concerto for percussion and winds a thesis in …
TRANSCRIPT
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
Xll
Ek
ConlfabMi Clar.
Solo M d 1.1 B^ Corn. ! .
II Bk CoritM
III Bi ConM
MITfunpoU
HMV Horn.
^
m
$
CONCERTO FOR PERCUSSION AND WINDS
Eb
Cortratou* Clar
El) Bamone Sax.
SotowidlBi
MMV Horns
III TrombOfW
/ . « ^ CONCERTO FOR PERCUSSION AND WINDS ^ f^^j^
JiroiMm»i (.r.Cy..M)^f
> > > > ^
ContrafaMs Ctor
El Baritone Sax
Solo and tai B-> Cornait
IIKIV Horn*
^i/^ie//...(DAyi-.^
Eb
ConlrabMs Clar
Eh Baritone Sax-
Soloandlst B>t Cornets
III Bb Cornet
Ml Horns
lll-IV Horns
i i I
T
ContrabMs Clar
I Bt Tenor Sax.
E^ Baritone Sax
Soto and ttt 3 - Cornets
H I Horns
lll-IV Horns
III Trombone
3 it £
. ,©
Cortrataass Clar
I IE- Alto SajL
I B? Tenor Sax.
EH Bartiona Sax
Solo and 1sl BH Comets
IIMV Horns
3
I
J » T "> "i
MJtvJi^ll. S« ',>''\ @L*K4C
CoNrataaai Clar
£•> Baritone Sax
Solo and 1st B*> Cornels
l-ll Trumpets
IIMV Horns
III TromborM
M.lke.11 ( D
E»
Cortrabaas Ov.
t B^ Tenor Sax
Et Bartlone Sax.
Solo and let S-Comaia
IH-IV Horn*
E!)
CortfrabMt Clar.
IB? Tenor Sax
Et Baritone Sax
Solo artd 1M e-t Cornata
l~ll Trumpats
lll-IV Horns
CoMratau civ
II Ek AMo S u .
EkBwHonoSu,
Solo witf 1.1 BK Cornell
IIMV Horn.
it
Conlrataaa Clar
I B? Tertor Sax.
ES Baritone Sax
Solo and 1st B<>Corr>etf
H M V Horr^ft
Ek
Canlratau Clw
I Bi> Tonor S.J
EH BarHOfW Sox.
S o l o u i d l l l B'« Comets
lll-IV Horn.
s I!
^
E>>
CoftfrabMa Ctar
I B- Tenor Sax
E9 Baritone Sax
Solo and 1st B-«Corrtets
M l Horns
IIMV Horns
III Tromborte
M^Mmio
Eb
Conlrabaaa Clar
I B*) Tanor Sax.
Eb Barltorte Sax
Solo and 1st Bt Cornels
l-ll Trumpets
M l Horns
lll-IV Horns
Eb
Contrabaas Clar
I BH Tertor Sax.
El Bari1or>e Sax.
Solo and let BH Cornets
III BH Cornet
M l Horna
lll-IV Horns
i^®
Conirafaass Clar
I E-Alto Sax.
I B Tenor Sax
E- BarttoTMSax
Solo and 1st B*< Comets
II Bi Cornel
III Bt Cornet
IIMV Horrw
8 m » 9
i
Ek
Cs*t«ba«> Clai
IBkTenorSu
Soto Md i n B-> Cornel*
M l Horns
IIMV Horn.
9- -«/:
Conrabasa Clar
El Baritone Sax
Solo and lat Bt Cornats
l-ll Trumpets
ilt-lV Horna
if
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
IIMV Horns
CoMrabasa Clar
El Baritone Sax.
Solo and tst B" Cornels
III B9 CorfMtt
M l Horna
IIMV Horns
III Trombone
zz
Contrabass Clar
Et Baritone Sax
Soto and 1st 8'Cornets
IIMV Horru
II Tromborte
(QAlLg.
Conlrabass Clar
I E-< Ano Sax
Eo Bantone Sax
Solo .and 1st B* Cornels
M l Horns
-IV Horns
II TromtKHta
Conrabass cia
E' Baritone Sax.
Soto arw let 3- Cornets
i-l Horrte
I s
I
Eb
CortrabMs Clar
I 8? Tenor Sax
E? Baritorte Sax
Solo and isi B- Cornels
III Bt Cornet
l-ll Horns
lll-IV Horns
z^
En
Contrabass Clar.
II E- Alto San
I B** Tenor Sa«
Et Baritone Sax.
Solo and 1st B'> Cornets
lll-IV Horns
Cortrabasa Clar.
E' BsMtone Sax
Soto artd 1st B-Cornels
l-ll Horns
lll-IV Horns
III Trombone
El
Contrabass Clar
En Baritone Sax.
Soto and 1st B-> Comets
l-ll Trumpats
^11 Horns
IIMV Horns
II Trombone
CoMrabaas Clar
E- ear .tone Sax
Soto and isi 9- Corrtets
llt-IV Horns
III TfOfntK>oe
I • 9
I
Cortrabasa Clar
HE-) AMD Sax.
IB - Teoo* Sax-
E' BarSoneSax
Soto ano 1st 8-ComeU
m m 3 u
i
@ '
Cortrabass Cte
I B- Tertor Sax
Et Baritone Sax
Soloandlsi Bt CorrteU
IIMV HOfrts
I 9
i
Conlrabass Clar
E- Baritorte Sax.
Soloandlst B- Comets
Mh-fV Horns
® '
CoMrabMt Ci«
El BwlMno Sos
SOMMIdlM B* Cornets
IIMV Home
M»Uc ^,11 yl^ya^
III Bk Cler.
AlHClai
Bus Cler.
Ek
b u t Clar.
E- Baritorte Sax.
Solo and tsl 8* Cornets
IIMV Horns
Mol4r> RAU
E9
Cortfrabass Ciar
IE-AltoSaa.
HE-AHoSax.
Et Baritone Sax
Solo and 1st 6-> Cornets
III B- Comat
M l Trumpets
I-11 Ho'ns
lll-IV Horns
(§)Lay
E-
Contrabass ciar
IB" Tenor Sax.
E? Baritone Sax.
Solo and 1sl 8-* Cornats
l-ll hlorns
lll-IV Horns
Conlrabass Clar
Et Baritorte Sax
Solo artd isi B- Cornats
t-ll Horns
IIMV Horns
Contrabass Ctar
II E •• Atto Sax.
I B- Tenor Sax
E- Barrfone Sax
Soloandlst B" Cornels
M l Home
iit-iV Horns
III Tromborte
I 01 9
£
Contrabass Ctar
E- earitone Sax
Soto and tat B- Cornets
l-ll Home
lll-IV Horns
E9
Cortrabass ctar
E- Baritorte Sax.
Sowandlsl B~ Cornets
HMV Horns
E-
Cortrataass Clar
E- Bantone Sax
Solo and i r 8- Corrtets
HMV Home
3 K
Cnmabaas Ctar
E- Baritorte Sax
Solo and tst R-Cornats
llt-IV Hocfl
II Tromborte
i 3 V
£
E9
Conlrabass Cisr
I B^ Tenor Sax
Et Baritone Sax.
Solo and 1st B- Cornets
l-ll Horns
lll-IV Horns
E9
Contrabass Ctw.
E Bsritorte Sax.
Soto and lal B' Cornets
t-l) Horns
lll-IV Horns
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.
