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Indiana University of Pennsylvania Knowledge Repository @ IUP Theses and Dissertations 8-2011 Steven Bryant: An Analysis and Comparison of Works for Wind Band Seth F. Wollam Indiana University of Pennsylvania Follow this and additional works at: http://knowledge.library.iup.edu/etd Recommended Citation Wollam, Seth F., "Steven Bryant: An Analysis and Comparison of Works for Wind Band" (2011). Theses and Dissertations. Paper 1053. This Thesis is brought to you for free and open access by Knowledge Repository @ IUP. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Knowledge Repository @ IUP. For more information, please contact [email protected]. STEVEN BRYANT: AN ANALYSIS AND COMPARISON OF WORKS FOR WIND BAND A Thesis Submitted to the School of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree Master of Arts Seth F. Wollam Indiana University of Pennsylvania August 2011 Indiana University of Pennsylvania School of Graduate Studies and Research School of Music We hereby approve the thesis of Seth F. Wollam Candidate for the degree of Master of Arts ________________________ __________________________________________ John E. Stamp, Jr., DMA Professor of Music, Advisor ________________________ __________________________________________ Carl Rahkonen, Ph.D. Music Librarian, Professor ________________________ __________________________________________ Jason Worzbyt, DMA Professor of Music Accepted ________________________________ Timothy P. Mack, Ph.D Dean, School of Graduate Studies and Research ii ______________________________ Title: Steven Bryant: An Analysis and Comparison of Works for Wind Band Author: Seth F Wollam Thesis Chair: Dr. John E. Stamp Jr. Thesis Committee Members: Dr. Jason Worzbyt Dr. Carl Rahkonen Steven Bryant is one of the truly gifted composers of his generation. This thesis is a comparative analysis of four of his works for band. Written over a fifteen year period, Chester Leaps In, MetaMarch, ImPercynations, and Suite Dreams make up a “Parody Suite” of four unrelated works humorously characterizing staples of the wind band repertoire. The works selected for this thesis, ImPercynations and Suite Dreams, are based on Percy Grainger’s Lincolnshire Posy and Gustav Holst’s First Suite in Eb. True of both works, the listener and performer must gain an understanding of the source material to truly appreciate Bryant’s manipulation of thematic material and rhythm. Dusk is a tone poem belonging to a set of three loosely related works making up a “Night Cycle.” This elegant work musically depicts the tranquility in the last moments of daylight before the onset of complete darkness. Using a straight forward arch form, the simple yet effective work is a beautiful piece of program music. The Concerto for Wind Ensemble is a contemporary work that draws from elements of popular and classical music. Composed for the USAF Band of Flight, the intent was to feature the virtuosity of the players in this group. Many contemporary and extended techniques are employed, including the use of antiphonal choirs as part of the aesthetic experience. iii ACKNOWLEDGEMENTS Dr. Jack Stamp Words cannot express the gratitude I have for the opportunities and experiences you have given me. Thank you for being a role model and mentor. Mr. Steven Bryant Dr. Jason Worzbyt and Dr. Carl Rahkonen The music faculty at IUP Members of the IUP Wind Ensemble who graciously participated in my recital Lauren Delesky iv TABLE OF CONTENTS Chapter I INTRODUCTION…………………………………………….………………….1 II IMPERCYNATIONS…………………………………………………………….7 III SUITE DREAMS………………………………………………………………..41 IV DUSK………………………………………………………………………...…..61 V CONCERTO FOR WIND ENSEMBLE, MOVEMENT I……………………....73 BIBLIOGRAPHY………………………………………………………………..…..…..97 APPENDICES Appendix A-List of Works for Band……………………………………………….....…99 Appendix B-Recital Program…………………………………………………………...100 v Table 2.1 2.2 LIST OF TABLES Description Form and Structure of Lincolnshire Posy ImPercynations form Page(s) 8 10 3.1 Variations of the Chaconne theme in movement I of the First Suite in Eb 42 3.2 Form Analysis of Suite Dreams 44 4.1 Comparisons of depth of range and orchestration at the three tutti sections 68 5.1 Exact Instrumentation 74 5.2 Form Analysis 78 vi LIST OF CHARTS Chart Description Page(s) 1.1 Comparison of Bartok’s parody of Shostakovich Symphony No. 7 Comparisons of various uses of themes from movement I, “Lisbon” 4 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 3.1 3.2 3.3 13 Comparisons of various uses of themes from movement II, “Horkstow Grange” Comparisons of various uses of themes from movement III, “Rufford Park Poachers” Comparisons of various uses of themes from movement IV “The Brisk Young Sailor” motives Comparisons of various uses of themes from movement V “Lord Melbourne” Comparisons of various uses of themes from movement VI “Lost Lady Found” Other examples of thematic stratification Selected rhythmic stratification of ImPercynations Minor Second Oscillation 20 Other extended or specific techniques used throughout Suite Dreams Inverted chaconne fragment and its manipulations 47 vii 23 25 27 29 33 37 45 50 3.4 3.5 3.6 3.7 4.1 5.1 Use of other thematic and supporting material Complete intact chaconne comparison Reduced rhythmic analyses of stratification measures 43-61. Implied meter, simple subdivision and use of hemiola shown. Other areas of rhythmic interest Analysis of form 52 Concerto for Wind Ensemble Antiphonal Placements 76 viii 54 57 58 62 LIST OF FIGURES Figure Description Page(s) 2.1 ImPercynations measures 164-167. Close imitation between voices ImPercynations measures 296-299 ImPercynations clarinets and French horns measures 65-70 Example of thematic layering, measures 62-69 with thematic fragments labeled Eight measure chaconne theme measures 1-8 Notated voice parts throughout Suite Dreams First Suite measures 74-81 and pitch inventory Suite Dreams measure 5 and pitch inventory First Suite in Eb first French horn measures 7173 with pitch inventory Example of hemiola in First Suite measures 86-90 Suite Dreams measures 4361for complete reference Measures 1-4, which show the quintal and diatonic harmony, as well as the opening melodic figure in the French horn Changing meters provide a flow in the musical line Measures 13-16 Descending thirds, measure 21 First Clarinet Bass Clarinet duet measures 4-7 French horn and Euphonium measure 12 11 2.2 2.3 2.4 3.1 3.2 3.3 3.4 3.5 3.6 3.7 4.1 4.2 4.3 4.4 4.5 4.6 ix 17 18 32 42 45 49 49 50 55 56 63 63 64 64 65 66 4.7 4.8 4.9 4.10 4.11 4.12 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 5.9 5.10 5.11 5.12 5.13 First ensemble tutti measures 21-25 Low brass and woodwinds statement of the theme hidden inside of a thicker musical texture Third trumpet, French horn and euphonium present the intervallic motive leading to a half cadence in measures 43-44 Clarinet, French horn and euphonium present a syncopated figure at the end of measure 46 leading to the cadence Scored for brass chorale at measure 13, thematic material is scored for woodwind chorale at measure 53 Woodwind scoring and final thematic statement in measures 62-66 The Thunderbird diamond formation and no. 5 pilot flying inverted Five note motive and measures 1-4 Measures 11-14 Measures 15-17, Measures 62-64, Measures 19-20 Extended techniques employed in measures 1532 Measure 45 Measure 46 Measures 54-61 Measures 62-67 Measures 86-92 Measures 91-92 Measures 93-94 Marimba, vibraphone and glockenspiel Measures 93-94, measure x 67 69 70 70 71 71 75 79 80 81 82 83 83 85 85 85 86 86 87 5.14 5.15 5.16 5.17 5.18 5.19 5.20 5.21 5.22 5.23 5.24 5.25 5.26 103 Measures 102-104 Measures 107-110 Measures 115-116 trumpets Measure 121 Measures 131-134. First 4 measures of the clarinet solo Measure 120 and measure 133 Measures 152-154 Measure 154 diminution of rhythmic ostinato Measures 159-164 Bassoon, antiphonal clarinets, and bass drum Measures 165-166 French horn and Euphonium Measures 181-184 rhythm Measure 192 Measure 193 xi 88 89 89 90 91 91 92 92 93 93 94 95 95 CHAPTER I INTRODUCTION In the modern era, there is more music available to consumers and performers than in any other period of our history. The lines between genres, cultures, and standard instrumentation have been blurred to the point that idiomatic barriers are disappearing. With a plethora of musical influence a number of young composers writing in symphonic genres have gained a great deal of popularity for their ability to combine traditional practices with other genres and create new, innovative works. Influenced by music from all historic periods, world music, popular music, experimental and avant-garde, a great deal of new and exciting music is being added to the repertoire. Steven Bryant is one of these composers. Drawing from a variety of sources, he has composed numerous commissions for band, orchestra, chorus, chamber ensembles and electronic instruments. A student of Francis McBeth, Cindy McTee and John Corigliano, he has been awarded the William Revelli Band Composition award twice. 1 Bryant’s compositional catalogue is a diverse collection of works of varying difficulty, source material, and compositional type. Works such as Ecstatic Waters unite synthesized electronic music with standard band instrumentation in the symphonic genre creating what could be described as a techno-band piece. Concerto for Wind Ensemble is influenced by popular music blending traditional compositional practices with 1 Radiant Joy (2006) commissioned by the Indiana University of Pennsylvania Wind Ensemble Suite Dreams (2008) commissioned by the Langley High School Wind Ensemble. 1 contemporary and extended techniques. Dusk, First Light, and The Marbled Midnight Mile are programmatic works depicting images of the various stages of night from sundown to sunup. Bryant’s “Parody Suite” is inspired by works considered to be standard band repertoire. Reviving the art of musical parody, the works are as much monuments to the original as they are humorous renditions of the selected themes. Written over a fifteen year period, this suite includes Chester Leaps In, ImPercynations, Meta March and Suite Dreams. These four separate works for band are musical parodies of selected compositions that are considered to be standard repertoire. Bryant recommends that when performing the four works together, the intended order is as follows: ImPercynations, Suite Dreams, MetaMarch, and Chester Leaps In. He sites that this order to preserve key relationships between works and to loosely adhere to a traditional symphonic scheme. 2 The practice of parody in music is not new and can be traced to the renaissance. Quodlibet, translated literally ‘what you will,’ was a piece of music which well-known tunes, texts, or both are quoted simultaneously or in succession for humorous effect. 3 This practice was distinguished as humorous compared more serious works which drew more heavily from pre-existing material served a constructive of symbolic function. 4 In this context, a parody is “a composition generally of humorous or satirical intent in which turns of phrase or other features characteristic of another composer or type of composition are employed and made to appear ridiculous, especially through their 2 Steven Bryant. “Parody Suite,” Gorilla Salad Productions http://www.stevenbryant.com/parodysuite.php (accessed November 3, 2010). 3 The Oxford Companion to Music, s.v.”Quodlibet.” 4 Grove Music Online, s.v.”Quodlibet.” 2 application to ludicrously inappropriate subjects.” 5 Opera has been the impetus for parody for centuries. Bach and his contemporaries were famed for this, manipulating popular tunes in what is sometimes described in grotesque ways. One famous example of this is the “Peasant Cantata” BWV 212 which satirizes both the Italian da capo aria as well as the Italian lifestyle. During the classical period Wolfgang Amadeus Mozart famously parodied many of his lesser contemporaries. In the 1984 film Amadeus, Mozart is depicted creating an on the spot parody of the music of Antonio Salieri. In the Romantic era, Ludwig Van Beethoven created a humorous view of a street band in the scherzo of Symphony No. 6 and Chabrier wrote a series a quadrilles based on themes from Wagner’s Tristan and Isolde. 6 In the modern compositional era musical parody has served to both ridicule and tribute composers and their music. One of the most well-known examples is Bela Bartok’s parody of Dmitri Shostakovich’s Symphony No. 7. The 7th Symphony, nicknamed "the Leningrad,” was premiered in Russia in 1941. This work was primarily a piece of musical propaganda for the average Russian citizen celebrating Russian’s involvement in World War II. The piece was not well received by international critics. In response to the symphony’s popularity, Bela Bartok is alleged to have quoted the March theme from the first movement of this symphony. 7 2008. 5 Tilmouth, Michael. "Parody (ii)." In Grove Music Online. Oxford Music Online. November 21, 6 Ibid., 5. Ibid., 5. 7 3 Chart 1.1 Comparison of Bartok’s parody of Shostakovich Symphony No. 7 Dmitri Shostakovich Symphony No.7 Bela Bartok Concerto for Orchestra Movement I “March” Theme Movement IV Intermezzo “Interruption” Bryant’s Parody Suite, not lacking in its humorous elements, is more of a tribute to his selected subjects. This paper will analyze two of them. The first of these is Bryant’s ImPercynations, derived from Percy Grainger’s Lincolnshire Posy. As Grainger uses various brief interruptions of his musical texture, Bryant uses one interruption as the primary melodic motive for the entire work, and presents various themes from the other six movements as interruptions to the interruption. What sounds like a schizophrenic patchwork of musical ideas is a very carefully constructed work that is a sophisticated and mature composition. Suite Dreams is derived primarily from the Chaconne theme from Gustav Holst’s First Suite in Eb in the first movement, particularly its inversion. 8 As the title suggests, Bryant presents the chaconne theme from the first movement in fragments against a dreamlike musical patchwork. Singing and special musical effects help to provide a sense a very nebulous texture. Only at the very end of the work does a complete statement of the chaconne appear, although still rhythmically and somewhat harmonically manipulated. 8 Bryant, Steven. Suite Dreams. Program notes, Score. 4 The “night cycle” is set of three loosely related works connected by their program. Dusk is intended to capture the last fiery hues of the sunset before dark. 9 The Marbled Midnight Mile provides a musical journey through the solitude of night. First Light, the final of the three, captures the still of the night right at the first rays of light at the dawn of daybreak. Dusk, the work selected for this analysis and performance, effectively captures the essence of the decaying light, using empty space as an important component to this daily event. In 2008, Bryant’s Concerto for Wind Ensemble was commissioned by the U.S. Air Force Band of Mid-America. It is a work written for the virtuosic skill of the ensemble. Although written with many contemporary compositional techniques, this work is designed to emulate the concerto grosso technique. The concerto grosso originated in 17th and 18th century composition; antiphonal in nature creating a smaller ensemble that plays with a larger one. In this work, Bryant adds three antiphonal groups surrounding the audience. These three groups and the large ensemble onstage form a diamond, which is a core formation of the Thunderbirds, the Air Force Demonstration Squadron. 10 One of the characteristics which make Bryant such a refreshing composer is his ability to draw from a variety of sources and innovatively create something completely different without it being a cliché. He also composes works which although not musically connected, are connected conceptually or programmatically. The purpose of this thesis and subsequent recital is to provide a comparative analysis and performance of different symphonic works in Bryant’s catalogue. 9 All of original and derived material is Bryant, Steven. Dusk. Program notes, Score. Bryant, Steven. Concerto for Wind Ensemble. Program notes, Score. 10 5 used in creative ways which give no shortage of interest for the performer or audience member. 6 CHAPTER II IMPERCYNATIONS (2002) The Parody Suite, while humorous in nature, is a monument to great works recognized as standards in the wind band repertoire. The titles of each work are characteristic of the humor of the music which follows. Each title is a pun giving appropriate billing to the work. ImPercynations is the intended opening movement of Bryant’s Parody Suite. 11 Commissioned by the Valdosta State University Wind Ensemble, the work does what the title suggests: impersonates Percy Grainger’s Lincolnshire Posy. 12 ImPercynations is much more intricate work than the earlier works in the suite. Chester Leaps In, for example, took the initial phrase of William Schuman’s Chester and juxtaposed the melody with different material, providing humorous contrasts. 13 In ImPercynations, Bryant takes various thematic and supporting material from the six movements and splices them together in creative ways. Grainger described his Lincolnshire Posy as a set of “musical wildflowers.” 14 Bryant, describes ImPercynations as “…the genetically altered, crossbred, hybrid offspring of his wildflowers-a musical franken-flower”. 15 Like all musical parodies, the listener must gain an understanding of the source material to truly appreciate it. Grainger was commissioned by the American Bandmasters Association in 1937 to write a new work for band. Fortunately for the band world, Grainger chose to complete a 11 Berz, William. “Parody Suite,” Teaching Music Through Performance in Band vol. 5(Chicago: GIA, 2004), 794. 12 Valdosta, Georgia. 13 Chester Leaps In by Steven Bryant, Score. 14 Lincolnshire Posy. by Percy Grainger, Score. 15 ImPercynations.by Steven Bryant, Score. 7 collection of tunes he began sketching in 1905. 16 In 1905-1906 Grainger took a wax cylinder and recorded a number of folksingers singing traditional tunes in Lincolnshire, England. Grainger dedicated the work to the folksingers who sang to him and goes on to say “Indeed, each number is intended to be a kind of musical portrait of the singer who sang its underlying melody.” 17 Most composers during this period were not writing for the wind band. When the work was premiered by the Milwaukee Concert Band, two movements had to be omitted because the musicians were not capable of executing the works technical demands. 18 Despite Grainger’s frustration with this, he continued to write for the wind band. Lincolnshire Posy is set in six movements with each musically representing the tune and singer which Grainger used as its source. All derived from simple song forms, the form of each movement is associated with the variant vocal verses. The melodies are primarily modal, with the harmonic structure tonal with chromatic alterations. Typical of Grainger, cadences are extended, elided, or avoided. 19 Table 2.1 Form and Structure of Lincolnshire Posy 20 Movement I. Description • Lisbon • • • • 16 Variations on four verses of the folk song in Ab Mixolydian Verse 1 measures 1-17 Verse 2 measures 18-33 Verse 3 measures 34-49 Verse 4 measures 60-72 Hanson, Richard K. The American Wind Band: A Cultural History. (Chicago: GIA, 2005), 71. ImPercynations.by Steven Bryant, Score. 18 Hanson, The American Wind Band, 71. 19 Miles, Richard. “Lincolnshire Posy,” Teaching Music Through Performance in Band vol. 1 (Chicago: GIA, 1997), 411. 20 Ibid., 21, 411-413. 17 8 II. III. IV. V. Horkstow Grange • Rufford Park Poachers • • • • • The Brisk Young Sailor • • • • • • • • Lord Melbourne • • • • • • • • VI. • • • • • • • • • • • • • • • The Lost Lady Found 9 3 verses with a recurring refrain largely in Db major Verse 1 measures 1-9 Verse 2 measures 10-18 Verse 3 measures 19-28 Verse 4 measures 29-37 5 verses in elaborate variations with verses 1-2 set in 2 different versions designated A and B by Grainger Verse 1 measures 1-17 Verse 2 measures 18-45 Transition measures 46-50 Verse 3 measures 51-63 Transition measures 64-67 Verse 4 measures 68-84 Verse 5 measures 85-403 Originally 7 verses, Grainger’s version contains 5 in the key of Bb Verse 1 measures 1-9 Verse 2 measures 9-17 Verse 3 measures 17-25 Verse 4 measures 25-34 Verse 5 measures 34-43 Coda measures 43-48 Includes Free Time measures and unusual time signatures Reflects the “gleeful inebriation” of the folksinger Grainger recorded Composed in D minor Verse 1 measures 1-13 Verse 2 measures 14-34 Verse 3 measures 36-48 Verse 4 measures 49-59 All 9 verses in D Dorian mode Verse 1 measures 1-17 Verse 2 measures 18-33 Verse 3 measures 34-48 Verse 4 measures 49-65 Verse 5 measures 66-81 Verse 6 measures 82-97 Verse 7 measures 98-113 Verse 8measures 114-129 Verse 9 measures 130-146 Figuratively speaking ImPercynations is a schizophrenic patchwork of themes. Unlike its source material, it is a single movement work using themes and motives from the six movements of Lincolnshire Posy. The form of the work is tripartite, but like many of Bryant’s compositions, serves no major significance other than to provide a loosely organized sense order. 21 Several elements differentiate each section, the first being tonality. The key and mode relationships of each of the themes and motives used have a direct correlation to the sonority of each section. The majority of the first section maintains major sonorities. 22 The second section moves initially to d Dorian, and remains in minor tonalities. Table 2.2. ImPercynations form I (1-87) i 1-38 ii 39-54 II (88-195) iii 55-87 i 88-133 ii iii 134-149 150-195 III (196-301) i ii iii 196-225 226-250 251-295 Codetta: 296-301 The use and development of thematic material is relevant to each of the three sections. 23 The first section uses mainly thematic material from movement one. 24 The second section uses the clarinet accompaniment from the sixth movement as well as recurrent melodic fragments from the same movement. 25 In the final section, the same material from the first section returns, much in the same manner as the opening. The tonality is the same the beginning, but the instrumentation and phrase structure are varied. 21 Berz, William. “Parody Suite,” Teaching Music Through Performance in Band vol. 5 (Chicago: GIA, 2004), 797. 22 This includes his use of Lydian, mixolydian modes as well as pentatonic relationships. 23 See figure 2.1. 24 I. “Lisbon”. Lincolnshire Posy. Score. 25 II. “The Lost Lady Found”. Lincolnshire Posy. Score. 10 In a tongue and cheek fashion, it is Bryant’s manipulation of themes and motives from the various movements which give the work its unique character. Despite places where complete thematic ideas come to the fore, the entire work is largely built around fragments of supporting material. Vertically, motivic and thematic fragments are composed simultaneously, often layered and combined. Horizontally, imitation is a significant compositional feature. In dissecting this musical “franken-flower,” studying how Bryant uses themes and motives from each of the movements is the best way to explore its melodic construction. Figure 2.1. ImPercynations measures 164-167. Close imitation between voices Though material from all six movements of Lincolnshire Posy is used, ImPercynations is largely based on material taken from movement I, “Lisbon.” The first and most prominent is the saxophone interruption motive taken from measure 14 of “Lisbon.” Bryant’s choice for this motive is personal. As a student, Bryant played soprano saxophone, and remembers fondly this triplet motive as the first notes performed 11 in the work. 26 In a personal conversation with Bryant in the winter of 2008 he went on to elaborate that the entire piece is also written from the perspective of a saxophonist in a concert band. Saxophones are often written parts with supporting material while melodic material “swirls around them.” 27 It is fitting that this motive should be presented identically to the way it appears at measure 14 of “Lisbon,” reinforced with trumpet. 28 The opening statement, the saxophone interruption, is the foundational motive used throughout the work. This motive is used in two ways. The first is as a single entity. ImPercynations begins with this statement and continues through much of the first section. Beginning in measure 40, the role of this fragment begins to change. Bryant develops this motive and begins using it in sequence. As the work progresses, this sequence becomes longer and more important, eventually serving as the transition into the second major section between measures 88-102. During the middle section this motive continues in contrast to the ostinato pattern taken from “Lost Lady Found.” Its sequential use continues until measure 277 where it is removed from the texture for the last time as the work draws to a close. 26 Berz, William. “Parody Suite,” Teaching Music Through Performance in Band vol. 5 (Chicago: GIA, 2004), 796. 27 Steven Bryant, interview by author, Chicago, IL, December 18, 2008. 28 Originally scored for Soprano and Alto Saxophone and French horn. 12 Chart 2.1 Comparisons of various uses of themes from movement I, “Lisbon” Theme/Motive from “Lisbon” Examples of motive use in ImPercynations Single measure statement Measure 14 Measure(s) Description 1, 5, 7, 11, 14, 20, 23, 26, 39,41, 4445, 55, 57,58, 60, 134, 198, 253, 255 Saxophone interruption motive as a single measure motive serving as a foundation for the entire work. 40-42, 56-60, 6569, 123-126, 199201, 214-215, 229235-242, 254-256 Sequence of the interruption motive beginning on a strong beat in clear succession. Sequence type 1 Sequence type 2 13 88-102, 152-164, 183-189, 259-265, 271-276 Beginning in the second section largely focusing on material from “Lost Lady Found” this statement is slightly offset vaguely implying the “Lost Lady Found” material from measures 82-92. 1, 5, 8-9, 13-14, 20, 28-29, 39, 41, 44-47, 47-48, 134, 169-171, 175, 180181, 200-201, 225227, 240-241, 251254, 279-285 48-49 64-65 171-172 One measure fragment from the beginning of the “Lisbon” theme. Often appearing repetitively, it is also often used in close imitation between voices Derived from measures 10-13 Used as a diminished rhythm 175-176 57-76 81-84 118-120 189-191 296-299 Measures 1-17 14 Derived from measures 14-17 16-18 136-138 140-142 144-148 278-280 Derived from the descending dotted quarter notes Measures 27-29 23-27 Measures 34-37 Transposed 15 Scored in imitation clarinets in close 62-70 Marked “heroically” in close imitation between the 2 French horn parts 261-272 Reinforced in various clarinet voices 26-30 Almost canonic between bassoons, tenor saxophone and baritone saxophone Measures 36-49 Measures 50-53 29-30 50-54 71-75 Measures 18-19 16 Expanded in length The other major significant motive central to ImPercynations construction is derived from the main theme taken from measures 1-17. In much of the work the measure is used as a fragment. Its first statement in measure 1 is scored in the trumpet up a major second from the original material. As the music unfolds, this motive returns regularly, often as an interruption similar to the saxophone motive. The most complete statement of this theme is in the coda between measures 296-299. In all instances, the notation of the rhythm has been changed to reflect more accurately the intended detached style. Grainger simply wrote in the score detached and expected the performers to use the correct amount of space. 29 Figure 2.2. ImPercynations measures 296-299 Transposed Other supporting melodic fragments from “Lisbon” are also used throughout the work. The first full statement of any melodic material takes place in measures 23-27, taken from “Lisbon” measures 34-37. Immediately following this statement, Bryant uses the bassoon soli taken “Lisbon” from measures 50-53, twisting it into a three part canon 29 Lincolnshire Posy. by Percy Grainger, Score. 17 between bassoon, tenor saxophone and baritone saxophone. This section of music continues with a statement taken from measures 18-19. Unlike the two previous quotations, this quote returns two more times, both times manipulated differently. Two additional themes are derived from “Lisbon,” both different in their appearance and usage. The texture of “Lisbon” is interrupted in measure 36 by the French horn performing a solo, boldly marked heroically. Bryant uses this theme twice in ImPercynations. Used in close imitation, it first appears in measures 62-70 as a “duet” between French horn 1-2 and French horn 3-4. This theme is further stratified in measures 65-70 accompanied by an imitative layer of the main “Lisbon” theme written minor-seconds apart. In the second appearance of this theme, the French horn is reinforced with doublings in various clarinet voices. Figure 2.3 ImPercynations clarinets and French horns measures 65-70 Transposed The second and final theme from “Lisbon” is the material derived from measures 27-29. This material is used with similar scoring, expanded from the source material by one measure, measures 16-18, giving an illusion of possible development before being taken in a completely different direction. This quotation returns with slightly different scoring between measures 136-148. During this twelve measure section, its usage is both 18 developmental and somewhat transitional. The three measure statement appears twice in measures 136-138 and 140-142. After another statement of the phrase ending derived from “The Brisk Young Sailor,” the phrase is extended by 2 measures, bringing the section to a close. The use of themes from the middle movements, while scantly used, is significant and noticeable. Fittingly, many of these themes appear in the work as significant interruptions to the texture. Arriving in measure 31, the schizophrenic patchwork of themes from “Lisbon” is temporarily abandoned with a full statement from the climax of “A Horkstow Grange.” Without changing tempo or meter, the illusion of both duple meter and reduced tempo is achieved. This material returns at the end of the work in measures 273-279. In the second statement, the brasses present the first measure of the statement. It is interrupted by a one measure transition in the woodwinds and completed by woodwinds in measures 278-279. Uses of themes from “Rufford Park Poachers” are used in two ways. The most obvious is the use of the main theme in measures 150-158 and 184-189. Avoiding the original meter changes, Bryant manipulates the meter altering sub-divisions and making use of hemiola. In the first statement in measures 150-158, the instrument parings are different from the original: piccolo with second clarinet and bass clarinet with Eb clarinet. In Bryant’s second statement of this theme in measures 184-189 he uses the original instrument pairs: piccolo with alto clarinet and oboe with bassoon. Accompanied by fragments from “Lisbon” and “Lost Lady Found,” this is the primary thematic material in the sections between measures 150-195. 19 Chart 2.2 Comparisons of various uses of themes from movement II, “Horkstow Grange” Theme/Motive from “Horkstow Grange” Examples of motive use in built ImPercynations Measure 34-35 20 Measure(s) Description 31-35 Clear ensemble quotation rhythmically manipulated to give the illusion of the regular meter without changing meter or tempo 273-279 21 Brass present the first measure, woodwinds answer after a one measure interruption Other secondary material from “Rufford Park Poachers” is used sporadically throughout the work. Derived from measure 25, it is important to note that in the source material by Grainger, he manipulates the rhythm subtly in Lincolnshire Posy based on meter and melodic contour. Bryant uses similar techniques. In its first appearance in measures 37-38, the figure is augmented. When used in measure 54, harmonized, it is rhythmically closer to the source material. The figure is used as a more direct quotation in measures 157-158 in first trumpet and English horn. In a truly humorous fashion, in measure 193 the motive is used rhythmically as it appears at measure 54 in the French horn, euphonium and tuba, but is answered in inversion in measure 194 by the trombones and trumpets. A third theme from “Rufford Park Poachers” makes two appearances in the final sections of the work. Derived from the French horn “singingly” melody between measures 72-75, the French horn has two abbreviated statements of this theme in measures 211-214 and measures 219-220. Separated by material from “Lisbon” and “Lost Lady Found” the material is pleasantly contrasting. The second unifying thematic fragment is derived from the end of Grainger’s fourth movement, “The Brisk Young Sailor.” Following this, the clarinet and flute perform the phrase ending derived from measures 46-47 of “The Brisk Young Sailor.” This motivic fragment appears often throughout all sections of the work, often ending phrases. For example, in measures 6-7, after several fragments from “Lisbon,” the ascending motive appears ending the phrases, aiding in the transition to the next phrase. 22 Chart 2.3 Comparisons of various uses of themes from movement III, “Rufford Park Poachers” Theme/Motive from “Rufford Park Poachers” Examples of motive use in ImPercynations Measure(s) Description 54 Rhythmically altered and harmonized 37-38 Augmented, foreshadowing future usage 157-158 First trumpet and English horn Measure 25-26 193-194 Inverted 23 150-158 Manipulated meter with different instrument parings from source 184-189 Original instrument parings 211-214 Derived from the second half of the “singingly” theme 219-220 Abbreviated statement Measures 1-6 Measures 68-75 24 No humorous work would be complete without the inclusion of some of the original composers own compositional humor. Grainger’s double inflection chord found in measures 47-48 appears once, and is implied once. This double inflection chord appears at the end of the first section of the work in measure 84. But its most clever use is in its absence. In the final measures of the work, measure 299-301, Bryant gives the listener a complete statement of the ascending figure from measures 46-47. He ends the work here, psychologically leading the informed listener to internally hear this two-chord progression. Chart 2.4 Comparisons of various uses of themes from movement IV “The Brisk Young Sailor” motives Saxophone Interruption Motive from “Brisk Young Sailor” Examples of motive use in ImPercynations Measure(s) Description 6-7, 18-19, 61-62, 84-85, 138-139, 141-142, 148-149, 168-169, 195-196, 218-219 Used as a phrase ending often ending a statement from movement I, “Lisbon” Measures 46-47 299-301 25 Most complete statement 84 double chord Measures 47-48 There is only one statement from “Lord Melbourne” in ImPercynations and its appearance is similar to that of “Horskstow Grange.” Derived from measures 31-34, this full ensemble arrival manipulates time to again give the illusion of a ritard. Being briefly interrupted by a motive from “Lisbon,” the material is layered with any additional material, being solely prominent in the texture. “Lost Lady Found,” like the first movement “Lisbon,” contributes a vast amount of thematic material central to the works construction. Primarily the source material in the second and third sections, the thematic material is convoluted and mixed with other material. The most prominent contribution of material is of the clarinet and saxophone accompaniment taken from verses 4 and 5. Beginning in measure 97, this ostinato is largely omnipresent through much of the last 2/3 of the work. 26 inflection Chart 2.5 Comparisons of various uses of themes from movement V “Lord Melbourne” Theme/Motive from “Lord Melbourne” Examples of motive use in ImPercynations (See below) Measures 31-34 27 Measure(s) Description 172-179 Temporal manipulation giving the free time effect Grainger emulated in the source material 28 Chart 2.6 Comparisons of various uses of themes from movement VI “Lost Lady Found” motives Theme/Motive from “Lost Lady Found” Examples of motive use in ImPercynations Measure(s) 127-129 164-167 Description Primarily the fragment taken from third measure is used Measures 1-17 236-237 97-109, 110-118, 119-129, 207215, 218-225, 226-239, 241251, 255-258 29 Used as an ostinato through much of the second and third sections Measures 50-65, 66-82 104-109, 110117, 172-174, 234-237 Measures 82-92 30 Variation of original combined in part rhythmically with motive from “Lisbon” The melodic variation from verse 6 of “Lost Lady Found,” measures 82-92 functions as primary melodic material throughout much of the last two sections. How it is used is unique. This thematic material is combined with the rhythmic motivic material from “Lisbon” forming a thematic hybrid. Appearing in almost every instrument at some point during these sections it is used both in imitation with itself and layered with various other motivic materials. Also like “Lisbon,” there is no complete thematic statement of the primary theme in the work. There is however a blatant fragment taken from this primary theme which makes several appearances. Using only the fourth measure, there are three distinct statements. The most interesting of these is measures 164-167 where this fragment is used in close imitation in a clearly implied 3/4 meter. The final statement of this theme is presented in the French horns in measures 236-238, varied from the original. Augmenting the experience of listening to and performing this work is the stratification of themes and rhythms. Themes are carefully combined and connected. Only at major arrivals such as the statement of material from “Horkstow Grange” in measure 31or the “Lord Melbourne” in measure 172 does one thematic quotation dominates the texture. And this moment is short lived before being re-interrupted by music from “Lisbon.” In measure 1 two thematic fragments from “Lisbon” are layered over each other. Following a one measure extension in measures 5-6, the phrase ending taken from “The Brisk Young Sailor” is added to the end of the phrase. Sequential use of thematic material and the use of ostinato serve as a rhythmic foundation for other motives to weave in and out of the texture. For example, in measures 62-69, different thematic fragments are layered together, creating a complex texture. 31 Figure 2.4 Example of thematic layering, measures 62-69 with thematic fragments labeled The stratification becomes more diverse in the second and third sections of the work. The second section, which Bryant fondly refers to as “Grainger meets Sorcerer’s Apprentice” is based on an ostinato derived from verse 5 of “Lost Lady Found.” 30 This technique leads to a musical tug-of-war between materials from “Lisbon” and “Lost Lady Found” with the ostinato being performed simultaneously as the interruption sequence. 30 ImPercynations.by Steven Bryant, Score. 32 And this is just within the accompaniment. Melodic fragments derived from both, including the “Lost Lady Found” hybrid weave in and out of the texture before the material from “Lisbon” returns in full before the transition into the final section. Chart 2.7 Other examples of thematic stratification Score Example 33 Measure(s) Description 96-101 “Lisbon” sequence and opening motive with “Lost Lady Found” ostinato and accompaniment 111-117 Combined “Lisbon” and “Lost Lady Found” theme with the “Lost Lady Found” ostinato 34 150-158 “Lisbon” sequence with motive from movement III, “Rufford Park Poachers” 250-259 Motives from “Lisbon” combined “Lost Lady Found” ostinato and altered phrase ending from “A Brisk Young Sailor” 261-272 35 Multiple themes from “Lisbon” in close imitation combined with the ostinato from “Lost Lady Found” 273-279 36 Multiple themes from “Lisbon” combined with material from “Horkstow Grange, interrupted with a variation derived from “A Brisk Young Sailor” The element of rhythm, particularly how Bryant manipulates rhythm, is central to the works tongue and cheek character. With the exception of a few measures in 9/8, the rest of ImPercynations is in 6/8. This meter, like most of the melodic material, is derived from “Lisbon.” However, by manipulating rhythm, two types of stratification affect the work. The first are rhythms which create the feeling of a temporal change. In measures 31-32, the illusion of a slower tempo is given by augmenting note values substantially and focusing on duple subdivisions within the triple meter. A similar effect is achieved in measures 172-179 with the statement from “Lord Melbourne” and measures 273-279 where “Horkstow Grange” returns. The use of hemiola and implied meters is also a common technique throughout the work. Chart 2.8 Selected rhythmic stratification of ImPercynations Measure Rhythmic Stratification Description (s) 31-32 Implied 4/4 Illusion of reduction of tempo 42 Hemiola 2:3 48-49 171-172 175 Diminished half time figure 37 64-65 Complex half time figure over hemiola 81-83 Multiple subdivisions Implied duple subdivision in upper voices 124-130 Complex overlapping subdivisions 150-154 184-189 Multi-layered hemiola 155-158 Syncopated hemiola 164 Implied 3/4 38 166 Multiple subdivision 172-174 Syncopated hemiola 176-179 Multiple subdivisions 212-213 219-220 Multiple sub-divsions 244-249 Multiple sub-divions Complex hemiola 273-276 Multiple subdivisions Hemiola 278-279 Hemiola Implied 3/4 291-294 Hemiola 39 The intricacies from which ImPercynations are constructed are substantial. Using motivic and thematic material that is largely secondary in Lincolnshire Posy and constructing an entire piece from them is itself a novel accomplishment. Several elements make this piece challenging and unique. The work can be appreciated on its own merits even if the listener does not know Lincolnshire Posy. Certainly anyone listening or studying this piece would be able to discern various melodic fragments throughout the work. But without knowledge of the source material as a whole, much of the compositional humor will not be clear. The other element that makes this work truly unique is Bryant’s psychological manipulation of the listener. For the listener who knows the source material, ImPercynations is somewhat of an aural trick. Many themes are used primarily as fragments, and, very seldom completed. This leaves phrases unfinished, leaving the listener to fill in the musical blanks. In the listeners mind, there is a desire to finish the musical line with the descending quarter notes. The listener is instead diverted to material from “Lisbon” taken from measure 50. Beginning with the pun, ImPercynations, the entire parody of Grainger’s classic work is a humorous and carefully constructed impersonation. For the wind band aficionado, appreciation for the deep internal parts of Lincolnshire Posy and aural recognition of musical lines will certainly be noticeable throughout the work. For the listener less familiar with the source material, a carefully crafted, intricate work exploring thematic development, tonal and melodic contrasts, and obscured sectional divisions will leave the listener understanding almost as much as they are wondering what just happened. 40 CHAPTER III SUITE DREAMS (2007) Suite Dreams is the fourth and most recent installment in the Parody Suite. The work was commissioned in 2007 by the Jasper High School Band, Jasper Indiana. 31 Like the other three works, it is based on melodic fragments from a standard piece of wind band repertoire. Unlike the previous works in the suite, this work is not “tongue and cheek” in character. 32 Far more intellectual, it is based on the first movement Gustav Holst’s First Suite in Eb, “Chaconne.” As Holst indicated in his original score, the entire First Suite in Eb is founded on the same phrase. 33 In principal this can be said of Suite Dreams. Bryant describes Suite Dreams as a “dreamlike fantasia” developing as if the listener were sub-consciously imagining the work, with small fragments of the theme weaving in and out of the texture. 34 As the conscience mind becomes aware of the melody, more of the original music is revealed. Manipulated in a number of ways, fragments of this original theme are always present. Like the subjects of Bryant’s other parodies, the First Suite in Eb is recognized as one of the staple pieces in the band repertoire. Completed in 1909, the First Suite in Eb was neither solicited nor commissioned. 35 It was one of the first works written exclusively for the military band. The repertoires of most bands during this time were transcriptions of orchestral works. Although currently accepted as one of the most important pieces ever written for the wind band, at the time of its publication it was not 31 Suite Dreams by Steven Bryant, Score. Ibid., 31. 33 Frederick Fennell, “The Holst Suite in Eb,” The Instrumentalist 29 (April 1975): 27. 34 Suite Dreams by Steven Bryant, Score. 35 Fennell, “The Holst Suite in Eb,” 27. 32 41 considered significant. As Fennell describes, Holst wrote nothing of this piece and provided only the following description on the first page of the condensed score: 36 As each movement is founded on the same phrase, it is requested that the Suite shall be played right through without a break. It is suggested that in the absence of a string bass, the ad lib part for that instrument in the “Intermezzo” shall not be played on any brass instrument, but omitted excepting where the notes are cued in other parts. Also in the absence of timpani, the ad lib part for the latter is to be omitted entirely. The three movements are all based on the eight measure chaconne theme presented at the beginning of the piece. The first movement, Chaconne, is a series of 15 variations in typical song form. Harmonically in the key of Eb major, the theme itself is modal. Figure 3.1 Eight measure chaconne theme measures 1-8 Table 3.1 Variations of the Chaconne theme in movement I of the First Suite in Eb Section Variation Measures Description 1 9-16 2 17-25 • • • • • • 3 26-33 • • 4 34-41 • • 5 42-49 6 50-57 A 1-8 • • • • Chaconne Theme Euphonium, Tuba, Bass Theme: Trombone 2 and 3 Harmonized in Eb Major-Cornets and Trombone 1 Cornet 1 suspension related to measure 115 Theme: Tenor saxophone, Bass Clarinet, Bassoon, String Bass Woodwind accompaniment Theme: String Bass, Euphonium, Tuba, Baritone Saxophone Rhythmic, staccato accompaniment Theme: Trombone 1, Trombone 3, Euphonium, Tuba, Sring Bass, Timpani, Baritone Sax Expanded rhythmic accompaniment Fragmented variation Diatonic accompaniment fgure Change of feel, “Pesante” 36 Fennell, “The Holst Suite in Eb”, 28. 42 • • • • • • • • • 7 58-65 8 66-73 9 74-81 10 82-89 11 90-97 A 12 98-105 Recap 13 106-114 • • 14 115-122 • Cornet 1, trumpet 1 and baritone Chamber music-thinly scored Horn 1, clarinet 4 Hemiola in clarinet 1, ms 64 Alto Sax 1 Solo’s offsetting accompaniment Eb clarinet entrance in measure 67 of note Horn entrance in m71 related to trombones m91 Inverted horn mode change, moving towards c minor Horn 1, Alto sax, Clarinet 4, Clarinet 2 Hemiola begins Pesante Cornet 1-4, euphonium, baritone False recapitulation trombone m89-96 Chaconne in g Lydian Presented in trombone 1-3 False recapitulation 96-97 major tonality returns Chaconne returns in original form in cornet 1 and euphonium Recapitulation Flue 1, Eb clarinet, Clarinet 1, Cornet 1, French horn 1-4 Low brass and low reeds 15 123-132 • Trombone Db chaconne over dominant pedal B Coda • • • • • • • • • • In most of Bryant’s music, form serves loosely to the hold work together and largely doesn’t have any great significance. Even more so in Suite Dreams, form is irrelevant. Since the development of the fantasia form in the baroque period, the label was contrived to categorize largely improvisatory works. Deliberate in thematic construction, the manner that thematic fragments are used gives the illusion of being improvisatory. In some sections, musicians are given a pitch range and instructed to improvise for a designated period of time. The form of the original First Suite is a theme and variations, with 15 variations of the chaconne theme. Following the initial statement of what Fennell describes as the “ground bass” figure, there is a long development, followed by a marked with a false recapitulation in measure 89, and an actual 43 recapitulation beginning in measure 106. Suite Dreams loosely divides into seven sections. Like the source material, it is a series of variations. However, Bryant begins with the inverted chaconne theme which Holst uses in variation 9. Throughout much of the work, Bryant only eludes to the theme. The only complete statement of the theme in Suite Dreams is in measures 145-153. Table 3.2 Form Analysis of Suite Dreams Section Measures 1 1-32 2 32-43 • • • 3 43-61 • • 4 62-82 5 82-104 6 105-155 • • • • • 7 156-182 • • Description Introduction and first variation Inverted chaconne thematic fragment Flutes begin six note fragment based on inverted chaconne presented by mallet percussion in measure 1 simultaneous to augmentation of this figure vibraphone Inverted chaconne theme continues Offset rhythmic augmentation of chaconne theme in tuba and low reeds First aleatoric interlude Thematic fragments of inverted chaconne theme Modal change largely to Eb major Fragments of “right side up” thematic material presented Climax and first time large sections of source material come clearly through the texture Measure 146 is the only complete statement of the chaconne Closing material and coda In creating a dreamlike effect, Bryant uses a number of extended, aleatoric techniques. The most prolific of these techniques is the use of voice. The majority of the ensemble from the beginning is instructed to hum, oscillating between G-Ab. This minor second oscillation occurs in different places throughout the work. What makes this effect more interesting is that the direction of the oscillation changes based on the quality of the harmony. As the piece transitions from minor to major tonality, the oscillation between the G-Ab and Eb-D occur simultaneously. Here, in measure 65, the third and fourth trombone slides between G-Ab, while the first and second trombone reinforces the humming, sliding between Eb-D. 44 Chart 3.1 Minor Second Oscillation Oscillation Up/Down Measures Description • 5-30 • First two pitches of the inverted chaconne as used in measure 5 Instructions state to slowly slide back and forth between these two pitches in this octave only. Men in falsetto. Don’t synchronize with one another. Should produce a buzzing, blurry background texture. Set as background largely to minor tonality Scored in trombone 1 and 2 First two notes of the inverted chaconne, inverted Instructions state to produce slow slide oscillation between these two pitches. Do not synchronize. Minor tonality continued 43-44 • Slow trombone slide oscillation as before 63-73 • • Hum as before Still in minor tonality, transition begins moving towards major tonality 158-173 • • Hum as before Creates blurry texture before final resolution to Eb major • • • • 38-42 • The use of singing not only blurs the tonal image for the listener, but also helps to establish the final cadence in Eb major at the end of the work. Figure 3.2 Notated voice parts throughout Suite Dreams Measure 65 (humming and slide oscillation) 45 Measure 73-74 (ah) Measure 181-182 A variety of other extended techniques are used to give the piece its dreamlike character. 37 The first example occurs in measure 41 where the clarinets are instructed to perform “medium fast pulsing.” The trombone performs a slow, drawn out glissandi in measure 42. In the first of three similar instances, measure 63 is a timed event opposed to metered music. In the first timed event, several events are taking place. First, beginning in measure 62, the flutes are instructed to “improvise as fast as possible on these pitches.” They are further instructed to vary the rhythm to not sound uniform. The mallet percussion are also scored to perform a specified series of pitches in an improvised fashion. Simultaneously, the vocal minor second oscillation continues, and slow slide oscillation is introduced in the trombone. In a similar fashion, this improvised technique is expanded in measure 81 to ad lib chromatically in the specified range of a tri-tone. Treated as individual cells between measures 81-104, the improvisation becomes more intense in measure 105 where players are given a specific melodic shape and told to improvise in “as fast as possible” with the specified contour. In the climax section all French Horns and lower trumpets are instructed to put their bells in the air. 38 37 38 Some of these effects are also used frequently in other works Suite Dreams by Steven Bryant, Score. 46 Chart 3.2 Other extended or specific techniques used throughout Suite Dreams Measure(s) Written 41 74 103-105 156-159 mp ||:> p <:|| f ||:> p <:|| f ||:> mp <:|| pp ||:> p <:|| Description/Instruction • Medium Fast Pulsing (> <) Don’t synchronize 42 80-81 145 149-152 • Sometimes marked slow glissando, sometimes quickly over two octaves 63-65 74 76 80 81 103 180-182 74-76 • Each measure lasts the approximate number of seconds notated above the bar • Improvise as fast as possible on these pitches. Vary the order and rhythm so as to sound random Ad Lib legato chromatic figures as fast possible using all pitches between (and including) those in the box. Do not synchronize Continue previous random figures, slowly ascending as indicated. The range of pitches should not expand (i.e. stay within a tri-tone) Ad lib wildly as fast as possible in roughly the shape indicated • 80-89 92-99 100-103 • 105 • 63-74 80-89 • Not instructed to improvise, players are to repeat the specified pitches in sequence through this timed event 106 134 • • Bells in the air Bells remain in the air until measure 142 47 166 • Bowed 180-182 • Gradually fade to nothing (into voices) Without knowing the First Suite it would be difficult to truly comprehend the clever use of Holst’s material. There is only one complete statement of the chaconne in the piece. Most of the work is built around thematic fragments and supporting materials from an assortment of variations, not appearing in order. In ImPercynations, the work is unified by one motive. Themes from the six movements are layered with as many as four themes occurring simultaneously. In all of the thematic development, the triplet motive is generally always present. Comparatively, there is a similar use of motive in Suite Dreams, although much more convoluted. Following the four measure introduction, the mallet percussion is scored an ascending seven-note pattern. This is followed by the first melodic fragment in the first bassoon. All of this is derived from the inverted chaconne that Holst wrote in variation 9 beginning in measure 74. 48 Figure 3.3 First Suite measures 74-81 and pitch inventory Transposed Concert Pitch Figure 3.4 Suite Dreams measure 5 and pitch inventory This melodic progression appears in a variety of voices and rhythmic manipulations throughout the piece. This progression is also similar to what Holst wrote in the first French horn between measures 71-73. This short statement is significant because it serves as a transition between section A in Eb major and section B in c minor. It also 49 foreshadows the trombones false recapitulation beginning in measure 90. In comparison, this opening statement in mallet percussion, similar to the French horn, establishes the opening tonal area of c minor. Figure 3.5 First Suite in Eb, first French horn measures 71-73 with pitch inventory Transposed Concert Pitch Opposed to being ever present in the same form, Bryant augments, diminishes, expands, alters the rhythm and moves the progression through different voices. Chart 3.3 Inverted chaconne fragment and its manipulations Written Measure(s) Description 5 • Initial statement in mallet percussion 32-44 • Flutes with four note fragment played as an ostinato Imitative between 1st and 2nd flute Vibraphone augmentation • • 50 53-61 • • Euphonium syncopated augmentation Layered staggered entrances in the low brass and low reeds Note progression free time in mallet percussion 63-70 80-89 • 95-98 • Harmonized between clarinets and trumpets 116-118 • Textural interruption in flutes The inverted chaconne from Holst’s 9th and 10th variations remain significant through the first third of the piece as the primary melodic material. As the tonality shifts from minor to major in measure 77, Bryant begins to use additional supporting material derived from different variations. This leads to the climax of the work, a variation comprised entirely of supporting material. 51 Chart 3.4 Use of other thematic and supporting material Source (First Suite) Written Measure(s) Description 39-42 77-79 92-94 Augmented 82-89 Maintains similar voicings to original Measures 9-13 First presented in oboe, clarinets and trumpets Measures 17-23 Measures 24-25 89-92 133-134 142-143 147 158-159 Variant rhythmic stratification 134-140 Maintains similarity to source material 105-109 115-119 124-131 134-141 Augmented Maintains raised fourth, but follows whole tone ascent opposed to Lydian Measures 40-49 Measures 115-122 52 Different horn and saxophone counterline in each instance 110-111 128-130 137-139 Derived from movement III, March 115-122 Combination of the two variations 142-145 Augmented Measures 397-398 Measures 17-23 Measures 65-69 Variant Rhythmic stratification Measures 113-114 In all of the developmental material, the only full statement of the chaconne occurs between measures 145-152. Immediately preceding this statement in the low brass is a three measure dominant pedal and a transition similar to the one found in measures 113-114 of Holst’s First Suite. The brass and flutes are paired in the same way as the original, but the remainder of the accompaniment performs other variations of supporting material. 53 Chart 3.5 Complete intact chaconne comparisons First Suite measures 115-122 • • • • Reduced and in concert pitch Line 1: Flute, Piccolo, Eb Clarinet, 1st Clarinet, 1st and 2nd cornet Line 2: Oboe, 3rd and 4th Clarinet, Alto Sax, Tenor sax, 3rd and 4th cornet, 1st and 2nd trumpet, 1st 2nd 3rd and 4th French Horn Line 3: Bassoon, Bass Clarinet, 1st 2nd and 3rd Trombone, Euphonium, Tuba, String Bass Suite Dreams measures 145-153 • • • • • Reduced and in concert pitch Line 1: 1st and 2nd Flute, 1st-4th Trumpet 3rd and 4th Clarinet, 1st-4th Horn, Bass Clarinet Line 2: 3rd and 4th Flute, oboe, 1st and 2nd clarinet, Mallet Percussion (Subdivisions vary part by part in the first 2 measures) Line 3: Tuba, Euphonium, Baritone Saxophone, Trombone. Note: Bassoon begins with Line 2 material in measure 146 and is paired with Euphonium for remaining measures The creative parody of rhythm is an element also central to the works construction. In First Suite, Holst creates rhythmic complexity in the use of hemiola during the development at measure 82, further drawing from baroque compositional practices. Continuing through measure 98, it creates a high architectonic level, being further augmented in complexity by harmonies created in the rhythmic variety. 54 Capturing the effect of hemiola, Suite Dreams creates a more complicated and rhythmically diverse architectonic level. Figure 3.6 Example of hemiola in First Suite measures 86-90 Reduced and in Concert Pitch Although hemiola appears in various locations throughout First Suite, the most prolific section occurs between measures 82-98. Similarly, Bryant’s most significant use of hemiola is in one section between measures 43-61. Contrasting however, the rhythmic cells and how they are layered is much more complex. Shown in figure 3.6, the bassoon, tuba, and string bass perform a reasonably straight-forward 2:3. In Bryant’s rhythmic development, several things differ. Rhythmic cells are layered with staggering entrances creating a rhythmic stratification with multiple subdivisions occurring simultaneously. As the melodic material develops, the rhythm is augmented and diminished. Individual lines give the effect of combined simple and complex meters. Inside of this texture the consistent eighth notes act as a stabilizing force. 55 Figure 3.7 Suite Dreams measures 43-61for complete reference 56 Chart 3.6 Reduced rhythmic analyses of stratification measures 43-61. Implied meter, simple subdivision and use of hemiola shown 3 4 Bassoon 43 44 45 46 47 48 49 50 12 16 4 4 Clarinet 12 51 6 8 12 16 4 4 Clarinet 3-4 12 16 6 8 Bass Clarinet Alto Sax Tenor Sax Trombone 1-2 Trombone 3-4 Euphonium Tuba 6 8 3 4 Bassoon 52 53 54 55 56 4 4 57 3 4 Clarinet 12 3 4 Clarinet 3-4 3 4 Bass Clarinet 3 4 3 2 Alto Sax Tenor Sax 57 58 59 60 Trombone 1-2 Trombone 3-4 Euphonium 4 4 3 4 Tuba 3 4 3 2 Rhythmic stratification remains significant in many other sections. The first thematic fragment in measures 8-11, in 3/4, implies 6/8 in measure 9 and again in measure 15. Between measures 32-43 a syncopated 4/4 in the flutes is written against an implied 6/8 in the vibraphone. As the work develops, Bryant uses other varied subdivisions, hemiola and intricate rhythmic stratification. Chart 3.7 Other areas of rhythmic interest Measures Rhythmic Stratification 8-10 21-31 Description Implied 6/8 Overlapping and slightly varied 32-43 Hemiola; 2:3 86-88 Hemiola-2:3 89-91 Complex duple and triple stratification 92-94 Augmentation of theme in implied 3/4 58 95-97 Hemiola Mult-layered triplet 100-102 Hemiola 2:3 108-109 Offset hemiola-metric syncopated 116-120 Hemiola 2:3 125-130 Multi-layered triplet 2:3 132-134 142-144 Duple vs augmented triplets 135-141 Syncopation and implied hemiola 158-159 Hemiola 2:3 with more rhythmic complexity The combination of these elements creates a great deal of responsibility for the performer and conductor. For the performer, different groups may be performing in 59 multiple meters simultaneously. One example of this is between measures 43-61. Because only one complete statement of the chaconne appears in the entire work, thematic fragments weave in and out of the texture through varying solo instruments or instrument groupings. Within instrument groupings a great deal of independence is required. One such example between measures 50-53 creates four offset lines between the bassoon, clarinet 1-2, clarinet 3-4, and bass clarinet. 39 Perhaps one of the most significant challenges for the conductor is the ability to conduct in such a way to aid the performers without inhibiting the music. Due to the complex nature of the work, the conductor could quickly become strictly a manager of pulse without care in the preparation. Except for the timed sections, the quarter note pulse remains constant. With the manner in which many entrances are layered either in a syncopated manner or implied meter, care in cueing and bringing more prominent voices through the texture is required. Although Suite Dreams is categorized as being medium difficult, it requires a great deal of responsibility and maturity from each performer. 40 Perhaps the work’s most intriguing characteristic is its unique and effective way of manipulating the educated listener into realizing the unwritten music in relation to what Bryant actually composed. That is, allowing the listener to figuratively fill in the gaps. Like a good film, Bryant also succeeds in taking the music in unpredictable directions. The work serves as a monument to Holst as much as it stands on its own as an excellent addition to the wind band repertoire. 39 See figure 3.5. Steven Bryant. “Suite Dreams,” Gorilla Salad Productions http://www.stevenbryant.com/suitedreams.php (accessed March 15, 2008). 40 60 CHAPTER IV DUSK (2004) Dusk was commissioned by the Langley High School Wind Symphony, Andrew Gekoskie conductor. 41 Bryant describes the work as a “…capturing the reflective calm of dusk paradoxically illuminated by the fiery hues of sunset.” 42 He further describes the experience of the coming darkness by the slow, silent setting of the sun and the various colors still present in the sky at sunsets decay. The short, rather reflective work musically depicts the oncoming stillness of night, while reflecting on the closing of the day. This short tone poem is appropriate for high school, intermediate and advanced middle school bands. Though not technically difficult, Dusk provides an excellent opportunity for young and experienced musicians to play in a variety of textures, with musically interesting melodic and harmonic writing. Just as the last moments of light at sunset provide layers of color, Bryant creates a layered musical tapestry in his use of form, orchestration, melodic and harmonic writing. Structurally Dusk is simple and elegant. The work is a straightforward arch form. 43 Within the arch are three distinct sections, loosely following a ternary form. Each section has its own interesting internal form. The first section, A, is binary, and is twenty measures in length. 41 Fairfax County School District, McClean, Virginia. Dusk by Steven Bryant. Score. 43 Ibid., 42. 42 61 Chart 4.1 Analysis of form Arch form with internal sections Arch A (20) Measure: 1 12 8 3 6 3 4 4 12 13 20 A' (14) B (33) 4 8 4 6 11 5 3 3 3 3 3 5 21 23 24 31 32 35 36 41 42 52 62 9 5 4 5 53 61 62 66 The seeds for the work are sown in the opening twelve measures. The flute, harp and vibraphone present the two primary harmonic elements for which the work is based: quintal chords and diatonic clusters. Figure 4.1. Measures 1-4, which show the quintal and diatonic harmony, as well as the opening melodic figure in the French horn The primary theme is presented in the solo French horn in measure 2. Of note is the melodic use of descending thirds. The entire work is based on this simple progression. 44 These opening twelve measures divide into three phrases. Changes in meter provide an uneven flow of musical line. Figure 4.2. Changing meters provide a flow in the musical line The second phrase group of section A is only eight measures. It contains a single period that divides evenly into two four measure phrases. Unlike the opening, this portion remains in one meter. A brass chorale states the melodic material, with ascending fourths in the trumpets, and descending thirds in the French horns. 44 Dusk by Steven Bryant. Score. 63 Figure 4.3. Measures 13-16 Transposed The second internal section, B, begins in measure 21. This is the first place where all of the winds play together. This section contrasts the first in several ways. This section is developmental. Using the motive of descending thirds as the primary material, this section contains a series of full ensemble arrivals. Each of these arrivals increases in volume leading to the climax of the piece in measure 42. Between each of these major arrivals, primary thematic material is further developed, adding instruments to the scoring and further developing thematic material. Figure 4.4 Descending thirds, measure 21 Concert Pitch The final section develops differently. The theme presented by the brass in measure 13 is now presented in the first flute, all three Bb clarinets and bass clarinet. It is presented down a major second from its original statement to accommodate key. This 64 phrase group is extended by one measure in measures 53-61 compared to its related phrase group between measures 13-20. The final phrase is only five measures in length. The structure of this final section brings the work in full circle, neatly completing the arch. He presents the themes backwards, and ends in the exact same manner it begandescending thirds quintal harmonies, and uses the same meter progression as the beginning. Bryant’s scoring and how he uses timbres within the ensemble add another dimension to the beauty of the work. The opening phrase group, twelve measures in length, is essentially scored for woodwind quintet. The opening measures are scored for low flute and vibraphone, while in measure 2 solo French horn presents the first theme. Continuing with transparent, chamber like scoring, he opens the next phrase with a clarinet duet between first clarinet and bass scored largely in the chalumeau register. The use of thirds and fifths in relation to the harmonic and melodic framework is apparent. Figure 4.5. First Clarinet Bass Clarinet duet measures 4-7 The duet is accompanied as before with low flute and vibraphone. As this first phrase group draws to a close, Bryant reinforces the French horn at the cadence with euphonium. 65 Figure 4.6. French horn and Euphonium measure 12 The second phrase group begins in measure 13. Bryant changes the timbre completely by presenting the second theme in the lower trumpet and middle horn. 45 This creates a dark, rich timbre. He expands the palette in measure 18, adding the woodwind choir prior to the tutti statement from the complete ensemble. The second major section, B, begins in measure 21 with the works first complete thematic statement by the full ensemble. The ensemble presents the descending minor third motive, while being harmonized with quintal chords. The harmonies do change through the second and third tutti sections, which will be discussed in more detail. Almost all instruments are scored in their middle or lower register. After this arrival in measures 21-23, scoring is pared back to horn, timpani, alto saxophone, and low clarinet, presenting the theme and diatonic clusters. The flute joins in measure 25 followed one measure later by low reeds and tuba. 45 See fig. 4.3. 66 Figure 4.7.First ensemble tutti measures 21-25 The texture increases at the second arrival in measures 32 and 33. The range is expanded, doubling the tuba in the lower octave, increasing the range between tuba and first flute, doubling the tuba line in timpani, and adding more harmonic variety. 67 Table 4.1. Comparisons of depth of range and orchestration at the three tutti sections Measures Range 21-23 32-34 Bb-c4 Gb-a3 Eb-f3 Eb-f4 C-d4 AAb-c4 Orchestration and scoring differences • • • • • • 42-44 Ab-ab4 G-g4 F-f4 • • • • Harmonized in quintal chords No phrase extension Expanding range Quintal chords resolving to Ab Major chord in the third pitch Emphasis on the third in upper voices and mallet percussion Two bar phrase extension Major harmonies on all three descending chord Half cadence Cadence now interrupted with rhythmic movement in various voices Repeated three times, each time with more movement dissolving the cohesive effect Following this arrival, Bryant again reduces the instrumentation. Musically depicting darker hues becoming more prominent, he scores the end of the phrase with low brass and French horn, closing on yet another diatonic cluster. The transition which occurs in measures 36-40 is perhaps one of the most interesting sections of the entire work. In building layers figuratively and musically, this section is demonstrative of mature and well-structured musical thought. At the base of the texture, the bass drum and timpani roll through this section. Adding to this effect, the alto and tenor saxophone perform trills for three measures, ascending in minor thirds. Moving eighth notes are scored giving rhythmic and harmonic direction towards the works climax in measure 42. 68 Within the texture under all of this, the low reeds and low brass present the theme from measure 13 augmented, and then finish the complete statement in measures 39-41 with descending minor thirds. The climax occurs at measure 42. Written to be played as loud as possible, this moment is the loudest and most densely scored moment in the work. 46 Eleven measures in length; this phrase group divides into phrases of 3+3+5. Each of these statements is broken up by other lines as the work begins to retreat to its conclusion. Upon the arrival of the third note in beat one of measure 43, eighth notes in ascending from minor third to perfect fourth and then falling to a fifth are added to the texture. Figure 4.8. Low brass and woodwinds statement of the theme hidden inside of a thicker musical texture 46 fff. 69 Figure 4.9. Third trumpet, horn and euphonium present the intervallic motive leading to a half cadence in measures 43-44 During the second phrase between measures 45-47, the motive is interrupted on the second note by eighth notes, and further disrupted by the clarinet, horn, euphonium, harp and vibraphone adding a syncopated rhythm leading to the cadence. Figure 4.10. Clarinet, French horn and euphonium present a syncopated figure at the end of measure 46 leading to the cadence The third phrase of this group between measures 48-49 an echo of the previous material. The motive is presented in the French horn, second trombone and clarinets. The final section begins in measure 53. As to be expected of an arch form, the music is in retrograde in relation to its presentation at the beginning. The first period between measures 53-61 resembles the music found in measures 13-20. Bryant changes the orchestration here. Instead of a brass chorale, the thematic material is presented in low flute, middle and low soprano clarinet, and bass clarinet. 70 Figure 4.11. Scored for brass chorale at measure 13, thematic material is scored for woodwind chorale at measure 53 With the exception of solo French horn and euphonium, the brasses do not return for the duration of the work. This final statement in the last five measures completes the arch. The work closes as it began, with the French horn solo being reinforced by the euphonium, and ultimately resolving to the same chord that opened the work. Figure 4.12. Woodwind scoring and final thematic statement in measures 62-66 Dusk alternates primarily between the keys of Bb and g minor. The opening tonal center is Bb, but the use of quartal and quintal harmony is prevalent throughout the work. It opens with a sustained perfect fourth in the flute and vibraphone (and optional harp). Diatonic clusters are also a harmonic staple of the work. This certainly becomes true when arriving at cadences. Almost every major phrase ending results in a half cadence. 71 The motive itself also has significance in the harmonic writing throughout the work. The progression of minor thirds, an example of which is in figure 4.6, is clearly the melodic building block of the entire work. Another characteristic which gives the work its open feeling is the use of space. The rests allow the conductor to manipulate space, leaving the listener with a sense of anticipation or reflection. Perhaps the most significant moment of silence occurs at the end of the middle section in measure 52. After the third statement of the descending minor third motive, three beats of rest are written. The vibes and harp sustain through the winds release, decaying to absolute silence prior to a return of the opening material in measure 53. Simple and elegant, Dusk is a work that would augment any program. It is technically simple enough that younger bands would be able to perform successfully. It is sophisticated enough that more advanced musicians would have a meaningful experience performing the work. Masterfully crafted Dusk is a work worthy of study and performance. 72 CHAPTER V CONCERTO FOR WIND ENSEMBLE, MOVEMENT I (2007) Departing from the works of the Parody Suite and the Night Cycle which Dusk belongs, the Concerto for Wind Ensemble is a much more mature work musically and compositionally. Also a commission, the Concerto was written for the USAF Band of Mid-America. 47 As Bryant describes he chose to not write a piece about flight which many commissions for the USAF bands do, but rather opted to create a work that requires and celebrates virtuosity and “viscerally demonstrate their commitment to excellence as representatives of the Unites States Air Force;” specifically to the way the USAF Thunderbird Air Demonstration Squadron demonstrate precision and professionalism. 48 Despite opting for a composition not programmatically depicting flight, other compositional elements symbolically representing traits associated with the Air Force are built in. This concept spawned an eclectic work, creating significant demands on the performer and listener. Various extended techniques are used throughout the work creating variety and enhancing the soundscape. Bryant’s own influences, especially from popular music sources find an outlet in this work. The first movement was written in 2007, with four additional movements composed in 2010. Unlike many large scale concertos of the late classical period to the present, the Concerto for Wind Ensemble is truly that, a work written for a true wind ensemble, not a large concert ensemble. Bryant is specific in his instructions for precise instrumentation. 47 48 Commander Donald Schofield, Conductor. Concerto for Wind Ensemble by Steven Bryant. Score. 73 This instrumentation is relevant to the larger framework of the piece in that much of the work, particularly the first section are written as individual solos that are carefully woven together. Table 5.1 Exact Instrumentation Instrument/Part Flute 1 Flute 2 Oboe 1 Oboe 2 Bassoon 1 Bassoon 2 Clarinet in Bb1 Clarinet in Bb 2 Clarinet in Bb 3 Clarinet in Bb 4 (antiphonal) Clarinet in Bb 5 (antiphonal) Clarinet in Bb 6 (antiphonal) Bass Clarinet Alto Sax 1 Alto Sax 2 Tenor sax Baritone sax Trumpet in Bb 1 Trumpet in Bb 2 Trumpet in Bb 3 Trumpet in Bb 4 (antiphonal) Trumpet in Bb 5 (antiphonal) Trumpet in Bb 6 (antiphonal) Horn in F 1 Horn in F 2 Horn in F 3 (antiphonal) Horn in F 4 (antiphonal) Trombone 1 Trombone 2 Trombone 3 Trombone 4 Euphonium Tuba Percussion • Crotales, Bass Drum, Suspended Cymbal • Glockenspiel • Vibraphone, Suspended Cymbal • Marimba, Suspended Cymbal Number Per Part 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1-2 1-2 74 Concerto, derived from the Latin “concentare” meaning to contend, dispute, debate, and also to work with, is appropriate on multiple levels. 49 In the initial planning, Bryant and Cdr. Schofield centered on a traditional concerto grosso technique, which lead to the unique use of three antiphonal groups surrounding the audience. As the piece began to develop, Bryant expanded this idea to expanding the concertino and surrounding the audience. 50 As the first symbolic component of the piece, the group intentionally forms the shape of a diamond. This diamond formation is a core formation of the USAF Thunderbird Air Demonstration Squadron. Bryant furthers this relationship by intentionally placing the fifth trumpet and fifth clarinet in the back of the hall, serving as an inversion of the ensemble on stage, mirroring the no. 5 pilot who flies inverted the majority of the time. Figure 5.1 The Thunderbird diamond formation and no. 5 pilot flying inverted 51 49 rd Websters New World College Dictionary, 3 ed., s.v. “Concerto.” Concerto for Wind Ensemble by Steven Bryant. Score. 51 David Hayward. Thunderbirds over Rhode Island, 2004, http://www.aeropix.com/topguns/tbirdpage.htm. 50 75 Chart 5.1. Concerto for Wind Ensemble Antiphonal Placements Stage Hn. 3 Cl. 4 Hn. 4 Audience Tpt. 4 Cl.6 Tpt. 6 Cl. 5, Tpt. 5 All antiphonal groups should be elevated if possible (in balcony or box seats for example). The goal is to form an equal “diamond” shape around the audience, with the onstage wind ensemble occupying the front point of the diamond. Each antiphonal part is composed with the intention that it is equally present to its counterparts, including onstage. For example, the clarinet call-and-response in mm. 131-141 between Clars. 1 and 5 should be equal in volume. Clarinet 5, in this instance, should NOT be a distant echo. This holds true for all antiphonal parts in all instruments throughout this movement. 76 Structurally, there is also inherent symbolism. Using the no. 5 pilot as inspiration, the internal importance of this number is central to the works construction. The entire movement is based on an ascending five note pattern. The fifth note is emphasized with a sustained trill, and appears as a pedal point at various points in the first and final sections. The overall form of the piece is in five parts. Bryant leaves the analysis of this form open stating in his program notes: “The piece can loosely be said to be in ABACA form, or perhaps, since the contrasting sections are contrasts of character rather than time, it should be labeled A A' A A'' A. Or maybe I should leave any attempt at analysis to the theorists.” 52 The question of form is one of the many intriguing points of this piece. In a standard concerto, one would certainly expect to find a rondo form. Conversely one would expect form to be of less importance in Bryant’s writing. Theoretician Douglass Green states in his book on formal analysis that to truly be a rondo, the refrain must appear at least three times. 53 In analyzing the Concerto, this is certainly the case. The opening six measures returns three times at the same pitch level with the same orchestration. Section B which begins in measure 54 is contrasting and developmental. The same can be said for section C beginning in measure 133. And although these sections are similar material in a slightly different character as Bryant describes, there is enough difference to qualify each as an independent section. Many concertos, especially of the baroque period, are in five part rondo form. Schenker defines the concept of the rondo as two three-part song forms being combined so the last part of the first three part form becomes the first part of the second three part 52 Concerto for Wind Ensemble by Steven Bryant. Score. Douglass Green, Form in Tonal Music-An Introduction to Analysis, (New York: Holt, Reinhradt and Winston, Inc., 1965), 150. 53 77 form. 54 Drawing from a variety of musical influences, including popular music, it is certainly logical that expanded ternary form would be used, especially since a large portion of the work is inspired by a harmonic progression based on music of the band Radiohead. Table 5.2 Form Analysis Section Description • A Must not be overburdened with too much inner tension • Measures 1-53 • Refrain measures 1-6 • Internal ternary form (a-b-a) a: 1-14 b: 15-32 a: 33-39 transition: 40-53 • Begins at the complete close of A • Measures 54-125 • Presents new harmonic and rhythmic material in contrast to the first section • Three sections followed by a re-transition, developing rising fourth ascending theme and harmonic progression i: 54-78 ii: 78-92 iii: 93-114 retransition:115-124 B • • • • A Six measure refrain Measures 125-132 Accompanied by antiphonal clarinet Two measure re-transition lead by solo 5th clarinet • Begins independently after a complete close of A • Measures 133-184 • Four major sections, each developmental accompanied by “rhythmic groove” i:measures 133-139, bridge 140-141 ii: 142-146, bridge 147 iii: 148-158, bridge 159-164 iv: 165-172 re-transition: 173-184 • Final A resembles transition measures 4053 C A' 54 Heinrich Schenker, Free Composition (Der Frei Satz), trans. Ernst Oster (New York: Longman, 1935), 141. 78 • Motive first presented by trumpet5 The opening six measures serve as the foundation of the entire work. Based on a five note ascending motive in the Phrygian mode, this motive is stated immediately in measure one. 55 This motive is presented on the second beat each time it returns except for its final statement beginning in measure 185. This motive is answered in a rhythmically altered inversion immediately in the second clarinet. It could be argued that this pattern of immediate inversion is yet another example of the inherent symbolism of the Thunderbird’s written into the work. This pattern of antecedent consequence continues between the first and second clarinet through measure 5, when the third clarinet joins the texture. Figure 5.2 Five note motive and measures 1-4 Concert Pitch Transposed Several other notable events central to the entire work are presented in the opening measures. At the end of each statement in the first three measures the clarinets end trilling on F#. This emphasis on the fifth and its inversion is apparent through the entire work. As the opening section expands, the emphasis of the F# is stated constantly. The flutes first entrance in measure 7 is a trill. In measures 7-15 this trill is present in all but 55 Modality is more central to composition than key center. 79 two measures. The section ends in measure 14 with a first bassoon alone presenting the trill for the entire measure. Part of Bryant’s goal in writing the Concerto was to showcase the virtuosic talents of the ensemble. The scoring throughout the first 40 measures is sparse. Other than two glockenspiel notes, the entire section is written conceptually for woodwind sextet. 56 Each part is soloistic with the entire fabric reliant on each voice’s presence. The ascending and descending patterns are expanded weaving seamlessly between voices. The motive is further developed through rhythmic manipulation. For example, in measures 11-14 the ascending first clarinet line is answered by the third clarinet and second flute in contrary motion. As the phrase continues, the other upper woodwind voices enter, making the way for the bass clarinet and bassoon that end the phrase and the opening section. Figure 5.3 Measures 11-14 56 Not a true woodwind quintet, composed for 2 horns, 3 clarinets, 2 bassoons, bass clarinet, 2 oboes, and 2 flutes. 80 Measure 15 is both contrasting, and developmental. The exploration of the motivic material continues, now presented both augmented and in inversion in the French horn and 2nd bassoon. Harmonically this is a point of interest. The chord presented on the beat 1 of measure 15 is an Eb major chord. This mediant relationship is notable in that opposed to traditional models of the tonal concerto which would present the second major contrasting section in the dominant; there is emphasis on the relationship of the third in the way the piece develops. In section B which begins in measures 54, the harmonic progression is in the key of d minor. This foreshadowing of section B is further supported by two other elements. The first is the French horn and bassoon figure. Beginning on an Eb, they descend chromatically down a minor third. This is inverse to the line the horn has in measure 62-64. Additionally, the ascending figure in the horn in measures 19-20 ends with the two voices a minor third apart. Figure 5.4 Measures 15-17, Measures 62-64, Measures 19-20 Horn 1, measures 15-17 Horn 1, measures 62-64 Horn 1 and 2, measures 19-20 81 The first of a number of extended techniques are also introduced at measure 15. The second flute has written harmonics. The first flute continues with these harmonics in measure 22. All of the clarinets are instructed to execute “Medium-fast pulsing” between measures 28-30. This effect again emulates techniques employed in contemporary electronic music. Beginning in measure 86, the performer assigned to crotales is instructed to bow the written pitches. Figure 5.5 Extended techniques employed in measures 15-32 Flute 2, measure 15 Clarinets measures 28-30 When the refrain returns at measure 33, it is accompanied by a pedal F# in the bells. This pedal F# continues through the refrain and transition between measures 4052. The transition beginning in measure 40 introduces the first use of the antiphonal groups. Using the groups positioned on the sides, the ascending motive is presented by the fourth and sixth clarinet, answered on stage by the second clarinet. The fifth clarinet picks up thematically what the third clarinet performs during the initial statement at the beginning and during the refrain. Between the three antiphonal clarinets and three on 82 stage clarinets, no part is doubled. As additional voices in the on stage ensemble are added, the trombone joins the F# pedal in the bells, only after two measures is instructed to perform SLOW quarter tone slide vibrato. Figure 5.6 Measure 45 In addition to the distorted F# and pedal F# in the glockenspiel, as each independent melodic cell closes, it arrives on an F# trill; this trill is consistent throughout the entire transition. By measure 46, almost all of the woodwind voices, including saxophones, have entered the texture. The ascending five note motive is manipulated through levels of rhythmic stratification of various duple, triple, and more complex subdivisions. Further emphasizing the ascending musical line, two octave ascending runs that increase in speed are written overlapping each other in the low reed voices. In each of these, performers are instructed to perform these fifteen notes increasing in velocity over two beats, always ending on an F# trill. Figure 5.7 Measure 46 83 The trumpets enter in measure 48 with staggered entrances reinforcing the F#. When the antiphonal trumpets join the texture on the second beat of measure 51, the listener becomes surrounded by the ascending motive accompanied by other complex subdivisions. The trombones continue with even slower quarter tone vibrato, bringing section A to a complete close. Section B, beginning in measure 54, presents a harmonic and rhythmic progression that are significant for the remainder of the work. Bryant describes this progression as being “inspired by a fairly popular band these days”. 57 The band he is referring to is Radiohead, a six member eclectic rock group from Great Britain. Radiohead’s music is as eclectic to the rock idiom as Bryant and composers like Bryant are to the contemporary band idiom. Radiohead’s influences include such groups and composers as the Beatles, DJ Shadow, Ennio Morricone, Miles Davis, Krzysztof Penderecki and Oliver Messian. 58 As Radiohead’s compositional techniques expanded in their albums post Ok Computer in 1997, their use of electronic manipulation and harmonic complexity became more prominent, and certainly more experimental. The harmonic progression which Bryant uses beginning in measure 54 is derived from music on the albums Hail to the Chief and Amnesiac. Illustratively, this section could easily depict the beauty of flight without being a cliché. The harmonic progression is pitched in d minor and is eight measures in length. Written in the vibraphone, the player is instructed to perform with no breaks in the sound. This is a clear departure from the opening section. The rhythm is also relevant because syncopated feeling that it sets up is the rhythmic foundation for the next two sections. 57 Concerto for Wind Ensemble by Steven Bryant. Score. Wikepedia, “Radiohead,” Wikipedia, the Free Encyclopedia, http://en.wikipedia.org/wiki/Radiohead#Style_and_songwriting (Accessed June 26, 2010). 58 84 Figure 5.8 Measures 54-61 Each two measures essentially make a complete unit. After the first complete statement of the harmonic progression, the crotales and French horn enter. The crotales are bowed, and certainly emulate electronic sounds. The first French horn presents an augmented version of the ascending theme, but here it does not rise to the fifth, but rather to the fourth. It is imitated in similar in the second French horn one measure later. Figure 5.9 Measures 62-67 With the next eight-measure cycle that begins in measure 78, the tuba enters the texture with sporadic entrances. The rhythm remains consistent, but the harmonic progression changes in measure 86, beginning a seven-measure transition into the next subsection. Figure 5.10 Measures 86-92 Measures 89-93 are the first place where the two horns play together, doubling each other an octave apart. The tuba presents a counter line moving in contrary motion to the horn, reinforced in measures 91-92 an octave above in the euphonium. 85 Figure 5.11 Measures 91-92 The texture changes in measure 93 with the addition of several rhythmic and melodic layers. Marimba reinforces the harmonic and rhythmic progression with the vibraphone. The glockenspiel is added with continuous eighth notes. This continues through the end of measure 114. Figure 5.12 Measures 93-94 Marimba, Vibraphone and Glockenspiel The first and second alto and tenor saxophones enter with an intricate technical pattern imitating a soft quiet fluttering or murmuring. In unison rhythmically the majority of the time, the pattern is harmonized in thirds, reinforcing the harmonies performed by the mallet percussion. 59 When this figure ends in measure 103, the saxophones create a polychord in relation to the percussion. Here, the saxophones gently end trilling a d 59 Measure 98 each entrance is staggered by an eighth note, returning to unison in the following measure. 86 minor chord, while beneath the mallets are scored with an Eb major chord resolving to Bb major on the fourth beat. Figure 5.13 Measures 93-94, measure 103 Melodically through this section, the ascending fourth motive in augmentation is continued, and as the section continues the instrumentation is expanded. Now presented in pairs, the phrases are not overlapping, but answer each other. The first trombone and first trumpet are paired, second trumpet with second trombone. In addition, they are scored in the same tessitura. This melodic paring changes in measures 99-103. The first French horn joins the second trumpet and second trombone in the answer in measure 99. When the first trombone begins the next two bar section in measure 101, it is paired with second French horn. One measure later the second trumpet enters with an augmentation of the full five note motive leading into measure 104. This is further reinforced by the third trumpet entrance beginning on the fourth beat of measure 103 of the full five note motive. 87 Figure 5.14 Measures 102-104 With the final section of the development between measures 104-114, the entrances are expanded, now including all parts within the brass except for the euphonium. All four trombones and tuba rhythmically have the same material: longer sustained notes. Between the first and second trombone, the part is intended to be continuous, with the performer being instructed to “sneak in-blend with trombone 1.” 60 The French horns and trumpets continue to overlap the ascending motive. In closing this section and transitioning to the next, the motives alternate between ascending a fourth and a fifth. Similar to the first section of the piece, each individual part has varied rhythms, although there is much more direct imitation than appears in the woodwinds earlier. 60 Concerto for Wind Ensemble by Steven Bryant. Score. 88 Figure 5.15 Measures 107-110 As the re-transition begins in measure 115, there are several notable differences compared to the first transition in measures 40-53. The meter changes with the majority of this section in 3/4. The ascending motive is returned to its original pitch center beginning on b. In remaining true to entrances and patterns musically displaying inversions, the theme is first presented by the third trumpet and answered by the fourth antiphonal trumpet. The emphasis on the number three remains central, as the rhythm of the ascending figure is now presented in sixteenth note triplets. Figure 5.16 Measures 115-116 trumpets As the re-transition draws to a close, the harmonic progression ends. The melodic material in this section is largely based on the ascending fourth. Not an exact inversion 89 of the ascending fifth motive, but a numeric one. The harmonic progression is largely in the key of d minor. In measures 121-124, all three of these pitches return as sustained pedal points under the ascending line above. The antiphonal French horns, on stage French horns, and alto saxophones share the ascending material, but here it too it is altered setting up a return to the original material in the b Phrygian mode. Returning to duple subdivision, the five note ascending motive is written between E-B. Figure 5.17 Measure 121 Following the re-transition, there is a one measure bridge before the refrain beginning in measure 125. In addition to the flutes emphasizing the F# trill, the antiphonal clarinets are emphasizing the tonic pitch softly and with non-synchronized pulsing. This non-synchronized pulsing continues in the antiphonal and on stage trumpets through the two measure bridge in measures 131-132. These two measures also introduce a clarinet solo, seeming to come from out of the clear blue sky in the fifth clarinet. Similar to what one would expect to see at an air show, this transition into the section C prepares the listener for a very technical and involved display nearing the end of the movement. 90 It is the fifth clarinet from the back of the hall that rips out a solo that is marked “somewhat raucous.” 61 It is answered on stage by the first clarinet. This exchange between the two clarinets continues through measure 141. Accompanying this in Figure 5.18 Measures 131-134. First 4 measures of the clarinet solo measure 133 is a rhythmic ostinato that remains a significant component through measure 184. This rhythmic pattern is derived from the rhythm of the harmonic progression in the vibraphone beginning in measure 54. 62 Perhaps foreshadowing, the vibraphone and glockenspiel perform the first part of this rhythm exactly as it appears in measure 120 at the end of the re-transition in section B. Figure 5.19 Measure 120 and measure 133 61 62 Concerto for Wind Ensemble by Steven Bryant. Score. Figure 5.8. 91 This rhythmic ostinato provides a consistent sense of moving forward. Interruptions to the texture become frequent especially tone clusters and modal figures which blur the very thinly established tonality. In measure 141 the solo passage shifts to antiphonal clarinets while the onstage clarinets assume a support role. Following another one bar bridge heralded by a saxophone tone cluster, the ascending theme is now passed back and forth between the flutes, oboes and antiphonal trumpets. The trombones have a significant interruption which appears several times beginning in measure 148, ascending a diminished fifth, harmonized a minor third apart between the first and second trombone. This pattern is expanded through the use of mixed meters between measures 152-160. The ostinato is briefly developed, while the intricate technical passages pass from the on-stage flutes to the antiphonal clarinets and back. Figure 5.20 Measures 152-154 The diminution of the ostinato figure also appears in this development, first by the antiphonal clarinets, and then joined by the on-stage trumpets. Figure 5.21 Measure 154 diminution of rhythmic ostinato This diminished rhythmic pattern continues through measure 158 in the onstage trumpets and antiphonal clarinets. Rhythmic variation and manipulation is a common trait throughout this movement. In the bridge which spans measures 159-164, a hemiola like effect begins 92 that gives the illusion of an accelerando. The communication between the first clarinet and the antiphonal clarinets continue, however, the rhythmic ostinato is temporarily suspended. In its place, the low reeds are scored an ascending triplet figure, connected in sets of two. It is also the most significant usage of non-tonal percussion, with each attack point being emphasized in the bass drum. A brief eight measure section follows with the Figure 5.22 Measures 159-164 Bassoon, antiphonal clarinets, and bass drum on-stage and antiphonal horns and euphonium trade the ascending motive back and forth, presented as it appears in measure 121. Figure 5.23 Measures 165-166 French horn and Euphonium With the re-transition beginning in measure 173, the ascending motive is returned to all of the trumpets and French horns, with the addition of the euphonium and vibraphone. In this statement the five note motive is presented down a minor second, between Bb and F. As the ostinato ends in the last three measures, the core rhythmic movement between duple and triple subdivision closes the section convincingly. 93 Figure 5.24 Measures 181-184 rhythm In the two previous A sections beginning in measures 1 and 125, the material is identical. In the works final section, labeled A' , the material more closely resembles the transition between measures 40-53. There are several subtle differences. The fifth trumpet still presents the ascending five note motive, now intact beginning on 53. There are several subtle differences. The fifth trumpet still presents the ascending five note motive, now intact beginning on beat 1. No longer doubled between voices, it is written in imitation between the antiphonal and on-stage trumpets and clarinets. The French horns are added in measure 188, the same measure the ascending two octave runs re-enter in the low reeds. The trombones are now instructed to perform semitone oscillations at moderate speeds, gradually increasing the speed of these oscillations as they reach the end of the piece. These are reinforced by three suspended cymbal rolls also moving towards the end of the piece. As the dynamic level increases and the listener is surrounded by the ascending passages around them, two more extended techniques find their way into the musical landscape in measure 192. First, the trombones, which have been oscillating in semitones, are now instructed to flutter tongue for their final five counts. The euphonium and tuba end with an aggressive glissando beginning on the second part of the third beat leading to the downbeat of the final measure. 94 Figure 5.25 Measure 192 Out of this tonal intensity, the antiphonal clarinets reinforced by third clarinet hold a tone cluster, instructed to be approximately 12-15 seconds with slow pulsing, gradually fading to nothing, emulating the sensation of jets flying by and the sound decaying is it gets further away. Figure 5.26 Measure 193 In further recognition of the concerto grosso technique that Bryant and Commander Schofield 63 aimed to achieve, the structure of the ensemble can be further divided. In addition to the use of three separate antiphonal groups, the entire piece can be divided in relation to its scoring. The first section, A, is written for woodwinds, using the French horn in the same way the horn would be used in a woodwind quartet. Use of the saxophone is negligible, and does not enter until the transition begins in measure 40. The transition between measures 40-53 does include trombone and trumpet, but only in a 63 Conductor, USAF Band of Flight. 95 support role. The second section, B, beginning in measure 54 is opposite the opening, written for brass, saxophone, and percussion. Similarly, no significant woodwind parts are scored in this section. Following the refrain, the third section, C, balances the ensemble utilizing the ensemble and antiphonal groups. This type of scoring can be compared to other contemporary concertos for wind ensemble. One example is David Gillingham’s 2001 work Cantus Laetus. Of the five movements, the middle three movements feature separately woodwinds, brass, and percussion. In a similar fashion, highly technical passages are score for woodwinds, long more melodic passages for brass, and more rhythmically elaborate passages for percussion. 64 The symbolism built into the work while not intended to depict flight, but the physical representation of the Thunderbirds, and more challenging the values associated with members of this elite unit are displayed brilliantly throughout the work. The technical demands, and the extended techniques demanded of the performer provide interesting variety. The influence of popular music sources, and the way that acoustic instruments are used to emulate these effect is interesting, and opens the musical landscape to new possibilities. In a conversation with Bryant in December of 2008, he indicated that he was beginning work on additional movements to the Concerto. These movements were premiered in October of 2010 and are currently available for rental. 64 Cantus Laetus by David Gllingham. Score. 96 Bibliography Bartok, Bela. Concerto for Orchestra. New York: Boosey and Hawkes, 1946. Score. Berry, Wallace. Form in Music. Englewood Cliffs, NJ: Prentice Hall, 1966. Berz, William. Parody Suite. Edited by Richard Miles. Vol. 5 of Teaching Music throughPerformance in Band. Edited by Richard Miles. Chicago: GIA Publications, 2004. Bryant, Steven. Suite Dreams. Milwaukee: Hal Leonard, 2008. Score. Bryant, Steven. Dusk. Milwaukee: Hal Leonard, 2004. Score. Bryant, Steven. ImPercynations Milwaukee: Hal Leonard, 2002. Score. Bryant, Steven. Concerto for Wind Ensemble. Score, 2008, Unpublished. Score. Bryant, Steven. Dusk. Vol. 6 of Teaching Music through Performance in Band. Edited by Richard Miles. Chicago: GIA Publications, 2007. Cooper, Grosvenor and Leonard B. Meyer. The Rhythmic Structure of Music. Chicago: The University of Chicago Press, 1960. "Concerto Grosso." In The Oxford Dictionary of Music, 2nd ed. rev., edited by Michael Kennedy. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e2348 (accessed December 12, 2008). Debussy, Claude. “Golliwogs Cakewalk.” Images, Pour le Piano, Children’s Corner. Edtion de Roy Howat. Oeuvres Completes de Claude Debussy Serie 1, Volume 2. Paris: Musica Gallica, 1998. 78-83. Score. Fennell, Frederick. “The Holst Suite in Eb.” The Instrumentalist 29, no. 9 (April 1975): 27-33. Gillingham, David. Cantus Laetus. Greensboro, NC: C. Alan Publications, 2001. Score. Grainger, Percy. Lincolnshire Posy. Fred Fennell, ed. Boca Rotan: Ludwig Music, 1987. Score. Green, Douglas. Form in Tonal Music. New York: Holt, Rinehart and Winston, 1965. Holst, Gustav. First Suite in Eb. Fred Fennell, ed. Boca Rotan Fl: Ludwig Music, 2004. Score. 97 Latham, Alison. The Oxford Companion to Music. New York: Oxford University Press, 2002. Shostakovich, Dimiti. Symphony No. 7. New York: Leeds Music, 1945. Score. Smith, Alexander Brent. “Humor and Music”. The Musical Times 68, 1007 (January 1., 1927) 20-23. Schenker, Heinrich. Free Composition. Translated and edited by Ernst Oster. New York: Longman , 1979. Tilmouth, Michael. "Parody (ii)." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/20938 (accessed November 21, 2008). Wikipedia. “Radiohead,” Wikipedia, the Free Encyclopedia, http://en.wikipedia.org/wiki/Radiohead#Style_and_songwriting (Accessed June 26, 2010). Steven Bryant. “Parody Suite,” Gorilla Salad Productions http://www.stevenbryant.com/parodysuite.php (accessed November 3, 2010). Steven Bryant. “Suite Dreams,” Gorilla Salad Productions http://www.stevenbryant.com/suitedreams.php (accessed March 15, 2008). 98 APPENDIX A WORKS FOR BAND Alchemy in Silent Spaces (2000-01) Axis Mundi (2008) Bloom (2004) Concerto for Wind Ensemble (2008, 2010) Dusk (2004) Ecstatic Waters (2008) First Light (2007) Interruption Overture (1998) The Marbled Midnight Mile (2009) Monkey (1997-98) Parody Suite ImPercynations (2002) Suite Dreams (2008) MetaMarch (2003) Chester Leaps In (1997) Radiant Joy (2006) RedLine (1999) Rise (2003) Stampede (2003) Wings That Work (2003) 99 APPENDIX B RECITAL PROGRAM 100 Acknowldgements College of Fine Arts Department of Music Dr. Stamp Having the opportunity to study with you the last the last two years has been one of the greatest experiences of my life. As a mentor and friend I am grateful. Presents Members of the IUP Wind Ensemble Special thanks to your dedication to music and assistance in putting this recital together. You are all wonderful musicians and it was a pleasure getting the opportunity to work with you. Dr. Worzbyt and Dr. Rahkonen Members of my thesis committee and two incredible teachers and musicians. A Graduate Conducting Recital Seth Wollam, Conductor Assisted by members of the IUP Wind Ensemble The Brothers of Phi Mu Alpha For your friendship and support. Hail Sinfonia! The sisters of Sigma Alpha Iota Members of Delta Omicron Vicki Morganti and Theresa Spearman Dr. Eisensmith and Dr. Young All of the faculty in the school music Areta Kalogeras, Dave Matthews, Steve Gage, Jim Umble and all of the teachers whom I have been blessed to have worked with over the years The Music of Steven Bryant Wednesday, April 15, 2009 8:30 P.M. Fisher Auditorium ______________________________________________________ 101 Program Personnel Dusk……………………………………………………………..……Steven Bryant Lincolnshire Posy…………………………………………..….Percy Grainger I. Lisbon II. Horkstow Grange (excerpt) V. Lord Melbourne (excerpt) VI. Lost Lady Found (excerpt) ImPercynations…………………………………………………Steven Bryant First Suite in Eb…………………………………………………….Gustav Holst I. Chaconne Suite Dreams……………………………………………………..Steven Bryant Concerto for Wind Ensemble……………………………..Steven Bryant Flute Alto Saxophone Trombone Justina Crawford Amy Bensinger Nick Berninger Christine Douglass Ryan Kraus Greg Chenoweth Erin Moscony Jared Newlen Derek Cooper Stephanie Phillips Tenor Saxophone Kerry Orchowski Dave Verno Erik Lipscomb Euphonium Oboe Ben Saylor Dan Kerstetter Amy Leonard Bari Saxophone Chris Poet Katelyn Olsen Melanie Davis Tuba Louise Vranesevic Trumpet Steven Fassnacht Clarinet John Byron Jon Wylie Lindsay Barker Matt Gemberling String Bass Lauren Delesky Jeremy Hetrick Adam Hilkert Andrew Gross Jacob Iavarone Percussion Erin Hendry Jim Johnson Michael Feathers Lauren Koharchik John Powlison Evan Grabowski Elizabeth Mahovsky Julie Sarver Sarah Hann Peter Tresky Willis Spencer, Jr. Wes Harler Greg Vogler (Eb) Horn David LaClair Bass Clarinet Katye Clogg Shane Velsor Cody Parker Jeremy McClaine Bassoon Kelly McNamee Jason Maholic Andrea Servedio Andrew Payne Scott Ziegler 102