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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
ii
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
iii
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.
iv
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
v
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
vi
LIST OF TABLES Table Description Page(s)
2.1 Form and Structure of Lincolnshire Posy
8
2.2 ImPercynations form 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
vii
LIST OF CHARTS
Chart Description Page(s)
1.1 Comparison of Bartok’s parody of Shostakovich
Symphony No. 7
4
2.1 Comparisons of various uses of themes from
movement I, “Lisbon”
13
2.2 Comparisons of various uses of themes from
movement II, “Horkstow Grange”
20
2.3 Comparisons of various uses of themes from
movement III, “Rufford Park Poachers”
23
2.4 Comparisons of various uses of themes from
movement IV “The Brisk Young Sailor”
motives
25
2.5 Comparisons of various uses of themes from movement V “Lord
Melbourne”
27
2.6 Comparisons of various uses of themes from
movement VI “Lost Lady Found”
29
2.7 Other examples of thematic stratification
33
2.8 Selected rhythmic stratification of ImPercynations
37
3.1 Minor Second Oscillation 45
3.2 Other extended or specific techniques used throughout
Suite Dreams
47
3.3 Inverted chaconne fragment and its manipulations
50
viii
3.4 Use of other thematic and supporting material
52
3.5 Complete intact chaconne comparison
54
3.6 Reduced rhythmic analyses of stratification measures
43-61. Implied meter, simple subdivision and use
of hemiola shown.
57
3.7 Other areas of rhythmic interest
58
4.1 Analysis of form 62
5.1 Concerto for Wind Ensemble Antiphonal
Placements
76
ix
LIST OF FIGURES
Figure Description Page(s)
2.1 ImPercynations measures 164-167. Close imitation
between voices
11
2.2 ImPercynations measures 296-299
17
2.3 ImPercynations clarinets and French horns measures
65-70
18
2.4 Example of thematic layering, measures 62-69 with thematic fragments
labeled
32
3.1 Eight measure chaconne theme measures 1-8
42
3.2 Notated voice parts throughout Suite Dreams
45
3.3 First Suite measures 74-81 and pitch inventory
49
3.4 Suite Dreams measure 5 and pitch inventory
49
3.5 First Suite in Eb first French horn measures 71-
73 with pitch inventory
50
3.6 Example of hemiola in First Suite measures 86-90
55
3.7 Suite Dreams measures 43-61for complete reference
56
4.1 Measures 1-4, which show the quintal and diatonic harmony, as well as the
opening melodic figure in the French horn
63
4.2 Changing meters provide a flow in the musical line
63
4.3 Measures 13-16 64 4.4 Descending thirds, measure
21 64
4.5 First Clarinet Bass Clarinet duet measures 4-7
65
4.6 French horn and Euphonium measure 12
66
x
4.7 First ensemble tutti measures 21-25
67
4.8 Low brass and woodwinds statement of the theme
hidden inside of a thicker musical texture
69
4.9 Third trumpet, French horn and euphonium present the intervallic motive leading to a half cadence in measures
43-44
70
4.10 Clarinet, French horn and euphonium present a
syncopated figure at the end of measure 46 leading to the
cadence
70
4.11 Scored for brass chorale at measure 13, thematic material is scored for woodwind chorale at
measure 53
71
4.12 Woodwind scoring and final thematic statement in
measures 62-66
71
5.1 The Thunderbird diamond formation and no. 5 pilot
flying inverted
75
5.2 Five note motive and measures 1-4
79
5.3 Measures 11-14 80 5.4 Measures 15-17, Measures
62-64, Measures 19-20 81
5.5 Extended techniques employed in measures 15-
32
82
5.6 Measure 45 83 5.7 Measure 46 83 5.8 Measures 54-61 85 5.9 Measures 62-67 85 5.10 Measures 86-92 85 5.11 Measures 91-92 86 5.12 Measures 93-94 Marimba,
vibraphone and glockenspiel
86
5.13 Measures 93-94, measure 87
xi
103 5.14 Measures 102-104 88 5.15 Measures 107-110 89 5.16 Measures 115-116 trumpets 89 5.17
Measure 121 90
5.18
Measures 131-134. First 4 measures of the clarinet
solo
91
5.19 Measure 120 and measure 133
91
5.20 Measures 152-154 92 5.21 Measure 154 diminution of
rhythmic ostinato 92
5.22 Measures 159-164 Bassoon, antiphonal clarinets, and
bass drum
93
5.23 Measures 165-166 French horn and Euphonium
93
5.24 Measures 181-184 rhythm 94 5.25 Measure 192 95 5.26 Measure 193 95
1
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.
2
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.”
3
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
5 Tilmouth, Michael. "Parody (ii)." In Grove Music Online. Oxford Music Online. November 21,
2008. 6 Ibid., 5. 7 Ibid., 5.
4
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
8 Bryant, Steven. Suite Dreams. Program notes, Score.
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.
5
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
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.
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.
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. All of original and derived material is
9 Bryant, Steven. Dusk. Program notes, Score. 10 Bryant, Steven. Concerto for Wind Ensemble. Program notes, Score.
6
used in creative ways which give no shortage of interest for the performer or audience
member.
7
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
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
Like all musical parodies, the listener must gain
an understanding of the source material to truly appreciate it.
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.
8
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
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.
Despite Grainger’s frustration with this, he continued to
write for the wind band.
19
Table 2.1 Form and Structure of Lincolnshire Posy
20
Movement
Description
I. Lisbon • 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
16 Hanson, Richard K. The American Wind Band: A Cultural History. (Chicago: GIA, 2005), 71. 17 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. 20Ibid., 21, 411-413.
9
II. Horkstow Grange • 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
III. Rufford Park Poachers • 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
IV. The Brisk Young Sailor • 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
V. Lord Melbourne • 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
VI. The Lost Lady Found • 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
10
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
Table 2.2. ImPercynations form
The second section moves initially to d Dorian, and
remains in minor tonalities.
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
21 Berz, William. “Parody Suite,” Teaching Music Through Performance in Band vol. 5 (Chicago:
GIA, 2004), 797.
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.
22 This includes his use of Lydian, mixolydian modes as well as pentatonic relationships. 23 See figure 2.1. 24I. “Lisbon”. Lincolnshire Posy. Score. 25II. “The Lost Lady Found”. Lincolnshire Posy. Score.
I II III
(1-87) (88-195) (196-301) i ii iii i ii iii i ii iii 1-38 39-54 55-87 88-133 134-149 150-195 196-225 226-250 251-295 Codetta: 296-301
11
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
12
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.
13
Chart 2.1 Comparisons of various uses of themes from movement I, “Lisbon”
Theme/Motive from “Lisbon” Examples of motive use in ImPercynations Measure(s) Description
Measure 14
Single measure statement
Sequence type 1
Sequence type 2
1, 5, 7, 11, 14, 20, 23, 26, 39,41, 44-45, 55, 57,58, 60, 134, 198, 253, 255
40-42, 56-60, 65-69, 123-126, 199-201, 214-215, 229-235-242, 254-256
88-102, 152-164, 183-189, 259-265,
271-276
Saxophone interruption motive as a single measure motive serving as a foundation for the entire work. Sequence of the interruption motive beginning on a strong beat in clear succession. 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.
14
Measures 1-17
1, 5, 8-9, 13-14, 20, 28-29, 39, 41, 44-47, 47-48, 134, 169-171, 175, 180-181, 200-201, 225-227, 240-241, 251-
254, 279-285
48-49 64-65
171-172
175-176
57-76 81-84
118-120 189-191 296-299
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
Derived from measures 14-17
15
Measures 27-29
16-18 136-138
140-142 144-148 278-280
Derived from the descending dotted quarter notes
Measures 34-37
Transposed
23-27 Scored in clarinets in close imitation
16
Measures 36-49
62-70
261-272
Marked “heroically” in close imitation between the 2 French horn parts Reinforced in various clarinet voices
Measures 50-53
26-30 Almost canonic between bassoons, tenor saxophone and baritone saxophone
Measures 18-19
29-30
50-54
71-75
Expanded in length
17
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.
18
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
19
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.
20
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(s) Description
Measure 34-35
31-35
Clear ensemble quotation rhythmically manipulated to give the illusion of the regular meter without changing meter or tempo
21
273-279
Brass present the first measure, woodwinds answer after a one measure interruption
22
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.
23
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
Measure 25-26
54
37-38
157-158
193-194
Rhythmically altered and harmonized Augmented, foreshadowing future usage First trumpet and English horn Inverted
24
Measures 1-6
150-158
184-189
Manipulated meter with different instrument parings from source Original instrument parings
Measures 68-75
211-214
219-220
Derived from the second half of the “singingly” theme Abbreviated statement
25
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
Measures 46-47
6-7, 18-19, 61-62, 84-85, 138-139,
141-142, 148-149, 168-169, 195-196,
218-219
299-301
Used as a phrase ending often ending a statement from movement I, “Lisbon” Most complete statement
26
Measures 47-48
84 double inflection chord
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.
27
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 Measure(s) Description
Measures 31-34
(See below)
172-179 Temporal manipulation giving the free time effect Grainger emulated in the source material
28
29
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) Description
Measures 1-17
127-129 164-167
236-237
Primarily the fragment taken from third measure is used
97-109, 110-118, 119-129, 207-215, 218-225, 226-239, 241-
251, 255-258
Used as an ostinato through much of the second and third sections
30
Measures 50-65, 66-82
Measures 82-92
104-109, 110-117, 172-174,
234-237
Variation of original combined in part rhythmically with motive from “Lisbon”
31
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.
32
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
30 ImPercynations.by Steven Bryant, Score.
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.
33
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 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”
35
261-272 Multiple themes from “Lisbon” in close imitation combined with the ostinato from “Lost Lady Found”
36
273-279 Multiple themes from “Lisbon” combined with material from “Horkstow Grange, interrupted with a variation derived from “A Brisk Young Sailor”
37
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
(s)
Rhythmic Stratification Description
31-32
Implied 4/4 Illusion of reduction of tempo
42
Hemiola 2:3
48-49 171-172
175
Diminished half time figure
38
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
39
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
40
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.
41
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
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.
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.
35
31 Suite Dreams by Steven Bryant, Score.
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
32 Ibid., 31. 33 Frederick Fennell, “The Holst Suite in Eb,” The Instrumentalist 29 (April 1975): 27. 34Suite Dreams by Steven Bryant, Score. 35 Fennell, “The Holst Suite in Eb,” 27.
42
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
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
A 1-8 • Chaconne Theme • Euphonium, Tuba, Bass
1 9-16 • Theme: Trombone 2 and 3 • Harmonized in Eb Major-Cornets and Trombone 1 • Cornet 1 suspension related to measure 115
2 17-25 • Theme: Tenor saxophone, Bass Clarinet, Bassoon, String Bass
• Woodwind accompaniment 3 26-33 • Theme: String Bass, Euphonium, Tuba, Baritone
Saxophone • Rhythmic, staccato accompaniment
4 34-41 • Theme: Trombone 1, Trombone 3, Euphonium, Tuba, Sring Bass, Timpani, Baritone Sax
• Expanded rhythmic accompaniment 5 42-49 • Fragmented variation
• Diatonic accompaniment fgure 6 50-57 • Change of feel, “Pesante”
36Fennell, “The Holst Suite in Eb”, 28.
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.
43
• Cornet 1, trumpet 1 and baritone 7 58-65 • Chamber music-thinly scored
• Horn 1, clarinet 4 • Hemiola in clarinet 1, ms 64
8 66-73 • Alto Sax 1 • Solo’s offsetting accompaniment • Eb clarinet entrance in measure 67 of note • Horn entrance in m71 related to trombones m91
B 9 74-81 • Inverted horn mode change, moving towards c minor
• Horn 1, Alto sax, Clarinet 4, Clarinet 2 10 82-89 • Hemiola begins
• Pesante • Cornet 1-4, euphonium, baritone • False recapitulation trombone m89-96
11 90-97 • Chaconne in g Lydian • Presented in trombone 1-3 • False recapitulation • 96-97 major tonality returns
A 12 98-105 • Chaconne returns in original form in cornet 1 and euphonium
Recap 13 106-114 • Recapitulation • Flue 1, Eb clarinet, Clarinet 1, Cornet 1, French
horn 1-4 14 115-122 • Low brass and low reeds
Coda 15 123-132 • Trombone Db chaconne over dominant pedal
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
44
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 Description
1 1-32 • Introduction and first variation • Inverted chaconne thematic fragment
2 32-43 • 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 3 43-61 • Offset rhythmic augmentation of chaconne theme in tuba and
low reeds 4 62-82 • First aleatoric interlude
• Thematic fragments of inverted chaconne theme 5 82-104 • Modal change largely to Eb major
• Fragments of “right side up” thematic material presented 6 105-155 • Climax and first time large sections of source material come
clearly through the texture • Measure 146 is the only complete statement of the chaconne
7 156-182 • 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.
45
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
38-42 • 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
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)
46
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 Some of these effects are also used frequently in other works
38 Suite Dreams by Steven Bryant, Score.
47
Chart 3.2 Other extended or specific techniques used throughout Suite Dreams
Measure(s) Written Description/Instruction
41 74
103-105 156-159
mp ||:> p <:|| f ||:> p <:||
f ||:> mp <:|| pp ||:> p <:||
• 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
• Each measure lasts the approximate number of seconds notated above the bar
74-76
80-89 92-99
100-103
105
• 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
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
48
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.
49
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
50
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
51
53-61 • Euphonium syncopated augmentation
• Layered staggered entrances in the low brass and low reeds
63-70 80-89
• Note progression free time in mallet percussion
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.
52
Chart 3.4 Use of other thematic and supporting material
Source (First Suite)
Written Measure(s) Description
Measures 9-13
39-42 77-79 92-94
Augmented First presented in oboe, clarinets and trumpets
Measures 17-23
82-89 Maintains similar voicings to original
Measures 24-25
89-92 133-134 142-143
147 158-159
Variant rhythmic stratification Maintains raised fourth, but follows whole tone ascent opposed to Lydian
Measures 40-49
134-140 Maintains similarity to source material
Measures 115-122
105-109 115-119 124-131 134-141
Augmented Different horn and saxophone counterline in each instance
53
Measures 397-398
110-111 128-130 137-139
Derived from movement III, March
Measures 17-23 Measures 65-69
115-122 Combination of the two variations
Measures 113-114
142-145 Augmented Variant Rhythmic stratification
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.
54
Chart 3.5 Complete intact chaconne comparisons First Suite measures 115-122 Suite Dreams measures 145-153
• 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
• 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.
55
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.
56
Figure 3.7 Suite Dreams measures 43-61for complete reference
57
Chart 3.6 Reduced rhythmic analyses of stratification measures 43-61. Implied meter, simple subdivision and use of hemiola shown 3 4
43 44 45 46 47 48 49 50 51
Bassoon
4 4
12 16
Clarinet 1-2
6 8
4 4
12 16
Clarinet 3-4
6 8
12 16
Bass Clarinet
Alto Sax
Tenor Sax
Trombone 1-2
Trombone 3-4
Euphonium Tuba
6 8
3 4
52 53 54 55 56 57 58 59 60
Bassoon
4 4
3 4
Clarinet 1-2
3 4
Clarinet 3-4
3 4
Bass Clarinet
3 2
3 4
Alto Sax
Tenor Sax
58
Trombone 1-2
Trombone 3-4
Euphonium 4 4
3 4
Tuba
3 2
3 4
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 Description
8-10 21-31
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
59
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
60
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. 40 Steven Bryant. “Suite Dreams,” Gorilla Salad Productions
http://www.stevenbryant.com/suitedreams.php (accessed March 15, 2008).
61
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
Structurally Dusk is simple and elegant. The work is a straightforward arch
form.
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.
43
41 Fairfax County School District, McClean, Virginia.
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.
42 Dusk by Steven Bryant. Score. 43 Ibid., 42.
62
Chart 4.1 Analysis of form
Arch form with internal sections
Arch
A B A' (20) (33) (14)
12 8 4 8 4 6 11 9 5 3 6 3 4 4 5 3 3 3 3 3 5 4 5
Measure: 1 12 13 20 21 23 24 31 32 35 36 41 42 52 53 61 62 66
63
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
Figure 4.2. Changing meters provide a flow in the musical line
These opening twelve measures divide into three phrases. Changes in meter provide an
uneven flow of 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.
64
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
65
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 began-
descending 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.
66
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
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.
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.
45 See fig. 4.3.
67
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.
68
Table 4.1. Comparisons of depth of range and orchestration at the three tutti sections
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.
Measures Range Orchestration and scoring differences
21-23 Bb-c4 Gb-a3 Eb-f3
• Harmonized in quintal chords
• No phrase extension 32-34 Eb-f4
C-d4 AAb-c4
• 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
42-44 Ab-ab4 G-g4 F-f4
• 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
69
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
Figure 4.8. Low brass and woodwinds statement of the theme hidden inside of a thicker musical texture
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.
46fff.
70
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.
71
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.
72
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.
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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
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.
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.
47 Commander Donald Schofield, Conductor. 48 Concerto for Wind Ensemble by Steven Bryant. Score.
74
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 Number Per Part
Flute 1 1 Flute 2 1 Oboe 1 1 Oboe 2 1
Bassoon 1 1 Bassoon 2 1
Clarinet in Bb1 1 Clarinet in Bb 2 1 Clarinet in Bb 3 1
Clarinet in Bb 4 (antiphonal) 1 Clarinet in Bb 5 (antiphonal) 1 Clarinet in Bb 6 (antiphonal) 1
Bass Clarinet 1 Alto Sax 1 1 Alto Sax 2 1 Tenor sax 1
Baritone sax 1 Trumpet in Bb 1 1 Trumpet in Bb 2 1 Trumpet in Bb 3 1
Trumpet in Bb 4 (antiphonal) 1 Trumpet in Bb 5 (antiphonal) 1 Trumpet in Bb 6 (antiphonal) 1
Horn in F 1 1 Horn in F 2 1
Horn in F 3 (antiphonal) 1 Horn in F 4 (antiphonal) 1
Trombone 1 1 Trombone 2 1 Trombone 3 1 Trombone 4 1 Euphonium 1-2
Tuba 1-2 Percussion
• Crotales, Bass Drum, Suspended Cymbal • Glockenspiel • Vibraphone, Suspended Cymbal • Marimba, Suspended Cymbal
75
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
Figure 5.1 The Thunderbird diamond formation and no. 5 pilot flying inverted
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.
51
49 Websters New World College Dictionary, 3rd ed., s.v. “Concerto.” 50 Concerto for Wind Ensemble by Steven Bryant. Score. 51 David Hayward. Thunderbirds over Rhode Island, 2004, http://www.aero-pix.com/topguns/tbirdpage.htm.
76
Chart 5.1. Concerto for Wind Ensemble Antiphonal Placements
Stage
Hn. 3 Hn. 4
Cl. 4 Audience Cl.6
Tpt. 4 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.
77
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
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
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.
52 Concerto for Wind Ensemble by Steven Bryant. Score. 53 Douglass Green, Form in Tonal Music-An Introduction to Analysis, (New York: Holt, Reinhradt
and Winston, Inc., 1965), 150.
78
form.54
Table 5.2 Form Analysis
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.
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
B • 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
A • Six measure refrain • Measures 125-132 • Accompanied by antiphonal clarinet • Two measure re-transition lead by solo 5th
clarinet C • 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
A' • Final A resembles transition measures 40-53
54 Heinrich Schenker, Free Composition (Der Frei Satz), trans. Ernst Oster (New York: Longman,
1935), 141.
79
• 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
Figure 5.2 Five note motive and measures 1-4
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.
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.
80
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
Figure 5.3 Measures 11-14
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.
56 Not a true woodwind quintet, composed for 2 horns, 3 clarinets, 2 bassoons, bass clarinet, 2
oboes, and 2 flutes.
81
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
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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 40-
52. 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
83
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
84
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
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.
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.
57 Concerto for Wind Ensemble by Steven Bryant. Score. 58 Wikepedia, “Radiohead,” Wikipedia, the Free Encyclopedia,
http://en.wikipedia.org/wiki/Radiohead#Style_and_songwriting (Accessed June 26, 2010).
85
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.
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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
59 Measure 98 each entrance is staggered by an eighth note, returning to unison in the following
measure.
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
87
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.
88
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.
89
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
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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.
91
It is the fifth clarinet from the back of the hall that rips out a solo that is marked
“somewhat raucous.” 61
Figure 5.18 Measures 131-134. First 4 measures of the clarinet solo
It is answered on stage by the first clarinet. This exchange
between the two clarinets continues through measure 141. Accompanying this in
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
Figure 5.19 Measure 120 and measure 133
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.
61 Concerto for Wind Ensemble by Steven Bryant. Score. 62 Figure 5.8.
92
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
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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.
94
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.
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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 Schofield63
63 Conductor, USAF Band of Flight.
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
96
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.
97
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.
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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).
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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)
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APPENDIX B
RECITAL PROGRAM
101
Acknowldgements
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.
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.
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
______________________________________________________
College of Fine Arts Department of Music
Presents
A Graduate Conducting Recital Seth Wollam, Conductor
Assisted by members of the IUP Wind Ensemble
The Music of Steven Bryant Wednesday, April 15, 2009
8:30 P.M. Fisher Auditorium
102
Program
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
Personnel
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
