section III 46-47 III A 48-51 B 52-59 C o d e tta 60-66 163 1 6 ^ Although this movement has some three measure phrases such as those found in measures 33-35 and measures 60-62, it can easily he divided into the traditional four measure phrases and eight measure periods. Nevertheless, to place a great deal of emphasis on the phrase-period structure in deline ating the form would he to overlook the fact that the formal sections are delineated more hy contrasting rhythmic textures than hy purely melodic devices. For example, Section I consists almost entirely of quarter and eighth notes. The first eight measures of Subsection A of Section I consist entirely of quarter notes while the second eight measures present a combination of quarters and eighths. Subsection B of Section I consists entirely of eighth notes. Only in the closing of Section I (m. 25-28) are sixteenth notes introduced for the first time. A triplet figure is introduced in the first four measures of Section II with a contrasting sixteenth note texture beginning in measure 33 and predominating through measure 3 8 . In the closing of Section II (m. 39-^5)» we find those notes of the longest duration (mostly halves) in the movement. Subsection A of Section III consists entirely of sixteenth notes while Subsection B of Section III is a mixture of eighths and sixteenths. The codetta utilizes the triplet figure 2 again and concludes with a trill and embellishment on c . 165 Three additional elements of structure aid in the delineation of the formal sections of the first movement. The first two of these additional elements are the meter and tempo changes and the third is a general "directional characteristic" inherent in the melodic line. An example is seen in Section I which is indicated to he played andante and is in a ^ meter. The melodic line of Subsec tion A has a general upward motion while Subsection B contrasts with a downward direction of the line. Note the retard in the closing of Section I (m. 25-28). Subsection A of Section II is in a ^ meter and is indicated to be played poco piu vivo. In addition, Subsection A of Section II has an upward motion in the melodic line while Subsection B of Section II contrasts with a downward direction. Subsection p B further contrasts with Subsection A by changing to a ^ meter. A contrast is created between the closing for Section II (m. 39-45), which has an upward direction in the 2 melodic line and continues in the ^ meter of Subsection B (Section II), and the transition to Section III (m. 46-47), which has a downward direction in the melodic line and returns to the ^ meter of Subsection A (Section II). We find Subsection A of Section III in a ^ meter with an upward direction in the melodic line while Subsection B of Section III contrasts with a downward direction in the melodic line. Note that the first phrase of the codetta (m. 60-62) 166 2 continues the ^ meter of Section III while the second phrase (m. 63 - 6 6 ) contrasts with a change to the £3 meter. One should note from the above discussion, that with regard to the "directional characteristic" of the melodic line, all subsections in the first movement which are labelled A have an upward direction while all subsections in the first movement which are labelled B have a downward direction. Pitch M aterial The melodic line throughout the first movement is nothing more than a continual reworking of the basic motive seen in Example 32* Exam ple 32 (rn. 1 -2 ) 0 AubfiNTE 0 (SEMlfc E5?R£6SlQHE> This basic motive uses the intervals of a perfect fifth and major second. Add to these intervals the inversion of the perfect fifth, the perfect fourth, and we have the three most prominent intervals of the first movement. 167 Throughout the first movement, the melodic line carries the im plication of harmony with C "being the most prominent pitch, and the development of the line results from the basic motive being set in different rhythmic variations. The idea of rhythmic variation on a basic motive is of course the inherent implication of any fanfare. As the various rhythmic variations appear there are trans position and some change of interval in the original idea, but these melodic factors are always subordinate to the more basic intent of rhythmic variation. An example of the composer’s use of rhythmic variation may be seen in Example 33* Example 33 (m. 2 9) ? o c o Piu v’imo ( i t 8 0 ) 3_____.______ On the first two beats of measure 29 (Example 33), we find the basic motive (Example 32) presented in eighth notes. In the triplet figure on the third beat of measure 29, the intervals of the basic motive are compacted in another rhythmic variant. The perfect fifth up from C to G is 168 followed "by a major second down to F rather than up to A as in the original statement of the basic motive, thereby introducing a new pitch while still maintaining the interval content of the basic motive. Movement II Although the second movement continues the pastoral reference of the first movement and is titled "Hornpipe", it maintains only a loose relationship to the country dance common in certain sections of England from the sixteenth to the early nineteenth centuries. The earliest hornpipes were in triple meter, but about 1760 the hornpipe underwent a radical change and was conceived in common time. A later development in the hornpipe was to break up the even notes of the common-time examples and to use dotted eighth and sixteenth note figures to produce what has become known as the "Scotch snap". It is to these later developments that Wellesz makes reference in his second movement. Form The formal sections of the second movement as seen in Table 35 follow the precedent established in the first movement by being prim arily delineated by contrasting rhythmic textures. 169 TABLE 35 FORM OF MOVEMENT I I Section Subsections Measures I Introduction 1- 2 A 3-16 B 1 7-24 Transition to Section II 25-27 II Main Part 28-38 Closing to Section II 39-4-2 4-3-48 4-9-54 C o d e tta 55-61 In contrast to the first movement, we now find that meter and tempo do not assist in the delineation of form and that the melodic line does not exhibit obvious "directional characteristics". Interval usage plays a more significant role in delineating form than it did in the preceding movement. An example of contrasting rhythmic texture and interval usage as delineating elements may be seen by a comparison of the various sections and subsections of the second movement. Subsection A of Section I places emphasis on the dotted eighth and sixteenth note figure with some use of sixteenth note groupings while the prominent inter vals are the major and minor thirds and major second. Subsection B of Section I contrasts with Subsection A in that it consists entirely of sixteenth notes with perfect 170 fifth and fourth intervals appearing more frequently in preparation for Section II. In Section II we find the half note introduced for the first time with a mixture of eighth and sixteenth notes. Notes tied across the bar line are also introduced, resulting in a mild rhythmic syncopation. Perfect fifth and fourth intervals are prominent. Of interest is the contrast found in Subsection 1 1 B of Section I where one finds a rhythmic texture related to the original Subsection B of Section I but an inter- vallic texture (perfect fifths and fourths) related to Section II. Also, the triplet figures beginning in measure 55 set off the codetta. Pitch M aterial As in the first movement, we find that the melodic line carries the implication of harmony with the movement having a key signature of F major but ending interestingly enough on its dominant C_. Further, as in the first movement, the line is prim arily developed through the use of rhythmic variation on a basic motive. It is perhaps this idea of rhythmic variation on a basic motive that gives the greatest validity to the composer's entitling the collective movements of the work as fanfares. Meter-Tempo-Rhythm The contribution of meter, tempo, and rhythm to the delineation of form is discussed for each movement under 171 the topic Form. Performance Considerations In conclusion, it should be noted that Wellesz has written a work that is truly idiomatic for the French horn. Extremes of register are avoided as are unusual and avant-garde effects. The rhythms are straightforward and pose no unusual difficulties. CHAPTER X ANALYSIS OF CHARLES WHITTENBERG*S POLYPHONY FOR SOLO C.TRUMPET Using W hitteriberg's title as a descriptive term, Polyphony for Solo C Trumpet can be said to contain polyphony. The term implied counterpoint in the present discussion is to be equated with his term polyphony. Because understanding of the symmetrical internal structure of the row is necessary to understanding other aspects of Polyphony for Solo C Trumpet, it is advisable to read the section on Pitch M aterial (below, Ch. X, pp. 182-18^) before beginning the other sections. Form The element of implied counterpoint in this composi tion stems primarily from the directional qualities of the four basic sub-sets. Accepting the pitches of the ascending sub-sets (a and d) as forming one line and the pitches of the descending sub-sets (b and c) as forming a second line, there is an implied directional counterpoint apparent. This implied directional counterpoint creates 172 173 the patterns which act as the primary force in delineating the formal sections of the work (see Table 3 6 ). TABLE 36 FORM Section Subsection Measures Row P e rm u ta tio n s I 1 1 - 9 2 1 0 - 25 3 26- 29 4 3 0 - 35 I I 1 36 - 6k 2 6 5 - 77 3 78- 85 I I I 1 86- 97 2 98-105 3 105-119 175 An example of how the implied directional counterpoint functions to create the patterns which contribute to the delineation of form may be seen in Table 37. TABLE 37 IMPLIED DIRECTIONAL COUNTERPOINT IN SECTION I , SUBSECTION 2 Section I; Subsection 2 (m. 10-25) o 2 A sce n d in g A sce n d in g D escen d in g D escen d in g 1 ,2 ,3 1 0 , 1 1 ,1 2 * ,5 ,6 7 ,8 ,9 03 Ascending A sce n d in g D escen d in g D escen d in g 1 ,2 ,3 1 0 , 1 1 ,1 2 ‘ " 5 . 5 ^ 7 ,8 ,9 o 2 D e sc en d in g D esc en d in g A scen d in g . Ascending 4 ,5 ,6 7 ,8 ,9 1 ,2 ,3 1 0 , 1 1 ,1 2 0 3 D e sc en d in g D escen d in g A scending A scen d in g * .5 ,6 7 ,8 ,9 1 ,2 ,3 1 0 , 1 1 ,1 2 H ere sub-sets a and d (ascending) are followed by sub-sets b and c (descending) in the first statement of th e 0 2 and 03 rows. This pattern is reversed in the second statement p O o f 0 and 0J where the b and c (descending) sub-sets are followed by the a and d (ascending) sub-sets, creating the symmetrical pattern for Subsection 2 that is seen in Table 37. Here the composer, by pairing the sub-sets with sim ilar melodic direction, has divided the rows into groups of six notes. Table 38 contains another pattern achieved by alternating ascending and descending sub-sets. 1?6 TABLE 38 IMPLIED DIRECTIONAL COUNTERPOINT IN SECTION I , SUBSECTION 3 Section I ; Subsection 3 (m. 26-29) A sce n d in g D esc en d in g A scen d in g D escen d in g 1 ,2 ,3 ^ ,5 ,6 10, 11,12 7 ,8 ,9 0 D e sc en d in g A scen d in g D escen d in g A scen d in g 1 ,2 ,3 7 ,8 ,9 10, 11,12 Besides the arch design created by the composer's reversal of the ascending-descending pattern in the second statement of o \ there is an additional symmetrical relationship between the two statements of (A. This new symmetrical relationship is accomplished in the second statement of h, 0 by reversing the order within the first two and last If, two sub-sets of the previous statement of 0 (a,b to b,a; d,c to c,d). Table 39 illustrates that the composer has divided his rows into groups of two notes. Here not only the symmetrical patterns created by the alternation of note groups chosen from ascending and descending sub-sets should be noted, but attention should be paid to the note choices within the respective rows that make up the note groups. TABLE 39 IMPLIED DIRECTIONAL COUNTERPOINT IN SECTION I , SUBSECTION Section I : Subsection k (m. 30-35) A scen d in g D e scen d in g A scen d in g D esc en d in g A scen d in g D e scen d in g 1,2 £73 3 ,1 0 577 11,12 8 ,9 D escen d in g A scen d in g Descending A scen d in g D escen d in g A scen d in g £75 1,2 6 ,7 3,10 8 ,9 11,12 178 The composer has constructed his note groups by choosing the first two pitches of sub-sets a (1,2) and b (^,5) and the last two pitches of sub-sets c (8,9) and d (11,12) and then has combined the last pitch of sub-set a (3) with the first pitch of sub-set d (10) and the last pitch of sub-set b (6) with the first pitch of sub-set c (7), thereby using the remaining single notes to make two-note groups. This method of constructing note groups in Subsection ^ of Section I produces another truly symmetrical permutation. Subsection 1 of Section II (m. j6-6^) contains the same relationships as found in Subsection 2 of Section I (m. 10-25). In Subsection 2 of Section II (m. 65-77), the use of alternating portions of two rows makes its first appearance in the work. Always before, the composer had given us a complete statement of any given row before proceeding to the next. Here, the alternation is done with two rows of the same transposition (first O*^ and 0"^, then 012 and 012). Finally, Subsection 3 of Section II (m. 78-85) serves as a transition to Section III. The composer has given us a sequential statement (with some repetition) of rows 1-12 throughout Sections I and II of the work. The only exceptions are the statement of 0^ which begins Section II and acts as a kind of introduction 11 and the statement of 0 which ends Section II and acts as a transition to Section III. 179 From Table *K) we note that the three Subsections of Section III form an A, B, A design with the B (Subsection 2) being prim arily characterized by alternating portions of two rows of different transpositions. TABLE 40 IMPLIED DIRECTIONAL COUNTERPOINT IN SECTION I I I Section III; Subsection 1 (m. 86-97) A scen d in g A scen d in g D escen d in g D e scen d in g 1 ,2 ,3 10, 11,12 4 ,5 ,6 7 ,8 ,9 A scen d in g A scen d in g D e scen d in g D e scen d in g 1 0 , 11,12 1 ,2 ,3 7 ,8 ,9 4 ,5 ,6 Section III: Subsection 2 (m. 98-105) A lternating Rows a A sc. A sc. A sc. D esc. D esc. D esc. 1 ,2 ,3 10,11 12 T 7 T ~ 6 ~ ~ 7 ,8 ,9 Desc. D esc. Desc. Asc. A sc. A sc. 7 ,8 ,9 TTT 6 10 11,12 1 , 2,3 Section III: Subsection 3 (m. 105-119) A scen d in g A scen d in g D escen d in g D escen d in g 1 .2 .3 10, 11,12 4 .5 .6 7 .8 .9 .8 A scen d in g A scen d in g D escen d in g D escen d in g 1 .2 .3 10, 11,12 4 .5 .6 7 .8 .9 A scen d in g A scen d in g D escen d in g D escen d in g 1 .2 .3 10, 11,12 — t t i r * 7 .8 .9 180 181 If we delineate the pitches of the respective rows in the B section (Subsection 2) according to their respective sub-sets while retaining the order of their appearance in the score, we w ill find the most structurally symmetrical pattern seen in the entire work (see Table to). TABLE SYMMETRICAL STRUCTURE OF SECTION I I I , SUBSECTION 2 Section III; Subsection 2 (m. 98-105) 0 1 a d b c 1,2,3 10,11,12 to5,6 7,8,9 0 7 c b d a 7 ,8 ,9 *757$ 10,11,12 1,2,3 Subsection 2 (m. 98-105) is in structural terms the climax of the work. Here we find the most symmetrical relation ship between two or more row statements in the entire work, varied internal patterns owing to the directional charac teristics of the various sub-sets (see Table to), and the only use of alternating portions of two rows of different transpositions which give us the closest thing to implied melodic counterpoint. Although it might be argued that the time difference in the alternation of two rows would prohibit its being labelled by the term implied counter point, the author finds the evidence sufficient to call it implied melodic counterpoint. 182 Pitch M aterial In his Polyphony for Solo C Trumpet. Charles W hitteriberg employs the following row (Example 3*0 a* 111 transpositions throughout the work. Exam ple 3^ \ny. :be g ~ r m i|t> ^ r An important characteristic of the basic row is its strongly symmetrical internal structure which permits the basic row to be divided into four sub-sets of three notes each. As may be seen in Table kZ, the letters a, b, c, d have been assigned to each of the respective sub-sets to aid discussion. TABLE kZ SUB-SETS OF BASIC ROW S u b - s e t — a b c d P i t c h e s — 1,2,3 ^,5,6 7,8,9 10,11,12 D i r e c t io n — Ascending Descending Descending Ascending 183 Sub-set d is intervallically the retrograde-inversion of sub-set a. Sub-sets a and d are further related in that they both proceed in an ascending direction. Sub-set c is intervallically the retrograde-inversion of sub-set b. Also, sub-sets b and c proceed in a descending direction. Sub-set c is intervallically the inversion of sub-set a and also sub-set b is the intervallic retrograde of sub-set a. Thus, sub-sets b, c and d are all derived from sub-set a as retrograde, inversion, and retrograde-inversion respectively, giving a row in which the second hexachord is the retrograde-inversion of the first. The two retrograde forms are eliminated from the permutation of the basic row, leaving only the original and inversion forms for use in the composition. The retrograde forms are eliminated because they are identical with various transpositions of the original and inversion forms. An example of this elim ination of retrograde forms would be R which is identical with I and RI which is identical D with 0 . Furthermore, even though both the original and inversion forms are available, the composer has used only the original form in structuring his composition. This use of the original form appears to result from the fact that if in the inversion form we interchange the first hexachord (pitches 1-6) with the second (pitches 7-12) by placing the second hexachord before the first, we have the original 184- form of the next transposition level. That is, inter- 1 2 changing the hexachords of I produces 0 . An important aspect of pitch material, implied counterpoint, is disucssed under the topic Form (above, Ch. X, pp. 172-181) because of its importance in the delineation of form. Me t e r-T e mp o-Rhythm The tempi used in Subsections 1 and 2 of Section I are characterized by an alternating between groups of measures which are labelled to be played at a metronome marking of quarter note at 104- and those groups of measures labelled with a metronome marking of quarter note at 48. Those measures played in the slower tempo might be charac terized as generally having a more sustained and subdued quality than the measures in the faster tempo which seem to have notes of a shorter duration and more lively character. This characterization of the two tempi holds in a loose fashion for the remainder of the composition. For example, all but the end of Subsection 1 of Section II is played at the slower metronome marking of quarter note at 48 with the performer using a straight mute to add to the subdued quality while Subsection 2 of Section II is played at a faster tempo (quarter note at 116 and 124) with the performer having removed the mute. Note at the end 185 of the work how the composer makes reference to the alternation of fast and slow tempi seen in the opening of the composition. We begin to perceive that the contrasts created hy the tempo changes give some further assistance to the delineation of the formal sections. Also the composer is constantly changing and alternating meters throughout the work. Performance Considerations The work exploits the full range of the C trumpet (from f^ to e.^). There are widely spaced trills in measures 5^ and 55 as well as the frequent wide interval skips throughout the work. Of special interest is the alternation of notes to he played half valve and those to he played normally which occurs in the final measures of Suhsection 1 of Section II (m. 60-6*0 and the beginning measures of Suhsection 2 of Section II (m. 65- 6 9). Mr. W hittenherg's composition obviously demands a mature embouchure and is w ritten to he played hy a thoroughly competent performer. CHAPTER XI ANALYSIS OF STEVEN WINICK'S EQUINOCTIAL POINTS Steven W inick's Equinoctial Points for solo trumpet is "based on a combination of a twelve-tone set and references to We Shall. Overcome, the hymn often associated with the civil rights movement in the United States. By using Equinoctial Points as the title of this work, the composer has symbolically conveyed a message of racial and political equality in his programmatic application of We Shall Overcome. We shall overcome is a modem adaptation of the old Negro church song I 'll Overcome Someday. The original words were: "I'll be all rig h t... .1 *11 be like Him..., I 'll wear the crow n....I will overcome”, but in the "folk tradition" of adapting songs to immediate needs and situa tions, new verses were supplied to the original tune. Verses appropriate to a variety of sentiments, such as labor, peace, and integration, have been created. In 19^5, the Negro Food and Tobacco Union workers in Charles ton, South Carolina were the first to adapt the original 186 187 hymn (1*11 Overcome Someday) for use during a local strike. Known as We Shall Overcome, the song later became associated with the Highlander Folk School and especially with the singing of Zilphia Horton. On one of Zilphia Horton*s trips to New York, Pete Seeger learned it from her and was largely responsible for its popularity in the North. The best known verse of We Shall Overcome is perhaps: "We shall overcome.. . .We shall overcome someday ....O h, deep in my h eart....I do believe....We shall ove rc ome s ome da y ". Form Equinoctial Points divides into those formal sections seen in Table TABLE 4-3 FORM Section Subsections Measures Row Permutations and Insertions I 1 1 -1 1 0^" , I 2 ,R2 2 12-21 RIi;Lf06,I6 II 1 22-30 R8(l_4) _ Insertion - R8(5-12),RI2,010,] 1 0 ( l - 2 ) 2 31-^0 Insertion - I10(3-12) 3 41-55 Insertion - R^(l-8) - Insertion and R1;L(9 -1 2 ) Mixed O -» III (Coda) 1 56-72 RI ,0 ,Insertion 2 73-81 Row F ra g m en ts,R 1 188 189 By their subdivision into two parts, Sections I and III contrast with Section II (with three subdivisions) and create a symmetrical relationship. It is possible, however, to subdivide Section III into three parts rather than the two indicated in Table One could view the insertion (m. 68-72) in Section III as an independent subsection which contrasts with the row m aterial coming before and after. Section III would then subdivide into the following subsections: Subsection 1 (m. 56-67), Sub section 2 (m. 68-72), and Subsection 3 (m» 73-81). This three-part subdivision would disturb the aforementioned symmetrical relationship of sections but would nevertheless be an equally valid approach to the formal delineation of th e w ork. In Section I, it is also possible to subdivide each of the subsections into two additional parts. Subsection 1 of Section I would then subdivide into the following parts: Part 1 (m. 1-8), and Part 2 (m. 9-11). Each part contains an equal amount of row m aterial. Part 1 (m. 1-8) contains 1 2 all of 0 and the first six pitches of I , while Part 2 2 (m. 9-11) contains the last six pitches of I and all of p R . Subsection 2 of Section I would subdivide into the following parts: Part 1 (m. 12-18), and Part 2 (m. 19-21). Again each part contains an equal amount of row m aterial. 190 Part 1 (m. 12-18) contains all of RI11 and the first six pitches of 0 , while Part 2 (m. 19-21) contains the last six pitches of 0^ and all of 1^. Section II subdivides into three subsections with a full measure of rest (measures 22, 31» and 4l) preceding each. Subsection 1 of Section II consists mainly of row material and contrasts with Subsection 2 of Section II, where reverberative note-cells (infra* pp. 196-198) are first introduced. The composer has then created a third subsection by combining these ideas (row m aterial and reverberative note-cells) in Subsection 3 of Section II. Subsection 3 contrasts with both Subsections 1 and 2. One should also observe how the reverberative effect, which is found only in Section II, and the use of the Harmon mute, also confined to Section II, create further contrast between Section II and Sections I and III. Pitch M aterial The pitch material (except the insertions) of Equinoctial Points is derived from the orderly selection of twelve note sets from the "magic square" seen in T a b le 44 . 191 TABLE kk MAGIC SQUARE I 1 2 3 4 5 6 7 8 9 10 11 12 1 C p# E C# G FD G* D# A B A* 2 p# C A# G C# B G* D A D# FE 3 G# D c A l / c # A# E BF G p# k B F D# C p# E C#G D G* A* A 5 FB A p# C A* G C* G* D E D* G C# B G# D c A D* A*E F# F R 3 ? A# E D B FD#C p# C# G A G* 8 EA* G* F B A p# C G c * . D*D 9 A C* A# E D B F C G* G 10 D# AGE A# G* F B p # c D c # 11 C*G F D G# p# D# A E C B 12 D G# p# l / A G E A* FBC RI The first six measures of the work contain the original set upon which the entire piece is based. Thereafter, the starting notes for each of the succeeding sets are obtained one by one from the order of pitches in the original set. In order to determine the succession of row forms used throughout the work, the composer has the starting notes 192 of each of the succeeding sets, proceeding clockwise around the "magic square" by using first the original form, inversion, retrograde, retrograde-inversion, and so forth until all twelve notes of the original set have been used (see Table 44). By following the procedure for obtaining starting notes and the procedure for obtaining row forms, we find that the first set in the work is 0'L, the second set is 1^, the third set R^, the fourth R I^, * the fifth 0 and so forth. This process continues through twelve complete set statements. Two additional complete set statements (0^ and R"^) are used to conclude th e w ork. The composer introduces in measures 73 and 74- of Subsection 2 of Section III, the only example of row fragments in the work (see Example 35) • Example 35 (m. 73-7^) is U 193 1 9 k Example 35 shows that the row fragments used are pitches 5 1 6 , and 7 of RI^, followed "by pitches 2 , 3 1 and ^ of o \ followed hy pitches 9» 10» and 11 of RI^. Pitch 11 of RI-^ 1 1 is the same as pitch 1 of R —R "being-the final complete set statement. The composer has interlocked the final note of the row fragment passage with the beginning note of the concluding set statement. By placing an emphasis in the closing measures on the original set and its retrograde, as well as introducing row fragmentation, the composer has heightened the cadential effect of Section III. Before continuing, attention should be directed to m easu re 39 where the copyist made an error in preparing the score for publication. The seventh pitch of 1^® has been falsified by changing G to the A notated in the score. This pitch change is explainable only as a printing error for it is not consistent with the manipulation of row material seen in the piece. The remaining pitch m aterial of the composition was taken from We Shall Overcome. This pitch m aterial appears in the form of melodic fragments (sometimes with octave displacements) which are dispersed throughout Sections II and III of the piece. These melodic fragments function as insertions which break up the more dominant row m aterial. An excellent illustration may be seen in Example 36 (m. 68- 7 2). li Upon comparison of Example 36 with measures 13~l6 of the music for We Shall Overcome, one finds that there has "been a direct intervallic transfer with the A and F pitches (m. 70) of Example 36 having heen displaced by an octave. It is of special interest that in Section II of the work, reverberative note-cells are utilized in all but one of the insertions. By this means the composer is perhaps suggesting the echoes of the thousands of people assembled in Washington, D.C, to participate in civil rights demonstrations. An illustration of the reverberative technique is seen in Example 37. Example 3? (m. 3 2 -3 7 ) 197 198 Upon comparison of Example 37 with the music for We Shall Overcome. we find that again the insertion has been taken from measures 13-16 of that song. This time, however, the composer has begun with the last note of measure 13 and used only the last four notes (or three intervals) of the hymn. Also, in Example 37» ike composer has heightened the effect of reverberation by using the Harmon mute. Meter-Tempo-Rhythm With regard to the composer’s use of rhythm, the more complicated rhythms used in conjunction with the row material contrast with the relative sim plicity of the rhythms used in the insertions and reverberative note-cells. It is also of interest that throughout Section I there is a gradual proceeding from notes of longer duration at the beginning of the section to rapidly reiterated notes of very short duration at the conclusion of the section. The published score contains two errors in the notation of rhythm. It appears that the half note in measure ^ should be notated as a dotted half note and the eighth rest in measure 5 should be omitted. These suggested alterations are consistent with the rhythmic idiom of the composer. The composer has loosely assigned meter signatures throughout the work according to the location of the hexachords as indicated in Table 199 TABLE 45 RELATIONSHIP BETWEEN METER SIGNATURES AND MAGIC SQUARE G X 8 c F# E C# G F D G# D* A B A* F# C A# G C* B G# D A D* FE H a# D c A D* c # A* E B F G F# 8 B FD# C F# E C# G D G* A# A F B A F# C A# G C* G* D E D# G C# B G# D c A D^ A# E F# F 0 £ -R E DBF B# CC# G A G# EA#G# FB A F# C G C# D* D 5 3 A D# C# A* E D BF C p# G* G 8 H■ D# A G E A# G* FB F# CD Cf C# G F D G# F# D# A E A* CB D G# F# D# A G E A# F B C* C 3 RI 8 An example of this method of assigning metrical signatures may he seen in the first eight measures where we find the followings measures 1-3» which contain pitches 1-6 of 01, h , to have a ^ meter signature; measures 4-6, which contain 200 1 7 pitches 7-12 of 0 , to have a g meter signature; and measures 7-8, which contain pitches 1-6 of I , to have a g meter signature. Performance Considerations In conclusion, the reader should note that in Equinoctial Points the composer has generally avoided extremes of register and has concentrated prim arily on the middle range of the trumpet. The most demanding element of performance is the rhythmic m aterial, which, within its m etrical framework, is at times rather complex. CHAPTER XII SUMMARY Form Examination of the ten representative pieces analyzed in Chapters II-XI indicates that diverse compositional techniques were employed to delineate form. The ten representative pieces may he divided into the following three categories with respect to the derivation of their form: 1) those compositions in which form is derived from the manipulation of musical ideas; 2) those compositions in which form is derived from extra-musical ideas; and 3) those compositions in which form is in part derived from the manipulation of musical ideas and in part derived from extra-musical ideas. Table 46 shows which pieces or parts thereof belong to each of the categories. 201 202 TAB IE k6 CATEGORIES OF THE DERIVATION OF FORM IN THE TEN REPRESENTATIVE PIECES C a te g o ry Com poser T i t l e 1 Apostel, Hans Erich Sonatine Fffr Horn (F) S o lo . Op. 39b Arnold, Malcolm Fantasy for Trombone. Op. 101 Childs, Barney Sonata for Solo Trom bone (l96l) (Movements 2 and y) Croley, Randell Variazioni, Op. k k , No. 3 (1965) Whitteriberg, Charles Polyphony for Solo C Trum pet 2 Antoniou, Theodor Six Likes for Solo Tuba (19671 Berio, Luciano Sequenza V (1966) Eaton, John Five Thoughts for Sonny Childs, Barney Sonata for Solo Trom bone ( 1 9 6 1) (Movement 1) W ellesz, Egon Fanfares for Horn Solo. Opus 78 Winick, Steven Equinoctial Points 203 Compositions in which form is derived from the manipulation of musical ideas Each composition in the first category may he examined in order to determine the primary musical factor which delineates the formal sections as well as important musical factors which aid in the delineation of the formal sections. Five different primary musical factors delineate form in the pieces belonging to this category. In the Apostel Sonatine and the Whittenberg Polyphony. the symmetrical use of row m aterial is the primary musical factor which delineates form. In Sonatine the symmetry is that created by the use of particular row forms for particular sections whereas in Polyphony the symmetry results from the implied directional counterpoint. In the Arnold Fantasy, the most traditional of the ten compositions contained in the representative literature, fluctuating tonal centers result from the composer*s utilization of chromatic movement between a member or members of successive chords. In Croley*s Variazioni. a basic motive which is varied or manipulated and serves as the unifying element of the variations also functions as the primary musical factor in delineating the formal sections contained within each individual variation. In contrast to the Apostel Sonatine in which all three movements employ the same primary musical factor to delineate form, the second and third movements of 204 the Childs Sonata each have a different primary musical factor delineating form. In the second movement of the Sonata, titled "Double", it is the patterns of occurence of two kinds of sub-sections which were created through the use of contrasting note durations as well as contrasting performance instructions that act as the primary musical factors in delineating the large formal sections of the movement. Although the written instructions for the third movement present the performer with certain choices, the instructions are so designed as always to result in a rondo and are therefore the primary musical factor in delineating the formal sections of the movement. In addition to the primary musical factors which delineate form and which were discussed in the preceding paragraph, there are several supporting musical factors which aid in the delineation of form in the pieces contained in the first category of form. Rhythm, meter, and tempo are used as supporting musical devices in Sonatine. Poly phony and Fantasy but are used in different ways in each piece. Apostel has created symmetry by the manner of assigning meters and tempi to the various sections which comprise each movement. In each of the three large sections of Polyphony, the manner in which the composer has assigned two basic tempi to the various sub-sections has created the contrasts which assist in the delineation of those 205 sub-sections. Contrast is also used in the Arnold Fantasy in which the rhythmic character of the second section contrasts with that of the other sections. Also, in Fantasy. Sections I, II, and III each have different meter and tempo indications. Implied melodic counterpoint, used in the Whittenberg piece as well as in the first and third movements of the Apostel piece, results from alter nating portions of two different rows and delineates form by being found only in certain sub-sections or sections. In the Croley Variazioni, most of the individual phrases of each variation begin on the same pitch as the in itial phrase of each variation. This unifying factor within the respective variations aids in the delineation of the large formal sections of the work. In the second movement of the Childs Sonata, recurring statements of identically labelled sub-sections are identical in melodic and rhythmic conteit to the original statement of that sub-section except for transposition to different pitch levels and the infrequent alteration or omission of a pitch or rest. The maintainance of an obvious relationship of variants within respective sections to each other is used in the third movement of the Sonata. This relationship maintains the identity of a respective section regardless of the variant the performer chooses when making "his” rondo. 20 6 Compositions in which form is derived from extra-musical id e a s Works and/or movements within works contained in the second category of form are usually characterized hy descriptive titles. Each composition in the second category may he examined in order to determine the primary extra musical factor which delineates the formal sections as well as the various musical factors which support that deline ation. In Eaton's Five Thoughts for Sonny. a program delineates hoth the movements themselves and their formal characteristics. The primary extra-musical factor which delineates form in the six movements of the Antoniou piece is the fact that each movement is a parody of a sonic phenomenon, and the formal structure of Sequenza V results from its being a theatre piece. Various musical factors are used to support the delineation of form in the pieces in this category. The two multi-movement works in the second category of form differ from each other in that Eaton uses the same supporting musical factor in all five movements of Five Thoughts for Sonny but Antoniou uses five different supporting musical factors in the six movements of Six Likes. The programmatic delineation of form in the Eaton work is supported in musical terms by the fact that each movement is delineated on the basis of contrasting textures. 207 The contrast of two types of formats is used to support the delineation of form and thereby the parody in the first and fifth movements of the Antoniou piece, although the derivation of the formats is different in the two movements. The composer uses implied counterpoint to support the delineation of form in the second movement of Six Likes by confining its use to the A sections of that movement. In the third movement which is a musical parody of a march, Antoniou uses both the rhythmic character and pitch emphasis of a typical tuba (bass) part as found in the march style. In the fourth movement of Six Likes, the musical factors which support the delineation of form are the composer's use of sim ilar tempo indications and sim ilar rhythmic figures to begin each of the three large sections. The sixth movement parodies a murmuring which is a low, indistinct and often continuous sound. This movement does not divide into formal sections as did the preceding five movements but instead consists of one long and continuous line which is analogous to the preceding definition of murmuring. Berio uses two musical factors, contrasts of sonic color and a "pitch additive technique", to support the form of his theatre piece, Seauenza V. Although the contrasts of sonic color are used throughout the piece, - they are especially prominent in the B section; the "pitch additive technique" is used only in the A section. 208 Compositions in which form is derived in part from musical ideas and in part from extra-musical ideas Works and/or movements within works contained in the third category of form are usually characterized by descrip tive titles as were those works in the second category of form. The most important aspect of works belonging to this category is the relative proportion of musical to extra musical ideas in the delineation of form. Musical ideas predominate over extra-musical ideas in the Winick and Wellesz pieces whereas they are used almost equally in the first movement of the Childs Sonata. The key to the delineation of the formal sections of Winick*s Equinoctial Points is the contrasts created between the use of material derived from a given twelve-tone set and material derived from We Shall Overcome with its attendant programmatic implications. The titles of the two movements of W ellesz's Fanfares contain a pastoral reference with the formal sections being delineated primarily by musical factors. In both movements, the formal sections are prim arily delineated by contrasting rhythmic textures. Three additional musical elements which aid in the delineation of the formal sections of the first movement but not the second are meter, tempo and a general ''directional characteristic" inherent in the melodic line. Furthermore, interval usage plays a more significant role in delineating form in the second movement than it did in the preceding movement. These four 20 9 additional elements aid the delineation of form because of the contrasts created by their variation in the different sections of the respective movements. In the first movement of the Childs Sonata, the rhythmic character of the musical phrases suggests the declamatory and rhetorical manner found in the phrases and sentences of speech. The phrases themselves are in turn grouped into three large sections by the composer's use of indeterminacy which delineates form by virtue of its being used only in the second section. An interesting point of comparison exists between the first movement of the Childs Sonata and the Croley Variazioni in that the rhythmic material of each suggests the declamatory and rhetorical manner found in the phrases and sentences of speech, but the rhythmic material does not delineate form in the Croley piece as it does in the Childs piece. Comments on the remaining published works Since the use of musical ideas to delineate form is common in music composition, one would expect that many of the remaining fifty-one pieces comprising this study would be ones in which the composer used a musical idea as the basis for form. The correctness of this assumption is borne out by the fact that thirty-nine (seventy-six percent) of the remaining fifty-one pieces fall into this 210 category. Twelve of the fifty-one pieces belong to the second and third categories of form, those pieces in which form is derived from extra-musical ideas or from a combi nation of musical and extra-musical ideas. Some of the twelve pieces in the second and third categories of form utilize extra-musical devices sim ilar to those in the pieces which were analyzed in detail. For example, the Alsina Consecuenza is a theatre piece as is the Berio Sequenza V. As in W ellesz's Fanfares, the Lamb Wilderness Sketches and the McCarty Color-Etudes employ broadly descriptive titles with the formal sections being delineated prim arily by musical factors. Before concluding the discussion of form, the author would like to point out an interesting relationship. Works which utilize texture or contrasts of sonic color as an important primary or supportive musical device in the delineation of form often utilize the expansion of sonic devices beyond those common to the traditional brass repertoire. Because these works utilize sonic devices beyond those common to the traditional brass repertoire, they are generally regarded as avant-garde compositions. Several works not contained in the ten representative pieces but which belong to this study, further illustrate the relationship between the use of texture or contrasts of sonic color as a primary or supportive musical device 211 in the delineation of form and the expansion of sonic devices. These works are Carlos Alsina*s Consecuenza. Op. 17 (19 6 6 ), Rob du. Bois' Music for a Sliding Trombone (1 9 6 8), John Cage's Solo for Sliding Trombone (1957-58)» James Fulkerson's Patterns III ( 1 9 6 9)» Conrad de Jong's Aanraking ( 1969)1 and David Reek's Five Studies for Tuba A lo n e . Pitch Material Examination of the use of pitch material in the ten representative pieces indicates that pitch material is usually subordinate to various other musical factors in fulfilling the architechtonic designs of the various works. Although it is subordinate to other musical factors, some type of pitch manipulation is an important musical device in delineating the formal characteristics of certain compositions or parts thereof in the ten representative pieces. The particular compositions and the various ways in which pitch material has functioned therein to delineate formal characteristics have already been elaborated in the discussion of form found at the beginning of this summary. Three applications of pitch material do require further discussion because they represent an attempt to expand sonic possibilities beyond those commonly found in the traditional brass repertoire. These applications are: 1) the 212 simultaneous sounding of two pitches by a single performer; 2) implied counterpoint; and 3) microtonal m aterial. Works from the ten representative pieces which use each of these applications are listed in Table k7 * TABLE 4-7 SPECIAL APPLICATIONS OF PITCH MATERIAL IN THE TEN REPRESENTATIVE PIECES A p p li- cation Composer Title Divisions 1 Antoniou, Theodor Six Likes for Solo Tuba ( 1 9 6 7) Movements 1, 5 Berio, Luciano Sequenza V (1966) S e c tio n B Eaton, John Five Thoughts for Sonny Movements 2 , 3 , 4 2 Antoniou, Theodor Six Likes for Solo Tuba (1967) Movement 2 Apostel, Hans Erich Sonatine Fttr Horn (F) Solo, Op. 39h Movements 1, 3 Berio, Luciano Seauenza V ( 1966) S e c tio n B Whitteriberg, Charles Polyphony for Solo C Trumpet Entire work 3 Antoniou, Theodor Six Likes for Solo Tuba (1967) Movements 1, 3» 5 Childs, Barney Sonata for Solo Trombone (1961) Movement 2 Croley, Randell Variazioni, Op. 44, No. 3 (1965) Variation III Eaton, John Five Thoughts for Sonny Entire work to M VjO 21^ The simultaneous sounding of two pitches by a single p e rfo rm e r Works which are contained in the ten representative pieces and which demonstrate the simultaneous sounding of two pitches by a single performer are the same compositions which constitute the second category of form. The simul taneous sounding of two pitches is accomplished by the performer*s humming one pitch while playing another. The simultaneous sounding of two pitches functions in the three works in this group in the following two ways: 1) to reinforce the played pitches with special color to the total resultant sound and 2) indirectly to delineate form. In the second, third and fourth movements of Eaton*s Five Thoughts for Sonny, the player is instructed to hum, usually in unison or octaves with played pitches, and in the fifth movement of the Antoniou work, he is to hum in octaves with played pitches. The idea of humming in unison or octaves with played pitches not only reinforces or enlarges the played notes but also gives a special color to the total resultant sound. Furthermore, this sonic phenomenon enhances the dreamlike atmosphere of the third movement of the Eaton work. The first movement of the Antoniou Six Likes and Section B of B erio's Sequenza V contain examples of the use of the simultaneous sounding of two pitches by a single 215 performer to contribute indirectly to the delineation of form. In the discussion of form for the first movement of Antoniou*s Six Likes it was pointed out that the rela tionship between the two voices of the duet usually follows one of two formats. Through its use in the two formats, the presentation of which delineates form, the simultaneous sounding of two pitches indirectly functions to delineate form. In Section B of Sequenza V. the gradual addition and/or subtraction of a prescribed number of sonic colors creates a changing pattern of color which in turn creates formal coherence. Through its functioning as one in a number of colors, the simultaneous sounding of hummed and played pitches contributes indirectly to the delineation o f fo rm . By way of comparison with the second, third, and fourth movements of the Eaton piece and the fifth movement of Six Likes wherein the simultaneous sounding of two pitches results in unisons and octaves, in the first movement of the Antoniou work the most frequently found harmonic intervals are the major seventh, augmented eleventh, perfect tw elfth, and major fourteenth. In Sequenza V. Berio most frequently uses the hummed part either to duplicate a played pitch or to create intervals of a second with only occasional larger intervals resulting, generally, from glissandi in either the hummed or played part. Finally, 216 Sequenza V contains a more extensive use of the simultaneous sounding of two pitches than either the Eaton or the Antoniou works. Implied counterpoint The second application of pitch m aterial which expands the sonic possibilities of the instruments beyond those found in the traditional brass repertoire is the use of implied counterpoint. W hittenberg's Polyphony is the only piece in which more than one kind of implied counterpoint is used. Using W hittenberg's title as a descriptive term, the composition can be said to contain: 1) melodic poly phony and 2) directional polyphony. The term implied counterpoint in the present discussion is to be equated with his term polyphony. Implied counterpoint is achieved in a variety of ways. In the first and third movements of the Apostel work and the second and third sections of the Whitteriberg work, implied melodic counterpoint results from alternating portions of two rows, the only difference being that Apostel uses contrasting row forms and Whittenberg does not. Although it might be argued that the time difference in the alternation of two rows would prohibit its being labelled by the term implied counterpoint, the author finds the evidence sufficient to call it implied melodic counterpoint. 217 The second of the two kinds of implied counterpoint used in W hitteriberg's Polyphony, implied directional counterpoint, is used throughout the work and stems from the directional qualities of the four basic sub-sets as contained in the basic series. The pitches of the ascending sub-sets form one line, and the pitches of the descending sub-sets form a second line. In the second movement of Antoniou's Six Likes, the composer has suggested two-voice counterpoint by contrasting accented with unaccented pitches with the accented pitches played fortissim o and the unaccented pitches played piano. Finally, in Section B of Berio's Sequenza V. a quasi-contrapuntal texture results from the rhythmic interplay of the simultaneously hummed and played p i t c h e s . In all the pieces discussed in the preceding paragraph, the implied counterpoint is related to the delineation of form. As discussed under the first category of form, implied melodic counterpoint, used in the second and third sections of the Whitteriberg piece as well as in the first and third movements of the Apostel piece, delineates form by being found only in certain sub-sections or sections. In the Whitteriberg Polyphony, the symmetrical use of row m aterial, which is the primary musical factor delineating form, results from the implied directional counterpoint. 218 In the second movement of Antoniou*s Six Likes, as dis cussed under the second category of form, implied counterpoint supports the delineation of form by being used in only certain sections of that movement. The relationship of the simultaneously hummed and played pitches and their utilization in the delineation of form in Section B of Berio*s Sequenza V was just described in the discussion on the simultaneous sounding of two pitches by a single p e rf o r m e r. Microtonal m aterial In discussing the use of microtonal material in the ten representative pieces, important considerations, aside from the kinds of micro tones used and their functions, are notation and method of playing the microtones. The kinds of microtones used are quarter tones and intonations accord ing to the shape of a graphic pitch symbol. Quarter tones are used in the third variation of Croley*s Variazioni, the second movement of Childs* Sonata, the first and fifth movements of Antoniou*s Six Likes, and all five movements of Eaton*s Five Thoughts for Sonny, and intonations according to the shape of a graphic pitch symbol are used in the third movement of the Antoniou work. There are four methods of notating the use of microtonal material in the works discussed. In the Childs 219 and Croley works, pitches contained in the twelve-pitch chromatic scale are preceded by a downward-pointing arrow which indicates that the performer is to play a pitch a quarter tone lower than the one notated. In the first and fifth movements of Antoniou*s Six Likes, the quarter tone inflections are notated by following a conventionally notated pitch with a line, portions of which are straight and portions of which are wavey, with the wavey sections indicating those parts which are to be inflected. Antoniou uses a conventionally notated pitch followed by a graphic pitch symbol to notate the pattern of the intonations in the third movement of Six Likes. Eaton notated microtonal pitches by adding a modified sharp or flat sign to one of the twelve conventionally notated pitches. The method of executing the microtonal pitches varies according to the piece and the instrument. Croley and Antoniou do not specify a method for obtaining the micro tonal pitches in their pieces. In the Childs Sonata, such pitches are performed by the use of half positions on the trombone. In Eaton's Five Thoughts for Sonny, the microtonal pitches are obtained in one of the following two ways: 1) by playing one of the twelve pitches contained in the twelve-pitch chromatic scale into a handerkerchief; or 2) use of alternate fingerings and/or extending the third valve tuning slide. 220 Microtonal m aterial is found to function in four ways in the works under discussion. In the third variation of Croley*s Variazioni. the quarter tones emphasize the two most prominent pitches in the variation. In the second movement of the Childs piece and the first and fifth movements of the Antoniou piece, microtonal m aterial serves to color various pitches. Antoniou uses microtonal material to create the sonic effect of clumsiness and thereby contribute to the parody in the third movement of Six Likes. Eaton has used quarter tones as an integral part of the melodic m aterial in each of the five movements of Five Thoughts for Sonny. Comments on the remaining published works Examples of the use of the simultaneous sounding of two pitches by a single performer, implied counterpoint, and microtonal m aterial are also found in the published works comprising this study other than the ten represent ative pieces. The simultaneous sounding of two pitches by a single performer can be found in Carlos A lsina's . Consecuenza. Op. 17 (19 6 6 ), Rob du Bois* Music for Sliding Trom bone ( 1 9 6 8), James Fulkerson's Patterns III ( 1969)» and the fourth movement of David Reek's Five Studies for Tuba Alone. The Alsina Consecuenza contains more extensive use of two pitches than does any of the other remaining 221 published works and can he compared with the Berio work which also makes extensive use of this application of pitch m aterial. As in Berio's Sequenza V. the simultaneous sounding of two pitches in the Alsina work functions in the delineation of form. Some pieces or parts thereof which use implied counterpoint are Carlos A lsina's Consecuenza. Op. 17 (1 9 6 6 ), the second, fourth, and fifth variations of Robert Henderson's Variation Movements ( 1967)» Jo h n Rahn's Counterpoints (1970), the first movement of Sam Raphling's Concert Studies 1 Introduction and Workout, and the fugue exposition of Edward Weiss' Prelude and Fugue. Again, the Alsina and Berio pieces can be compared, because in both the implied counterpoint results from the rhythmic interplay of the simultaneously hummed and played pitches. Of special note is the fact that Henderson and Weiss use implied counterpoint to give the impression of three voices. Microtonal m aterial is used in Rob du Bois' Music for Sliding Trombone ( 1 9 6 8), the fifth variation of Barney Childs* Variations for David Racusen ( 1 9 6 3)* Conrad de Jong's Aanraking (19 6 9), and the fifth movement of David Reek's Five Studies for Tuba Alone. The most common use of microtonal material in these pieces is that of coloring various pitches. 222 Meter-Tempo-Rhythm The discussion of meter, tempo, and rhythm in the ten representative pieces can he summarized under two topics: 1) the contribution of meter, tempo, and rhythm to the delineation of form and 2) temporal notation. The contribution of meter, tempo, and rhythm to the delineation of form has already been elaborated in the discussion of form found at the beginning of this summary and requires no further comment. The ten representative pieces may be divided into three categories with respect to temporal notation: l) measured notation with meter signatures; 2) measured notation without meter signatures; and 3) proportional notation. The division of the pieces into these categories is shown in Table ^8. 223 TABLE 1*8 CATEGORIES OF TEMPORAL NOTATION IN THE TEN REPRESENTATIVE PIECES C a te g o ry Com poser T i t l e 1 Antoniou, Theodor Six Likes for Solo Tuba (1 96 7) (Movement 3 ) Apostel, Hans Erich Sonatine Fffr Horn (F) Solo, Op. 39i> Arnold, Malcolm Fantasy for Trombone, Op. 101 Childs, Barney Sonata for Solo Trombone (1961) (M ovements 2 and 3 ) Eaton, John Five Thoughts for Sonny W ellesz, Egon Fanfares for Horn Solo. Opus 78 Whitteriberg, Charles Polyphony for Solo C Trum pet Winick, Steven Equinoctial Points 2 Antoniou, Theodor Six Likes for Solo Tuba (1967) (Movements 2, V, and 6) Childs, Barney Sonata for Solo Trombone (I 96I) (Movement 1) Croley, Randell V ariazioni. Op. bk, No. 3 (1965) Antoniou, Theodor Six Likes for Solo Tuba ( 1967) (Movements 1 and 5) Berio, Luciano Sequenza V ( 1 9 6 6) 22k Measured notation with meter signatures Although works and movements within works contained in the first category of notation are not discussed individually because they demonstrate the traditional method for organizing time flow, two special items should be mentioned. F irst, Eaton’s Five Thoughts for Sonny contains a more extensive use of different meter signatures than other works belonging to this category. Second, Steven Winick has loosely assigned meter signatures throughout Equinoctial Points according to the location of the different hexachords within the "magic square". This "magic square" is the same one used to derive the pitch material (except the insertions) of Equinoctial Po i n t s . Measured notation without meter signatures Those pieces in which the composer uses measured notation without meter signatures can be divided into two groups defined by the method by which the music is measured. In the first group are those pieces in which the music is measured because of tempo indications, and in the second group are those pieces in which the music is measured because of the almost continuous use of equal note values coupled with tempo indications. The pieces or parts thereof in the first group are Randell Croley's Variazioni and the first movement of Barney Childs' Sonata. The 225 second, fourth, and sixth movements of Antoniou's Six Likes are in the second group. Measured notation with meter signatures can also he found in two works in this category. A g meter signature is used throughout the second variation of Croley's Variazioni. hut because this g meter signature is enclosed in brackets, it appears to have been added as an after thought to facilitate performance. The three sections which comprise the first movement of Barney Childs' Sonata utilize a mixture of measured notation with meter sig natures and measured notation without meter signatures. Because of the prominent use of measured notation without meter signatures in the second of the three sections, the author has for purposes of discussion included this movement in the second category of notation. Proportional notation The third category of temporal notation consists of those pieces in which proportional notation is used. Based on the composers' usage, the author has defined proportional notation somewhat differently in each of the two pieces in this category. In the first and fifth movements of Antoniou*s Six Likes, the term proportional notation refers to the relative placement of sound along the horizontal score space of each line; whereas, in the Berio work, it refers to the relative placement of sound 226 within a given time span. This method of notating time in the Antoniou and Berio works makes use of unconventional notational symbols which are found in Tables 7 and 1^, respectively. In Sequenza V, Berio used proportional notation exclusively. Both the first and fifth movements of the Antoniou work utilize a mixture of proportional notation and measured notation without meter signatures, but the author has placed these movements in the third category of temporal notation because of the more extensive use of proportional notation in them. Comments on the remaining -published works Of the fifty-one published works comprising this study other than the ten representative pieces, thirty-four (sixty-seven percent) of the pieces employ measured notation with meter signatures; twelve (twenty-three percent) of them employ measured notation without meter signatures, and five (ten percent) of the pieces use proportional notation. Some special points can be mentioned about specific pieces in each of the three categories of temporal notation. Robert Henderson's Variation Movements ( 1967)* Leon Stein's Solo Sonata (1 9 6 9), and Frank McCarty's Color-Etudes. pieces employing measured notation with meter signatures, make extensive use of different meter signatures 2 2 ? as was done in Eaton’s Five Thoughts for Sonny. A1though David Reek's Five Studies for Tuba Alone is included with those pieces in which measured notation without meter signatures is used, the first, third, fourth, and fifth movements of that work also have sizeable amounts of proportional notation. The five works in the third category of temporal notation can be further categorized according to the author’s two previous definitions of the term proportional notation. James Fulkerson's Patterns III (1969)» Conrad de Jong's Aanraking (19^9)» and Rob de Bois* Music for a Sliding Trombone ( 1 96 8) use the relative placement of sound along the horizontal score space of each line as in Antoniou*s Six Likes, and Carlos Alsina's Consecuenza. Op. 17 ( 1 9 6 6) and John Cage's Solo for Sliding Trombone (1957-58) use the relative placement of sound within a given time span as in Berio's Sequenza V. Unconventional Notational Symbols Mention should be made of the abundant use of uncon ventional notational symbols in three of the works contained in the ten representative pieces. The three works are Theodor Antoniou's Six Likes for Solo Tuba (1967)* Luciano Berio's Sequenza V ( 1 9 6 6), and John Eaton's Five Thoughts for Sonnv. In general, the symbols contained in these works represent ways to notate sonic devices not common to the 228 traditional brass repertoire. The Berio work also has a special set of symbols to indicate dynamic levels. A detailed explanation of unconventional symbols used in Antoniou's Six Likes and Berio’s Sequenza V may be found in Tables 7 and 1^, respectively. For a detailed explanation of the symbols used in Eaton’s Five Thoughts for Sonny. see the relevant portions of Chapter VIII, pages 151-159* Comments on the remaining published works Eleven of the remaining fifty-one published works employ unconventional notational symbols. One of these works illustrates an interesting use of unconventional notational symbols. The unconventional notational symbols in Randell Croley's Mies Structure No. 3 (1966) were inspired by the architecture of Ludwig Mies van der Rohe. Appearing on a conventional staff, the unconventional symbols in this work are concerned with rhythm, dynamics and phrase groupings. The composer has attempted to create a functional notation which also appears on the printed page as visual art. Performance Considerations The ten representative pieces can be divided into three categories based on the degree of difficulty of performance. . The first category consists of those works which are. written in a straightforward and idiomatic manner, contain no 229 unusual or avant-garde effects, and avoid extremes of register. In the second category are those pieces which utilize wide pitch ranges and contain passages of rhythmic activity in which the player must he able to move rapidly over wide segments of those ranges. The third category includes the most difficult of the ten works, those having wide playing ranges, containing numerous interval skips beyond an octave, and making extensive use of sonic devices not common to the traditional brass repertoire. The division of the ten representative pieces into the above categories is shown in Table 49. 230 TABLE 4-9 CATEGORIES BASED ON THE DEGREE OF DIFFICULTY OF PERFORMANCE IN THE TEN REPRESENTATIVE PIECES C a te g o ry Com poser T i t l e 1 Apostel, Hans Erich Sonatine Fffr Horn (F) Solo, Op. 39*> W ellesz, Egon Fanfares for Horn Solo, Op. 78 Winick, Steven Equinoctial Points 2 Arnold, Malcolm Fantasy for Trombone. Op. 101 Childs, Barney Sonata for Solo Trombone (1961) Croley, Randell Variazioni, Op. 44, No. 3 (1 9 6 5) Whitteriberg, Charles Polyphony for Solo C T rum pet Antoniou, Theodor Six Likes for Solo Tuba "(1 9 6 7) Berio, Luciano Seauenza V ( 1 9 6 6) Eaton, John Five Thoughts for Sonny 231 An advanced high school performer should be able to play the compositions in the first category. The pieces in the second category require a performer with a well-developed embouchure and firm technical command of the instrument. The works in the third category require a mature performer with a well-developed embouchure, an excellent sense of pitch, and a willingness to master previously unexploited sonic devices. Two frequent attempts, not considered under other topics, to expand the sonic possibilities of brass instruments remain to be discussed: 1) mutes and 2) percussive effects. The pieces which use these devices are shown in Table 50. 232 TABLE 50 USE OF MUTES AND PERCUSSIVE EFFECTS IN THE TEN REPRESENTATIVE PIECES D evice Com poser T i t l e M utes Apostel, Hans Erich Sonatine Ftir Horn (F) Solo, Op. 39b Berio, Luciano Sequenza V ( 1 9 66) Croley, Randell Variazioni. Op. No. 3 TT 9 3 5 5------Whittenberg, Charles Polyphony for Solo C T rum pet Winick, Steven Equinoctial Points P e rc u s Antoniou, Theodor Six Likes for Solo Tuba s iv e (I967I E f f e c t s Berio, Luciano Sequenza V ( 1 96 6) Eaton, John Five Thoughts for Sonny / 233 M utes In the five of the ten representative pieces using mutes, the four kinds of mutes employed function in a variety of ways, Croley uses a straight mute to provide a special color or sound quality in Variazioni. Whitteriberg also uses a straight mute in Polyphony. but he uses it in the first sub-section of the second section to contribute to the subdued quality of those measures in the slower of the two basic and contrasting tempi which aid in the formal delineation. Another piece in which a mute is indirectly involved with the delineation of form is Apostel's Sonatine. Functioning as a mute in the Apostel work, the human hand creates stopped notes which in turn produce an "echo effect". The "echo effect" in the third movement functions as an aid in the delineation of form and in a cadential manner. Berio uses a metal plunger mute to contribute to the theatrical purpose of Sequenza V in two ways: 1) to modify the trombone tone so that it resembles indicated sonorities of speech and 2 ) to produce a percussive noise. In Equinoctial Points. Winick uses a Harmon mute to heighten the effect of reverberation in the reverberative note cells which in turn suggest the echoes of the thousands of people assembled in Washington, D.C., to participate in civil rights demonstrations. 23^ Percussive effects The three pieces using percussive effects use four kinds of effects, each in a different way. In the Eaton Five Thoughts for Sonny, the m etallic pop resulting from rapidly closing the extended third valve slide is one of several color devices which enhance the dreamlike atmosphere of the third movement. Antoniou uses two kinds of percus sive effects in Six Likes, one in the third movement and one in the fifth movement.’ In the third movement, the rhythmic accompaniment resulting from the perform er's striking the instrument with his fingers contributes to the musical parody of a march, and in the fifth movement, the percussive sound of the valves being moved loudly is used in an abstract sense to further the idea that the D section functions as a cadenza. In Berio's Sequenza V, the percus sive rattle resulting from rattling a metal plunger mute inside the bell of the trombone contributes to the theatrical purpose of the work and in the second section of this two-section work smooths transitions between measures that require inhaling and those that require exhaling. Comments on the remaining -published works Of the remaining fifty-one works, forty-four (seventy- six percent) fall into the first two categories based on degree of difficulty of performance, while seven (fourteen 235 percent) fall into the third category. Three of the pieces in the third category, those pieces employing sonic devices not common to the traditional brass repertoire, use several such sonic devices in one piece; they are James Fulkerson's Patterns III ( 1969), Carlos Alsina*s Consecuenza. Op. 17 ( 1 9 6 6), and John Cage's Solo for Sliding Trombone (1957-58). Other performance considerations discussed in regard to the ten representative pieces were the use of mutes and percussive effects. Fifteen of the remaining fifty-one published works employ mutes, and one of them, John Cage's Solo for Sliding Trombone (1957-58), uses five different kinds. In six of the eight French horn pieces in which mutes are used, the human hand functions as the mute. Percussive effects are used in four pieces which are James Fulkerson's Patterns III ( 1969)* Leonard Bernstein's Elegy for Miprtv I I . Carlos A lsina's Consecuenza. Op. 17 (1 9 6 6), and John Cage's Solo for Sliding Trombone (1957-58). The greatest number of percussive effects used in one piece is the three different ones in Fulkerson's Patterns III. APPENDIX A ANNOTATED LIST OF PUBLISHED WORKS French Horn Apostel, Hans Erich. Sonatine. Op. 39b. UE, 1965• See Chapter III for a detailed analysis of this work. Arnold, Malcolm. Fantasy for Horn. Op. 88 ( 1 9 66) . Fab, 1966. This short one movement work makes use of the idiomatic device of stopped notes. Although straightforward and idiomatic, the rhythmic activity within rapidly executed passages makes Fantasy a work of moderate difficulty. This composition is sim ilar in style to Arnold's Fantasy for Trombone. Op. 101, which was analyzed in detail in Chapter IV. Written range: e-bb2. Childs, Barney, Variations for David Racusen ( 1 9 6 3). T r i , 1967. This one movement work consists of a theme, six variations, and a coda. The third variation makes use of handmuting while the fifth variation is handmuted through out. There is lim ited use of unconventional notational symbols in the fifth variation. Microtonal material is used to color various pitches in the fifth variation. The rhythmic activity and numerous skips make this a moderately difficult work. Written range: g-b2. 236 237 Gerschefski, Edwin. Suite for French Horn Alone, Op. 52, N os. 1 - 5 . p e , 1557; : This five movement work is one of the longest compo sitions included in the dissertation. The five movements are respectively titled "Prelude", "Allemande", "Sarahande", "Bourree I and II" and "Gigue". Several trilled notes are found in the "Allemande". This moderately difficult work is similar in style to Gerschefski's Suite for Trombone A lo n e . Op. 4-9, N os. 1 -5 ( 1963). Written range: b- c3." Guamieri, M. Camargo. Etude (1953). Hon, 1958. This short one movement work is chronologically one of the earlier works included in the dissertation. Etude requires a total playing time of two minutes and twenty- seven seconds. The piece contains a brief passage of stopped notes and makes extensive use of meter changes. Except for several closing runs, the work presents minimal difficulty in performance. Written range: d-c3. Krol, Bernhard. Laudatio. Sim, 1 96 6. This one movement work is in the form of a free fantasy. Taking its inspiration from the Roman Catholic liturgy, the melodic style of the piece is suggestive of Gregorian chant. Laudatio uses measured notation without meter signatures and contains a brief muted passage. A calm, reflective piece, this work requires some endurance but is not technically difficult. Written range: db-bb2. Lyon, David. Partita. Op. 6. Asc, 19&7• This five movement work is one of the longer works included in the dissertation. The five movements are respectively titled "Introduction", "Waltz", "Hornpipe", "Aria" and "Finale". The first, third and fifth movements contain frequent meter changes, and the third movement uses stopped notes. A highly chromatic work, Partita also contains fragments of modal writing. Although straight forward and idiomatic, this moderately difficult work requires a performer with good technical facility. W ritten range: d-a2. 238 Presser, William. Three Pieces (196 6 ) . AE, 1 9 6 6. As indicated in the title, this work consists of three movements. The first movement uses measured notation without meter signatures; whereas, the second and third movements use measured notation with meter signatures. Stopped notes and bass clef are found in the first tv/o movements. The rhythmic activity and wide interval skips make this a demanding work requiring a performer with a well-developed embouchure and good technical facility. W ritten range: G-b^. Raphling, Sam. Concert Studies: Introduction and Workout. EM, 1 9 5 6. This two movement work is chronologically one of the earlier compositions included in the dissertation. Introduction uses implied counterpoint; whereas, Workout which divides into three sections (A,B,A) contains.a single stopped note. The single glissando in Workout is executed over the interval of an octave. Straightforward and idiomatic, this work is one of only moderate difficulty. Written range: bb-c3. Raphling, Sam. Concert Studies: Sonata. EM, 1955. This three movement work (Very moderately, Fast, Not too slow) is chronologically one of the earlier works included in the dissertation. Frequent meter and tempo changes are used throughout Sonata. Several glissandi are found in the third movement. Straightforward and idio matic, this work is one of only moderate difficulty. This composition is sim ilar in style to Raphling’s Concert Studies: Introduction and Workout discussed above. W ritten range: d-b^. Raphling, Sam. Concert Studies: Variations. EM, 1956. This one movement work consists of a theme and fourteen variations. Variations is chronologically one of the ear lier compositions included in the dissertation. In both Variation 11 and Variation 12, the final note is muted. . The rhythmic activity and occasional large skips make this a work of moderate difficulty. This composition is sim ilar in style to Raphling*s Concert Studies: Introduction and Workout discussed above. W ritten range: c-b13^. 239 Rosenthal, Irving. Partita. WIM, 1 9 6 8. Although P artita is a four movement work, each of those movements is of short duration. The four movements are respectively titled "Prelude", "Air", "Bouree" and "Gigue". In contrast to the last three movements, the first movement makes extensive use of different meters. The first and second movements make lim ited use of the bass clef. The rhythmic activity coupled with occasional skips makes this a work of moderate difficulty. W ritten ranges G-b2. Wellesz, Egon. Fanfares. Op. 78 (1957)* Ron, 1958. See Chapter IX for a detailed analysis of this work. Trombone Alsina, Carlos Roque. Consecuenza. Op. 17 (1966). B&B, 1969. Like Berio*s Seauenza V. this one movement work is a theatre piece. The composition makes extensive use of the simultaneous sounding of two pitches, percussive effects, unconventional notational symbols, and a metal plunger mute. Proportional notation, which may be defined as in the Berio work, is used throughout. An extremely difficult work. Playing ranges F#F#-ftj2. Range of vocal materials A-el. Arnold, Malcolm. Fantasy for Trombone. Op. 101. Fab, 1969. See Chapter IV for a detailed analysis of this work. Bassett, Leslie Raymond. Suite (1957). AE, 1 9^7• This four movement work (slow, march, slow, fast) makes extensive^use of the tenor clef. All four movements are written in 4 meter. The line is developed in a rhapsodic fashion often creating temporary tonal centers which rapidly disappear. Suite is rhythmically straight forward but demands a trombonist with a strong upper register. Written range: AA-d2. 2*K) Bavicchi, John. Preludes. Op. 21. Ens, 1966. A three movement work (Moderato-guasi fantasia. Poco adagio. con fuoco) which makes considerable use of different meters. The third movement makes extensive use of six teenth notes which result from the development and expansion of a sixteenth note motive first presented in measure three. The first and third movements require a trombonist with good technical facility while all three movements require a trombonist with a strong upper register. Written range: B^B^-d^, Berio, Luciano. Seauenza V (l 966) . UE, 1968. See Chapter V for a detailed analysis of this work. Bernstein, Leonard. Elegy for Mfppy II. GS, 1950* This short one movement work is chronologically one of the earliest compositions included in the dissertation. The title refers to a mongrel which belonged to Bernstein's brother Burtie. Throughout the work, which is written in g meter, the trombonist is instructed to accompany himself by tapping one foot, four to the bar. The composition makes extensive use of the tenor clef. Written range: B^BD-pblt Bois, Rob du. Music for a Sliding Trombone ( 1 9 6 8) . Don, 196 8. A single movement work which makes considerable use of treble and tenor clefs. Proportional notation, which may be defined as in Antoniou's Six Likes, is used throughout. The piece makes use of unconventional notational symbols, the simultaneous sounding of two pitches, microtonal m aterial, and a straight mute. The composition is extremely difficult and requires a trombonist with a strong upper register. Playing range: FffTFm-f #2. Range of vocal material: C"-dl. Cage, John. Solo for Sliding Trombone (1957-58). CFP, i 960. To make this piece, the composer used I Ching chance operations together with the intensification of imperfec tions in the paper upon which he was working. The number of 2*KL pages to be included in the score was simply decided by the composer. For a given page, the number of imperfections to be intensified was given by the I Ching. The imper fections on a blank page gave the placement of notes as well as their size. All other notations were given by the I Ching. The application of chance operations during the compositional process has resulted in a work which is highly indeterminate. In fact, because the element of indeterminacy is so extensive, the resultant work could be regarded as a set of instructions for the making of a composition or non-composition. Childs, Barney. Sonata (1961). Tri, 1 9 62. See Chapter VI for a detailed analysis of this work. C ope, D avid. T hree Movements f o r S o lo Trom bone. CAP, 19&9* W ritten for the bass trombone, this three movement work requires a total playing time of six minutes. The work makes some use of treble and tenor clefs. Fast mute and plunger changes are required in the first and second movements respectively. The second movement, which divides into three sections (A,B,A), makes good use of the F trigger in the staff. Written ranges E-b1. Croley, RandelT. Mies Structure No. 3 (1966) . AE, 1970. This short one movement work is through-composed and utilizes measured notation without meter signatures. The most interesting aspect of the piece is the composer*s use of unconventional notations! symbols which were inspired by the architecture of Ludwig Mies van der Rohe. Appearing on a conventional staff, the unconventional symbols are concerned with rhythm, dynamics and phrase groupings. The composer has attempted to create a func tional notation which also appears on the printed page as visual art. Written ranges B^B^-g1. Croley, Randell. Variazioni Piccoli (196*0. AE, 1965* This short one movement work for bass trombone consists of a theme and six variations. The work uses measured notation without meter signatures. The rhythmic activity 2k2 and large skips (two octavesin some cases) make this a difficult work. This composition is sim ilar in style to Croley's Variazioni. Op. No. 3 (19^5) for unaccompanied solo trumpet, which was analyzed in detail in Chapter III. W ritten range: G^G^-c . Gerschefski, Edwin. Suite for Trombone Alone. Op. lf-9, Nos. 1-5 (1963). CFE. This five movement work is one of the longest compo sitions included in the dissertation. The five movements are respectively titled "Prelude”, "Minuet", "Sarahande”, "Bourree", and "Gigue”. The first, second, fourth and fifth movements make lim ited use of glissandi. The rhythmic activity and large skips (two octaves in some cases) make this work one of moderate difficulty. Written range: E - h ^ l. Hartley, Walter S. Sonata Breve ( 1 9 6 9). Ten, 1970. W ritten for the hass trombone, Sonata Breve consists of two fast movements which require a total playing time of four minutes and fifteen seconds. The composition's most notable characteristic is the abundant rhythmic manipulation of melodic fragments which make it an exercise in rhythmic variation. The piece requires a bass trombonist with good technical facility and an ability to play wide intervals. Written range: AA-fi. Jong, Conrad de. Aanraking ( 1969)* GS, 1970. The title of this one movement work translates into English as Contact. The work has more to do with gesture than pitch manipulation. It is as though one were lost in a sort of hazy dream filled with musical gestures that varied in their relation to some concrete reality. Through out the vagueness the dreamer briefly makes and loses "contact” with various elements of his sonic past. Except for an occasional brief passage of measured notation, the work utilizes proportional notation throughout. The composition makes considerable use of glissandi. W ritten range: A^A^-bi, 2^3 Mitsuoka, I. Two Moments ( 1965). AE, 1970. As is suggested by the title, this work consists of two short movements. The first movement is a rondo, is written almost entirely in the tenor clef, and is rhyth mically complex. The second movement, which is bipartite (A, B, Codetta), has less rhythmic activity and is com paratively straightforward. The work requires a trombonist with a strong upper register. Written range: G-d^. Presser, William. Partita (1 9 6 8) . AE, 1968. This three movement work (Andante. A llegretto. Allegro) requires a total playing time of five minutes and forty-seven seconds. The first two movements are written in ft meter while the third movement is in ^ meter. The work is very idiomatic and except for occasional notes in the upper range, presents few difficulties in performance. W ritten range: BDB^-b131. Rahn, John. Progressive Etude ( 1969) . AE, 1970. W ritten for the bass trombone, this one movement work divides into three sections. The work derives its pitches from a ten pitch retrograde degenerate row; that is, the two five pitch segments are retrogrades of one another, and the whole row is identical to its retrogression at the transposition of the tritone. Implied counterpoint, resulting from alternating row statements, is found in the first two sections. Contour notation and a Tritone clef (each line is a semitone or a slide position) are utilized in the third section. Written range: DD-c2. Raph, Alan. Caprice (19 6 3)* AR, 1 966. W ritten for the bass trombone, this short one movement work consists of a series of episodes which results in a. rondo construction. Caprice makes extensive use of triplet as well as dotted eighth and sixteenth note rhythms. The work requires a bass trombonist with a strong upper regis ter. The last measure indicates for the performer to execute a grlissando and diminuendo from al to a2. W ritten range: GG-a^. Raph, Alan. Rock. CF, 1970. This one movement work is w ritten especially for a double-valve bass trombone. A series of rock rhythm "licks" are sequentially tied together within an ABA macro-form. Only the lower register of the instrument is used. W ritten range: GG-b*3. Stout, Alan. Proclamation (1957» rev. 1966). AE, 19^7. This short one movement work which makes extensive use of the tenor clef utilized measured notation without meter signatures. The title is descriptive only in that it fits the general style of the piece. The piece is a study for the cadenza section of Stout's Symphony No. 2 as well as the beginning of the third movement of his Sonata for Cello and Piano. Except for an occasional high note, this compo sition presents few difficulties in performance. Written range: F-b1. Weiss, Edward. Prelude and Fugue. MSP, 1970. The prelude of this short one movement work is a seven part rondo. The only notable characteristic of the fugue is the suggestion of three voices in the exposition. This implied counterpoint is brought about through the emphasis and contrast placed on the notes which make up the three entries of the theme. Aside from the implied counterpoint, technical problems in this work are at a minimum. W ritten range: D#-e. Y o sh io k a, Em m ett. E x ta s e . AE, 19^9* This one movement work makes some use of tenor clef. Although no meter signature is indicated, the entire work is written in a | meter. The absence of a meter signature and the frequent use of tempo indications such as rubato. accelerando and ritard are the result of an attempt by the composer to write a work which is very esoressivo. The rhythmic activity and wide range make it necessary for the trombonist to have good technical facility and a well- developed embouchure. W ritten range: E-c^. 2^5 Trum pet Arnold, Malcolm. Fantasy for Trumpet. Op. 100. Fab, 1969* This one movement work divides into four sections with the fourth section making prominent use of motivic material from the first. The work is very idiomatic. The rhythmic activity and vivace tempo of the second section make it necessary for the player to have good technical facility and make this section the most difficult in the work to execute. This composition is similar in style to Arnold's Fantasy for Trombone. Op. 101, which was analyzed in detail in Chapter IV. Written range: g-c3. Croley, Randell, Variazioni. Op. No. 3 (19^5)* Tri, 1 9 6 8. See Chapter VII for a detailed analysis of this work. Eaton, John. Five Thoughts for Sonny. SP. See Chapter VIII for a detailed analysis of this work. Henderson, Robert E. Variation Movements ( 1 9 6 7) . WIM, 1970. This five movement work makes extensive use of different meter signatures. The second, fourth, and fifth movements use implied counterpoint. The implied counter point in the fifth movement is exceptional in that it suggests three voices. Both straight and Harmon mutes are used in the fourth movement. The work is difficult and requires a trumpet player with good technical facility and a strong upper register. W ritten range: ffr-e‘33. Klauss, Kenneth. Sonata for Solo Trumpet (1952). CAP, 1969. This three movement work is chronologically one of the earliest compositions included in the dissertation. The composition, which contains some chromaticism, is basically tonal. The first and third movements are developed in a 2 46 rhapsodic fashion while the second movement is a lengthy set of variations. Rhythmic activity and some use of wide skips (sevenths and octaves) make this a work of moderate difficulty. Written range: g-c3. Lamb, John David. Wilderness Sketches (1 966) . UM, 1 9 67. A suite of six movements. Generally diatonic, the composition features asymmetrical rhythms. All movements use constantly changing meters, but time signatures are never used. A steady quarter, eighth or sixteenth pulse is assumed throughout each movement. The work is highly idiomatic for the instrument and could easily be played by an advanced high school performer. W ritten range: Rahn, John. Counterpoints (1970).. AE, 1970. A serial composition which places great emphasis on duration and dynamics. A twelve pitch row is mapped into a seventy-eight pitch weighted row in which each pitch occurs a number of times equal to the complement (mod 12) of its order number. That is, the first pitch occurs twelve times, the second eleven times, and so on. The order of the weighted row is determined, as is the weighting itself, by a structure of superimposed periodic duration series. Written range: f«-ei>3. Schroeter, Heinz. Fanfarette. Led, 1963* This short one movement work divides into three parts (A,B,A). Fanfarette requires a total playing time of two minutes and thirty seconds. The work is idiomatic and except for several wide intervals presents minimal difficulty in performance. Written range: cl-a^. Vackar, Dalibor C. Partita ( 1 9 6 8). Eul, 19&9. This five movement work is one of the longest compo sitions included in the dissertation. The five movements are respectively titled "Prelude", "Blues", "Scherzo", "Aria" and "In Jazz Style". The first and fifth movements 2^7 employ measured notation with meter signatures; whereas, the second, third and fourth movements use measured notation without meter signatures. The entire second movement is played using a straight mute. The wide playing range and length of the composition, coupled with the rhythmic activity, make this work one for advanced players. Written range: a-d3. Whittenberg, Charles. Polyphony for Solo C Trumpet (1965)* McG, 1970. See Chapter X for a detailed analysis of this work. Winick, Steven. Equinoctial Points (1970). AE, 1970. See Chapter XI for a detailed analysis of this work. Wolpe, Stefan. Solo Piece for Trumpet ( 1966) . McG, 1 9 6 8. An unusual characteristic of this two movement work is that the longer first movement is written for trumpet in C while the shorter second movement is written for trumpet in F alto. If the trumpet in F alto is not available, the second movement can be played in Bb on the trumpet in C which was used in the first movement. The work uses measured notation without meter signatures, and the first movement also uses broken bar lines. The rhythmic character and occasional high notes make this work a difficult one. Written range of first movement: g^-d^O, W ritten range of second movement: g-e3. Tuba Antoniou, Theodor. Six Likes for Solo Tuba ( 1 9 6 7) . BA, 1968. See Chapter II for a detailed analysis of this work. Arnold, Malcolm. Fantasy for Tuba. Op. 102. Fab, 19^9 •' A short one movement work, Fantasy is a five part rondo. It is very idiomatic and presents minimal difficulty 2^8 in performance. The most difficult section contains arpeggiated figures and repeated octave skips. This compo sition is sim ilar in style to Arnold’s Fantasy for Trombone. Op. 101, which was analyzed in detail in Chapter IV. Written range: FF-cl. Croley, Randell. Variazioni ( 196 5) . WIM, 19 6 8. This one movement work consists of a theme and nine variations. It uses measured notation without meter signatures. The rhythmic activity makes it necessary for the tuba player to have good technical facility. This composition is sim ilar in style to Croley*s Variazioni. Op. 44, No. 3 (1965) for unaccompanied solo trumpet which was analyzed in detail in Chapter VII. Written range: EE- b . Fulkerson, James. Patterns III ( 19 6 9) . MP, 1 9 6 9. A single movement work which uses a mixture of measured notation without meter signatures and proportional notation. The proportional notation may be defined as in Antoniou's Six Likes. The composition makes extensive use of sonic devices not common to the traditional brass repertoire. The work's opening passage is particularly interesting in its attempt to produce sounds identified with electronic music. Playing range: B^B^B^-gl. Range of vocal m aterial: A^-fTr!, Hartley, Walter S. Suite. EV, 1 96^ . The four short movements in this work are highly contrasting. The four movements are respectively titled "Intrada", "Valse", "Air" and "Galop". Wide interval skips are employed throughout the work. In the first movement, these wide interval skips often result from extreme modulations. The wide intervals, especially in those movements that are executed rapidly, require a performer with a well-developed embouchure. W ritten range: GG-b. Klauss, Kenneth. Sonata for Solo Tuba (1952). CAP, 1 9 6 9. This three movement work (Adagio. Andante. A llegretto) is chronologically one of the earliest compositions included 24-9 in the dissertation. The line is developed in a rhapsodic fashion. The work is tonal and employs key signatures. Sonata is very idiomatic and except for some wide skips (mostly octaves) presents few difficulties in performance. W ritten range: B^B^B^-cl. McCarty, Frank. Color-Etudes. KP, 1970. A three movement work which requires a total playing time of six minutes and fifty seconds. The three movements are respectively titled "Black", "Green", and "Red", The work makes extensive use of different meters. The piece is idiomatic and except for an occasional wide interval or note in the upper register, presents minimal difficulty in performance. W ritten range: CTrC#~el. Persichetti, Vincent. Serenade No. 12. EV, 1 9 6 3. This work consists of six short movements of varying difficulty and is one of the longer compositions included in the dissertation. The six movements are respectively titled "Intrada", "Arietta", "Mascherata", "Capriccio", "Intermezzo" and "Marcia". The idea of contrast is prominent throughout the work as in the first movement where there is a contrast between legato passages played at soft dynamic levels and abrupt passages played with a staccato articulation at loud dynamic levels. The high register, wide intervals, and rapid tempi of the first, fourth, and sixth movements make this a difficult work and require a performer with a well-developed embouchure. W ritten range: DD-el. Presser, William. Suite for Tuba. Ens, 1967* This three movement work (A llegretto.^Adagio-Allegro. Adagio-Allegro) requires a total playing time of eight minutes and seven seconds. The first and third movements are w ritten in fj; meter while the second movement begins in a fj; meter and changes to a § meter at the allegro. Key signatures are used in all three movements, but the tonality modulates frequently. Except for an occasional note in the upper register and the double tonguing required in the third movement, the piece presents minimal difficulty in performance. W ritten range: EE-e131. 250 Reck, David. Five Studies for Tuba Alone. CFP, 1 9 6 8. This five movement work (Tempo rubato. As fast as possible, Like a song, Make like a Wallenda, man.', Blues) exploits the entire range of the tuha up to the high fl. The work prim arily uses measured notation without meter signatures; however, the first, third, fourth, and fifth movements contain sizeable amounts of proportional nota tion. The piece makes use of unconventional notational symbols, simultaneous sounding of two pitches, and microtonal m aterial. The composition is extremely difficult and requires a tuba player with advanced technical facility. Playing range: BBB-fl. Range of vocal material: c#-el. Sear, Walter E. Sonata. WIM, 1 9 6 6. This four movement work (Andante. Presto, Andantino. Giocoso) exploits the entire range of the tuba up to the high d-L. The first movement is characterized by wide skips, numerous slurs, and an almost continuous flow of eighth notes. Rhythmic difficulties encountered in the second movement involve trip let figures contrasted with double dotted rhythms. The third movement is characterized by low register playing and legato style articulation while the last movement is characterized by staccato notes in § and 2 meters. Written range: FF-d1, Spillman, Robert. Four Greek Preludes. EM, 1 9 6 9. The word "Greek" used in the title of this composition is intended to evoke the atmosphere of Greece, with the composer employing scales and rhythmic schemes typical to Greek folk music. The work consists of four movements (Lento. Andante moderato. Recitative. Allegro giocoso). The first and third movements use measured notation without meter signatures, while the second and fourth movements use measured notation with meter_signatures. The rhythmic activity and some use of wide skips make it necessary for the performer to have good technical facility. Written range: EE-fl. 251 Stein, Leon. Solo Sonata (l9^9)• CFE, 19&9• This three movement work is one of the longer compo sitions included in the dissertation. The three movements are respectively titled "Variations", "Recitative" and "Finale". Frequent meter and tempo changes are used throughout Solo Sonata. The rhythmic activity coupled with the use of wide intervals, many greater than the octave, makes this piece difficult to perform. Written range: F # F # -c !. APPENDIX B LIST OF PUBLISHERS ACA AMERICAN COMPOSERS ALLIANCE, 170 W. S t . , NYC 10023 AE AUTOGRAPH EDITIONS, c/o A tlantic Music Supply, 152 W. 42nd S t., NYC IOO 36 AMP ASSOCIATED MUSIC PUBLISHERS, 866 3 rd A venue, NYC 10023 AR AR PUBLISHING CO ., 756 7th Avenue, NYC 10019 Asc ASCHERBERG, HOPWOOD & CREW, 16 M ortim er S t . , London W 1, England BA BAERENREITER VERLAG, H e in ric h S c h u e tz A lle e 2 9 , 3500 Kassel-W ilhelmshohe, Germany BB BROUDE BROS., 56 W. 45th S t., NYC 10036 B&B BOTE & BOCK - See A s s o c ia te d (AMP) CAP COMPOSERS AUTOGRAPH PUBLICATIONS, P .O . Box 671, Hamilton, Ohio 45012 CF CARL FISCHER, 62 Cooper Square, NYC 10003 CFE COMPOSERS FACSIMILE EDITION, 170 W. 7 4 th S t . , NYC 10023 CFP C. F . PETERS CORP., 373 P a rk Avenue S o u th , NYC 10016 Don DONEMUS - See Peters (CFP) 252 253 EM EDITION MUSICUS, Box 13*1-1, Stamford, Conn. 0690k E ns ENSEMBLE PUBLICATIONS, Box 9 8, Buffalo,. N.Y. 1*1-222 E u l E. EULENBURG - See Peters (CFP) EV ELKAN-VOGEL - See P r e s s e r (TP) Fab FABER & FABER MUSIC - See G. S c h irm e r (GS) GS G. SCHIRMER, 866 3 rd A venue, NYC 10022 Led ALPHONSE LEDUC, 175 ru e S a in t-H o n o re , 75001 Paris, France McG McGINNIS & MARX, c/o Pietro Deiro, 133 7th Avenue, NYC 1001*1- MP MEDIA PRESS, Box 895, Champaign, 111. 61820 MSP MS PUBLICATIONS, 9*1-6 S. Wesley, Oak Park, 1 1 1. 6030 *1- PE PIONEER EDITIONS - See A m erican Com posers A lliance (ACA) Ron RONGWEN MUSIC - See B roude B ro s. (BB) Sim N. SIMROCK - See A s s o c ia te d (AMP) SP SHAWNEE PRESS, Delaware Water Gap, Penna. I 8327 Ten TENUTO PUBLICATIONS - See P r e s s e r (TP) TP THEODORE PRESSER CO., P r e s s e r P la c e , B ryn Mawr, P a . 19010 T r i TRITONE PRESS - See P r e s s e r (TP) UE UNIVERSAL EDITION - See Presser (TP) UM UNIVERSITY MICROFILMS, Ann A rb o r, M ich. WIM WESTERN INTERNATIONAL MUSIC, 2859 H o lt A venue, Los Angeles, C alif. 900Jk APPENDIX C COMPOSER BIOGRAPHIES ALSINA, CARLOS ROQUE (Feb. 19, 19*H- )• "b. Buenos Aires, Argentina, living in Berlin. Early- training as pianist. Self-taught composer. Studied electro-acoustics at University of Buenos Aires. Ford Foundation "Artist in Residence" in Berlin, 196^. Worked with Berio. On Faculty of University of New York at Buffalo ( 1966- 1 96 8). Currently a free-lance com poser. ANTONIOU, THEODOR (Feb. 10, 1935- )• b. Athens, Greece. Violin, voice, and composition studies at National Conservatory and Hellenic Conservatory, Athens. Studied composition with Yannis Papaioannou in Athens and G. Bialas in Munich. Taught theory and composition at National Conservatory. Composer in residence in Berlin (Ford Foundation), Stanford University, Univer sity of Utah, and Berkshire Music Center Festival. First prizes for various compositions awarded by: the Hellenic Conservatory, Athens Technological Institute, city of Stuttgart, Arts Ministry of Greece, and Radio-Television, Barcelona. Richard Strauss Prize from City of Munich. In 1970, conductor and composer at Philadelphia Music Academy. APOSTEL, HANS ERICH (J a n . 22, 1901- ) . b . K a rls r u h e , Austria. Studied with Schoenberg and Berg. Nazis did not approve of his music. Since World War II, teaches privately, works free-lance for various publishers, and accompanies singers. ARNOLD, MALCOLM HENRY (O c t. 2 1 , 1 9 2 1 - ) . b . N orthham pton, England. Studied trumpet and composition at Royal College of Music. Beginning in 19^7, studied in Italy under Mendelssohn Scholarship. Played trumpet in Lon don Philharmonic Orchestra and BBC Symphony. Commis sioned to write a ballet, Homage to the Queen, for coronation of Queen Elizabeth II in 1953* Wrote several works based on English and Scottish folk songs. 25^ 1 255 Wrote 'background music for several motion pictures including Bridge on the River Kwai (1957)• BASSETT, LESLIE ( J a n . 2 2 , 1923- ) . b . H a n fo rd , C a l i f . Played trombone in jazz ensembles and in m ilitary service in World War II. B.A. (1947)> Fresno State College. M.M. (1949)» Dr.M. (1956), University of Michigan. Studied with Ross Lee Finney, Arthur Honeg ger, Nadia Boulanger, Roberto Gerhard, and Mario Davidovsky. Founding member of University of Michigan Electronic Music Studio. Director of Contemporary Performance Project at University of Michigan. Has been guest composer at contemporary music festivals and conferences throughout the United States. Prix de Rome (I 96I-I 963) residence at the American Academy in Rome. Pulitzer Prize ( 1966). Has been on the faculty of the University of Michigan since 1952. BAVICCHI, JOHN. S tu d ie d B u s in e s s E n g in e e rin g and Admin istration at Massachusetts Institute of Technology (1940-1942), C ivil Engineering at Newark College of Engineering (1942-1943) and at Cornell University (19^3)* B.M. from New England Conservatory of Music (1948-1952). Attended Harvard University Graduate School (1952-1955). In U.S. Navy (1943-1946). Taught at Newton Center for Creative Arts (summers only, 1963-1969) and Cambridge Center for Adult Education (I 960-I 9 72). Currently teaches composition, music history, and conducting at Berklee School of Music, Boston (since 1964). BERIO, LUCIANO (Oct. 24, 1925- ). b. Oneglia, Italy, living in New York City. Studied with his father, Giulini, Ghedini, and Dallapiccola. Was on staff of Italian Radio in Milan (1953-1960), where he founded Studio di Fonologia Musicale for experimental work in acoustics. Edited the periodical Incontri Musicali (1957-1962). Taught at Berkshire Music Festival, Mills College, Darmstadt, and Harvard. Currently teaching at Juillard School of Music in New York. BERNSTEIN, LEONARD (Aug. 2 5 , 1918- ) . b . L aw rence, M ass. Studied at Harvard University, Curtis Institute of Music, and Berkshire Music Center at Tanglewood. Studied with Walter Piston, E. B. H ill, Isabelle Vengerova, Fritz Reiner, and Randall Thompson. Was assistant conductor (1943) and later conductor (1958-1969) of the New York Philharmonic Symphony Orchestra. Conductor of the New York City Center 256 Orchestra (19^5-19^7)• Composer of "both popular and symphonic music. Currently has active career as guest conductor of European orchestras. BOIS, ROB du (May 28, 193^- ). b. Amsterdam, Holland. Studied law. Self-taught composer. Greatly influenced by Schoenberg and Berg. CAGE, JOHN (Sept. 5, 1912- ). b. Los Angeles, Calif. Studied piano with Fannie Dillon and Lazare Levy and composition with Adolph Weiss, Henry Cowell, Schoen berg, and Varese. First attracted attention with his pieces for prepared piano. Experiments with chance and indeterminacy as compositional technique. CHILDS, BARNEY (Feb. 13, 1926- ). b. Spokane, Wash. B.A. in English from University of Nevada (19^9)* M.A. from Oxford University as a Rhodes Scholar (1955)* Ph.D. in English and Music from Stanford University (1959)* Studied with Leonard Ratner, Carlos Chavez, Aaron Copeland, and E lliott Carter. Taught English at University of Arizona (1956-1965)» was Dean of Deep Springs College ( 1965- 1969)1 and taught theory at Wisconsin College Conservatory in Milwaukee ( 1969- 1971). Received Koussevitsky Memorial Award in composition. COPE, DAVID (May 17, 19^1- ). b. San Francisco, Calif. B.M. in Composition from Arizona State University (1963). M.M. in Composition from University of Southern California (1965)* Studied with I. A. MacKenzie and Paul Ignace. Taught at Kansas State College, California Lutheran College, and Cleveland Institute of Music. Editor of The Composer magazine. Author of two books, Notes in Discontinuum and New Directions in Music. Currently teaching at Miami University in Oxford, Ohio. CROLEY, RANDELL (Sept. 23, 19^6- ). b. Knoxville, Tenn. Studied at Cumberland College in Williamsburg, Ky. and the University of Kentucky in Lexington. B.M. in Composition from University of Louisville. Studied with Moritz von Bomhard and Roman Vlad. Played trumpet in Louisville Orchestra and in Kentucky Opera Association Orchestra, Louisville Brass Quintet, and Louisville Bach Society Orchestra. 257 EATON, JOHN (M ar. 30, 1935- )• b. Bryn Mawr, Pa. A.B. and M.F.A. degrees from Princeton University. Studied with Milton Babbitt, Edward Cone, and Roger Sessions. Had Prix de Rome and Guggenheim grants. Known for use of Syn-Ket, a portable electronic synthesizer, and Syn-Mill, an electronic generator specially built for him. Currently teaches at Indiana University. Much of his current music involves the use of microtonal m a t e r i a l . FULKERSON, JAMES 0. (July 2, 19^5- ). b. Streator, 111. B.M. in Bass Trombone from Illin o is Wesleyan University (1966). M.M. in Composition from University of I l l i n o i s ( 1 9 6 8). Studied composition with Wilbur Ogdon, Abram Plum, Salvatore M artirano, Robert Kelly, Lejaren H iller, Herbert Brttn, and Ben Johnston. Has recorded on Nonesuch and Deutsch Gramophone and toured in the United States and Europe with various groups. Currently resides in Totnes, England, making solo tours, radio recordings, and lecturing on the art of brass playing and composition. GERSCHEFSKI, EDWIN (Ju n e 1 0 , 1 9 0 9 - ) . b . M erid en , Conn. M.B. and Ph.D. from Yale University (1931)* Studied composition with D.S. Smith and R. Donovan. Was instructor in piano, theory, and composition at Converse College in Spartanburg, S.C, Since 19^7, dean of the Converse College School of Music. GUARNIERI, CAMARGO MOZART (F eb . 1 , 1907- ) . b . T ig t€ , State of Sao Paulo, Brazil. Learned the rudiments of music at an early age from his father, a flu tist. ^ Studied in Sao Paulo with E. Braga, A. de Sa Pereira, and Lamberto Baldi, and in Paris with Ch. Koechlin and Fr. Rtthlmann. Conducted Philharmonic Society of Sao Paulo, directed Cftral Paulistano, and taught at Sao Paulo Conservatory. Toured U.S. as conductor of his own works (l9^2 and 19^6-19^7)• HARTLEY, WALTER S. (Feb. 21, 1927- ). b. Washington, D.C. Ph.D. in composition from Eastman School of Music of the University of Rochester (1953)* Studied with B urrill Phillips, Thomas Canning, Herbert Elwell, Bernard Rogers, Howard Hanson, and Dante F iorillo. Has taught at King's College in Delaware, Longwood . College in Virginia, Hope College, Michigan, and Davis and Elkins College, West Virginia. Currently teaches theory and composition at State University College, Fredonia, N.Y. 258 HENDERSON, ROBERT E . No information available. JONG, CONRAD de (J a n . 1 3 . 1 9 3 ^ - )• *>• H u ll, Iow a. B.M.Ed. from North Texas State University in Denton, Texas (195^)- M.M. from Indiana University in Bloomington, Ind. (1959)* Studied with Bernhard Heiden. Appointed to music faculty of Wisconsin State University at River Falls (1959). KLAUSS, KENNETH (Apr. 8, 1923- ). b. Parkston, South Dakota. Early work at University of Nebraska. Degree in composition from University of Southern California, Studied piano with Halsey Stevens and Herbert Schmidt and composition with Ernest Toch. Has done work with modern dancers, including Lester Horton Theatre (with Bella Lewitsky), Janet Collins, and Valentina Oumansky. Currently teaches piano, composition, and general history of music, privately. KROL, BERNHARD (Ju n e 2k, 1920- ). b. Berlin, Germany. Musical studies in Berlin and Vienna. Since 1962 in Stuttgart, West Germany, as a horn player in the radio symphony orchestra of Stuttgart. LAMB, JOHN DAVID (1935- ). b. Portland, Oregon. Attended M ills College (1951)* Bachelor's degree from San Francisco State College (1956). M aster's degree from University of Washington (1958). Studied with Darius Milhaud, and George Frederick McKay, and Volfgangs Darzins. Presser Foundation Award (1955) and Denny Fellowship (1957). Currently teaches in Seattle Elementary Schools Music Department. LYON, DAVID (Dec. 29, 1938- ). b. W alsall, Stafford shire, England. Educated in London. McCARTY, FRANK LEE (Nov. 10, 19&L- ). b. C alifornia. B.A. from San Diego State College ( 1963) . M.M. from University of Southern California (1965). Ph.D. work at University of California at San Diego. Studied with David Ward-Steinman, Ingolf Dahl, Robert Erickson, and Kenneth Gaburo. Percussionist in San Diego Symphony (1961-1971). Assistant Professor of Music at California State College at Fullerton (1966-1971). Principal Percussionist in Orange County Symphony (1967- 1 9 6 9). Phi Mu Alpha Composition Award (1962). BMI Award ( 1 9 6 5). Currently Assistant Professor of Music at the University of Pittsburgh. 259 MITSUOKA, I . No information available. PERSICHETTI, VINCENT (June 6, 1915- ). b. Philadelphia, Pa. M.B. from Combs College of Music (1935)* M.M. and Mus.D. from Philadelphia Conservatory. Diploma in conducting from Curtis Institute of Music. Studied piano with Alberto JonSs and Olga Samaroff, Composi tion with Paul Nordoff, and Roy Harris, and conducting with Fritz Reiner. Head of Composition Department at Combs Conservatory (1936-19^0). Head of Composition Department at Philadelphia Conservatory (19^8-1960). Guggenheim Fellowship (1958 and 1969). Honorary Doctorates from Bucknell University ( 1968), Baldwin- Wallace College (1970) and Combs College (1970). Currently on the faculty of Juilliard School of Music and Director of Publications at Elkan-Vogel, Inc. PRESSER, WILLIAM (Apr. 19, 1916- ). b. Saginaw, Mich. B.A. from Alma College. M.M. in violin from University of Michigan. Ph.D. in theory from University of Rochester. Studied with Roy Harris, Gardner Read, Bernard Rogers, B urrill Phillips, Allen McHose, Wassily Besekirsky, Thor Johnson, Herman Genhart, Guy Fraser Harrison, and Pierre Monteaux. Played violin and viola in Rochester Philharmonic. Currently teaches at University of Southern M ississippi. RAHN, JOHN. B .A . i n C l a s s i c s from Pomona C o lle g e ( 1966) . Diploma in Bassoon from Juilliard ( 1967). Entered graduate school at Princeton University (1970). Studied with Milton Babbitt and J. K. Randall. Enlisted in U.S. Army Band at West Point (1967-1970). RAPH, ALAN. A bass trombone virtuoso. Has been a member of the American Symphony Orchestra and has performed with numerous symphonic ensembles under such conductors as Sir Thomas Beecham, Thomas Scherman, and H eitor V illa- Lobos. Also a jazz musician. Played with Gerry Mulligan Concert Jazz Band and in performances under such other conductors as Gordon Jenkins, Fred Waring, Quincy Jones, and Burt Bacharach. For fifteen years, has been a regular player in Broadway show orchestras. Publications include musical arrangements for various ensembles, a method for double-valve bass trombone' study, and Dance Band Reading and Interpretation. His two ballets, Trinity and the Sacred Grove have been performed by the New York City Center Joffrey Ballet, Currently performing in New York City as a studio recording artist. 260 RAPHLING, SAM (Mar. 19, 1910- ). b. Port Worth, Texas. . Studied piano in Chicago and as an exchange student, in Germany. Later active in Chicago as a teacher and pianist. RECK, DAVID (Jan. 12, 1935- )• b. McAllen, Texas.# B.M. from University of Houston (1957)* M.M. from Univer sity of Texas (1959)• Princeton Seminar in Advanced Musical Studies (1959 and i 960). Work toward Ph.D. in theory from University of Pennsylvania ( 1960- 1963)• Studied with H. M errills Lewis, Kent Kennan, Paul Pisk, and Peter Phillips, and George Rochberg. Taught at Wilmington Music School (1963-196^). Worked at Museum of Modem Art (196^-1965). Taught at The New S choo l ( I966-I 9 67). ROSENTHAL, IRVING, b. New York City. Diploma in French horn and conducting from Juilliard School of Music. B.M. in theory from University of Southern California. M.A. in Music Education from Teachers College of Columbia University. Studied conducting with Dean Dixon and Leon Barzin. Toured with Sadlers Wells Ballet and American Ballet Theatre. Has been horn player for Sydney (Australia) Symphony Orchestra and arranger for Australian Broadcasting Corp. Was principal horn in such organizations as the San Diego Symphony Orchestra and the Stan Kenton Orchestra. Taught at Lamar State College, California Western University, and San Diego State College. SCHROETER, HEINZ (May 2, 1907- ). Until 1967, was director of Staatlichen Hochschule fttr Musik. SEAR, WALTER. B.Mus. from Curtis Institute of Music (1950). A.B. in Sociology from George Washington University (1951). M.Mus. from Catholic University of America. Undergraduate work in Chemistry and Music Education at Temple University. Doctoral work at Columbia Univer sity. Has;, played tuba with the Philadelphia Orchestra, Symphony of the Air, Radio City Music Hall Orchestra, U.S. Air Force Band in Washington, the Goldman Band, and various Broadway and T.V. shows. Has w ritten scores for various movies. Taught at City University of New York. On faculty at Mannes College of Music. Owns and o p e r a te s co m p lete r e c o r d in g , e l e c t r o n i c , and film mix studio. 261 SPILLMAN, ROBERT (M ar. *J>, 1936- ) . b . B e re a , Ky. Performer's C ertificate in piano and B.M. in piano (1957) and M.A. in theory (1959) from Eastman School of Music of the University of Rochester. Studied with Sergius Kagan, Arthur Balsam, Louis Mennini, and Henk Badings. U.S.M.A. Band at West Point. Fulbright scholar in Stuttgart. From 1965-1973, lived in West Berlin and worked as accompanist for Rita Streich, Barry McDaniel, and the Gruppe Neue Musik Berlin. Since 1973» has been Assistant Professor for Keyboard and Voice at Eastman School of Music. STEIN, LEON (Sept. 18, 1910- ). b. Chicago, 111. Studied composition with Leo Sowerby, Eric Delamarter, Arthur C. Becker, and Wesley La V iolette, violin with Herbert Butler, and conducting with Frederick Stock, and Hans Lange under the auspices of the Chicago Symphony Orchestra. Has w ritten two textbooks, Structure and Style and Anthology of Musical Forms. On the faculty of DePaul University School of Music s in c e 1 9 3 1* STOUT, ALAN (Nov. 26, 1932- ). b. Baltimore, Md. Undergraduate studies at John Hopkins University and the Peabody Conservatory of Music (195^)* Attended University of Copenhagen (195^-1955)• M.A. in Composition from University of Washington (1959)• Studied with Henry Cowell, W allingford Riegger, and John Verrall. On faculty of School of Music at Northwestern University since 1963* VACKAR, DALIBOR (Sept. 19, 1905- ). b. Korcula, Yugoslavia. Studied at Prague Conservatory. Played violin in the Prague Radio Orchestra. Composed for film s. Published poetry and drama under the name Dalibor Faltis. WEISS, EDWARD (Aug. 25, 19^- )■ b. Detroit, Mich. B.M. from Michigan State University ( 1967)• Graduate work in Composition at University of Michigan. Studied with Paul Harder and Leslie Bassett. Taught for Livonia Public Schools in Livonia, Mich. WELLESZ, EGON (Oct. 21, 1885- )• b. Vienna, Austria. D r.nhil. from University of Vienna (1908). Studied harmony with Carl F rtf hi ing, musicology with Guido Adler, and counterpoint and composition with Schoen berg. Taught music history at Neues Conservatorium 262 in Vienna (1911-1915)» was appointed lecturer on musicology at the University of Vienna (1913)» professor at University of Vienna (1930-1938), and became lecturer in the history of music at Oxford University in 19^3* In 19^-6, appointed to editorial board of the New Oxford History of Music. In 1932, received honorary Mus.Doc. degree from Oxford University. A noted authority in Byzantine music. WHITTENBERG, CHARLES (1 9 2 7 - ) . b . S t. L o u is , M is s o u ri. Studied composition with B urrill Phillips and Bernard Rogers at Eastman School of Music. Was affiliated with the Electronic Music Center of Columbia and Princeton U niversities and with the Summer Institute of Benning ton College, in Vermont. Was Editor of the Bulletin of the American Composers Alliance. Received two suc cessive Guggenheim fellowships and the Rome Prize of the American Academy. Currently professor of music, Director of Contemporary Music Projects, and Music Director of the concert series "The New Music" at the University of Connecticut. WINICK, STEVEN ( J u ly 7, 19^- ). b. Brooklyn, New York. B.M. from Eastman School of Music ( 1966) ; M.M. from Eastman School of Music ( 1968); work on D.M.A. at Eastman School of Music. Studied composition with Samuel Adler. Instructor of Trumpet in the Eastman School of Music Preparatory Department ( 1 96 6- 1969)* Played trumpet in Rochester Philharmonic ( 1966- 1969) , in Rochester Oratorio Society ( 1966- 1969)> and i n Hudson Valley Philharmonic ( 196 9)• WOLPE, STEFAN (Aug. 25, 1902- ). b. Berlin, Germany. Living in United States since 1938. Studied with Paul Juon and Schreker at State Academy of Music in Berlin. Went to Palestine in 1933 before settling in United States in 1938. Y0SHI0KA, EMMETT (Mar. 19, 19^4- ). b. Honolulu, Hawaii. B.M. in Composition from University of Southern California. Graduate work in composition at University of Southern California. Studied with Robert Linn, Ingolf Dahl, and Halsey Stevens. Was arranger and copyist for United States M ilitary Band at West Point ( 1966- 1 9 6 9)* BIBLIOGRAPHY Books Apel, W illi (ed.). Harvard Dictionary of Music, 2nd ed. Cambridge, M assachusetts: The Belknap Press of Harvard University Press, 1969* Blake, Peter. Mies van der Rohe: Architecture and Structure. Baltimore: Penguin Books, Inc., 196^. Farkas, Philip. The Art of Brass Playing. Bloomington, Indiana: Brass Publications, 1 9 6 2. Gregory, Robin. The Horn: A Comprehensive Guide to the Modern Instrument and Its Music. London: Faber and F a b e r , 1 9 6 9. Slonimsky, Nicolas (ed.). Baker’s Biographical Dictionary of Musicians. 5th ed.. New York: G. Schirmer, 1971. A r t i c l e s "Briefly Noted—Unaccompanied Solos for Brass", Brass and Woodwind Quarterly. Vol. II, No. 1&2 (Spring- Summer, 1 9 6 9)» 6 9 -7 0 . Morgan, Robert P. "New Music for Solo Trombone—And for Virtuoso Trombonist", High Fidelity Incorporating Musical America. Vol. 19» No. (April, 1 9 6 9) » 6^ - 6 5. Catalogues and Bibliographies Bell, William J. and Morris, R. Winston. Encyclopedia of Literature for the Tuba. New York: Charles C o lin , 1 9 6 7. 263 Christ, Peter (ed.). Composium Directory of New Music. 1972 ed. Los Angeles: Crystal Record Company, 1972. Music Educators National Conference Contemporary Music Project for Creativity in Music Education. The CMP Library. Vol. 1, Works for Band, Winds, Percussion, Solos. Washington, D.C.: Contemporary Music Project/M usic Educators National Conference, 19&7- Corley, Robert (comp.). 197^-1975 Brass Plavers Guide to the Literature. North Easton,, Massachusetts: Robert King Music Company, 1975* Everett, Thomas G. Annotated Guide to Bass Trombone Literature. Nashville: The Brass Press, 1973- International es M usikinstitut Darmstadt, Informations- zentrum ftfr zeitgenossische Musik. Noten-Katalog Nachtrag 1968. Darmstadt, Germany: Internationales M usikinstitut Darmstadt, 19^9- Marzan, Fred J. 20th Century Literature for Tuba. Lake Geneva, Wisconsin: DEG Music Products, Inc., 1972. Rasmussen, Mary. A Teacher*s Guide to the Literature of Brass Instruments. Durham, New Hampshire: Brass and Woodwind Q uarterly, 196^ . Miscellaneous Eaton, John. Letter to the author. April''5. 1971-