Krista M. Reeder
GMUS687
GMUS687: Advanced Instrumental Score Study & Literature Douglas C. Orzolek, Ph.D. University of St. Thomas Graduate Programs in Music Education July 28 – August 1, 2014, 800 AM - 500 PM
TABLE OF CONTENTS People/Methods of Mention……………………………………………………………………2 Composer/Conductor Relationship……………………………………………………………3 Score Analysis: O Magnum Mysterium Battisti Form…………………… Form……………………..………………………………………………………. 4 Would Would Doug Do?………………………………………………………………..5 Score Analysis: Lincolnshire Posy Overview…………………………………………………………………………………7 Movement 1……………………………………………………………………………..8 Movement 2……………………………………………………………………………..9 Movement 3……………………………………………………………………………..9 Movement 4…………………………………………………………………………….10 Movement 5…………………………………………………………………………….11 Movement 6…………………………………………………………………………….11 Panama……………………………………………………… 12 Score Analysis: Pathfinder of Panama………………………………………………………
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Krista M. Reeder
GMUS687
Score Study & Literature Course Notes People/Methods of Mention
- Process about Music: Larry Livingston • Composer Integrity; the director has to execute the composer's will • At the heart of what we do is the piece; what was the composer trying to convey • 5 Step Process - Battisti • Read the piece and discover it naturally • Melody and other basic things emerge early on • The more things that can be identified early on, the clearer the piece becomes. • Builds a skeletal sound image • Start listening to many recordings - good and bad • Unclear spots? go back and read, study, and listen • Goal is to get through the piece (audiating, singing, humming, solfege, etc) in time • Avoid analyzing too early; creates a distorted overview where the point can be missed - Kirchhoff • How do you handle transitions • Structure, shape and phrase • Holistic view but not without integrating the small parts • Score analysis is supposed to recreate the composer's intent - Our job to unlock the "hidden" meaning • Eric Stokes - mentor • Depth…. - The questions in his score study require a deep knowledge and understanding of the music in order to be able to answer - no wrong answer, but requires depth.
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Krista M. Reeder
GMUS687
People/Methods of Mention, cont.
- LaRue SHMRG(T) - Sound - Harmony - Melody - Rhythm - Growth - Text • Macro - Middle - Micro Analysis on… - Harmony - Timbre - Rhythm - Melody - Refer to "Growth" for what letters stand for • Phrasal Analysis - Groupings of measures - Arrows to delineate peaks Composer/Conductor Composer/Conductor Relationship A few thoughts… and there are people who compose music… • There are composers and • Composers are people, too, and getting to know them helps to better understand their music • Join a consortium - $500 - and you get access to commissioned music • American Composers Forum Ralph Hultgren • Australian • Very open; rough and tumble • Saved in 1997 • Auto-ethnography: 2001 dissertation is about him through his music • Analyzation of your beliefs; comparative analysis of yourself against others’ • "Personal Therapy” • Dissertation • Compiled EVERYTHING from the process of composing one piece • 2012 (10 years later) he finishes • Griffth University in Brisbon - Queensland Conservatory of Music • Received degree from the same university he taught at • Conflict of interest so external reviewers were enlisted. • Go watch video!
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Krista M. Reeder
Score Study & Literature Course Notes Score Analysis: O Magnum Mysterium Morten Lauridsen; arr. H. Robert Reynolds - Melody: • Lyrical, intertwining, disjunct, and diatonic • 4-bar phrase - statement and response • Natural dynamic contour • Thick/dark color • Motive • Horizontal; starts after downbeat • Balanced themes • Alto 2 parts, Clar 2 parts equally as important • First chord sets the environment for which the piece will live - Harmony: • EbM - maybe some polytonal elements - Whitacre - pandiatonic • Cadences: plagal with a dangling friend - Bb (IV-I) • 2nds may not be written as accidentals • Tertian chord structures - Form • Pop song • Chords do not create symmetry but the form does. - Rhythm: • 3/2... why not two 3/4 measures? - Choral music thinks in macro and this is a choral transcription - B section in 3/2 and it works - Orchestration: • Makes good use of darker, inside voices • Dominance of those voices to mimic tone of the contralto voice part - Texture: • Hybrid - polyphonic; homophonic; monodic - Interpretation: Try not to listen to recordings to let them influence your choices • Tempo/Dynamics • Characteristics associated with a particular style Affect/Effect - intent • Affect/Effect • Lyrics (sing or dance) • Motion - where is it going? • Tone color/balance • Phrases • Breathing • Pulse - macro vs. micro • Student skills (musical maturity & ability)
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GMUS687
Krista M. Reeder
Score Study & Literature Course Notes Score Analysis: O Magnum Mysterium Morten Lauridsen; arr. H. Robert Reynolds What Doug Would Do
- Breathy - less articulated • BECAUSE the first word in the choral part is an "O" • Stretch first note (beat 2) • Clarinet in the lead! • Half note m2 does not lose intensity - Color has to change two bars before A • Ask the Cl to darken • It's one of two sounds that has motion - Take a little time on beat 3, M4 • suspensions - goes back to the lyrics • Not much of a break between the first two 4-bar phrases - Connected! • Motion is horizontal not vertical and the conducting should match ligh tly interrupts the air flow • One consistent sound where the articulation lightly - Dent the air stream slightly - One change at A • Slur of first three notes in M6 - no break; - Horns and clarinets are allowed to breath as much and as frequently as needed • Where can they grab their pitch? Alto Sax - Rehearse homophonic portions separately - A is a little bit stronger than opening - 3/2 Bars • What needs to be stressed.... what needs to be changed... consult choral score • Taper beat 3 but don't put a giant space • Help beat 4 entrances articulate in a way that does not break connectivity - B gets sat on before it moves along - like the beginning; now about consistency • Pitch issues to deal with - Trumpet - Bb Bb will be sharp - lean on flute • Direct the 3rdM of B decrescendo through beat 4 - not staggered as written • Weight on beat 3 and beat 4 of m4 at B - C: New color, trumpet comes out; new tempo; new dynamic; new • Sitting around 72 • Most of the things said before still hold true in this re statement 5
GMUS687
Krista M. Reeder
GMUS687
- E: Little more time on the fermata end of E to help clear the air to help transition in to F • Definitely feel space between 3 and 4 m34 • Start decrescendo beat 3 two before F - Why? the three notes in the clarinet part should be as soft as possible because it is transparent and reflective at F
- F: A tempo is right. • It should not drag. Foggy. Connected. No space and no breathing. • Foggy. • 4thM - crescendo in pick-ups • Watch out for flute overblowing/playing M43 • Timpani helps color and drive crescendo but hold it back for a few beats - G: Don't over play yet! b e fortissimo later • It's only forte - and will be • Move the slur in flute and trumpet to end on beat 2 NOT beat 3 - match lyrics with choral • Timpani & suspended cymbal drive cresc again bea ts 2-3-4 M50 • RH hold while LH directs FH beats - Pages 8-9 are about how students enter silence • Tapering; drifting • Fermata before I - it's a cm - functions as a question mark almost... • Stretch last beats for a few measures • 5 before end - get there and pause - Let the harmony settle - But not a true fermata - before going into the horn ending
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Krista M. Reeder
GMUS687
Score Study & Literature Course Notes Score Analysis: Lincolnshire Posy Percy Grainger; arr. Frederic Fenell - Composer Profile: Percy Grainger • Eccentric • Folksy • A lot of composition done at the piano and harmonium most famous work - Grainger's least favorite! favorite! • Country Gardens most • Percy Playing Percy on Amazon! • Now, Oh Now, I Needs Must Part (John Dowland original for lute and voice) - Setting for Band by Tom Duffy called Bell Something-or-Other • Colonial Song - an original - What is Folk Music? • Tells the songs of the people; tells a story • Can be made up or passed down • Not best voices • Meter-ambiguent Lincolnshire Posy - Read the appendix and information. • Grainger is very clear in how he wanted this music to be performed. - At it's heart - it's pop music • It was the music of the people and was popular among the people • Quote from the top of second column, page 60 - A bit of history and contextual understanding… • First performance in 1937 was a disaster performance was by Goldman - New York City • First good performance • First score was mismarked "Dublin" but it was actually "Lisbon" • Grainger had to find a few missing melodies because his folksinger had forgotten - Anything with an * in the score is a Fennell addition
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Krista M. Reeder
GMUS687
Score Analysis: Lincolnshire Lincolnshi re Posy, Posy, cont. Percy Grainger; arr. Frederic Fenell What Would Doug Do? Mvt. 1 - Lisbon Bay - Ab Mixolydian - AABA - Popcorn - emphasis on 1 and 4 - Start with a stopped gesture - gesture of syncopation (Elizabeth Greene) - Not interested in a lead part - should be balanced • Play up a 1/2-1 step in horn with stop & never use a trigger on stopped horn • Trumpets will also play sharp with mutes - No accents written but they are accomplished with the detaché style - Musical Spice m10 - V1 - m1-17 - V2 - m18 - melody now with arpeggiated accompaniment - with lilt! • Make sure arpeggio stays light - not loud and long • Lean towards staccato - Small staccato gesture may help - Goal is to get the melody and accompaniment to interweave! - Things start to broaden at 26 - accompaniment parts have left - Much less detached at m26 • More songlike - quarter note gets a little more value • Tenutos over the quarter notes in certain voices (melody) - Musical Spice - m28-29 • Trumpet - not tongue supported accent but a breath supported one with an air release - Back to detached at m30 to support the original theme - V3 - m34-50 • Softer but with chromatic tension • *CONTRASTING* • Sing-songy - Fanfare Lick - pu to m36 • Sax sound fits inside the horn which means no vibrato on the sax • Should be startling - not on the long not but on the first note • Tend to rush m39 • Evenness in register • Add a cresc in m42 to brass parts • No breath in m43 in brass and saxes - Musical Spice m43-44 2nd/3rd Cl - Gb Chord m43 - Echo in sax & trumpet m48 - marked
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Krista M. Reeder - V4 M50 - Reedy - meaning gravely, rough like the original singers - M58 - Starting to back away interruption with nasal (honk) in m60 • BUT interruption • Grainger laughing at us? - M64 - Dolce - cadence to end starts at this point - highly chromatic
GMUS687
Mvt. 2 "Horkstow Grange" - Originally from a piano score so a little more metrical - Ironic that this beautiful thing is about a murder, and an axe to the head no less! - Slowly and flowing - 4 Verses - semi-cadences (breath marks, pauses/spaces) - M9-10- Definitive releases or ties - Broad harmonic analysis ii-iii-IV-V-I - Important EHorn part (dbl in ASax) • Grainger must like EHorn and SopSax for their haunting and rough quality - M3 grace note - M10 Connected grace note, not a quick, short one - Biggest decision is phrasing • NB 3-4; B 11-12 - Meter elongation on 2nd verse gives natural emphasis to the crescendo - M14 - do the accents with the breath not with the tongue - M17 - Fb chord.... Snare roll is felt, not heard - 3 before 25 clarinets start adding to build color - breath entrance - Pedal tone in timpani M30 but played on the highest drum for a timbre/pinched quality • Possibly meant to be a part of the horn chord - creates a tension - "almost clingingly" indicates articulation style more than rhythm or value - Tenutos in 8th notes in low voices m31-33 - M34 Db in Piccolo, Sop Sax, Trumpet, and Baritone • Stabilizing voices of the unstable chord all around • Also the moment of the axe swing • Grainger trapped us! beat 3. • Hold off on decrescendo until after beat - Long, expressive grace note on last note Mvt. 3. "Rufford Park Poachers" - Two Versions - A and B • Grainger would have probably liked B better • Can do A and sub in SopSax for Tpt Solo; • Few other changes
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Krista M. Reeder GMUS687 • Solo performer did two different versions for Grainger and he couldn't decide which one he liked best so he wrote both! - Canonic Imitation - Hollowness created by 5 octave spread between the highest and lowest voices - Dorian - Fminor (Version A) Cminor (Version B) - All of the 5/8 measures (with the exception of 2, 6, 14, 20, & 98) are 2+3 (those 5 are 3+2) - In conducting, use the same box space just drag the beat • Lift the wrist • Ictus stays the same - Structural differences in 8, 11, 12 from A to B - M47-50 are harmonically different from A to B • Because we started in two different keys but are ending up in the same ending place • m51 Gm - Verse 3 - M51-70-80ish A little bit of player freedom • Surges ahead • Sliding chromatically downward - Clear conducting pattern - rehearse similar material - Percussion is used to accent or extend a crescendo - M63 is kind of bridge to get us back to the main theme but is fully scored - Caesura at breath mark M67... PU is in new time of M68 - Syncopation between m63-68 - PRECISION! - Any of the chromatic stuff gets brought out - Mistake in parts - m73 should be a double dot with sixteenth (score correct) - Peak at M79 - Back to canon m85 - no passion - just in time - slight variation with dynamics - but that's it Mvt. 4 - "The Brisk Young Young Sailor" - Quarter note marked 93 but Dr. Orzolek goes 96 so it feels a little more urgent - Percy gives us a full measure - use it but DON'T breath on the 2 - 16ths have to speak - be prominent - Articulations are Percy’s • What's there is there and adhere to them as much as possible - Original has 7 verses - Opportunities for cueing - Relatively straight-forward • Folk song with variations • Dancier than the other mvts so far and reminiscent of Country Gardens - Everytime there is something new and different it should be brought out - Change dynamic in low reeds to F (in place of marked mp )
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Krista M. Reeder GMUS687 - All perfect cadences - V-I - Verse 4 - m25 - should be more detached • Reflected in directing • Extra flavor in the bari sax - Help brass and saxes with their entrances in m34-35 - Angriness led by the lowest voices but yet legato - M42 teach… • The slowing in the eighth note parts first • Then instruct sixteenth parts to put more space between each note • Also helps that they have heard the slowing in the other parts first - M43 in time or slightly slower - M46 clarinet part - only two players on each voice - Last 2 - Bb & Fb7 to sustained Bb & Db Mvt. 5 “Lord Melbourne” I missed this portion of the class discussion due to the death of a family friend. Mvt. 6. "The Lost Lady Found" - Dm (D dorian) • Dominant is the minor, not the major - Horn/Euph part at M34 should have accent on beat 3 • Stark contrast to the heavily accented 1 in the other voices - M45? Trombone addition... • It's the gavel falling as the uncle in the story is condemned to death - Verse 4 - any notehead that isn't filled in tends to slow the piece down • Less rebound at 50 keeps the motion moving forward - Drone/Pedal at 50-66 - M82 - Verse 6 - balance of A to B melodies - M92 should be led savagely by the bass tbone - Final statement • Lost is Found, Uncle is safe, Everyone is happy in the valley - Do not start rit at at "hammeringly" in m140 but wait until 143-144 • Let players move at their own rate in m145 • M130-end let sizzle, shimmer, & shine - be bright.
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Krista M. Reeder
Score Study & Literature Course Notes Score Analysis: Pathfinder of Panama John Philip Sousa; ed. Frank Byrne
- Typical March Form • Intro • M4-12 - first strain • M13- second half of first strain; restatement of first strain • M21 - repeat of first strain with a repeat • M37 - third strain • M53 - Trio • M69 - Dog Fight • M85 - Alliteration of the Trio with additional descant • Repeat • End with a stinger - Form - AABBCC • Trio - Breakstrain - Trio - Breakstrain - Stinger - Conducting Considerations • Posture • Dynamic & phrasing changes • Accents • Get ahead a little • Balance (directing traffic) • Stylistic (smooth & connected vs. short and detached) • Ends of phrases & cadences • Interpretation
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GMUS687
