ATMOSPHANTOMS

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Timothy Lane Morris

Denton,Texas

August, 1988

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Morris, Timothy L., Atmosphantoms. Master of Music (Composition),

August, 1988, 130 pp., 15 illustrations, compositional analysis, full score.

This work for harp and string orchestra uses musical materials derived

from a chord taken from the lydian mode. The three major formal divisions

are A, B, and A'. The A and A' sections are more homophonic in texture and

slower in harmonic rhythm. The B section is mostly contrapuntal. Sections A

and A' are dreamy and dance-like while the B section is turbulent and un-

restful. These characteristics are represented by sustained sonorities, two-

against-three rhythmic configurations, and lilting melodic materials in sec-

tions A and A', as opposed to the fragmented, ever-changing melodic material

of the B section. The interweaving of the musical materials into a consum-

mate form represents the conversations, personalities, and exploits of these

At sphantoms, giving the music its philosophical and conversational char-

acter.

- -: W!"WrAl"Im loom .

Copyright by

Timothy Lane Morris

1988

iii

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TABLE OF CONTENTS

LIST OF ILLUSTRATIONS. ..... ...........

DISCUSSION AND ANALYSIS............ . . . . .

INSTRUMENTATION . ... .....a .. . ... . . .. .

ATMOSPHANTOMS .". ...e..... ............... s...

iv

Pagev

vi

xxxv

1

LIST OF ILLUSTRATIONS

Figure

1. The Primary and Secondary Melodies. ............

2. The "Gliding Sound Block" ..... . ..........

3. Passage of Repeated Motivic Voice Exchange . . . . .. . . .

4. Graph of Tonal Regions.......... .............

5. The Primary Melody's Motivic Components, Measures 59-606.e.n.s

6. First Phrase of Gliding Sound Block, Measures 64-65 .....

7. Chord Types One and Two. . ..... . ........ . .

8. The Secondary Melody's Connective Motive, Measures 425-428

9. Second Chord Type Used in Inversion, Measures 167-169 . .

10. Primary Chord Used to Feature the Interval of the Sixth . .

11. Secondary Melody's Use as Linking Member,Measures 425-428 . 0. 0 0. .0 0. .a s.. . . . . .

12. The Interval Relationships Between the Primary Melodyand the Primary Chord . . . . . . . . . . . .. . . .

13. Compressed Melodic Interplay . . . . . . . . . . ... ..

14. Intervalically Extended Melodic Interplay . . . . . . . . . .

15. Passage Employing Contrasting Soli Texture . . . . . . . . .

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DISCUSSION AND ANAYLSIS

Aesthetics

It is important to discuss the philosophical character of the composition

and the specific significance of the title because of the interrelationship that

exists between them. The title implies a part of the inspiration that I drew

upon to create the music. The word atmos comes from the Greek and means

breath or vapor; in a word, air. The word phantom comes from the Latin

phantasma meaning apparition or specter. The combination of these two

words creates a title serving to suggest the cinematic quality of the

composition's musical design.

I drew upon mental images inspired by this new word for assistance

during the compositional process. The images functioned as a catalyst that

assisted me in generating a supply of theatrical impressions. The influence

of these images provided me with a musically translatable experience that

suggested the form and the succession of events in an ongoing musical dia-

logue of specific effects and contours.

The philosophical character of the work is further supported by the appli-

cation of various contrapuntal techniques such as imitation, motivic inversion

and thematic fragmentation of the musical materials. Combining rhythmic

augmentation and diminution with repetitions of rhythmic figures upon the

melodic and harmonic materials also helps create its philosophical dimen-

sion. The different dynamic levels at which these elements are presented

give the music a sense of undulating conversation. The vertical harmonies

evolving from counterpoint and the continually changing melodic materials

also contribute to the impression of an ongoing musical dialogue, thus effect-

ing a philosophical character. The musical elements of the work are melded

vi

into a texture that leads to a point of culmination. This place of arrival gives

purpose to all that has been presented and is the climax point of the work.

I have chosen to feature three musical elements within the composition.

The first is two different melodies found in measures 58-61 and 46-51 in the

violins.

Figure 1. The Primary and Secondary Melodies.

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The second idea is a "gliding harmony-melody passage" or "gliding sound

block", made up of two musical phrases appearing first in the harp in meas-

ures 61-70.

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Figure 2. The "Gliding Sound Block".

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Third, there is a chord or sonority structure that has four notes within it, and

many times five notes when found in its inversion. (Refer to Figure 2.)

Viii

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Two passages exemplifying the compositional processes of motivic repe-

tition, motivic exchange of voices and motivic intercourse that illustrate the

aforementioned musical discourse types, are to be found in the string section.

The following examples from measures 102-103 and 384-387 illustrate these

processes.

Figure 3. a and b.

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Instrumentation

I chose to use the harp and string orchestra for the musical medium

because of the many types of musical effects each possesses. This combina-

tion of instruments has been used by many composers. For example, Handel

used the harp with string orchestra in his Concerto in B flat for harp (1736);

Claude Debussy in his Danses sacree et profane (1904); Andr6 Caplet in his

The Masque of the Red Death (Conte fantastique) (1919), and Luciano Berio in

his Chemins I (in the Sequenza 2) (1965). Maurice Ravel's Introduction et

Allegro (1905-6) is a chamber work using string orchestra. A work employing

larger instrumental forces is Gabriel Piern6's Concertstlck for Harp and

Orchestra (1901).

The string orchestra provides the composer with a magnitude of textural

potentials. Each of the instruments of the string family make an excellent

solo instrument because of their wide ranges and rich, bright, resonant char-

acters. All of the instruments can be used to their greatest advantage be-

cause both ensemble and solo environments can coexist. They offer possibili-

ties such as harmonics, pizzicato, and different bowing types. Collectively

their dynamic and timbral possibilities become intensified, which makes it

possible to effect dramatic dynamic contrasts and timbral contours.

The capacity within the string family to produce clear natural and artifi-

cial harmonics affords the composer with the opportunity to create variegated

sound textures that add even greater dimension to the string orchestra

sound. Harmonics create an influx of timbres that integrate into the en-

semble a medium of unusual character. When employed, a synthetic quality

appears, lending a superficial dimension to string sonorities.

Harmonics are used to create unique colors within sonorities, to reinforce

various sonorities, and to emphasize important sections. These colors give

greater spectral dimension to both vertical and horizontal contours. For

example, in measure 2, the string ensemble plays the most important

x

sonority of the work using harmonics. Harmonics are employed to give em-

phasis to both the introduction of the work and to the sonority's own special

relevance within the composition.

In measures 434-437 soloists are playing harmonics and are pitted

against the muted string ensemble. Harmonics and muted strings at this

place present a very different type of texture than has been previously expe-

rienced, giving distinct timbres to the two musical materials being employed.

The brilliant color contrast provided by the harmonics being employed em-

phasizes each note within the melodic motive presented by the soloists.

Harmonics may appear at the ends of phrases or sections in a context

where they function as a dim reminder of a past musical fabric. For example,

in measures 308 and 309, the sonority created by the strings is similar to the

sonority heard at the beginning of the work in measures 2 through 5. The

sonority of measures 308 and 309 appears as a last reminder of the A

section's most important chord before the rebuilding of musical forces begins

at the B section in measure 310.

In measures 17-26, the second violins are playing harmonics, giving a

sustained quality to the music while providing a contrast in the timbre. Har-

monics are often employed similarly to emphasize important pitches in a

sonority. In measures 404-413, the outside players in the first violins play

harmonics. In this passage the stratospheric E4 harmonic emphasizes the

high range of the strings with a different timbre and connects the climax with

the post-climactic section.

The harp with its colorful plucked strings has its own types of special

effects that are not unrelated to the strings. The fact that the harp and the

instruments of the string orchestra are acoustically related engenders an

innate complement of musical forces.

The harp makes an effective supporting instrument when used for ac-

companiment or to fortify the textural colors of the string orchestra. It has

xi

equally strong capabilities as a solo instrument and blends easily with the

string orchestra. At the same time it can provide an unparalleled dimension

to the ensemble's texture. The harp's sonorous nature and other extended

musical possibilities such as harmonics, nail glissando, chromatic pitch bend-

ing or even percussive effects can be employed to emphasize textural fabrics.

I have chosen a more traditional approach to the harp, using dyad glissandi

(both finger and nail types, measures 1 and 359, respectively), harmonics

(measure 435), block chords (measure 27), and, only in a few spots, chromatic

bending (end of beat three to beat four in measure 110). A composition writ-

ten for harp and string orchestra forms an intimate balance of forces, allow-

ing room for individual expression without losing the integrity of the

ensemble's anatomy.

Each instrument is equal in importance even though there are times

when various instruments in the ensemble are given supporting roles. For

example, in measures 109-112 the melody in the harp is reinforced by muted

soloists from each string section. This effect adds a suspended quality to the

featured material of the harp, and the use of mutes gives a transparency to

the texture.

Structural Form: The Architecture of the Work

The form of the composition is that of a modified arch. It has an intro-

duction (measures 1-58), the A section (measures 58-309), the B section

(measures 310-393), and a returning A' section. The A' elides the climax with

the B section and functions more as a coda section. This section contains the

musical elements of the original A section but a major difference is that all of

the elements finally fuse together into what becomes the post-climactic por-

tion of the work (measures 415-438). The climax of the work occurs in meas-

ures 394-407.

xii

A relationship exists between the over-all length of the composition and

how the sections and specific melodic materials are structurally organized.

The musical materials are introduced as truncated motives and sonorities

that continue to develop during measures 1-58 toward their completed forms.

These materials find their culmination in measures 420-429 where they are

all simultaneously stated in the original pitch area of D-flat. This factor

provides the materials with their sense of purpose, cohesion and believability.

The over-all form of the work is linked by the three aforementioned musi-

cal elements, which bring about the sequence of meaningful events essential

to its musical coherence. The double basses and cellos first present, in meas-

ures 3-5, a truncated melodic fragment that becomes one of the most signifi-

cant of the work. The entire melody is introduced in the first violin part in

measures 16-24 but it is not yet fully shaped rhythmically.

The melodic elements initially presented as fragmented figures, or as

motives that eventually evolve into their intended rhythmic and melodic

shapes, begin to combine as lines while sonorities form from their collective

vertical dimensions. An example of this harmonic evolution is found in meas-

ures 16-25, and in measures 90-94 in the strings.

This concept of motivic, melodic, and chordal metamorphosis governs the

over-all scheme of the composition's evolution and is essential throughout the

B section. The musical elements are brought to fruition through variation.

These combined forces provide the composition with its inherent sense of di-

rection, climax, and finally its completed architecture.

Tonal Language: Modal Uses

This composition derives its melodic and harmonic constructions primar-

ily from the lydian mode. The glissandi of the harp very often employ this

xiii

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mode. There are three reasons for selecting this mode. First, this is a very

popular mode in jazz music and I have been greatly influenced by it. The use

of a sharp eleven within penultimate chords in jazz has a suspension-like

character similar to many of the suspensions found in traditional harmony.

Second, the sharp fourth degree in the mode provides a natural leading tone

to the fifth degree of the mode. It also contains a leading tone to the tonic.

Third, the octave is split evenly in half , yielding a tritone intervalic relation-

ship and two adjoining intervals of a perfect fourth. The tritone location par-

ticular to this mode makes changing to different tonal centers very acces-

sible.

Generally the sixth degree of the mode is not employed in sonorities

where the mode root and the sonority root are the same. It is reserved for

places where a sonority's vertical dimensions are greatly expanded. For

example, in measure 217, a perfect fifth is created when the sixth and the

tenth (the third degree of the mode) are used simultaneously, lending a spa-

tial (or open) quality to this sonority.

Tonal Language: Tonal Centers

The integration of melodic and harmonic materials continued to influence

choices of tonal areas. Thus, the presentation of all the materials in the

introduction made the employment of various tonal centers essential. Pre-

senting the materials in effective tessituras required careful consideration of

the characteristics of each instrument. The following graph illustrates the

prominent tonal regions of the work.

xiv

Measure Numbers1. 40. 59. 140. 165. 194. 207. 242. 263. 269. 403. 438.

6 A D G A Db G DDVARIED VARIED CHROMATIC

Tonal Centers:

Figure 4. Graph of Tonal Regions.

I used harmonics for the first sonority in the work to give it a distinctive

color. Tonal centers corresponding to the tunings of open strings are best

suited for this type of texture. I chose to use the tonal center of A in the

strings because it provided an effective stratospheric harmonic. In measures

44-52, a first violin soloist plays a D-sharp 4. This note is a semitone lower

than the note appearing in measures 403-413. Both harmonics appear in

sections of the work that mark the beginnings of outer boundaries of the

composition's form.

The tonal center of D-flat, less typically used for strings, is one half-step

lower than the tonal center that functions for the post-climactic tonal center.

The rationale is that D-flat provides a timbre less bright and open than the

more standard string tonal center of D. The distinctive tonal center of D-flat

was chosen for introduction of the gliding sound block. By comparison, the

last presentation of the gliding sound block has a clear impact when it is

presented within the tonal center of D.

Measures 140-164 feature the upper strings in smaller forces and employ

the tonal center of G. This section connects with measures 165-176 where

the harp is mostly featured using the tonal center of A. (These passages use

divided strings or second violins echoing the melodic materials that have

been previously presented by the harp.)

xv

.

A variety of tonal centers is used in measures 177-206, contributing the

mounting tension provided by transitional material. The strings and harp

present short sections of musical materials in new and repetitious textural

settings. These transitional passages tend to be more homophonically and

rhythmically accented. During measures 200-251 the ensemble and the harp

are featured in alternating sections, utilizing the main musical materials

and those of a transitional nature.

From measure 242 throughout the B section, the tonal centers continu-

ally change. This is, in part, due to the transitional materials being fea-

tured and the B section's transforming character. The climax begins at

measure 394 and elides the A and B sections.

Tonal language: Melodic and Harmonic Interrelationships

There are four components that are intervalically interrelated. These

components are derived from the work's principal chord which is created

from the lydian mode. This chord is referred to as chord type number one (or

first type). This first chord type and the work's other elemental motives are

illustrated in the following figures:

Figure 5. The Primary Melody's Motivic Components, Measures 59-60.

xvi

Figure 6. First Phrase of Gliding Sound Block, Measures 64-65.

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Figure 7. Chord Types One and Two.

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Figure 8. The Secondary Melody's Connective Motive, Measures 425-428.

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In root position, chord type number one contains six interval types. They

are the major second, the major third, the tritone, the perfect fourth, the

perfect fifth, and the major seventh. These intervals represent, respectively,

interval classes 2, 4, 6, 5, 5, and 1. (The number of an interval class is the

number of semitones larger or smaller than an octave or unison of the

interval's size.) The only interval class not represented is interval class 3.

One general type interval not represented is the sixth. However, the sixth

does exist when the chord appears in its inversion form. The interval of the

xviii

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sixth is reserved for a specific use of chord number one to be discussed later.

Chord number one contains three intervals that, in traditional harmony, have

outstanding characteristics. The interval of the third within it has a natural

acoustical quality of resolve because of its relationship to the overtone series.

The tritone and the major seventh are dissonant intervals. Their relationship

within the chord also provides an important alternate interval, the perfect

fourth. The third and the perfect fourth add a quality of resolve to this chord

type while the tritone and the major seventh give the chord its sense of disso-

nance; thus within one chord the elements of tension and resolve coexist.

This characteristic is related to the philosophical title of the work; allegori-

cally speaking, it represents a phenomenon searching its way to realization,

or, musically speaking, this characteristic is represented by the latent ele-

ment (chord number one) from which all the other musical materials develop

to their consummations.

The second chord type is a hybrid of the first. Instead of containing the

third, a second (or the minor seventh) is utilized, many times with omission of

the tritone. The second also brings with it the interval of the major sixth;

functionally, it is the link between chord type one and melody number one,

because these two elements make use of this particular interval. This chord

type most often appears in the harp part, whereas chord type one exists in

both the harp and the string orchestra parts.

In measures 167 and 168 the strings feature this chord in a sonority. The

relationship between the primary motive of melody number one and the

primary chord is evidenced in these measures. The motive from melody

number one is presented before the sonority (chord type two), featuring and

establishing their linear and vertical relationships. The interval of the major

sixth in the primary motive of melody one separates the intervals of the major

second and the semitone. This interval is linked to the gliding sound block

through its use in a chord that features this interval. (Refer to Figure 9.)

xix

Figure 9. Second Chord Type Used in Inversion, Measures 167-169.

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This specific use of the interval of the major sixth is to be found in the

harp part of measures 61-63 and in the strings in measures 231 and 232.

Figure 10 illustrates its usage in measures 231-232.

The seventh of the chord is omitted and the fifth and second degrees of

the mode replace it. This change allows the interval of the sixth to be fea-

tured in a sonority. The fifth degree of the mode becomes the lowest sound-

ing voice in the chord, and every pitch in the chord is separated by an inter-

val of a sixth, except one. An interval of a tritone exists between the root and

fourth modal degrees of the chord. Presenting the chord in this manner

features the interval of the sixth in a different type of sound texture that has

a very spatial quality. This chord features the horizontal link between chord

type one and the gliding sound block because it illustrates the evolution of its

first component, which contains the interval of the major sixth. This chord's

xx

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three upper voices have the same general intervalic shape of component

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Figure 10. Primary Chord Used to Feature the Interval of the Sixth,Measures 231-233.

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The other chords within the composition are derived from these chord

types. The textural additions or subtractions of intervals within these chord

types generate other chords that are employed in the work. The clear rela-

tionship between melody one and chord type two can be established because

xxi

both make use of the intervals of the minor second, (inversion of the major

seventh), the sixth (inversion of the third), and the fifth (inversion of the

fourth).

This composition makes use of two basic interrelated melodies. Melodies

number one and two first appear, respectively, in measures 58-61 in the first

violin part and in measures 46-52 in the second violin part, as has been men-

tioned. Most of the motivic materials of the work are derived from melody

number one. Melody number two acts as a closing melody but also plays an

important role in the harmonic scheme of the composition.

It is remotely related to component number one of the gliding sound

block. (Compare Figures 6 and 8.) It also functions as the link between mel-

ody number one and the primary chord (sonority). It contains the second,

third, and fourth degrees of the lydian mode. It is often accompanied by

minor-like harmony. In measures 425-428 it is built on the seventh degree of

the D-flat lydian mode. (Refer to Figure 11.) An example of this linking

usage can also be found in measures 118-128.

Melody number one has three primary intervals that illustrate its unique

relevance to the two chord constructions of the composition. The relation-

ships of the semitone (major seventh), major second and minor sixth within

melody number one all relate directly to these chords and to the composition's

harmony. Figure 12 illustrates these relationships.

The interval of the minor sixth very often appears in the lower strings,

and intervalically relates both to this melody and chord type number one.

The lilting shape of this melody includes the intervals of the minor seventh,

the major second, the minor sixth, the minor second, and the major seventh.

xxii

Figure 11. Secondary Melody's Use as a Linking Member, Measures425-428.

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Figure 1 2. The Interval Relationships Between the Primary Melody and the

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All are present in chord type number one. (See measure 59 in Figure 11.) Note

that in measure 60 the melody begins to drift away from these intervals,

momentarily using intervals foreign to the lydian harmonic language. The

pitches E-flat and A-flat serve as appogiaturas lending momentum to the

xxiii

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melody's downward course. The semitone and the major second remain the

melody's principal intervals.

In measure 59, the melody appears to be shaping itself in an F major

tonal region, then in measure 60, a G natural minor tonality. Notice, how-

ever, the pitches with the longest durations. Starting in measure 58, the

melody begins on C3 with more than two beats. The next longest rhythmic

values are the A2 and F2 on beats two and four, respectively. In measure 60,

F , D , B-flat, and G are the two most prominent pitches. These combined

pitches outline thirds that are built around the G tonality, which is the fourth

modal degree of the D-flat lydian mode. The melody starts on the seventh

degree of the D-flat lydian mode. These types of connective processes utiliz-

ing the materials are constant within the work.

The counterpoint in these measures (provided by the second violin) has a

B-flat tonality. Both the G tonality of melody one and the counterpoint of the

second violin part merge when the harp brings in the tonality of A-flat and

then D-flat. The pitches of D and C in the first and second violins, respec-

tively, are the third and fourth degrees of the A-flat lydian mode. These

types of factors confirm the intimate relationship between the melody and the

primary chord of the work.

The B section uses a melody that is actually a mutation of melody num-

ber one. Beginning at measure 332 this melody appears between the first

and second violin parts. It is later connected with a rhythmically augmented

version of melody number one, in measure 390. The melody always appears

mutated. When it connects with melody number one it occurs in an imitative

passage that begins at measure 377 and ends at measure 393. This mutated

form gives the B section its contrasting character and yet is not unrelated to

the A section's musical materials.

Each of the melodies' shapes, including the gliding sound block, has a

downward or falling direction. The first half of melody one is made up of

xxiv

triplet figures; its second half uses triplets that contain dotted rhythms.

Each of these elements is used extensively as a rhythmic motive within the

work. Beginning with beat three of measure 60, notice the rhythmic inver-

sion of the triplet figures of a major second, giving a slowing sense to the

melody. Compare this with the wider intervals of the major seventh and

minor seventh that provide the melody with its initial swinging motion.

(Refer to Figure 12.)

The semi-tone relationship in the melody, as it is placed in its rhythmic

setting, often acts as an appogiatura. The intervals of the major second and

major seventh frequently are found in the vertical sonorities, especially in the

harp part. These intervals relate directly to the harmony and the texture of

the work.

The "gliding" of chords over sustained pitches that stay within a specific

pitch area are of particular importance. I have referred to these as "gliding

sound blocks." These gliding sound blocks have two components. The first is

a linear descending (or ascending) group of triads that tend to have the inter-

vals of a minor sixth and perfect fourth within each successive triad. These

pitches relate to the pitches of chord type number one. The outer intervals of

component number one often equal that of a major or minor ninth. This

component uses pitches found in the lydian mode or linear melodic intervals

of melody number one. (Compare Figure 1 with Figure 2.)

The gliding sound block most often begins its downward descent by using

the fourth, fifth, and seventh degrees of the lydian mode. The semi-tone

relationship that exists between all of the musical materials is evident within

the dimensions of this one musical element. The progressive semi-tone linear

movement of component number one, and the minor ninth relationship be-

tween its outer voices, illustrate the gliding sound block's kinship to the

principal chord and melody of this work.

xxv

The second component is the sustained sonority that accompanies the

first component. This chord includes the first, third, fourth, and seventh

degrees of the lydian mode. (Refer to Figure 7.) Its purpose is that it supports

the gliding sound block and functions as the ultimate chord in cadences. It is

the structure from which all the musical materials have been derived.

Texture

This composition has an innate sense of drama. The introductory meas-

ures of the composition serve to present the musical characters to be devel-

oped later in the work. All melodic elements are initially presented as frag-

mented figures or motives that eventually evolve into their intended rhyth-

mic and melodic shapes. As these linear fragments begin to align themselves

with other linear fragments, they create vertical sonorities. The concept

within the work of an ongoing melodic generation provides the work with an

inherent sense of variation.

An example of this harmonic evolution is found in the strings in meas-

ures 17-25. The textures are frequently the result of contrapuntal design

and, as previously discussed, the sonorities grow out of contrapuntal uses of

those melodies which are incorporated. Polyphony most often begins with the

repetition of imitative motives taken from the composition's melodic materi-

als. These imitative combinations take shape in varying registral spacings.

The scope of their spatial contexts range from concentrated areas of com-

pressed melodic interplay (measures 102-106, refer to Figure 13) to open

vertical sonorities of extended ranges (measures 388-391, refer Figure 14).

Measures 377-392 is another portion of the work that is important with

respect to polyphony. The melody that is distributed between the violas and

first and second violins evolved from motives and melodic fragments

xxvi

presented in measures 310-332. This melody is continually featured in the B

section. The first phrase of this melody evolves from melody number one.

(Refer to Figure 1.) The second phrase is a somewhat melodically mutated

form of melody one, with its first three pitches rhythmically augmented.

Figure 13. Compressed Melodic Interplay.

V.z

VNo.

va-

98

44

The second phrase of the B section melody appears for the first time in

measures 380-389 in the cellos. It has an augmented and mutated form

because it acts to connect the elements of the B section to the A' section. In a

sense, it forecasts its return to the A' section after having evolved from frag-

mented motives. This melody is featured in an imitative texture that begins

at measure 377 and ends in measure 393, where the climax begins (the actual

complete return to the A' section is after the climax in measure 409).

The B section begins at measure 310 with the complete disintegration of

the work's musical elements. The B section's melodic materials arise from

xxvii

10 219roF.I J''+. ..

Figure 1.4. Intervalically Extended Melodic Interplay.

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fragmented motives that are gradually introduced. These materials begin

fusing and continue in this process until measure 332, where the first obvi-

ous appearance of the new B section melody begins. However, this melody

remains distributed between adjacent parts. The second violins and the violas

share the truncated melody again in measures 355-365. The materials con-

tinue to expand and build in texture while incorporating a chromatic drive

upward during measures 371-375.

When the melody appears in the cellos (in measure 377) it is presented

again in a divided texture. The second phrase of the B section's melody is

then added and an imitative featuring of these materials begins; this contin-

ues through the remainder of the B section. By measure 387 the melody is no

longer presented in divided textures within any of the string parts. This also

adds to the section's sense of climax. The B section uses melodic materials

that have continued to go through metamorphosis. The application of this

structural process to the motivic and melodic materials promotes a character-

istic aspect fundamental to this compostion's form and texture schemes.

xxviii

Y4.

Vc.

The gliding sound block produces a depth and intensity in the music by

featuring its quasi-quartal melodic materials within, or over, supporting

vertical sonorities that change at rhythmically slower rates. The gradual

merging of the work's melodic materials with the gliding sound block is the

distinctive characteristic of this work. The purpose of the work is to bring to

the fore the hidden potential of all the materials in a collective context, dem-

onstrating how the vertical and horizontal elements are interrelated, both

melodically and harmonically.

The changing of the quasi-quartal triads in the gliding sound block with

simultaneous alternations of tremolo and non tremolo string textures empha-

size its coloristic and rhythmic aspects. An example of this texture is found

in measures 61-70, where the harpist plays the two musical phrases that

form the first component while the strings collectively provide those accompa-

nying sonorities that create its second component. (Refer to Figure 2.)

In measures 140-164 the first component is featured alone. In measures

430-435, the second component is featured. In measures 140-164, the dou-

bling of the first violin line by the cellos an octave lower is a unique treat-

ment of the first component's musical materials. This emphasizes the upper

voice within each sonority. This type of voicing is often employed in the

saxophone parts of big band arrangements.

The relationship of melodies in counterpoint to the resulting harmonies is

of primary importance. Sonorities evolve from combinations of melodic mate-

rials that have fused together to create important harmonies. These harmo-

nies, emerging from fused contrapuntal motives, reinforce the relationship

between the work's melodic materials and its primary vertical sonorities.

An example of this procedure is found in measures 71-90. Melodic frag-

ments begin to combine and by measure 90 have become melodic lines that

collectively produce the principal vertical sonority of the work. In some cases

these significant harmonies are present in inversion or appear in sonorities

xxix

that are successively transposed. In measures 63-65 and measures 67-70

these sonorities are built on the chord roots of D-flat and E-flat, respectively.

In measure 111 the same D-flat chord appears in the harp, but this time the

fifth of the chord is in the bass. In measures 2-5 the seventh of the chord (F-

sharp) is the lowest pitch; the sonority's pitch center is G.

These sonorities may appear with added pitches, which serve to create

more density. For example, the D-flat sonority found in the strings in meas-

ure 286 has an added B-flat; this pitch is the sixth degree of the lydian mode.

The chord would normally be spelled D-flat, F , G , and C; sometimes it ap-

pears in the second form of D-flat, F , G, and E-flat. In measure 217 the

same chord type occurs except this time the tonal center has become G-flat

and the pitch of E-flat has been added to it. A prevailing determinant as to

when this type of chordal treatment occurs has to do with the registers in

which these sonorities are found or the range of the voices within the sonori-

ties.

In measures 177-182 this sonority type is found in the center range of the

string orchestra and is featured in a homophonic texture. This passage is one

of several where this sonority type is alternated with contrasting material.

This procedure creates a sense of mounting tension that eventually releases

both vertically and horizontally, beginning at measure 200.

Timbre

Color contrast is achieved through the use of harmonics, muted sections,

bowing techniques and various arrangements of the string instruments

within the orchestra. Each of these adds a different dimension and personal-

ity to the forces being employed.

Tremolo develops a sense of suspension and tension within the sonorities.

An example of tremolo being used to increase tension and build suspense is

xxx

found in measures 64-68, where the fully formed musical materials of the

gliding sound block are first introduced. It is also used in measures 93-96,

where the second violin, the violas, and the cellos suspend a triad, slowing

the harmonic rhythm pending the imitative release of the materials that

begin in measure 102 with the first violin.

Mutes are employed by the string soloists in measures 109 and 110,

lending a transparent color to the texture. The melodic material being fea-

tured by the harp has a more contrasting and suspensive nature due to the

support given by the strings using tremolo. Tremolo provides a subtle timbre

change that does not detract from the harp's importance.

The timbre relationship between each of the string instruments has to be

considered due to the significant differences in resonance and range capabili-

ties. In sections where melodic lines are intended to be more dramatic in the

upper strings, the viola sometimes doubles the violins. The viola is also used

in sections where the materials are both bright and resonant in character.

I chose to feature players in two and three soli arrangements because I

wanted to employ smaller forces in various textural settings. The sections

using soli players are intended to highlight important melodic and harmonic

materials. These contrasting sections feature this hidden force within the

string orchestra. These soli textures provide contrast of both aural and vis-

ual potence. Soli players feature important melodic motives while the re-

maining players function in supporting roles. A passage exemplifying the soli

treatment of important musical materials is found in measures 395-397.

Notice also, the use of tremolo by all the string sections except the viola sec-

tion. This was done to create a texture completely different from that of the

soli players. (Refer to the Figure 15.)

xxxi

Figure 15. Passage Employing Contrasting Soli Texture.

44

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Rhythmic Considerations

Just as the rhythmic shape of melody number one and the B section's

mutated melody become subject to rhythmic diminution and then augmenta-

tion, so the rhythmic density of the work's over-all form begins with longer

xxxii

3

A.>

VI .Z

&di V.

Va.

OB.

"Oo

$ V y

values, getting shorter then again longer. This rhythmic usage relates di-

rectly to the work's form.

The triplet is the principal rhythmic figure employed. The A section

makes use of longer durations while the B section employs short rhythmic

fragments taken from melody number one. The work often has a continuing

triple metric flow; this is because the main motive is often cast in triple or

compound settings.

Performance Considerations: to theConductor and Performers

It is important that the harp and string orchestra maintain their sover-

eign roles while achieving a dynamic balance. It is preferable that each

section of the string orchestra has at least seven players except for the double

basses, where a minimum of three players is suggested. A standard string

orchestra seating arrangement should be used, with the harp located slightly

between the cellos and the violas.

I have attempted to use standard string orchestra dynamic indications;

but special attention should be paid to articulation markings. Instances

when the melodic line is to be accented are crucial to the interpretation of the

music, especially when in conjunction with tenuto markings that appear

within the same melodic line. For example in measures 425-429 the violas

have tenuto markings that are important to the expressiveness of that me-

lodic line. This short passage is set in motion by the accented notes in the

second violins, violas and the cellos. These accents serve to push the passage

along, giving it a sense of undulation.

The viola players should try to emulate the brighter sounds of the violins

in sections where these instruments are featured together. (For example, see

measures 151-163.)

xxxiii

Meter changes are connected by the common pulse of an eighth note

throughout the composition except where otherwise indicated. Changes in

the tempo are clearly indicated in the score, and any variance from these

would simply be a matter of taste. I have attempted to maintain a sense of

time within the music that will help to guide the musicians from one tempo to

the next. Triplet figures within a duple meter, or vice versa, should assist the

performers in going to and from different meters.

Figures should be played with gracefulness and freedom more often than

with passionate forcefulness or strictness of time. This work should have a

charming playful character. The music becomes the vehicle serving to repre-

sent those cinematic images I have had of an arduous journey by a band of

muses; all not without its humor.

xxxiv

INSTRUMENTATION

Harp

Violin I

Violin II

Viola

Violoncello

Double Bass

xxxv

BY

Timothy L. Morris

AtmosphantomsThis work is dedicated to Stephanie Ann Ford whose love,friendship and inspiration have become invaluable to me.

.h 4 . 4 N

Atmosphantoms

Harp

Violin I

Violin II

Viola

Violoncello

Double Bass

24

Q -= 50

3 54 4 Timothy L. Morris

(1955-)

-~-----------

Note: All harmonics are written at sounding pitch except for theDouble Bass, which is written one octave higher than sounding pitch.

Copyright )1988 by Timothy Lane Morris. All rights reserved.

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