aspiration: a piece for small orchestra...aspiration: a piece for small orchestra is a short work...

Aspiration: a piece for small orchestra

Item Type text; Electronic Thesis

Authors Clement, Deanna Tate

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this materialis made possible by the University Libraries, University of Arizona.Further transmission, reproduction or presentation (such aspublic display or performance) of protected items is prohibitedexcept with permission of the author.

Download date 28/08/2021 07:27:12

Link to Item http://hdl.handle.net/10150/192305

http://hdl.handle.net/10150/192305

ABSTRACT

Aspiration: A Piece for Small Orchestra is a short work for an orchestra featuring winds in twos, four horns, two trumpet, three trombones, tuba, marimba, harp, percussion, and strings. The piece is composed of four programmatic movements, each played attacca, and lasts approximately eight minutes. Aspiration is as a thoughtful celebration of the philosophies and musical genres that have been most influential in my artistic development so far and was composed using procedures I developed by drawing from all periods of musical composition over the course of my undergraduate studies at the University of Arizona to organize pitch and create harmony, in accordance with my ultimate goals as an artist. In composing Aspiration, I learned about the technical challenges of composing for an orchestra, as well as about the creative process. I was ultimately successful in achieving what I set out to achieve in terms of my artistic goals for the piece and how others received the piece.

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AspirationA Piece for Small Orchestra Deanna Clement

(2009)

© Clement 2009

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c

c

c

c

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

c

c

c

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c

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43

43

43

43

43

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43

43

43

43

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

Ob.

Bb Cl.

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Tuba

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42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

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87

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Fl.

Ob.

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86

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89

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86

86

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Ob.

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86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

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c

c

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810

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89

89

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c

c

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89

89

89

89

89

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89

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Fl.

Ob.

Bb Cl.

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Hn. 2, 4

Bb Tpt.

Tbn.

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Tuba

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Vln. I

Vln. II

Vla.

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89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

c

c

c

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c

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89

89

89

89

89

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89

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89

89

89

89

89

89

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86

86

86

86

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86

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86

86

86

86

86

86

86

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86

86

86

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85

85

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85

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85

86

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86

86

86

86

86

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86

86

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86

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

Fl.

Ob.

Bb Cl.

Bsn.

Hn. 1, 3

Hn. 2, 4

Bb Tpt.

Tbn.

Tbn.

Tuba

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Mrb.

Hp.

[Dn]

95

∑

jœœ##Œ Œ . jœœ# Œ

œb œ œb œn œ œb œ œb œ

Jœ Œ Œ .Jœ Œ

95

∑95

∑

∑

∑

∑

∑

95


Jœ Œ Œ .Jœ Œ

95


Jœ Œ Œ .Jœ Œ

95

∑

95

jœ# Œ Œ . jœ# Œ

jœ#Œ Œ . jœ# Œ

∑

Jœ Œ Œ .Jœ Œ

∑

piu f

piu f

piu f

piu f

piu f

piu f

piu f

piu f

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jœœ Œ Œ ‰ œ Jœ

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∑

∑

∑

∑

∑

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jœœ Œ Œ . œœ Jœœ#

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Jœ

jœœ Œ Œ . œœ Jœœ#

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∑

jœ Œ Œ . œ Jœ

jœ Œ Œ . œ Jœ#

∑

Jœ# Œ Œ .œ

Jœ

∑

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Jœ#‰ Œ Œ œ œ

∑

∑

∑

∑

∑

∑

Jœœ ‰ Œ Œ œœ## œœ

Jœ#‰ Œ Œ œ œ

Jœœ ‰ Œ Œ œœ## œœ

Jœ#‰ Œ Œ œ œ

∑



∑

Jœ#‰ Œ Œ œ œ

∑

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Jœ# ‰ Œ Œ œ œ

Jœ ‰ Œ Œ œ œ#

∑

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∑



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∑

[Gn]

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jœ Œ Œ . Jœ Œ

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∑

∑

∑

∑

∑

∑

jœœ Œ Œ .Jœœ# Œ

Jœn ‰ ‰ Œ . Jœn Œ

jœœ Œ Œ .Jœœ# Œ


∑

Jœ Œ Œ . Jœ# Œ

jœ Œ Œ .Jœ Œ

∑


∑

arco

arco

mf

mf

mf

mf

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∑

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∑

∑

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∑

∑

∑

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jœ œ .œ#

∑

∑

jœ# œ .œ

∑

∑

∑

∑

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∑

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jœ œ .œ#

jœ# œ .œ

∑

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∑

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∑

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∑

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∑

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jœ œ œ# jœ∑

∑

jœ# œ œ Jœ

∑

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∑

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jœ œ œ# jœ

jœ# œ œ Jœ

∑

12

&

&

&

?

&

&

&

?

?

?

&

?

&

?

ã

&

&

B

?

?

# #

#

#

# #

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

Fl.

Ob.

Bb Cl.

Bsn.

Hn. 1, 3

Hn. 2, 4

Bb Tpt.

Tbn.

Tbn.

Tuba

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Mrb.

Hp.

104

∑

∑

∑

∑104

œ# œ jœ#104

∑

∑

œ œ Jœ#

∑

∑

104

∑

∑

104

∑

∑104

∑

104

∑

∑

œ# œ jœ#

œ œ Jœ#

∑

∑

∑

∑

∑

jœ# jœ# œ jœ#

∑

∑

Jœ Jœ# œ Jœ

∑

∑

∑

∑

∑

∑

∑

∑

∑

Jœ#Jœ# œ jœ#

Jœ Jœ# œ Jœ

∑

∑

∑

∑

∑

.œ œ jœ

∑

∑

.œ# œ Jœ

∑

∑

∑

∑

∑

∑

∑

∑

∑

.œ œ jœ

.œ# œ Jœ

∑

∑

∑

∑

∑

Jœ œ .œ œ œ#

∑

∑

Jœœ .œ# œ œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

Jœ œ .œ œ œ#

Jœœ .œ# œ œ≤

∑

arco

arcoff

ff

ff

ff

ff

ff

ff

ff

ff

∑

∑

∑

∑

jœ Œ Œ . œ œ#

∑

jœ Œ Œ . œ œ

Jœ Œ Œ . œ œ

∑

∑

jœœ Œ Œ . œœ œœ#

Jœ Œ Œ . œ œ

jœœ Œ Œ . œœ œœ#

Jœ Œ Œ . œ œ

∑

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jœ Œ Œ . œ œ

Jœ Œ Œ . œ œ#

Jœ Œ Œ . œ œ

∑

∑

∑

∑

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Jœ Œ Œ . œ# Jœ

∑

Jœ Œ Œ . œ# Jœ

Jœ# Œ Œ . œ jœ

∑

∑

jœœ Œ Œ . œœ##jœœ

Jœ# Œ Œ . œ jœ

jœœ Œ Œ . œœ##jœœ

Jœ# ‰ ‰ Œ . œ jœ

∑

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jœ Œ Œ . œ# Jœ

Jœ Œ Œ . œ# Jœ

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∑

[Cn]

∑

∑

∑

∑


∑


jœ ‰ Œ Œ œ œ

∑

∑

jœœ# ‰ Œ Œ œœ œœjœ ‰ Œ Œ œ œ

jœœ# ‰ Œ Œ œœ œœjœ ‰ Œ Œ œ œ

∑

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jœ ‰ Œ Œ œ œ

∑

∑

∑

∑

∑

jœ Œ Œ .Jœ Œ

∑

jœ Œ Œ . jœ# Œ

jœ Œ Œ . jœ Œ

∑

∑

jœœŒ Œ . jœœ# Œ

jœ ‰ ‰ Œ . .œ

jœœŒ Œ . jœœ# Œ

jœ ‰ ‰ Œ . .œ

∑

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jœ Œ Œ . jœ# Œ

jœ Œ Œ . Jœ Œ

jœ Œ Œ . .œ

∑

mf

mf

mf

mf

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∑

13

&

&

&

?

&

&

&

?

?

?

&

?

&

?

ã

&

&

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?

?

# #

#

#

# #

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

87

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

Fl.

Ob.

Bb Cl.

Bsn.

Hn. 1, 3

Hn. 2, 4

Bb Tpt.

Tbn.

Tbn.

Tuba

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Mrb.

Hp.

113

∑

∑

jœ œ .œ

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113

∑113

∑

∑

∑

∑

∑

113

∑

∑

113

∑

∑113

∑

113

∑

∑

Jœ œ .œ

Jœ# œ .œ

∑

∑

∑

œ œ jœ

œ# œ Jœ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ œ jœ

œ# œ Jœ

∑

∑

∑

jœ œ œ jœ

Jœ# œ œ Jœ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Jœ œ œ jœ

Jœ# œ œ Jœ

∑

∑

∑

œ# œ jœ#

œ œ Jœ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ# œJœ#

œ œ Jœ

∑

∑

∑

jœ# jœ# œ jœ#

Jœ Jœ œ Jœ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Jœ#Jœ# œ

Jœ#

Jœ Jœ œ Jœ

∑

f

f

f

f

∑

∑

.œ œ jœ

.œ œ Jœ

∑

∑

∑

∑

∑

∑

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∑

∑

∑

∑

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∑

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Jœ œ .œ œ œ

Jœœ .œ œ œ

∑

∑

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∑

∑

∑

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∑

∑

∑

∑

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Jœ œ .œ œ œ

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∑

senza sordino

senza sordino

q = 120

mf

mf

mf

mf

mf

mf

∑

∑

jœ ‰ Œ Ó

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∑

∑

∑

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∑

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∑

∑

∑

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∑

∑

∑

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f

f

f

f

f

f

f

f

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jœb ‰ Œ Œ .

jœn‰ Œ Œ .

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∑

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jœb ‰ Œ Œ .

jœb‰ Œ Œ .

jœb ‰ Œ Œ .

∑

∑

14

&

&

&

?

&

&

&

?

?

?

&

?

&

?

ã

&

&

B

?

?

# #

#

#

# #

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

89

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

810

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

Fl.

Ob.

Bb Cl.

Bsn.

Hn. 1, 3

Hn. 2, 4

Bb Tpt.

Tbn.

Tbn.

Tuba

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Mrb.

Hp.

123

Ó . œbjœ

Ó .œ

jœ

Ó .œn

jœ

Ó . Œ Jœ#

123

œœb œb œn .œ œb œb œœjœœ

123 jœœbn Œ Œ . œjœœn

∑

∑

∑

∑

123

∑

∑

123

∑

∑123

∑

123

Ó . œbjœ

Ó .œ

jœ

Ó . œb Jœ

Ó . Œ Jœ#

∑

piu f

piu fœ# ‰ Œ .

jœ#Œ Œ .

jœŒ Œ .

Jœ# Œ Œ .

œœ# œœ œœ œœ# œœ œœ

œœ## œœ œœ œœ œœ œœb

∑

∑

∑

∑

∑

∑

∑

∑

∑

jœ# Œ Œ .

jœ#Œ Œ .

jœ Œ Œ .

Jœ# Œ Œ .

∑

∑

Œ . Œ .œ# œ#

Œ . Œ .œ œn

Œ . Œ . Œ œb

œœ## œ œ œ# œ œ# œ œœn

jœ Œ Œ . œ œn

Ó Œ œ# œ#

∑

∑

∑

∑

∑

∑

∑

∑

Œ . Œ . œ# œ#

Œ . Œ .œ# œ#

Œ . Œ . œ œ

Œ . Œ . Œ œb

∑

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

∑

.˙ œ .œ

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.˙ œ .œ

..˙̇ œœ ..œœ

..˙̇ œœ ..œœb

.˙ œn .œ

∑

∑

∑

∑

∑

∑

∑

∑

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∑

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.˙ œ .œ

∑

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∑

jœ Œ jœ Œ

jœ Œ jœ Œ

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œ œ œ .œ œ œ

Jœ Œ Jœ Œ

∑

Jœ Œ Jœ Œ

∑

∑

∑

∑

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œ œ œ .œ œ œ

jœ Œ jœ≥

Œ

Jœ Œ Jœ≥ Œ

Jœ≥ Œ Jœ

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∑

∑

.œ œ jœn

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.œ œ jœn

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.œ œ Jœ

∑

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∑

∑

∑

∑

∑

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.œ œ jœn≤

.œ œ# Jœ≤

.œ œ Jœ≤

∑

∑

jœ Œ jœ Œ

jœ Œ jœ Œ

Jœ Œ Jœ Œ

Jœ Œ Jœ Œ

jœ Œ Jœ Œ

œ œ œ .œ œ œ

Jœ Œ Jœ Œ

∑

Jœ Œ Jœ Œ

∑

∑

∑

∑

∑

œ œ œ .œ œ œ

jœ≥ Œ jœ

≥Œ

Jœ≥ Œ Jœ

≥ Œ

Jœ≥ Œ Jœ

≥ Œ

∑

f

f

f

f

f

f

∑

.˙

∑

∑

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∑

.˙

∑

∑

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∑

∑

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∑

∑

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.˙

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.œ≥

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∑

f

∑

∑

∑

∑

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∑

.œ œ jœ

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∑

.œ œ Jœ

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∑

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∑

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.œ œ Jœ# ≤

.œ œ Jœ≤

∑

15

&

&

&

?

&

&

&

?

?

?

&

?

&

?

ã

&

&

B

?

?

# #

#

#

# #

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

Ob.

Bb Cl.

Bsn.

Hn. 1, 3

Hn. 2, 4

Bb Tpt.

Tbn.

Tbn.

Tuba

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Mrb.

Hp.

133

∑

∑

∑

∑133 .œ .œ

133

∑

.œ .œ

∑

∑

.œ .œb

133

∑

∑

133

∑

∑133

∑

133

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.œ .œ≥

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∑

f

f

∑

œ œ# œ œ .œ œ

œ œ# œ œ .œ œ

∑

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∑

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.œ≥ .œ≥

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.œ≥ .œ≥

∑

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∑

.œ .œ

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∑

∑

∑

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∑

.œ≥ œ# œ œ œ œ

.œ≥ .œ≥

.œ≥ .œ≥

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∑

∑

∑

∑

∑

w

∑

w

∑

∑

w

∑

∑

∑

∑

∑

w

w≥

w≥

w≥

∑

∑

∑

∑

∑

w

∑

w

∑

∑

w#

∑

∑

∑

∑

∑

w

w

w

w#

∑

divisi.

mp

mp

mp

w

∑

ww

w

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20

Deanna Clement Honors Thesis

Aspiration: A Piece for Small Orchestra

Aspiration: A Piece for Small Orchestra is a four-movement work for small orchestra that is

eight minutes long. Aspiration fits in with my goal as a composer to walk the path between

musical traditions and the culture of experimentation, which I have done in my undergraduate

work at the University of Arizona by developing compositional techniques which draw on ideas

from all previous musical eras. The piece was composed with a group of germinal materials that

were then used to realize the full piece, expanding upon techniques I have used in the past and

developed specifically for this piece. In composing Aspiration, I learned as much about the

process of composing, especially how to work under the pressure of past successes, as well as the

technical challenges presented by writing for orchestra. The project was ultimately successful in

reaching the artistic goals I had set for myself and in constructing a quality piece of music.

My goal as a composer is to walk a middle path between time-honored musical traditions and

the culture of experimentation prevalent throughout the 20th century. In doing this, I choose to

neither fully reject or embrace tradition over experimentation, or vice versa, because of my early

experiences as a composer. I learned tonal music theory by composing small pieces as a

teenager. In doing so, I also learned the harmonic logic, the ideas about melody and phrasing,

and form of the classical period. The extent of my compositional experiments in those days

consisted of some pieces in which I organized my music around one of the church modes, using

the mode in much the same way I would use a tonal scale. When I came to college and was first

exposed to the art music of the 20th century, I was so overwhelmed by the gratuitously dissonant

language of the 20th century that I considered abandoning my studies in composition. The

sounds challenged my conservative musical sensibilities in ways I could not answer

immediately, and I was frustrated for a long time. I knew that if I wanted to be a serious

Deanna Clement Honors Thesis composer, I would have to reconcile my personal artistic sensibilities and the reality of the

musical developments of the 20th century and somehow incorporate 20th century techniques into

my musical language. I discovered that I could create new, coherent musical languages by

combining stylistic aspects from other, disparate eras of musical composition in new and

interesting ways. In doing so, I broke with my strictly tonal background and vocabulary and

began to experiment with creating dissonances that were bright, piercing, and maybe, even

beautiful.

In building my new language that reconciled my conservative musical sensibility with

the musical developments of the 20th century, I looked to the Middle Ages, the Renaissance,

and the 20th century for inspiration on pitch organization. I explored my interests in working

with the medieval church modes that I had started as a teenager. The church modes are a set

of six scales of seven notes, each built with distinctive patterns of half steps and whole steps.

They are the ancestral scales of tonality’s major and minor scales: as such, they share many

characteristics with the tonal scales, but also are different enough to produce interesting

sounds. The major sounding scales are the Ionian, Lydian, and Mixolydian modes. The Ionian

mode is essentially the modern major scale, while Lydian consists of a major scale with a raised

fourth scale degree, and Mixolydian consists of the major scale with a lowered seventh scale

degree. The minor sounding scales are Dorian, Phrygian, and Aolian. Aolian is the modern

natural minor scale, dorian is the natural minor scale with a raised sixth scale degree, and

Phrygian is the natural minor scale with a lowered second scale degree. In college, I developed

an interest in Renaissance music, particularly in the hexachord system used to organize pitch

and communicate emotions. The hexachord system of organizing pitch was developed by Guido

Deanna Clement Honors Thesis of Arezzo to help his choir sight sing music for the church. The system, the forerunner of the

tonal scale system, continued to be used well into the Baroque and movements between

hexachords were used as a tool to communicate emotions. The hexachords that included

sharps where called the hard hexachords. Movements to these hexachords were used to

signify pain and suffering. Hexachords that included flats were called the soft hexachords, and

movements to hexachords signified tenderness and compassion.

In learning how to take pitches and organize them in to coherent pieces of music with

logic, form, and emotional intensity, I looked to the Classical, Romantic, and 20th century

periods. I retained what I had learned about harmonic logic, maintaining a pitch center,

resolution of tension through harmonic movement, and hierarchical structures from the

Classical era. From the Romantic era, I took the ideas about prolonging the release of harmonic

tension as a way to build tension, as well as about extending other ideas from the classical

period. Finally, from the Romantic period, I learned about organicism, the idea that musical

ideas should grow out of one another in a piece. In looking to the 20th century, I looked to the

serialists and to those who experimented with pandiatonicism. Serialism was developed by

Arnold Schoenberg in the early 20th century as a way to impose order on pitch after the

breakdown of tonal rules and regulations. The method consists of constructing a piece around a

row, or series, of the twelve chromatic pitches called the prime row. From this prime row, the

composer can derive other rows from the prime row to use in the piece. The retrograde row is

realized by stating the prime row of pitches in reverse; the inversion is the mirror image of the

prime row; and the retrograde-inversion is the mirror image of the prime row stated in reverse.

In looking for other ways to treat pitch and harmony, I looked to Pandiatonicism, which refers to

Deanna Clement Honors Thesis the democratic use of scale degrees within a major or minor scale. This technique was used by,

among others, Copland, Stravinsky, Part, Adams, and Reich.

From these ideas, I developed my own techniques using ideas about pitch and harmony

and combining them into my own techniques. I began developing and experimenting with

these techniques in earnest while working on my string quartet last year, and on my choral

piece in conjunction with Aspiration. I realized first that I could build balanced melodies with

clear phrases and harmonic interest by arranging each of the seven notes of a modal scale into

a row that did not spell out a triad and used all the pitches in the scale without repeating, then

repeating the same procedure with two other closely related scales. I would then finish the

melody by using the same procedure with the original scale, perhaps allowing myself to use the

same note twice, to resolve the melody around a center. This technique treats modal materials

in a way similar to the way Schoenberg created his prime rows in that I, like Schoenberg, only

allowed myself to use each pitch once (except for on the final iteration of a scale). I

experimented with this technique in my string quartet, developed it in my choral piece, and

refined it in Aspiration. I then realized that I could treat this melody using techniques

analogous to the way Schoenberg and the serialist composers would treat the melody to

generate more musical material. I wrote out the original form of the melody and derived it’s

retrograde, inversion, and retrograde inversion, then linked these sequences together and used

the sequence as the basis for the order in which notes are introduced into the texture. The

results of my experiments with this technique were bright, piercing, expressive harmonies with

a traditional tonal structure. Finally, I discovered that I could use a key signature’s “sharpness”

or “flatness” to obtain an expressive or rhetorical end, and that moving between key signatures

Deanna Clement Honors Thesis created harmonic movement and achieve a rhetorical end. In my previous works and in

Aspiration, flat key signatures indicate a sense of broadness and majesty, sharp key signatures

are bright and strident, ambiguously flat or sharp key signatures are uncertain and mysterious,

and the key signature with no sharps or flats represents absolute clarity. Movement between

key signatures is most frequently via the circle of fifths, like it was in the classical era; however,

since I shift between the church modes frequently and avoid a center note until the very end,

the result is not a tonal modulation. Instead, a sense of movement that retains the brightness

of the tonal pitch world without the confines of functionality. This combines the hexachord

word painting used by the Renaissance and Early Baroque composers to indicate pain or

compassion and the Romantic idea of harmonic movement to achieve a sense of longing in to

one technique, all within a 20th century harmonic vocabulary. I first experimented with this

technique in my choral piece.

My original plan for my honor’s thesis piece was to compose a choir piece based on

Psalms 89, 90, and 91. I have always loved choral music, but had not written a choral piece in

my undergraduate career at the time and I wanted use all that I had learned about pitch, harmony,

melody, and form. My reasons for choosing those particular Psalms was because I thought that

together in sequence, they would produce an intensely dramatic piece. I also hoped that the piece

could be performed by one of the choirs at the University of Arizona. When I presented my idea

for my thesis, I was instead encouraged to write an orchestra piece because I would have the

good fortune of finishing an orchestration class in the fall semester, a course generally reserved

for the last semester of the undergraduate composition degree. I could work on pre-

compositional aspects of the piece during the first semester and develop and orchestrate the piece

Deanna Clement Honors Thesis in the following semester. I agreed to the plan, but insisted that I still write the choral piece,

even if in abbreviated form. The choral piece was composed in addition to Aspiration and

allowed me to develop and experiment with many of the techniques used in Aspiration.

In my pre-compositional process for Aspiration, I outlined how I wanted the piece to feel,

what I wanted to learn from its composition, and what I did not want the piece to become. I

knew that I wanted a thoughtful piece, since the honors thesis project is a culmination project

marking the end of my undergraduate work in composition. As such, I wanted time for

reflection on my development as a composer and time for careful exploration of new directions

for my development as an artist. At the same time, I wanted to celebrate my completion of an

undergraduate degree in composition with honors. I also wanted to experiment with new textures

and refine my use of textures that I already had worked with in the past. I had worked with

sparse, polyphonic textures and melody/accompaniment textures in the past, but had not before

used such textures in conjunction with the pitch organization and manipulation techniques that I

developed for myself in my string quartet and in my choral piece. At the same time, I had grown

attached to choral style polyphony and the results of my experiments with the serialistic

treatment of pandiatonic melodies and wanted to see if I could produce a similar effect with an

orchestra. I knew of only one thing I did not want my piece to be, and that concerned how long

it lasted. Throughout my composition career, I have spent many concerts thinking that

instrumental music, and orchestral music in particular, lasts way too long. I wanted my piece to

be a length that would be satisfying for an orchestra to play, but not too long that the audience

gets lost, or worse, bored.

With my considerations for the mood of the piece, as well as what I wanted to accomplish

and avoid in mind, I developed a program for the piece to that would frame how I would

Deanna Clement Honors Thesis organize the piece. In the spirit of thoughtful celebration, I decided to honor the philosophies

and musical genres that have been most influential in my artistic development in my program.

I would pay my respects to the American Transcendentalist authors – Emerson and Thoreau in

particular – by composing a section that mimicked the sounds of nature. The Transcendentalists

held nature as the prime source of inspiration, and that knowledge through feeling was as valid a

source of knowledge as knowledge through reason. Their philosophy also espoused independent

thought and creativity, even at the expense of time honored tradition. I was introduced to their

literature as a young teenager, and since, I have found a certain comfort outside that I do not find

anywhere else. The other philosophy to which I chose to pay respects is a recent discovery that

stems from the simultaneous study of Catholicism, a liberal brand of Protestantism, and eclectic

neo-paganism. The Great White Light refers to a series of mystical experiences that overwhelm

the nervous system with a sense of unity and completeness. The series of experiences began in

the late spring of 2007 and culminated in the Fall 2008 semester and served as the emotional

basis that allowed me to develop the harmonies used in my choral piece, and again in Aspiration.

In addition to paying respects to the philosophies that have influenced my development as an

artist, I also pay respects to influential musical genres. Participation in choral music throughout

my teen years helped me grow as a musician and as a person, and, since then, has always felt like

my native musical language. I left it behind for a time to pursue other musical interests in

college, but came back to it fully with my participation in Symphonic Choir in my senior year.

My emotional attachment to choir music does not end at my participation in it. The choir piece

written in conjunction with Aspiration was a break out piece for me in that I figured out how to

put together all of my ideas about pitch, harmony, and texture in a way that is coherent and

moving. The other musical genre to which I pay respect is music for dance. I was fortunate

Deanna Clement Honors Thesis enough to accompany dance class at the University Of Arizona School Of Dance. It was

originally a strategy to overcome stage fright by over exposure, but in participating, both as a

musician and as a dancer, I gained a greater understanding of the inseparability of movement and

music. I wanted to celebrate that understanding in a section of Aspiration.

The pitch materials for Aspiration are derived from two germinal motives, the chant pitch

row and the fanfare. The chant pitch row was constructed using my serialistic treatment of

modal scales. This sequence serves as the prime row around which the Nature and Great White

Light sections were built and the melody for the Choral and Dance sections. The fanfare was

built on a series of major/minor scales ascending chromatically. The row of pitches in the

fanfare melody could row cannot explicitly spell out a major, minor, augmented, or diminished

chord. The fanfare is divided in two five smaller motives that are used as an interjection between

sections to signify transitions or to elongate the section within the movement. The first motive,

Motive I, consists of a dotted quarter note followed by 2 sixteenth notes iterated twice. Motive II

is a variation of motive I, with the pitches removed and the rhythm given to the snare drum.

Motive III consists of two groups of three descending notes that spell out pentatonic fragments.

Motive IV is a variation of motive II that takes a pentatonic fragment and augments the rhythms

to fit into two measures of 6/8 time, with a non-retrogradable rhythm spanning over the two

measures. Motive V is a scalar fragment that rises four notes and then descends those four notes

in the context of 6/8 time.

To fully realize Aspiration, I divided my piece into four sections representing the two

philosophies and the two musical genres to which I wished to pay my respects. I decided that the

two musical genres should be place in the middle of the piece, with the two philosophies

separated, nature at the beginning, and the Great White Light at the end. The reason for this is

Deanna Clement Honors Thesis two fold: this is the order in which I was exposed to each philosophy or musical genre, and this

is the order that I thought would flow most effectively. To realize the nature section, I

transposed the chant melody in to the key signature with ambiguous sharpness or flatness that

was furthest away from the key signature with no sharps or flats. I then wrote out the prime,

inversion, retrograde, and inverted retrograde rows, ordered them in that row, and added a prime

row at the end. This became the basis for the melody gestures in the flute and oboe. To derive

the accompanying gestures in the clarinet, bassoon, marimba, harp, and strings, I arranged the

rows so that a row playing would always have its retrograde accompanying it. The Bb drone in

the string bass was the first pitch of the original prime row and is a representation of the cosmic

background radiation that is heard throughout the Universe as an echo of the Big Bang – it hums

on a Bb. To realize the choral section, I set four iterations of the chant melody in the flat key

signatures, moving in the pattern minus two flats, plus one flat. The first two iterations are set in

two and three part counterpoint, with the last two set as a melody with accompaniment. This

section is set exclusively for winds and strings. The fanfare motives interrupt the choral section

and introduce the brass, percussion, and fanfare motives to be used in the climax of the piece.

The dance section sets the chant melody an accompanied melody three times, moving through

the sharp key signatures through the circle of fifths. In the dance section, the melody and

accompaniment are given to groups of two choirs plus marimba and harp. In between the second

and third iteration of the chant melody, a melody line based on fanfare Motive IV is introduced.

This melody line is used again after the third iteration to lead into a full iteration of the fanfare.

This builds into a climax using Motive V. After three iterations of the ending harmony passed

around the choirs of the orchestra, the viola iterates the choral version of the chant melody to

transition into The Great White Light section. The Great White Light section was realized by

Deanna Clement Honors Thesis transposing the chant melody into the key signature with no flats or sharps and realizing its prime

row, inversion, retrograde, and retrograde inversion. This forms the order in which the pitches

are introduced to create bright, piercing harmonies. This section is set for strings only because of

the coloristic unity of that choir in the orchestra and their ability to hold sustained notes without

having to breathe. The piece ends quietly, with the strings in the highest register.

In composing Aspiration, I learned much about what makes an orchestra piece an

orchestra piece, as opposed to other ensembles, and the techniques employed in order to make an

orchestra piece work. The first lesson I learned rather quickly – that choral style polyphony is

difficult to work with in an orchestra piece. The first reason for this is that there are instruments

that require short phrases in order to breathe, such as the woodwinds and the brass, and others

that do not, such as the strings and the percussion. If polyphonic writing is required, keep

phrases short and within a restricted registral range. This way you can take advantage of the

many colors of the instruments in the orchestra. The second reason that choral style polyphony

is difficult to do for orchestra is that the orchestra has so many different coloristic possibilities.

Because of the variety, it is difficult to blend the sounds together in the way the choirs or

homogeneous groups of instruments (such as a string orchestra) play together. If a choral style

polyphonic texture is absolutely necessary, keep the motives short. Longer melodies more

difficult to divide into their smaller components and have them retain their melodic integrity.

These lessons were hard won in working with the choral section of Aspiration because my chant

melody was very long and rather difficult to divide into smaller pieces. In this same vein, when

you plan to develop your melodies by introducing them in the various instruments, keep the

melodies within a smaller registral range. This is because many instruments have workable

ranges spanning less than three octaves, and, within that limited range, each instrument has

Deanna Clement Honors Thesis certain coloristic possibilities that only span, at most, an octave. I wanted to take advantage of

the distinctive sound of the oboe and blend it with the flute in the choral section of Aspiration,

but could not because, while the oboe could reach all the notes in the melody, the colors

produced in those notes would not be appropriate for the color I wanted at that moment. Also, in

composing Aspiration, I gained a better understanding and appreciation of why orchestra pieces

in general are so long. There are many reasons for this, but one of the main reasons is that it

takes more time to develop motives in orchestral music because you have more coloristic

possibilities. In solo instrumental music or small, homogeneous ensembles, you spend less time

passing the motives around to different instruments because you have fewer coloristic

possibilities. In an orchestra, each choir and each instrument within that choir has a

characteristic color that can be used to develop a motive. Also, ideally, each instrument in the

orchestra would have a satisfying part to play. With so many possibilities, it is hard to create

such parts for each instrument of the orchestra within a short time frame.

As much as I learned about the technical aspects of writing for orchestra, I learned much

more about the creative process. The first lesson was that I could not let my past successes

hamper my work on pieces that are in progress. I got hung up on the success of my choral piece

and trying to replicate that same sense of awe and wonder that I captured in that piece while

working on my orchestra piece that I was slow to work on the piece for fear that it would not be

as good as my other piece. The next lesson I learned was that I have to listen to my musical

intuition, even if it does not agree with the initial outlines of the piece. Pre-composition is very

helpful for me in getting started and providing a road map for the piece. I constructed my outline

early in the year, but did not set many notes to paper until rather late in the first semester. The

idea behind this was that I would allow my subconscious mind to work on the piece while I

Deanna Clement Honors Thesis completed other requirements for my major. However, by the time I actually started writing

notes on the page, my subconscious mind had indeed been working on the piece, but it was not in

agreement with the outline I had written originally. I spent a lot of time fighting with my

intuition, since my outline had been completely logical in my conscious mind throughout the

entire process. Eventually though, I let my intuition take over because my fighting with it was

hindering my progress on the piece.

The success of Aspiration can be measured in several ways. The first is whether or not I

completed Aspiration by the deadline imposed by the University of Arizona Honor’s College. I

did complete the piece by the deadline, even though it proved difficult due to the technical and

creative challenges I faced. I can also assess my success based on whether or not I achieved the

artistic goals I had for the piece. In this vein, I found that the nature section and the dance

section were effectively executed in that they evoked the images I wanted to create expanding

upon the techniques I wanted to continue to develop. Also, the choral section includes the choral

style polyphony I wanted to imitate in a piece for orchestra and the bright, piercing harmonies

generated from the serialistic treatment of a modal melody to represent the Great White Light.

Lastly, the piece is not overly long – 8 minutes is long enough to be satisfying, but not long

enough to overstay a welcome. The last way I can assess the success of Aspiration is how it

sounds, both to me and to others. In my assessment of the piece, I admit that it may be too early

for me to make an objective assessment of my piece, since I just recently finished going through

the emotional whirlwind of trying to finish a piece by a deadline. As such, my association with

the piece is not sitting down to listen to it objectively, but working very hard to finish it. If I do

try to be objective about my assessment of the piece, it has moments where what is on the page

and what I heard in my head do not agree, which I find very frustrating. On the other hand, it has

Deanna Clement Honors Thesis moments where I am pleasantly surprised about how well that particular moment was executed.

When I show the piece to others for their opinion, the results have so far been mostly positive. I

first showed the piece to a friend who is not a professional musician and he said that he liked all

of the piece but the nature section. I expected this kind of response from this person because his

musical tastes are very conservative, though I still asked because one of my musical pet peeves is

the idea that it does not matter what an audience of non-professional musicians thinks. I then

showed the piece to my thesis advisor and my lesson section partner in the composition studio.

Both my advisor and lesson partner were congratulatory.

Aspiration: A Piece for Small Orchestra is a successful effort in composing a piece for

small orchestra. I completed Aspiration by creating germinal materials and realizing the piece

by manipulating those materials using techniques I had developed in previous pieces and

techniques that I developed in composing Aspiration itself. I used these techniques to execute

my artistic goals for the piece in my working out of ideas regarding texture, pitch organization,

and length. I successfully honored the philosophies and musical genres that have been most

influential in my artistic development up to this point. This piece fits in well with my technique

as a composer who seeks to walk in the middle between musical tradition and musical

experimentation, as well as in with the tradition of writing pieces for orchestra.

aspiration: a piece for small orchestra...aspiration: a piece for small orchestra is a short work...

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