two movements from the delphic suite: a …/67531/metadc501059/m2/1/high_res_d/1002778694...string...
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TWO MOVEMENTS FROM THE DELPHIC SUITE:
A COMPOSITION FOR ORCHESTRA
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
Kevin M. Walczyk, B.A. Ed.
Denton, Texas
December, 1991
Walczyk, Kevin M., Two Movements form the Deiphic Suite: A
Composition for Orchestra. Master of Music (Composition),
December, 1991, 70 pp., 12 examples, 8 figures, bibliography, 12
titles.
Delphic Suite is a composition for orchestra that depicts specific
events narrated in Homer's epic tale, Odyssey. For the purpose of this
thesis the second movement, Raid on Ismarus, has been omitted so as
to focus on the melodic, rhythmic, and harmonic structures of the
first movement, Lament from Troy, and the third movement, Ruler of
the Winds. Each of these musical parameters will be analyzed in order
to illustrate the Suite's imitation of compositional techniques
exemplified in the music of Homer's era, and the musical results
obtained by juxtaposing those parameters upon a twentieth-century
tonal scheme that provides the Suite with an eclectic ambience.
Copyright by
Kevin Mark Walczyk
1991
TABLE OF CONTENTS
Page
TABLE OF EXAMPLES.. . . . .. . ... -.-.-.- .v
TABLE OF FIGURES. . .................. vi
MATERIALS AND STRUCTURES OFCOMPOSITION.. ..... . . . . .... -.-.-.- . i
Introduction.. . . ..... -.-. -.-.- .viiMelodic Structures .. ........ -. -. viiiRhythmic Structures .. . . . . . . . . . .- .ii
Harmonic Structures .......... ............. XX
Conclusion. .. ...... . .- .-. XXX
Bibliography. .. .... . ... ... -.- .-.-2XXXI
ORCHESTRAL SCORE: TWOMOVEMENTS FROM THEDELPHIC SUITE. . ........ XXii
Title Page................XX.i..Instrumentation .. .. .... . .- .- - XX1iii
Lament from Troy.. .... . .. . . . .... 1
Ruler of the Winds ..... ....... 15
TABLE OF EXAMPLES
Example Page
1. Anonymous Greek melody, Epitaph of Seikilos,measures 1-2.. ...... -.-.-.-.- .xiv
2. Anonymous Greek melody, First Delphic Hymn,measures 21-22. . ....... -.-. .xv
3. Anonymous Greek melody, Hymn to Nemesis,measure 2... . . . .. -.-.... xvi
4. Anonymous Greek melody, First Delphic Hymn,measures 1-4... .... .xviii
5. Kevin Walezyk, Delphic Suite, Lament from Troy,measure 59.. .........-.-.- .xiX
6. Kevin Walczyk, Delphic Suite, Ruler of the Winds,measures 83-84.... . . -.. -. XIX
7. Anonymous Greek melody, First Delphic Hymn,measures 14-17.. ....-.-.-.-.- .XX
8. Kevin Walezyk, Delphic Suite, Lament from Troy,measures 2-3 .. ........ -.-.- .XXI
9. Kevin Walezyk, Delphic Suite, Ruler of the Winds,measures 27-28.... . ... .. xxvi
10. Kevin Walczyk, Delphic Suite, Ruler of the Winds,measures 139-140.. ..... .. xxvi
11. Kevin Walczyk, Delphic Suite, Ruler of the Winds,measures 53-57.. .. ..... xxvii
12. Kevin Walczyk, Delphic Suite, Ruler of the Winds,measures 105-106. . . . . . ...-. xxix
V
TABLE OF FIGURES
Figure Page
1. Basic constituents of ancient Greek melodicstructures......................xiii
2. Four classifications of Greek rhythmic structures . xv
3. Tonic and dominant pentatonic scales employed inLament from Troy......... . . ..... XXiI
4. Pentatonic progression in Lament from Troy.... .. xxii
5. Primary tonal centers of Ruler of the Winds . . . . xxiv
6. A sample primary tonal axis and its secondarytonal axis.... ...... xxiv
7. Ruler of the Winds primary tonal axis and its twosecondary axes...... . . ........ xxv
8. The two conjunct Dorian tetrachords that form thedance in Ruler of the Winds......... xxviii
vi
MATERIALS AND STRUCTURES OF COMPOSITION
Introduction
Delphic Suite is a composition for orchestra that depicts specific
events narrated in Homer's epic tale, Odyssey. For the purpose of this
thesis the second movement, Raid on Ismarus, has been omitted so as
to focus on the melodic, rhythmic, and harmonic structures of the
first movement, Lament from Troy, and the third movement, Ruler of
the Winds. Each of these musical parameters - melody, rhythm and
harmony - will be analyzed in order to illustrate the Suite's imitation of
compositional techniques exemplified in the music of Homer's era,
and the musical results obtained by juxtaposing those parameters upon
a twentieth-century tonal scheme that provides the Suite with an
eclectic ambience.
vii
Melodic Structures
The relics of Greek music from Homer's era, 8th century B.C.,
continue to elude musicologists and archaeologists. In fact, the oldest
musical relic from Greece, Pindar's First Pythian Ode, is dated from
the 5th century B.C., but no source has been found to confirm this
date, speculating that in all likelihood the Ode is probably fraudulent. 1
The compositional attributes of two Greek relics, the First and Second
Delphic Hymns (ca. 250 B.C.), are believed to best represent,
particularly via their pentatonic make-up, the music of Homer's era
and the setting of his Odyssey.2 Therefore, I have chosen the First
Delphic Hymn as the primary melodic material for the composition,
hence the title, Delphic Suite.
Secondary melodic materials employed in the Suite are
established in accordance with the geographical regions Ulysses
encounters throughout his journey. For example, the first movement,
Lament from Troy, employs as its secondary theme a Turkish
Moiroloyi (lament) that depicts the aftermath of the Trojan war. Still,
other secondary melodic materials are newly conceived melodies that
are constructed upon the foundations of folk songs indigenous to the
1Otto J. Gombosi, "The Melody of Pindar's 'Golden Lyre,'" in The MusicalQuarterly XXVI (1940), 381-389.
2 Curt Sachs, The Rise of Music in the Ancient World: East and West (New York:W. W. Norton & Company, Inc., 1943), 208.
viii
particular geographic region being portrayed. Where original sources
are scarce, these 'new' melodies (for example the dance in Ruler of
the Winds) assume the role of authenticity by quoting the melodic,
rhythmic, and harmonic structures of their ancient ancestors.3
Lament from Troy depicts the besieged city of Troy and its
defeated inhabitants. Two melodic structures develop throughout the
movement, even though Lament from Troy begins with only a
harmonic pastiche that comprises the pentatonic configuration of the
First Delphic Hymn.
The first of the two melodic structures to emerge is the lament
itself This highly ornamented folk melody originates from modern
day Turkey and conveys, through its text, the devastation brought on
by the Trojan war:4
Like a green bird I sing in the desert, mywings are broken.
I am left without father and mother in exile.If I do not mourn myself who is there to mourn
me?5
Two unison flutes (measure 59) initiate the melody of the lament
and at the same time summon the other woodwind instruments
3The compositional parameters of these 'new' melodies are achieved not only
through the study of surviving relics but also through 1) the process of transcribing
(recorded) folk songs from particular geographic regions that continue the practice of
oral tradition, and 2) via the theoretical treatises, articles, books, and other writings
pertaining to the musical traditions of a specific culture.
4 Harold Courlander, notes in the supplement Folk Music of Greece from the
record album of the same title, perf. by James A. Notopoulos (Ethic Folkways Library
Album FE 4454), p. 13.
5bid., p. 14.
ix
(measures 61-77) to mount a resurgence against the Greek infiltrators.
This resurgence by the woodwinds is answered by the brass (measures
62-65, 68-71, 73-84) who present fragments of the First Delphic
Hymn as the second and final melodic structure of the movement. In
musically representing Homer's Greek warriors, the brass section
serves to extinguish the uprising of the Trojan warriors (woodwinds)
at measure 80. Melodically, the First Delphic Hymn prevails over the
Trojan lament, thus symbolizing the outcome of the Trojan war itself.
With a final fragment of the First Delphic Hymn stated by the
strings (measure 85-88), the movement concludes as it began, with
the pentatonic pastiche of the First Delphic Hymn.
In Lament from Troy the oppressive complexion of the First
Delphic Hymn personifies Homer's characters in time of war.
However, a transition occurs throughout the Delphic Suite that allows
the melodic structure of the First Delphic Hymn to be cast in various
dispositions. Ruler of the Winds presents the First Delphic Hymn in a
festive mood. This is appropriate since Ulysses and his men, having
just escaped the cave of Polyphemus, are celebrating on the Island of
Aelous.
The melodic fragment that is featured in Ruler of the Winds
originates from the middle portion of the First Delphic Hymn, the
same melodic fragment that is introduced by the brass section
(measure 80) in Lament from Troy.
Pitch content of this fragment constitutes the opening material,
which is presented by the horns (measures 1, 4, and 10), while its
x
rhythmic traits are developed throughout the movement by various
sections of the orchestra. The fragment is first presented in its
entirety by the woodwinds (measures 17-24) in stretto. In subsequent
entrances the melodic fragment is offered as either a solo (trumpet,
ms. 32) or a duet (horn and cello, ms. 123; trumpet and trombone,
ms. 131). This fragment from the First Delphic Hymn is juxtaposed
upon a lydian harmonic scheme which gives the movement its festive
atmosphere.
A second melodic structure appears in Ruler of the Winds
beginning at measure 83. This melody, unlike that of previous
melodic structures presented in the Delphic Suite, is not derived from
either a Greek relic or a folk song from an indigenous area; rather,
this dance melody was newly conceived by the composer and
constructed from existing music treatises, books, and articles based
on the compositional structures of ancient Greek music.
The dance is introduced by a flute and solo violin, while a muted
string quartet and percussion trio supply an intimate accompaniment.
A counter melody is added to the texture in measure 91 by an oboe
and another flute. The harp provides a sustained rhythmic pattern
that accentuates the rhythmic division of each measure. The dance is
transmitted throughout the orchestra, slowly evolving into a large
orchestral statement (measure 109) that depicts the festivities of
Homer's characters.
The dance appears to be abandoned when the First Delphic
Hymn fragment returns in measure 123 as Ulysses and his men are
xi
about to reach the shores of their homeland. But when the crewmen
become aware of a leather-wrapped gift that Ulysses had received from
the wind-god Aeolus, they seize and open it, thinking the leather bag
would be filled with great treasures. Instead the crewmen become
dismayed when they realize that the leather bag releases captive winds
that initiates a mighty storm, sending Ulysses and his men back to
Aeolus' island. Measures 147-155, which depicts the storm, is
followed by the return of the dance motive in the piccolo (measure
157), and completed by the oboe and horn (measure 161), wherein
the movement ends.
The presence of the FIrst Delphic Hymn as the primary thematic
material maintains melodic continuity throughout the Delphic Suite
while secondary thematic material provides an overall sense of
thematic balance and contrast that is essential in preserving and
reflecting the narrative of Homer's tale.
xii
Rhythmic Structures
The rhythmic structures throughout the Delphic Suite reflect
the mathematical exactitude with which the ancient Greeks expressed
their music. The brevis, the Greek counterpart to our present day
eighth note, was considered the chr6nos prbtos (unit of time), which
constituted the rhythmic make-up of feet (measures). These feet were
usually divided into two or more sections (beats) of either equal or
unequal length. These sections, when combined to represent a foot,
do not necessarily have to form (at the smallest level) rhythmic
structures that fall into clear, organized time signatures like that of
Western music; rather, the sections usually employ various rhythmic
structures that allow greater variation of rhythmic stress points, a
concept predicated on the fact that the rhythm of ancient Greek
melody is derived first and foremost by the poetic structure of the text
(refer to figure 1).6
Sections -------- -- -- ---------
Feet ------------ - - -----------
Figure 1. Basic constituents of ancient Greekmelodic structures.
6 Sachs, op. cit., 269-278.
xiii
The Epitaph of Seikilos (example 1), an ancient Greek melody,7
is a case in which the same rhythmic structure is employed
throughout each section of each foot (3/8 + 3/8); thus, allowing the
rhythmic accent to fit a western time signature of 6/8.
Example 1. Anonymous Greek melody, "Epitaph of Seikilos,"measures 1-2.
Section 1------- - 2----- -'-- 1----- ---- '12--
Foot 1--- - - ------------- 2----- ------
The First Delphic Hymn8 (example 2) is a case in which
different rhythmic structures are used throughout each section of each
foot (2/8 + 3/8), and whose feet are also varied (2/8 + 3/8 & 3/8 +
2/8). Although adhering to an overall pattern of 5/8, the First Delphic
Hymn, with its shifting rhythmic stress, illustrates the fact that
ancient Greek melodies do not always fit precisely into Western time
signatures in which rhythmic accents can be broken down into
recurring, predictable patterns. This unpredictable shift of accent
makes Greek melody uniquely antique and clearly distinct from that of
western melodies and provides the Delphic Suite with a non-Western
rhythmic flavor.
7sobel Henderson, "Greek Music," pp. 32-35 of Ancient and Oriental Music, ed.
by Egon Wellesz, vol. 1 of History of Music in Sound, (New York: Oxford UniversityPress, 1957).
8 lbid., 35-36.
xiv
Example 2. Anonymous Greek melody, "First Delphic Hymn,"measures 21-22.
Section 1 --- ' 2-----'-- 1----- - 2---'
Foot 1 - - - - - - - - - - 2 - - - - - - - - - -
These various rhythmic structures were classified by the ancient
Greeks as one of four types based on the ratio of the rhythmic lengths
of the two sections: 1:1, 2:1, 3:2 or 4:3.9 Figure 2 illustrates the four
different rhythmic ratio groups, their Greek classification, and their
present day temporal equivalents.
j flo= j jr orJoJ
11:11 Isa (equals) or dactylic feet
or or4
[1:2 or 2:1] Diplasia (doubles) or iambicfeet
jor j . 4iJ. j or 44.[2:3 or 3:21 Hemiola (one and one hal) orpaeonicfeet
or 4 or .
[3:4 or 4:31 Epirita (four thirds)
Figure 2. Four classifications of Greekrhythmic structures.
9 Sachs, op. cit., 260-262.
xv
The First Delphic Hymn is featured in each movement of the
Delphic Suite and employs an unequal foot (rhythmic ratio) of 3:2,
which is central to the hymn's rhythmic language. With the
information obtained from figure 2, one can classify (as the Greeks
did) the rhythmic structure of the First Delphic Hymn as a paeonic
foot or hemiola (3/8 + 2/8 or 5/8).
With the basic rudiments of rhythm established, the Greeks
were able to combine, in any variation, the four rhythmic groups, so as
to obtain more complex rhythms required for more complex textual
structures. The Hymn to Nemesis,10 example 3, illustrates this
procedure by combining a pair of iambic feet with one dactylic foot
(3/8 + 3/8 + 2/8). The composite rhythmic structure can be, and
often is, written as 4/4 but the accents require the feet to be written
and agogically stressed in performance, as follows:
Example 3. Anonymous Greek melody, "Hymn to Nemesis,"measure 2.
The two Delphic Hymns have been inappropriately transcribed
by scholars like Hugo Riemann who alters the original 3:2 foot (5/8
10 Sachs, op. cit., p. 243.
xvi
time signature) in order to force the melody into a 2:2 foot (2/4 time
signature). II This awkward transcription takes away the agile
alternation of differing rhythmic structures and shifts the agogic stress
to a constant predetermined down beat, merely transforming the
rhythmic structures of the Delphic Hymns into a quasi-western
rhythmic pattern. This pattern is quite removed from the rhythmic
structures that make up the characteristic feet of ancient Greek
music.
It is significant, rhythmically and melodically, that the concept
of the above mentioned ratios are intrinsic to the compositional
attributes of ancient Greek melodies, for these ratios also coincide
with the harmonic ratios of the unison, octave, fifth and fourth, thus
creating an inherently Greek ideology that ordains rhythm and
harmony as one.
The First Delphic Hymn, whose rhythmic sections remain
paeonic throughout, is represented in all movements of the Delphic
Suite. This melody is first introduced in the horns and low brass
(measure 62) in Lament from Troy. Although the basic unit of time
varies, the hymn's rhythmic attributes always exhibit a hemiola
(paeonic 3:2, 2:3) relationship as seen in example 4.
The rhythmic structure of the lament's melody, which begins in
the flutes (Lament from Troy, ms. 59), appears to be extremely
complex; however, once the ornamentation is extracted, the basic
rhythmic skeleton of the melody becomes more evident. Each
1 ISachs, op. cit., 262-263.
xvii
Example 4. Anonymous Greek melody, "First Delphic Hymn,"measures 1-4.
measure (measures 59-77) can be divided into two distinct sections
(5/8 + 5/8). As indicated in figure 2, one can label the lament's
rhythmic structure as a hemiola or a structure based on paeonic
rhythms (3:2 or 2:3) similar to that of the First Delphic Hymn.
Example 5 illustrates the actual rhythmic structure of the lament's
first measure without ornamentation and with re-configured beaming
that indicates two separate 5/8 sections as opposed to one 5/4
section.
Example 5. Kevin Walczyk, Delphic Suite, "Lament from Troy,"measure 59.
553 6
xviii
The dance that appears in Ruler of the Winds (measure 83) in
the solo violin and flute is also rhythmically intriguing when more
closely analyzed. The rhythmic sections of this dance, through its
obvious shifting of accents and 7/8 meter, are more apparent than
those of the lament and, therefore, can be distinguished quite easily.
Example 6 points out a two measure pattern that remains consistent
throughout the dance (2/8 + 2/8 + 3/8 & 3/8 + 2/8 + 2/8). The
rhythmic sections can be identified, in reference to figure 2, as an
epitrita (4:3 or 3:4).
Example 6. Kevin Walezyk, Delphic Suite, "Ruler of the Winds,"measures 83-84.
~ 3+j +2J~ J
xix
Harmonic Structures
The harmony of Delphic Suite is structured according to two
methods: the first is derived from the melody; the second utilizes
root progressions of a major third establishing primary and secondary
tonal regions. The former method is employed in Lament from Troy,
while both methods appear in Ruler of the Winds.
The origin of the pentatonic scale utilized in Lament from Troy
can be traced back to the the fifth century B.C. This scale's pentatonic
make-up is depicted in the First Delphic Hymn.
Example 7. Anonymous Greek melody, "First Delphic Hymn,"measures 14-17.
Pentatonic scale
The pentatonic scale is constructed from intervals of a major
third, then a semitone, and again a major third and a semitone. Even
though this particular scale has only been traced back to the fifth
xx
century B.C., many modern scholars believe that this scale, as stated
earlier, represents the harmonic language of earlier Greek music
(1000 B.C.) and the music of Homer's era. 12
The pentatonic scale, whose fundamental is based on the upper
most scale degree (C), begins in the second measure of Lament from
Troy (example 8). Each scale degree is present, forming a modal
montage that sets the musical stage for the aftermath of the Trojan
War.
Example 8. Kevin Walczyk, Delphic Suite, "Lament from Troy,"measures 2-3.
4 4 4
These opening measures establish C as the primary key area. In
order to stabilize a dominant to tonic relationship, the scale is simply
transposed up a perfect fourth but, unlike the tonal area of the tonic
scale. retains the lower most scale degree of G as the fundamental (as
opposed to F, the upper most scale degree). Figure 3 illustrates the
xxi
12 Sachs, op. cit, 208.
two pentatonic scales and their fundamentals, which are represented
by white note heads.
Figure 3. Tonic and dominant relationship inLament from Troy.
The scale whose fundamental is G exudes a phrygian-like tonality
which, because of its greater dissonance in relationship to the
fundamental, exhibits a tendency to resolve to the tonic scale. Figure
4 illustrates the tonic to dominant progression that is based on the
above pentatonic scales.
LII
V p4
I V I
Figure 4. Pentatonic progression inLament from Troy.
xxii
The pitch C represents the tonal center and signifies the
prevailing dominance of the First Delphic Hymn, or, in keeping with
Homer's story, represents the Greek's military domination over the
inhabitants of Troy. This tonal area elevates to D at measure 59. It is
at this point that we hear, for the first time, the lament which unfolds
in the woodwinds over a period of twenty-one measures. Its sporadic
pleas cry for mercy, never completing its descending fourth gesture.
The lament can only descend an interval of a third before it is abruptly
obstructed by the strings and percussion and the return of the First
Delphic Hymn in the low brass. The incessant resurgence of the
Hymn's intensity culminates at measure 80, which also marks the
return of C as the tonal center, and continues to the down beat of
measure 85. The movement concludes with the same pentatonic
montage that was heard at the outset. The finality of C (as the primary
tonal area) suggests harmonically, as it did melodically, that the First
Delphic Hymn succeeds in suppressing the Lament from Troy.
The harmonic structure of Ruler of the Winds employs a
Bartokian model, in which either of two key areas can serve as the
primary tonal center. The first primary tonal center is obtained by
simply choosing one key area. By drawing an axis on the circle of
fifths from the chosen key area to the key area that lies directly across
from it, the second primary tonal center is obtained (Figure 5). Since
the intervallic relationship between notes that lie across from each
other on the circle of fifths is a tritone, the primary tonal centers of
Ruler of the Winds are B-flat (chosen key area) and E (the key area
xxiii
that lies directly accross from B-flat on the circle of fifths). This
system, employed by Bartok, is known as the axis system.1 3
BbEb F
Ab C
C# G
F# D
B AE
Figure 5. Primary tonal centers ofRuler of the Winds.
A secondary tonal center can be achieved simply by selecting
another axis and juxtaposing it with the primary tonal axis (figure 6).
BbEb F
Ab C
C#4 -o- G
F# D
B AE
Figure 6. A sample primary tonal axis (B-flat & E) and itssecondary axis (C-sharp & G).
1 3 Ern6 Lendvai, B61a Bart6k: An analysis of his music (London: Kahn &Averill, 1971), 1-16.
xxiv
Ruler of the Winds employs two-secondary tonal centers (figure
7): one is based on an interval of a major third above the primary
tonal centers of B-flat (D) and E (A-flat); the second is based on an
interval of a major third below the primary tonal centers of B-flat (G-
flat) and E (C).
BbEb F
Ab C
C# G
F# D
B AE
Figure 7. Ruler of the Winds primary tonal axis (B-flat & E) and itstwo secondary axes (D & A-flat; G-flat & C).
The symmetry of this double axis system forces the process of
progression to be closed. In other words, Ruler of the Winds'
harmonic structure is allowed to freely progress only to and from the
primary tonal axis (B-flat & E) and the two secondary tonal axes (D &
A-flat; G-flat & C). This process initiates a closed system by confining
progression to these same six tonal centers throughout the movement.
In keeping with the programmatic effect of this movement,
cadential patterns, in the sense of traditional harmony, 1 4 are all but
eliminated. Ruler of the Winds achieves its progression simply by
14 Root progression by fifths.
xxv
abruptly side-stepping from one key area to the next. Example 9
illustrates this procedure with two different examples from Ruler of
the Winds.
Example 9. Kevin Walczyk, Delphic Suite, "Ruler of the Winds,"measures 27-28.
7-1
B-flat D B-flat
Example 10 alludes to an ambiguous dichotomy that is developed
throughout the movement; that is, a key area's struggle to gain
dominance over it's tritone counterpart when the two key areas are
presented simultaneously juxtaposed against one another.
Example 10. Kevin Walczyk, Delphic Suite, "Ruler of the Winds,"measures 139-140.
C G-flat D/A-flat
xxvi
C G-flat A-flat/D
61 tr k 1 1 1 kop- oo- P-Ldik v
Aft
oj
44
The brass progression in example 11 depicts this harmonic
struggle between Ruler of the Winds' primary tonal (axis) centers of B-
flat and E. Two chords (marked with asterisks) serve as exceptions to
the tritone dichotomy and help to break up the monotony of the
parallelism between B-flat and E. Yet, even the bass notes of these two
interrupting chords, B-flat and A-flat, maintain harmonic continuity by
representing two of the six restricted tonal centers.
Example 11. Kevin Walczyk, Delphic Suite, "Ruler of the Winds,"measures 53-57.
The penultimate struggle for tonal domination begins in measure
147, and again involves the primary tonal centers of B-flat and E. This
section of the movement culminates in E at measure 155, diminishing
in textural complexity. The next musical statement (measure 156)
supports E as the tonal center, but this key area quickly side-steps its
way through the remaining five tonal centers in as many measures.
The movement ends just as it began, in B-flat.
xxvii
The harmonic language of the dance, which appears at measure
83 in Ruler of the Winds, was constructed from two conjunct dorian 1 5
tetrachords (figure 8). The term conjunct refers to the fact that the
two tetrachords, which combine to form a heptachord, share a
gravitational (linking) note that is equidistant from either end of the
heptachord. In the case of the dance (measures 83-98), G serves as
the linking note while D serves as the tonal center.
Figure 8. The two conjunct (dorian) tetrachordsthat form the dance in Ruler of the Winds.
The dance continues throughout the movement, highlighting
four of the six tonal centers from the primary and secondary axes:
measure 99 (C), measure 103 (G-flat) measure 105 (D), and measure
109 (B-flat). The last two statements (Just mentioned) shift the
harmonic structure of the dance from Dorian to Lydian. This is
accomplished by presenting the dance in one key area while the
accompaniment outlines another. Example 12 illustrates this bitonal
15 Sachs, op. cit., 216. Dorian was not just a term that described a mode but aterm that constituted the diatonic genus of early Greek harmony. Ancient melodicsystems and scales gravitate around the Dorian concept.
xxviii
approach. In measures 105-108, the dance subject (oboe 1 & violin 2)
and counter subject (oboe 2 & trumpet 3) utilize the conjunct (Dorian)
tetrachords based on the key area of E, while the low strings
simultaneously provide a harmonic accompaniment in the key area of
D.
Example 12. Kevin Walczyk, Delphic Suite, "Ruler of the Winds,"measures 105-106.
3 1W
~-rr ~rrn"AT a
The harmonic transition from Dorian to Lydian provides not only
harmonic continuity, but also melodic continuity between the First
Delphic Hymn fragment (utilized in this movement) and the dance.
xxix
Conclusion
Delphic Suite is a composition that represents a synthesis of old
writing practices with new writing practices. The melodic structures
employed in the Suite range from ancient Greek relics and folk songs
to newly conceived melodies based on past compositional methods.
The Suite's rhythmic structures are presented in western notation
but, at the micro-level, reflect the rhythmical complexity of ancient
Greek music. The harmonic approach seems to be the most eclectic;
imposing a twentieth-century harmonic scheme (Bartok's axis system)
on ancient melodies, utilizing tetrachords that reflect the Greek
Dorian system, and juxtaposing tertian harmonies on melodies that
were never intended to be harmonized.
It is through these procedures that give the Delphic Suite its
continuity and unique structural identity that parallels the epic tale of
Homer's Odyssey.
xxx
BIBLIOGRAPHY
Anonymous. "Egkin Chavasi," in Folk Music of Greece, perf. by JamesA. Notopoulos. Ethnic Folkways Library FE 4454, side 2, band 5.
Antokoletz, Elliott. The Music of Bela Bart6k. Berkeley, California:University of California Press, 1984.
Courlander, Harold, ed. Folk Music of Greece, supplement to EthnicFolkways Library Album FE 4454. New York: Folkways Records& Service Corp., 1955.
Gombosi, Otto J. "The Melody of Pindar's 'Golden Lyre,"' in TheMusical Quarterly XXVI (1940), 381-389.
Henderson, Isobel. "Ancient Greek Music," pp. 336-403 of Ancientand Oriental Music, ed. Egon Wellesz as vol. I of The New OxfordHistory of Music, 12 vols. to date, ed. J. A. Westrup et al.London: Oxford University Press, 1960.
Lendvai, Ern6. Bela Bart6k: An analysis of his music. London: Kahn &Averill, 1971.
Lessing, Erich. The Adventures of Ulysses. New York: Dodd, Mead &Company, 1970.
Lippman, Edward. Musical Thought in Ancient Greece. New York:Columbia University Press, 1964.
Reinach, Theodore. La Musigue Grecque. Paris: Payot, 1926.
Sachs, Curt. The Rise of Music in the Ancient World: East and West.New York: W. W. Norton & Company, Inc., 1943, 198-271.
Severin, Timothy. The Ulysses Sea Voyage: Sea Search for theOdyssey. New York: E. P. Dutton, 1987.
Winnington-Ingram, R. P. "Greece. I. Ancient," The New GroveDictionary of Music and Musicians, 20 vols., ed. Stanley Sadie.London: Macmillan Publishers Limited, 1980, vol. 7, 659-670.
xxxi
De ipehic Suite
Three Movements for Orchestra
J4- Sao,
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KevinbyWalczyk
InstrumentationTransposed Score
Piccolo2 Flutes2 Oboes
English Horn2 Bb ClarinetsBass Clarinet
3 Bassoons4 F Horns
3 Bb Trumpets3 Trombones
Tuba4 Percussion
HarpStrings
Time of Performance
Lament from Troy: ca. 4'40"Raid on Ismarus: 3' 45"
Ruler of the Winds: 6' 05"Total Duration: 14' 30"
U-
DELPHIC SUITE1. Lament from Troy
Adagio sostenuto Kevin M. Walczyk
- - - -T- - - -
Ft - _ _ _ _ _--- --
Oble 1 --
Oboe 2 ~ P1Z~ z- - - - - - --- - ~ ~ --
B-n II_ __ _ _
FH4 __ ___
EF hH rn---2
Bb C prnt I t
Bb Clannt 2-3
Bass~ C--r------ - --- ------
_ 1 _ _ _ _ _ _ _ _ _-
B aT -n1- --I
Bass------------ --
F muorn 3-
{- ----- - -- -
Adagio sostenuto
Vb ru p 1 - -- - -~
Trombone 1 - - -- - -- - ---------- - -
r b 3- - -_ -_- - --
2
Lament from Troy
Pim andante
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Ob. 2
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cl. I
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I Lament from Troy
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* Lament from Troy*
MI
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Be. Cl.
Ben. 2
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Hn. 32
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Lament from Troy *
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Trb. 2
Tutba
F. I
Fl 2
ob 1
En. Hn.
Cl. I
Cl. 2
Be. Cl
Ban. I
Bsn. 2
Bon. 3
6
Lament from Troy*
s, iW LIstesso tempo
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Ob"". II
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7
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Lament from Troy'
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Lament from Troy'
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7
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* Lament from Troy e
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" Lament from Troy e
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" Lament from Troy "
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attacca subrro
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Bs. l.
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Flute 1
Flute 2
Oboe 1
Oboe 2
Oboe 3
Bb Clarine 1.
Bb Clarinet 2
Bass Clarinet
Bassoon 1
Bassoon 2
Bassoon 3
F Horn 1
F Horn 2
FHorn 3
F Horn 4
Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
Trombone 1
Trombone 2
Trombone 3
Tuba
Percussion 1
Percussion 2
Percussion 3
Percussion 4
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" Ruler of the Windse
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" Ruler of the Winds e
7s Moderato
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X3;75 Moderato
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P
26
* Ruler of the Winds *
r91
O- -v.
Ob. I
Ob. 2
Ob. 3
c. 1
Bl. C
Be. CZ
Ban. 1
Ben.32
Hn. 1
Hn. 2
Hn. 3
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Trp. 2
T'rb. 1
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V n. 2
Va.
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27
* Ruler of the Winds"
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______ ____ L _____ ~ Z~5~-1- ____-
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CL 2
Bo. C.
Bon. I
Ban. 2
Hn. 1
Hn. 23
Hn. 4
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b. 3
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P'erc. 4-
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28
" Ruler of the Winds e
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29
e Ruler of the Windse
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30
F[. 1
Fb. 2
Ob. I
Cb. 2
Ba. C.
Ben. 1
Ben. 2
Ban. 3
31
" Ruler of the Winds'
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32
" Ruler of the Winds "
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" Ruler of the Winds*
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p
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34
" Ruler of the Winds e
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35
" Ruler of the Winds*
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36
* Ruler of the Windse
-_ _ Meno mosso
up 3E
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l. 2
Ob
Ob 3
l 22
Be. Cl
Ben. 3
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Trp. 2
Tr p.
Perc. 2
Pert 7E
v
f
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BAWs
37
" Ruler of the Windse
Si-- - -_ - _ _ _ _ _ _ _ _ _ _ _
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Ob. 3
0.2 ---- -~ i~0.2 - - - --
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