concerto for percussion and winds a thesis in …

CONCERTO FOR PERCUSSION AND WINDS

by

JAMES RAMSEY BECKHAM, B.Mus.Ed.

A THESIS

IN

MUSIC

Submitted to the Graduate Faculty of Texas Tech University in

Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC

Approved

Accepted

May, 1971

73 137/

ACKNOWLEDGMENTS

Appreciation is expressed to Dr. Judson Dana Maynard for

his assistance in the preparation of this work, to Dr, Mary

Jeanne van Appiedorn for her enthusaism and interest, and to

Mr. Joel T. Leach who made this composition possible through

his guidance and inspiration as a teacher, arranger, percus­

sionist, and friend.

11

PREFACE

Gt aeral Information

Concerto for Percussion and Winds is a one-movement con­

certo for symphonic band and six percussion soloists utilizing

twenty-one different percussion instruments. This work was

designed to offer a performance vehicle for competent high school

and university percussionists who do not have the opportunity to

display their talents as virtuoso soloists.

Prior to the V7riting of Clifton Williams' Concertino for

Percussion and Band in 1963 there were no compositions available

to show the performance abilities of the percussion section as a

solo group. Moreover, there were very few percussion concertos

for individual players and concert band. The bulk of these solo

concertos were, in fact, no more than humorous programmatic pieces

which gave no insight into the true musical capabilities of the

vast family of percussion instruments. Williams' Concertino was

the first work to exploit the tonal and dynamic contrasts available

within the percussion family. However, this work made limited use

of the mallet percussion instruments: the bells, vibraphone, chimes,

marimba, and xylophone.

Clifton Williams, Concertino for Percussion and Band (Evanston, Illinois: Summy-Birchard Publishing Company, 1960).

Ill

Concerto for Percussion and Winds is an attempt to fill

the gap left by Clifton Williams' Concertino in utilizing to the

maximum the mallet percussion instruments, and in giving capable

percussionists an opportunity to perform on several instruments

in a solo capacity.

The Style

The brass and woodwind sections of the band have long been

recognized as legitimate equals in playing technique and all other

elements of musical performance, with the percussion section

thought to rank far below the other two. Even though the percus­

sionists of today are unequivocally as competent musicians as the

members of the brass and woodwind sections, much current writing

still reflects the older subordination of the percussion section

to the other two sections. Concerto for Percussion and Winds

divides the band into three equal sections and utilizes the char­

acteristics of each section to contrast one against the other.

There are frequent full band segments, yet even with these segments

the brass, woodwinds, and percussion are contrasted by capitalizing

upon the individualities of each group. The percussion section is

used in a melodic and harmonic sense; the brass and woodwinds are

used percussively.

There is great usage of section against section, or section

answered by section, for example, brass against percussion, or per­

cussion answered by woodwinds. This gives the three sections of

the band as much equality as possible.

iv

The Melodic Content

There are two main themes used in Concerto for Percussion

and Winds. In addition, use is made of the Dies Irae, a plainsong

sequence from the funeral mass.

Theme I is a martial, powerful theme based on a G phrygian

scale when first stated, and on a D phrygian scale in the recapitu­

lation. It is Theme I that is mutated into the Dies Irae.

Theme II is a slow, lyrical melody with arpeggiated accom­

paniment, in contrast to the driving, chant-like construction of

Theme I. Theme II is based on a G natural minor scale.

The Dies Irae sequence originated in the thirteenth century

and was probably written by Thomas of Celano. It may have been

derived as a trope to the responsory, Libera me, from the burial

service and it became a part of the requiem mass in the mid-

sixteenth century.

The Dies Irae has played an important role for centuries

in funereal connections, and for this reason has frequently been

used by composers. A few of the better known works in which the

Dies Irae has been used for this purpose are: The Isle of the

Dead, Rachmaninoff; Todtentanz, Liszt; Songs and Dances of Death,

Mussorgsky; Danse Macabre; Saint-Sa^ns; Symphonie Fantastique,

Berlioz; the Requiem of Mozart, and the Requiem of Verdi.

2 Willi Apel, Harvard Dictionary of Music (2nd ed.;

Cambridge, Massachusetts: The Belknap Press of Harvard Uni­versity Press, 1970).

Other composers, such as Tchaikovsky in his Suite I'jc.

and Rachmaninoff in his Rhapsodic on a Theme of Pasanini, fr,und

that themes of their own invention could be mutated into the-

Dies Irae through the process of theme transformation. Tb ;.s is

the technique which brings the Dies Irae into Concerto f ) ^

Percussion and Winds. The first theme is gradually transforvied

until it assumes the shape of the Dies Irae in the last section

of the recapitulation.

The Form

The form is an arch form, A B C B A, with a short ir:tro-

duction and coda added. Theme I is presented in the A sections.

Theme II is presented in the B sections. Section C is a percus­

sion cadenza-development section in which both themes are used.

The introduction is taken by the percussion on non-pitched instru­

ments over a dominant pedal in the flutes, while the Coda is a

full statement of the Dies Irae.

Analysis of the Form

In the following analysis of the form, the designations

for the form. Introduction, A B C B A, Coda, are listed on the

left. Beneath these headings the tempi of the corresponding

sections are given, and the analysis of the form is on the right.

Circled letters correspond to the rehearsal letters as found in

the musical score.

vi

Introduction: Measures 1-3 percuss ion

A: ( A ^ Tliemo I s t a t e d twice by the f u l l band on Andante G tonal cen te r .

( B ) Tluin:.- I s t a t e d by the trumpets and co rne t s . Theme 1 s t a t e d by woodwinds over sus ta ined brass chords. A bui ld-up of polychords r e s u l t s from the superpos i t ion of a G t r i a d in the v7oodwinds on an E t r i a d in the brass.

© Percussion bridge to Theme II. B: (DJ Theme II presented in horn solo over sus-Lento tained brass chords.

(EJ Theme II stated by the bells with arpeggiated vibraphone, marimba, and woodwind accompaniment.

(Vj Theii c I r e tu rns in a modified form s t a t e d by the c l a r i n e t s .

C: (GJ Beginning of percussion cadenza. Statement of Moderate Theme I by the marimba.

Short percussion soli.

Andantino H H Theme I in modified form presented by full band.

(ij Percussion soli, punctuated by the head-motif of Theme I.

Theme I stated by the tympani, bells, and xylophone.

(Sj Theme II by flute and bells with percussion accompaniment.

QK ) Percussion soli.

Allegro ( L ) Development of the head-motif of Theme I by the full band in juxtaposition to the percussion.

M^ Statement of Theme I by the chimes followed by polychord build-up of brass juxtaposed against woodwinds.

NJ Short percussion soli, development of Theme I into head-motif of Dies Irae.

Vll

B:

A:

Coda: Maestoso

(^ Further development of Theme I into Dies Irae. Short percussion soli.

\TJ Percussion soli.

yQj Bridge to return of Tlieme II based upon head-motif of Theme I, full band.

Moderate (^ Short percussion bridge.

\SJ Return of Theme II with modified accompaniment Largo Theme stated by flute and cornet.

Bridge to A section.

( T ) Return of Theme I at the dominant by cornets. Andante Theme II in rhythmic augmentation by woodwinds

against brass on final chord of Theme I.

Percussion bridge to Coda based on Theme I.

(u) Coda based on Theme I at the dominant.

Final full statement of Dies Irae by chimes and trumpets against chordal planing by the full band.

Explanation of Percussion Notation and Abbreviations

Notation and abbreviations used in Concerto for Percussion

3 and Winds are based on Scoring for Percussion, Leach and Reed,

4 and Preparing Music Manuscript, by Donato. Where ambiguities

have arisen this writer has chosen to use the notations suggested

by Leach and Reed. In all other cases standard notations have

been chosen.

Joel T. Leach and Owen Reed, Scoring for Percussion (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1969).

4 Anthony Donato, Preparing Music Manuscript (Englewood

Cliffs, New Jersey: Prentice-Hall, Inc., 1963).

Vlll

The following standard abbreviations are used due to the

great number of instructions required in percussion scores. Any

percussionist should know these abbreviations without having to

consult this index; however, it is offered as a guide to the lay­

man in interpreting the present composition.

Tympani

Xylophone

Tom Toms

Suspended Cymbal

Tambourine

Finger Cymbals

Temple Blocks

Bass Drum

Snare Drum

Cymbal

Triangle

Slap Stick

Field Drum

Vibraphone

Tymp.

Xylo.

T. T.

Sus. Cym.

Tamb.

F. Cyms.

T. Blocks

B.D.

S.D.

Cym.

Ik S.S.

F.D.

Vibes

Percussion notation is certainly the most ambigious of all

musical notation. Composers have for centuries been unable to

write exactly what they wanted from the percussion section because

of the ambiguities of the notation, and thus it has been left to

the performer to interpret the percussion part as he thought proper.

Leach and Reed suggest standardized notations for percussion scoring

which can assure the composer a proper performance. The following

additional symbols have been used in preparing the present work.

IX

Notational Symbols

^ An open or "rudimental" roll, two bounces by ST each stick.^

^ Muitibounce, or concert roll. Multiple bounces O* by each stick."

J Scrape the suspended cymbal with a triangle <j >b beater from the cup to the edge.

Let vibrate or ring until the sound dies.

O Choke the cymbal immediately, no after-ring.

O Hold maracas in a vertical position and swirl.

Leach and Reed, Scoring for Percussion, p. 108,

^Ibid.

X

Suggested Arrangement of Percussion Instruments

A U D I E N C E

Front of Stage

^ C £ 3 m c n £ ^ ^

B A N D

XI t t

CONTENTS

ACKNOWLEDGMENTS ii

PREFACE iii

CONCERTO FOR PERCUSSIOIJ AND WINDS

BIBLIOGRAPHY 45

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Eb Barltorte Sax

Solo and 1st Bt Cornels

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Contrabaas Clar

I BH Tertor Sax.

El Bari1or>e Sax.

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M l Horna

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Conirafaass Clar

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El Baritone Sax

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Cortrabfta* Clar

18- Tertor Sax

Et Baritone Sax.

Solo and 1st B^ Cornets

^11 Trumpats

IIMV Horns

I 3 if S.

Conlrabaat Clar

1 Bn Tenor Sax

E» Baritorte Sax.

Solo and 1st B' Cornels

M l Horns

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CoMrabasa Clar

El Baritone Sax.

Solo and tst B" Cornels

III B9 CorfMtt

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Cortrabasa Clar.

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E- Barrfone Sax

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Soto and tat B- Cornets

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HMV Horns

E-

Cortrataass Clar

E- Bantone Sax

Solo and i r 8- Corrtets

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I B^ Tenor Sax

Et Baritone Sax.

Solo and 1st B- Cornets

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lll-IV Horns

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Soto and lal B' Cornets

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BIBLIOGRAPHY

Books

Adkins, H. E. Treatise on the Military j-ciid. London: Boosey-Hawkes, 1958.

Apel, Willi. Harvard Dictionary of Music. 2nd ed. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1970.

Austin, William W. Music in the 20th Century. Kev- York: W. W. Norton and Company, 1966. '

Delamont, Gordon. Modern Arranging Technique. Delawan, New York: Kendor Music, Inc., 1965.

Ellis, Norman. Instrumentation and Arranging for the Radio and Dance Orchestra. New York: G. Schirmer, 1937.

Fluegel, Neal, ed. The Percussionist. Vols. 2-8. Terre Haute, Indiana: Percussive Arts Society. 1965.

Forsyth, Cecil. Orchestration. New York: Macmillan, 1949.

Johnson, Clair W. Practical Scoring for the Concert Band. Dubuque, Iowa: William C. Brown Company, 1961.

Kennan, Kent. The Technique of Orchestration. Englev70od Cliffs, New Jersey: Prentice-Hall, Inc., 1969.

Leach, Joel T., and Reed, Owen. Scoring for Percussion. Engle­wood Cliffs, New Jersey: Prentice-Hall, Inc., 1969.

Moore, James L., ed. Percussive Notes. Vols. 2-8. Columbus, Ohio: Percussive Arts Society, 1965.

Wagner, Joseph. Band Scoring. New York: McGraw-Hill Book Company, 1960.

. Orchestration. New York: McGraw-Hill Book Company,

1959.

45

46

Ma- ,uscript Reference

McBeth, Francis. "Materials of Composition." Unpublished manuscript for COL;II osition text, Arkadelphia, Arkansas, 1970.

Scores

Berlioz, Hector. Symphoi\ie Fantastique. London: Ernst Eulen-burg, Ltd., n.d.

Mozart, W. A. Requiem. \'ien: Wiener Philharmonischer Verlag, n. d.

Mussorgsky, Modest. Son :s and Dances of Death. New York: Inter­national Music Company, 1951.

Parchman, Gen. Symphony for Percussion. Philadelphia: Elkan-Vogel Company, Inc., 1965.

Stravinsky, Igor. The Rite of Spring. Paris: Edition Russe de Musique, 1921.

Verdi, Giuseppe. Requicr. Mass. Zurich: Edition Eulenberg, n.d.

Williams, Clifton. Concertino for Percussion and Band. Evanston, Illinois: Summy-Birchard Publishing Company, 1960.

Recordings

Berlioz, Hector. Symphonie Fantastique. Leonard Bernstein, conduc­tor. The New York Philharmonic, Columbia Records.

Liszt, Franz. Todtentanz. Eugene Ormandy, conductor. The Philadel­phia Orchestra, Columbia Records.

Mozart, W. A. Requiem, K. 262. Roland Bader, conductor, Stuttgart Philharmonic, Vox Records.

Mussorgsky, Modest. Songs and Dances of Death. Georges Tzipine, conductor, French National Radio Orchestra, Seraphim Records

47

Rachmaninov, Sergi. The Isle of the Dead. Ernest Ansermet, conductor, L'Orchestre de la Societe des Concerts du Conservatoire de Paris, London Records.

• Rhapsody on a Theme of Paganini. Leopold Stokowski, conductor. The Philadelphia Orchestra, Columbia Records.

Respighi, Ottorino. The Pines of Rome. Arturo Toscanini, con­ductor. The NBC Symphony Orchestra, RCA Victor Records.

Saint-SaHns, Camile. Danse Macabre, Op. 40. Arturo Toscanini, conductor. The NBC Symphony Orchestra, RCA Victor Records.

Tchaikovsky, P. I. Suite No. 3 in G Major, Op. 55. Sir Adrian Boult, conductor, L'Orchestre de la Societe des Concerts du Conservatoire de Paris, London Records.

Stravinsky, Igor. The Rite of Spring. Pierre Monteux, conduc­tor. The Paris Conservatory Orchestra, RCA Victor Records.