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Fabrications for Winds and Percussion: An AnalysisDouglas G. NicholsonThis research is a product of the graduate program in Music at Eastern Illinois University. Find out more aboutthe program.

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Recommended CitationNicholson, Douglas G., "Fabrications for Winds and Percussion: An Analysis" (1992). Masters Theses. 2197.https://thekeep.eiu.edu/theses/2197

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m

j

FABRICATIONS for Winds and Percussion: An Analysis

(TITLE)

BY

Douglas G. Nicholson

THESIS

SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE OF

Master of Arts in Music

IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY

CHARLESTON, ILLINOIS

1992 YEAR

I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING

THIS PART OF THE GRADUATE DEGREE CITED ABOVE

~ /~199~ f DA

FABRICATIONS

for Winds and Percussion (1992):

An Analysis

Submitted in Partial Fulfillment

of the Requirements for the Degree

Master of Arts in Music

By Douglas G. Nicholson

Eastern Illinois University

Charleston, Illinois

May, 1992

ABSTRACT

FabricaUons for Winds and percussion: Analysis

Douglas G. Nicholson

Eastern Illinois University, 1992

Advisor: Dr. Peter Hesterman

The purpose of this thesis is to give an analytical description

of FabricaUons for Wjnds and Percussjon. Part one of this document

includes discussion, charts of information, and musical examples.

Part two is the original score of the work.

The analysis describes each of the main musical elements, and

relates the elements to one another. Charts are included showing

relationships between different parts of the composition. Musical

examples are presented to help identify and explain the main

melodic ideas and accompanimental structures.

Fabrications is in one movement and is approximately eight

and one-half minutes in duration. The formal structure of the work

is ABA '. Instrumentation is that of the standard wind ensemble

with the following exceptions: horns and trombones are written in

only two parts, and three separate flute parts plus piccolo are

required. The score also includes Eb contra-bass clarinet, double

bass, and four percussion parts plus timpani.

The work features two main themes. One of the main themes is

derived from the octatonic symmetrical scale. The rest of the

melodic material in the work is derived from one pitch series. This

pitch series contains two intervallicly equivalent hexachords

which are each derived from whole-tone scales. Serial techniques

used in manipulating the series include the rotation of hexachords

and the use of vertical arrays. These techniques are explained in

the analysis.

A serial background texture is used as accompaniment during

much of the work. This background texture is made up of short

repetitive fragments of the pitch series. The repetitive nature of

these background textures, along with the lack of directed chord

progressions, lend the piece the characteristics of minimalistic

music.

TABLE OF CONTENTS

LARGE DIMENSIONS

General Description . . . . . . . . . . . . . . . . 2 Form . . . . . . . . . . . . . . . . . . . . . . . . 2 Instrumentation . . . . . . . . . . . . . . . . . 3 Orchestration . . . . . . . . . . . . . . . . . . . 4 Tessitura . . . . . . . . . . . . . . . . . . . . . 5 Dynamics . . . . . . . . . . . . . . . . . . . 5 Tonality. . . . . . . . . . . . . . . . . . . . . . . 6

MIDDLE DIMENSIONS

Pitch Selection . . . . . . . . . . . . . . . . . . . Pitch Series . . . . . . . . . . . . . . . . .

7 8

lntervallic Characteristics . . . . . . . . . . . 9 Background Textures . . . . . . . . . . . . . . 1 O First A Section Description . . . . . . . . . . . 1 3 B Section Description . . . . . . . . . . . . . . . 1 6 Last A Section Description . . . . . . . . . . . . . 2 2 Dynamics . . . . . . . . . . . . . . . . . . . . . . . 2 4 Rhythm. . . . . . . . . . . . . . . . . . . . . . . . 27

SMALL DIMENSIONS

Melodic Analysis/ Theme 1 . . . . . . . . 2 9 Melodic Analysis/ Answering Motive . . . 3 1 Melodic Analysis/ Theme 2 . . . . . . . . 3 3 Melodic Analysis/ Fanfare Motive . . . . . . . . . 3 4 Melodic Analysis/ Closing Theme . . . . . . . . . . 3 6 Harmonic Analysis/ Chorale . . . . . . . . . . . . . 3 7 Harmonic Analysis/ Final Cadence . . . . . . . . . . 4 1

SUMMARY ............... . . ... 44

2

ANALYSIS

LARGE DIMENSIONS (L.D.)

General Description (L.D.)

Fabrications tor Winds and Percussion (1992), is in one

movement and is about eight and one half minutes in duration. The

piece has a three-part design with slower tempi in the middle

section and a da capo-like final section. Orchestrational features

include the prominent use of percussion, various soli sections, and

featured soloists.

Pitch content is derived from whole-tone and octatonic

symmetrical scales. Serialism is used in most of the pitch

selection. Minimalistic textures are used as static harmonic

backgrounds throughout the work.

Brun (L.D.)

The formal design is symmetrical and can be abbreviated as

ABA' . The two A sections are in 3/4 meter, with the quarter note

at 120 beats per minute. The two main themes of the work are

3

introduced in the first A section, and a closing theme is added in

the last A section. The B section contains five short episodes which

are in various meters and tempi.

The following diagram shows the relative lengths of the large

sections of the piece and the thematic content of each section.

RELATIVE LENGTH OF SECTIONS

Minutes:O 1 2 3 4 5 6 7 8 II <------A section ----><------8 section-----><---A' ----->

_Closing

<-Theme 1·><Theme 2-Theme 2><·--Developmental Episodes···><·Theme 2· Theme>

Instrumentation (L.D.)

Instrumentation includes the following separate wind parts:

Woodwind Piccolo Flute 1,2,3 Oboe Bb Clarinet 1,2,3 Bb Bass Clarinet Eb Contrabass Clarinet Bassoon Eb Alto Saxophone 1 ,2 Bb Tenor Saxophone Eb Baritone Saxophone

Brass Bb Trumpet 1,2,3 Horn in F 1,2 Trombone 1,2 Euphonium Tuba

String Double Bass

4

Percussion is assigned to five separate parts:

Timpani - also plays chimes and lion's roar

Percussion 1 - marimba, timbales, field drum, small suspended cymbal

Percussion 2 - xylophone, tam tam, temple blocks, medium suspended cymbal

Percussion 3 - bells, triangle, snare drum, wind chimes, large suspended cymbal

Percussion 4 - vibraphone, bass drum, triangle

Orchestration (L.D.)

Percussion instruments are used as an important feature of

the work. As shown above, the five parts include five different

mallet instruments, timpani, and non-pitched instruments. They are

used as accompaniment and melody throughout the piece, and they

are the only accompaniment during a timpani solo (measure 129).

Solo parts are present for other principal instruments, such as

the clarinet (measure 12), flute (measure 24), and euphonium

(measure 153). Flutes and piccolo are featured in a canonic section

(measure 163), and trumpets are featured with a fanfare-like

motive which is developed over the course of the piece.

5

Tessitura (L.D.)

The tessitura spans the extreme ranges of the instruments by

extending from Eb1 in the tuba and double bass (measure 253) up to

G7 in the piccolo (measure 121). Many of the cadence points are

written in the low registers of the instruments (as at measures

101, 129, and 227). In contrast to these low sounds, the flutes and

piccolo are often scored in their highest registers as in the third

phrase of theme 2 (measures 93, 121, and 218 ).

Dynamics (L.D.)

The three loudest moments of the piece occur at the

fortissimo markings at the end of each section. The first of these

(measure 129) includes full instrumentation except for alto

saxophones, tenor saxophones, and trumpets. The second fortissimo

(measure 182) is the loudest of the three, because it calls for the

full ensemble. The texture at the third fortissimo (measure 251) is

thinner than the rest, keeping it from being as loud as the earlier

climax.

The following diagram shows the overall dynamic shape of the

piece.

m. 1 ff f mf mp p

Tonality (L.D.)

OVERALL DYNAMIC SHAPE

m.129 m. 182 m. 251

The tonal center of the work is Eb, and most of the main

cadence points in the piece are on Eb. In addition to the cadence

6

points on Eb, there are two instances of Bb rooted harmonies acting

as dominants to Eb during the coda of the piece. Also, the

statements of Iheme 1 in the first A section outline a whole tone

scale leading to Eb. The following chart shows the frequency of

cadences on Eb as well as other factors causing Eb to be the tonal

center of the piece.

MAIN CADENCE POINTS

m. 61 - Eb as top note of major third m. 101 - Eb cadence in octaves m. 129 - Eb cadence In octaves m. 163 - Eb root of augmented fifth m. 182 - Db root, but harmony contains Eb m. 216 - Bb root of augmented fifth m. 227 - Eb cadence In octaves m. 238 - Bb root of augmented fifth m. 245 - Eb root of augmented fifth m. 254 - Eb root of perfect fifth In final cadence

7

MIDDLE DIMENSIONS (M.D.)

Thematic Material (M.D.)

Five melodic ideas make up the thematic material used in the

piece. These melodic ideas are listed in the following chart. The

location where the thematic idea first occurs is also given.

Thematic Idea

Theme 1 ....

Answer to Theme 1 .

Theme 2 ...... .

Fanfare Motive

Closing Theme

Pitch Selection (M.D.)

THEMATIC MATERIAL

Location of First Occurrence

Measure 12 (solo clarinet)

Measure 28 (solo alto saxophone)

Measure 77 (tuba, bass clarinet, flute, oboe)

Measure 80 (trumpets)

Measure 202 (chimes, tpt., bassoon, bari. sax)

One pitch series and the octatonic symmetrical scale provide

the basis for the pitch selection in the entire work. The octatonic

symmetrical scale (Example 1) is used only for Theme 2. The other

melodic material is taken from forms of the pitch series, or it is

derived using techniques such as hexachord rotation and the use of

8

vertical arrays. [These serial techniques are found in some of

Stravinsky's later works such as lntroitus T.S. Eliot in memoriam

(1965) and Requiem Canticles (1966). The octatonic symmetrical

scale (Example 1) was used in an earlier work by Stravinsky, Octet

for Wind Instruments (1923) .]

Example 1 - Octatonic Symmetrical scale

Octaton1c Symmetr1cei Scale: ~

Pitch Serjes (M.D.)

The pitch series contains two intervallicly equivalent

hexachords, each containing the notes of one of the two possible

whole-tone scales. The second hexachord is a transposition of the

first at a minor third higher (Example 2).

Example 2 - pitch series

Hexachord A Hexechord B

' •r j F J J ~J I F r r ~r d ~J II 0 1 2 3 4 5 6 7 8 g 10 11

9

Hexachords A and B are used separately in composing Theme 1

and in most of the fragments which make up the serial background

textures. Since hexachord B is intervallicly equivalent to hexachord

A, it is impossible to tell whether a particular six-note set is a

form of hexachord A, hexachord B, or a transposition of either

hexachord, unless the two hexachords occur in succession. For this

reason, the hexachords being discussed will not always be labeled

as A or B, but will be referred to as "the hexachord".

lnterval!ic Characteristics (M.D.)

The interval content of either hexachord in the pitch series is

made up of six major seconds/ minor sevenths, six major thirds/

minor sixths, and three tritones. (The interval vector is 060603,

which is the same as the whole tone scale.) The most prominent

intervals in the piece are the two intervals found between the

ordered pitches of the hexachord, the major second and the major

third . .The inverse-related intervals, minor seventh and augmented

fifth, are produced through octave transposition of some of the

notes in the ordered hexachord. These intervals are also used

prominently in the composition.

10

Background Textures (M.D.)

A contrapuntal background texture which consists of repeated

fragments of the pitch series is salient to this work. These serial

background textures start as a repetitive fragment in a single

voice. Other fragments are added, one at a time, in other voices

until the complete series is being played over and over with a

continuous eighth-note pulse. This constant repetition of short

contrapuntal ideas creates a static harmonic background which

serves as accompaniment for thematic ideas. This background

material is often presented by the mallet instruments as in the

following example (Example 3).

1 1

Example 3 - serial background texture - mm 184 -224

m.187

I I mar ....... ....... ..,. - .. . -- . . - .. - - - . .. - - .. -~ - . - - .. _ - - .. _ ,, 1...-J " - ~ " - ~ series: 0 1 2 3 4 5 ~ xyl.

-~ - - --~ - -· ·~ .. -· -· "' ~ . I

~ . . . ,, 6 7

I I .. - ~ -. ,,

m.192 m.196

8 9

The non-pitched percussion instruments help form rhythmic

background textures in several sections. Instead of repeating

melodic fragments from the pitch series, the non-pitched

instruments add short rhythmic ideas to the serial background

texture. In the following example, non-pitched percussion are added

12

to saxophones, horns, and mallet instruments to form the

background texture (Example 4).

Example 4 - background texture - mm 66-74 (Concert Pitch)

jl m. 66 It a o sax ... ,......., m. 69 -~ . . I I ..... - ~ - - .. - - -- - - -- --.. ~ - - -- -

I) ten. sax p ··1 11J'-1 1 l (hexachord 1nvers1on) hn.1 _6 7 ~ .. .... . -.. ~ -· ., - ....

series order: 0 1 2 3 j t mar.

~ ~ 4_5 r---, -~ - . . - . ~

.. _ . - - ··-- - - - - - - -.. ~ - - - ·--. , u LI S.D. - .

~ ·- -I • -~ - . -- - - - ~ - - - -B.D. r r· '--""" "·-

m.73

13

First A Section Description (M.D.)

The first A section begins with a serial background texture in

the m·anet instruments. This background texture is interrupted by

the first statement of Theme 1 , starting on E, in the solo clarinet

(measure 12). Then the background texture is redeveloped in the

mallet instruments only to be interrupted again, this time by the

flute (measure 24). The flute states Theme 1, starting on G, and an

answering motive is introduced in the saxophones. The background

structure is developed again, but this time Theme 1 is stated,

starting on A, before the background texture stops. The background

texture is developed once more and continues while two complete

statements of Theme 1 occur. One statement starts on B, and the

next on C#. The starting notes of the five Theme 1 statements

outline a whole-tone scale ascending from E (measure 12) to D#(Eb)

(measure 60).

A trumpet fanfare-like motive answers the last statement of

Theme 1, and the background texture pauses briefly. More

instruments are then added to a new development of the background

texture. Theme 2 is stated twice above this background texture

(measure 76). A different transposition of the trumpet fanfare

14

motive is played after each phrase of Theme 2. Also, at the end of

each phrase of the first statement of Theme 2, the chimes play one

note of a descending broken chord, F augmented. Lower sounding

instruments join the chimes and other instruments at the cadence

on Eb (measure 101 ). Bass instruments then play the same

descending broken chord during the second statement of Theme 2.

The first A section ends at measure 129 with a cadence on Eb.

The following chart lists the instrumentation and measure

numbers for each event that occurs during the first A section.

Numbers in parentheses indicate the overlapping of events.

Measures

1 12 1 6 24 28 31 (-43) 39 42 47(-61) 54 57 60 61 63(-99) 77 80 81 85 88 89 93 98 99 99 101 102(-127) 105 108 109 113 116 117 121 125 126 127 128

15

A SECTION EVENTS

Event

Background Texture Theme 1 on F Background Texture Theme 1 onG Answering Motive Background Structure Theme 1 on A Answering Motive Background Texture Answering Motive Theme 1 on B Answering Motive Fanfare Motive Background Texture Theme 2-phrase 1 Fanfare Motive C#sounded Theme 2-phrase 2 Fanfare Motive A sounded Theme 2-phrase 3 Fanfare Motive Fsounded Theme 2-phrase 4 Eb sounded Background Texture Theme 2- phrase 1 Fanfare Motive C#sounded Theme 2-phrase 2 Fanfare Motive A sounded Theme 2-phrase 3 Fanfare Motive Fsounded Theme 2-phrase 4 Eb sounded

Instruments Involved

mallet percussion solo clarinet mallet percussion solo flute solo alto sax mallet percussion flute,clarlnet alto, tenor, clarinets mallets oboe, alto, tenor, clarinets flutes, clarinets oboe, alto trumpet 1&2 mallets.alto, tenor.horns tuba, bass clar., flute, oboe trumpet 1&2 chimes same as phrase 1 trumpet 1&2 chimes add contra,bari.sax,picc.,bn. trumpet 1,2,&3 chimes like 93 - contra. & tuba lower brass, w.w, chimes mallets, tymp.,clar.,saxes, like meas. 77 ,add bn., barl.sax,plcc. trumpets, horns contra,tbn. euphonlum,double bass like meas. 1 05 trumpets, horns like meas. 1 09 like meas. 113 trumpets, horns like 117 like meas.105 - tuba full band -tpts., alto & tenor sax

16

B Section Description (M.D.)

The B section begins at measure 129 and contains five brief

episodes. The outer episodes include a percussion soli section

which bridges A to B, and a chorale passage which bridges B to the

final A section. The inner three episodes are devoted to developing

melodic ideas introduced in the first A section. The following

chart shows the instrumentation, tempos, and meters of each

episode.

17

B SECTION EPISODES

DESCRIPTION INSTRUMENTATION (T)TEMPO MEASURE#

(M)METER

1. percussion soli: solo timpani, snare drum, (T) J ·60 m.129

bass drum, temple blocks (M) 5/4

tlmbales, suspended cymbal

2.fanfare motive development: trumpets, horns, (T) J -90 m. 13 9

trombones, timbale (M) 4/4

3. Theme 1 development: clarinets, euphonium solo, (T) J ==90 m. 153

4. Theme 1 canon

5. Antiphonal chorale

wind chimes, triangle (M) multiple

lower brass.lower woodwinds,

3 part flutes, piccolo

bells, triangle

brass(no trumpets)

woodwinds, snare drum,

(T) J =90 m. 1 63

(M)alternatlng 5/4,6/4

(T) J =76 m. 170

(M)6/4

tlmpanl,fleld drum, bass drum,

suspended cymbal, tam tam, lion's roar

The first episode of the B section, the percussion soli, begins

with short repetitive phrases in the snare drum, bass drum, and

18

timbales. These three instruments continue the same rhythmic

patterns until the end of the episode, forming a rhythmic

background for the timpani solo. Temple blocks and suspended

cymbal are also used during the episode. (The four timpani are

tuned to B, Eb, F, and A. These pitches are derived from the whole

tone scale, and can be related to several forms of the hexachord.

However, the order in which the pitches are used does not readily

indicate one certain hexachord.) The timpani solo utilizes

variations of duple and triple rhythms, using values ranging from

quarter note through thirty-second note. The solo contains four

asymmetrical phrases which last six measures and end on A

(measure 139).

The second episode starts in measure 139 with a statement of

the trumpet fanfare motive layered above a rhythmic pattern in the

timbale. The three trumpet parts state the first hexachord of the

motive on F, and then expand this motive to include the complete

pitch series. Horns and trombones are also added to the texture

with their own statement of the hexachord on F.

A rhythmic feature of the second episode is the use of

different metrical patterns in each part, although the meter

19

marking, 4/4, is the same for each instrument. The first trumpet is

in 4/4, the second trumpet in 3/4, the third trumpet in 5/4. the

timbale in 7/4, the second trombone in 3/4, and the first trombone

in 4/4. The meter of the horns is ambiguous due to the number of

accents and shortness of the pattern (Example 5).

0 C\I

Example 5 - B section episode 2, showing meters and pitch series

(Concert Pitch)

meuurc 146 ,,,.---- ......_ meu. 147 . I __,

_I - -· A U\ Ip\.. r .. 4 ~

I -4 2 6 3

a) Seti es: o. . 1 3

I -- I ,., 2nd Tpl. I "T -I I

3 ,a) I 4 3 I 7 3 3 ... ,., 3rdTpl.

ial s I

' 5 .. htHn. - -

~~~y ... ~ ... .... ... "'( .... _,,, !&I

,., 2nd Hn. -

,- -'-- ..;·- -~-I l&l . ,....---2114 Tbn.

! ...

' I I t I ' I

I I'

. 3 Timb1lc

'7 -A

. - ,....., _, ._

I

' 3 • - I I

~~

~

I . :~ • .

- • 9 10 11

...... )' vv ~;t ;t ~ ~ ~

Ii' - - ,---~-

......._ •

-..... I I ' 3 - - -

21

A clarinet duet overlaps the end of episode two and continues

through all of episode three. This duet is simply a repetitive

statement of the first five notes of the hexachord set a major third

apart. The clarinets play a syncopated rhythmic pattern in 3/4 time

disregarding the changing meters in the rest of the episode.

Episode three starts with a euphonium solo stating Theme 1.

The answering motive to Theme 1 is stated in the solo horn. Then

the tenor saxophone, bassoon, and trombones join in stating Theme

1 as a two-part canon. The alto saxophone adds ascending harmonic

major thirds to the texture, and all parts of the episode cadence on

an Eb augmented chord (measure 163). The fifth of this chord, B, is

picked up in the first flute which starts the next episode.

The fourth episode features three flutes and piccolo in a four­

part canonic development of Theme 1. The bells are added to

reinforce important notes in the flute parts. At the height of this

development, measure 168, the bells reinforce flute notes on every

quarter-note beat and actually play the complete hexachord twice

in thirds starting on D#(Eb) and G. This episode cadences to A three­

part chord containing a perfect fifth over a perfect fourth, C#, F#,

and C#.

22

The fifth episode, a chorale, begins at measure 170. The

chorale is in four parts with each part orchestrally doubled in

octaves. The episode before it alternated between 5/4 and 6/4

meter, but the chorale stays in 6/4 meter. The first three phrases

alternate antiphonally between woodwinds and brass with

percussion filling the sustained chords. The fourth phrase is played

by both groups, and the trumpets and full percussion are added for

the final chord (measure 182). This measure is the end of the B

section and the climax of the piece.

Last A Section Description (M.D.)

The last A section starts with the development of a serial

background texture much like the opening of the piece. The marimba

again makes the first statement, but this time, the statement is a

complete hexachord on Db, one step higher than at the beginning of

the piece. Despite . these differences, the effect is that of a da capo.

The mallet instruments then continue through the pitch series as

the background texture is developed.

Theme 2 replaces Theme 1 as the opening melody and the

closing theme replaces the trumpet fanfare motive which answered

23

Theme 2 in the first A section.

The coda starts after Theme 2 cadences on Eb octaves at

measure 227. All of the melodic material for the coda is derived

from earlier material. The coda serves as a kind of review of the

motivic events that have taken place since the beginning of the

piece.

The bass drum and field drum play a rhythmic background

texture, and the timpani supports the Eb and Bb cadences. Instead of

a serial background texture made up of short motives, melodic

ideas from earlier in the piece are put together into a background

texture. Pitches used are those of the whole-tone scale starting on

E natural. The clarinets quote their motive in thirds from the third

episode of the B section. Then the alto and tenor saxophones add

alternating statements of Theme 1. The second and third trumpets

complete the background texture by quoting from the trumpet

fanfare motive.

The background texture continues as the bells, first trumpet,

and remaining woodwinds begin the closing theme (measure 235).

The end of the first phrase of the closing theme is punctuated by a

Bb augmented chord played forte by the lower brass and timpani.

24

The second phrase of the closing theme ends with an accented Eb

augmented chord which decrescendos immediately. During this

decrescendo, the trumpets begin a six-measure statement which is

a further and final development of their fanfare motive. The

trumpets are joined by other brass, and the fanfare ends with a

hemiola figure, caused by two measures of 2/4 meter, which leads

to the final cadence of the piece (measure 253). The harmony of the

final cadence is sustained for five measures. During this time, the

xylophone and woodwinds state the hexachord twice, starting and

ending on Eb. The timpani makes a final two-measure statement

which imitates the rhythm of the trumpet fanfare motive, but

reinforces the tonic and dominant of the Eb tonal center. The final

note, the tonic Eb sounded in the bass instruments, is on the second

beat of the measure, and brings the work into metric balance with

the third beat pick up notes which began the piece.

Dynamic Contour (M.D.)

The dynamic markings for the themes in the A sections build

slowly from mezzo-piano to fortissimo, while the background

textures are consistently marked mezzo-forte. The scoring at the

25

beginning of each A section is thin. The background texture is first

developed in the mallet instruments, and new instruments are

added to the texture with each thematic statement. Due to this

additive process, each A section culminates into a thick-textured,

loud sound.

Dynamic markings in each of the B section episodes are used

to create a high point within the episode itself, thus creating

points of high and low dynamic levels within the B section instead

of an overall crescendo as in the A sections. Points of high

dynamic levels occur at the end of the timpani solo (measure 138),

about two-thirds of the way through the trumpet fanfare

development (measure 147), near the end of the Theme 1

development (measure 160), and at the end of the flute canon

(measure 170). The chorale (measure 170) starts forte and builds

through the last measure where it crescendos to fortissimo

(measure 182).

The following graphs show the dynamic contour of each

section.

26

GRAPHS OF DYNAMIC CONTOUR

First A Section m. 1 m.30 m.61 m.92 m.129

ff

~'//\ mp

p

B Sect1on m. 132 m. 139 m. 153 m. 163 m. 170 m. 162

ff

f

mf

mp *

p

A' Section m. 184 m.212 m.227 m.245 m.257

rr f'*IV\ ~,/\ mp

p

27

Rhythm. Meter. and Tempo (M.D.)

Both A sections are in 3/4 meter, with the quarter note at

120 beats per minute. The most common submetric value used in

both A sections is the eighth note. The constant eighth-note

patterns in the background texture dominate the rhythmic activity

in the two A sections. Eighth-note patterns, combined with

shifting accents and syncopations, are also common features of the

themes used in the A sections. Theme 1 contains values ranging

from sixteenth-note to half-note, but the prominent value is the

eighth note. Theme 2 contains mostly eighth-notes and uses much

syncopation. The closing theme also has an eighth-note divisions of

the beat because of the staggered entrances between bass and

treble instruments (measure 235).

Rhythmic patterns are more varied in the B section. The first

two episodes contain a wide range of rhythmic values, and both

simple and compound subdivisions are used. The largest amount of

rhythmic activity in the piece occurs in these two episodes. The

third and fourth episodes develop Theme 1 at a slower tempo than

in the A section. As in the first occurrence of Theme 1, the beat is

mainly divided into eighth-note patterns. The last episode of the B

28

section is set in a relatively slow tempo with relatively few

divisions of the beat. This episode, the chorale, has the least

amount of rhythmic activity in the piece.

The following chart shows meters, tempos, and most common

type of rhythmic activity for the entire work.

RHYTHMIC CHARACTERISTICS

Theme or Quarter Note Most Common

Measure Episode Meter Tempo Rhythmic Value

1 - Theme 1 3/4 120 eighth note

65 - Theme2 3/4 120 eighth note

105 - Theme 2 3/4 120 eighth note

129 - Episode 1 5/4 60 sixteenth note

140 - Episode 2 4/4 90 sixteenth note

153 - Episode 3 5/4,3/4,or2/4 90 eighth note

163 - Episode 4 5/4 I 6/4 90 eighth note

170 - Episode 5 6/4 76 quarter note

184 - Theme 2 3/4 120 eighth note

228 - Closing Theme 3/4 120 eighth note

29

SMALL DIMENSIONS (S.D.)

Melodic Analysis /Theme 1 (S.D.)

The augmented fifth and minor seventh are both used

prominently in Theme 1. Theme 1 begins with a descending whole

tone scale in the first measure and an upward minor seventh leap

into the second measure. The second and third measures contain

descending augmented fifth spans followed by ascending minor

seventh leaps (Example 6).

Example 6 - Theme 1- flute, measure 24

m · 24 r--..... >-whole-tone scole - - < , .... -. .. /-8UQ. 5th spon < >-oug. 5th spon<

>mf n. 7th< >min. 7th< >mi 11.

Hexachordal rotation is used to derive the pitches for Theme 1

from the hexachord transposed to G. The prime hexachord on G is

first inverted. This inversion is written vertically starting on the G

30

pitch of the transposed hexachord and continuing downward. Then,

new prime forms of the hexachord are written horizontally starting

on each pitch of the inversion.

PRIME FORMS OF HEXACHORD ONG

(Inversion Is Spelled Downward On Left)

PO- G , Eb, F , Db, B , A

P4- B , G , A , F , Eb, Db

p2- A , F , G , Eb, Db, B

ps- Db, A , B , G , F , Eb

PB- Eb, B , Db, A , G , F

p10- F, Db, Eb, B , A , G

Finally, each new prime form is rotated so that G is the

starting pitch. Theme 1 uses the pitches in the last three rotated

prime forms. Subsequent transpositions of Theme 1 used in the

piece retain this intervallic structure even when the last note is

omitted, or when the next to last note is repeated one octave

higher. The following chart shows the prime hexachord on G and the

five possible rotations with the Theme 1 pitches underlined.

Rotations : (r)

ROTATIONS OF HEXACHORD ONG

ro (PO)- G , Eb, F , Db, B , A

r1 (P4)- G , A, F, Eb, Db, B

r2 (P2)- G , Eb, Db, B , A, F

Theme 1 Pitches-> r3 (PG)- G . F . Eb. Ob. A . B

-> r4 (PB)- G . F . Eb. B . Db A

-> rs (P1 O)- G . F . Ob. Eb. B . A

Melodic Analysjs/Answerjng Motive (S.D.)

31

A particular motive answers Theme 1 in every occurrence

except the first. This answer is always transposed so that it starts

a major third below the final note of Theme 1 . This motive is

sometimes imitated a major third lower in the fashion of a canon

(as at measures 42 and 54). The motive is first stated in the solo

alto saxophone at measure 28 (Example 7).

32

Example 7 - answering motive to Theme 1 ·

"'· 28

' I y J) J i A y J) j3J j y J~ j I J. II

Hexachordal rotation is again used to derive the pitches for

this answering motive. The pitches come from the first four

rotations of the retrograde transposed to F. The motive does not

finish any of the rotations, but stops after reaching the pitch a

major third above its starting pitch. The following chart shows the

rotations of the retrograde on F. The pitches of the answering

motive, as first stated by the alto saxophone (measure 28), are

underlined .

ROTATIONS OF RETROGRADE(R) ON F

Answering motive pitches ->ro (RO) F. G . A, C#, B , D#

Rotations : (r) ->r1 (R1o) F . G . B . A , C#, D#

->r2 (RB) F . A , G , B , C#, D#

->r3 (R4) E , D#, G , A , B , C#

r4 (RG) F , A , B , C#, D#, G

r5 (R2) F, G , A, B , D#, C#

33

Melodic Analysis/ Theme 2 (S.D.)

Theme 2 is derived from an octatonic symmetrical scale and is

stated in four separate phrases. Each of the first two phrases begin

with an ascending diminished fifth, from D to Ab. This D functions

as a leading tone to Eb which is both the last note of Theme 2 and

the tonal center of the entire piece. The first phrase also ends with

a diminished fifth on a strong beat. The third phrase contains two

descending diminished fifth intervals on strong beats. These

prominent diminished fifths provide contrast with the augmented

fifths which were stressed in Theme 1. The diminished fifth, or its

enharmonic equivalent is also a part of the background whole-tone

harmony. The fourth phrase strongly sets the tonal center on Eb,

since it descends a major tenth through the octatonic symmetrical

scale, and cadences on Eb. Theme 2 is stated at the same pitch

level three times during the piece (measures 77, 105, and 200), and

it is consistently orchestrated with two to three octaves between

doubling voices (example 8).

34

Example 8 - Theme 2- measure 77

m. 76 flute 1 dtm. 5th

~ ~b 1wrrtr

dim.5th

t. ~ ~ bE 1 f f F I f I i t • I - t I - t I dim.5th

~ ~b

' · ,. bp I C J f f t F 8ue-

1 tr i b I

(:% I I 1- I- t I- t I dim.5th dim.5th

8va until end - -

' • ,. ·~ 1 r:.t ,. rt!F 1 •r r 1E 1 r:.t ,. rt!f 1 >-perf. 5th span

-l. I I ~ --i -­~ •r re r 1 =r r ,. P r 1 r 1 1 r ca •m 1

-< >-perf.5th span -<

Melodic Analysis/Fanfare Motive (S.D.)

During the first A section, each phrase of Theme 2 is

answered by a motive in the trumpets which resembles a fanfare.

35

This motive is developed as the only musical material played by the

trumpets. It is usually played in three parts, although it is

introduced in two parts before Theme 2 begins. The trumpets are

sometimes joined by other brass instruments in developing the

motive, as in the second episode of the B section (measure 139),

and during the coda (measure 245).This fanfare motive is based on

the hexachord with the last three pitches coming in varying orders.

The first trumpet starts the series by playing an ascending

augmented fifth followed by a descending minor seventh. These

intervals are stressed here just as they are throughout the piece

(Example 9).

36

Example 9 - Trumpet Fanfare motive

(Concert Pitch)

he><achord order: m. 108 0

2 j' - ....... - .........

~

-~ - -· - -· . -.. . - - . . - --· .. . -· . •> tpt. 1 1f4I" .. 1f4I" ... ..

"---"' 14" .... -41!"

'-j t

., . ·- - - -~ - -.. - . ~- - - ~-

1> tpt. 2 ~f ~- rf .,

3 j I 4

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tpt. 3

' J. II

_,/

' ~J. II

' £QjJ II

Melodic Analysis/ Closing Theme (S.D.)

During the last A section, the closing theme is introduced. The

pitch content of this Closing Theme is simply the first eight

37

pitches of the series. The first phrase of the theme uses only the

first hexachord, but the second phrase starts over and uses all of

the first eight notes of the series.The theme is played starting on

Eb when used as an answer to Theme 2, and transposed to E natural

when used as the main melody of the coda. By starting the eight

note theme on E natural, the last note becomes Eb which is the

tonal center (Example 10).

Example 1 o - Closing Theme

m. 235

~r ~ r r IF ~r I tJ - - I F r I r ~r I Ser;es:O 2 3 4 5 0 2 3

' ~~ ~~ I ~~· bf. I

4 5 6 7

Harmonic Analysis/Chorale (S.D.)

Pitches for the chorale harmonies are from four

transformations of the pitch series, Rl11, Ro, P11, and 10. Only the

first five pitches of each of the four forms are used. These five-

note pitch sets are arranged vertically as in the chart below.

Vertical arrays from the chart are used as· chords in the first

phrase of the chorale.

PITCH SETS ARRANGED VERTICALLY

Rl11 C# 8 A F G

Ro F# G# A# D C

p11 G# E F# D C

10 C# F D# G A

38

The chorale is written in four-part harmony, and the parts will

be labeled like a four-part chorus. All parts of the chorale are

doubled in other instruments, and some instruments switch from

one part to another during each phrase. The soprano part can be

followed in the first flute; the alto part can be found in the second

flute; the tenor part can be found in the bassoon. The bass part of

the chorale can be followed in the baritone saxophone. An exception

must be made for the third note, in the bass part, an E natural,

because it is borrowed from the alto part.

The first part of the following chart lists the actual pitches

used in the four voice parts. The second part of the chart lists the

four pitch sets with the pitches labeled to indicate which voice

uses each pitch.

FIRST PHRASE OF CHORALE (measure 170)

1. Actual Pitch Usage By Four Voices

Soprano (S): C# B A F G

Alto (A) : F# E D# D c

Tenor (T) : G# G# A# G A

Bass (B): C# F F# D c

2. Five-Note Sets Labeled S, A, T, or B

Rt11 C#s Bs As Fs Gs

RO F# A G#r A#r DA CA

p11 G#r EA F#e De Ce

to C#e Fe D#A Gr Ar

39

Superimposed fifths with common tones appear at the

beginning of the first two measures. These sets of intervals are

more consonant than the dissonance that follows them. The

rhythmic suspension of the tenor voice in the third measure causes

40

a perfect fifth as the penultimate harmony which moves to the

final harmony, a perfect fifth over a major sixth, which ends the

phrase (Example 11 ).

Example 11 - reduction of chorale harmony, first phrase

(Concert Pitch)

The first measure of the phrase, (measure 170), states only

three pitches in each part, and the second measure starts over

again and completes the statement of all five pitches.

The second phrase of the chorale uses the same pitches as the

first but is transposed up a minor third (recalling the interval

between the first notes of each hexachord in the series). The third

phrase is a repetition of the pitches in the second phrase, with an

alteration on the last two harmonies.

41

The fourth phrase again copies the pitch usage of the second

phrase, but the last harmony, on beat five of measure 181, is

altered to contain a strongly voiced minor seventh on D. This

harmony becomes the penultimate chord in the section, and

functions like an augmented sixth chord with the minor seventh on

D resolving outwardly by half steps to octaves on Db. The other two

notes in the penultimate harmony move by step to the final cadence

containing three pitches: B, Db, Eb. The trumpets join the cadence,

with the first trumpet sounding the Eb, which is the tonal center

for the piece. However, this cadence has as its root, Db, and the

first note of the last A section is also Db(C#). Therefore, the tonal

center of the piece is not firmly established as Eb until the coda

section, where Eb is the root of a perfect fifth cadence, and where

the hexachord is stated on Eb.

Harmonic Analysjs/Ejnal Cadence (S.D.)

The last harmony, defined only by a perfect fifth, will most

likely imply Eb major because of the use of G natural in the

material leading up to the final cadence. Eb major is clearly

indicated by the last measure of the closing theme (measure 243),

42

which contains a major third descent, G natural to Eb. In addition to

this, the first of two penultimate chords, G augmented (measure

251 ), has the major third of Eb as its root. However, the actual

penultimate chord, Bb augmented, contains a Gb, and would

normally resolve to Eb minor in common-practice harmony. But this

Bb augmented chord can also be analyzed as a passing chord filling

in A progression of three chord roots which spell an inverted Eb

major triad: G, Bb, and Eb. Finally, Eb major is firmly established by

the final two hexachord statements which sound the major third, G

natural, while the final perfect fifth on Eb is being sustained

(Example 12).

43

Example 12 - Final cadence harmonic reduction, mm. 251-255

•I meas. 251 ~ .,_ ~f: * ... • -~ . , . . -.., - ~ - -~

•> Eb(major) *Major* G aug. Bb6UQ. Thi rd------I .. _,,.,,,,.,,---

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4.

" •• .L...i

44

SUMMARY

Certain characteristics of the piece help define the overall

style. A repetitive serial background texture replaces a

conventional chord progression as accompaniment. Expressive

melodic elements are employed to balance the somewhat

mechanical nature of the accompaniment. All melodic elements are

related to the whole-tone or octatonic symmetrical scales. Serial

techniques are used for most of the pitch selection. Each element in

the B section is developed separately, while materials in the A

sections are often presented concurrently in layers. These

characteristics of Fabrications for Winds and Percussion give the

piece its own unique identity.

FABRICATIONS

for Winds and Percussion ( 1992)

by

Doug Nicholson

This composition is presented in partial fulfillment

of the Master of Arts Degree at Eastern Illinois University.

Appreciation is extended to Dr. Peter Hesterman, graduate advisor,

for guidance and support. .

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