copyright 2010, robert devet
TRANSCRIPT
Flux: for Brass Quintet with Analysis
By
Robert DeVet, B.A.
A Thesis
In
Music Composition
Submitted to the Graduate FacultyOf Texas Tech University in
Partial Fulfillment ofthe Requirements for
the Degree of
Master of Music
Approved
Peter FischerChair
Michael Berry
James T. Decker
Peggy Gordon MillerDean of the Graduate School
December, 2010
Copyright 2010, Robert DeVet
TABLE OF CONTENTS
I. INTRODUCTION_________________________________________________________ 4
II. A SYSTEM OF QUARTAL HARMONY AND ANALYSIS_____________________________ 6
III. AN HISTORICAL CONTEXT FOR THE QUARTAL HIERARCHICAL SYSTEM OF HARMONY__________________________________________________________10
IV. HARMONIC AND STRUCTURAL ANALYSIS_________________________________13
ANALYSIS OF MOVEMENT _________________________________________I 13
ANALYSIS OF MOVEMENT ________________________________________II 20
ANALYSIS OF MOVEMENT ________________________________________III 26
V. CONCLUSION________________________________________________________ 35
WORKS CONSULTED_____________________________________________________ 36
APPENDIX A COMPLETE SCORE OF FLUX: FOR BRASS QUINTET_________________ 37
I “WAITING TO WIN ______________________________________________” 40
II “STRIDES FORWARD ____________________________________________” 47
III “OSTINATO __________________________________________________” 52
Texas Tech University, Robert DeVet, December 2010
ii
CHAPTER IINTRODUCTION
This paper will examine the piece Flux: for Brass Quintet, completed in the
spring of 2010 by Robert DeVet. It will first examine the system of quartal harmony
employed in the piece and define a concise system of analysis. It will then present a
several examples of quartal harmony in the music of other composers and briefly inspect
a similarly rigorous system based on perfect intervals. Each movement will then be
analyzed formally, harmonically, and motivically. The piece consists of three individual
movements, “Waiting to Win,” “Strides Forward,” and “Ostinato.”
Flux: for Brass Quintet had its genesis during the summer of 2004. During that
time I was attending the American Festival for the Arts summer music conservatory in
Houston, Texas. To fultill an assignment, I penned a viola trio that included the much of
the thematic material that would eventually become the second movement of Flux. Upon
revisiting the original viola trio five years later, I was dissatisfied with the former
realization of my thematic ideas and was convinced that I could now, as I could not
previously, fulfill more of the potential that I saw contained within the work. I decided to
expand upon those thematic ideas that I liked, and from them, to draw a harmonic system
that would withstand scrutiny and analysis far beyond the original intent of the piece.
After I had written the bulk of the second movement, I decided that it was the
right time to codify the harmonic system. In this way I let theory follow practice. The
specifics of the system are laid out in the Chapter 1. Armed with this system, I felt ready
to tackle the task of writing the surrounding movements, whose notes flowed with
varying degrees of ease and difficulty from my pen.
Texas Tech University, Robert DeVet, December 2010
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When I finally had a chance to step back and view the work as a whole, I realized
that the expressive flow of the piece from beginning to end made a remarkable parallel to
the compositional growth that I had experienced during its writing. I heard the
juxtaposition of furious passages and plodding dissonance in “Waiting to Win” and
relived the fever pitch of excitement that I experienced while I was devising the system
along with my own struggle to understand it. In the driving pulse of “Strides Forward,” I
felt a determination to use the language effectively. Finally, in the flowing lines of
“Ostinato,” I began to hear the real ease that comes with familiarity with a language.
In the music of Flux, I have found a mode of expression that I can continue to
explore long after completing the piece. I have always liked quartal harmonies, but have
avoided using them as a compositional tool until now because I believed that I needed
some organizing principle in order to utilize them in a coherent manner. Now that I have
devised such an organizing principle, countless new harmonic possibilities are available.
Texas Tech University, Robert DeVet, December 2010
2
CHAPTER IIA SYSTEM OF QUARTAL HARMONY AND ANALYSIS
The harmonic language employed throughout Flux: for Brass Quintet is quartal.
The relative consonance and dissonance of the sonorities can be ascertained by
examining the quality and distribution of the intervals when arranged so that each
member of the sonority is separated from its neighbors by a fourth, whether perfect or
augmented. Furthermore, while sonorities are often inverted, the inversion does not have
an effect on the analyzed dissonance or consonance.
The employed sonorities are arranged into three classes: sonorities with no
tritones, sonorities with one tritone, and sonorities with two tritones. Members of the first
class are the most stable, members of the second class are less stable, and members of the
third class are the least stable. If the number of included pitches in the sonorities is five,
the second and third classes can be further divided into four and three subclasses
respectively. The second class is divided into four different sonorities dependent on
where the included tritone occurs. The third class is divided into three different sonorities
in the same manner based on the positions of the two tritones.
While relative dissonance within each class of sonorities is more difficult to
perceive, for the purposes of analysis, a hierarchy of stability may be constructed based
on how the tritone relates to the bottom interval in the sonority. Dissonance increases as
the tritone or tritones approach the bottom of the chord. Each different sonority can then
be given a number from zero to seven, zero being the most stable with no tritones and
seven the most unstable with the intervals, from bottom to top, tritone, perfect fourth,
tritone, perfect fourth. This hierarchy of stability is illustrated in Example 2.1.
Texas Tech University, Robert DeVet, December 2010
3
If sonorities with fewer than five pitches are to be analyzed, the numbering system
becomes confusing because four- and three-pitch sonorities contain fewer intervals and
consequently fewer of the numbered sonorities. When the number of pitches is decreased
to four, sonorities 1, 5, and 6 are no longer possible because a tritone in those sonorities is
between the fourth and fifth pitches from the bottom and the resulting sonority exists
earlier in the hierarchy. When the number of pitches is decreased to three, in addition to
the three impossibilities shared with four-note sonorities, sonorities 2 and 7 become
impossible. Naturally, three-note sonorities cannot include two tritones without repetition
of pitch, placing a natural limit on how much dissonance can occur when only three
pitches are present. Despite the confusion inherent in this system, sonorities having the
same number will be considered of equivalent stability regardless of the number of
pitches. The complete hierarchy of stability is illustrated in Example 2.2.
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[Title][Composer]
Full Score[Subtitle]
[Arranger]
No Tritones One Tritone Two Tritones
Example 2.1: Five-pitch sonorities, hierarchy of stability.
Texas Tech University, Robert DeVet, December 2010
4
For the sake of brevity, each sonority in the hierarchy will be referenced by a
string of symbols. First, the letter ‘H’ indicating a member of the hierarchy. Second, an
arabic numeral signifying the number of the sonority within the hierarchy. Finally, an
arabic numeral within parentheses denoting the number of pitches of the hierarchy. For
instance, a number 4 sonority containing five pitches would be notated as “H4(5)” or,
more generally, any 4 sonority can be notated as “H4.” See Example 2.3 for analysis of
several sonorities using this system.
As was previously noted, the differences in stability are more easily perceptible
when moving between sonorities that contain different numbers of tritones. While the
different sounds of an H1 and an H4 can be easily discerned if they are sounded near
enough to each other and given enough duration, over the course of a movement the
relationship between them can be obscured. Because the relationship between the larger
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[Title][Composer]
Full Score[Subtitle]
[Arranger]
No Tritones One Tritone Two TritonesExample 2.2: Complete hierarchy of stability.
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[Title][Composer]
Full Score[Subtitle]
[Arranger]
Example 2.3: Examples of specific and general analyses of sonorities.
Texas Tech University, Robert DeVet, December 2010
5
classes is much more perceptible, a parallel system of analysis may be employed for
passages that simply move from one larger class to another. Since the only numbered
sonority to be a member of the first class is H0, this can be used to designate that class.
The other two classes can be designated as A, for sonorities H1 through H4, and B, for
sonorities H5, H6, and H7. In this way the move between more generalized stability and
instability can be notated, with or without the specific sonorities notated with the
appropriate alpha-numerical strings. This is especially useful when analyzing passages
that contain similar rhythmic, textural, and/or contrapuntal material and move through the
larger classes of sonorities in the same manner, but utilize different specific sonorities. In
these cases, the more general analysis reveals that, in fact, the harmonic motion is
essentially equivalent.
This system of harmonic composition and analysis will, from now on, be referred
to as the Quartal Hierarchical System of Harmony.
Texas Tech University, Robert DeVet, December 2010
6
CHAPTER IIIAN HISTORICAL CONTEXT FOR THE
QUARTAL HIERARCHICAL SYSTEM OF HARMONY
In his book Techniques of Twentieth Century Composition, Leon Dallin states that
quartal chords are rarely used as the only harmonic material in a piece of music. Among
the reasons that he gives that they are often eschewed except to add coloristic variation is
that the sonorities is that they “lack the resonance of tertian sonorities.” 1 Another reason
that they are often overlooked may be that they often do not contain the sonic complexity
that many contemporary composers look for. While they have not always been treated as
a complete harmonic palette, composers have been using quartal sonorities as ways to
extend their harmonic landscape for at least a century.
Quartal harmonies were well suited to the impressionists’ goal to obscure and
minimize the functionality of their harmonies. Along with extended tertian harmonies,
many impressionistic pieces included passages colored with quartal harmonies. Claude
Debussy’s “La Cathédrale engloutie” contains passages full of quartal harmonies as can
be seen in Example 3.1.2 While quartal harmonies are present in the piece, so are tertian
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[Title][Composer]
Full Score[Subtitle] [Arranger]
Example 3.1: “La Cathédrale engloutie,” mm. 85-89.
Texas Tech University, Robert DeVet, December 2010
7
1 Leon Dallin, Techniques of Twentieth Century Composition, 2nd ed. (Dubuque, IA: Wm. C. Brown, 1964), 77.
2 Claude Debussy, Preludes (Book I.) (London: United Music Publishers Ltd., 1910)
and quintal.
In his Theory of Harmony, Arnold Schoenberg describes a hypothetical quartal
system as “no less defensible on natural grounds” as a quintal system.3 When the third
edition of the book was published in 1922, he had already written several pieces that
included quartal harmonies, and was not above referencing both Pelleas und Melisande
(1902-03) and Kammersymphonie (1906).4 In the Kammersymphonie, the arpeggiated
six-pitch sonority in the horn in mm. 5-6 is structurally significant through the entire
piece, see Example 3.2. However, the harmony of the piece is, again, not strictly quartal
and includes a variety of other harmonic structures.
The difference between the above examples and the quartal hierarchical system is
that the system seeks to treat quartal sonorities with enough organization and variety so
that, by themselves, they can create a harmonic environment that is sufficiently
interesting to hold an audience’s attention for the entirety of large works. The rigor of the
system is reminiscent of Peter Fischer’s treatment of quintal structures.5 In his system, as
in the quartal hierarchical, the primary consonant sonority is based on a structure of
perfect intervals, in this case fifths. All of the basic sonorities contain three pitches, and
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[Title][Composer]
Full Score[Subtitle] [Arranger]
Example 3.2: Kammersymphonie, mm. 4 (partial)-6 in the horns.
Texas Tech University, Robert DeVet, December 2010
8
3 Arnold Schoenberg, Theory of Harmony, trans. Roy E. Carter (Berkeley, CA: University of California Press, 1978), 399.
4 Ibid, 403.
5 Peter Fischer, “Formal presentation on my compositional technique to student composers and faculty,” Presentation text for
presentation given as part of the Visiting Composers Seminar at the University of Arizona, Tucson, AZ. 24 March 2005.
are illustrated in Example 3.4. However, instead of changing only one interval at a time,
the inner pitch is displaced by varying intervals while the outer interval of a major ninth
remains constant in a similar way to the perfect fifth in major and minor triads. This
treatment of the inner pitch as a movable entity results in intervals other than fifths in the
uninverted basic forms of the sonorities.
Historically, very few composers have attempted to systematically treat harmony
based on perfect intervals. Perhaps it is because the sonorities created lie somewhere
between the functional consonance of tertian harmony and the complex dissonance of
many post tonal harmonic languages. Straddling the divide, they do not present
themselves as ready tools with which composers can answer their compositional
questions.
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[Title][Composer]
Full Score[Subtitle] [Arranger]
Example 3.4: Primary three-pitch sonorities with relative dissonance in Peter Fischer’s quintal system.
Texas Tech University, Robert DeVet, December 2010
9
CHAPTER IVHARMONIC AND STRUCTURAL ANALYSIS
Analysis of Movement I
Movement I, “Waiting to Win,” begins with a downward apreggiation of H0(5),
with a root pitch of F#. See example 4.1 for the opening measures with analysis. In
measure 3, the trumpets and horn intone an H3(3) sonority on C, followed by an H4(3) on
B, and then returning to the original sonority. The harmonic motion is accomplished by
the first trumpet and the horn moving in parallel major sevenths, while the second
trumpet remains stationary with the common tone. Beneath this motion, the trombone and
tuba play a tritone that, when added to the H3 sonority in the other instruments, creates an
H6(5) sonority, and also provides a context against which the H3-H4-H3 harmonic
motion in the top three voices can be considered neighboring motion in the first trumpet
and horn. This motion is followed, in measure 4, by an H4(5) sonority with an F root.
Interestingly, there is only a one-pitch difference between this sonority and that which
opened the movement. Measure 5 is an exact repetition of measure 3 but is followed by
an H3 sonority, again rooted on F. In these five measures the music has moved from H0
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3I
Robert DeVet
Copyright © 2010 Robert DeVet, ASCAP
ScoreWaiting to Win
Example 4.1: Movement I, opening sonorities, mm. 1-6.
Texas Tech University, Robert DeVet, December 2010
10
to H4 to H3 by changing only one pitch at a time. After the initial statement of H0,
another H0(5) is not sounded until measure 173 at which point the initial spelling of H0 is
stated and repeated to the end of the movement at measure 178.
The rhythmic material developed in the A section is made up of two small motives
illustrated in Example 4.2. First, the sixteenth-note figure in the three upper voices in
measure 3, rhythmic motive 1 or RM 1. This motive sometimes includes a melodic
component; the third and fourth notes in the figure often appear as lower neighbor-tones
to the other notes. However, this melodic aspect is not as important as the rhythmic
aspect, and many instances of this first motive appear on a single pitch. The second
motive, rhythmic motive 2 or RM 2, is first sounded in the horn in measure 8. Unlike the
first motive, this second motive has an important melodic and intervallic component. It is
made up of four eighth notes and first leaps up by a tritone and then steps down. Every
statement of RM 2 follows the same basic contour, if not the same intervals.
After the introductory material, which is characterized by short rhythmic cells
separated by sixteenth-note rests, a development of RM 2 occurs beginning in m. 36. This
melody is in the horn and is accompanied by a complete change of texture; the other
instruments take turns playing longer slurred durations. The horn phrase is followed by
an even starker statement of the same melody, now in the second trumpet and a perfect
fourth higher beginning in m. 48. The accompaniment during this repeated phrase is now
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[Title][Composer]
Full Score[Subtitle]
[Arranger]
Example 4.2: Rhythmic motives developed in the A section of Movement I.
Texas Tech University, Robert DeVet, December 2010
11
only three staccato eighth notes in two simultaneous voices, first the first trumpet and
horn, next the trombone and tuba, and finally the horn and tuba. These two phrases are
separated and bookended by material from the introduction.
A transitional passage begins at m. 58, and juxtaposes the two trumpets with the
three other instruments. See Example 4.3 for the passage with analysis. The lower three
instruments begin by stating RM 1 on an H3(3). The outer notes of the sonority are
echoed in the trumpets, this time played as a minor second instead of a major seventh.
The other three then state an H4(3). The motion is accomplished by the trombone rising a
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Example 4.3: Transitional Passage in Movement I, mm. 58-68. Dashed lines indicate doublings.
Texas Tech University, Robert DeVet, December 2010
12
semitone. The next sonority is an H3(3), with the horn and tuba rising a semitone. This
alternating inner-note/outer-note semitone ascending motion is continued until the last
note in m. 68. Meanwhile the trumpets, which were initially offset from the other three
instruments by a measure, shift one sixteenth-duration earlier. Their pitch material
continues to be the outer two notes of the sonorities played by the other instruments in
minor seconds (see first two measures of Example 3.3). At m. 67 the trumpets cease to
play and the other instruments change their rhythm to eighth-note triplets, leading
eventually to the cadential figure that begins in m. 69. The harmonic rhythm is
accelerating from changing every two measures, to every measure, and finally twice and
three times per measure in mm. 67 and 68 respectively. It should be noted that in mm.
64-67 there are five pitches present but, because the trumpets are doubling the horn and
tuba, their notes do not affect the analysis of the sonorities.
One way to analyze the harmonic motion of much of the movement is as an
attempt to regain the H0 sonority. This concept is especially perceptible in mm. 69-74.
See Example 4.4 for the complete analysis of the passage. As the members of the H5
sonority are arpeggiated from top to bottom, first a three- and then a four-pitch H0
sonority are sounded. Finally, at the entrance of the tuba, the H5(5) sonority is completed.
The next sonority, an H6, is arpeggiated from the center in the horn. The tuba plays the
pitch that would have made the previous sonority an H0, but other pitches have changed,
as if a few too many corrections kept the sonority from returning to the H0. Finally an H2
sonority is arpeggiated from top to bottom. Although this sonority is the most stable in
the passage, the fact that the more dissonant sonorities that preceded it seem to be
Texas Tech University, Robert DeVet, December 2010
13
pointing towards the H0 imbue the H2 with heightened tension. A second way to analyze
the material is to view the movement as an exploration of the harmonic possibilities of
the quartal hierarchical system with extremely minimal use of the H0 sonority except as a
harmonic frame.
The B section, which spans mm. 84-146, does not create much harmonic drive.
Rather, it creates linear drive in the contrapuntal lines. The sonorities created by these
lines function less as means to move from harmonic instability to stability, or the
converse, and more as a means to create an unstable harmonic background that is
generally static. The planing of the H3(3) sonority within the accompanimental figure in
the horn, trombone, and tuba in mm. 84-86 encapsulates this static instability. There is
also, in passages within this section, a more consistent delineation between melody and
accompaniment. All the sonorities in this section are H3’s, H4’s, or very brief H0(3)’s
which are approached by passing or neighboring motion. While H0(3) sonorities appear
in this section, the H0(5) is not sounded until the very end of the movement. Example 4.5
illustrates several instances of the H0(3) in the B section.
&
&
&?
?
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
!
!
œb œ " œ œ " œ œœ œ " œ œ " œ œ
œ œ " œ œ " œ œH(3)3
œ œ " œ œ " œ œ
œb œ " œ œ " œ œm2
!
!
!
!
!
œb œ " œ œ " œ œœb œ " œ œ " œ œ
œ œ " œ œ " œ œH4(3)
œ œ " œ œ " œ œ
œb œ " œ œ " œ œm2
!
!
!
Œ ‰ " Rœb
Œ ‰ " rœm2
œN œ " œ œ " œ œœb œ " œ œ " œ œ
œb œ " œ œ " œ œH3(3)
œb " œ œ " œ œ œ
œ " œ œ " œ œ œ!
!
!
&
&
&??
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œb " œ œ " œ œ œ
œ " œ œ " œ œ œ
œ œ " œ œ " œ œœN œ " œ œ " œ œ
œb œ " œ œ " œ œH4(3)
œ " œ œ " œ œ œ
œb " œ œ " œ œ œ
œb œ " œ œ " œ œœ œ " œ œ " œ œ
œN œ " œ œ " œ œH3(3)
œ " œ œ " œ œ œ
œb " œ œ " œ œ œ
œb œ " œ œ " œ œœ œ " œ œ " œ œ
œ œ " œ œ " œ œH4(3)
Rœ " ‰ Œ
Rœb " ‰ Œ
œn œ œ œ œ œ3 3
œ œ œ œb œ œ3 3
œ œ œ œ œ œ3 3
H3(3) H4(3)
!
!
œ œ œ œ œ œ3 3
œb œ œ œn œ œb3 3
œb œ œ œ œ œb3 3
H3(3) H4(3) H3(4)
&
&
&??
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
˙
Œ œ!
!!
˙
˙
˙Œ œ
!
˙
˙
˙˙
˙H4
˙
˙
˙˙
˙
!
!
!
!!
!
Œ œb
˙Œ œ
!
˙
˙
˙˙
˙#H6
!
!
!
!!
˙
Œ œ!
!!
˙
˙
˙bŒ œb
!
˙
˙
˙˙
˙H2
˙
˙
˙˙
˙
!
!
!
!!
œ œ>
>œb œ>˙b>
œ œ>H2
U "
u "
u "U "U "
I6
Example 4.4: End of the A section of movement I, mm. 69-74.
Texas Tech University, Robert DeVet, December 2010
14
The first six measures of the recapitulation, mm. 145-151, are an exact repetition
of the first six measures of the piece except that, rather than an H0 arpeggiating down
through the instruments, the sonority in the first two measures is an H7(5). This H7 can
be thought of as a transformation of the H2 that ended the A section. This transformation
turns one of the more stable sonorities in the quartal hierarchical system into the most
dissonant. The rest of the recapitulation is very brief; the entire section only lasts from
m. 146 to measure 178. In mm. 158-164 the transitional material borrowed from mm.
58-68 is juxtaposed against RM 2. During this passage, the motive is fragmented and
sequenced to follow the rising transitional material. Finally, after another transitional
passage spanning mm. 165-173 that culminates in the first statement of an H0(5) sonority
since m. 2, the coda of the movement begins in m. 174. From this point on all sonorities
are H0(5)’s. This passage begins with the rhythm and texture that was first stated in
measure three. The texture is inverted in m. 175 and returns to the original texture in m.
176. For the final two measures of the piece, the texture is completely homophonic. See
Example 4.6 for analysis of the final passage of the coda.
&&
&
??
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42
43
43
43
43
43
42
42
42
42
42
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
Slower, calmer q = 92!!
"œ#pœ
˙"
!!
˙œœ#˙b
!!
.pœPœb œ
.˙bp
œF
Harmon muteœb˙p
mute
"œ#pœ
˙"
œb œ˙
˙œœ#˙b
œœœ.˙
.pœPœb œ
.˙bp
˙pœFœb
"œ#pœ
˙"
˙œb œ
˙œœ#˙b
.˙œœœ.pœPœb œ
.˙bp
œFœb˙p"œ#pœ
˙"
œb œœb œ˙
˙œœ#˙b
œœb œœ.˙
.pœPœb œ
.˙bp
˙!
"œ#pœ
˙"
!!
˙œœ#˙b
!!
pœPœb
˙bp
!œbfœœ
Pœb œn
˙bP
!œ# œ# œ
˙œœN
˙b
!œœœœ
.fœfœb œ
.˙bf
œbfœœœN˙b
PœbPœn
˙bP
œ# œ# œ!
˙œœN
˙b
œœœ!
fœfœb
˙bf
!!
œ."ŒœbPœœœNœb ."Œ
!!
œ.Œ
œb œœœœb .Œ
!!
!
œ# œ# œ!
!!
œPœœ
!!
!!
œ# œœœbœ."Œœb ."Œ
!œPœœœ#œPœœœbœ.Œ
œb .Œ
&&&?
?
43
43
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42
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42
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
!œ œ#
œ œ#˙#H4 H0
!
!jœ œn jœjœ œn jœ˙#H4 H0
!
!
œb œ
œb œ˙H4 H0
!
!
œ ˙b
œ ˙b.˙
H0 H4
!
œb œ!
˙bœb œ
˙H4 H1
œb œ!
˙bœb œ
˙H4 H1
!!!
œ œ œ# œœ œ œ# œ#
&&&??
43
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
!!
˙bœ œb
œ œb
!!
˙bJœ œn Jœbjœ œn jœb
!!
˙bœ œ
œ œ
!!
.˙œ ˙#
œ ˙#
œPœ#!
˙bPP!
œN œ#!
˙b˙
!
œN œ!
˙b˙
!
!!
"œ#pœ
˙"
!!
˙œ œ#
˙b
!!
.pœPœb œ
.˙bp
!!
"œ#pœ
˙"
!!
˙œ œ#
˙b
!!
.pœPœb œ
.˙bp
!!œFœb
œ#pœ
˙"
!!œb œœ œ#
˙b
!!œ œ œœPœb œ
.˙bp
I 7
Example 4.5: Mm. 69-74 of Movement I.
Texas Tech University, Robert DeVet, December 2010
15
&
&
&?
?
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83
83
83
83
42
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42
42
85
85
85
85
85
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œb fœ œb œb
œn fœb œb œb
œ# œ ! œ œ ! œ œœ œ ! œ œ ! œ œ
"
œb œ œ œn
œ œ œ œ
œ# œ œ œ œ œ3 3
œ œ œ œ œ œ3 3
"
œ œb œ# œb
œb œb œn œ#
œ# œ œ œ œ œ3 3
œ# œ œ œ œ œ3 3
"
œƒœb œ# œ œ. œ.
œbƒœb œb œ œ. œ.
"
"
"
œ œb œ# œ œ. œ.œb œb œb œ œ. œ.
"
"
"
"œbpœb œb œ œ œ. œb . œb .
"œpœb œb œ œ œ. œ. œb .
"
&
&
&?
?
85
85
85
85
85
42
42
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42
42
85
85
85
85
85
42
42
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
Œ . ‰ JœfŒ . œfŒ jœf œ‰ œ
fœ œ
.œf
œ
˙
‰ Jœ œ
Œ œŒ ‰ Jœ
"
˙
˙
˙˙
˙
Œ . ‰ Jœ#fŒ . œfŒ jœf œ‰ œ
fœ œ
.œf
œ
.œ# œ
‰ œb œ œ
Œ jœ œŒ ‰ œ
Œ ‰ ‰ Jœ
Œ ‰ ‰ Jœ
Œ ‰ œŒ jœ œ‰ œ œ œ
.œ# œ
&&
&??
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42
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42
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ‰ Rœ ! ! Rœ ‰‰ Rœ# ! ! Rœ ‰H0(5)
‰ Rœ ! ! Rœ ‰‰ rœ ! ! rœ ‰
‰ rœ ! ! rœ ‰œ œ ! œ œ ! œ œ
œ# œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ‰ Rœ ! ! Rœ ‰‰ Rœ# ! ! Rœ ‰
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œœ œ ! œ œ ! œ œ
œ# œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œflœ œ ! œ œ ! œ œflœ œ ! œ œ ! œ œ
œ# œ ! œ œ ! œ œ
I 9
Example 4.6: Coda of Movement I, mm. 174-178.
Texas Tech University, Robert DeVet, December 2010
16
Analysis of Movement II
In contrast to the first movement, “Strides Forward” uses predominantly the H0
sonority. The limited use of the more unstable sonorities affects the music in two primary
ways. First, the instances of sonorities other than H0 are more striking because of their
rarity, and second, if tension is to be created within passages that have only H0 sonorities,
it must be created by other means.
One method of creating tension is introduced in the first phrase. The beginning of
measure 1 is marked one dynamic—mezzo-piano in the horn and piano in the trombone
and tuba—and crescendoes through the rest of the measure arriving at an immediate
return to the original dynamic, illustrated in Example 4.7. The music drives toward a
dynamic goal which it does not typically attain. This unsatisfied dynamic motion creates
a more general motion forward through the movement.
In the opening four measures, a clear motivic development is discernible. The
three notes in the first measure are repeated exactly in the second and varied rhythmically
in the third. Finally in the fourth measure, the motive is inverted. The development
&&&?
?
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
Expressively and in time q = 100!!
P œ œ˙p
œ
˙p
œ
!!
P œ œ˙p
œ
˙p
œ
!!
œ-F œ- œ-œP
œ ŒœP
œ Œ
!!
œ œ œ œœ œ œ œœ œ œ œ
&
&
&??
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
5 !
!
P œ œ˙pœ
˙pœ
!
!
Pœ œb˙pœ
˙pœ
!
!
Pœ œN˙pœ
˙pœ
!
œ-Fœ- œ- ˙
.p ˙
.˙p
˙
.˙p
˙
Ó œp
˙ œpœb
Ó œpÓ œp!
œœœœ
˙ œœb
œŒ œœŒ œ
!
œœœœ œPœb
œ œœb œbPœ Œ œbœ Œ œb
!
Ó œpœbF
œ œb ˙bF
P Ó˙P
!
!
!
˙P œ œ˙pœ
˙pœ
!
!
œPœœœœPœœœœPœœœ
œb -fœ-
œb -fœ-
!
!!
!
!
œf œ œœœfœ œœœfœ œœ
&
&
&??
43
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83
83
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
fp
fp
17 œb -
fp
œ-fŒ
œb - œ-fŒ
!
!!
!
!
P œ œ˙p
œ
˙p
œ
Œ ˙F
F œ œ
P œ œb˙p
œ
˙p
œ
œœ œ œ œ
œ œœœ œ
P œ œN˙p
œ
˙p
œ
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
PÓ
˙p
Ó˙p
œ#"jœ ‰
œb"jœb ‰
œb"jœ ‰
œb" Jœ ‰œb" Jœ ‰
œb Jœbp‰
œN jœbp‰
œb jœbp‰
œb Jœp‰
œb jœp‰
!
!
!
!!
œ#pœ œb .œ JœbF
œbpœb œn .œ jœb
Fœbp œ œb .œ jœbFœbpœ œb .œ JœF
œbpœ œb .œ jœ
F
!
!
!
!!
10II
Strides Forward
Example 4.7: Beginning of Movement II, mm. 1-4.
Texas Tech University, Robert DeVet, December 2010
17
apparent in this opening passage earmarks the step-down, skip-up motion as the principal
motive in the movement.
The opening statement of the theme in mm. 1-8, as illustrated in Example 4.8, is
followed by a brief development of the principal motive. After the second trumpet states
the motive in m. 8, the two trumpets play in imitation with one another while the horn
and trombone play longer notes to complete the harmonies. The passage is followed, in
m. 13-17 by a fragmentation of the first phrase in the lower three voices, interrupted by
the trumpets playing major seconds, repeating the last notes that they played in m. 12.
The major seconds can be analyzed as an inversion of the H0 sonority without the central
pitch. In mm. 18-21 the trumpets once again play an imitative development of the
principal motive while the other instruments play material from the final measure of the
theme. The motive played in the first trumpet during beats 1 and 2 of m. 21, the notes
within the square in Example 3.9, will later be developed during the B section of this
movement. The figure in both trumpets during beats 3 and 4 in m. 21, the circled notes in
Example 4.9, will become a structural motive in the third movement.
The first instance of a sonority other than H0 is in measure 23. The first sonority
is an H2(5) which is followed by an H7. This passage is illustrated in the last two
measures of Example 4.9. The two preceding sonorities are both H0’s. This H0-H0-H2-
& c ! ! !
& 42wwwwbbSpecific:!H0(4)
General:!H0
wwwwwbbH1(5)
H1
www##H4(3)
H4
wwww#H7(4)
H7
wwwwwbbH5(5)
H5
& 42 !
& 43œ œ " œ œ " œ œRhythmic!Motive!1
œ œ œ œRhythmic!Motive!2
& 43 42 43 45˙ œ œ ˙ œ œ œ- œ- œ- œœœ œ ˙ œ œ ˙ œ œb ˙ œ œN .˙ ˙
& ! ! ! ! !
& ! ! ! ! ! ! ! ! !
& ! ! ! ! ! !
[Title][Composer]
Full Score[Subtitle]
[Arranger]
Example 4.8: Theme of Movement II as stated in mm. 1-8.
Texas Tech University, Robert DeVet, December 2010
18
H7 motion is accomplished by the trumpets planing perfect fourths ascending by
semitone and the other instruments planing H0(3) sonorities descending by semitone.
This H0-H0-H2-H7 motion is repeated twice with varying rhythms and then the music
returns to exclusively H0 sonorities until measure 39.
After a brief transition in m. 29, the theme returns in a more full instrumentation,
with the two trumpets playing the melody in perfect fourths and the trombone and tuba
playing the accompanimental figures, now in staccato quarter notes rather than the
original long-short rhythm. Following this statement of the theme, the two trumpets
return to imitative material in mm. 37 and 38, further developing the principal motive by
expanding the interval between the second and third notes.
Beginning in measure 39, the music becomes transitional. The passage is
illustrated in Example 4.10. The transition starts with a perfect fourth between the two
trumpets, which is held for three beats before the other instruments enter from top to
bottom, creating an H2(5) sonority. In m. 40, the trumpets both move down a semitone,
while the three lower voices plane up one semitone, creating an H0. All voices return in
&&&?
?
43
43
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43
43
42
42
42
42
42
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
Expressively and in time q = 100!!
P œ œ˙p
œ
˙p
œ
!!
P œ œ˙p
œ
˙p
œ
!!
œ-F œ- œ-œP
œ ŒœP
œ Œ
!!
œ œ œ œœ œ œ œœ œ œ œ
&
&
&??
43
43
43
43
43
45
45
45
45
45
43
43
43
43
43
44
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44
44
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42
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
5 !
!
Pœ œ˙pœ
˙pœ
!
!
Pœ œb˙pœ
˙pœ
!
!
Pœ œN˙pœ
˙pœ
!
œ-Fœ- œ- ˙
.p ˙
.˙p
˙
.˙p
˙
Ó œp
˙ œpœb
Ó œpÓ œp!
œœœœ
˙ œœb
œŒ œœŒ œ
!
œœœœ œPœb
œ œœb œbPœ Œ œbœ Œ œb
!
Ó œpœbF
œ œb ˙bF
P Ó˙P
!
!
!
˙Pœœ˙pœ
˙pœ
!
!
œPœœœœPœœœœPœœœ
œb -fœ-
œb -fœ-
!
!!
!
!
œfœœœœfœœœœfœœœ
fp
fp
œb -
fp
œ-fŒ
œb - œ-fŒ
!
!!
&
&
&??
44
44
44
44
44
42
42
42
42
42
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
!
!
P œ œ˙p
œ
˙p
œ
Œ ˙F
F œ œ
P œ œb˙p
œ
˙p
œ
œ œ œ œ œ
œ œ œ œ œ
P œ œN˙p
œ
˙p
œ
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
PÓ
˙p
Ó˙p
œ#"jœ ‰
œb"jœb ‰
œb"jœ ‰
œb" Jœ ‰œb" Jœ ‰
œb Jœbp‰
œN jœbp
‰
œb jœbp‰
œb Jœp‰
œb jœp
‰
10II
Strides Forward
Example 4.9: Mm. 18-23 of Movement II.
Texas Tech University, Robert DeVet, December 2010
19
m. 41 to the same H2 as in m. 39. Measure 41 contains one fewer beat than the two
preceding 6/4 measures; the perfect fourth in the trumpets in this measure is sounded
alone for only two beats before being joined by the other instruments. Finally all the
voices continue planing in order to make an H3 in measure 42. Again one beat is taken
away in measure 42 and this time the perfect fourth in the trumpets is sounded alone only
for one beat. This entire passage is directly related to the material in mm. 22-28; the
harmonic motion in both passages is accomplished in the same way and the harmonies
themselves are the same. The transition ends in mm. 43-44 with an H2(5).
The B section starts in m. 45 with the horn playing figures derived from the
accompanimental material from the A section. Meanwhile the trombone arpeggiates an
H0(4) that, when combined with the horn note, creates an H1(5). On the third beat the
three lower instruments combine to sound an H0(3). This measure is repeated in m. 46
with the single alteration that the last trombone note is lowered a semitone, resulting in an
H4. For the next three measures the trombone and tuba plane perfect fourths so that, with
the horn notes, H0’s are sounded on beats 1 and 2 of m. 47 and on beats 1 and 3 of m. 48.
&
&
&?
?
44
44
44
44
44
42
42
42
42
42
83
83
83
83
83
41
41
41
41
41
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
45
45
45
45
45
42
42
42
42
42
46
46
46
46
46
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
24 !
!
!
!
!
œ#pœ œb .œ JœbF
œbpœb œn .œ jœb
Fœbp œ œb .œ jœbFœbpœ œb .œ JœF
œbpœ œb .œ jœ
F
!
!
!
!
!
œ#pjœ
œbpjœb
œbpjœ
œbpJœ
œbpJœ
œb Jœb
œN jœb
œb jœbœb Jœ
œb jœ
œpœb œœ#
œpœœœ#!
!
!
˙fœœ
f œœ
!œ.Fœ. œ.
œ.Fœ. œ.
˙fœœ
f œœ
!œ. œ. œ.
œ. œ. œ.
œ-fœ- œ-
œ-f œ- œ-
!œ. œ. Œ
œ. œ. Œ
œœb œœœœœœ!œœœœœœœœ
f œœb
f œœ!
œ. œ. œ.œ. œ. œ.
f œ œb
f œ œb!
œ. œ. œ.œ. œ. œ.
˙ œ œN
˙ œ œ!
œ. œ. œ.œ. œ. œ.
.˙ œœœ
œœœ˙ œœ!
.˙ ˙
.˙ ˙
œœœp
œ œœ
!
p
p
&
&
&?
?
46
46
46
46
46
45
45
45
45
45
44
44
44
44
44
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
.˙ .˙
.˙p
.˙
Ó Œ .˙#pÓ Œ Œ ˙#pÓ Œ Ó œ#p
.˙F
.˙
.˙F
.˙
Ó Œ .FÓ Œ Œ ˙
FÓ Œ Ó œF
˙p
.˙
˙p
.˙
Ó .˙#pÓ Œ ˙#
pÓ Ó œ#p
wb
wb
Œ .˙NÓ ˙NÓ Œ œN
.˙bf.˙b f.fœ.f
œ. œ.
œ.f œ. œ.
˙ Œ
˙ Œ
˙ Œ
œ. œ. œ.p
œ. œ. œ.p
&&&?
?
42
42
42
42
42
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
!!
P œ
" œbpœb œb œb œ
PÓ œ
P
!!
P œ
" œbpœb œb œb œb
PÓ œ
P
!!
œp œœ
œ#
œ œb œ œb
œ#
œ œ œ œb
!!
œœœœœ˙ œ œ# œ œ#
˙ œ œb œb œ
!!
œ œ œbœ# œ œ œ# œn
œb œ œb œ œ
!!.˙b fœb .F
œ. œ.
œb .F œ. œ.
!!
˙ Œ
œb . œ. œ.
œb . œ. œ.
11II
Example 4.10: Mm. 39-44 of Movement II.
Texas Tech University, Robert DeVet, December 2010
20
However, on beats 1 and 2 of m. 49 H4(3)’s are sounded. The planed fourths on four
sixteenth notess is based on measure 29. Meanwhile, the horn plays the inversion of the
material played by the first trumpet in m. 21, illustrated by the notes within the square in
Example 4.11. In m. 50 the music returns to the material from mm. 43-44, now on an H0
(3). This passage is illustrated in Example 4.11. Mm. 52-57 is simply a re-scoring of mm.
45-49.
A transition follows from mm. 57-62 in which the quarter-note staccato figure
from mm. 43-44 is developed. The harmony created by the first trumpet, trombone, and
tuba oscillates between H3 and H4 until the other two instruments enter in m. 59,
ultimately creating an H6(5). Finally in m. 62 the transition ends on an H5(5).
At this point the pulse, which has remained constant since the beginning of the
movement, doubles in length. The first harmony in m. 63 is an H6(5), which moves to an
H0(4) by contrary motion, this time the horn joins the two trumpets in moving against the
tuba and trombone. In the next measure, the voices slide from an H0(5) to an H0(4), the
horn now joining the lower two voices moving down a whole step. The homophonic
&
&
&?
?
44
44
44
44
44
42
42
42
42
42
83
83
83
83
83
41
41
41
41
41
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
24 !
!
!
!
!
œ#pœ œb .œ JœbF
œbpœb œn .œ jœb
Fœbp œ œb .œ jœbFœbpœ œb .œ JœF
œbpœ œb .œ jœ
F
!
!
!
!
!
œ#pjœ
œbpjœb
œbpjœ
œbpJœ
œbp Jœ
œb Jœb
œN jœb
œb jœbœb Jœ
œb jœ
œpœb œ œ#
œpœœ œ#!
!
!
˙fœœ
f œœ
!œ.Fœ. œ.
œ.Fœ. œ.
˙fœœ
f œ œ
!œ. œ. œ.
œ. œ. œ.
œ-fœ- œ-
œ-f œ- œ-
!œ. œ. Œ
œ. œ. Œ
œœb œœœœœœ!œœœœœœœœ
f œœb
f œœ!
œ. œ. œ.œ. œ. œ.
f œ œb
f œ œb!
œ. œ. œ.œ. œ. œ.
˙ œ œN
˙ œ œ!
œ. œ. œ.œ. œ. œ.
&
&
&?
?
45
45
45
45
45
42
42
42
42
42
46
46
46
46
46
45
45
45
45
45
44
44
44
44
44
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
37 .˙ œ œ œ
œ œ œ ˙ œ œ!
.˙ ˙
.˙ ˙
œœ œp
œ œ œ
!
p
p
.˙ .˙
.˙p
.˙
Ó Œ .˙#pÓ Œ Œ ˙#pÓ Œ Ó œ#p
.˙F
.˙
.˙F
.˙
Ó Œ .FÓ Œ Œ ˙
FÓ Œ Ó œF
˙p
.˙
˙p
.˙
Ó .˙#pÓ Œ ˙#
pÓ Ó œ#p
wb
wb
Œ .˙NÓ ˙NÓ Œ œN
.˙b f
.˙b f
.fœ.fœ. œ.
œ.f œ. œ.
˙ Œ
˙ Œ
˙ Œ
œ. œ. œ.p
œ. œ. œ.p
&&&?
?
42
42
42
42
42
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
!!
P œ
" œbpœb œb œb œ
PÓ œ
P
!!
P œ
" œbpœb œb œb œb
PÓ œ
P
!!
œp œœ
œ#
œ œb œ œb
œ#
œ œ œ œb
!!
œœœœœ˙ œ œ# œ œ#
˙ œ œb œb œ
!!
œ œ œbœ# œ œ œ# œn
œb œ œb œ œ
!!.˙b fœb .F
œ. œ.
œb .F œ. œ.
!!
˙ Œ
œb . œ. œ.
œb . œ. œ.
11II
Example 4.11: Mm. 45-51 of Movement II.
Texas Tech University, Robert DeVet, December 2010
21
texture is broken in m. 65 when all the voices but the horn begin playing off-beats during
beat one while voicing an H2(4). This continues from mm. 65-66 followed by a pause
and then two minor seconds alone, recalling m. 15. The material from m. 65 returns twice
more, punctuated by a shorter pause and more major seconds, echoing those stated in
mm. 15 and 17.
The return to the A section begins in m. 74, this time with the theme in the tuba.
Because the melody is in the lowest voice, the pitches that create the H0 sonorities have a
different intervallic relationship to the melody, resulting in a slightly different harmonic
color. The theme is followed by the transitional material from m. 29, bringing the music
back to the theme with the melody now back in the highest voice, the second trumpet.
However, in m. 84 the music quickly diverges from a strict restatement where the four
eighth-note gesture is extended by the addition of three eighth notes. This measure,
together with m. 83, is sequenced down, finally transitioning in m. 87 and arriving, in m.
88, at a return of the material from m. 23. This material is extended until m. 99
The most full statement of the theme, in terms of instrumentation, begins in m.
100 with all the voices playing the theme, creating exclusively H0(5)’s on every attack.
The theme itself remains unchanged until the very last measure of the statement, m. 107,
where it is extended by two beats. The last five beats are then repeated, followed by a
transition to the coda.
The principal motive is stated three times in quarter notes by the solo horn and
then one last time by the second trumpet. The rhythms in this last statement are
augmented and accompanied by H0’s in the lower three voices.
Texas Tech University, Robert DeVet, December 2010
22
Analysis of Movement III
“Ostinato” begins with a tuba cadenza and introduces all the motivic material that
will be employed in the third movement. While the cadenza begins in a very free and
improvisatory style, the tempo becomes more strict near the end of the passage and the
music begins to transition from the soloistic material into the ostinato pattern, which is
the principal material of the A section, shown, with the transition, in Example 4.12.
The harmonies outlined in the ostinato pattern are all H0’s. The first four eighth
notes of the pattern outline an H0(5) built on A, omitting the D. The next four eighth
notes arpeggiate an H0(4) rooted on F. Finally the last two eighth notes fill in the D
missing from the first H0(5). In the next measure the pattern repeats up a major third for
the first eight eighth notes. The second ascending arpeggio in this measure returns the
lower four notes of the first H0(5) on A from the first measure. The last two eighth notes
are taken from the H0(4) on F. In this first ostinato pattern, there are three different H0
sonorities represented, if it is assumed that the first four eighth notes in the second
measure constitute an H0(5) on C-sharp that is missing the F-sharp. The enclosures in
Example 3.12 indicate the different H0’s.
& c ! ! !
& 42wwwwbbSpecific:!H0(4)
General:!H0
wwwwwbbH1(5)
H1
www##H4(3)
H4
wwww#H7(4)
H7
wwwwwbbH5(5)
H5
& 42 !
& 43œ œ " œ œ " œ œRhythmic!Motive!1
œ œ œ œRhythmic!Motive!2
& 43 42 43 45˙ œ œ ˙ œ œ œ- œ- œ- œœœ œ ˙ œ œ ˙ œ œb ˙ œ œN .˙ ˙ ?
? 45In time q = 80Œœn -p œn - œn - œ œ œ œn . Œ œn œn œn œn . Œ œn œn ‰ œn œn œnaccel.
œ œ œ œn . œ œ œ œ.
? 45q = 126
œf œ œ œ. œ œb œb œb . œ. œ. œ œ# œ œ. œ œ œ œ. œb . œ.? !& ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
[Title][Composer]
Full Score[Subtitle]
[Arranger]
Example 4.12: Transition from cadenza into two-measure ostinato figure, mm. 1-2, in Movement III. Matching enclosures indicated notes from the same sonorities
Texas Tech University, Robert DeVet, December 2010
23
In m. 5 the horn enters, doubling the ostinato pattern at the octave. Almost
immediately the trombone relieves the tuba, doubling the last note of the first ascending
arpeggio in the pattern. This two-voice, octave-doubled texture continues through m. 8,
with the trombone alternating between the two octaves.
The second trumpet enters in m. 9, playing a melody made up of notes taken from
the two H0’s in the ostinato in that measure. The trombone then responds with a similar
figure. Finally the first trumpet ends the phrase with its own figure that remains
unanswered through m. 12. The music then shifts out of the ostinato pattern, and out of
the 5/4 meter in which it has been since the end of the tuba cadenza. The top three
instruments plane H0(3)’s for two measures of 7/8 and then, in m. 15, the first trumpet,
trombone, and tuba plane H3(3)’s on the same pattern. This passage is illustrated in
Example 4.13. After this brief interlude, the ostinato pattern is played in fourths by the
trombone and tuba. In m. 18, after four measures of the ostinato pattern, the trumpets
play similar melodic material to that in mm. 9-12, however this time the material is
sounded only by the two trumpets and the phrase is three measures long rather than four.
&
&
&?
?
87
87
87
87
87
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
11
œF œ œ œ œb œb œb œb œ
Œ ‰ jœ.P œ œb œb œb . œ. œ.œP œ œ œ. Ó Œ
.˙ ˙
œP
œ œ œ. œ œb œb œb . œ. œ.
.˙ ˙
œ œ# œ œ. œ œ œ œ. jœb .‰
! œb . œ.Ó œF
œ œ œ. œb . œ.œ œ# œ œ. jœ ‰ Ó
&&
&??
87
87
87
87
87
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œf
œ œ œ œ œb œbœf
œ œ œ œ œ œb
œf
œ œ œ œ œ œ
!!
œ œ œ œ œ œ œbœ œ œ œ œ œ œ
œ œ œ œ œ œ œ!!
œp
œ œ œ œ œb œb!
!
œbp
œb œ œ œ œb œnœbp
œb œ œ œ œ œ#
&&&?
?
45
45
45
45
45
89
89
89
89
89
87
87
87
87
87
85
85
85
85
85
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
16 !!!
œPœœœb . œb œb œb œb
.œ.œ.
œPœœœ. œœb œb œb
.œ.œ.
!!!
œœ# œœ.œœœœ.œb . œb .
œœ# œœ.œœœœ.œb . œ.
!
œfœœœb . œœb œb œb œœ
Œ ‰ jœ.Fœœb œb œb .œ.œ.
œFœœœb . œb œb œb œb
.œ.œ.
œFœœœ. Ó Œ
œfœœœœœœœ. œb œ˙ ˙ Œ
œœ# œœ.œœœœ. jœb .‰
œœ# œœ.œœœœ.œb . œb .
! œb .Fœ.
˙ ˙ Œœfœœb œb œœb œb œœœÓ œbF
œb œb œb .œ.œ.œœœœb . jœb ‰ Ó
œœœœ. œœb œb œb.œ.œ.
œbƒœ.œœ.œœ.œœb œb
œƒœb .œœ.œœ.œœb œb!
!jœ.ƒ‰ jœ# .‰Œ jœ. Œ
Jœb . ‰Œ Œ .
Jœb . ‰Œ Œ .
œbƒœb œœ.œb œb œbœbƒœb œœ.œœœb
jœ. ‰ jœ# .‰jœ. Œ
Jœ.F‰ jœb .Œjœb .F‰Jœ.Œjœb ..F‰jœ.Œ
Jœb .F‰Jœ.Œ
œbfœb œb œœ
œPœœb œb œœœœœœ!
! œ.Pœ.
Ó œPœœœ.Œ
œPœb œb œb .Ó Œ
˙# Ó Œ
œbPœœb œb œb œœb œœœ
œ# œb œb œb .Ó Œ
! œb .Pœ.Ó œ
Pœœœ# .Œ
16 III
Example 4.13: Mm. 13-15 in Movement III.
Texas Tech University, Robert DeVet, December 2010
24
The interlude material is developed starting in m. 21. The trumpets play the motive from
m. 22 of Movement II, indicated by the oval in Example 4.9, producing an aggregate
H0(3) which, along with the notes played by the tuba, creates an H0-H4-H0 harmonic
motion. In the next measure, the motive is played by the horn and trombone. Together
with the tuba, the harmonic motion in m. 22 is H0-H2-H0. Interestingly, the tuba plays
the exact same pitches in m. 22 that it did in m. 21, however, its role in the sonorities has
changed from the root pitch to the top pitch, significantly altering the harmonic motion.
Finally, in m. 23, the tuba plays the melodic material while the other instruments play
pitches that complete H0(5) and H1(5) sonorities. The meter in this passage begins with a
2+2+2+3 division in m. 21, followed by 2+2+3—as in mm. 13-15—in m. 22, and ending
with 2+3 in m. 23. This reduction in measure length is reminiscent of the transition in
mm. 39-42 in Movement II, illustrated in Example 4.10. Measures 21-23 can be seen in
Example 4.14, with instances of the motive from Movement II, m. 22, enclosed in ovals.
Following the second interlude, the ostinato pattern is developed. The harmonies
exchange places in the pattern and the contours are altered so that the pattern arcs through
&
&
&?
?
87
87
87
87
87
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
11
œF œ œ œ œb œb œb œb œ
Œ ‰ jœ.P œ œb œb œb . œ. œ.œP œ œ œ. Ó Œ
.˙ ˙
œP
œ œ œ. œ œb œb œb . œ. œ.
.˙ ˙
œ œ# œ œ. œ œ œ œ. jœb .‰
! œb . œ.Ó œF
œ œ œ. œb . œ.œ œ# œ œ. jœ ‰ Ó
&&
&??
87
87
87
87
87
45
45
45
45
45
89
89
89
89
89
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œfœœœœœb œbœfœœœœœœb
œfœœœœœœ
!!
œœœœœœœbœœœœœœœ
œœœœœœœ!!
œpœœœœ œb œb!
!
œbpœb œœœ œb œn
œbpœb œœœ œ œ#
!!
!
œPœœ œb . œb œb œb œb . œ.œ.
œPœœ œ. œ œb œb œb . œ.œ.
!!
!
œ œ# œœ. œœœœ.œb . œb .
œ œ# œœ. œœœœ.œb . œ.
!
œfœœ œb . œ œb œb œb œœ
Œ ‰ jœ.Fœ œb œb œb . œ.œ.œFœœ œb . œb œb œb œb . œ.œ.
œFœœ œ. Ó Œ
œfœœœœœœœ. œb œ
˙ ˙ Œ
œ œ# œœ. œœœœ. jœb .‰
œ œ# œœ. œœœœ.œb . œb .
! œb .Fœ.
˙ ˙ Œœfœœb œb œ œb œb œœœ
Ó œbFœb œb œb . œ.œ.
œœœ œb . jœb ‰ Ó
œœœ œ. œ œb œb œb . œ.œ.
&&&?
?
89
89
89
89
89
87
87
87
87
87
85
85
85
85
85
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œbƒ œ. œ œ. œ œ. œ œb œb
œƒ
œb . œ œ. œ œ. œ œb œb!
!jœ.ƒ‰ jœ# . ‰ Œ jœ. Œ
Jœb . ‰ Œ Œ .
Jœb . ‰ Œ Œ .
œbƒ œb œ œ. œb œb œbœbƒ
œb œ œ. œ œ œb
jœ. ‰ jœ# . ‰ jœ. Œ
Jœ.F‰ jœb . Œ
jœb .F‰ Jœ. Œ
jœb ..F ‰ jœ. Œ
Jœb .F‰ Jœ. Œ
œbf
œb œb œ œ
16 III
Example 4.14: Mm. 21-23 in Movement III. Ovals indicate the motive from Movement II, m. 22.
Texas Tech University, Robert DeVet, December 2010
25
the lower three instruments (see Example 4.15). Meanwhile, the trumpets play more short
melodic gestures, the final gesture, in mm. 26-27, doubled at the fourth below by the
trombone. From mm. 29-32 material from the ostinato pattern is exchanged between all
the instruments with no more than three playing simultaneously. Then, in m. 33, the two
trumpets play a rearranged version of the ostinato pattern.
After a brief transition, the closing material for the A section is played starting in
m. 37. The material is taken from the ostinato pattern, with the trumpets playing the
pattern and the trombone and tuba playing staccato notes to make the harmonies more
&
&
&?
?
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œP œ œb œb œ œ œ œ œ œ!
! œ.Pœ.
Ó œPœ œ œ. Œ
œPœb œb œb . Ó Œ
˙# Ó Œ
œbP œ œb œb œb œ œb œ œ œ
œ# œb œb œb .Ó Œ
! œb .P œ.Ó œ
Pœ œ œ# . Œ
œF œ œb œb œ œ œ œ œ œ
˙ Ó Œ
œFœ œ œb œ œ œ œ œ œ
Ó œFœb œb œb . œ. œ.
œF œ œ œ. Ó Œ
˙# Ó œb ." œn .!
˙# œFœ œ œn . Œ
œ œ# œ œ. Ó Œ
! œb ." œ.
&
&
&?
?
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
Œ œ. œb . ‰ jœ. œ. œ. œn .
œ." œ. ‰ Jœb . œ. œ. ‰ jœ. œb .
œ"œb œb œb . Ó œn . œn .
Ó œ" œ œ œ. Œ
! œ."œ.
œ# œb œb œb . Ó Œ
Ó œ œ œ œ# . Œ
Œ œ. œ.‰ jœ. œ. œ. œb .
œ.
pizz.
œ. ‰ Jœ. œ. œ. ‰ Jœ. œb .
! œb ." œ.
!
! œ.P œ.œPœ œ œb .
Ó œ. œ.œP œ œ œ. œb œb œb œb . Œ
Ó œPœb œb œb . Œ
Ó œPœ œ œ. Œ
Ó œ œ œ œ. Œ
! œb .Pœb .œP
œ# œ œ. Ó œb . œ.œ œ# œ œ. Ó Œ
&
&
&?
?
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
32 !
! œ.œ.Ó œFœ
œœb . œ.œ.œb œb œb œb
.œFœœœ. Œ
œœb œb œb.Ó Œ
œfœbœb œb . œn œn œœ.œb .œb .
œ#fœbœb œb . œn œn œœ.œb .œn .!
!
!
œœœœb .œb œb œb œb.œ.œ.
œœœœ.œœb œb œb .œ.œ.!
!
!
œFœ# œœ.Ó Œ
œFœ#œœ.œœœœ.Œ
Ó œFœœœ.Œ
! œb .Fœb .
! œb .Fœ.
!
!
!œ"œœb œ.œb œn œœn .œ. œ# .
œ"œœb œ.œb œœ# œn .œ. œb .
œfœœb œb .œb œb œb œb .œ.œn .
œfœœœb .œb œb œb œb
.œ.œ.!
Jœf‰ Œ Jœ‰ Œ
œ.œ.
jœflf‰ Œ jœfl
‰ Œ œ.œ.
œ# œ# œ# œ. œœœœn . œ# . œ# .
œ# œb œ# œ# . œ# œn œœ. œ# . œ# .!
Jœb˘‰ Œ Jœb˘‰ Œ œb . œ.
jœbfl‰ Œ jœbfl
‰ Œ œ. œ.
‰ jœœœ.‰ jœœœ.Œ
!
‰ jœ#f œœ.‰ jœœœ.Œ
jœfl‰Œ jœfl‰Œ Œ
jœ#fl‰Œ jœfl‰Œ œflpœfl
‰ jœpœœ.‰ jœœœ.Œ
!
‰ jœ#p œœ.‰ jœœœ.Œ
jœflp‰Œ jœfl‰Œ Œ
jœ#fl‰Œ jœfl‰Œ œflœfl
jœflƒ‰Œ jœfl
‰Ójœ#flƒ‰Œ jœfl‰Ó
‰ jœ#ƒ œœ.‰ jœœœ.Œ
‰ jœƒœœ.‰ jœœœ.Œ
! œflƒœfl
17III
Example 4.15: Mm. 25-32 in Movement III.
Texas Tech University, Robert DeVet, December 2010
26
full. This material is sequenced down twice by major third, creating a bass line that
descends by major second (see the tuba line in Example 3.16). In the last measure, m. 39,
of the sequence, the second trumpet’s part is taken over by the horn and the texture is
thinner because a maximum of two instruments play simultaneously. Measure 39 is
repeated note for note at a quieter dynamic. Finally, in m. 41, m. 39 is re-scored, with the
staccato fourths played above the ascending arpeggios. See Example 4.16 for the entire
passage, mm. 37-41.
The B section starts immediately in m. 42. The second trumpet, horn, and
trombone play staccato eighth notes, together sounding an H4(3) rooted on E. The first
trumpet begins the first real theme of the movement in the last two beats of m. 42. The
main motive of this theme is the first arpeggiation from the ostinato pattern in sixteenth
notes. The harmony played by the middle three instruments changes in m. 45 to an H4(3)
rooted on B and returns to the original H4 in the following measure. See Example 3.17
for the entire first statement of the theme. Following the first statement of the theme, it is
taken up by the tuba. The tuba’s statement has some subtle differences, most notably the
&
&
&?
?
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
24
œPœ œb œb œœœœœœ!
! œ.Pœ.
Ó œPœœœ.Œ
œPœb œb œb . Ó Œ
˙# Ó Œ
œbPœ œb œb œb œœb œœœ
œ# œb œb œb .Ó Œ
! œb .Pœ.Ó œ
Pœœ œ# .Œ
œFœœb œb œ œ œ œœœ
˙ Ó Œ
œFœœœb œ œ œ œœœÓ œF
œb œb œb .œ.œ.œFœœœ. Ó Œ
˙# Ó œb ."œn .!
˙# œFœœ œn .Œ
œ œ# œœ. Ó Œ
! œb ."œ.
Œ œ. œb . ‰ jœ. œ.œ. œn .
œ."œ.‰ Jœb . œ
.œ. ‰ jœ. œb .
œ"œb œb œb . Ó œn . œn .Ó œ"œ
œœ. Œ
! œ."œ.
œ# œb œb œb . Ó Œ
Ó œœ œ œ# . Œ
Œ œ.œ.‰ jœ. œ. œ. œb .
œ.
pizz.
œ. ‰Jœ. œ. œ. ‰ Jœ. œb .
! œb ."œ.
!
! œ.Pœ.œPœœœb .
Ó œ.œ.œPœœœ. œb œb œb œb . Œ
Ó œPœb œb œb . Œ
&
&
&?
?
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
31 Ó œPœœœ. Œ
Ó œœœœ. Œ
! œb .Pœb .œPœ# œ œ. Ó œb . œ.
œ œ# œ œ. Ó Œ
!
! œ. œ.Ó œFœ
œœb . œ. œ.œb œb œb œb .
œFœœœ. Œ
œ œb œb œb . Ó Œ
œf œb
œb œb . œn œn œœ. œb . œb .
œ#f œb
œb œb . œn œn œœ. œb . œn .!
!
!
œœœœb . œb œb œb œb . œ. œ.œœœœ. œ œb œb œb . œ. œ.
!
!
!
œFœ# œœ. Ó Œ
œF œ# œœ. œœœœ. Œ
Ó œFœœœ. Œ
! œb .Fœb .
! œb .Fœ.
!
!
!œ"œ œb œ. œb œn œ œn . œ. œ# .
œ"œ œb œ. œb œ œ# œn . œ. œb .
&
&
&?
?
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œf œœb œb . œb œb œb œb . œ. œn .
œfœ œ œb . œb œb œb œb . œ. œ.
!
Jœf‰ Œ Jœ ‰ Œ œ. œ.
jœflf‰ Œ jœfl
‰ Œ œ. œ.
œ# œ# œ# œ. œ œ œ œn . œ# . œ# .
œ# œb œ# œ# . œ# œn œ œ. œ# . œ# .!
Jœb˘ ‰ Œ Jœb˘ ‰ Œ œb . œ.
jœbfl‰ Œ jœbfl
‰ Œ œ. œ.
‰ jœ œœ. ‰ jœ œœ. Œ
!
‰ jœ#f œœ. ‰ jœ œœ.Œ
jœfl ‰ Œ jœfl ‰ Œ Œ
jœ#fl‰ Œ j
œfl‰ Œ œflp œfl
‰ jœp œœ. ‰ jœ œœ. Œ
!
‰ jœ#p œœ. ‰ jœ œœ.Œ
jœflp‰ Œ jœfl ‰ Œ Œ
jœ#fl‰ Œ j
œfl‰ Œ œfl œfl
jœflƒ‰ Œ jœfl
‰ Ójœ#flƒ‰ Œ jœfl ‰ Ó
‰ jœ#ƒ œœ. ‰ jœ œœ.Œ
‰ jœƒœœ. ‰ jœ œœ. Œ
! œflƒ œfl
17III
Example 4.16: Mm. 37-41 in Movement III.
Texas Tech University, Robert DeVet, December 2010
27
eighth notes in the first full measure of the theme where, instead of sevenths, the tuba
plays four E’s, each preceded by a grace note F. The rest of the differences are in the
contour, rather than the pitch-classes, of some of the sixteenth-note gestures.
The trombone begins a development of the theme in m. 51, extending the first
sixteenth-note gesture up a tritone and then back down a perfect fourth. This descending
perfect fourth is echoed twice by the first trumpet and horn, doubling at the octave. This
first measure is extended and the echo returns in m. 53, followed in m. 54 by two
inversions of the first ascending gesture to end the phrase. This entire phrase is re-scored
in mm. 55-58, with the tuba, first trumpet, and horn trading off the melody.
A three-measure sequence descending by minor seconds follows, with the middle
three instruments planing H4(3)’s that, together with the notes in the tuba, produce
H3(4)’s. After a brief pause the theme is stated one more time in the tuba, which is
&??
45
45
45 1
Tuba
!!!
!!!
!!!
&??
Bb Tpt. 1
Bb Tpt. 2,Hn.,Tbn.
Tuba
! œP œ œb œb
‰ Jœœœbb .p
œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.
˙ .˙
˙N œ. œ. œ. œ. œ œ œb œb
‰ Jœœœbb .p
œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.
!
&?
?
Bb Tpt. 1
Bb Tpt. 2,Hn.,Tbn.
Tuba
œN ˙ œ œb œ. œ. œ œb œ. œ.‰ J
œœœbb .pœœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.
!
˙b œb œb œ œb œ œ‰ Jœœœb .pœœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.
!
˙ ˙ Œ
‰ Jœœœbb .pœœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.
! œPœ œb œb
&??
Bb Tpt. 1
Bb Tpt. 2,Hn.,Tbn.
Tuba
!!
˙N rœ œ. rœ œ. rœ œ. rœ œ. œPœœb œb
!!!
!!!
!!!
!!!
[Title][Composer]
Full Score[Subtitle]
[Arranger]
Example 3.17: Mm. 42-46 in Movement III, the B section theme.
Texas Tech University, Robert DeVet, December 2010
28
followed by a second three-measure sequence, this time ascending by major second. At
the end of the sequence, the solo tuba plays the accompanimental staccato eighth notes,
which morph into a transition made up of ascending major seconds, leading eventually
back to the original ostinato pattern. See Example 4.18 for the transition following the
second sequence.
The recapitulation includes almost exclusively material already stated in the A
section, however, the fragments of the section are re-ordered. The interlude that came
second in the A section, becomes the first interlude in the recapitulation at m. 84 (see
Example 4.19) and is extended by the addition of a single measure of three eighth notes,
thereby completing the subtraction of all the divisions of two in the meter, thus:
2+2+2+3, 2+2+3, 2+3, 3.
&
&
&?
?
42
42
42
42
42
83
83
83
83
83
42
42
42
42
42
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
!
!
!
!
‰ jœ.
pizz.
p œ. œ. œ. œ. œ. œ. œ. œ.
!
!
!
!
œ"œŒ
!
!
!
!
œ œ Œ
!
!
!
!
Œ œ œ
!
!
!
œ"œ Œ
!
!
!
!
œpœ Œ
œp œŒ
!
!
!
œ œ ‰
œ œ ‰
!
!
!
œ œ ‰
œ œ ‰
Œ œ"œ
Œ œ"œ!
œ"œ Œ
œ"œŒ
!
!
!
œfœ œ œb . œb œb œb œb . œ. œ.
œf œœ œ. œ œb œb œb . œ. œ.
&&
&??
89
89
89
89
89
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
80 !!
!
œ œ# œ œ. œ œ œ œ.œb . œb .
œ œ# œ œ. œ œ œ œ.œb . œ.
!
œf œœ œb . œ œb œb œb œ œ
Œ ‰ jœ.F œ œb œb œb . œ. œ.œFœ œ œb . œb œb œb œb . œ. œ.
œF œ œ œ. Ó Œ
œfœ œ œ œ œ œ œ. œb œ
˙ ˙ Œ
œ œ# œ œ. œ œ œ œ. jœb .‰
œ œ# œ œ. œ œ œ œ.œb . œb .
! œb .F œ.
˙ ˙ Œœf œ œb œb œ œb œb œ œ œ
Ó œbFœb œb œb . œ. œ.
œ œ œ œb . jœb ‰ Ó
œ œ œ œ. œ œb œb œb . œ. œ.
&
&
&?
?
89
89
89
89
89
87
87
87
87
87
85
85
85
85
85
83
83
83
83
83
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
84 œbƒ œ. œ œ. œ œ. œ œb œb
œƒœb . œ œ. œ œ. œ œb œb
!
!jœ.ƒ‰ jœ# . ‰ Œ jœ. Œ
Jœb . ‰ Œ Œ .
Jœb . ‰ Œ Œ .
œbƒ œb œ œ. œb œb œœbƒ
œb œ œ. œ œ œb
jœ. ‰ jœ# . ‰ jœ. Œ
Jœ.F‰ jœb . Œ
jœb .F‰ Jœ. Œ
jœb ..F‰ jœ. Œ
Jœb .F‰ Jœ. Œ
œbfœb œb œ œ
!œƒœ œ
œƒ œ œ!
œƒ œ œ
!
œPœ œ œ œb œb œb œb œ
œp œ œœ. œ œb œb œb . œ. œ.
Ó œ œb œb œb . Œ
œpœ œ œ. Ó œ. œ.
20 III
Example 4.18: Mm. 70-79 in Movement III, the transition from the B section back to the ostinato pattern. Note accompanimental eighth notes in the m. 70 becoming transitional ascending major seconds in m. 71 and finally the return of the ostinato in m. 79.
Texas Tech University, Robert DeVet, December 2010
29
Instead of the full second interlude, the coda begins at m. 92 with the interlude
material. It diverges from a strict restatement of the interlude, first, by including all the
instruments planing H0(5)’s, and second, by extending the second measure by one eighth
note duration and the inclusion, in that measure in the trumpet and tuba, of the
transitional sixteenth-note motive from m. 29 of Movement II. Measures are repeated
once, with the eighth notes appearing this time in the middle three instruments. Following
this repetition, the material is fragmented and the sixteenth notes continue to be traded
between the instruments until the movement ultimately ends on an H0(5) rooted on B in
m. 101. The coda is illustrated in Example 3.20.
&
&
&?
?
42
42
42
42
42
83
83
83
83
83
42
42
42
42
42
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
!
!
!
!
‰ jœ.
pizz.
p œ. œ. œ. œ. œ. œ. œ. œ.
!
!
!
!
œ"œŒ
!
!
!
!
œ œ Œ
!
!
!
!
Œ œ œ
!
!
!
œ"œ Œ
!
!
!
!
œpœ Œ
œp œŒ
!
!
!
œ œ ‰
œ œ ‰
!
!
!
œ œ ‰
œ œ ‰
Œ œ"œ
Œ œ"œ!
œ"œ Œ
œ"œŒ
!
!
!
œfœ œ œb . œb œb œb œb . œ. œ.
œf œœ œ. œ œb œb œb . œ. œ.
&&
&??
89
89
89
89
89
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
80 !!
!
œ œ# œ œ. œ œ œ œ.œb . œb .
œ œ# œ œ. œ œ œ œ.œb . œ.
!
œf œœ œb . œ œb œb œb œ œ
Œ ‰ jœ.F œ œb œb œb . œ. œ.œFœ œ œb . œb œb œb œb . œ. œ.
œF œ œ œ. Ó Œ
œfœ œ œ œ œ œ œ. œb œ
˙ ˙ Œ
œ œ# œ œ. œ œ œ œ. jœb .‰
œ œ# œ œ. œ œ œ œ.œb . œb .
! œb .F œ.
˙ ˙ Œœf œ œb œb œ œb œb œ œ œ
Ó œbFœb œb œb . œ. œ.
œ œ œ œb . jœb ‰ Ó
œ œ œ œ. œ œb œb œb . œ. œ.
&
&
&?
?
89
89
89
89
89
87
87
87
87
87
85
85
85
85
85
83
83
83
83
83
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œbƒ œ. œ œ. œ œ. œ œb œb
œƒ
œb . œ œ. œ œ. œ œb œb!
!jœ.ƒ‰ jœ# . ‰ Œ jœ. Œ
Jœb . ‰ Œ Œ .
Jœb . ‰ Œ Œ .
œbƒ œb œ œ. œb œb œœbƒ
œb œ œ. œ œ œb
jœ. ‰ jœ# . ‰ jœ. Œ
Jœ.F‰ jœb . Œ
jœb .F‰ Jœ. Œ
jœb ..F‰ jœ. Œ
Jœb .F‰ Jœ. Œ
œbf
œb œb œ œ
!œƒ
œ œ
œƒ œ œ!
œƒ œ œ
20 III
Example 4.19: Mm. 84-87 in Movement III, the first interlude in the recapitulation.
Texas Tech University, Robert DeVet, December 2010
30
&&
&?
?
45
45
45
45
45
87
87
87
87
87
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
88 !œPœ œ œ œb œb œb œb œ
œp œ œœ. œ œb œb œb . œ. œ.
Ó œ œb œb œb . Œ
œpœ œ œ. Ó œ. œ.
!.˙ ˙
œ œ# œ œ. œ œ œ œ. œb . œ.œP
œb œ œ œ œ œ œ œb
œ œ# œ œ. œ œ œ œ.œb . œ.
œF œ œ œ œb œb œb œb œ
Œ ‰ jœ.P œ œb œb œb . œ. œ.œPœ œ œ. Ó Œ
.˙ ˙
œPœ œ œ. œ œb œb œb . œ. œ.
.˙ ˙
œ œ# œ œ. œ œ œ œ. jœb .‰
! œb . œ.Ó œ œ œ œ. œb . œ.œ œ# œ œ. jœ ‰ Ó
&&
&??
87
87
87
87
87
44
44
44
44
44
87
87
87
87
87
44
44
44
44
44
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œfœ œ œ œ œb œb
œfœ œ œ œ œ œb
œf œ œ œ œ œ œœfœ œ œ œ œ œ
œf œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ#
œ œ œ œ œ œ Œ
œ œ œ œ œ œ Œœ œ œ œ œ œ# Œ
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43
43
43
43
43
83
83
83
83
83
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43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
œƒ
œ œ œ œ œ œ œ#
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œ œ œ Œ
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21III
Texas Tech University, Robert DeVet, December 2010
31
CHAPTER VCONCLUSION
Flux represents an initial answer to the compositional question posed by quartal
sonorities in general, and the quartal hierarchical system specifically. While it is true that
the system was developed simultaneously with and specifically for the composition of the
piece, the work still serves as a presentation of a comparatively complete and self-
contained theory of harmony. If the piece is interesting and functions well, the system
shows the potential to work in a variety of contexts. My intention is to continue
experimenting with it, while not narrowing my musical horizons to exclude the
possibilities of composing in other idioms and harmonic languages. But more than a
fleshing out of a theoretical idea, Flux was meant to tell a story. Not a story of specific
events, but of growth, transition, and arrival. For me, as I said in the introduction, it
mirrors my own journey through the harmonic landscape of the quartal hierarchical
system, even as the contained structures were still taking shape and acquiring function. It
is obvious that this interpretation is very personal and will not work for any other
individual; it is not for me to decide how my work is understood by anyone but myself.
My hope is that other listeners will be able to find within the piece other stories and other
meanings. Ultimately, the goal of the piece was to create interesting, structurally sound,
and enjoyable music. The tools may be interesting and their development may take time,
energy, and concentration, and may infuse the music with internal consistency, but it is
Flux the piece that remains its own measure of success.
Texas Tech University, Robert DeVet, December 2010
32
WORKS CONSULTED
Adler, Samuel. The Study of Orchestration. 2nd ed. New York: W. W. Norton and Company, 1989.
Dallin, Leon. Techniques of Twentieth Century Composition. 2nd ed. Dubuque, IA: WM. C. Brown Company Publishers, 1964.
Debussy, Claude. Preludes (Book I.). London: United Music Publishers Limited, 1910.
Fischer, Peter. “Formal presentation on my compositional technique to student composers and faculty,” Presentation text for presentation given as part of the Visiting Composers Seminar at the University of Arizona, Tucson, AZ. 24 March 2005.
Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 2nd ed. Upper Saddle River, NJ: Prentice Hall, 1999.
Schoenberg, Arnold. Theory of Harmony. Translated by Roy E. Carter. Berkeley: University of California Press, 1978.
Texas Tech University, Robert DeVet, December 2010
33
APPENDIX ACOMPLETE SCORE OF FLUX: FOR BRASS QUINTET
Texas Tech University, Robert DeVet, December 2010
34
APPENDIX ACOMPLETE SCORE OF FLUX: FOR BRASS QUINTET
Flux
Robert DeVet
for Brass Quintet
Texas Tech University, Robert DeVet, December 2010
35
Flux explores a quartal harmonic system that controls dissonance by the expansion of one or two perfect fourths to tritones in quartal sonorities. This creates two scales of dissonance, one based on the number of tritones within a given sonority, and one that based on how the tritone or tritones relate to the lowest interval when sonority is inverted so that it ascends by fourth. This second scale is much subtler than the first and is most perceptible when moving between two sonorities that share the same number or included tritones, of when two such sonorities are accented in close temporal proximity.
"Waiting to Win" begins with the most stable sonority in this harmonic system. Throughout the rest of the movement, the music attempts to return to this chord. The furious A section starkly contrasts the plodding and highly dissonant B section, painting a picture of two different anticipatory mindsets, hurry up and wait.
The music in "Strides Forward" is about creating interest with consonance and tension and release within a gently sloping phrase. While more dissonant sonorities are present, most of the chords simply do not have any tritones. The atmosphere of the piece is one of calm resolve, always moving in one direction.
The tuba solo that begins "Ostinato" introduces all the motivic material that the movement draws upon. Once the first ostinato pattern begins, the music become relentless, carried by its own momentum through to the piece's conclusion.
Overall, Flux is in a constant state of becoming. The arrivals throughout the piece, while often conveying a sense of finality, are brief. The inference is that the arivals are not quite stable enough to provide a lasting musical foothold. Most of all, this piece about motion, constant and unflagging. The rate of motion may change, but not the direction.
Texas Tech University, Robert DeVet, December 2010
36
I “Waiting to Win”
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Trumpet in Bb 1
Trumpet in Bb 2
Horn in F
Trombone
Tuba
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
10 !
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
18 Œ . ‰ Jœ# fŒ . œfŒ jœf œ‰ œf œ
.œf œ
!
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3I
Robert DeVet
Copyright © 2010 Robert DeVet, ASCAP
ScoreWaiting to Win
Texas Tech University, Robert DeVet, December 2010
37
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Bb Tpt. 2
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
30 œN œ " œb œ " œ œ
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Bb Tpt. 2
Hn.
Tbn.
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I4
Texas Tech University, Robert DeVet, December 2010
38
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Bb Tpt. 2
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Tbn.
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Bb Tpt. 2
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Bb Tpt. 2
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I 5
Texas Tech University, Robert DeVet, December 2010
39
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
67
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Bb Tpt. 2
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Bb Tpt. 2
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Tbn.
Tuba
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I6
Texas Tech University, Robert DeVet, December 2010
40
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Bb Tpt. 2
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Bb Tpt. 2
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114 !
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Bb Tpt. 2
Hn.
Tbn.
Tuba
125 !!
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I 7
Texas Tech University, Robert DeVet, December 2010
41
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Bb Tpt. 2
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Tbn.
Tuba
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Bb Tpt. 2
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Tbn.
Tuba
144
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More frantic q = 132˙no mute
f‰ Jœ
no mute
fœ
Œ œbf
Œ ‰ Jœbf
!
˙
˙
˙˙
˙f
œ#pœ # œn œ # œ# œ
œpœ # œ œ # œ œ
œp œ# œ# œ # œ œ
‰ Rœp# # Rœ ‰
‰ rœ#p# # rœ ‰
˙F˙F˙FF˙F
œ#pœ # œn œ # œ# œ
œpœ # œ œ # œ œ
œp œ# œ# œ # œ œ
‰ Rœp# # Rœ ‰
‰ rœ#p# # rœ ‰
˙f˙f˙fbf˙f
!
!
œPœ # œ# œ # œ œ!
!
&&&
?
?
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
153 !!
œb . œ œ œ
!
!
!!
Rœb # ‰ Œ
œbPœ #œœ # œœ
!
!!!
œb . œ œb œb
!
!!!
œbFœ #œœ # œœ
œbFœ #œœ # œœ
!!!
œn . œ œb œb
œn . œ# œ# œ
!!!
œnfœ# œ œ
œ# fœ œ œ
œ#"œ# œœ #œœ
œ"œ# œœ #œœœbfœ œ œb
œn œ œb œb
!
œ# œ# œœ # œœœœ# œœ # œœœb œb œb œnœb œb œ œn
!
œœ# œœ # œœœœ# œœ # œœœ œ œ œbœ œb œ# œ#
!
I8
Texas Tech University, Robert DeVet, December 2010
42
&
&
&?
?
83
83
83
83
83
42
42
42
42
42
85
85
85
85
85
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
162 œbf
œ œ œb
œ# fœ œb œb
œ# œ ! œ œ ! œ œœ œ ! œ œ ! œ œ
"
œb œ# œ œn
œ# œ œ œ
œ# œ œ œ œ œ3 3œ œ œ œ œ œ3 3
"
œ œ œ# œ
œ œb œ# œ#
œ# œ œ œ œ œ3 3œ# œ œ œ œ œ3 3
"
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œƒœb œb œ œ. œ.
"
"
"
œ œ œ# œ# œ. œ.œ œb œb œ œ. œ.
"
"
"
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"œpœb œb œ œ œ. œ. œb .
"
&
&
&?
?
85
85
85
85
85
42
42
42
42
42
85
85
85
85
85
42
42
42
42
42
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
168 Œ . ‰ Jœ#fŒ . œfŒ jœf œ‰ œ
fœ œ
.œf
œ
˙#
‰ Jœ# œ
Œ œ
Œ ‰ Jœ
"
˙
˙
˙˙
˙
Œ . ‰ Jœ#fŒ . œfŒ jœf œ‰ œ
fœ œ
.œf
œ
.œ# œ
‰ œb œ œ
Œ Jœ œ
Œ ‰ œ
Œ ‰ ‰ Jœ
Œ ‰ ‰ Jœ
Œ ‰ œ
Œ Jœ œ
‰ œ œ œ
.œ# œ
&&
&??
42
42
42
42
42
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
174 œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
‰ Rœ ! ! Rœ ‰‰ Rœ# ! ! Rœ ‰
‰ Rœ ! ! Rœ ‰‰ Rœ ! ! Rœ ‰
‰ Rœ ! ! Rœ ‰œ œ ! œ œ ! œ œ
œ# œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
‰ Rœ ! ! Rœ ‰‰ Rœ# ! ! Rœ ‰
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œœ œ ! œ œ ! œ œ
œ# œ ! œ œ ! œ œ
œ œ ! œ œ ! œ œÏ
œ œ ! œ œ ! œ œÏ
œ œ ! œ œ ! œ œÏœ œ ! œ œ ! œ œÏ
œ# œ ! œ œ ! œ œÏ
I 9
Texas Tech University, Robert DeVet, December 2010
43
II “Strides Forward”
&&&?
?
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
Expressively and in time q = 100!!
˙P
œ œ
˙p
œ
˙p
œ
!!
˙P
œ œ
˙p
œ
˙p
œ
!!
œ-F
œ- œ-
œP
œ ŒœP
œ Œ
!!
œ œ œ œœ œ œ œœ œ œ œ
!!
P œ œ
˙p
œ
˙p
œ
!!
P œ œb˙p
œ
˙p
œ
!!
P œ œN˙p
œ
˙p
œ
&
&
&??
45
45
45
45
45
43
43
43
43
43
44
44
44
44
44
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
8 !œ# -F
œ- œ- ˙
.p ˙
.˙p
˙
.˙p
˙
Ó œp
˙ œpœ
Ó œpÓ œ
p!
œ œ œ œ
˙ œ œ
œ Œ œœ Œ œ
!
œ œ œ œ œPœ
œ œ œ œbP
œ Œ œbœ Œ œb
!
Ó œpœbF
œ œ ˙F
˙P
Ó˙P
!
!
!˙P
œ œ˙p
œ
˙p
œ
!
!œPœ œ œ
œPœ œ œ
œPœ œ œ
œb -fœ-
œ-fœ-
!
!!
!
!œfœ œ œ
œfœ œ œ
œfœ œ œ
&
&
&??
43
43
43
43
43
44
44
44
44
44
42
42
42
42
42
44
44
44
44
44
42
42
42
42
42
83
83
83
83
83
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
fp
fp
17 œb -
fp
œ-fŒ
œ- œ-fŒ
!
!!
!
!
˙P
œ œ˙p
œ
˙p
œ
Œ ˙F˙F
œ œ
˙P
œ œb˙p
œ
˙p
œ
œœ œ œ œ
œ œœœ œ
˙P
œ œN˙p
œ
˙p
œ
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
˙P
Ó˙p
Ó˙p
œ#" Jœ ‰
œ"
jœb ‰
œb"
jœ ‰œb" Jœ ‰œb" Jœ ‰
œ Jœbp‰
œN jœbp‰
œb jœp‰
œb Jœp‰
œb jœp‰
!
!
!
!!
œ#pœ œ .œ JœbF
œpœb œn .œ jœb
Fœbpœ œb .œ jœnFœb
pœ œb .œ JœF
œbpœ œb .œ jœ
F
!
!
!
!!
10II
Strides Forward
Texas Tech University, Robert DeVet, December 2010
44
&
&
&?
?
83
83
83
83
83
41
41
41
41
41
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
27 œ#p Jœ
œpjœb
œbp
jœœbpJœ
œbp Jœ
œ Jœb
œN jœb
œb jœœb Jœ
œb jœ
œpœ œ œ#
œ#p œœ œ#!
!
!
˙f
œ œ
˙f
œ œ
!œ.F
œ. œ.
œ.Fœ. œ.
˙f
œ œ
˙f
œ œ
!œ. œ. œ.
œ. œ. œ.
œ-fœ- œ-
œ-fœ- œ-
!œ. œ. Œ
œ. œ. Œ
œ œ œ œœ œ œ œ!
œ œ œ œœ œ œ œ
f œ œ
f œ œ!
œ. œ. œ.œ. œ. œ.
f œ œb
f œ œ!
œ. œ. œ.œ. œ. œ.
˙ œ œN
˙ œ œ#!
œ. œ. œ.œ. œ. œ.
&
&
&?
?
45
45
45
45
45
42
42
42
42
42
46
46
46
46
46
45
45
45
45
45
44
44
44
44
44
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
37 .˙ œ œ œ
œ œ œ ˙ œ œ
!
.˙ ˙
.˙ ˙
œ œ œp
œ œ# œ#
!
p
p
.˙ .˙
.˙p
.˙
Ó Œ .˙#p
Ó Œ Œ ˙#pÓ Œ Ó œ#p
.˙#F
.˙
.˙#F
.˙
Ó Œ .˙F
Ó Œ Œ ˙F
Ó Œ Ó œF
˙p
.˙
˙p
.˙
Ó .˙#p
Ó Œ ˙#p
Ó Ó œ#p
wb
wb
Œ .˙N
Ó ˙NÓ Œ œN
&&&?
?
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
43 .˙bf.f .˙fœ.fœ. œ.
œ.f œ. œ.
˙ Œ
˙ Œ˙ Œ
œ. œ. œ.p
œ. œ. œ.p
!!
˙P
œ
" œbpœb œb œb œ
PÓ œ
P
!!
˙P
œ
" œbpœb œb œb œb
PÓ œ
P
!!
œpœ œ
œ#
œ œb œ œb
œ#
œ œ œ œb
!!
œ œ œ œ œ
˙ œ œ# œ œ#
˙ œ œb œb œ
!!
œ œ œ
œ# œ œ œ# œn
œb œ œb œ œ
11II
Texas Tech University, Robert DeVet, December 2010
45
&
&
&?
?
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
50 !
!.˙bfœb .F
œ. œ.
œb .F œ. œ.
!
!˙ Œœb . œ. œ.
œb . œ. œ.
˙P
œ
" œ#p œ# œb œ# œnÓ ‰ jœp
!
!
˙ œ
" œb œ# œ# œ# œAÓ ‰ jœp
!
!
œ œ œ
œ# œ œb œ œb
œ# œ œb œ œb!
!
œ œ œ œ œ
˙ œ œ# œ œ#˙ œ œ# œ œ#
!
!
œœ œb
œ# " œb œb œ
œ " œb œb œŒ œ œb œb œ
Œ œ# œn œb œ
&
&
&?
?
43
43
43
43
43
23
23
23
23
23
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
57 .˙#Frœ#F" ‰ Œ Œrœ#F" ‰ Œ Œ
œ.F
œ. œ.
œ.F œ. œ.
˙ œ
!
!œ. œ. œb .
œ. œ. œ.
.˙#
œ#F œ# ˙#
Œ œ#Fœ œ
œ. œ. œ.
œ. œ. œ.
˙ œ
˙ Œ˙ Œœ. œ. œb .
œ. œ. œ.
.˙#
œ# f œ# ˙#
Œ œ# fœ œ œ
œ. œ. œ.
œ. œ. œ.
˙ Œ˙ Œ˙ œ œ
œb . œ. Œ
œb . œ. Œ
&
&
&?
?
23
23
23
23
23
42
42
42
42
42
43
43
43
43
43
23
23
23
23
23
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
63 ˙#f
˙ ˙#
˙#f
˙ ˙#
˙f
˙ ˙b
˙f
˙ ˙b
˙f
˙ ˙b
˙Np
˙ ˙
p ˙ ˙
p ˙ ˙˙p
˙ ˙
˙p
˙ ˙
œF
˙ ˙ œ
œF ˙ ˙ œ
F ˙ ˙œNF
˙ ˙ œ
œNF ˙ ˙ œ
œ ˙ ˙ œ
œ ˙ ˙ œ
˙ ˙ ˙œ ˙ ˙ œ
œ ˙ ˙ œ
!
!
!
!
!
!
!
!œb#
œ Œ
œb#
œ Œ
12 II
Texas Tech University, Robert DeVet, December 2010
46
&
&
&?
?
23
23
23
23
23
43
43
43
43
43
23
23
23
23
23
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
69 œP
˙ ˙ œ
œP ˙ ˙ œ
P ˙ ˙œP
˙ ˙ œ
œP ˙ ˙ œ
Œ œF
œ
Œ œbF
œ
!
!
!
œf
˙ ˙ œ
œf ˙ ˙ œ
f ˙ ˙œf
˙ ˙ œ
œf ˙ ˙ œ
!
!
.˙!
!
!
!
!
!
Ó œ œ œ œ#
!
!˙p
œ˙p
œ
˙P
œ œ
!
!˙p
œ˙p
œ
˙P
œ œ
&&
&?
?
42
42
42
42
42
43
43
43
43
43
87
87
87
87
87
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
76 !!
œP
œ ŒœP
œ Œœ-F
œ- œ-
!!
!
!œ œ œ œ
!!
p œ˙p
œ
˙P
œ œ
!!
p œ˙p
œ
˙P
œ œb
!!
p œ œ œ œ#˙p
œ œ œ œ#
˙P
œ œ œN œ
!˙P
œ œ
˙P
œ˙P
œ
˙#P
œ
!˙P
œ œ
˙P
œ˙P
œ
˙#P
œ
!œ-F
œ- œ-
œF
œ ŒœF
œ Œœ#F
œ Œ
!œp œ
œ œ œ# œ œ
œp œ
œ œ œ# œ œœpœ œ œ œ# œ œ
œ#pœ œ œ œ# œ œ
&
&
&?
?
43
43
43
43
43
87
87
87
87
87
43
43
43
43
43
42
42
42
42
42
44
44
44
44
44
42
42
42
42
42
83
83
83
83
83
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
85 !
œ-F œ- œ-
œF
œ ŒœF
œ ŒœF
œ Œ
!
œp œ œ œ œ œ œ
œp œ
œ œ œ œ œœpœ œ œ œ œ œ
œpœ œ œ œ œ œ
œ-F
œb - œb -
œ-F œ- œb -
!
!
!
œp Jœb ‰
œpjœ ‰
œp
jœ# ‰œp Jœ# ‰
œp
jœ# ‰
œ JœP‰
œ# jœP‰
œ jœP‰
œN JœP‰
œN jœP‰
!
!
!
!
!
œ#P
œ œ# .œ Jœ#FœP œ# œ .œ jœbFœbP
œ œb .œ jœFœbP
œ œb .œ JœFœbP
œ œb .œ jœF
!
!
!
!
!
!
œ" œœb"
œ!
!
13II
Texas Tech University, Robert DeVet, December 2010
47
&
&
&?
?
83
83
83
83
83
44
44
44
44
44
83
83
83
83
83
41
41
41
41
41
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
94 œF
jœb
œFjœb
œFjœ#
œF Jœ#
œF Jœ#
œ jœ#
œ jœbœ jœ#œ Jœ#
œ Jœ
œ œb œn .œ Jœb
œ œb œn .œ jœœ œb œ .œ jœ#œ œb œ .œ Jœ#
œ œb œ .œ jœ#
œNF Jœ
œ#F
jœ
œFjœ#
œF Jœ
œNF
jœ
œ# Jœ
œ# jœn
œ jœbœ Jœb
œb jœ
œ œ œ œ#
œ œ œ œ#
œ œ œ œ#
œ œ œ œ#
œ# œ œ œ#
œ.ƒ
œ. œ œ
œ.ƒ
œ. œ œ
œ.ƒ
œ. œ œ
œ.ƒ
œ. œ œ
œ.ƒ œ. œ œ
œ. œ. œ œ
œ. œ. œ œ
œ. œ. œ œ
œ. œ. œ œ
œ. œ. œ œ
œ- œ- œ-
œ- œ- œ-
œ- œ- œ-
œ- œ- œ-
œ- œ- œ-
œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ
&
&
&?
?
43
43
43
43
43
42
42
42
42
42
43
43
43
43
43
42
42
42
42
42
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
104 œ. œ. œ œ
œ. œ. œ œ
œ. œ. œ œ
œ. œ. œ œ
œ. œ. œ œ
œ. œ. œ œb
œ. œ. œ œb
œ. œ. œ œb
œ. œ. œ œb
œ. œ. œ œ
œ. œ. œpœ
œ. œ. œpœ
œ. œ. œpœ
œ. œ. œp œ
œ. œ. œpœ#
œ œ œ-ƒœ œ œ-ƒ
œ œ œ-ƒœ œ œ-ƒœ œ# œ-ƒ
œ. œ. œ- œ-
œ. œ. œ- œ-œ. œ. œ- œ-
œ. œ. œ- œ-
œ. œ. œ- œ# -
œ- œ- œ\
œ- œ- œ|œ- œ- œ|œ- œ- œ|œ- œ# - œ|
œƒœ œ
Œ œfœ
!
!
!
!
œ ŒœFœ œ
Œ œPœ!
&&
&
?
?
4343
43
43
43
2323
23
23
23
2222
22
22
22
2323
23
23
23
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
112 !!
˙
œ Œ
œp œ# œ
!!
˙
!
!
!!
!
!
!
!!
œfœ œ
!
!
!!
œ œb œb
!
!
!!
œ œ œb
!
!
!!
.˙P.˙
P.˙
P
!˙#P
˙ ˙
.w
.w
.w
!w
w
w
w
!.w
.w
.w
.w
!.w
.w
.w
.w
14 II
Texas Tech University, Robert DeVet, December 2010
48
III “Ostinato”
?Tuba
Leisurely, freely q ~ 80
Rests cancel all accidentals
œnPœn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œn
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In time q = 80Œœn -pœn - œn - œ œ œ œn . Œ œn œn œn œn . Œ œn œn ‰ œn œn œnaccel.
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Bb Tpt. 2
Hn.
Tbn.
Tuba
q = 126
Accidentals behave normally
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Bb Tpt. 2
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6 !!
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15II I
Ostina to
Texas Tech University, Robert DeVet, December 2010
49
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87
87
87
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87
45
45
45
45
45
Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
11 œF œ œ œ œ œ œb œb œ
Œ ‰ jœ.P œ œ œ œb . œ. œ.œPœ œ œ. Ó Œ
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Bb Tpt. 2
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16 !!
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89
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Bb Tpt. 2
Hn.
Tbn.
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21 œƒ œ. œ œ. œ œ. œ œb œb
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16 III
Texas Tech University, Robert DeVet, December 2010
50
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
26
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Bb Tpt. 2
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31 Ó œPœ œ œ. Œ
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36 "
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17III
Texas Tech University, Robert DeVet, December 2010
51
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
41 jœ#flƒ‰ Œ jœfl
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Bb Tpt. 2
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46
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51 Ó Œ œF œ# . œ œ.
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18 III
Texas Tech University, Robert DeVet, December 2010
52
&&&?
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Bb Tpt. 1
Bb Tpt. 2
Hn.
Tbn.
Tuba
55 Ó Œ œFœ. œ œ.
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&&&?
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Bb Tpt. 2
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59 ‰ Jœb .pœ. œ. œ. œ. œ. œ. œ. œ.
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Bb Tpt. 2
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Tbn.
Tuba
65 !
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19III
Texas Tech University, Robert DeVet, December 2010
53
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42
42
42
42
42
83
83
83
83
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42
42
42
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45
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Hn.
Tbn.
Tuba
70 !
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89
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Hn.
Tbn.
Tuba
79 !!
!
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89
89
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87
87
87
87
87
85
85
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83
83
83
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45
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20 III
Texas Tech University, Robert DeVet, December 2010
54
&&
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87
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44
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89 !.˙ ˙
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44
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93 œ œ œ œ œ œ œ œ# œ œ#
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21III
Texas Tech University, Robert DeVet, December 2010
55