variations for violoncello, violin, and piano a thesis …
TRANSCRIPT
VARIATIONS FOR VIOLONCELLO, VIOLIN, AND PIANO
by
CINDY CHERISE WALKER, B.M.
A THESIS
IN
MUSIC THEORY
Submitted to the Gradúate Faculty of Texas Tech üniversity in
Partial Fulfillment of the Requirements for
the Degree of
MASTER OF MUSIC
Approved
Accepted
December, 1983
r
5-^ ¿ : ^ '
ACK::OWLEDGEMENTS
I am deeply indebted no Dr. Steve Paxton, whose guid-
ance and patience has been of the utmost iniportance in the
ccrr.pletion of this project.
I am also very grateful to Dr. Mary Jeanne van
Aopledorn for her leadership and encouragement.
11
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ii
LIST OF EXAMPLES iv
INTRODUCTION v
VARIATIONS FOR VIOLONCELLO, VIOLIN, AND PIANO 1
BIBLIOGRAPHY 25
111
Example 1
Example 2
Example 3
Example 4
Example 5
LIST OF EXAMPLES
Synthetic scale
Modality in Variation IV (mm. 5-8)
Synthetic scale
Modality in Variation VI (mm. 1-5)
Use of Instruments
Page
V
vi
vi
vi
vii
IV
INTRODUCTION
The pitch resources for Variations for Violoncello,
Violin, and Piano are derived from the synthetic scale shown
in Example 1. The first tetrachord suggests a major scale
and the second tetrachord a whole-tone scale.
Example 1: Synthetic scale
bcoU
t^ \ \ \ o bo l> ^ — 7Ñ r5 c? -O- ^
i \ The combination of these two tetrachords results in a mul-
titude of possibilities for thematic expansión.
Intervals of an augmented fourth and a half-step found
within the synthetic scale are very important to the de-
velopment of the Variations. The augmented fourth is heard
at the beginning of the theme and is used extensively
throughout each variation in both the melody and the accom-
paniment. The half-step is not as predominant in the theme
but is used continuously through the third variation. The
Variations begin with the violoncello stating the theme in
the tonal región of C. All but two of the seven variations
are consistent within this tonal área. Variation IV
suggests the A-phrygian mode which is shown in Example 2
and also includes a synthetic scale on A using the first
tetrachord of the A-ionian mode and the tetrachord of the
A-aeolian mode as shown in Example 3.
Example 2: Modality in Variation IV (mm. 5-8)
Allegro A-phrygian
i i r t jT rn ,1 32fz:
Example 3: Synthetic scale
A-ionian A-aeolian
Variation VI suggests D-aeolian.
Example 4: Modality in Variation VI (mm. 1-5)
nnaanie
1 ^ -in
5 f
$
The quasi-modal writing in Variation IV and Variation VI
provides contrast with the more abstract tonal resources of
the theme and the other variations.
After the violoncello states the theme, varieties of
instrumental combinations are used in the variations. Ex
ample 5 shows the contrast achieved by orchestrational
vi
means.
Example 5: Use of Instruments
Theme Var. Var. Var. Var. Var. Var. Var.
I II: III IV V
VI. VII:
: Solo violoncello : Violoncello and inside piano : All Instruments : All Instruments : All Instruments
Solo piano with string tremolo : Violin and violoncello
All Instruments
The traditional methods of variation techniques such as
reharmonization, transposition, ornamentation, and augmen-
tation have been used freely throughout the variations.
Variation I uses the first nine measures of the theme
accompanied by repeated notes and glissandi on the strings
of the piano. Variation II combines the interval of an aug
mented fourth and a half-step to form a cluster chord to be
played by the pianist in measures 19 through 24. The
violoncello adds a new percussive timbre by the player's
knocking on the body of the instrument with his knuckles in
measures 5 through 15 while the violin plucks the augmented
fourth interval in various rhythms. Variation III is
comprised of each instrument's varying motives from the
theme. The violoncello is played near the bridge of the
instrument while the violin is played with the wood of the
bow to add contrasting tone colors. Variation IV uses
alternating meters. Variation V is a piano solo with an
ostinato accompaniment in the left hand and a portion of
vii
the theme being played in octaves in the right hand. The
strings alternately provide a soft single note tremolo. The
last variation begins with an introduction leading to a
fugato in which the subject is taken from measure six of
the theme. The countersubject is a rhythmic variation of
the augmented fourth interval used in Variation IV. The
conclusión of Variation VII is a chórale based on the first
six measures of the theme.
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BIBLIOGRAPHY
Apel, Wilii. Harvard Dictionary of Music. Cambridge, Massachusetts: The Belknap Fress of Harvard Üniversity Press, 1944.
Blatter, Alfred. Instrur^ientation/Orchestration. New York: Longr.an, Inc., 1980.
Bunger, Richard. The Well-Prepared Piano. Colorado Springs, Colorado: Colorado College Press, 1973.
Dallin, León. Techniques of T yventieth Century Composition. Dubuque, lovTal WmT C~. Brown Company PuDÜshers, 1974.
Grout, Donald. A History of V7estern Music. New York: W.W. Norton & Company, Inc. , r9"7T!
Roemer, Clinton. The Art of Music Copying. Sherr.an Oaks, California: Roerick Music Co., 1973.
Rosenthal, Cari A. Practical Guide to MUSIC NOTATION. New York: MCA Music, n.d.
Sadie, Stanley, ed. The New GROVE Dictionary of Music and Musicians. London: Macmillan Publishers Limited, 1980. Vol. 19.
25