Download Cloudburst - Jesse Dochnahl

Jesse Dochnahl
[email protected]
CMP Teaching Plan
Cloudburst
Eric Whitacre (1970)
Carpe Ranam Productions (2001)
Grade 4
ANALYSIS
Background Information
Born in 1970, Eric Whitacre received his M.M. in composition from the Juilliard School of
Music. He is a highly acclaimed composer and conductor in the contemporary concert music
realm. Many of Whitacre's works have become standard in choral and concert band repertories.
He has received composition awards from the Barlow International Composition Competition,
the American Choral Directors Association and the American Composers Forum. In 2001,
Whitacre became the youngest recipient ever awarded the coveted Raymond C. Brock
commission by the American Choral Directors Association.
Cloudburst is an impressionistic, choral-style piece arranged for symphonic winds, piano, and
percussion. It incorporates a kaleidoscope of sound that emulates the aura of a thunderstorm.
Whitacre originally wrote Cloudburst in 1991 for eight-part choir with percussion and piano. He
was inspired by “an astonishing thunderstorm” he observed in Northern California. A cloudburst
is an extreme form of rainfall and thunder, which normally lasts no longer than a few minutes but
is capable of creating flood conditions.
Whitacre adapted Cloudburst for band in 2001 and was commissioned by the Indiana
Bandmasters Association. He says of his band adaptation: “Where the choral version is intimate
and delicate, the version for winds is strong and assured, and to my ears it sounds like it’s
suddenly in technicolor... on a 50 foot screen.” The band version is fundamentally the same piece
as the original.
The text from the choral version is from Octavio Paz's poem El Cántaro Roto (The Broken
Water-Jug). The wind version omits the text with the exception of vocal parts (of “La lluvia”
meaning “the rain” in Spanish) sung three times within the piece. Octavio Paz Lozano (1914–
1998) was a Mexican writer, poet, and diplomat, and the winner of the 1990 Nobel Prize for
Literature. Several of his poems have also been adapted into choral music by Whitacre, including
"Water Night" and "A Boy and a Girl." The Nobel Foundation stated in 1990 that Paz’s poetry “is
written within the perpetual motion and transparencies of the eternal present tense.”
Sources
nobelprize.org
ericwhitacre.com
Oxford American Dictionary
MUSICAL ANALYSIS
Form
Cloudburst is through composed, consequently emulating the unpredictable nature of an
oncoming thunderstorm. The form of this piece can be viewed by the large arching phrases that
function as fluctuations of tranquility and stormy intensity if you will. These repeatedly develop
through textural and dynamic surges, and then fade and or descend, much like a thundercloud.
Overall, the ebb and flow is irregular and never follows a set amount of measure numbers. The
first large arching phrase is apparent in the beginning and fades to rehearsal A. The “chorus” and
instruments introduce the “La lluvia” theme, followed by an increasing maelstrom of aleatoric
woodwind murmurs and bell tones in the horns. The climax of this first surge is reached at ms. 9,
and then fades into the euphonium solo. This effect of surging and fading is repeated and
developed with new material and colors each time throughout the beginning in anticipation of the
coming Cloudburst. Whitacre utilizes the ensemble’s voices two more times as a central
reference to “La lluvia,” and as the final, mysteriously whispered precursor to the cloudburst that
starts at rehearsal I. The cloudburst itself amasses with two large climactic surges at rehearsal G
and H, with chaos of aleaotirc lines, dissonant clusters echoing themes from earlier in the piece,
snapping rains, and booming percussion. The storm gradually builds then fades, and the ending
of the piece repeatedly mirrors the “La lluvia” motif from the beginning in descending timbres of
instruments. It then fades to nothing but “rain” and percussive thunder as the storm rolls away.
Rhythm
The overall sense of pulse in this piece is highly ambiguous and unpredictable, much like a
cloudburst. Whitacre frequently uses mixed meters in addition to fermatas, rubato, recitative-like
cadenzas (2), and long sustained chords. This all contributes to the beautiful timelessness and
organically haphazard quality of the music. He also uses aleatoric rhythms that generate an
mimic the essence of nature’s enchanting unpredictability. In the first swell starting at ms. 3, the
woodwinds repeat a legato, melodic minor scale fragment freely. This random murmuring
crescendos and accelerates to a chaotic effect, per individual. The same effect is used at rehearsal
D using a minor pentatonic that is repeated slowly, in essence evoking a timelessness each time
this aleatoric material is used. It can also emulate the random echoes from thunder itself, which
could be the intentions at ms. 86-96 as the trombones declare a the short line, and then echo the
same pitches at random as the next “thunder” booms in the horns and saxophones.
Another important aspect of rhythm in this piece is the ties and suspensions across bars and at
separate times among the ensemble, which fuels the harmonic tension and release.
Melody
In Cloudburst, the arching phrases are driven more by contour, texture, color, rhythm, and
expansive dynamics, rather than melody. However, within the arching phrases, Whitacre
develops short melodic motifs with variations and/or short imitative echoes. The first example of
this is in the descending thirds in the horns at the first surge (ms. 3-5). This has a bell-like
quality, much like chimes hanging on the front porch. This motif returns as the cloudburst begins
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(rehearsal I) in the handbells, further fueling the impression of wind chimes. At the final climax
of the cloudburst at rehearsal K, the motif is stated by the entire ensemble and then fades into the
woodwinds’ aleatoric murmurs to the end. This short motif of descending thirds is reminiscent of
Debussy’s Nuage! Was this a significant influence? Possible model for “cloud” comparisons.
Harmony
The discordant suspensions with 4ths, 9ths, and 7ths are the principle harmonic material in
Cloudburst. Whitacre frequently uses different voicings of tightly clustered chords as a particular
phrase swells and dissipates. The conventional cadences, dissonance resolving to consonance, is
never realized in this piece, yet there is so much feeling of tension and release, and the
combination of other elements (texture, expression, etc) aid that sound. I believe the sense of
release comes not from a resolved 4th, but from the entrance of silence, motionless (fermata or a
decrescendo on sustained chord), or even from a change in timbre into the next arching phrase.
Silence, timbre, and stasis act beautifully as the consonance in conclusion to the surges of sound
and turbulent, dissonant suspensions. Whitacre also scores different combinations and ranges of
instruments throughout the piece.
Timbre
Timbre is a vastly significant element to the ambience of Cloudburst. Whitacre utilizes
unconventional sound effects to embody the storm. The ensemble and audience use snapping to
mimic the rain. The unusual use of percussion section is extensive: handbells, marimba, and
glass chimes, mark tree, and crotales mimic storm induced sounds, while bass drums, thundersheets, timpani, piano, and cymbals mimic thunder. Performers sing and whisper in this piece,
which expands the color palette even further.
Texture
Whitacre makes use of homophony and polyphonic ideas in the shapes of this piece, but not in a
conventional style. The homophonic moments, as in the “La lluvia” motif, does not support a
melody or a particular voice, but is the essence of the music itself with changing densities and
harmonic colors. Another example is at rehearsal D, where the brass pulsate on slowly changing
chords in homophony without a “lead” voice. In addition, this vertical motion coincides with the
aleatoric murmurs in the woodwinds, giving a polyphonic (and even plyrhythmic) effect.
The piece is constantly spinning layers and contrasting contours, giving a sense of thick texture
at the peaks of phrases, and thin at the tranquil, ends and beginnings of phrases. In fact, the
texture itself the central figure as opposed to melody. For instance, the developing layers of bell
tones at rehearsal F: the drama of this passage is in the thickening of the texture as more
instruments join in the ascending line.
Expression
Cloudburst is filled with dramatic contrasts in dynamics and articulations. The music flows in an
unhurried, fluid and legato style with sudden moments of sharp attacks, thunder cracking if you
will, with accented articulations and bell tones. Whitacre also uitilizes a variety of articulations
into one phrase, in which layers of legato lines and sharply accented timbres are voiced
simultaneously, weaving around each other like the turbulence of a storm. A major performance
challenge in this piece will be these contrasts in addition to the pacing of the arching phrases.
Playing successful crescendos and decrescendos, sometimes independently in the section, and
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not reaching a peak to early will take much awareness and focus.
The Heart Statement
The heart of Cloudburst is the mystery, instability, power, and beauty of a thunderstorm
conveyed through the sounds of the music.
Introducing the piece
Display a recording/video of a violent thunderstorm. Ask the students to think of as many pieces
of music and other works of art that give the impression of thunder, rain, lightening, and other
related events in nature. Briefly discuss the manner in which these works convey the idea. Text,
sound effects, etc.
OUTCOMES
1. Students will emulate the sounds of nature through their instruments. (Skill)
2. Students will discover compositional devices used to portray sounds of the natural world.
(Knowledge)
3. Students will explore how their experiences with nature influence their performance of a
piece. (Affect)
SKILL OUTCOME
Students will emulate the sounds of nature through their instruments.
Strategies
1. (auditory) After playing the piece, have students get into small groups of dissimilar
instruments. Ask that they share something unique about their part that they believe
contributes to the portrayal of the cloudburst. Present the music, describe it, and play it
for the group.
2. (visual) Play excerpts of other music that emulate sounds of nature, especially
thunderstorms. Students will listen and complete a Venn diagram to note the similarities
and differences of how the instruments and music mimic nature. Options include
Cloudburst and:
∑ William Tell Overture; Gioachino Rossini
∑ Symphony No. 6 (Pastoral): Beethoven
∑ The Four Seasons; Vivaldi
∑ Grand Canyon Suite: Ferde Grofé
∑ Rolling Thunder: Philip Glass
∑ Nuage and La Mer: Debussy
∑ And any other suggestions from helpful colleagues!
3. (kinesthetic) Have the students invent new body percussion for a cloudburst. Using the
new collection of effects, recreate the onset and departure of the cloudburst (with eyes
closed) using only the human body.
Assesment for Outcome 1
1. Have the students listen to the choral arrangement of Cloudburst. Do they believe that the
voices successfully emulate the sounds cloudburst? Compare the difference in timbre and
the result.
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2. Record a rehearsal and have the students evaluate it using a copy of the WSMA concert
rubric. Ask that they focus on how successful the band emulates a cloudburst.
KNOWLEDGE OUTCOME
Students will discover compositional devices used to portray sounds of the natural world.
Strategies
1. (auditory) Students will warm up using exercises that emphasize dissonances used in
Cloudburst (from much discussion with Eric Anderson).
∑ Lead the ensemble through major and minor scales in thirds. Does it sound
consonant or dissonant? Next, have the students will play the scales in fourths,
fifths, seconds, etc. Discuss the qualities of dissonance and consonance within
these different intervals. Is there resolution to the dissonances in that particular
interval?
∑ Where’s the dissonance? The ensemble will play a major triad and descend one
part at a time by a half step, starting with the root. Analyze each quality and
discuss the sense of tension and release, and what chords are perceived as
dissonant to each individual.
2. Students will create their own non-traditional notation for a sound of nature of their
choice. Ask the students to choose a sound that appeals to them and write down why they
chose it. Then have the students notate the sound with an invented notation.
3. (Kinesthetic) Have the students create a body movement that represents the natural
world. (Thanks to Glen Hayes)
Assessment for Outcome 2
1. Students will get into pairs to share and compare their “nature notation.” The “buddy”
will read and play the notation on an instrument without knowing what sound it is
supposed to portray. Discuss the results. Were they close?
2. Hand out worksheets that have excerpts of suspensions used in Cloudburst and have
students identify the intervals, determine whether they are dissonant or consonant, and
how the chord quality portrays the cloudburst (tension, etc.).
AFFECTIVE OUTCOME
Students will explore how their experiences with nature influence their performance of a
piece.
Strategies
1. After playing through the piece, ask students to remember the thunderstorms and
resulting floods in the spring of 2008. Have them answer the following in their journals:
In what ways did the flood affect you and/or people that you know? Ask the students to
play the piece with those reflections in mind.
2. Lead a discussion on the following question: Do you think that Whitacre, based on the
music, believes that cloudbursts are beautiful or frightening? How would you describe a
cloudburst?
3. Have the students answer in their journal the following: If everyone in the band has a
different experience with a cloudburst, then how can we all convey the same idea in the
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music? And on top of that, how can the audience connect with the musicians if they all
think about cloudbursts differently?
Assessment for Outcome 3
1. Have the students write in their portfolios their feelings of the music when they first
played it and after they performed it.
2. Hand out a piece that represents the natural world, but omit the title. The students will
sight-read it without knowing the title or story, and give it a title/story of their own. Then
share the title and story. How close are their ideas? Play it again and compare the
performances.
MUSIC SELECTION
1. This piece gives the students a chance to perform a masterfully crafted impressionist
piece of a unique and contemporary style. The music is very capable of transcending time
and space by putting its performers and audience inside the workings of a storm; yet it
digs into more than just the “natural” sounds. Whitacre, through harmonies, timbres, and
textures, causes one to mindfully feel the storm rather than phsycally observing it.
2. This piece provides opportunities to explore and analyze ways the composer brings
unconventional compositional devices to concert band music.
3. These unconventional ideas will provide new challenges for the students, like singing,
playing dissonance and cluster chords, and playing free rhythms.
4. I am always looking for ways to help teenagers heighten their awareness of their
surroundings, especially nature (and music!).
5. And to perform music written by an increasingly significant contemporary composer.
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