Leomo, Kevin James (2017) Portfolio of compositions. MMus(R) thesis. http://theses.gla.ac.uk/7930/

Copyright and moral rights for this work are retained by the author

A copy can be downloaded for personal non-commercial research or study, without prior permission or charge

This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author

The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author

When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given

Glasgow Theses Service http://theses.gla.ac.uk/

theses@gla.ac.uk

http://theses.gla.ac.uk/7930/http://theses.gla.ac.uk/http://theses.gla.ac.uk/mailto:theses@gla.ac.uk

PortfolioofCompositions

KevinJamesLeomo

MA(Hons)

SubmittedinfulfillmentoftherequirementsfortheDegreeof

MasterofMusicinComposition,byResearch

DepartmentofMusic

SchoolofCultureandCreativeArts

CollegeofArts

UniversityofGlasgow

September2016

i

Abstract

Thisthesisisconcernedwiththeapplicationanddevelopmentofmycompositionalpractice,

asdemonstratedthroughmyportfolioofcompositions. Identifyingandunderstandingthe

techniquesIutilisewhilstcomposingformedanimportantpartofthisundertakingandmy

developmentasacomposer.Thepiecesinthisportfoliodemonstratethedevelopmentofmy

compositionalpracticeandpersonalstyle,characterisedbythe importanceoftimbraland

texturalelementsandtheuseofgesture.Iintendedtoutilisedifferentinstrumentationsto

createavariedportfolioofpiecesdemonstratingawiderangeofdifferenttimbres,sounds,

andcolours.InthecommentaryIwillengagewithwhatIhavelearnedfrommyexperiences

overthecourseofthisyear.

ii

MMusCommentary–TableofContents

ListAccompanyingMaterial iiiListofFigures ivAcknowledgements vIntroduction 1MyCompositionalPractice

I.Timbre 3

II.Gesture 6

III.Developmentsthisyear 7

Commentaries

I.CrossCurrents 9

II.TheReef 14

III.SilentKey 18

IV.Strangers 26

ReflectionsandConclusions 29Bibliography 31

PortfolioofCompositions

CrossCurrents forshakuhachi,oboe,koto,andvioloncello

TheReef forBbclarinet,violin,viola,andvioloncello

SilentKey forvibraphone,marimba,andpianofortefour-hands

Strangers forviolinandpianoforte

iii

ListofAccompanyingMaterial

PortfolioofCompositions:

CrossCurrents forshakuhachi,oboe,koto,andvioloncello

TheReef forBbclarinet,violin,viola,andvioloncello

SilentKey forvibraphone,marimba,andpianofortefour-hands

Untitled forviolinandpianoforte

CDcontainingrecordingsofworks

1)CrossCurrents performedbyEnsembleOkeanos

2)TheReef performedbyGlasgowNewMusicEnsemble

3)SilentKey performedbyPiusCheung,ErikoDaimo,ChristinaGiucaKrause,andBenKrause

iv

ListofFigures

Figure1 SilentKey(b.36-39) timbralblending

Figure2a CrossCurrents(b.42-43) unisontimbre

Figure2b TheReef(b.108-110) unisontimbre

Figure3a CrossCurrents(b.6) fangesture

Figure3b CrossCurrents(b.19-20) celloalteredfangesture

Figure4 CrossCurrents(b.45-48) glissandi

Figure5 CrossCurrents(b.4-6) idiomaticwriting

Figure6 CrossCurrents(b.2-3) palindromicgesture

Figure7 CrossCurrents kototuning

Figure8 CrossCurrents(b.62-64) timbralblend

Figure9a CrossCurrents(b.1-2) kotoandcellopizzicato

Figure9b CrossCurrents(b.10) kotoandcellopizzicato

Figure10 CrossCurrents(b.38-40) mura-ikieffectinoboe

Figure11 TheReef(b.12-16) stringtimbraleffects

Figure12 TheReef(b.26) celloharmonicgesture

Figure13 TheReef(b.17-18) clarinetentry

Figure14 TheReef(b.92-95) clarinetsolooverstringharmonicglissandi

Figure15 SilentKey(b.5-6) cascadinggesture

Figure16 SilentKey(b.58-59) repeatedbar

Figure17 SilentKey(b.60-61) pianissimotremolandi

Figure18 SilentKey(b.46-48) contrastinggestures/texturalcontrast

Figure19 SilentKey(b.72-73) vibraphoneandmarimbarepeatedphrase

Figure20 SilentKey(b.54-56) chimegesture

Figure21a SilentKey(b.14) upwardgesture,ff

Figure21b SilentKey(b.15) upwardgesture,pp

Figure22 Strangers(b.1-2) openingmotif

Figure23 Strangers(b.17-19) ripplegesture

Figure24 Strangers(b.42-43) tumblinggesture

Figure25 Strangers(b.56-58) tumblinggesture

v

Acknowledgements

Iwould like to thankmysupervisors,ProfessorBillSweenyandDr. JaneStanley, for their

continuedsupport,advice,patience,andencouragementduringthisprocess.Ithasbeena

pleasure working with you. I’d also like to thank Jane for includingme in her education

project,whichwasanexcellentopportunityandonewhichIhopewecanfurtherdevelopin

the future. I’d like to thank Dr. Nick Fells for his contribution to my knowledge of the

shakuhachi and Japanese music, which I put to use in Cross Currents. I would like to

acknowledgemyfellowSoundThoughtcommitteemembersfortheirhardwork,support,

and good humour in putting together an extremely demanding yet ultimately successful

event.

I’dliketoacknowledgetheperformersandensemblesIhavehadtheprivilegetoworkwith

over the course of this degree: CoMA strings, Ensemble Okeanos, Glasgow New Music

ExpeditionandtheOregonBachFestivalComposersSymposiumguestartists.Therehearsals

and performances of my works have provided me with much-valued feedback and

encouragement,aswellasqualityrecordingsofmyworks.

Iwould like to recognisemy friends for their supportduring thispastyear,whether itbe

attending performances of my works, assisting me at Sound Thought, or listening to

recordingsofmycompositions.

Finally,Iwouldliketothankmyparentsfortheirunwaveringsupport,bothemotionaland

financial, without which I would have been unable to undertake and see through the

completionofthisdegree;Itrulyappreciateit.

1

Introduction

Theaimofundertakingthismaster’swastodevelopmycompositionalpracticeandtechnique

whilecontinuingtoestablishmyowncompositionalidentity.Attheoutset,Iaimedtoexplore

the use of timbre, instrumental colours, sounds, and extended instrumental playing

techniques in tandemwith pursuing developments in notation. Iwanted to develop new

texturesandexpressiveeffectsbypushingtheboundariesofnotation.Additionally,Isought

toexpandmyuseofmobilesandlimitedaleatorismtocreateinterestingtextures.

My final undergraduate composition portfolio consisted ofworkswhich explored various

extended techniques and unpitched sounds; much detail was devoted to themethod of

playing and the effect of the resultant sounds. The structure of these works evolved

organically and freely, which was reflected in the various forms of graphical and spatial

notationIemployed.Textures,thefinalandhighestgradedwork,soughttoinvestigatethe

texturalandtimbralpossibilitiesaffordedbyaten-playermixedchamberensemble.Iutilised

a form of spatial notationwhich gave performers some freedom and contributed to the

freely-flowingcharacterofthework.Thisyear,Iinitiallyplannedtocontinuedevelopingmy

workwiththistypeofmusic.However,Imovedawayfromworkingwithalternativeformsof

notationandreturnedtousingmuchmoreconventionalforms.ThiswasnotbecauseIfeltI

hadexhaustedthepossibilitiesofworkingwith thisnotation,butwas insteadamatterof

practicality.Conventionalnotationisfarmoreeasilyreadandperformedwhenrehearsaltime

islimited.TheotherfactorwhichinfluencedthismovewasmyinterestinprovingIcouldstill

createworkswhichreliedlessheavilyonnotationfortheirsuccessfulexecution.

While composing the four pieces comprising the portfolio, I was concerned with further

researchingmusicalelementswhichmostappealedtome.Iwritenotatedmusicprimarilyfor

acousticforces;Iaminterestedindevelopingmycompositionalstyleandvoicewhilstdrawing

on innovations from the past and incorporating musical ideas, elements, or sounds that

intrigueme. Integraltomycompositionalstyle isanemphasisontimbre,byblendingand

experimentingwithinstrumentalcolour,aswellastheuseofgesturetoprovidecoherence

andcohesionwithinapiece.Someaspectsofmycompositionalpracticehavechangedsince

2

theoutsetofthisdegree,whichIwillfurtherexamine.Thesedecisionsallcontributetomy

compositionalstyleandthesoundworldswhichmycompositionsinhabitandexplore.

3

MyCompositionalPractice

I.Timbre

Iplacegreatimportanceontimbre,“atermdescribingthetonalqualityofasound,”1asan

aspect of my music. I am interested in giving detailed attention to methods of sound

production by experimenting with various instrumental playing techniques and the full

dynamic and registral ranges of instruments. In my works I endeavour to explore the

individual timbres of every instrument, as well the relation between diverse sounds and

colours. I aim to examine how these timbres can be altered or configured in different

combinationswithoneanotherthroughoutapiecetocreateinterestingsoundworlds.

Thisnotionof relatingvarious instrumental timbres tooneanother is somethingwhich is

investigatedthroughout theworksof thisportfolio. InCrossCurrents, the juxtapositionof

Japanese and Western instruments allows for a great deal of timbral exploration. For

example,thereiscontrastbetweentheclear,brightoboeandthebreathyshakuhachi,aswell

asdisparitybetweenthesoundofcelloandkotopizzicato.However,Iattempttoreconcile

thesecontraststoacertainextent.Oneexampleisthecello’suseofvariedbowplacement

in order tomirror the shakuhachi’s number of playing techniques and resulting timbres.

Additionally, the ensemble’s overall sound blends together when the instruments create

similartimbrestoovercometheirdifferences.TheReeffocusesonaseriesoflargelydiscrete

episodesinwhichtherelationshipbetweenclarinetandstringsisexamined.Forexample,the

openingconsistsofstringharmonicsandtimbral techniqueswhichgiveswaytosustained

sonoritiesinwhichtheclarinetblendswiththestrings.Perhapsthemostemphasisplacedon

timbre and instrumental colour occurs in Silent Key, due to the piece’s instrumentation.

Centraltothisworkistherelationbetweentheupperpianowithvibraphoneandthelower

pianowithmarimba,inwhichtherespectivepairingscreateuniquetimbralblends.Figure1

demonstrateshowthesoundsofbowedvibraphoneandmarimbainteractwiththepiano.

However,theserelationshipsaresometimessubvertedoralteredatpointsduringthepiece

1Campbell,M.,“Timbre(i).”GroveMusicOnline.OxfordMusicOnline.OxfordUniversity

4

tocreatevariety.Strangersfocusesonthedialoguebetweenpianoandviolinandhowthey

interactwithoneanother’sdifferentsoundworldsandgestures.

Figure1.TimbralblendinginSilentKey(b.36-39)

Asmentioned, I both fuse and juxtapose various timbres and instrumental colours inmy

works. The Oxford Dictionary ofMusic describes timbre as “that which distinguishes the

qualityoftoneofinstrumentfromanother”.2Ienjoysubvertingthisnotionwhenblending

multiple instrumental timbres into one sonority, sometimes on a unison pitch, to create

interestingeffects.Discrepanciesbetweeneachinstrument’spitch,causedbyanynumberof

factors,suchaspressure,embouchure,orstringtension,canaddfurthersonicinterest.

2“Timbre.”TheOxfordDictionaryofMusic,2nded.rev..OxfordMusicOnline.OxfordUniversityPress

{

{

{

{

{

{

{

{

{

Vib.

Mar.

Pno. 1

Pno. 2

mf

like a distant chime

mp

p

27

mp

like a distant chime

p

pp

Vib.

Mar.

Pno. 1

Pno. 2

ø

mp

very freely

31

mf

Vib.

Mar.

Pno. 1

Pno. 2

pp

ø

pmf

A tempo q = 60

BB

36

p

p mp

pp

°

p mp

p

°

5

4

5

4

5

4

5

4

5

4

5

4

5

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

&

to bows

∑

3

&

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑

&

∑

3

?

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑

?

∑ ∑

&

arco

#

nb

&

∑ ∑ ∑ ∑ ∑

?

arco

&

∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

&

&

∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

&

to mallets

&

∑ ∑ ∑ ∑

?

∑

3

3

∑

&

Bb

∏∏∏∏∏

&

∑ ∑

&

?

∑

3 3

∑

˙˙# œ

œœœ

œœ

™™ œ

œœœ#

J

œœ

œœ

œœ

œœ

œœ

œœ#

Ó

˙˙˙

#œœœ

œœœ

œœœ™™™

œœœ

œœœ

#

J

œœœ

œœœ

œ

œ

œ

œ

œ

œ

˙

Œ

w

∑

Œ

˙™

˙™

Œ

˙#™

˙

œ

Œ

˙˙

˙˙

œœ

˙b ™

‰

œ

j

˙˙ ™

Œ

w

˙

˙b ˙˙b

˙ ™œ ˙

Ó

˙

‰ ≈

œ

R

˙ œ

Œ Œ ‰

œ

œ#

J

˙

˙ ™

™

Œ

wb

Œ

Œ Œ

œb ˙

Ó ‰

œb œ

Ó ‰ ≈

œ

œ

œb

R

˙

˙

˙

˙

˙

˙

Œ ‰

œ

œ

n

J

˙

˙™

™

Œ

œ

K

r

˙b

Œ ≈

œ

œ

œb ™

™

™

J

œ

œ

œ

˙

˙

˙ ™

™

™

Ó ∑

Ó ‰ ≈

œ

R

˙ ˙

Œ ‰

œ#

K

r

œ#

J

˙ ™Œ

œ

K

r

˙

˙

b

Œ ≈

œ

œb

b™™

j

œ

œ

Œ Œ

œb ˙

Ó ‰

œb œ

4

5

Figure2a.UnisontimbreinCrossCurrents(b.42-43)Figure2b.UnisontimbreinTheReef(b.108-10)

“Timbre isamorecomplexattributethanpitchor loudness; theperceptionof timbre isa

synthesisofseveralfactors”.3Therichcomplexitiesofworkingwithtimbreandthevarietyof

sounds and possibilities available is what draws me to focus on this particular musical

parameterinmyworks.

3Campbell,M.,“Timbre(i).”

{

°

¢

{

°

¢

{

°

¢

Shak.

Ob.

Ko.

Vc.

pp

DD

38

f

f

mp

'seagull' effect

f

Shak.

Ob.

Ko.

Vc.

ppp

o

EE

42

pp

o

p f pp

pp

o

Shak.

Ob.

Ko.

Vc.

f

45

f

p

menacing

f

o

5

4

5

4

5

4

5

4

5

4

4

4

4

4

4

4

4

4

4

4

&

∑ ∑

mura-iki

∑

&

remove reed and inhale/exhale

slowly through instrument

replace reed

∑

&

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑

&

SP

III

o

o

o

II

o

o

o

I o

o

o

?

&

NV

3

&

NV

&

∑

5

5

5

?

∑ ∑ ∑

?

ST, NV

III

∑

&

∑ ∑

&

∑ ∑ ∑ ∑

&

∑

3

?

∑ ∑ ∑ ∑

?

&

w

Ó

Y Y Y

Ó

œ ™

œ ™

œ

Œ

œ

œ

œ

‰œ ™

œ

œ

O

˙

Ó

Œ Œ

œ ˙ w ˙

Ó Œ

Œ

˙™

w œ

Œ Ó Œ

œ œ œ œ

O

œ

œœ

œœœ

œ

œ

œ

œœœ

œ

œœœ

œ

œ

œœ#œ

œœœ

œ

œ

œ

œ

œ

œ

œb™

Œ

~

w

~

w

Ӝ

œ

œ

˙ œ˙# ™

Ó Œ

œ

j

œb

j

œ# œ

‰

œ

j

œ

‰

œ

j

œ

Œ Ó Œ ‰

œb

œ

œ

œ

œb œœ œ

œb œœ œ

œ œœ œ

˙™

Œ

55

°

¢

°

¢

°

¢

Cl.

Vln.

Vla.

Vc.

102

Cl.

Vln.

Vla.

Vc.

104

pp pp

pp like a sustained echo

pp

opp

Cl.

Vln.

Vla.

Vc.

mf mp

beneath the waves

A tempo q = 66

77

108

p f

ppp mp

mp

4

4

4

4

4

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

4

4

4

4

4

4

4

4

&

5

5

3

5

3

3

œnœn

œn

œbœb

œ

œ

&

o

o“: ;

&

o

o

“: ;

&

o

o

“: ;

?

&

>

∑ ∑

&

∑

IV

o

I

&

o

“: ;

III

o

B

?

&

3

3

5

3

5

&

3

B

?

œb

œb

œ

œn

œœ

œ

œb

œœb

œœ

œn

œ

œ

œ

œb

œ

œbœ

œœ

œœœ

œœœ

œ

œ

œ

œœ

œ

œbœnœnœœ

œœ™

J≈

œbœb

œb

œ

w

œ

Œ Ó

w

w

w

w

œ

œn

œ œ

œb

≈

œ

œn ™ œ w

Œ ‰

œ

J

˙ w

Ó

O™

œ

Œ Ó ‰

œ

J

˙ ™ w ˙ ˙ ™

Ó Œ ‰

O

œ

J

O

œ

O

˙ ™

™O

˙

Ó

˙

˙™

˙™

Ó

œ

œœ

œœœ

œœ

œ

œ

œœ

œ

œœ

œœœ

œœ

œ

œœ

œ

œ#œœ

œ

œ#œœœ#œœ ™ œ

Œ

wb

~

w

~

w

~

w

Ó

œ#

œœœ#

œnœ

œœ#

œ

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

#

1111

6

II.Gesture

Anotherimportantaspectofmycompositionsistheuseofgesture.Gesturecanbethought

ofasashape,contour,orpatternthathasauniquecharacterinrelationtopitch,rhythm,

articulation, or timbre. I employ gestures which follow certain shapes or patterns in my

pieces.Theyusuallyreappearthroughoutthepiece,assignificantaudibleeventsinorderto

providestructure.“Composersandimprovisersstructuresequencesofmusicaleventssothat

listeners have easy access to elements out of which musical categories can be built.”

Zbikowski4 touches upon how gestures are organised and repeated to allow listeners to

categorise them; theshapesandcontoursofgesturebecome familiar,providingcohesion

throughoutapiece.“Theworkoverallbecomesanaccumulationofsoundeventsovertime.

Theinitialgesturesgiveshapeandcoherencetothelatergestures.”5

Gesturescanbeutilisedtocreateintelligiblestructures,butSchoenbergwarnsoneshould

avoidmonotony.6Hestressesthatinrepetition,gesturesshouldbedevelopedandvariedto

provide interest. Inmyworks,whengestures reappear, theyare variedby the context in

whichtheyareplayed,whetheritbeinadifferentregister,texture,orcontour.Forexample,

inCrossCurrents, theopening fangesture isheard indifferenttimbralcontextsplayedby

differentinstruments,butalsohasavariedcontourasshownbythecelloatbar19.

Figure3a.‘Fan’gesture Figure3b.Fangesture,altered(b.19-20)

4Zbikowski,L.M.,‘MusicalGestureandMusicalGrammar:ACognitiveApproach’,inGritten,A.and

King,E.(eds.)NewPerspectivesonMusicandGesture(AshgatePublishingLtd,2011),83-995RogerSessionsSessions,Roger,TheMusicalExperienceofComposer,Performer,Listener

(Princeton:PrincetonUniversityPress,1971),626Schoenberg,A.,FundamentalsofMusicalComposition(London:Faber,1967)

{

°

¢

{

°

¢

Shakuhachi

Oboe

Koto

Violoncello

p f mp f p

Spacious q = 52

pp mp

ff mp p

ff mp p pp

Shak.

Ob.

Ko.

Vc.

f

4

f mp f p

pp p mp

p

like an echo

p mp

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

&

5

33

3 3

Kevin Leomo

2015

to Okeanos Ensemble

for shakuhachi, oboe, koto and cello

Cross Currents

&

∑ ∑ ∑

&

∑

3 3 3 3

?

» > d

∑

?

pizz.»

>

∑

&

3

&

sorane

(false note)

>

∑

&

non

vibrato

molto

vibrato

5

3 3 3 3

&

move bridge, then reset

∑

?

∑ ∑ ∑ ∑

&

ST

3

SP

col legno battuto

3 3 3 3

œ

j

w

œ

œœœ

œœ

œ ™œ œ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ œ œ

J ‰

Ó Œ

œ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ œ

®

œ

R®‰ Œ ®

œ

R®‰ Œ ≈

œ

R‰ Œ Ó

≈

œ

r‰ Œ ≈

œ

r‰ Œ ‰

œ

r‰ Œ

œ

j‰ Œ

≈

¿

¿¿¿

œ

æææ

˙ ™

Ó œ

j œœ

œ

Œ Ó

Ó ‰

œ

j

œ ™ ˙ ™

Œ

œ

œœœ

œœ

œ ™œ œ œ œœœ œœœœœœœœœœœœœ œ œ œ œ œ œ œ

J ‰

œ œ

Œ ≈

æææ

œ ™

J æææ

œ

æææ

œ

Œ Ó Œ

œ

œ

Œ

Ó Œ ‰

œ

O

æææ

˙

O

Ó Ó Œ

œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ

{

°

¢

{

°

¢

{

°

¢

Shak.

Ob.

Ko.

Vc.

BB

19

mp f mp

yuri

f

sawing

p pp

Shak.

Ob.

Ko.

Vc.

23

p

mp f

Shak.

Ob.

Ko.

Vc.

27

f

f

mp

p f

f

mp

f mp

&

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑

&

∑ ∑

3

5

?

∑ ∑ ∑ ∑

&

>

III

?

SP

&

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑

&

∑

?

∑ ∑ ∑ ∑

?

pizz.

&

∑ ∑ ∑

&

∑ ∑ ∑

&

>

>

3

3

3

œ

œ

œ

œ

œ

≈™

O

œ

œ

œ#

?

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

>

3

3

œb

œ

?

∏∏∏∏∏∏∏

l.v.

>

3

5

Œ ‰

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œœœ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œb

œ

œ

œ

œ

œ

œ

œœ

œ

œ

j

œ œ œ

≈

œ

œœœ

œ ˙™

˙# ™Œ

~

w

O

˙ Œ

O

œ

Œ

OO

æææ

OÓ

œb

œ

œ

œnœ#œ

œ

œ

œnœœ

œœ

O

œ

O

˙

æææ

O

œ

æææ

O

œŒ Ó

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœœ

œ

œœ

œ

œœ

‰

œ

J

œ

Œ

œ

œ

œ

œ

œ

Œ Ó ‰

œ

œ

œ

œO

œ

œ

œ œ

Œ

œ œ

œ

œ

œ

‰

œ

r

œ

J

Œ

œ

œ

œbŒ

O

˙

b

≈œb

J

‰ Œ˙

œ

œ

œ

œ

œ

b

Œ

œ

Ob

Œ ‰

œb

j≈

œ#

œ

œ

œ

œ#

œ

œnœ

Œœb

œ

œ

œ œ

œn

œ

‰

œ

j

33

7

III.Developmentsthisyear

Ihavehadseveraldevelopmentsinmycompositionalpracticeoverthecourseofundertaking

thismaster’s.ThisyearIwasmotivatedbyadrivetohavemyworksperformedandrecorded;

asanemergingcomposeritiscrucialtohavequalityexamplesofyourwork.Ifoundmyself

balancing idealistic composition goalswithmore practical ones. An important part ofmy

compositionaldevelopmenthasbeeninamovefromwritingforan‘imagined’ensemble,as

in thecaseofmy finalundergraduatepiece, towardswriting fora specificensemblewith

prescribedinstrumentation.Overthepastyear, Ihavewrittenseveralpiecesforaspecific

ensembleorinstrumentation:CrossCurrentsforEnsembleOkeanos,SpecksInfinitesimalfor

theCoMAstringorchestra,TheReefforGlasgowNewMusicExpedition,twominiaturepieces

forclarinet,violin,cello,andpiano,aswellasSilentKeyfortheOBFCSguestartists.Influenced

bythepracticalitiesofsecuringperformances,Ireturnedtousingmoretraditionalnotation.

My initial aim to develop my work with notation, as demonstrated inMorphology and

Textures,wassetaside.Theworksofthisportfoliodonotcontinueinthetrajectoryofthese

previous works, as I did not further pursue developments in graphic or spatial notation.

However,theessenceofthesepieces,exploringtimbralpossibilities,hasremainedprevalent

throughoutthisportfolioofcompositions.

Furthermore,Ihadidentifiedsomeissueswithmyapproachtostructureandthenotionof

creatingacohesivepiece,whichIaimedtoaddressoverthecourseoftheyear.Irealised

that I perhaps introduced newmaterial too quickly or too often before I had sufficiently

developedexistingmaterial.Iintendedtoremedythisbythoroughlyutilisingexistingmaterial

beforemovingon to somethingelse andby reusingor redevelopingmaterial rather than

introducingtoomanynewideas.Linkedtothisissuewasmydesiretocreatemoreeffective

transitions between sections. I began to reuse gestures and ideasmore frequently inmy

piecesasawayofcreatingcoherenceandstructurebyprovidingthelistenerwithfamiliar

material.Gesturescouldreturnlaterinapieceratherthanoccurringonceorinonesection

only,asIhadpreviouslypractised.Initially,Iusedrepetitionverysparsely,toensurewhen

materialwasrepeated,itwasasignificantevent.However,Ibelievethatmyuseofrepetition

hasincreasedthroughoutthefourpiecesintheportfolio.

8

Anotherdevelopmentthatoccurredoverthedurationofthisdegreehasbeenashiftfrom

writingmoreabstractpiecestowardspieceswithasubtleextramusicalornarrativeelement.

Priortothisyear,Iwasuninterestedinrepresentinganythingovertlyextramusicalwithinmy

pieces.Infact,Iwasquiteagainsttheideaandpreferredtowritemusicfocusingentirelyon

thesonicqualitiesofthework,withabstracttitlesgivinglittleinformationaway.However,

thispredilectionhassincechangedandInowfindinterestinhavinganextramusicalstoryor

elementtoguidemycompositionalprocess,asopposedtothinkingsolelyintermsofsound,

asIdidinearlierpieces.Iappreciatetheconceptofhavingalooseideawhichlistenerscan

interpretintheirownway.OleKühlstatesthat“musicalmeaningisfluid.Thesamepieceof

musiccanmeandifferentthingstodifferentpeople”.7Thisnotionwillbefurtherexamined

throughoutthecommentaries.

7Kühl,O.,‘TheSemioticGesture’,inGritten,A.andKing,E.(eds.)NewPerspectivesonMusicandGesture(AshgatePublishingLtd,2011),123-131

9

CrossCurrents forshakuhachi,oboe,koto,andcello c.5’10EnsembleOkeanosBFE/RMAResearchStudents’Conference,Bangor January2016

CrossCurrentswaswritteninresponsetoacallforscoresissuedbythejointBritishForum

forEthnomusicologyandRoyalMusicalAssociationResearchStudents’Conferencetowork

with Ensemble Okeanos. The ensemble is known for its mix of Western and Japanese

instruments.Writingfortheprescribedinstrumentationofshakuhachi,oboe,koto,andcello

providedmewithaninterestingchallenge.Havingneverpreviouslywrittenforshakuhachior

koto,IsoughttolearnasmuchabouttheseinstrumentsduringtheshorttimespanIhadto

completethepiece.Ibeganresearchingtheinstrumentsthemselves,aswellasthetraditions

andperformancepracticesofJapanesemusic.IalsoreceivedassistancefromDr.NickFells,a

shakuhachi player, who introduced me to the instrument and demonstrated playing

techniquetome.Afterthisinitialresearch,IfeltIhadenoughpreliminaryknowledgetobegin

writingforshakuhachiandkoto.

InCrossCurrents,theuseofgesture,harmoniclanguage,andtimbre,wasinformedbymy

researchintoJapanesemusicandinstruments.Idecidedthatwhileworkingwithinstruments

ofanotherculture, itwas important forthepiecetosomehowacknowledgetheJapanese

musictraditionsIhadlearnedabout.IaspiredtocreatesomesortofsynthesisofJapanese

music with my own compositional idiom in order to reflect this. I engaged in writing

idiomatically for the shakuhachi and koto and intended to utilise traditional gestures by

incorporating them into my own compositional style whilst avoiding pastiche or cultural

appropriation. This approach was also taken inmy treatment of harmonic language and

timbre.

ThereisalonghistoryofperformancepracticewithbothshakuhachiandkotowhichImade

aneffort toengagewith. Iwasabletoemploysometraditional techniques,butthereare

manymorewhichwouldrequirefurtherstudytouse.Somewhichwereutilisedinthepiece

10

include the shakuhachi’s breath tone,mura-iki, and falsenote, sorane, aswell as the the

koto’spitchbending,iro,andvibrato,yuri,techniques.

Intermsofgesture,Isoughttoemployidiomaticwritingfortheshakuhachiandkotowhich

could then be translated onto theWestern instruments of oboe and cello. Indicative of

shakuhachiplayingareslidesorglissandi,whichcanbeachievedbyadjustingembouchure,

fingering, or a combination of the two. This was something I wanted the shakuhachi to

demonstrate,butwasalsoagesturewhichtranslatedwellintothecellowriting.Glissandiare

present in both shakuhachi and cello throughout the piece, which creates a link and

interestingrelationshipbetweenthetwodifferentinstruments.

Figure4.Glissandi(b.45-48)

An archetype of both shakuhachi and koto playing is the use of grace notes. This easily

translatestooboeandcelloandcanbeheardthroughoutthepiece.

Figure5.Idiomaticwriting(b.4-6)

{

°

¢

{

°

¢

{

°

¢

Shak.

Ob.

Ko.

Vc.

pp

DD

38

f

f

mp

'seagull' effect

f

Shak.

Ob.

Ko.

Vc.

ppp

o

EE

42

pp

o

p f pp

pp

o

Shak.

Ob.

Ko.

Vc.

f

45

f

p

menacing

f

o

5

4

5

4

5

4

5

4

5

4

4

4

4

4

4

4

4

4

4

4

&

∑ ∑

mura-iki

∑

&

remove reed and inhale/exhale

slowly through instrument

replace reed

∑

&

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑

&

SP

III

o

o

o

II

o

o

o

I o

o

o

?

&

NV

3

&

NV

&

∑

5

5

5

?

∑ ∑ ∑

?

ST, NV

III

∑

&

∑ ∑

&

∑ ∑ ∑ ∑

&

∑

3

?

∑ ∑ ∑ ∑

?

&

w

Ó

Y Y Y

Ó

œ ™

œ ™

œ

Œ

œ

œ

œ

‰œ ™

œ

œ

O

˙

Ó

Œ Œ

œ ˙ w ˙

Ó Œ

Œ

˙™

w œ

Œ Ó Œ

œ œ œ œ

O

œ

œœ

œœœ

œ

œ

œ

œœœ

œ

œœœ

œ

œ

œœ#œ

œœœ

œ

œ

œ

œ

œ

œ

œb™

Œ

~

w

~

w

Ӝ

œ

œ

˙ œ˙# ™

Ó Œ

œ

j

œb

j

œ# œ

‰

œ

j

œ

‰

œ

j

œ

Œ Ó Œ ‰

œb

œ

œ

œ

œb œœ œ

œb œœ œ

œ œœ œ

˙™

Œ

55

{

°

¢

{

°

¢

Shakuhachi

Oboe

Koto

Violoncello

p f mp f p

Spacious q = 52

pp mp

ff mp p

ff mp p pp

Shak.

Ob.

Ko.

Vc.

f

4

f mp f p

pp p mp

p

like an echo

p mp

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

&

5

33

3 3

Kevin Leomo

2015

to Okeanos Ensemble

for shakuhachi, oboe, koto and cello

Cross Currents

&

∑ ∑ ∑

&

∑

3 3 3 3

?

» > d

∑

?

pizz.»

>

∑

&

3

&

sorane

(false note)

>

∑

&

non

vibrato

molto

vibrato

5

3 3 3 3

&

move bridge, then reset

∑

?

∑ ∑ ∑ ∑

&

ST

3

SP

col legno battuto

3 3 3 3

œ

j

w

œ

œœœ

œœ

œ ™œ œ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ œ œ

J ‰

Ó Œ

œ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ œ

®

œ

R®‰ Œ ®

œ

R®‰ Œ ≈

œ

R‰ Œ Ó

≈

œ

r‰ Œ ≈

œ

r‰ Œ ‰

œ

r‰ Œ

œ

j‰ Œ

≈

¿

¿¿¿

œ

æææ

˙ ™

Ó œ

j œœ

œ

Œ Ó

Ó ‰

œ

j

œ ™ ˙ ™

Œ

œ

œœœ

œœ

œ ™œ œ œ œœœ œœœœœœœœœœœœœ œ œ œ œ œ œ œ

J ‰

œ œ

Œ ≈

æææ

œ ™

J æææ

œ

æææ

œ

Œ Ó Œ

œ

œ

Œ

Ó Œ ‰

œ

O

æææ

˙

O

Ó Ó Œ

œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ

11

CrossCurrentsreferstomovingstreamswhichinteractwithoneanother;thisisreflectedby

theinitialgestures,suchasfigure6,beingtakenupbyotherinstrumentsandpassedaround

the ensemble in a constant dialogue; both within and between the instruments of the

ensemble,andhopefully,betweenthepieceitselfandwithtraditionalJapanesemusic.

Figure6.Palindromicgesture

TheharmonicbasisofthepiecestemsfromtheJapanesepentatonicscale,whichIcombined

withmyownharmoniclanguagetoformasynthesisedscaledforthepiece,whichthekotois

tunedto.Thisdecisiontoincorporatethepentatonicscaleintothepiecewassomethingnew

formeasmypreviousworkshavelargelybeenpost-tonalwithlittleuseoforreferencetoa

tonal harmonic language. Using the pentatonic scale gave me a basis on which to build

melodies and gestures; however, I did not want the piece to sound overtly tonal or

pentatonic, so I endeavoured to imprint my own style on to the piece whilst still

acknowledgingthetraditionalpentatonicscale.

Figure7.Kototuning

TimbreisacentralaspectofCrossCurrents.Iwantedtoexploreeachinstrument’sspecific

timbralandsoundqualitiesandhowtheycouldbeusedandrelatedtooneanother.Ialways

relishinvestigatingdifferentsonicrelationshipsandpossibilitieswithinanensemble.Idoso

by paying close detail to each instrument’s specific sonic profile and how the individual

instrumentscanbecombinedwithanotherwhilstalsoexploringthefullrangeofsoundsthey

can produce. I enjoy blending similar sounds together; one particular example I found

successfulwasattheendofthepiece,wherethekotoplaysaseriesofopenfifthsovera

unisonDsustainedbytheotherinstruments.

{

°

¢

{

°

¢

Shakuhachi

Oboe

Koto

Violoncello

p f mp f p

Spacious q = 52

pp mp

ff mp p

ff mp p pp

Shak.

Ob.

Ko.

Vc.

f

4

f mp f p

pp p mp

p

like an echo

p mp

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

&

5

33

3 3

Kevin Leomo

2015

to Okeanos Ensemble

for shakuhachi, oboe, koto and cello

Cross Currents

&

∑ ∑ ∑

&

∑

3 3 3 3

?

» > d

∑

?

pizz.»

>

∑

&

3

&

sorane

(false note)

>

∑

&

non

vibrato

molto

vibrato

5

3 3 3 3

&

move bridge, then reset

∑

?

∑ ∑ ∑ ∑

&

ST

3

SP

col legno battuto

3 3 3 3

œ

j

w

œ

œœœ

œœ

œ ™œ œ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ œ œ

J ‰

Ó Œ

œ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ œ

®

œ

R®‰ Œ ®

œ

R®‰ Œ ≈

œ

R‰ Œ Ó

≈

œ

r‰ Œ ≈

œ

r‰ Œ ‰

œ

r‰ Œ

œ

j‰ Œ

≈

¿

¿¿¿

œ

æææ

˙ ™

Ó œ

j œœ

œ

Œ Ó

Ó ‰

œ

j

œ ™ ˙ ™

Œ

œ

œœœ

œœ

œ ™œ œ œ œœœ œœœœœœœœœœœœœ œ œ œ œ œ œ œ

J ‰

œ œ

Œ ≈

æææ

œ ™

J æææ

œ

æææ

œ

Œ Ó Œ

œ

œ

Œ

Ó Œ ‰

œ

O

æææ

˙

O

Ó Ó Œ

œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ

12

Figure8.Timbralblend(b.62-64)

Itookparticularinterestinhavingtheopportunitytoworkwithshakuhachiandkoto,which

Ipairedwiththeoboeandcello,respectively.Apizzicatogestureisemployedbybothcello

andkotowherebothinstrumentsplayasnappizzicato,butthedifferencesintimbrebetween

thetwoinstrumentsarediscernible.

Figure9a.Kotoandcellopizzicato(b.1-2) Figure9b.Kotoandcellopizzicato(b.10)

The shakuhachi has a vast number of timbres it can produce, from lowmellow tones to

breathy sounds. Traditional music for the shakuhachi includes the use ofmura-iki, or a

breathyairtone.TheshakuhachimakesuseofthistechniqueinCrossCurrents,andisechoed

bybothoboeandcellothroughout.Theoboist is instructedtoremovethereedandblow

through the instrument to imitate themura-iki effect,which is thenoverlappedwith the

shakuhachi’sairsoundtocombinethetwo.

{

°

¢

{

°

¢

Shak.

Ob.

Ko.

Vc.

58

o

p

f

p pppp p

Shak.

Ob.

Ko.

Vc.

o o

62

o

mp

slowly fading

p pp ppp pppp

pppp

o

4

4

4

4

4

4

4

4

4

4

&

∑ ∑ ∑

&

∑ ∑ ∑

imperceptible entry;

non vibrato

&

3

hiki-iro yuri

>

?

∑ ∑ ∑

yuri

>

?

ST

&

imperceptible entry;

non vibrato

∑ ∑

U

&

∑ ∑ ∑

U

&

tsuki-iromute

d

∑

U

3

?

∑ ∑ ∑ ∑

U

?

N SP

∑

U

œŒ Ó

Ó

˙

œ

r

œœ

œ

œ

œ

n

#œ

r

œ

œ

œ

œ

œ œ

Ϫ

™

œ

œ

#

j

œ

œ

™

™

œ

œ

b

j

˙

˙

Ó

œ

r

œ ™

œ

œ

j

œ

œ

jœ

œ

œ

œ

n

j

‰œb

J

œ

J

‰ Ó

~ OO

Ó

O ~

Œ

˙™

œ

Œ Ó

w

˙

˙

œ

r

˙

˙

œ

r

œ

œ

œ

œ

œ

Ϫ

™œ

œ

œ

r

œ

œ

J

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

~ ~ O

Œ Ó

77

{

°

¢

{

°

¢

Shakuhachi

Oboe

Koto

Violoncello

p f mp f p

Spacious q = 52

pp mp

ff mp p

ff mp p pp

Shak.

Ob.

Ko.

Vc.

f

4

f mp f p

pp p mp

p

like an echo

p mp

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

&

5

33

3 3

Kevin Leomo

2015

to Okeanos Ensemble

for shakuhachi, oboe, koto and cello

Cross Currents

&

∑ ∑ ∑

&

∑

3 3 3 3

?

» > d

∑

?

pizz.»

>

∑

&

3

&

sorane

(false note)

>

∑

&

non

vibrato

molto

vibrato

5

3 3 3 3

&

move bridge, then reset

∑

?

∑ ∑ ∑ ∑

&

ST

3

SP

col legno battuto

3 3 3 3

œ

j

w

œ

œœœ

œœ

œ ™œ œ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ œ œ

J ‰

Ó Œ

œ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ œ

®

œ

R®‰ Œ ®

œ

R®‰ Œ ≈

œ

R‰ Œ Ó

≈

œ

r‰ Œ ≈

œ

r‰ Œ ‰

œ

r‰ Œ

œ

j‰ Œ

≈

¿

¿¿¿

œ

æææ

˙ ™

Ó œ

j œœ

œ

Œ Ó

Ó ‰

œ

j

œ ™ ˙ ™

Œ

œ

œœœ

œœ

œ ™œ œ œ œœœ œœœœœœœœœœœœœ œ œ œ œ œ œ œ

J ‰

œ œ

Œ ≈

æææ

œ ™

J æææ

œ

æææ

œ

Œ Ó Œ

œ

œ

Œ

Ó Œ ‰

œ

O

æææ

˙

O

Ó Ó Œ

œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ

{

°

¢

{

°

¢

{

°

¢

Shak.

Ob.

Ko.

Vc.

f f ff

8

f

mp f

f

pp

f

Shak.

Ob.

Ko.

Vc.

AA

11

f mp f mp

fp f

Shak.

Ob.

Ko.

Vc.

pp p

15

p pp

f

p

pp f pp

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

5

4

4

4

5

4

5

4

4

4

5

4

5

4

4

4

5

4

5

4

4

4

5

4

5

4

4

4

5

4

4

4

5

4

4

4

4

4

5

4

4

4

4

4

5

4

4

4

4

4

5

4

4

4

4

4

5

4

4

4

&

non

vibrato

molto

vibrato

>

mura-iki

(air note)

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~

&

∑

&

∑ ∑

3

5

?

∑

yuri

(LH vibrato)

»

with cello

» »

.

3

3

&

∑

?

»

with koto

» »

3

&

slow down

Ÿ~~~~~~~~

∑ ∑ ∑

3

&

∑ ∑ ∑ ∑

&

∑ ∑

5

3 3 3 3

?

∑ ∑ ∑ ∑

?

∑

&

SP

>

N

∑ ∑

?

&

∑

&

∑

&

∑ ∑

?

∑ ∑ ∑

?

ST SP

&

N

œb

j

w œ

Œ Œ

œ

œ

œ œ ˙ œ œ

j

æææ

œ

Œ

œ

r

œ

r

œ œ

œ

œ œ

r

œ œ œœb

j

˙

Ó

‰

œœ

œœœ

œ

œœ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ#œ

œ œ

‰

œ

œ œ

Ó ‰œb≈ ‰

œ≈ ‰ ‰

œ

J

Œ

œ œ

Œ Ó ‰ œ ≈ ‰ œ ≈ ‰ ‰ œ

J

Œ

¿

¿œb

‰

˙ œ

Œ

œ

œœœ

œœ

œ ™œ œ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ œ œ

J ‰

œ

j

w

‰œ

J

˙ ™ œ˙™

w

w

b

b

wb

Œ

˙™

w wb

wb

Ó

O

œ

O

œ

‰

O

œ

#

#

J

‰

œ

O

j

œ

O

j

‰ Œ

w

wb

b

wb

w

~b

˙

O

™

™

œ

O

˙

O

™™

œ

O

Œ

wb

wb

22

13

Figure10.Mura-ikieffectinoboe(b.38-40)

Inaddition, thebowplacementof thecello isvaried throughout inaway to recreate the

numberoftimbralpossibilitiestheshakuhachihasaccessto.

Asidefromblendingsimilarsoundstogether,Ialsoenjoycontrastingsoundswithoneanother

inunexpectedwaystocreatemusicalinterest.Forexample,theopeningsoundworldofthe

piecehasthesmoothshakuhachigesturealmost immediately interruptedbythekotoand

cellosnappizzicato.Thisjuxtapositionoftwoverydifferentsoundsnotonlysetsthetimbral

tone of the piece, but is also like a sonic representation of the blend of the traditional

Japaneseelementswithmyowncompositionalstyle.

Theworkshopsessionswereextremelyuseful in that Iwasable toworkdirectlywith the

performersandreceivefeedbackandadviceonwritingfortheJapaneseinstruments,which

IwouldtakeintoconsiderationifIweretowritefortheseinstrumentsinthefuture.

Overall,IfeelthatIwassuccessfulinhowIutilisedthefourinstruments.Iexaminedseveral

different relationships between various combinations of the instruments. The gestures I

employedwereeffectiveandIwaspleasedwiththeoutcomeofthetimbraljuxtapositions

andblendingwhichisatthecoreofmycompositionalpractice.Inretrospecthowever,Ihave

justbeguntoexplorethetimbralpossibilitiesaffordedbyboththeshakuhachiandkotoin

CrossCurrents.LearningabouttheshakuhachifromDr.FellsandEnsembleOkeanoswasan

excellentexperience;Iwouldrelishtheopportunitytowritefortheseinstrumentsagainwith

thehopesofdelvingdeeperintoboththenumberofbeautifulsoundstheinstrumentscan

produceandtherichhistoryandtraditionsofJapanesemusic.

{

°

¢

{

°

¢

{

°

¢

Shak.

Ob.

Ko.

Vc.

pp

DD

38

f

f

mp

'seagull' effect

f

Shak.

Ob.

Ko.

Vc.

ppp

o

EE

42

pp

o

p f pp

pp

o

Shak.

Ob.

Ko.

Vc.

f

45

f

p

menacing

f

o

5

4

5

4

5

4

5

4

5

4

4

4

4

4

4

4

4

4

4

4

&

∑ ∑

mura-iki

∑

&

remove reed and inhale/exhale

slowly through instrument

replace reed

∑

&

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑

&

SP

III

o

o

o

II

o

o

o

I o

o

o

?

&

NV

3

&

NV

&

∑

5

5

5

?

∑ ∑ ∑

?

ST, NV

III

∑

&

∑ ∑

&

∑ ∑ ∑ ∑

&

∑

3

?

∑ ∑ ∑ ∑

?

&

w

Ó

Y Y Y

Ó

œ ™

œ ™

œ

Œ

œ

œ

œ

‰œ ™

œ

œ

O

˙

Ó

Œ Œ

œ ˙ w ˙

Ó Œ

Œ

˙™

w œ

Œ Ó Œ

œ œ œ œ

O

œ

œœ

œœœ

œ

œ

œ

œœœ

œ

œœœ

œ

œ

œœ#œ

œœœ

œ

œ

œ

œ

œ

œ

œb™

Œ

~

w

~

w

Ӝ

œ

œ

˙ œ˙# ™

Ó Œ

œ

j

œb

j

œ# œ

‰

œ

j

œ

‰

œ

j

œ

Œ Ó Œ ‰

œb

œ

œ

œ

œb œœ œ

œb œœ œ

œ œœ œ

˙™

Œ

55

14

TheReefforclarinet,violin,viola,andcello c.10’00

GlasgowNewMusicEnsembleSoundThought2016,Glasgow April2016

This year I was on the committee responsible for organising Sound Thought. My main

motivation for taking partwas to gain a performance of one ofmyworks as part ofmy

master’s.Oneofmyresponsibilitiesonthecommitteewastosecureanewmusicgroupwhich

wouldtakepartinthefestival.GlasgowNewMusicExpedition,anensemblecommittedto

performing new music by Scottish composers, was enthusiastic to partner with Sound

Thought.We launcheda jointcall forscores forcomposerstosubmittheir representative

works, from which we selected four composers to write a new piece for the given

instrumentationofclarinet,violin,viola,andcello.TheReefwasoneofthesepieceswritten

forperformancebyGNMEatSoundThoughtinApril.

ThisworkwasshapedbymytimespentattheCoMAMidwinterComposersCourseinOxford

in January,which focused onwriting for strings. I composed a piece for string orchestra,

SpecksInfinitesimal,whichincludedstringharmonics,extendedtechniques,andvariousideas

forstringsIwishedtoexperimentwith.Havingthispieceworkshoppedandperformedwasa

valuable experience, as I learned a great deal about the notationof harmonics, technical

demands,issuesofbalance,andthetimbralpossibilitiesaffordedbystrings.

TheopeningofTheReeffeaturesharmonicandtimbraltechniquesforthestrings,guidedby

theknowledgeIacquiredfromworkingonSpecksInfinitesimal.Thistypeofwritingwasalso

influencedbyKaijaSaariaho’sworksforstrings,suchasSeptPapillons.Theattentiontothe

methodofsoundproduction,frombowplacementtotheamountofpressureappliedtothe

strings was something which resonated withmy own compositional thinking. I aimed to

create a texturewhere each instrumentwas playing a different type of harmonic trill or

tremolothatwouldlayerupononeanotherandslowlyevolve,withthegoalofexploringthe

soundsofeachindividualinstrument.Ihadexperimentedwithtechniquessuchasthesewith

15

theCoMAstringorchestra,whereIlearnedmoreabouttheeffectivenessandresonanceof

differenttypesofharmonics.Additionally, Iworkedonnotatingtheharmonicsaccurately,

whichwasalsoaidedbymystudyofSaariaho’sworks.DuringrehearsalsofTheReef, the

performershadnodifficulty in interpreting thearrayofnotatedeffects,which includeda

numberofpressuretrillsandalternationsbetweendifferentopenandclosednodes.

Figure11.Timbraleffects(b.12-16)

Anotherexampleofthiswritingoccursatbar26,wherethecelloplaysaseriesofharmonics

bykeeping the fingers stationaryon thenodeswhilstmoving thebowacrosseachstring,

similartobariolage.

Figure12.Celloharmonicgesture(b.26)

Otherimportanttimbralmomentsincludethesecondsection,whichfeaturestheclarinet’s

entry.Theclarinet’supperregisterblendsseamlesslywiththestringharmonics,whichwas

particularly effective in performance. Blending the clarinetwith the strings also occurs in

sectionsB,G,andHwhich includemoresustainedpassageswheretheensemble’soverall

instrumentalcolourisexposed.

°

¢

°

¢

°

¢

Bb Clarinet

Violin

Viola

Violoncello

Spacious q = 66

beneath the azure surface

11

pp mp

pp mp f pp

pp mp f

Cl.

Vln.

Vla.

Vc.

6

p

f mp

mp

mp

mf

pp

Cl.

Vln.

Vla.

Vc.

11

p

mf mp

p

mf

p

4

4

4

4

4

4

4

4

&

∑ ∑ ∑ ∑ ∑

for clarinet, violin, viola and cello

The Reef

to GNME, Sound Thought 2016

Kevin Leomo

2016

&

sul ponticello

Ÿ~~~~~~~~~~~~~~~~~~~~~~

B

sul ponticello

?

sul ponticello

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

∑

&

∑ ∑ ∑ ∑ ∑

&

∑

III

(pressure trill)

Ÿ~~~~~~~~~~~~~~~~~~

B

II

0

III

∑

?

Ÿ~~~~~~~~~

∑ ∑

trill during gliss

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

&

∑ ∑ ∑ ∑ ∑ ∑

&

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~

∑

I

SP

trill during gliss

o

B

III

IV

∑

II

ST

0

SP

III

(pressure trill)

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

&

?

III

∑

&

I

increase then

decrease speed

o

Ó

O

˙

~

w

~

w

~

w

w

~#

# œ#

~

w

#

#

~

w

O

˙

#

#

O

˙

O

œ

#

#

æææ

O

˙™™

æææ

O

˙™™

œ

O#

#

~

w

#

#

O

˙ O# ~

O#

~

ææææ

w

ææææ

˙ ™

Œ Ó Œ

œ w O

w

~

˙

O

™™

Œœn OœOœOœOœOœOœOœOœOœOœOœOœOœOœOœO œOœOœOœO

Œ Ó

w

~

w

O

˙

˙b

Ó

O

˙

#

#

ÓO# O

O#

Ó Ó

˙

˙ ˙

˙ ˙

~

~

w

w

æææ

~

w

~ œ O O

O

˙

™™

Œ

æææ

w

~

n

æææ

w

~bO# O

æææ

w

°

¢

°

¢

°

¢

Cl.

Vln.

Vla.

Vc.

pp pp p pp

stillness below

22

17

ppp p mp

ppp p mp

ppp p mp

Cl.

Vln.

Vla.

Vc.

p pp p pp p

22

mp

Cl.

Vln.

Vla.

Vc.

emerging

33

27

mplight; detached

mp light; detached

mp

light; detached

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

4

4

3

4

4

4

5

4

4

4

3

4

4

4

5

4

4

4

3

4

4

4

5

4

4

4

3

4

4

4

5

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

&

∑

&

N

SP

&

5th harmonic

o

I

o

B

SP

&

o III

o

?

SP

&

&

B

&

III

o

II

I

o o

B

?

&

I

o

∑

?

SP

IV III II I

&

∑ ∑

&

∑

SP

B

SP

?

SP

˙b™

˙

Ó

˙ w

Ó

˙™

w ˙™

˙

w

~b

b w

~

O

˙

b

b™™ O

˙

w ˙ ™ ˙w w

˙

O

#™™

˙

O

w ˙™

˙w w

O

˙

b

b ™

™O

˙

w

Ó

˙b ˙ ™

Ó

˙ w

~

w

w

~b

b ˙

O

™™

w

~

# w

~

w

~

w ˙ ™w

w

w

w

~

w

wn ˙™

O

O

O

O#

O

O

O

O

O

O

O

O

O

O

O

O

OO

O

O

O

O

O

O

O

O

O

OO

O

O

O

Ó

œœœbœœ

œ

œœœœœ

œœœœœ

Ó

œœœbœœ

œ

œœœœœ

œœœœœœœbœ

œ

œ

œœbœ

œ

œœ

œbœ

œbœ

œœœœœ

œ

œœœœ

œœ

œ

œ

œœœœœ

œœ

œ

œœ

œ

O ™œnœœbœœ

œ

œœœœœ

œœœœœ

œœbœ

œ

œb

œœbœ

œ

œœ

œœ

œœ

œœœœœ

œ

œœœœ

œœ

œ

œ

œœœ

22

16

Figure13.Clarinetentry(b.17-18)

TheReef’sformalstructureisepisodicinnature.Eachsectionhasitsowncharacter,defined

bydistinctivegestures,harmonies,instrumentation,andrhythmiccharacteristics,aswellas

byadescriptiveexpressionmarking,whichrepresentsavisualimagefromthetitular‘reef’.

Thisorganicevolutionsupportsthetitle,whichreferstothenaturalphenomenonofacoral

reef.Isoughttoexplorevariousthingswhichoccurorwouldbepresentinareef.Thispiece

wasstrongly influencedbyavisualelement,which isunlikethemajorityofmyworksand

marks a departure from my usual working method, normally concerned with sonic

affordancesratherthanthemusicaldepictionofavisualimage.

Thepieceopensquietlywith sectionsAandB, followedby climaxesandquieter sections

throughout,creatinginterestinthevarietyoftension.SectionCfeaturesrepeatedupward

climbinggestureswhichreachaclimax(b.27-32),repeat(b.33-35),thenbeginagain(b.36-

40).SectionEopenswithquickinterplaybetweenviolaandcellobeforeallinstrumentsjoin

to play a series of descending, tumbling gestures; in effect, the opposite of the climbing

gesturesofsectionC.Eachsectionischaracterisedbyitsownseriesofgesturesorbyhow

the instruments interactwithoneanother.Althoughthework is largelyepisodic, thefinal

sectionseesareturnoftheopeningmaterialofsustainedchordsandtimbralstringwriting,

thistimecombined.Thisactsasawaytoindicatethepiecehascomefullcirclestructurally.

°

¢

°

¢

°

¢

Cl.

Vln.

Vla.

Vc.

pp pp p pp

stillness below

22

17

ppp p mp

ppp p mp

ppp p mp

Cl.

Vln.

Vla.

Vc.

p pp p pp p

22

mp

Cl.

Vln.

Vla.

Vc.

emerging

33

27

mplight; detached

mp light; detached

mp

light; detached

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

4

4

3

4

4

4

5

4

4

4

3

4

4

4

5

4

4

4

3

4

4

4

5

4

4

4

3

4

4

4

5

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

&

∑

&

N

SP

&

5th harmonic

o

I

o

B

SP

&

o III

o

?

SP

&

&

B

&

III

o

II

I

o o

B

?

&

I

o

∑

?

SP

IV III II I

&

∑ ∑

&

∑

SP

B

SP

?

SP

˙b™

˙

Ó

˙ w

Ó

˙™

w ˙™

˙

w

~b

b w

~

O

˙

b

b™™ O

˙

w ˙ ™ ˙w w

˙

O

#™™

˙

O

w ˙™

˙w w

O

˙

b

b ™

™O

˙

w

Ó

˙b ˙ ™

Ó

˙ w

~

w

w

~b

b ˙

O

™™

w

~

# w

~

w

~

w ˙ ™w

w

w

w

~

w

wn ˙™

O

O

O

O#

O

O

O

O

O

O

O

O

O

O

O

O

OO

O

O

O

O

O

O

O

O

O

OO

O

O

O

Ó

œœœbœœ

œ

œœœœœ

œœœœœ

Ó

œœœbœœ

œ

œœœœœ

œœœœœœœbœ

œ

œ

œœbœ

œ

œœ

œbœ

œbœ

œœœœœ

œ

œœœœ

œœ

œ

œ

œœœœœ

œœ

œ

œœ

œ

O ™œnœœbœœ

œ

œœœœœ

œœœœœ

œœbœ

œ

œb

œœbœ

œ

œœ

œœ

œœ

œœœœœ

œ

œœœœ

œœ

œ

œ

œœœ

22

17

Aswithallmycompositions,instrumentationisoneofthemostvitalaspectsofTheReef.It

providedmewitha compositional startingpoint. I sought toexamine the similarities and

differencesbetweentheclarinetandstrings,andhowdifferenthierarchiesorrelationships

betweentheinstrumentscouldbeexploredthroughout.Certaininstrumentstakeonmore

soloisticrolesattimeswhilstatotherpointstheinstrumentshavemoreequalroles.Ialso

wantedtofeaturedifferentinstrumentationthroughout,fromsolostofullensemble.There

aretwosectionswhichfeatureoneinstrumentasasoloist:sectionDfeaturessolocellowhilst

section F features solo clarinetwith the strings accompanyingwith continuous harmonic

glissandi.

Figure14.Clarinetsoloovercontinuousstringharmonicglissandi(b.92-95)

TheideaofsoloandaccompanimentisrevisitedinsectionGwhereeachinstrumenttakesa

turnplayingadescendingmelodiclineoversustainednotes,referencingthemuchquicker

andmore chaotic lines of section E. Exploring the different relationships and hierarchies

betweenthe instrumentswasacrucialaspectofthispiece. Inessence,thiswasmeantto

representmusicallythedifferenthierarchiesorfoodchainofanimalsandorganismswithina

coralreef.Thisisalludedtoineachsection’sdescriptivemarkings.Therefore,TheReefwas

influencedextramusically,butinaverysubtleandimplicitway.

Inreflection,Iperhapscouldhavemademoreuseoftheclarinetanditstimbralpossibilities.

Thestringsemployavarietyofplayingmethodsandtechniques inordertocreateawide

arrayofsounds;however, I feeltheclarinetcouldhavebeenfurtherexploited inorderto

matchthestrings.

°

¢

°

¢

°

¢

Cl.

Vln.

Vla.

Vc.

p

87

Cl.

Vln.

Vla.

Vc.

mp

gentle sea breeze

F

92

mp

mp mp

mp

Cl.

Vln.

Vla.

Vc.

96

&

&

∑ ∑ ∑ ∑ ∑

B ∑ ∑ ∑ ∑ ∑

&

?

∑ ∑ ∑ ∑ ∑

&

&

∑ ∑

&

∑

IV harmonic glissandiSP

o

o

o

”“

&

II harmonic glissandi

SP

o

SP

o

o

o

”“

&

SP

o

I harmonic glissandi

o

o

o”“

&

3

&

o

o

o

o

“: ;

&

o

o

o

o“: ;

&

o

o

o

o“: ;

˙

œb

œ œ

œ

j

œ œ ™

œb

j

˙

˙‰

œ#

j

œ

J

˙ ™ ˙ ™

Œ

œ

œb

œ

œb

œ

˙b ™

œ œœ

j

œn œ

œb

w

w

w

Ó

˙

w

w

w

w

w

w

w

Ϫ

‰

˙ ˙b œ

J‰

œ œ

œb

œb

œb

œb

œ

˙n

œb

j

œn ˙

œb

œn

œb

œb

w

w

w

w

w

w

w

w

w

w

w

w

10

18

SilentKeyforvibraphone,marimba,andpianofour-hands c.8’35

PiusCheung,ErikoDaimo,ChristinaGiucaKrauseandBenKrauseOregonBachFestivalComposersSymposium,Oregon July2016

SilentKeywaswrittenformyattendanceattheOregonBachFestivalComposersSymposium.

Composers were asked to submit their choice of five instrumentations from the list of

available performers; I was allocated two percussionists and piano four-hands. This

instrumentationappealed tomeas Iwaseager toexplore the timbralpossibilitiesof this

combination of instruments. I had previously begun sketches for a piece for two pianos.

Composingforpianofour-handswassimilarandprovidedtheadditionalchallengeofavoiding

partcrossing,an imposed limitation.Duringmyundergraduatedegree Iwroteapiece for

piano,marimbaandvibraphoneinapost-minimaliststyle.Iwasinitiallytemptedtotakea

similar approachas keyboard instruments arewell suited tominimalism,but Iwanted to

adhere to my personal compositional style that I have been developing throughout this

portfolio.

Previously,Ishiedawayfromhavingprogrammenotesorincludingmuchinformationabout

thepiece for theaudience;however, thisviewchangedfollowingtheperformanceofThe

Reef.Idesiredfortheaudiencetobemoreengagedwiththepiece,aswellastoconveysome

sortofmessageortheme.Iaimedtosodobywritingabriefprogrammenotewhichwould

be read before the performance, to better explain the title. I decided to provide some

guidancetothelistenerinregardstowhatthepiecewasabout,ratherthanprovidingthem

with solely an abstract title. Additionally, I considered that this would be a way to

contextualisethepiecewhichwouldbebeneficialforthoseunfamiliarwithlisteningtonew

music.Ididnotwanttoforceanythinguponthelistenersthroughtheprogrammenote,but

insteadprovidemyownpersonal justification forwriting thepiece, andwhat I felt Iwas

communicating.TheindividuallistenercanmakeuptheirownmindbutIthoughtthatitwas

importanttoincludethecomposer’sperspective.

19

Oneofthekeyaspectsofthepieceistheinstrumentationandhowtheinstrumentsinteract

withoneanother,especiallyhowtheindividualcoloursblendtogether.Isoughttocreatea

seamless,organicflowbetweengesturesIutilised.Forexample, intheopeningofthethe

piece,thepianoplaysalowD#followedbythevibraphone’sentranceseveraloctavesabove

withaD#rollwhichslowlyemergesfromaveryquietdynamic.Themarimbathenjoinsthe

vibraphoneonthesamepitch,furtherevolvingtheD#timbre.Thepianothenreiteratesthe

D#beforebeginningatumblinggestureandisjoinedbyvibraphoneandmarimbainunison

octaves tocreate the fused timbreonceagain.This singlemelodic linepassesaroundthe

ensemblebutcontinuallymorphsastheinstrumentsjoininandfadeout.

Figure15.Cascadinggesture(b.5-6)

Timbre and merging of sound are at the forefront of the piece, as the vibraphone and

marimbaareoftentreatedlikeextensionsofthepiano.Thisisachievedbythevibraphone

andmarimbadoublingoneof thepianoparts tocreatea fusedsound.Thevibraphone is

pairedwithpianoone,asitshigherrangeblendswellwiththetimbreofthehigherregister

of the piano and the use of the pedal by both instruments adds further colour to the

{

{

{

{

{

{

Vibraphone

Marimba

Piano 1

Piano 2

pppp pp mp

°

Freely; relaxed q = 60 = 60

ppp p

mp

°

pp

Vib.

Mar.

Pno. 1

Pno. 2

f p f mp

5

f pp

f p

fplayfully

°

p

ff

°

4

4

3

4

4

4

4

4

3

4

4

4

4

4

3

4

4

4

4

4

3

4

4

4

4

4

3

4

4

4

4

4

3

4

4

4

4

4

3

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

&

for vibraphone, marimba and piano four-hands

for the Oregon Bach Festival Composers Symposium

Silent Key

Kevin Leomo

2016

&

∑ ∑

?

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑

?

∑

gradually release pedal

∑

3 5

&

with piano

∑

5

3

3

œ#œ#

œ#

œœ

œ#

œ#

&

∑ ∑

?

∑ ∑ ∑

&

∑

33

3

œ#œ#

œ#

œœ

œ#

œ#

&

∑ ∑ ∑

&

∑ ∑

3

3

?

∑ ∑

5

5

3

5

æææ

w#

æææ

w

æææ

w

æææ

˙ ™

æææ

w#

æææ

˙ ™

w#

œ# œ œ œ œ œ œ œ œ œ œ œ

æææ

˙

‰ ≈

œœ

œ#

œ#œ#œ

œ

œ#

œ#

œœ

œ#

œ

œ

œœ

œ

œ

Œ

æææ

˙ ™

Œ

œ

œ

œ

œœ

œ

œ

Œ Ó Œœnœn

œ#

œnœ

œ

œn

œ#

œ#œ#

œ#

œœ

œ#

œ

œ#

œ

œ

œœ

œ#

œ#

Œ

œ

œ

œ#

œ#

œ#œ

œ

œ

œœ

œ#œ

œ#

œ#

œ

œ

œ

œ#

œ

œœ

œœ#

œœ

œ

œœœ

œ

œ

œ

œœ

20

soundworldofthepiece.Conversely,themarimbadoublespianotwo,asitsrichbasstones

complementthepiano’slowerregister.

At bar 23 the vibraphone and marimba are bowed, creating an ethereal, atmospheric

soundworldwhichIfindparticularlyeffective.Thebowedtimbreoftheinstrumentscontrasts

with thenormalmethodofplayingwithmallets.Here, Iexplore the lower registerof the

marimba,whichproducesaveryrich,deep,andresonantsoundwithmanyovertones.Thisis

juxtaposedbythevibraphone,playinginamuchhigherregister,whichsoundsmoreclean,

shining,andglass-like.

Inregardstotimbre,resonanceisanextremelyimportantaspectofthepiece.Thepianoand

vibraphone pedals are frequently employed to capture and suspend the resonances and

sonoritiesplayed throughout. Thenotionof spaceplays an important role inSilentKey; I

wantedtheaudiencetobeabletoappreciatetheheldsonoritiesafteragestureoractivity

hasoccurredbefore themusicmoveson to thenext phrase. This natural spacebetween

gesturesalsohelpsprovideformtothepiece,whichisanaspectofmycompositionsIhad

beenworkingtoimprove.

Figure16.Repeatedbar(b.58-59)

{

{

{

{

{

{

{

{

{

Vib.

Mar.

Pno. 1

Pno. 2

f

ø

ritualistic

mp p

pp

DD

53

mp

ritualistic

p pp ppp

pp

f

ritualistic

mp p pp ppp

mp p pp

pp

ritualistic

ppp

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

Vib.

Mar.

Pno. 1

Pno. 2

ff

ø

unrelenting

repeat 3x

58

ff unrelenting

ff unrelenting

ø

ff

ø

unrelenting

Vib.

Mar.

Pno. 1

Pno. 2

mf with sudden clarity

°

EE

60

pp

mf with sudden clarity

ø

pp

ø

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

&

with marimba

3

∑

3

&

∑

with vibraphone

3

∑

3

?

∑ ∑ ∑ ∑

&

>

3

∑

3

&

∑

3

∑

3

?

∑

&

3

∑

3

?

∑

3 3

&

5 5

5

6

&

∑

5

?

∑

5

5

7

&

∑

5 5

5

6

&

∑ ∑

&

∑

?

5 6

5

5

7

6

&

∑ ∑

>

with piano 1

3

>

3

3

?

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

&

∑ ∑

>with vibraphone

3

>

33

&

∑ ∑ ∑ ∑

&

∑ ∑ ∑

?

?

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~

Œ ‰

œ#

j

œ

œ œ

j

œ ™

Ó

œœ

œ

b œœ

œ™™™ œ

œ

œ

J

œœ

œ

œœ

œ

b

J

œœ

œ

œœ

œ

œœ

œ

œœ

œ™™™ œ

œ

œ™™™ œ

œ

œ

b

J

œœ

œ Œ

Ó

œ

œ#

œ

œ

™

™

œ

œ

j

œ

œ

œ

œ#

j

œ

œ

œ

œ

œ

œ

œ

œ

™

™

œ

œ

™

™

œ

œ#

j

œ

œ

Œ

Œ

æææ

œ

æææ

œ

Œ

œ

r

œ# ™

œ

œ

#

j

œ

œ

œ

œ œ

œ

Jœ

œ#

™

™

˙

˙#

œ

œ

n œ

œ ™

™

œ

J

œ œ

J

œ œ œ œ ™ œ ™ œ

J

˙

Ó

œœ

œ

b œœ

œ

œœ

œ

œœ

œ

œœ

œ

b

™™™ œ

œ

œ

œœ

œ

J

œœ

œ™™™

œ

œ

J

˙

˙

˙

˙

Ó

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

™

™

œ

œ

œ

œ

j

œ

œ

™

™

œ

œ

j

˙

˙ ˙

Ó

œ œ ™ œ

j

œ œ

j

œ œ œ œ ™ œ ™ œ

j

˙

≈

œ

œ

r

œ

œ

™

™

œ

œ

Œ

œ

œœ

œœ

œ#

œ

œ

œœ

œ

œ

œ

œœ

œ#

œœ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œœ#

œ

œ

œ

Œ Ó

œ#

œ#

œœ

œ#

Œ Ó

œ#

œœ

œ#

œ

œ#

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ#

œœ

œ#

œ#

œœ

œ#

œ

œ

œ

œ

œ#

œœ#

œ

œ

œ#

œ

œœ

œœ

œ#

œ

œ

œœ

œ

œ

œ

œ

œ

œ#

œœ

œ

œœ

œ

œ

œ

œ

œ#

œœ

œ

œ

œœ

œ

∑

œ#

œœ

œ#œ#

œ

œ#

œ

œ

œ

œ

œœ#

œ

œ

œ#

œ#

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œœ#

œœ

œ

œ

œœ#

œ#

œ#œ

œ

œ#

Œ Ó

˙

˙ œ

œ

œ

œ

œ

œ

# œ

œ

J

œ

œœ

œ

#

#

œ

œ

œ

œ

J

œ

œ

n œ

œ

œ

œ# ™

™

œ

œ

œ

œ#

n™

™

œ

œ#

Ó

˙

œ#

˙™

Œ Œ

˙# ™

œ

˙

˙œ

˙

˙ œ

œ

œ

œ

œ

œ

# œ

œ

J

œ

œœ

œ

#

#

œ

œ

œ

œ

J

œ

œ

n œ

œ

œ

œ#™

™ œ

œ

œ

œ

#

n ™

™

œ

œ

#

Ó Ó

w#

œ#

Ó

˙

œ

˙

Œ

œ#

œ

˙ ™

œ

œ#

6

21

I also intended to explore the large dynamic range of the instruments. There are quiet

sections, aswell as sectionsof intensityand loudness.Atbar58, theensemble repeatsa

chaoticcascadinggesturethreetimeswhichisfollowedbyacompletecontrastofextremely

quietmarimbaandpianorollsintheirlowestregisters.ContrastexiststhroughoutSilentKey,

ranging from differences in dynamic to the juxtaposition of texturally dense and sparse

passages.

Figure17.Pianissimotremolandi(b.60-61)

Inrespecttotexture,Iaimedtopresentanumberofvariedandinterestingideasthroughout.

Therelationshipbetweentheinstrumentsisveryimportant,asmentionedpreviously.They

arearrangedandjuxtaposedinvariouscombinations,asdemonstratedbyfigures16,18,19,

and20.Eachhas itsowncharacter,determinedby texturaldensity,dynamic, and rateof

movement.Figure16demonstratesadenseheterophonicphrase,whereeach instrument

plays a variation of a contoured cascading gesture. The unrelenting effect is reinforced

throughthebarbeingrepeatedthreetimes,beforetailingoff.

Usuallythefourpartsplayasimilargesture,butoccasionallytwoideasarepresentedatonce,

inopposition.Forexample,atbar46,thevibraphoneandpianoonemelodyiscontrastedby

themarimbaandpianotwoplayingrhythmicalfigures,similartopreviousgestures.Thelarge

texturaldifferenceinbothpitchrangeandrateofmovementbetweenthesetwodifferent

ideas highlights the contrast to greater effect. Combining previousmaterial together in a

{

{

{

{

{

{

{

{

{

Vib.

Mar.

Pno. 1

Pno. 2

f

ø

ritualistic

mp p

pp

DD

53

mp

ritualistic

p pp ppp

pp

f

ritualistic

mp p pp ppp

mp p pp

pp

ritualistic

ppp

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

Vib.

Mar.

Pno. 1

Pno. 2

ff

ø

unrelenting

repeat 3x

58

ff unrelenting

ff unrelenting

ø

ff

ø

unrelenting

Vib.

Mar.

Pno. 1

Pno. 2

mf with sudden clarity

°

EE

60

pp

mf with sudden clarity

ø

pp

ø

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

5

4

4

4

&

with marimba

3

∑

3

&

∑

with vibraphone

3

∑

3

?

∑ ∑ ∑ ∑

&

>

3

∑

3

&

∑

3

∑

3

?

∑

&

3

∑

3

?

∑

3 3

&

5 5

5

6

&

∑

5

?

∑

5

5

7

&

∑

5 5

5

6

&

∑ ∑

&

∑

?

5 6

5

5

7

6

&

∑ ∑

>

with piano 1

3

>

3

3

?

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

&

∑ ∑

>with vibraphone

3

>

33

&

∑ ∑ ∑ ∑

&

∑ ∑ ∑

?

?

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~

Œ ‰

œ#

j

œ

œ œ

j

œ ™

Ó

œœ

œ

b œœ

œ™™™ œ

œ

œ

J

œœ

œ

œœ

œ

b

J

œœ

œ

œœ

œ

œœ

œ

œœ

œ™™™ œ

œ

œ™™™ œ

œ

œ

b

J

œœ

œ Œ

Ó

œ

œ#

œ

œ

™

™

œ

œ

j

œ

œ

œ

œ#

j

œ

œ

œ

œ

œ

œ

œ

œ

™

™

œ

œ

™

™

œ

œ#

j

œ

œ

Œ

Œ

æææ

œ

æææ

œ

Œ

œ

r

œ# ™

œ

œ

#

j

œ

œ

œ

œ œ

œ

Jœ

œ#

™

™

˙

˙#

œ

œ

n œ

œ ™

™

œ

J

œ œ

J

œ œ œ œ ™ œ ™ œ

J

˙

Ó

œœ

œ

b œœ

œ

œœ

œ

œœ

œ

œœ

œ

b

™™™ œ

œ

œ

œœ

œ

J

œœ

œ™™™

œ

œ

J

˙

˙

˙

˙

Ó

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

™

™

œ

œ

œ

œ

j

œ

œ

™

™

œ

œ

j

˙

˙ ˙

Ó

œ œ ™ œ

j

œ œ

j

œ œ œ œ ™ œ ™ œ

j

˙

≈

œ

œ

r

œ

œ

™

™

œ

œ

Œ

œ

œœ

œœ

œ#

œ

œ

œœ

œ

œ

œ

œœ

œ#

œœ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œœ#

œ

œ

œ

Œ Ó

œ#

œ#

œœ

œ#

Œ Ó

œ#

œœ

œ#

œ

œ#

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ#

œœ

œ#

œ#

œœ

œ#

œ

œ

œ

œ

œ#

œœ#

œ

œ

œ#

œ

œœ

œœ

œ#

œ

œ

œœ

œ

œ

œ

œ

œ

œ#

œœ

œ

œœ

œ

œ

œ

œ

œ#

œœ

œ

œ

œœ

œ

∑

œ#

œœ

œ#œ#

œ

�