Copyright

by

Ethan Frederick Greene

2013

The Dissertation Committee for Ethan Frederick Greene Certifies that this is the approved version of the following dissertation:

Triptych

for flute, clarinet, baritone saxophone, percussion and live electronics

Committee:

Russell Pinkston, Supervisor

Bruce Pennycook

Yevgeniy Sharlat

Dan Welcher

Michael Benedikt

Triptych

for flute, clarinet, baritone saxophone, percussion and live electronics

by

Ethan Frederick Greene, B.A.; M.Music

Dissertation

Presented to the Faculty of the Graduate School of

The University of Texas at Austin

in Partial Fulfillment

of the Requirements

for the Degree of

Doctor of Musical Arts

The University of Texas at Austin

December 2013

Dedication

To Alma, with love.

v

Acknowledgements

As I wrap up my doctoral study, I must take a glance back down the proverbial

mountain and thank a few folks. First off, my sincerest gratitude goes out to the

University of Texas composition faculty. Their guidance, encouragement and inspiration

has allowed me to grow as a composer, scholar, educator and human being. In particular,

Russell Pinkston has shown me that it is possible to be a technological wizard, a great

composer, and a supportive mentor all at once. Bruce Pennycook has inspired me to

pursue a wide range of multimedia collaborations and career connections; Yevgeniy

Sharlat has demonstrated the value of short score reductions, a deep knowledge of the

canon, and a mordant wit; and Dan Welcher has given me a fantastic model of prolific

composition and professional engagement toward which to aspire. I am grateful as well

for my conversations with architecture professor Michael Benedikt, and his strong

commitment to interdisciplinary partnership. Lastly, I would like to thank my parents,

who put me on this earth and have nurtured my development throughout my life, and my

brother Abe, who introduced me to music and pretty much everything else.

vi

Triptych

for flute, clarinet, baritone saxophone, percussion and live electronics

Ethan Frederick Greene, D.M.A.

The University of Texas at Austin, 2013

Supervisor: Russell Pinkston

Triptych is a thirty-minute work in three movements for flute, clarinet, baritone

saxophone, percussion and live electronics. Rhythmically intricate musical “tessellations”

are juxtaposed with long, evolving drones amidst an electronic backdrop of

environmental found sound, granular clouds, procedurally generated rhythmic sequences,

and simple oscillators. The piece examines conceptions of pattern, pitch and period in the

environment, highlighting the musical elements and structures of creatures and machines

– the “almost-human” musical beings all around us. Each “panel” of the triptych is

designed to work effectively as either a part of the larger work, or as its own, autonomous

piece of music. The electronics are designed to maximize performability and

improvisatory flexibility in the ensemble. All processing and cueing is coded in

Max/MSP. Triptych was commissioned by the Fountain City Ensemble, and will be

premiered in March, 2014.

vii

Table of Contents

List of Figures ....................................................................................................... viii

Chapter 1 Background and Approach .................................................................... 1 1.1. Introduction ............................................................................................. 1

1.2. General Style and Approach .................................................................... 2 1.3. Influences ................................................................................................ 4

1.4. Triptych as Organizing Principle ............................................................. 8

Chapter 2. Methods ............................................................................................... 11

2.1. Improvisatory Elements and Environmental Rhythm ........................... 11 2.2. On Composing for Ensemble and Electronics ....................................... 13

2.3. Electronic Methodology ........................................................................ 16

Chapter 3. Complete Analysis ............................................................................... 20

3.1. Introduction ........................................................................................... 20 3.2. Movement I. (Introduction) ................................................................... 21

3.3. Movement I. (Proper) ............................................................................ 24 3.4. Movement II. ........................................................................................ 28

3.5. Movement III. ........................................................................................ 34 3.6. Conclusions ........................................................................................... 41

Triptych – Full Score ............................................................................................. 44

Bibliography ........................................................................................................ 110

Vita ................................................................................................................... 112

viii

List of Figures

Fig. 1.1: Smalley’s “Morphological Models” ......................................................... 2

Fig. 1.2: Peter Paul Rubens, Raising of the Cross ................................................... 9

Fig. 1.3: Francis Bacon, Three Studies for Head of George Dyer .......................... 9

Fig. 3.1: Murail, Unanswered Questions, mm. 4-5 ............................................... 23

Fig. 3.2: First “initiating sequence,” I., m. 1 ......................................................... 23

Fig. 3.3: Musical tessellation, I., mm. 46-8 ........................................................... 24

Fig. 3.4: M.C. Escher, Regular Division of the Plane with birds .......................... 25

Fig. 3.5: Obfuscation of the downbeat, Marimba, I., mm. 34-7 ............................ 26

Fig. 3.6: Stuttering rhythm, I., mm. 102-5 ............................................................ 27

Fig. 3.7: Tangled knot figures, II., mm. 1-4 .......................................................... 29

Fig. 3.8: Feldman, Palais de Mari, mm. 1-6 ......................................................... 30

Fig. 3.9: Cicadas as “conductor,” II., mm. 82-6 .................................................... 32

Fig. 3.10: Xylophone “scamper” development, III., mm. 3-6 ............................... 34

Fig. 3.11: Duration of theme repetitions, Flute and clarinet, III., mm. 12-19 ....... 36

Fig. 3.12: Harmonization of the theme, Flute and clarinet, III., mm. 32-3 ........... 38

Fig. 3.13: Overlapping “serpentine” motive, III., mm. 100-104 ........................... 39

1

Chapter 1: Background and Approach

1.1 Introduction

During the course of my study at the University of Texas at Austin (2009-

present), I have composed for a wide array of ensembles and media: small and large

instrumental ensembles; opera and art song; interactive electroacoustic music and fixed

media; score and sound design for film, television and video games. I have explored

diverse musical elements in my compositions, from rigorous gestural music (or at least

my attempt at it), to minimalism, to sound art, to straight-up pop music. I’ve always

considered myself an eclecticist, a tinkerer, a jack of all trades (but hopefully a master of

more than none), while harboring the hope that one day I would find a unique

combination that I could call My Personal Style. I believe I have found this combination.

At the very least, I have found something I can stick with for a while.

Before I discuss this stylistic approach in Triptych, there is the all important

question of “Why this medium?” The short answer is that I received a commission from

the Fountain City Ensemble right around the time I was beginning to think about my

dissertation. Two birds with one stone later, Triptych emerges. However, my decision to

write this piece at this moment was more than the result of simple providence.

I’ve always been intrigued by the combination of woodwinds and percussion. The

range of sound envelopes and colors available to the composer – short attacks, long

drones, and everything in between – is dizzying. Indeed, one has access to the full gamut

of Denis Smalley’s “morphological models” (Smalley, 70), shown below (Fig. 1.1). In

2

addition, the ensemble is perfect for electroacoustic interaction. Each instrument is

capable of producing, and, perhaps more importantly, controlling sounds all along the

“note-to-noise continuum” (Ibid, 65). Lastly, while I have written for solo and duo with

electronics, I’ve never “electrified” a larger ensemble. So I jumped at the opportunity to

spend a year working with this odd quartet and interactive electronics.

Fig. 1.1: Smalley’s “Morphological Models.” (Smalley, 70).

1.2 General Style and Approach

This is a music of restraint. Virtuosic writing and individual flourishes are, by and

large, eschewed in favor of controlled, interlocking gestures, and repetitive, evolving

textures. My general approach in Triptych is to present the ensemble as a unified entity.

Each member of the group performs as part of a larger whole – a worker in a union, to

3

take the Andriessenian view – rather than as soloist, accompanist, background,

foreground, adornment, or any other individualistic agency role. In other words, no

instrument stands dominant or subordinate to any other, and development occurs via the

evolving intricacies of the ensemble’s interactions.

Most of the motives in Triptych are drawn from the rhythms, periods and pitch

patterns of creatures and machines in the world around us. In the first movement, the

coquí frog, a mellifluous singing frog native to Puerto Rico, is highlighted. The second

movement, more of a “drone” piece, is centered around, and at times “conducted” by

swarms of singing cicadas. In the third movement, antiquated machine sounds – dial-up

modems and dot-matrix printers – contain the seeds for motivic ideas. In simplified

terms, the ensemble is performing with an “environmental accompaniment,” whose

material also serves as a wellspring for motivic content.

The development of motives largely occurs by processes of rhythm, with space –

the adding and removing of rests – as a central tool in establishing and subverting

expectations. Motor rhythms are frequent, and melodies are mostly angular and

disjointed. Motives are repeated and developed by gradual modification techniques such

as additive and subtractive processes, key-signature transformations (a la Hook, which

will be explained later), phasing and overlap.

The harmonic language of the piece can best be described as “quasi-diatonic.”

There are tonal centers throughout Triptych, but these can be thought of more as “axes”

than as true key areas. While tendencies do emerge along the lines of functional tonality,

“wrong notes” and pop-oriented progressions and ostinati often subvert this tonality. In

4

addition, generally diatonic patterns are often accompanied by independent, seemingly

unrelated bass lines. This technique may spring from my life-long love of hip-hop,

wherein samples are often accompanied by unrelated sounds to form odd composite

tracks that are tied together by dominating bass lines and rhythmic backbeats.

Because of the relative lack of individual virtuosity in the piece, it may demand

somewhat less individual practice time than other contemporary works. However, it will

be difficult to perform accurately without extensive ensemble rehearsal time. The

electronics are often designed to bolster the ensemble in sections of complex interlocking

patterns, but also create an additional layer of rehearsal difficulty – audio system issues,

playback, monitoring, etc. Thus, it is advised that the ensemble devote significant

rehearsal time to the piece (as always), and integrate the electronics as much as possible

before performance.

1.3 Influences

My interest in art music began in college, when a friend burned me a disc of Steve

Reich’s Music for 18 Musicians. I had been composing jazz, rock and hip-hop – though

the term “composing” would have been questionable to me at the time – for several years,

and had been feeling the urge to branch out. After studying the Mingus Big Band

compositions, I moved from bop and blues to a more intricate form of jazz composition.

Subsequently, when I heard Cecil Taylor and Ornette Coleman, I decided to disgard

structure as a whole, and really went “out.” My fascination with 18 Musicians brought

me back to structure and long-form design, though, and once I saw Reich’s score, I

5

decided to switch majors (I was a Biology major at the time), and put my pencil to the

paper as an Official Composer of “high brow” music.

Over the past 12 years since then, I have explored many different styles, but my

work has always been couched in a fundamental penchant for minimalist processes, as

well as a die-hard connection to popular styles. In this piece, I feel that for the first time, I

have settled on a style that truly blends these two influences. It is an amalgamation of

much of the restrained, repetitive music of the twentieth and twenty-first century art

music tradition, containing elements of Reich, Andriessen, Torke and Lang, as well as

older models such as Stravinsky, Janacek, and, of course, their stylistic forebears.

For me, Andriessen stood out in particular as a model to emulate. Everett writes

of Andriessen’s intent in his compositions during the 1970’s: “He empowered musicians

to make choices in performances, incorporated gestures to create a sense of collective

solidarity, and tried to eliminate the boundary between ‘low’ and ‘high’ art by dividing

instruments into collective, egalitarian musical forces” (Everett, 66). My work has always

contained some attempt to eliminate the boundary between low and high, and over the

past several years, has seen a natural reigning-in of excess. In many ways, it has taken

much of my nascent compositional career to come back to Andriessen, who was one of

the first composers of art music I admired.

The influence of hip-hop is another important part of my recent work. As

mentioned earlier, this is manifest through the incorporation of disparate bass line

elements, unexpected sample-like sounds, and backbeat structures. Unbeknownst to me

until my recent research, this marks another similarity between my work and

6

Andriessen’s. According to Robert Fink, for Andriessen, “Radical left-wing politics

would validate fusing the rigour of early minimalism with the ‘progressive’ dissonance of

European modernism; the resulting mixture would itself be validated by reference to the

rhythmic complexity and raw countercultural power of African-American popular music”

(Fink, 546). Whereas Andriessen was channeling free jazz and rhythm and blues, I grew

up with hip-hop, and, thus, am influenced by the production of such DJs as Large

Professor and DJ Premier, to name a couple.

The Bang On A Can collective and the totalist movement follows as a natural

influence on my music. In Fink’s article, the following discussion of Michael Gordon’s

Trance rings particularly apropos in the discussion of Triptych: “Gordon himself makes

the analogy between the ‘independent interlocking units going on simultaneously’ and

musical information overload: ‘all the different thoughts in one’s head that go on – like

being able to hear all the music that’s going on everywhere in the world, in one’s head, at

the same time’” (Fink, 546). This idea of “interlocking units” is fundamental to my style

in Triptych. I would say, however, that I am less interested in combining all of the units at

one time than I am in drawing parallels between adjacent units, and in establishing

dialectical relationships between them.

The “drone music” and “ambient” genres were also a big influence in the

development of this piece. David Behrman’s On the Other Ocean factored strongly in my

decision to incorporate a great deal of extended, evolving music with simple waveforms

and improvisatory ensemble elements into the piece. On the Other Ocean is a 24 minute

piece for flute, bassoon and microcomputer-controlled oscillators. The score is simply a

7

collection of six pitches – a pentatonic scale (with octave) – and directions to take one’s

time. In the album notes, Behrman remarks, “Hearing ‘On the Other Ocean’ now,

nineteen years later, I'm astonished about how unflappably unhurried we were. Nobody

and no institution was going to make us hurry our music along. We loved pure tones and

we were going to listen to them for a long time, no matter what” (Behrman). The piece is

a wash of sound, a soothing flow of time, and for me, a constant reminder to slow down.

For several weeks, I listened to this piece every morning, and can safely say that the

introduction and entire second movement of Triptych are the result of this obsession.

Messiaen’s Quartet for the End of Time (1946) served as a model for the

interaction between instruments of the ensemble in Triptych. Aside from the fact that the

Fountain City Ensemble has always struck me as a distorted version of the Quatour

ensemble – in fact, I hope to one day prepare an arrangement of Messiaen’s masterpiece

for the ensemble – Messiaen’s work has always been a major influence on my

composition. His modes of limited transposition, as well as his writings on rhythmic

techniques, have served to order this piece. In addition, Danse de la fureur, pour les sept

trompettes influenced my decision to present many of the rhythmically complex motives

of the piece in unison or octaves.

Finally, the music of Russell Pinkston has had a profound influence on my work.

In his electroacoustic compositions, Pinkston demonstrates a remarkable balance between

technological prowess and musicality – i.e., successful development of melody, harmony

and rhythm (a.k.a. “music”) – that, in my opinion, is rather elusive within the dominant

electroacoustic music community today. In works for woodwinds and Max/MSP such as

8

Lizamander, Gobo, and e++, Pinkston blends concrète material, synthesis, and live

processing with refined instrumental writing to create a challenging and satisfying

experience for both listener and performer. This is a true feat, and one I aspire to in

Triptych.

1.4 Triptych as Organizing Principle

A triptych is a picture in three panels, usually consisting of one large central

image, flanked by two smaller images. Triptychs were produced as far back as antiquity,

but the earliest extant examples are from Byzantine era (12th century) Rome and Tuscany.

These triptychs were primarily religious icons, consisting of the Holy Trinity and related

symbolism. The outer panels, often on hinges, could be closed or opened depending on

the liturgical calendar (Schmidt).

The triptych form and compositional style was adopted in Germany and the

Netherlands in the 14th century, and expanded in scope through the 17th century.

Triptychs were produced to depict religious and historical scenes, portraits of saints,

narrative stories and as memorials for the dead. The triptych reached its 17th century

pinnacle with the works of Rubens (Fig. 1.2), and fell out of favor in the 18th century.

Triptychs were revived in the 19th century by Nazarene and Pre-Raphaelite painters, as

well as by the Naturalists and Symbolists, and continue to be used today (Ibid).

9

Fig. 1.2: Peter Paul Rubens, Raising of the Cross (Grove Art Online).

Today, the central panel is often the largest image, but the tripartite form seems to

be the only standardized convention. Francis Bacon’s 28 known triptychs from the mid-

twentieth century, for instance, consist primarily of three equal-sized rectangular panels

(Ibid). Probably his most famous triptych, Three Studies for Head of George Dyer

(1964), is shown below. Note the autonomy of each image; the three pictures obviously

go together, but could arguably be presented just as effectively as separate paintings.

Fig. 1.3: Francis Bacon, Three Studies for Head of George Dyer (Grove Art Online).

10

The triptych has since been adopted in other art forms, with many musical works

using this title throughout the 19th, 20th and 21st centuries. Some of the better known

triptychs in Western art music include Respighi’s “Trittico Botticelliano,” Puccini’s “Il

Trittico” and Hindemith’s “Symphony” Mathis der Maler,” based on Mathias

Grünewald’s triptych “The Temptation of St. Anthony.” Three more recent examples

include William Schumann’s “New England Triptych” (1944) for symphonic orchestra,

Roxy Music’s “Triptych” (from ‘Country Music,’ 1974), and Robert Sirota’s “Triptych”

(2004) for string quartet, commemorating the victims of the attacks on September 11,

2001. Perhaps it is favored for its religious connotations, or perhaps for its tidy, tripartite

structure, but it has clearly had an appeal to composers over the past three centuries.

Doubtless both of these appealed to me in my use of the term. However, it was the

possibility for each panel to exist as either an individual work, or as a part of the greater

whole (as in the Bacon above), that proved most attractive to me. In setting out to write

the piece, I wanted to create a substantial, long-form work – indeed, this is my longest

work of instrumental music – whose movements could each be presented individually

with equal, or at least similar, musical impact. This would give the ensemble the option to

program one movement, or, if they had the time to learn it, the technical resources to pull

it off, and the space on a concert to program it, the whole piece. I do not believe I am

selling the piece short by doing this, but rather, I am yielding to the realities of chamber

music today.

11

Chapter 2: Methods

2.1 Improvisatory Elements and Environmental Rhythm

Each movement of Triptych begins with an improvisatory “initiating sequence.”

In these sequences, defined barlines, rests, and precise tempi are avoided in order to

foster a more fluid sense of time. In the first movement, the woodwinds are instructed to

play repeated staccatissimo pitches, ascending and descending in density. The pitches are

given in boxes, and each new synthesizer pitch signals the introduction of new pitches in

the instruments. Aside from the instruction to remain out of synchrony with the other

instruments, various stylistic parameters – dynamics, register (in certain cases), timbre,

etc. – are left to the performer. Amidst a background wash of undulating tam-tam rolls in

the percussion part, this sequence – the longest initiating sequence, and, perhaps an

introductory movement sui generis (with attaca leading into I.) – serves to introduce the

“environmental rhythm” concept that underlies the entire work.

Environmental rhythm is an idea I first developed in constructing Environmental

Rhythm Etude No. 1, which was largely an effort to explore sounds I wanted to use for

Triptych. Environmental Rhythm Etude is governed by the undulating intensity of a

recording of cicadas in a field, and is comprised of various evolving beds of granular

synthesis. The cicada undulations move at approximately 46 beats per minute, with subtle

variations that amount to a sort of “environmental rubato.” I also explored this sort of

rubato in my piece, For Candles (2011), which used the almost-metronomic dripping of

wax from horizontally-suspended candles (over piezo-electric contact microphones) to

12

build textures and chorale-like pitch sequences. Much of the cicada material from

Environmental Rhythm Etude is repurposed in the second movement of Triptych.

In the third movement, the initiating sequence (mm. 1-7) gives the ensemble more

agency over the progress of the electronics. Each press of the MIDI pedal advances to the

next measure’s held-chord-followed-by-rhythmic-gesture segment. In this way, the

ensemble is able to provide greater expression and individuality to each measure’s

statement than if it were interacting with a fixed media element. This is the only

!"!#!$#!"% sequence that features substantial processing. Each held chord is granulated to

create a sustained bed behind the fixed elements. In order to precisely time the gradual

ramp-up of granular processing, the MIDI pedal cue is delayed until after each percussion

statement. This somewhat restricts the time allowed for the held chords, but is preferable

to excessive pedal cues (see below for more discussion of electronic practicalities).

The dramaturgy that results from these initiating sequences is a progression of

human ideas framed by a more environmental time flow. Each idea progresses in an

organic fashion, with notes added, removed or changed by gradual processes, but is

couched in a more fundamental, nonhuman sense of time. The idea here is to reflect that

the human perception and expression of time is informed by the abstract musical

elements innate to environmental systems. The human portrayal of patterns is the

foundation of music and language, but it emerged from the environmental portrayal of

such patterns. It is the goal of this work to create a synthesis of these two portrayals.

13

2.2 On Composing for Ensemble and Electronics

Composing for instruments and electronics is a process wrought with pitfalls.

Over the past three years, I have written three electroacoustic works with performers:

Flying Fish (2011), for trombone, violin and live electronics; Sewn (2012), for percussion

trio and fixed media; and Lissajous (2013), for vibraphone and live electronics.

Throughout this process, I have learned about the myriad choices one must make in

constructing a work that combines electronic sound and live performers. I have learned

that even within an electroacoustic work, different sections can demand different

technologies, different delivery methods for electronic sound. Whereas one section might

work well with fixed media, another section might demand live processing, pitch

tracking, or some other interactive element. At times it can feel like one is composing for

several different ensembles within the same piece; if as though one is writing a piece that

begins for full orchestra and ends for steel drum ensemble.

On a basic level, composing a successful interactive work is no different from

composing an acoustic ensemble work: it is largely a matter of balancing musical and

practical considerations. A process based on musical considerations alone – i.e.

composing without concern for performability – can result in a work that is either

impossible to perform, or devoid of any satisfaction for the performers (or, of course,

both). On the other side, an overly practical process can strip the music of its natural

course of development, and saddle the piece with clunky, alien elements. I call this sort of

errant approach “telegraphing the interaction” between electronics and performers. Such

telegraphing occurs when a composer chooses to include sounds, rhythms, motives or

14

other elements that wouldn’t otherwise fit within the piece, solely in order to make it

easier for the performer to follow the electronic part. It would be the equivalent of giving

quarter notes to the snare drum for an entire piece (in a non-minimalist work) in order to

make it easier for the orchestra to stay together.

Many composers choose to solve this problem by providing the performers with a

click track. I have never done this, and I hope I never will. Why not? Elizabeth McNutt, a

flutist and advocate for electroacoustic music, encapsulates the performer’s perspective

on this with great eloquence in her piece, “Performing electroacoustic music: a wider

view of interactivity” in Organised Sound:

Sometimes a click-track will be made to assist the performer. This generally improves the coordination between live and recorded parts, but adds to the burden of prosthesis the performer carries, and can be musically unsatisfying. Consider how few musicians enjoy practising with a metronome; fewer still like performing with one. Using a click track also emphasises the reactive, rather than interactive, situation of the piece. Focused on accurately following the click, the performer is less able to inflect her timbres to suit the accompaniment, or to keep up the illusion of interactivity in other ways. (McNutt, 300)

I would add that this would be especially true in the context of an ensemble work such as

Triptych. Much of the power and beauty of chamber music derives from the simple

spectacle of multiple musicians performing together without a conductor. There is a

collective unity that is fundamentally impressive to an audience here, and a click track

would undermine this unity. Especially when composing for an ensemble that plays

together regularly (Fountain City Ensemble), it is the composer’s duty to tap into this

unity.

15

In her article, McNutt continues to discuss the range of techniques used by

composers to add flexibility and expressive potential to electroacoustic works with

performers. She begins with a rather scathing criticism of “tape” accompaniment: “For

the player, performing with fixed accompaniment is like working with the worst human

accompanist imaginable: inconsiderate, inflexible, unresponsive and utterly deaf” (Ibid,

299). It is for this reason that I have never written a true instrument-with-fixed media

piece. The closest I’ve come is Sewn (2012), for percussion trio and electronics. This

piece, written for line upon line percussion, is a spatial work – the percussionists are

asked to perform at various locations throughout the work, and to move around the space

as the piece progresses – and thus, demanded a somewhat reduced technical scope.

However, rather than simply create a fixed media accompaniment, I broke the “tape” part

into several sections, and asked the performers to play them on an iPod or other portable

device (connected to the house audio system). Even though there ended up being only

four audio files, this technique provided the ensemble with much greater flexibility, and

allowed line upon line to perform the piece dozens of times, at venues with less than

stellar audio systems across the country.

In Flying Fish, I built a much more involved system of electroacoustic interaction,

using Max/MSP software (and my new-found facility with coding). Because Steven

Parker and Molly Emerman, the duo that commissioned the piece, own their own high-

quality clip-on microphones, I chose to process their input quite heavily, using delay

lines, distortion and channel-specific pitch-tracking to control various synthesis

processes. I began composing the piece thinking I would limit myself to the instrumental

16

input signal as my only source material – a common misstep among composers at similar

stages, I’ve since found – but soon realized that I would need to include some fixed

media elements in order to really accomplish my compositional goals. So, I built a system

where MIDI pedal cues changed the state of the processing machine, but also triggered

sound files.

This system became the model for the Max/MSP engine in Lissajous. In this

piece, since vibraphone is a much less directionally focused input source, I decided to

scale back my processing of live input, and focused a little more heavily on fixed media

elements. I also incorporated highly rhythmic elements that were not controlled by the

performer. This, I believe, was a bit of a mistake. In performance, I noticed discomfort

and lack of expression on the part of the performer during this section – even after much

practice and performance – and as a result, decided to use a more “friendly” system in

Triptych during most rhythmic portions. This will be discussed in greater detail below.

In conclusion, when working with electronics and performers, it is the composer’s

job to make the piece performable, challenging and satisfying for the ensemble, without

sacrificing his or her compositional intent. Of course, this is the case with any type of

piece, but it is of particular interest in developing new ensembles, as the electroacoustic

composer is charged with doing each time he or she embarks on a new piece.

2.3 Electronic Methodology

Various electronic elements and processes were used in the creation of Triptych. I

will describe the most common processes here. The software required to run the piece

17

was developed in Max/MSP, a graphical programming language for real-time synthesis

and audio processing, originally written by Miller Puckette and distributed by Cycling '74

since 1999. The Max/MSP “patch” for this piece contains all digital signal processing

modules (including input and output handling), as well as event scheduling and cue

control for the performers. In the score, “pedal cues” – which are somewhat minimal and

tentative at this point, but will be solidified – refer to an ordered series of “states” that are

triggered by a MIDI pedal, intended to be operated by one of the performers (or the

composer, if present). All fixed media elements were developed and assembled in

Apple’s Logic software.

Granular synthesis and processing are used prominently throughout Triptych. First

developed by Denis Gabor in the late 1940’s, granular theory is based on the concept that

sound is perceived simultaneously in the frequency and time domains, and thus, can be

dissected in short bursts of energy, or grains, rather than via separate time or frequency

domain operations. Because grains can still be played back at the same rate after pitch

shifting, granular synthesis is a popular means of pitch and time shifting. Xenakis was the

first (known) composer to incorporate granular synthesis into his work, using grains of

synthesized material in early tape works such as Analogique B (1958). Other landmark

pieces using granular synthesis are Barry Truax’s RiverRun (1986) and Paul Lansky’s

Idle Chatter (1985) (Dodge, 262-71).

In Triptych, granular synthesis is used in a number of ways, and on both fixed

media and live sources. Each of the major environmental sound sources – insect, animal

and machine sounds – is granulated at some point during the piece. That is, the sound is

18

broken down into tiny individual grains, usually between 10 and 500 ms long, each of

which is controlled by an envelope generator. Next, the grains are played back at varying

rates, with fixed or randomized delay times between grains, and pitch shifting is applied

to individual grains. In Triptych, granular synthesis is also frequently applied on the input

signal (particularly during the second and third movements), and sent through delay lines

in order to create granular “clouds.” More on this will be explained below. MacPOD

software was used to create much of the granular elements in the fixed media portions of

the piece.

Additive and subtractive synthesis are also used heavily throughout Triptych. In

the drone sections, simple waveforms (sine, sawtooth, rectangle) are combined using

TAL’s “Noisemaker” software, as well as Max/MSP’s internal oscillators. The purity of

these tones sets them apart as foils to the complex timbral combinations in the ensemble

during the introductory sections of each movement, a technique stolen wholesale from

David Behrman. Subtractive synthesis is the primary means for creating “blips” and other

percussive sounds in the rhythmic portions of the piece. The rhythm generator units

(described in more detail below), are comprised of individual impulses and short, noisy

sound files, sent through resonant bandpass filters in Max/MSP. These filters, often tuned

to the tonal center of sections (particularly in movement I.), are designed to occupy the

nebulous space between “real” and “synthesized” sound, as well as to bridge the gap

between the percussion and woodwind sounds.

Lastly, envelope-following is used frequently throughout the piece in order to

process input sources and to control the gain of fixed sounds. I have come to recognize

19

envelope-following potential as one of the main arguments for using an interactive

software such as Max/MSP or Supercollider, rather than a DAW (aside from financial

arguments). In Triptych, I have designed a system that tracks the input gain of the

instruments, and uses this gain to play back various soundfiles as accompaniment to the

instrumental sound. In addition, I use input gain to control the delay time of granular

synthesizer units at various points throughout the piece. The result of this, heard most

prominently in movement II, is a granular texture that speeds up (becomes more active)

when the instrumental input gain or the gain of the environmental found sound – cicadas,

in this case – ramps up, and slows down as it ramps down. Less common electronic

processes shall be described as they occur throughout the following analysis.

20

Chapter 3: Complete Analysis

3.1 Introduction

Structurally, the sections of Triptych can be broken down into two main types:

long, improvisatory washes, or “drones” of sound, and steady, mechanical, more

rhythmically elaborate portions. This main juxtaposition serves as an organizational

theme throughout the work. In the rhythmically active and gestural sections of the piece,

human concepts of pitch, pattern and period are grafted on to the associated musical

elements in the environmental found-sound. In the less structured, improvisatory sections

of the piece, the instruments are controlled by the abstract, semi-regular structure of these

environmental sound patterns. These improvisatory sections include nontraditional

notation such as graphic indications of density, “tangled knot” pitch figures and other

chance elements, as well as extended techniques such as air-blowing and tongue rams.

They are placed at the beginning of each movement in an attempt to focus the ensemble

members’ awareness of one another, as well as their awareness of the electronic sound.

The tripartite form of the piece is based on the triptych in visual art, as discussed

above. In keeping with the conventional proportions of triptychs throughout history, the

center movement is the longest. (I. is technically longer in duration, but includes a five-

minute introduction that can be thought of as an introduction to the piece as a whole.) I.

and III. are active and energetic movements, while II. is relaxed and meditative, focused

around a slower environmental sense of time.

21

The electronic part serves various functions throughout the piece. In the

introductory sections, it is largely comprised of fixed media, with MIDI pedal cues to

trigger the playback of new sections. In order to make the first movement as technically

performable as possible, I have chosen to exclude live processing here; a live-generated

rhythm sequencer is the only non-fixed element in the first movement. The second

movement, on the other hand, features fairly extensive live processing. In this movement,

the ensemble’s sound is melded into the fixed media elements through granular synthesis

and envelope following, among other processes. In the third movement, the live

sequencer returns, along with more live processing.

The following analysis will step through each section of each movement of the

piece, for the purpose of presenting the narrative of Triptych in words.

3.2 Movement I. (Introduction)

The first movement begins with a roughly five-minute section that serves as an

introduction for the piece as a whole. The woodwinds’ improvisatory repeated staccato

material, played with an oscillating pattern of densities, is presented on a bed of simple

waveforms in the electronics and tam-tam rolls in the percussion part. The pitch content

begins with the trichord A-C#-D, and moves to G-C#-D, then B-C#-D, beginning an

expansion outward to the heptachord D-A-B-C#-E. The baritone saxophone line follows

the electronics’ introduction of new pitches, and serves as the conductor for the

22

ensemble. Thus, while the progression of this section should be improvisatory, the high

woodwinds will need to follow the baritone saxophone to stay together.

The introduction continues its expansion to a new tonal area at the 3:35 point,

introducing the Bb/Eb axis. Major 7th chords dominate here, with the eventual goal of

reaching a D-E-A-Bb tetrachord. In this last section of the introduction, the pattern of

improvisation begins to change in the flute and clarinet, and the baritone sax plays held

notes. At 5:00, the instruments taper off, and the electronics introduce the sounds of the

coquí frog.

Several models were considered in notating the opening section of the piece. First

under consideration was precise rhythmic notation and feather beaming. This notation has

the advantage of providing a clear sense of entrances, lengths and degree of overlap

between instruments, but would not accurately reflect the fluid nature of the material. It

would also require frequent verbal modifiers – e.g., “Vary rhythms ad lib.” or “Tempo

rubato ad lib.” – in order to allow for even a modicum of improvisatory freedom.

Next considered was graphic spatial notation, a la Tristan Murail’s Unanswered

Questions (see Fig. 3.1), in which metered passages alternate with precise duration

indications. This would, perhaps, be an ideal choice for the material at hand, but would

demand a great amount of space, and could get confusing for the performers. In my

experience, spatial notation is somewhat more appropriate for solo music, as in the

Murail example, or for music with a conductor, as in the early work of Krzysztof

Penderecki (De Natura Sonoris, for one).

23

Fig. 3.1: Murail, Unanswered Questions, mm. 4-5.

Finally, a hybrid between spatial notation and aleatoric box notation was selected.

This method allows for freedom of improvisation, while conveying a clear sense of when

pitches are introduced. The downside of this approach is the requirement that the

instrumentalists read off of the score for the introduction. However, this would have most

likely been true with the other models as well. When performers are asked to interact so

fluidly with each other, and no conductor is present, it is often the case that the full score

must be included.

Fig. 3.2: First “initiating sequence,” I., m. 1.

°

¢

{

°

¢

{

Flute

Clarinet in Bb

Baritone Saxophone

Percussion

Electronics

pp p

Slowly, out of time (follow electronics)

pp p

p

Fl.

Cl.

Bari. Sax.

Perc.

Elec.

pp p

& #*

œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ

TriptychI.

Ethan Frederick Greene (2013)

*) Staccatissimo, gradually varying density as shown. Stay out of sync with other instruments. Maximal density should be as fast as possible; minimal density should be close to quarter note at 60 bpm.

& *

œ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œ œ œ œContinue pattern.

?

/Tam-tam

pp

Undulate in intensity, out of sync with other instruments.

?

&Continue pattern.

[0:45]

&

? œ* œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ Continue pattern on given pitch. Follow synth.

œ

/?

æææwœ œœ#

œœœ# œœœ#

=

24

3.3 Movement I. (Proper)

The coquí frog has fascinated me since I visited Puerto Rico in 2000. Native to

the small commonwealth, and a recent colonizer of Hawaii, the coquí has a unique, two-

pitch call that begins on a slightly sharp major 7th and bends up to an octave. I decided to

use this wide-leaping gesture as the fundamental motive of the first movement. In m. 2,

the baritone sax and marimba introduce it in G, while coquí frogs and jungle sounds are

heard in the background. An archival recording from the Cornell Lab of Ornithology

(Colón López, ML 53794) is isolated here using iZotope RX noise reduction software,

and sent through granular processing to produce a jungle of coquís on various pitches.

This solves the main musical problem of the coquí: they only sing on one pitch class.

Assembling the first main thematic section (mm. 2- 63) began with “composing

the composite,” and continued with fracturing and distributing the notes and rhythms to

members of the ensemble. The composite figure appears in its complete form for the first

time in m. 46, as shown here:

Fig. 3.3: Musical tessellation, I., mm. 46-8.

°

¢

{{

°

¢{{

Fl.

Cl.

Bari. Sax.

Mar.

Elec.

46

Fl.

Cl.

Bari. Sax.

Mar.

Elec.

50

54

74

34

54

54

74

34

54

54

74

34

54

54

74

34

54

54

74

34

54

54

74

34

54

54

64

54

54

64

54

54

64

54

54

64

54

54

64

54

& . . . . . . . . . . . .. . .

. .

& . .. . . .

. .. . . . . . . . .

?. .

>. - . .

>.

> . . . . .>

∑

& ∑œ œb œ œ œ œœ œb œ œ œb œb

œ œ œ œb œb œb œ œ

? ∑

&

& . . . . . . . .. .

& . . . ..

. .. . .

? . .. . .

. . . .

&

&

Œ ‰ œn! œn œb ‰ œ! œ œŒ ‰ œ! œ œb œ œb œ œb œb

Œ ‰ œ! œ œ œ œn‰ ‰ œb!

œb œb œ ˙ ™

‰ ≈ œ"œ œn ‰ œb! œ œ Œ ‰ ≈ œ"œ œ œ œ œb œ œŒ ‰™ œ œ œ œ œ ‰ ‰ ≈ œ"œ œb ‰

œb œn œ ˙ ™œ ™ œ ‰ œ# œ œ ™ œ ‰ œ# œb ™ œb ‰ œ# œ œ œ œ œ ™ œ ‰ œ# œ œ ‰ œb ™ œb ‰ œ# ˙

œn ™ œn œ œnœ ™ œb œ œ

œ ™ œ œœ ™ œb œ

¿ ¿ ¿ ¿ ¿ ¿

Œ ‰ œ! œ œ œ œ! ‰ Œ ‰ œ! œ œ œ œb ™ œ‰ Œ ‰ œ! œ œ œ œ# ™ œ œ œb œb œ! ‰ ‰ œn! œn 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 Ó œ ™ œ Œ Œ Ó ‰ œ# œ œ Œ œ ™ œ Œ Œ œ ™ œ Œ Œ Ó

œœœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ

Ó™ Ó

=

Triptych - I. 11

25

The marimba plays the composite, but it is distributed in shorter segments to the three

winds. As such, the marimba serves as a glue to hold the adjoining segments together. In

this way, this section resembles a musical tessellation, not unlike those of M.C. Escher

(Fig. 3.4). That is, each instrument’s disjointed line could form its own melody, but when

stated in the negative space of adjacent lines, a composite musical tessellation is formed.

Fig. 3.4: M.C. Escher, Regular Division of the Plane with birds (mcescher.com).

This composite melody is assembled additively, and unlike a true visual

tessellation, overlap is key in holding the whole together. In m. 8, the baritone sax

continues its G-Eb-A-Eb ostinato, and the clarinet follows, beginning on the last rhythmic

value played by the saxophone. In m. 15, the flute enters, similarly dovetailing off of the

clarinet. In m. 18, the flute passes the melody off to the clarinet again, creating a

“leapfrogging” melody, and so on. The line is somewhat embellished, however, in the

second and third measures of each three-measure phrase. These sixteenth note additions

create a second layer of overlap behind the composite line.

26

In m. 25, the Rhythmic Blip Machine (RBM) is activated in the electronics. This

unit is built from simple impulses (using the click~ object in Max/MSP), passed through

tuned resonant filters (using the lores~ object). All simple subdivisions of the beat –

whole note to 32nd note, as well as dotted notes and triplets on each subdivision – are

available in this unit. In addition, a probability filter – i.e., the percentage of blips that

pass through – and a “humanization factor” – i.e., the range of random delay, from 0. to

the full subdivision length (1.) – is applied to each blip. Lastly, a table of pitches (in a

coll object) is provided to determine the blip tunings. At this moment, the RBM is tuned

to the tetrachord G-A-D-Eb. One important feature of the RBM is the “0” button. If the

ensemble begins to drift from the beat, the user (the percussionist in this case) has the

ability to press the space bar to reset the downbeat. My hope is that this will provide

some degree of performance flexibility for the ensemble.

Once the RBM is activated, a short interlude, featuring coquí-like major-9th leaps

in the flute and clarinet, is followed by a resumption and development of the main theme.

The harmonic ostinato of G-Eb-A-Eb continues with rhythmic and melodic variation. This

variation occurs most notably via the obfuscation of the downbeat, as shown in the

composite marimba line in mm. 34-7 (Fig. 3.5). This serves to disorient the hypermeter,

and further develop the main theme.

Fig. 3.5: Obfuscation of the downbeat, Marimba, I., mm. 34-7.

°

¢{{

°

¢{{

Fl.

Cl.

Bari. Sax.

Mar.

Elec.

30

Fl.

Cl.

Bari. Sax.

Mar.

Elec.

sfp mf sfp mf sim.

34

mf

mf

64

54

64

54

64

54

64

54

64

54

64

54

& . . . . . . . . . . . . . . . . . . . .∑

& . . . . . . . . . . . . . . . . . . . .∑

?. . .

.. . . . . .

& ∑ ∑ . . . . . .

?

& ∑

& > > > . >

& . ..

. . . . . .. .

.

? . . . . . . . . . . . . . . . . . . .& ∑ œ œ œ œ œ œ œ œ?

&

‰ œœ Œ œ

œ Œ œœ ‰ Œ œ ™ œ ‰ œ

œ Œ œœ ‰ ‰ œ

œ Œ œœ ‰ ‰ œ

œ Œ œœ ‰

‰ œœ Œ œ

œ Œ œœ ‰ Œ œ ™ œ ‰ œ

œ Œ œœ ‰ ‰ œ

œ Œ œœ ‰ ‰ œ

œ Œ œœ ‰

œn œb ‰ Œ Œ Ó œnœ Œ Œ œ# ™ œb Œ Œ œ ™ œ Œ Œ Ó œ ™ œ Œ Œ Ó

Œ œœ ‰ ‰ œ

œ Œ œœ ‰ œ ™ œ Œ Œ Ó

œn œb ‰ Œ Œ Ó œnœ Œ Œ œ# ™ œb Œ Œ œ ™ œ Œ Œ Ó œ ™ œ Œ Œ Ó

Œ ‰ œ! ˙ ™ Ó ≈ œ ™! ˙ Ó ≈ œ ™! œ œ œb Œ ≈ œ ™! ˙ ™‰ ≈ œ"œ œ Œ Ó ‰ œ# œ œ œ œ ‰ Ó ‰ œ! œ œ œ œ ‰ ‰ ≈ œ"œ œb ‰ ≈ œ"œ œ ‰ Œ Ó

œ ™ œ Œ ≈ œ"‰ œ œ ‰ Œ œ œb Œ Œ ≈ œb "‰ œ œ ‰ ≈ œœ Œ ≈ œ"‰ œ ™ œb ‰ œb # ‰ œ œ ‰ œ# ≈ œ"‰ œ œ ‰ œ œ ‰

œ ™ œ œ œ Œ Ó œ œb œ ‰ Ó ≈ œœ ‰ œ ™ œb œb ‰ œ œ

œ œ ‰ Œ Ó

¿ ¿ ¿ ¿

=

Triptych - I. 9

27

In m. 64, the second thematic unit is introduced, once again with G as its tonal

center. Instead of providing the composite line on the marimba, the percussion part now

mirrors the repetitive flute and clarinet line on the wood blocks. This is the first

significant instance of complex rhythmic lines performed by the woodwinds in unison, a

technique that will feature more prominently in the third movement.

The third thematic unit is introduced in m. 86 with a center of Bb, faster yet and

with marimba “glue” once again. The assembly of the composite is, like the first thematic

unit, accomplished via “leapfrogging.” In m. 102, the saxophone reenters after a brief

breather, and the line is disjointed and skewed. The flute and marimba now play a quirky,

insistent melody – the closest we’ve come to a true melody in the piece – above a

pseudo-accompaniment distributed between the saxophone and clarinet. We remain in the

tonal area of Bb, and gradually disintegrate toward the end (mm. 125-7).

In this section, an important element of the piece’s musical language is

introduced: the stuttering rhythm. A two-measure basic idea is presented in mm. 102-3,

and repeated with slight rhythmic variation in mm. 104-5. At the end of m. 105, however,

an extra beat is added before the final B, subverting the expectation of pulse and

hypermeter:

Fig. 3.6: Stuttering rhythm, I., mm. 102-5.

°

¢

{{

°

¢{{

Fl.

Cl.

Bari. Sax.

Mar.

Elec.

102

mf

Fl.

Cl.

Bari. Sax.

Mar.

Elec.

106

44

54

44

44

54

44

44

54

44

44

54

44

44

54

44

44

44

44

44

44

&. . . . . . . . . . . . . . . . .3

3 3 3

3

& . . . . . . . . . . . . . .? . . .

. . . .. . . .

. . . ..

&3

3 3 3

3

& ∑ ∑ ∑ ∑

&. . . . . . . . . . . . . . . . . . .3

3 3 3

3

& . . . . . . . . . . . . . . . . . .? . . .

. . . ..

..

. . ..

. .

&3

3 3 3

3

& ∑ ∑ ∑ ∑

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"œb " ‰ œ œ Œ ‰ œ"

œb " ‰ ‰ œ" Œ ‰ œ"œn " ‰ œ œ Œ ‰ œ"

œ" ‰ ‰ œ" Œ Œ

œb œ ‰ œ! œ" ‰ Œ œb œ ‰ œ! ‰ œ" Œ œn 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 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"œb " ‰ œ œ Œ ‰ œ"

œb " ‰ œ œ Œ œn œ ‰ œ" œ" ‰ Œ œ œ ‰ œ" œ" ‰ œ œœb œ ‰ œ! œ" ‰ Œ œb œ ‰ œ! œ" ‰ Œ ‰ œ! œn " ‰ 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

=

Triptych - I.18

28

In other words, in this technique, patterns are established and then altered slightly to keep

the listener’s interest. In this way, my style differs from that of the true minimalists:

whereas Steve Reich would start a pattern and gradually vary it, I choose to break the

pattern with slight rhythmic variation and added negative space.

The final section is a recap of the third thematic unit, faster and with

accompaniment from the RBM, tuned to the pitch set Bb-D-E-F-G-A. The baritone sax,

however, now provides a disparate bass line, firmly establishing an harmonic structure

where there was ambiguity before. The flute line continues upward, adding whole-tone

“wrong notes” at the end of phrases beginning with mm. 138-9, and the clarinet begins to

tack on an extra note to its pattern in each measure. The 5/8-5/8-5/8-6/8 metric schema

continues throughout, and the saxophone bass line drops out, replaced by a pedal G

rhythm in m. 156. Lastly, the final 6/8 measure is repeated four times in true minimalist

fashion, and the movement ends abruptly.

3.4 Movement II.

The second movement of Triptych begins with an initiating sequence (mm. 1-46)

that is slightly more rigid in meter and measure, and dominated by “tangled knot” pitch

figures. In these figures, each instrument is asked to play a cluster of pitches in any order,

as fast as possible for the given duration (Fig. 3.7).

29

Fig. 3.7: Tangled knot figures, II., mm. 1-4.

The intended result is a short jumble of pitches, a sonic representation of a tangled ball of

yarn. The tempo should be somewhat steadier than in I. and III.’s respective initiating

sequences, so meter and measure numbers are included. However, since precise attack

and release points are left to the ensemble’s discretion, bar lines are generally absent. 3/4

bar lines are only included for ease of reading and potential rehearsal points.

The style of this section can best be described as “Behrman meets Feldman.” As

in I., drones of simple synthesized tones progress at an extremely slow rate,

accompanying the improvisatory elements in the ensemble. Like much of the music of

Morton Feldman, individual cells and motives in this section are repeated at a stuttering,

not-quite-steady rate, with minor variations in rhythm and ordering. In this case, the

stuttering is provided by the occasional 3/4 bars and quarter-note length, as well as being

œ

œœ

{

°

¢

{

°

¢

Flute

Bass Clarinetin Bb

Baritone Saxophone

Marimba

Electronics

Slowly, roughly in time (q = c. 50)

Fl.

B. Cl.

Bari. Sax.

Mar.

Elec.

7

24

34

24

34

24

34

24

34

24

34

34

24

34

34

24

34

34

24

34

34

24

34

34

24

34

&*

*) A tangled knot: play indicated notes (slurred) as quickly as possible in any order for indicated length. Vary each iteration.

II.Ethan Frederick Greene (2013)

? *

? *

&*

&

&[c. 0:15]

?

?

&

&

œœœ! ‰ Œ œœœ! ‰ Œ œœœ! ‰ Œ œœœ! ‰ Œ œœœ! ‰ Œ œœœ! ‰ Œœœœ! ‰ Œ œœœ! ‰ Œ œœœ! ‰ Œ œœœ! ‰ Œ œœœ! ‰ Œ œœœ! ‰ Œ

œœœ" ‰ Œ œœœ" ‰ Œ œœœ" ‰ Œ œœœ" ‰ Œ œœœ" ‰ Œ œœœ" ‰ Œ

œœœ" ‰ Œ œœœ" ‰ Œ œœœ" ‰ Œ œœœ" ‰ Œ œœœ" ‰ Œ œœœ" ‰ Œ

œœœ Œ Œ œœœb! ‰ Œ œœœb! ‰ Œ œœœb Œ œœœb! ‰ Œ œœœb! ‰ Œœœœ Œ Œ œœœ! ‰ Œ œœœ! ‰ Œ œœœ Œ œœœ! ‰ Œ œœœ! ‰ Œ

œœœ Œ Œ œœœ" ‰ Œ œœœ

" ‰ Œ œœœ Œ œœœ" ‰ Œ œœœ

" ‰ Œ

œœœ Œ Œœœœb

" ‰ Œœœœb

" ‰ Œœœœb

Œœœœb

" ‰ Œœœœb

" ‰ Œ

30

inherent to the improvisatory nature of the section. In Feldman’s case, on the other hand,

this stuttering is brought about by precise metering and rhythmic variation. For example,

in his piano piece Palais de Mari, Feldman uses extremely subtle variations in rhythm to

alter simple, repeated gestures. The first six measures, shown in Fig. 3.8 below, outline

this approach.

Fig. 3.8: Feldman, Palais de Mari, mm. 1-6.

Here, a tetrachord (Ab-F-D#-E) is repeated monophonically (although with constant

pedal) three times, with a slight variation – the F-E dyad is altered so that the E is played

before the D# – the second time. This, along with the ever-depressed pedal, produces a

sort of haze in memory to the listener (at least to this listener). The reordering appears as

a kind of rhythmic mirage, as it is quickly erased on the third playing (m. 5), which is

identical to the first.

The harmonic progression in this section of Triptych is a sequence of trichords

and tetrachords, each changing one semitone at a time. The initial B-C-D trichord

expands outward in register to a final G-C-F trichord in m. 46. Quartal harmony was

chosen for its open and directionless sound, tonal in origin but full of contradictory

31

tendency tones. Furthermore, the combination of quartal harmony and pure tones can

produce illusory harmonic partials and interesting electroacoustic blending effects.

At the end of the introduction, granular-processed trumpet and shofar sounds are

introduced, emerging out of the quartal harmony in the woodwinds. Above this texture,

the instruments are asked to improvise air sounds, key clicks and tongue pops and rams,

which are sent through granular processing and delay. In addition, the intensity of sound

in the microphone input controls the grain delay of yet another granular synthesizer,

whose source is the same synthesizer used in the first movement introduction.

This improvisatory section tapers off, and a recording of a field of cicadas

emerges. I spent some time in the field, recording humming cicadas, but eventually ended

up using, with permission, an archival recording made by David C. Marshall, an ecologist

and evolutionary biologist at the University of Connecticut. Rather than tie an

approximate tempo to the cicada recordings, I have chosen to use their swells as the

conductor. The performers are asked to follow these recordings, and use each swell as a

measure marker (see Fig. 3.9). The cicadas begin at approximately q = 46, but vary subtly

throughout the recording; thus, it will take some practice for the ensemble to get

comfortable following the swells. In addition, the performers are instructed to follow the

dynamics of the cicadas, which I imagine would be one’s natural instinct anyway.

32

Fig. 3.9: Cicadas as “conductor,” II., mm. 82-6.

The idea for using cicadas as a tempo determinant came to me amidst the Great

Cicada Craze of 2013. During the summer, the Brood II cicadas, which had been dormant

for the preceding 17 years, were set to emerge and breed. Much was made on various

news outlets about the significance of this emergence, and it became a fascination for me.

I thought back to the summer days I spent in New Hampshire at camp, and remembered

standing for what seemed like hours on the soccer field (I played goalie), listening to the

cicadas thrum. Their pulsating rhythm – a slow, environmental rhythm, below the

threshold of human patience and tempo perception – entranced me. So I decided to bring

this trance to my music. Ideally, there would be more of a chance element to this segment

of Triptych. Perhaps a future incarnation of the piece could be performed in a field at

dusk, with the hordes of cicadas determining the tempo at that moment. But for the time

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Triptych - II.8

33

being, and for the sake of practicality and likelihood of future performance, I’ve chosen

to use a recording.

In this section, the bass clarinet and baritone saxophone form an intentionally-

muddy, subtly-varying ostinato pattern of long tones. The process here is quite simple:

the clarinet proceeds steadily from F to F# to E, while the baritone saxophone cycles

quasi-randomly through the chromatic pitches from A# to D. As such, almost all dyad

combinations of the clarinet’s trichord and the saxophone’s heptachord are produced.

Above this, the flute plays a long, aimless melody, somewhat similar to the saxophone’s

quasi-random semitone/tone meanderings. All the while, the marimba plays a low,

rumbling C-major tremolo with soft mallets, creating an ever-present major wash behind

the dissonant almost-canon in the winds.

In addition, throughout the section, grace-notes appear, creating quick leaps of

7ths and 9ths to the held pitches. This adds a twitching quality to the otherwise sedate

sequence of long, slow pitches. It also ties the woodwinds’ material to the insect world in

the electronics, as the cicadas continue to rise in amplitude throughout. In m. 117, the

instruments reach a widely spaced C-major chord, and the granular elements rise once

again in the electronics. This wash of grains, tuned in quartal harmony once again,

reaches a fever pitch and gradually diminishes over the course of the next several

minutes. While the pace of the overall movement demands a lengthy coda – one to endow

the large ABCB with suitably even proportions – this final section also gives the

performers a moment of respite. In a 30-minute work, this will be sorely appreciated.

34

3.5 Movement III.

The third movement of Triptych begins with a more ordered initiating sequence.

Instead of long drones, I have chosen a call-and-response structure, with electronic

manipulation and another bout of pure tones serving to unite the two forces. The

percussion begins each “call” with a crotale-strike, followed by a rapid chromatic

xylophone “scamper.” Each time this scamper occurs, two more pitches are added, until

the entire 12-tone row is created (Fig. 3.10).

Fig. 3.10: Xylophone “scamper” development, III., mm. 1-6.

Meanwhile, the winds respond to these calls with homophonic 9th chords. Barlines

are mostly absent once again, in order to encourage experimentation with length and

shape of held chords. Each time a new chord is introduced, a MIDI pedal cue initiates a

ramping-up of the granular processing on the winds, serving to sustain the wind pitches

in a cloud while the synthesizer tones fade in. A percussive electronic gesture – played as

fixed media, and built from recordings of a plastic tube – mirrors the xylophone scamper,

and concludes each electronic response.

This introduction is the only real instance of gestural music in the piece – i.e.,

music where individual moments of sound are presented on their own, without a

sustained, repetitive rhythmic or textural middle- or background. As such, it marks the

third movement as a sort of new beginning, a passage into a new sound-world. This

1 6

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œ œ œ œb œb œb œ œ œ œb œb œb œb œn œ œn œb œ

35

world is one of machines, whose rhythms and pitches form a different kind of almost-

human system of patterns.

The electronics are built on two sources here: dial-up modem and dot matrix

printer recordings. Growing up in the ‘80s and ‘90s, these two machines provided much

of the machine music around me. There is a triumphant feeling to both, an achievement

that an unlikely connection has been made. In the case of dot-matrix printers, it was the

triumph over the typewriter. After hearing my mom working on her legal writings every

morning on the typewriter throughout my youth, our acquisition of a printer represented a

major leap into the future. I remember sitting and listening to our printer for what seemed

like hours, waiting for my middle school and high school papers to print, entranced by

the steady, periodic thrumming that would, every so often, change slightly. And when my

parents bought my brother and me ‘Music Construction Set’ software for the Atari 65XE,

I was able to print my first attempt at sheet music (an arrangement of Herbie Hancock’s

Chameleon).

The modem was another aural signifier of technological progress, as well as a

major means of musical discovery for me in my teenage years. When my family first

became blessed with Internet access in the late ‘90s, I used it primarily to download

pirated music. So the iconic wash of white noise, followed by the metallic sixteenth-

eighth-sixteenth rhythm of the dial-up modem, has always been a beautiful sound to me.

With this background in mind, I wanted to craft a movement that was driven by

the natural rhythms and pitch material of these two machines. I began by finding

recordings of modems and printers on the internet – in addition to my own sample

36

library, freesound.org was a valuable resource for this – and applying heavy noise

reduction to weed out the ambient sound. Then I spliced each sound into dozens of

rhythmic morsels, and began assembling them into motives. In addition, I fed the entire

recording into a pitch-based sample synthesizer, and created a harmonic bed with the dial

tone and modem pitches. This accounts for the primary harmonic material during the

electronic solo in m. 7.

At the end of this solo, the synthesizer tones reemerge, and the marimba begins an

incessant series of metronomic quarter-notes on B – an homage to Terry Riley’s In C.

The flute and clarinet enter in unison at m. 12, with an eight-pitch row [E-D#-G-C#-A-C-

F-B] that begins with an ascending M7 and converges to a P5 (until the F-B). This row is

repeated three times, with slightly off-kilter rhythms on each repetition. The phrase takes

up 10 beats on the first statement (mm. 12-13), nine on the second (mm. 13-14), 8 on the

third (mm. 15-16), and 7 on the fourth (mm. 18-19). In the last statement, D and Bb are

added at the end to complete the tritone E-Bb axis, making this last phrase length actually

8 beats long. But the point remains: the row converges in interval space as well as in

duration on each repetition (see Fig. 3.11).

Fig. 3.11: Duration of theme repetitions, Flute and clarinet, III., mm. 12-19.

Flute

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44

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Pedal Cue

III.Ethan Frederick Greene (2013)

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37

This entire unit is then repeated almost identically, with the addition of a

countermelody in the baritone saxophone. Each pitch in the upper voice is followed by a

response on the next eighth note in the lower voice, creating a sort of skewed delay

effect. All through this section, the marimba continues its Riley-esque quarter notes,

which shift from strong beat to weak beat, due to the contracting phrase length. The last

measure is elided with the next measure this time, and, thus, shortened to a 3/4 bar. In m.

28, the winds play a closing gesture that lands on a widely spaced F# major chord, and is

immediately followed by the introduction of the rhythmic “modem beat” in the

electronics. This beat is constructed using the aforementioned rhythmic modem clips, along

with synthesized “Risset drums” and the same tube samples that were used in the

introduction. This drum synthesis is a technique that Jean-Claude Risset employed to

create noise bands using random ring modulation. As described by Dodge, a fundamental

frequency is added to this random ring modulation, along with inharmonic partials at 1.6,

2.2, and 2.3 times the fundamental.

This is the only rhythmic portion of the piece in which the ensemble does not

have an override or “0” button. This is due to the heterogeneous nature of the sounds in

this beat, and the changing meters. I wanted to make sure that each downbeat was

distinguished in the electronics, and a random rhythm generator that allowed for resetting

of the downbeat would not have been conducive to this sort of metric precision. Thus, the

ensemble must listen closely in order to stay in rhythm with the track.

38

At this point, the clarinet breaks off to play an ascending eight-pitch scale [E-F-G-

A-B-C-C#-D#] as a pseudo-harmonization to the main theme. As shown in Fig. 3.12, a

sort of “fulcrum” results where the two instruments cross at C in mm. 32-33.

Fig. 3.12 Harmonization of the theme, Flute and clarinet, III., mm. 32-3.

In m. 40, the entire segment is repeated, with the flute up an octave and the saxophone

filling in more of the interstitial space with countermelody. In m. 48, the winds proceed

to a short B section in F, while sixteenth note taps are introduced, and the Risset drums

become more insistent in the electronics. The B section returns in m. 56, and continues to

spiral upward to F# in m. 60 and, finally, G in m. 65. Finally the transposition of the

theme descends back to F, beginning a new section in m. 69.

This marks the first time in the piece where slurred-note gestures reign supreme

over pointillistic staccato textures or drone sections. A six-pitch, “serpentine motive” –

[F-G-F#-Ab-F-F#-G-Ab], seen first in the clarinet (mm. 71-2) – dominates this entire

formal unit (mm. 69-120). See Fig. 3.13 below for notational display of this motive. The

flute and clarinet state call-and-response variations on this motive, accompanied by the

saxophone and marimba on each first note, while the electronics explore overlapping

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7

39

granulated dot-matrix printer textures. The clarinet and flute are joined by the saxophone

in m. 81 in overlapping variations on the serpentine motive. These statements become

more and more dovetailed until m. 91, when the tempo accelerates to q = 120, and a new

rhythm machine – the Tappy Rhythm Machine, a variation of the Rhythmic Blips

Machine – is introduced.

The flute now repeats the serpentine motive over and over again, and is eventually

joined by the clarinet (m. 96, starting on beat 3), the baritone saxophone (m. 97, beat 5),

and finally the marimba (m. 99, beat 4). This begins a true minimalist process of phased

lines, shown below (Fig. 3.13). In contrast to the work of Reich, however, the

combination of quarter-note triplets and eighth notes here undermines the stability of the

pulse.

Fig. 3.13. Overlapping “serpentine” motive, III., mm. 100-104

Once all four instruments have joined in on the pattern, the tetrachord begins to

transform, shifting one pitch up or down a semitone at a time every four measures. In the

first shift (m. 102, shown in Fig. 3.13 above), [F-F#-G-Ab] becomes [E-F#-G-Ab],

outlining a major third, rather than a minor third. Next, the tetrachord shifts to [E-F#-G-

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16

40

A] in m. 106, creating a feel of E minor or G major (or any other modal variant). In m.

110, the F# becomes F, and in m. 114, the final transformation creates an [E-F-G#-A]

tetrachord. The augmented second and two semitones create maximal tension, and

beckon for a release. In “Signature Transformations,” Julian Hook uses a mathematical cousin of neo-

Riemannian theory to define what he terms “key signature transformations” in the music

of Schubert and Torke, among others (Hook, 137). These transformations occur when a

string of pitches retains its letter name set, but gains or loses sharps or flats. My process

here can be thought of as a variant of this sort of transformation: although the letter

names change, they could be respelled to be the same, albeit with double-sharps and flats

(although this would violate Hook’s requirement of diatonic strings).

This transformation is commonly found in minimalist and post-minimalist music,

as Smith points out in her dissertation on the work of Torke: “While early minimalist

composers seemed to favor rhythmic processes over tonal ones, Torke freely employs

tonally motivated techniques in his pieces. In his 1995 composition Telephone Book, he

progressively adds sharps to short, repeating motives to simulate the alphabetical

ordering of last names with the same first letter in directory listings” (Smith, 22). Aside

from the programmatic telephone book element, this is precisely what I have done in III.

Once the final transformation has occurred, the instruments join together in a

chromatically winding eighth-note passage (mm. 118-20), and land on an E, which, after

a brief accelerando in the marimba, sets up the final section: a return of the first thematic

41

material (mm. 32-68) in F. The first segment (which was the B section the first time) is

performed identically, but the original motive, which returns at m. 127, is now squeezed

into a tidy 16-beat phrase. This sets up the final segment (mm. 131-175), which

undergoes an accelerando to q = 60 as the motive is transposed up one semitone at a time

every four measures. At m. 143, the transposition begins to take place twice as fast (every

two bars), and at m. 147 twice as fast again (every bar, splitting the motive into two

halves now). Once the transposition level has reach D in m. 151, the motive is clipped

short by one eighth-note at a time, producing a 7/8 version, then a 3/4 version (m. 155),

then a 5/8 version and so on, until it is reduced to one pitch at a time in m. 168. Here the

transposition process descends back down to G, in 3/8 meter, creating a “malfunctioning

printer” effect. Finally, the opening call-and-response sequence returns, and the piece

ends on the quintal harmony [F-C-G-D].

3.6 Conclusions

Triptych marks the culmination of many threads of my development as a

composer. On the most basic level, it is my longest work of instrumental music. At one

point I found it difficult to generate more than a few minutes of music in any given piece;

now my process is more focused on erasing material. I suppose this is a matter of gaining

the all-holy “chops” as a composer. I can now flesh out ideas much more quickly than in

the past, freeing me to make informed choices and intuitive leaps in my music. In

composing Triptych, whenever I was confronted with a problem section, I would try out

42

several solutions and choose the one that fit best. In other words, composing has become

a lot more like rational thinking for me.

On an aesthetic level, Triptych is my most focused work. As mentioned in the

Introduction, I have settled on a style that is largely devoid of musical embroidery –

unjustified flourishes, virtuosity for no apparent reason, etc. In the past, I felt the need to

prove that I could write “idiomatically” for the instruments at hand, and, to my misguided

mind, that meant unwarranted athleticism. The fact of the matter, however, is that some

music demands this athleticism, and other music doesn't. I now know that my music – at

least in my current style – does not require as much virtuosity in individual technique as

it does in ensemble play. This is a very important realization.

Triptych is also my most ambitious work of electroacoustic music. Looking over

my process, it is clear that I have improved greatly as a programmer in Max/MSP, as well

as in my fixed media composition. In other words, I’ve gained electronic “chops” as well.

As such, I have been able to forge a more perfect union between instruments and

electronics, and developed new techniques for control and expression in my

electroacoustic music. I know that I still have miles upon miles to go before I am a

programmer of a truly high caliber, but I nonetheless feel as though I am operating at a

professional level. And that is a good feeling for somebody who never programmed more

than a graphing calculator in his life.

In retrospect, the logistical realities of the ensemble and the planned premiere

have dictated the composition of the piece to a greater extent than I’d realized. I was

originally commissioned for a shorter work, but decided to lengthen it and turn it into my

43

dissertation. When I approached the Fountain City Ensemble with the idea to make it a

longer piece, they were all for it, but I nonetheless wanted to provide them with some

flexibility for performance opportunities. That is, I didn’t want the piece to always

demand a full half of any concert program. So I decided that each movement would work

as a standalone movement, which in turn accounted for the initiating sequences in each

movement. In other words, I would not have included such lengthy introductory sections

in each movement if I had not planned the piece this way. In addition, I decided that the

first movement would be the easiest to mount – no live processing, all fixed media (with

cueing) – which in turn had implications with respect to the future movements. Of course,

it is always the case that logistics influence the composition process, particularly with

electroacoustic works, but it is nonetheless important to recognize here.

Despite the assured proclamations of the treatise before you, the technique and

style of this piece developed as it was composed. I knew I wanted to compose something

for the ensemble – I had been commissioned, after all – and I knew it would contain some

minimalist elements, but that was about it at the outset. It was only through a long

process of sketching, scrapping, re-sketching and re-scrapping that I came upon my own

aesthetic and philosophical convictions. And it will come as a supreme affirmation of the

merits of the University of Texas Butler School of Music dissertation requirements when

I say that the writing of this document has truly allowed these convictions to crystallize.

!!!!

Ethan F

rederick Greene

TR

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2013

44

Trip

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I. c. 12’

II. c. 11’

III. c. 8’3

0”

Instru

men

tatio

n

Flu

te

Clarin

et (dou

bles b

ass clarinet in

Bb) B

ariton

e Saxo

ph

on

e

Percu

ssion

: Tam

-tam, m

arimb

a (5-o

ctave), crotales (F

, B, C#), xylo

ph

on

e, wood

blo

cks (4

pitch

es), Tib

etan sin

gin

g

bow

ls (C, G

)

All in

strum

ents am

plified

and

pro

cessed (m

ore b

elow

) P

rogra

m N

ote

Trip

tych is a th

irty-min

ute w

ork

in th

ree movem

ents fo

r flute, clarin

et (dou

blin

g b

ass clarinet), b

ariton

e saxo

ph

on

e, percu

ssion

and

live electron

ics. Rh

ythm

ically intricate m

usical “tessellatio

ns” are ju

xtaposed

with

lo

ng, evo

lving d

ron

es amid

st an electro

nic b

ackd

rop

of en

viron

men

tal fou

nd

sou

nd

, gran

ular clo

ud

s, p

roced

urally g

enerated

rhyth

mic seq

uen

ces, and

simp

le oscillato

rs. Th

e piece exam

ines co

ncep

tion

s of p

attern,

pitch

and

perio

d in

the en

viron

men

t, hig

hlig

htin

g th

e mu

sical elemen

ts and

structu

res of creatu

res and

m

achin

es – the “alm

ost-h

um

an” m

usical b

eings all aro

un

d u

s. Each

“pan

el” of th

e triptych

is desig

ned

to w

ork

effectively as eith

er a part o

f the larg

er work

, or as its o

wn

, auto

nom

ou

s piece o

f mu

sic. Th

e electron

ics are d

esign

ed to

maxim

ize perfo

rmab

ility and

imp

rovisato

ry flexibility in

the en

semb

le. All p

rocessin

g an

d cu

eing is

cod

ed in

Max/M

SP

. Trip

tych w

as com

missio

ned

by th

e Fou

ntain

City E

nsem

ble, an

d w

ill be p

remiered

in M

arch,

2014.

45

Tech

nical C

onsideration

s S

OF

TW

AR

E R

EQ

UIR

ED

: Max/M

SP

or Max/M

SP

Runtim

e (available at cycling74.com) version 5 or later

Startup In

structions:

1. M

ake sure your audio interface is plugged in and turned on. 2.

Open the file nam

ed “TR

IPT

YC

H_F

UL

L.m

axpat” (colored green on most system

s). 3.

In the “Input Handling” section, set your audio driver and input device.

4. In the bottom

right corner, press the large speaker button to turn on audio. 5.

Set your levels (the first O

utput preset is a good place to start) and play! P

ED

AL

S A

ND

AU

DIO

ON

/OF

F

More inform

ation will be provided by the com

poser. Please contact ethangreene@

gmail.com

before perform

ance.

Ch

oose your pedal input (MID

I, US

B or S

pacebar) and

test it. Cuein

g will n

ot work w

hile “T

esting…

” is displayed.

Audio O

ptions: all your options! B

ig Speaker: turn audio on and off! O

utput presets: the first one is provided for you. Hold dow

n ‘shift’ and click a circle to enter your ow

n. WA

RN

ING

: this w

ill overwrite any previously saved presets.

46

°¢

°¢

Score in C

Flute

Clarinet in Bb

Baritone Saxophone

Percussion

Electronics

ppp

Slowly, ou

t of time (follow

electronics)

ppp

p

Fl.

Cl.

Bari. Sax.

Perc.

Elec.

ppp

&# *œ

œœ

œœœœœœœœœœœœœœœœ

œœ

MID

I Pedal Cue:

TriptychI.

1E

than Frederick Greene (2013)

*) Staccatissimo, gradually varying density as show

n. Stay out of sync with other instrum

ents. M

aximal density should be as fast as possible; m

inimal density should be close to quarter note at 60 bpm

.

&*œ

œœ

œœœœœœœœœœœœœœœœ

œœ

œC

ontinue pattern.

?/T

am-tam

pp

Undulate in intensity, out of sync w

ith other instruments.

?

&C

ontinue pattern.[0:45]

&?œ *

œœ

œœœœœœœœœœœœœœœœ

œœ

œC

ontinue pattern on given pitch. Follow synth.

œ

/?

æ æ æ wœœœ#

œœœ #œœœ #

=

47

°¢°¢ Fl.

Cl.

Bari. Sax.

Perc.

Elec.

Fl.

Cl.

Bari. Sax.

Perc.

Elec. &

Continue pattern, alternating betw

een given pitches.[1:30]

&?/?&[2:25]

&C

ontinue pattern, alternating between given pitches.

?C

ontinue pattern, alternating between given pitches.

/?

œ œ#

œœ

œœœ #œœœœ #

œ œœœœ#

œœœœœ #œœœœœ# #

=

Triptych - I.

2

48

°¢°¢ Fl.

Cl.

Bari. Sax.

Perc.

Elec.

Fl.

Cl.

Bari. Sax.

Perc.

Elec.

ppp

&[3:00]

&?/?&[3:35]

&?(held, breaths ad lib.)

/?

œ œ##œ œ#

œœœœ

œœœœœœ ##œœœœœ

œ œœ œb

œ œœ œ

wwb

œœbœœ b

=

Triptych - I.

3

49

°¢°¢ Fl.

Cl.

Bari. Sax.

Perc.

Elec.

Fl.

Cl.

Bari. Sax.

Perc.

Elec.

mfmf

mf

mf

&œœœœœœœœ

œœ

œœ

œœœœœœœœœ

œœ

œC

ontinue pattern.

[4:10]

&œ

œœœœœœœœœœœœœ

œœ

œœ

œœœœœœœœœœC

ontinue pattern.

?/?&œ

œœœœœœœœœœœœœœœœœ

œœ

[4:45]

&œ

œœœœœœœœœœœœœœœœ

œœ

œ

?/?

œ œbœœb

œœbœœ b

œ œbœ œ

œœœœ

wwb

œ œbœœ b

œœ bœœb

œœb

œœœœ

œœ

ww

œ œbœ œ

=

Triptych - I.

4

50

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

°¢°¢{ Fl.

Cl.

Bari. Sax.

Perc.

Elec.

pp

Fl.

Cl.

Bari. Sax.

Mar.

Elec.

Mod

erately, rigid (q =

100)2

pp

5454545454

5454545454

&(trailing off into electronics)œ

œœ

œœ

œœ

∑ U[5:00]

Jungle sounds, coquí frogs (c. 0:30)

&œ (trailing off into electronics)

œœ

œœ

œœ

∑ U

?∑ U

/(few

er and fewer strikes)

∑ U

&&∑

∑∑

∑

2[c. 5:30]

&∑

∑∑

∑

?extrem

ely short, mechanically

..

..

..

..

..

?hard m

allets, mechanically

/Jungle sounds, coquí frogs continue...

œ ™œ

ŒŒ

Óœ ™

œbŒ

ŒÓ

œœ

ŒŒ

œ ™œb

Œœ ™

œŒ

ŒÓ

œ ™œ

ŒŒ

Óœ ™

œbŒ

ŒÓ

œœ

ŒŒ

œ ™œb

Œœ ™

œŒ

ŒÓ

=

Triptych - I.

5

51

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

°¢{°¢{ Fl.

Cl.

Bari. Sax.

Mar.

Elec. 6

p

Fl.

Cl.

Bari. Sax.

Mar.

Elec. 10

6454

6454

6454

6454

6454

6454

3454

3454

3454

3454

3454

3454

&∑

∑∑

∑

&∑

∑extrem

ely short, mechanically

..

..

?. .

..

..

..

..

&∑

∑∑

œœ œ ‰

?/(Jungle)

&∑

∑∑

∑

&.

..

.∑

..

..

..

?.

..

.∑

..

..

&∑

œœ

œ œœ

œbœ

œœ œ ‰

?∑

/

‰≈œ !œ

œŒ

Ó‰

≈œ !œœ

œ œ ‰Ó

œ œb‰Œ

ŒÓ

œœ

ŒŒ

œ ™ œbŒŒ

œ ™œŒ

ŒÓ

œ ™œbŒ

ŒÓÓ

œ œb‰Œ

ŒÓ

œœ

ŒŒ

œ ™ œbŒŒ

œ ™œ œ

œŒ

Óœ ™

œb œÓ

‰œ "œ

œœ œ ‰

‰≈œ !œ

œb‰

≈œ !œœ

ŒÓ

‰≈œ !œ

œœ œ ‰

Ó

œœ

ŒŒ

œ ™œbŒ

œ ™œŒ

ŒÓ

œ ™œbŒ

ŒÓ

ŒÓ

Ó

œœ

‰œ ™

œbœ ™

œ œŒ

Óœ ™

œb œÓ

=

Triptych - I.

6

52

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

°¢{°¢{ Fl.

Cl.

Bari. Sax.

Mar.

Elec.

p

14

Fl.

Cl.

Bari. Sax.

Mar.

Elec. 18

6454

6454

6454

6454

6454

6454

5474

54

5474

54

5474

54

5474

54

5474

54

5474

54

&∑

extremely short, m

echanically

. . .. .

.. .

.. ..

&. .

.. .

. ..

.. .

.. .

?. .

..

..

..

. ..

.

&œ œœ œ

œ œbœ œ œb

œ œœbœ œb‰

œ œ œœ

œ œb œbœb

?/(Jungle)

&. . .

. ..

. ..

...

. . .. . .

&. .

.. ..

. . ..

. ..

. .. ..

. ... .

?.

..

.. .

..

..

&œ œ œb œ œ

œ œœb œ

œœ œ œ

œœ œb

œb œbœœœ œ œb œ œ œ œ

?/

Œ‰œ !œ œbÓ

Œ‰œ !œ

œbœ œb‰ŒŒ

‰œ !œœœ œn‰

‰œb" œbœb

‰œ !œ œœ œ ‰‰≈œ #œ œb‰≈œ #œ œ Œ

Ó‰≈œ #œ œœ œ ‰Ó

‰œ !œ œœ œ ‰‰≈œ #œ œbŒ

œ œŒŒ

œ ™œbŒ

œ ™œŒ

ŒÓ

œ ™œbŒ

ŒÓ

œ œŒŒ

œ ™œbŒ

Œ

ӌ

œ œ‰œ ™

œbœ ™

œ œÓ

œ ™œb œ

Œœ œ

œ ™œb

Œ‰œn !œn œbÓ

Œ‰œ !œ

œbœ œb‰ŒŒ

‰œ !œœœ œn‰

‰œb"œbœbŒ

Œ‰œn !œn œb‰ œ" œ œ

‰≈œ #œ œ ‰œb" œ œŒ‰≈œ #œ œœ œ œb œ

œŒ‰œ !œ œœ œ ‰‰

≈œ #œ œb‰ œb" œnœn

‰≈œ #œ œn ‰œb" œ œŒ

œ ™œŒ

ŒÓ

œ ™œbŒ

ŒÓ

œ œŒŒ

œ ™œbŒ

ŒŒ

œ ™œŒ

ŒÓ

ŒŒ

œ ™œ œ

Œœ ™

œb œŒ

œ œœ ™

œbœ ™

œ œ

=

Triptych - I.

7

53

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

°¢{°¢{ Fl.

Cl.

Bari. Sax.

Mar.

Elec.

mf

22

mf

mf

mf

Fl.

Cl.

Bari. Sax.

Mar.

Elec.

p

26

p

p

7444

54

7444

54

7444

54

7444

54

7444

54

7444

54

5454545454

&.

..

..

..

..

..

∑ U∑

3

&.

. ..

..

..

..

..

U∑

?.

..

..

.∑ U

∑

&∑ U

∑œ

œœb

œœ

œbœb

œœ

œœ

œœb

œbœb

œnœ

?∑ U

∑

/(Jungle)

Granular stuff

Rhythm

ic clave-like blips

&crisply. .

... .

. ...

. .. .

... .

. ...

. .

&crisply. .

... .

. ...

. .. .

... .

. ...

. .

?.

..

..

..

..

.

?/

Œ‰

œ !œœb

œ œbœœb

œbŒ

‰œ !œ

œœ œn‰

‰œb"

œbœb

Œ

‰≈œ #œ

œœ œ œb

œœ

Œ‰

œ !œœ

œ œ ‰‰

≈œ #œœb

‰œb"

œnœ

w

œ ™œbŒ

ŒÓ

œœ

ŒŒ

œ ™œbŒ

ŒŒ

œ ™œb œ

œœ

œ ™œb

¿¿

¿¿

Œœ œ‰ ‰ œœ Œ

œ œ‰Œ

œ œ‰ ‰ œœ Œœ œ‰

Œœ œ‰ ‰ œœ Œ

œ œ‰Œ

œ œ‰ œœ Œœ œ‰

Œœ œ‰ ‰ œœ Œ

œ œ‰Œ

œ œ‰ ‰ œœ Œœ œ‰

Œœ œ‰ ‰ œœ Œ

œ œ‰Œ

œ œ‰ œœ Œœ œ‰

œ ™ œŒŒ

Óœ ™ œŒ

ŒÓ

œ ™ œbŒŒ

œ ™ œŒœ#™ œŒ

ŒÓ

œ ™ œŒŒ

Óœ ™ œŒ

ŒÓ

œ ™ œbŒŒ

œ ™ œŒœ#™ œŒ

ŒÓ

=

Triptych - I.

8

54

°¢{°¢{ Fl.

Cl.

Bari. Sax.

Mar.

Elec.

mf

30

mf

mfmf

Fl.

Cl.

Bari. Sax.

Mar.

Elec.

sfpmf

sfpmf

sim.

34

mf

mfmf

6454

6454

6454

6454

6454

6454

&. .

... .

..

... .

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. .

&. .

... .

..

... .

... .

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. .

?. .

. ..

..

..

.

&∑

∑. .

... .

?/G

ranular stuff(Fades in and out)

∑

&>

>>

.>

4

&.

..

..

..

..

.. .

?.

..

..

..

..

..

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.&

∑∑

œœ œ ‰

œœ

œ œ ‰œ

?/

‰œ œŒ

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Œœ ™

œ‰ œœ Œœ œ‰ ‰ œœ

Œœ œ‰ ‰ œœ Œ

œ œ‰

‰œ œŒ

œœ Œœ œ‰

Œœ ™

œ‰ œœ Œœ œ‰ ‰ œœ

Œœ œ‰ ‰ œœ Œ

œ œ‰

œn œb‰Œ

ŒÓ

œn œŒŒ

œ#™ œbŒŒ

œ ™ œŒŒ

Óœ ™ œŒ

ŒÓ

Œœ œ‰ ‰ œœ Œ

œ œ‰œ™ œŒ

ŒÓ

œn œb‰Œ

ŒÓ

œn œŒŒ

œ#™ œbŒŒ

œ ™ œŒŒ

Óœ™ œŒ

ŒÓ

¿ ¿¿ ¿

Œ‰

œ!˙ ™

Ó≈ œ ™!

˙Ó

≈ œ ™!œ

œœb

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˙ ™‰

≈œ "œœ

ŒÓ

‰œ #œ

œœ œ‰

Ó‰

œ!œ

œœ œ‰

‰≈œ "œ

œb‰

≈œ "œ œ‰Œ

Ó

œ ™œŒ

≈œ ‰œœ ‰

œœ ‰œ

œbŒ

Œ≈œb ‰

œœ ‰œ

œŒ

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Triptych - I.

9

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10

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Triptych - I.

11

57

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=

Triptych - I.

12

58

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

°¢{°¢ Fl.

Cl.

Bari. Sax.

Mar.

Synth.

mf

Slightly faster (q =

108)62

mf

mf

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Cl.

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Perc.

Elec. 66

p

4454

24

4454

24

4454

24

4454

24

4454

24

2454

2454

2454

2454

2454

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=

Triptych - I.

13

59

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

°¢°¢ Fl.

Cl.

Bari. Sax.

Perc.

Elec. 70

mf

mp

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11854

11854

11854

11854

11854

5464

54118

5464

54118

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=

Triptych - I.

14

60

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

°¢°¢ Fl.

Cl.

Bari. Sax.

Perc.

Elec. 78

Fl.

Cl.

Bari. Sax.

Perc.

Elec. 82

11854

6454

11854

6454

11854

6454

11854

6454

11854

6454

6444

58

6444

58

6444

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=

Triptych - I.

15

61

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ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - I.

16

62

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - I.

17

63

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Triptych - I.

18

64

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - I.

19

65

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - I.

20

66

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Triptych - I.

21

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Triptych - I.

22

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Triptych - I.

23

69

°¢{°¢{ Fl.

Cl.

Bari. Sax.

Mar.

Elec. 150

Fl.

Cl.

Bari. Sax.

Mar.

Elec. 154

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Triptych - I.

24

70

°¢{°¢{ Fl.

Cl.

Bari. Sax.

Mar.

Elec. 158

Fl.

Cl.

Bari. Sax.

Mar.

Elec. 162

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Triptych - I.

25

71

°¢{°¢{ Fl.

Cl.

Bari. Sax.

Mar.

Elec. 166

Fl.

Cl.

Bari. Sax.

Mar.

Elec. 170

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=

Triptych - I.

26

72

°¢{°¢{ Fl.

Cl.

Bari. Sax.

Mar.

Elec. 174

Fl.

Cl.

Bari. Sax.

Mar.

Elec. 178

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Triptych - I.

27

73

œ

œœ

°¢

°¢

Flute

Bass C

larinetin Bb

Baritone Saxophone

Marim

ba

Electronics

pp

Slowly, rou

ghly in

time (q =

c. 50)

pppppp

Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 7

2434

2434

2434

2434

2434

3424

34

3424

34

3424

34

3424

34

3424

34

&*

MID

I Pedal Cue:

1

*) A tangled knot: play indicated notes (slurred) as quickly as possible in any order for indicated length. Vary each iteration.

Ethan Frederick G

reene (2013)

II.

?*

?*

&*

&

&[c. 0:15]

2

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‰Œ

œ œ œb "‰

Œ

28

74

œœœ

?(H

igher pitches continue)œ

°¢°¢ Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 13

Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 19

3424

34

3424

34

3424

34

3424

34

3424

34

3424

3424

3424

3424

3424

3424

3424

3424

3424

3424

&[0:30]

3

??&&&[0:45]

4

??&&

œœœ bŒ

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Œ

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œœœ #!‰

Œœœœ #

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œ œ œb# "‰

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Œœ œ œb# "

‰Œ

œ œ œb#Œ

Œ

Triptych - II.

29

75

œœœ

œ

°¢°¢ Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 25

Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 31

2434

24

2434

24

2434

24

2434

24

2434

24

3424

34

3424

34

3424

34

3424

34

3424

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&

[1:00]5

6

??&?&[1:20]

7

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Œ

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Œœ œ œ

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Œœ œ œ# "

‰Œ

Triptych - II.

30

76

œ œ

°¢°¢ Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 37

Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 43

3424

3424

3424

3424

3424

4444444444

&*

q > h

[1:35]8

*) Individual notes growing longer and longer, overall length grow

ing toward h

?*

q > h

?*

q > h

&*

q > h

?&U

U[1:50]

9

?U

U

?U

U

&∑ U

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ww

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˙̇̇˙̇̇

Triptych - II.

31

77

°¢°¢ Fl.

B. C

l.

Bari. Sax.

Perc.

Elec. 49

Fl.

B. C

l.

Bari. Sax.

Perc.

Elec. 55 &

Air

*

[c. 2:25]10*) A

ir, ad lib. Hold for as long as you'd like.

Envelope follow

er and delay lines active, i.e., electronics follow input gain.

?A

ir*

?A

ir*

&R

ub in circular motion around the bow

l;i.e., induce singing.

?G

ranular stuff continues

&T

ongue pizzicato, tongue slaps and key clicks (vary ad lib.)................................

?T

ongue slaps and key clicks (vary ad lib.)................................

?T

ongue slaps and key clicks (vary ad lib.)................................

&? ~~

~~

~~

~~

~~

~~

¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿

~~

~~

~~

Triptych - II.

32

78

°¢°¢ Fl.

B. C

l.

Bari. Sax.

Perc.

Elec. 61

Fl.

B. C

l.

Bari. Sax.

Perc.

Elec. 67 &??&?&??&? ~

~~

~~

~~

~~

~~

~

¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿~

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~~

~~

~~

Triptych - II.

33

79

°¢°¢ Fl.

B. C

l.

Bari. Sax.

Perc.

Elec. 73

Fl.

B. C

l.

Bari. Sax.

Perc.

Elec. 77 &??&?&

¿ Gradually taper off into cicadas...

¿¿

¿¿

¿¿

¿∑ U

11W

ait for the cicadas.

?¿ Gradually taper off into cicadas...

¿¿

¿¿

¿∑ U

?G

radually taper off into cicadas...

¿¿

¿¿

∑ U

&∑ U

?C

icada swells

~¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿

¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿

~~

¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿

~~

~~

~~

¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿

¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿

~~

Triptych - II.

34

80

°¢°¢ Fl.

B. C

l.

Bari. Sax.

Mar.

Elec.

pp

Rou

ghly on

e cicada sw

ell per m

easure (q =

c. 46)B

eginn

ing of m

easure on

nad

ir of swell

82

pp

pp

ppp

Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 88 &

*

*) Vary intensity w

ith the cicadas. E

ach measure corresponds roughly to one cicada sw

ell. T

ake breaths as needed, only in between sw

ells. N

ote changes need not occur precisely in sync.

?∑

∑*

?∑

∑∑

∑*

?*

soft mallets

?&????C

icadas continue

fiœ !ww

ww

ww

fiœ !ww

ww

fiœ !ww

w ww w

w ww w

w ww w

w ww w

w ww w

w ww w

ww

ww

w˙ ™

fiœ ! œ

ww

ww

ww

ww

fiœ !ww

ww

w ww w

w ww w

w ww w

w ww w

w ww w

w ww w

Triptych - II.

35

81

°¢°¢ Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 94

Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 100 &????&????

ww

˙™œ

˙ ™œ

ww

wfiœ !w

w#w

fiœb ! ww

fiœ# !ww

wfiœ !w#

ww

w ww w

w ww w

w ww w

w ww w

w ww w

w ww w

˙™fiœ ! œb

˙ ™œ

˙™fiœ ! œn

ww

˙ ™œ

ww#

fiœn ! ww

ww

fiœ !ww

w#wn

fiœ !ww

w ww w

w ww w

w ww w

w ww w

w ww w

w ww w

Triptych - II.

36

82

°¢°¢ Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 106

Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 112 &????&????

˙™fiœ ! œb

˙ ™œ

w˙™

œ˙™

fiœ# œœn œ˙ ™

œ#fiœ !w#

ww

fiœœ# wnw#

w

ww#

fiœbœwnw

ww<n>

w ww w

w ww w

w ww w

w ww w

w ww w

w ww w

w˙™

œ˙ ™

fiœœb œ# œw

wfiœ# œœn œ# w

wfiœ œbw

w#fiœ# ! œ

fiœ !̇ ™w

wfiœœ# œwb

wfiœœ œbœbwn

w#fiœ !œ

fiœ !˙™w

w ww w

w ww w

w ww w

w ww w

w ww w

w ww w

Triptych - II.

37

83

°¢ Fl.

B. C

l.

Bari. Sax.

Mar.

Elec. 118&

U∑ U

12[c. 2:30 of elec. solo]

?U

∑ U

?U

∑ U

?U

U∑ U

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ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - III.

50

96

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - III.

51

97

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ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - III.

52

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Triptych - III.

54

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Triptych - III.

55

101

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Triptych - III.

56

102

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - III.

57

103

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Triptych - III.

58

104

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - III.

59

105

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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Triptych - III.

60

106

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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61

107

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

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63

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Bibliography

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Colón López, José. Cornell Lab of Ornithology. ML 53794 (Common Coqui –

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Vita

Ethan Frederick Greene creates music and sound art for concert hall, stage and

screen. His work explores new sonic possibilities through extended instrumental

technique and electronic manipulation, with a steady focus on more traditional, often

pop-influenced rhythm and harmony. Ethan has received commissions from the Houston

Grand Opera, the East Coast Contemporary Ensemble, Opera Southwest, the Fountain

City Ensemble, line upon line percussion, and other performers and ensembles in the U.S.

and abroad. Notable honors include selections from SEAMUS, ICMC and SCI, as well as

the Boston Metro Opera Mainstage Award, First Prize in the Austin Peay State

University Composers Competition, and First Prize in Opera Southwest’s Brabson

Composers Competition.

Ethan is an avid collaborator with visual artists, choreographers, filmmakers and

video game developers. Recent collaborations include Perception Unfolds, a new

installation by renowned choreographer Deborah Hay (coming to the Blanton Museum of

Art, 2014); This American Life (Showtime); The Conspirator: the Plot to Kill Lincoln

(National Geographic Channel); Night Sky, an experimental feature film by artist Alison

O’Daniel; and music and sound design for videogames Spider: the Secret of Bryce Manor

and Waking Mars (Tiger Style Games). On the side, Ethan plays trumpet and melodica in

the chamber-pop grump-rock band Linen Closet, and produces hip-hop and electronica

tracks with various artists.

Ethan received his B.A. in Music from Amherst College (2004), M.Mus. in

Composition from Rice University (2009), and is a D.M.A. candidate in Composition at

the University of Texas at Austin. Principal teachers include Russell Pinkston, Bruce

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Pennycook, Yevgeniy Sharlat, Arthur Gottschalk, Karim Al-Zand, Kurt Stallmann, and

Eric Sawyer.

Email: ethangreene@gmail.com

This dissertation was typed by Ethan Frederick Greene.