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ammuna-m

A STUDY OF SELECTED COMPOSITIONS
FOR CLARINET-PERCUSSION DUO

Andrea Splittberger-Rosen

A DISSERTATION

Submitted to
Michigan State University
in partial fulfillment of the requirements
' for the degree of
DOCTOR OF PHILOSOPHY
School of Music

I 989

T' E
3k)

(:04

ABSTRACT

A STUDY OF SELECTED COMPOSITIONS
FOR CLARINET-PERCUSSION DUO

Andrea Splittberger-Rosen

Clarinet-percussion duos are compositions for two performers:
one clarinetist and one percussionist. Armand Russell wrote the first
clarinet-percussion duo, Pas 0'6 Bear, in 1958. It was published by Music
for Percussion, Inc, in 1964. There are now at least 260 compositions for
this combination and the repertoire is steadily growing. Since such a large
body of worthy music now exists for this ensemble, the clarinet-percussion
duo should be considered an emerging genre, rather than merely a
miscellaneous chamber grouping. The repertoire contains works written in
a wide variety of styles by composers from five continents and at least
thirty countries and is representative of many compositional trends of the
twentieth century. There are numerous instruments classified as '
percussion so there is much variety of instrumentation within the clarinet-
percussion duo genre.

Historical aspects and new performance techniques of clarinet and
percussion that led to the development of the clarinet-percussion duo are
discussed in the dissertation. Practical performance and compositional
suggestions are also included.

Andrea Sol 1 ttberger-Rosen

The author is the clarinetist of the "Uwharrie Clarinet-Percussion
Duo.â€œ Six duos which have been performed by the â€œUwharrie Duoâ€ are
analyzed: Pas oe Dec/x (1958) by Armand Russell, Diary/nos.- 5e! No 5'
(1961) by Sydney Hodkinson, Sonata for Clarinet and Percussion
(1968/ 1972) by Frederick Lesemann, femoeau (1971) by Andre
Boucourechiiev, Wild Tales fold on inePive/â€˜Poao ( 1973) by Netty Simons,
and Variation Duos (1979/ 1 981 ) by Frank McCarty. These duos are
representative of the wide variety of styles, instrumentation, performance
difficulty level, and aesthetic orientation within the genre. One is scored
for clarinet and marimba; another for clarinet and three drums. The
remaining four are scored for clarinet and multiple-percussion setups
ranging from modest to gigantic in size and complexity. These compositions
exemplify the quality of the literature and the viability of the genre and it
is hoped that more performers and composers w111 consequently be
encouraged to participate in the performance or creation of clarinet-
percussion duos.

0 Copyright by
ANDREA SPLlTTBERGER-ROSEN
1989

ACKNOWLEDGEMENTS

There are many people who have assisted me with this project and
deserve thanks. i would first like to express my appreciation. to the
composers who have written duos and the performers with whom I have
consulted. Henri Bok, bass clarinetist-saxophonist of â€œDuo Contemporain,â€œ
has been particularly gracious in providing me with extensive information
about his ensemble's repertoire.

My graduate committee has been patient and provided numerous good
ideas toward the improvement of this paper. Thank you to Dr. Dale Bartlett,
Dr. Conrad Donakowski, Professor Frank E11, and Dr. Mark Sullivan.
Additionally, 1 would like to thank Dr. Elsa Ludewig-Verdehr for her critique
and for many years of inspiring teaching.

Thanks are also extended for permission granted for the
reproduction of musical excerpts by publishers: Music for Percussion, Inc.
for Pas de Deux to 1964 by Armand Russell and Drawmgs'Set No. 3 to 1969
by Sydney Hodkinson, Merion Music inc. for Wild Tales fold on Me PiverPoad
o 1977 by Netty Simons, Alphonse Leduc for fomoead Â© 1974 by Andre
Boucourechliev, and Edition Peters for Ballade Â© 1982 by Georg Katzer; and
by composers whose duos are in manuscript: Frederick Lesemann, James
Marshall, Frank McCarty, Kazuto Miyazawa, lvo Petricâ€™, and Milan Stibil j.

Finally, 1 would like to thank my husband, Robert Rosen, for his fine
musicianship and percussion playing as half of the â€œUwharrie Clarinet-
Percussion Duoâ€ and, most of all, for his patience, support, and love during

this project.

To Bob

TABLE OF CONTENTS

LIST OF EXAMPLES ................................................................................................................... x
NOMENCLATURE ......................................................................................................................... xv
Chapter
lNTRODUCTION ....................................................................................................... 1
ONE. HISTORICAL BACKGROUND ................................................................................ 8
Percussion in the Orchestra .................................................................... 8
The Development of the Percussion Ensemble ............................... 12
The History and Literature of the Clarinet ....................................... 19
The Development of the Clarinet-Percussion Duo ......................... 26
TWO. TECHNICAL DEVELOPMENTS FOR CLARINET AND

THREE.

PERCUSSION ........................................................................................................... 32
Music for Unaccompanied Clarinet ........................................................ 33
New Techniques for Clarinet ................................................................... 34
Music for Multiple-Percussion Setups ................................................ 46
Notation, Terminology, and other Percussion Problems ............. S4

PASDEDFUX BY ARMAND RUSSELL .............................................................. 58
Background ....................................................................................................... S8
Pas de Deux ...................................................................................................... 60
Movement 1 ....................................................................................................... 62
Movement 11 ..................................................................................................... 67
Movement 1 l I ................................................................................................... 72

vii

FOUR. onA WIVES? .55er 3 BY SYDNEY HODKINSON ........ ' ................................. 8 0

Background ....................................................................................................... 80
Drawings: Set No. 3 ...................................................................................... 82
Movement 1 ....................................................................................................... 88
Movement 11 ..................................................................................................... 90
Movement Ii 1 ................................................................................................... 93
Movement IV .................................................................................................... 95
Movement V ..................................................................................................... 97
FIVE. 50AM 7A FOP a AP/A/[lâ€™ AND PEPEUSS/O/V BY
FREDERICK LESEMANN ........................................................................................ 100
Background ....................................................................................................... 1 00
Sonata for Clarinet and Percussion ...................................................... 101
The slow variations ..................................................................................... 106
The fast variations ...................................................................................... 1 14
SIX. fat/BEAU BY ANDRE BOUCOURECHLIEV ...................................................... 129
Background ....................................................................................................... 1 29
Tombeau ............................................................................................................ I31

SEVEN. W/LD 734155 7010 ON THEP/ V67? ROAD BY NETTY

SIMONS ..................................................................................................................... 139
Background ....................................................................................................... 1 39
Wild Tales Told on the River Road ........................................................ 140
The Tales .......................................................................................................... 146

Tale 1: An Encounter Between a Nose and a Doorpost ............. 146
Tale ll: Tale of a Distant Dream ...................................................... 151
Tale Iii: Tale of the Bewildered Shout ......................................... 152
Tale IV: Mating Waters ........................................................................ 154
Tale V: The Constant Knock on the Door ....................................... 156
Tale VI: Tale of the Forever Lost .................................................... 157
Tale V1 1: The Wanderer in the Deep Cavern ................................. 159
Tale VIII: Caught Up in the Rushing Stream ............................... 161
Tale IX: Gently F luttering - the Heavenly Bells Hang

from a Cloud ...................................................................................... 163
Tale X: Reflected in a Drop of Dew - Memories

Floating ................................................................................................ 164

viii

EIGHT. VAR/A fie/vows BY FRANK MCCARTY ...................... ' ................................. 166

Background ....................................................................................................... 1 66

Variation Duos ............................................................................................... 167

Variation 1: Troches ..................................................................................... 169

Variation 11: Masque ..................................................................................... 174

Variation III: Catch ...................................................................................... 176

Variation IV: Nocturne ................................................................................ 18 1

Variation V: Charm ....................................................................................... 186

Variation VI: Spondes ................................................................................. 191
CONCLUSION ........................................................................................................... 1 96
APPENDIX : CLARINET-PERCUSSION DUOS ..................................................................... 203
BIBLIOGRAPHY ........................................................................................................................... 229

LIST OF EXAMPLES

Example

IO.

II.

12.

13.

I4.

IS.

Binoi/ng-fei/ung by Kazuto Miyazawa, mm. 126-128, timbre
variation on one pitch .................................................................................... 38

Bindung-Tei/ung by Kazuto Miyazawa, mm. 80-82, small

glissandi .............................................................................................................. 39
Contacts by lvo Petricâ€™, p. 4, line 2, larger glissandi ............................ 40
Zoom by Milan Stibil j, line 24, quarter-tone use ................................... 43
Ballade by Georg Katzer, p. 12, line 6, quarter-tone use .................... 43

Zoom by Milan Stibil], lines 4-5, multiphonic with standard
f ingerings for written ct?) .......................................................................... 44

Aores/â€˜ioi le Somme/l (1974) by James Marshal 1, p. 2, line I,

multiphonics with special f ingerings .................................................... 44
Ballade by Georg Katzer, p. 12, line 1, humming and playing ............ 44
Mvt. 1, Prologue, mm. 1-16, clarinet solo ................................................... 64

Wt. I, mm. 32-39, DOIYCIâ€™IFOITIG percussion line and clarinet
WIIII'I march theme ............................................................................................ 66

Mvt. 1, mm. 69-85, seven-measure clarinet phrase repeated

with similar contour ...................................................................................... 67
Mvt. 11, mm. 1-12, Section A, drum solo ....................................................... 69
Mvt. 11, mm. 13-17, clarinet part with four-note central cell,

octave leap, and transformation ............................................................... 70
Mvt. 11, mm. 32-34, four-note cell of codetta ........................................... 71

Other versions of four-note cell: Mvt. 1, mm. 35-36, march
theme of clarinet part (same notes also found in scherzo
theme of Mvt. ill); Mvt. 111, mm. 48-50, xylophone ostinato ......... 71

16.

17.

18.

1 9.
20.
21 .
22.
23.
24.
25.
26.
27.
28.
29.
30.
31 .
32.
33.
34.
35.

Mvt. 1, mm. 35-39, march theme in 2/ 4; Mvt. 111, mm. 1-4,

scherzo theme 1n 6/8 ..................................................................................... 74
Mvt. 111, mm. 1-2, three-note cell (subset of four-note cell

shown in Ex. 15) ................................................................................................ 75
Mvt. 111, mm. 48-64, xylophone with f our-note cell and pedal

tones; clarinet with three-note cell; rhythmic

stratification .................................................................................................... 78
Intervals of the row .............................................................................................. 84
The matrix (concert pitch) ................................................................................. 85
Row alterations ....................................................................................................... 85
Row use at the beginning of each movement .............................................. 86
Mvt. 1, mm. 1-4, three-note motive ................................................................ 89
Mvt. 1, mm. 17-19, four-note versions of the motive ............................ 90
Beginning of Mvt. 11, exposition and repeated exposition ..................... 92
Mvt. 111, mm. 1-6 and 28-33, inversion ......................................................... 94
The opening of Mvt. 1V and the recapitulation ........................................... 96
Mvt. V, mm. 7- 10 and 22-25, march theme with motives .................... 99
Percussion legend ................................................................................................... 103
Theme with motives a, b, c, and d ................................................................. 105
Section A, mm. 1-1 1 ............................................................................................. 107
Mm. 42-45 of Section A', theme in hocket-style ..................................... 108
Mm. 264-268 of Section A", wide dynamic range .................................... 1 10
Section C, mm. 30-41, canon ............................................................................. 1 12
Mm. 85-91 of Section C', double canon ......................................................... 1 13

36.

37.

38.

39.

41.

42.

43.

45.

47.

49.
50.
S I .
S2.
S3.

54.

8 theme (reduced to simple intervals) with overlapping
motives ................................................................................................................. I IS

Clarinet melody phrasing comparison, Sections 8 (mm. 15-

18), 8' (mm. 56-62), and 8' (mm. 230-235) ......................................... 1 16
Mm. 12-15 of Section B, vibraphone countermelody, marimba

pedal tones, clarinet melody (B theme) ................................................. 1 17
Mm. 56-63 of Section B', three-against-two ............................................. 1 18
Mm. 230-237 of Section B", asymmetrical meter ................................... 1 l9
Mm. 98-105 of Section D, active and accented ......................................... 122
Mm. 195-204 of Section D', almost continuous motion ......................... 123
Mm. 129-144 of Section E, pointillistlc style .......................................... 125
Percussion notation for instruments of Klangfa/venme/odie ............ 126
Percussion rhythm prominent in Section B' and the coda ..................... 126

Mm. 296-298 of Coda, scale fragments plus

K/aï¬‚gfa/Deâ€™nme/odle ........................................................................................ 1 27
Coda, mm. 308-312. Melodic remnants of Sections D' and 8"

plus Klangiâ€˜arvenmelod/e .............................................................................. 127
Mm. 330-339, the end of Sonata ..................................................................... 128
Clarinet (in A) part ................................................................................................ 134
Percussion part ....................................................................................................... 135
Pitch-group l ............................................................................................................ 143
General instructions ............................................................................................. 147
Percussion instructions ...................................................................................... I48
Clarinet instructions ............................................................................................ 149

xii

SS.
56.
S7.

58.

59.

60.

61 .
62.
63.
64.
65.
66.
67.
68.
69.

70.

71.

72.

73.

Tale 1, lines 1-2, many graphic symbols ..................... â€˜ ................................. l 50
Tale 1, line 9, improvised transition ............................................................. 151
Tale 11, line 1, bass clarinet solo .................................................................... 152

Tale 111, lines 1-3, Section A, limited types of graphic
symbols ................................................................................................................ 154

T816 1V, 111165 2â€™3, TUIâ€˜IOSO note-flurries .................................................. 155

Tale V, lines 1-2, use of Gâ€˜ by percussion and 5.0. by

clarinet ................................................................................................................. 157
Tale V1, lines 1-4, recurrent pitch patterns .............................................. 158
Tale V11, line i, leisurely wandering style ................................................. 160
Tale V111, lines 1-5, beginning of clarinet solo ........................................ 161
Tale V111, lines 12-13, plagal cadence ......................................................... 162
Tale IX, lines 2-3, conversational style ...................................................... 163
Tale X, lines 6-7, trills imitating shimmering water ........................... 165
Pitch-series .............................................................................................................. 1 69
Troches, line 1, opening motive ....................................................................... 170

lmches, lines 1-2, unison passages, troping, sound masses,
and motive expansion ..................................................................................... 171

Mes, line 2, clarinet accelerando with marimba

ritardando ............................................................................................................ 1 72
Images, line 2, "passagi' type of timbre variation of

clarinet ................................................................................................................. 173
Masque, line i, overlapping of pitches and sound masses .................... 174
Masque. line 3, timbre variations of clarinet part .................................. 175

xiii

74.
75.
76.
77.
78.
79.
80.
81 .
82.
83.

84.
85.

86.

NIDGâ€˜DOLG Iâ€˜OW USGO as DZSIS 101â€˜ Â£319.11 ........................ ' ................................. I 77

Catgh, line 1, the beginning of the introduction ....................................... 178
Cgt_ch_, lines 2-4, the first chase cycle ........................................................ 179
C3311, lines 9-10, disintegration of line to one pitch .......................... 181
W ...................................................................................................................... 183
Dissonance pattern of quartads ....................................................................... 185
Charm, lines 4-5, marimba solo (Trio) ......................................................... 188
Charm, lines 1-2, March 1a, frequent meter changes ............................. 188
Chaim, line 1, introduction with trochaic rhythm .................................. 189
ChaLm, lines 23, Breakup strain 1 and transition into

March lb ................................................................................................................ 189
Chaim, line 7, second phrase of popping melody of clarinet .............. 191
Mes, lines 1-3, trope within a tr0pe ..................................................... 193
Sponges, lines 8-10, the coda ........................................................................... 195

xiv

NOMENCLATURE
When pitches are referred to in the text, concert pitch is used unless
"written pitch" is designated.

When excerpts of scores are used as musical examples, the clarinet and
percussion parts use written pitch. The clarinet part is the uppermost part.

INTRODUCT ION

Clarinet-percussion duos are compositions for two performers:
one clarinetist and one percussionist. Armand Russell wrote the first
clarinet-percussion duo, Pas de Deux, in 1958. It was published by Music
for Percussion, Inc, in 1964. There are now at least 260 compositions for
this combination and the repertoire is steadily growing.1 Since such a large
body of worthy music now exists for this ensemble, the clarinet-percussion
duo should be considered an emerging genre, rather than merely a
miscellaneous chamber grouping. The repertoire contains works written in
a wide variety of styles by composers from five continents and at least
thirty countries and is representative of many compositional trends of the
twentieth century. There are numerous instruments classified as
percussion so there is much variety of instrumentation within the clarinet-
percussion duo genre.2 This paper includes a general overview of the genre,
historical perspective, performance practice, and the analysis of six

clarinet-percussion duos.

1An extensive list of clarinet-percussion duos is found in the
Appendix.
2Although the genres of string quartet or woodwind quintet music
have a fixed instrumentation, genres such as band music, orchestral music,
or music for percussion ensemble have a variety of instrumentations.
l

INTRODUCTION

Clarinet-percussion dues are compositions for two performers:
one clarinetist and one percussionist. Armand Russell wrote the first
clarinet-percussion duo, Pas de Bear, in 1958. it was published by Music
for Percussion, Inc, in 1964. There are now at least 260 compositions for
this combination and the repertoire is steadily growing.1 Since such a large
body of worthy music now exists for this ensemble, the clarinet-percussion
duo should be considered an emerging genre, rather than merely a
miscellaneous chamber grouping. The repertoire contains works written in
a wide variety of styles by composers from five continents and at least
thirty countries and is representative of many compositional trends of the
twentieth century. There are numerous instruments classified as
percussion so there is much variety of instrumentation within the clarinet-
percussion duo genre.2 This paper includes a general overview of the genre,
historical perspective, performance practice, and the analysis of six

clarinet-percussion duos.

It is probable that most musicians, including clarinetists and
percussionists, are unaware of the extent and quality of the clarinet-
percussion duo repertoire; for example, clarinetist George Plasko reviewed

Timepiece (for flute, clarinet, vibraphone, and marimba) by Murray Houllif,
in the Winter 1980 issue of Me Clarinet: " Timepiece is one of only a few
compositions utilizing clarinet with percussion instruments, In this
instance vibraphone and marimba.â€œ3 Apparently he was not aware of
previous articles in the same journal which had discussed numerous
compositions for these instruments in duet and larger chamber music
settings.

in the May 1975 issue of Me Clarinet, Norman Helm wrote:

it is this author's view that, although there is a rather extensive
published repertoire of works for clarinet and percussion with
additional instruments, the bulk of the literature written is
unpublished, hopefully indicating that in the future, the available
body of literature will increase significantly.4

In Part 1 of a two-part article, he discussed six duets for clarinet and
percussion and one trio for clarinet, percussion, and piano. Part 11 examined
three additional trios as well as three larger ensembles. Heim's concluding
sentence states, " This repertoire is ever-expanding and needs
performances."5

Further study was done by the author and percussionist Robert
Rosen, who began performing together in 1974. They formed the 'Uwharrie

3George Plasko, review of Timepiece by Murray Houllif, in Tne
Cla'inet 7, no. 2 (Winter 1980): 44.

4Norman Heim, â€œSources 111 and Other Works for Clarinet and
Percussion (Part 1),â€ The Clarinet 2, no. 3 (May 1975) 12.

51dem, "Music for Clarinet and Percussion Instruments,â€˜ The Clarinet
4, no. 1 (Fall 1976):14.

3
Clarinet-Percussion Duoâ€6 after finding a surprisingly large number of duets
for clarinet and percussion. An article by the author in the Spring 1978
issue of ï¬le Clarinet described the clarinet-percussion duo repertoire:

In our search for repertoire, we have learned of forty duets for
clarinet and percussion. . . . We have been delighted to find a number of
high quality duos, very rewarding for both the performer and the
audience.

The possible combinations of clarinet and percussion seem practically
endless if one considers the different Clarinets, the wide range of
clarinet sounds, and the great number of percussion instruments that
exist. The present instrumentation varies from duos for clarinet and
marimba, or, clarinet and two bongo drums, for example, to duos for
clarinet and complex arrangements of many percussion instruments.7

The music discussed in this article was, of course, only the chamber
literature written for the clarinet-percussion duo.

The F all 1979 issue of Me Clarinet announced the results of the
Uwharrie Clarinet-Percussion Duo International Composition Contest.8
' This article noted that the repertoire for clarinet-percussion duo had by
that date increased to over 120 compositions.9 With the addition of the
many outstanding works written as a result of this contest, the clarinet-

percussion duo was on the road to becoming a significant chamber ensemble.

5The Uwharrie Mountains, now actually mountain remnants, are
located in central North Carolina. Andrea Splittberger-Rosen and Robert
Rosen were residing 1n central North CarOIIna when they named their duo.

7Andrea Splittberger-Rosen, â€œMusic for the Clarinet-Percussion
Duo,â€œ Tne Clarinet 5, no. 3 (Spring 1978): 35.

8It is conceivable that Plasko's review referred to earlier, which
appeared in the next issue, had already been submitted for publication.

9iRobert Rosen and Andrea Splittberger-Rosenl, 'Yugoslavian lvo
PetriÃ© wins Uwharrie Clarinet-Percussion Duo Composition Contest,â€œ Tne
Cla'v'net 7, no. 1 (Fall 1979): 41.

The existence of ensembles specifically dedicated to performing and
commissioning music for the clarinet-percussion duo is certainly one
reason for the growth of the genre but it is only part of the reason for its
development. For example, none of these performing ensembles existed in
1958 when Armand Russell wrote Pas oeoeux The importance of timbre in
twentieth century music has brought percussion instruments from the
background to the foreground. The development of multiple-percussion
techniques has made it possible for one percussionist to produce a spectrum
of timbres. New sounds such as multiphonics, microtones, note-bending, and
flutter-tonguing have expanded the timbral resources of the clarinetist.
Clarinet and percussion combine effectively because each has a large pitch,
dynamic, and timbral range.

Six duos which have been performed by the "Uwharrie Duo" 10 will be
analyzed in this paper. Pas oeBewr (1958) by Armand Russell, B/awings- Set
Ma 3(1961) by Sydney Hodkinson, Sonata for Clarinet and Permission
(1968/ 1972) by Frederick Lesemann, Tomoead (1971) by Andre
Boucourechl iev, Wild Tales Told on Me PiverPoad ( 1973) by Netty Simons,
and Variation Boos (1979i 1981) by Frank McCarty. Although each is an
excellent composition, they should not be presumed to be the author's
â€œFavorite Six Clarinet-Percussion Duos.â€œ Much to the disappointment of the
author, detailed discussion of many wonderful duos had to be omitted In
order that this paper not be of mammoth proportions. The duos chosen for
analysis are representative of the wide variety of styles, instrumentation,

10T he author is the clarinetist of the "Uwharrie Clarinet-Percussion .
Duoâ€œ and has been performing and researching this repertoire for fifteen
years.

performance difficulty level, and aesthetic orientation within the genre.1 1
One is scored for clarinet and marimba; another for clarinet and three
drums. The remaining four are scored for clarinet and multiple-percussion
setups ranging from modest to gigantic in size and complexity. These
compositions exemplify the quality of the literature and the viability of the
genre and it is hoped that more performers and composers will consequently
be encouraged to participate in the performance or creation of clarinet-
percussion duos.

in addition to studying selected duo compositions, this paper will
trace historical aspects of percussion and clarinet as they relate to the
development of the clarinet-percussion duo genre. Duos will be studied
from the perspective of being a genre of western art music, however, their
context within world music should be mentioned. Many twentieth century
composers of western art music have been influenced by the music of other
cultures, especially those of Asia, Africa, and Polynesia. Debussy, for
example, was profoundly affected by the exotic sound of the Javanese
gamelan which he heard at the Paris Exhibition of 1889. Technology,
including developments such as the tape recorder, television, and airplane,
continues to make the world "smaller;" consequently, in the latter half of
the twentieth century sounds once thought to be exotic have become

11The international scope of the genre is not represented in this
small sample of six duos. Clarinet-percussion duos have been composed by
composers from 5 continents and at least 30 countries: Asia (Japan),
Australia (Australia and New Zealand), Europe (Austria, Belgium, Bulgaria,
Czechoslovakia, Denmark, East Germany, England, Finland, France, Holland,
Hungary, lsrael, Italy, Norway, Poland, Portugal, Romania, Russia, Spain,
Sweden, Switzerland, West Germany, and Yugoslavia), North America
(Canada and United States), and South America (Brazil and Colombia).

6
increasingly normal in western art music. The clarinet-percussion duo has
evolved during this time.

World music manifests itself in numerous ways such as through
parady or imitation of foreign musical elements, through the use of exotic
instruments, and through the influence of oriental philosophy and religion
upon composers. Although the six clarinet-percussion duos being studied
herein do not have Obvious exotic influences, most compositions of this era
have been somehow effected by nonwestern music. Duos with obv10us exotic
influences also exist in the repertoire. An example is Steoinav Bow/es by
Peter Maxwell Davies, which was composed in 1956 while Davies was
working on his thesis about indian music. Originally a quartet, Steamer)
Boon/es became a clarinet-percussion duo when the composer reworked it
in 1968.12 Among the percussion instruments are Arab porcelain drums and
the indian drums tabla and mridangam, which require specialized playing
techniques and are usually used in improvisation.

Older music has always served as an impetus for new music,
sometimes functioning as a positive model and other times as a style to be
rejected. Tutors for composers such as David Cope's new/Mic
Composition, Charles Wuorihin's Simple Composition, and Reginald Smith
Brindle's nus/cal Composition all encourage prospective composers to
absorb the styles of the musical past through thorough study because, â€œin
the ways of art music, we advance by stepping in each other's footsteps,
following a path and then branching off on our own."13 The musical past of
present-day composers includes a multiplicity of diverse styles. Often

Â¥

12The duo version is publist by Boosey and Hawkes.
13Reginald Smith Brindle, m/ea/ Composition (Oxford: Oxford
University Press, 1986), 1.

7
several seemingly unrelated styles from the broad categories of western art
and folk music, nonwestern art and folk music, jazz, and popular music are
combined on an equal footing. David Cope said, â€œThe possible combinations
are in the multibillions."14 it, thus, seems that the greatest problem
facing the contemporary composer is the development of a personal style.
The composers whose clarinet-percussion duos are analyzed herein have
successfully achieved a personal style.

14David Cope, Mew fit/sic Composition (New York: Schirmer Books,
1977), 31 I.

CHAPTER ONE

HISTORICAL BACKGROUND

The existence of percussion instruments can be traced to
prehistoric times and since that time they have been used for dance
accompaniments as well as in religious and military ceremonies. Their
extensive use in western art music is quite recent. Percussion was first
used in opera and symphony orchestras â€œin an accompanying capacity. . . to
add color, folk qualities and/or [sic] added volume."15 In the twentieth
century percussion instruments have assumed roles in addition to those of
accompanist, timekeeper, and noisemaker. Reginald Smith Brindle lists â€the
principal roles of percussionâ€œ as:

percussion as melody, . . . in Klangfa/oenmelod/e, . . . as harmony, . . .
in a harmony-obscuring role, . . . as counterpoint, . . . as orchestral
colour, . . . as a fusing fact in orchestration, . . . as dynamic
reinforcement, . . . ostinatos, . . .as a fourth orchestral dimension,

. . . natural sound effects, . . . exotic and folk-lore effects.â€6

The clarinet-percussion duo is an ensemble which is barely three
decades old. An important factor leading to its development has been the

15Michae1 Rosen, â€œA Survey of Compositions Written for the
Percussion Ensemble,â€œ Percussion/st 4, no. 2 (January 1967): 106.

â€Reginald Smith Brindle, Contemporary Pertussion (Oxford Oxford
University Press, 1970): 178.

development of the percussmn ensemble. Some historical background will
illustrate how the percussion ensemble partially evolved from the
orchestral percussion section which, itself, evolved from the Janissary
bands.

The Janissary bands were â€œpart of the regiments that served as
bodyguards for the Turkish rulers (c. 1400- 1826)."17 These Turkish military
bands and their novel sounds came to Europe by way of Poland and Austria. '8
Percussionist James Blades reports: â€œA full Janissary [also spelled
â€œJanizaryâ€œl band could include a number of bass drums, numerous pairs of
cymbals, small kettledrums, triangles, tambourines and one or more Turkish
crescents ( cnaoead oninois).'19 Percussionist James L. Moore describes
their reception: '

Prior to the influence of Turkish percussion instruments, only the
kettledrums were used in the symphony orchestra. . . . Today it may be
difficult for us, who are accustomed to the many percussion sounds in
the orchestra, to understand the newness and startling quality of these
sounds in the orchestra of the early Classic period.20

Timpani first became part of the orchestra during the Baroque
period. The next instruments to join the orchestra, during the early
Classical period, were the bass drum, cymbals, triangle, and tambourine,
percussive members which came from the Janissary bands. Gluck, Mozart,

Gretry, and Boieldieu used these instruments in operas. Important

17James L. Moore, â€How Turkish Janizary Band Music Started Our
Modem Percussion Section,â€œ Pertussionist 2, no. 4 (September 1965): 7.

1â€œSherman Hong, â€œPercussion in the Orchestra: 1750-1850,â€œ
Percussionist 8, no. 4 (Summer 1971): 121-122.

19James Blades, Pemussion Instrwnents and Tneir History, rev. ed.
(London: Faber and Faber, 1975), 265.

20Moore, 7.

symphonic uses are also found in two movements of Haydn's Sympnony
M2 100 (â€Tne/â€˜iilita/y") and in the finale of Beethoven's Sympnony/Vo. 9

Beethoven wrote innovatively for percussion. He advanced timpani
technique, used the Janissary instruments, and even used a ratchet, to
Imitate' rifle fire, in Me Battle of Vittoria Berlioz was the next composer
to make significant use of percussion instruments and to expand the field.
He tastefully included instruments such as the anvil, whip, alarm bell,
jingle, gong, several tambourines, castanets, bells, and tenor drum.

The snare drum is a staple of today's orchestras, concert and
marching bands, and popular music ensembles. Although it was an important
instrument in military bands, it was rarely used in orchestral music of the
eighteenth century.21 Rossini used it a great deal but this practice was not
universal. Percussionist Gordon Peters wrote disparagingly of the use or, in
his opinion, overuse of percussion instruments by Rossini and his
contemporaries. Peters wished that they had followed the axiom: â€œThe
effectiveness of percussion instruments is in inverse proportion to their
use."22

Another staple of today's orchestral percussion section, the
xylophone, was not used in the orchestra until the second half of the
nineteenth century.23 Even Berlioz did not use the instrument in his music
nor did he mention it in his famous orchestration treatise.24

The string and Wind sections of the orchestra expanded as the
Romantic Period flourished. Percussion instruments became increasingly

2Mom, 124.

22Gordon B. Peters, Tne Drummer: Mm- A Treatise on Percussion
(Wilmette, 111.: Kemper-Peters Publications, 1975), 30.

2IiHong, 126.

2â€œBlades, 306.

important and useful as the emotional range OI MUSIC expanded. Blades
described:

During the latter half of the nineteenth century, we find that not only
are composers making demands on an ever-increasing variety of
percussion instruments, but that such instruments as the tambourine,
triangle, castanets, hitherto regarded primarily as responsible for the
introduction of local colour, are becoming an integral part of the
orchestra structure. Certain instruments have already participated

in the melodic structure, bells and glockenspiel, others are about

to do 50.25

More percussion instmments continued to join the orchestra during
the eighteenth and nineteenth centuries but the burgeoning use of additional
instruments and colors occurred largely in the twentieth century. According
to the writings of numerous professional percussionists, Debussy, Nielsen,
Sibelius, Mahler, Holst, Puccini, Bartok, Britten, and Stravinsky are turn-of-
the-century composers who continued these trends and wrote skillfully for
percussion in their orchestral works.

Percussionist Sherman Hong succinctly summarized percussion's
orchestral evolution:

Haydn and Mozart used â€œfashionableâ€ (Turkish) percussion, but used
them only as color instruments. Beethoven began incorporating
percussion as an entity, for its own timbre, and as an integral segment
of the aggregate texture. Berlioz went further by writing timpani
parts as integral segments of the harmonic as well as textural
structure.

It was from Beethoven and Berlioz that romantic composers take their
cues. Percussion writing during the balance of the 19th century
became steadily improved, albeit slowly, until it has reached the 20th
century level of equality with other instruments. it has been a long
time coming, but now percussion literature perse has come of age.26

25Ibid.
26Hong, 1 27.

This evolution 01' the orchestral percussion section was one Of the
impetuses TOIâ€˜ the formation Of the TIIâ€˜SIZ percussion ensembles. It 3130 led
to an expansion OI DeIâ€˜CUSSIODIStS' technique, WIIICII helped make 8010 and
chamber DGIâ€˜CUSSIOD literature ITIUSICBIIY viable in the twentieth century?"
PeIâ€˜CUSSIODISt Kari Peinkofer described the evolution Of the percussion
section:

The orchestral percussion section has by now become an absolutely
essential ingredient of our era's musical sound palette. in fact, today's
typical orchestral percussion section has become an entity of timbres
and techniques so complete and complex that many independent, self -
sufficient percussion ensembles with their own musical literature
have arisen throughout the Western World.28

Wine
The percussion ensemble, as we know it today in western art music,

is a development of the twentieth century. Although such groups as the
Indonesian gamelan, African drumming groups, Latin American marimba
bands, rudimental drum corps, and novelty or â€popâ€œ groups are types of
percussion ensembles and have influenced western art music, they are
outside the focus of this discussion. Varese's lonisation (1931) is often
considered to be the first real percussion ensemble but several earlier

27Music for concert band lagged behind orchestral, chamber, and
solo music in the innovative use of percussion. Traditional military or
marching percussion instruments such as snare drum, field drum, bass drum,
cymbals, and triangle were employed in their traditional roles as
accompanist, timekeeper, and noisemaker in band music until the mid-
twentieth century. Many band compositions since that time have made
colorful and prominent use of numerous percussion instruments.

28Karl Peinkof er and Fritz Tannigel, handbook of Percussion
lnstrzments Tneir Characteristics and Playing T ecmi'oues wit/l
Illustrations and [mp/es from the t iteratwe (Mainz: B. Schott's Sohne,
1969) trans. Kurt and Else Stone. (Mainz: B. Schott's Sohne, 1976): 8.

13
compositions figure prominently in the history of the percussion ensemble
and merit mention before Ion/sation is discussed.

The Futurists, led by artist-musician Luigi Russolo, felt â€œall art was
being impaired by tradition."29 Russolo also maintained that â€œmusical sound
was too limited in qualitative variety of timbre, and that the future of
music lay in the subjugation and organization of noise.â€œ30 His activities
included the presentation of a concert in 1914 which used noise instruments
or "intonaruomi" built by Russolo and his associates. The noisiness of these
instruments can be imagined from their names: bumber, exploder,
fracasseur, gurler, ruffler, snorer, stridor, thunderer, and Whistler.31
Needless to say, this concert was quite controversial. Although it was not
literally a percussion ensemble concert, it did open the door for the
eventual acceptance of percussion as an artistic medium and inspired the
use of more timbres. Percussionist Larry Vanlandingham described the

concert's effect on the percussion ensemble: .
By suppressing melodic instruments and granting a monopoly to
percussion, f uturism stressed the significance of rhythm and revealed
the possibilities of timbre inherent in percussive devices. It brought

the concept of the use of percussion to the attention of composers and
the general publicSâ€™i2

Stravinsky's Historie duSo/dat, written in 1918, also had a great
influence on the development of the percussion ensemble and on percussion
technique. Historie otrSo/oat is scored for violin, string bass, clarinet,

bassoon, trumpet, trombone, and one percussionist who plays snare drum,

29Larry Vanlandingham, â€œThe Percussion Ensemble:1930-l945,"
Percussion/3t 9, no. 3 (Spring 1972): 71.

301b1d.

31Michael Rosen, 108.

32Vanlandingham, 71.

field drum, bass drum, tambourine, triangle, two tomtoms, and cymbal. This
â€œmultiple-percussionâ€œ or â€œmultipercussion' part33 has had a monumental
effect on $010, chamber, orchestral, and band percussion literature; prior to
this, percussionists traditionally played only one instrument per piece, or
perhaps a cymbal attached to a bass drum. As percussion playing improved
and composers wrote for the multiple-percussion technique, the result was
the availability of an increased timbral palette with a minimum number of
players. Stravinsky's decision to write a multiple-percussion part was
influenced by the drumset of the new American idiom of jazz and by the
scarcity of available percussionists during the war. Multiple-percussion
setups have become standard procedure for percussion music of the
twentieth century, including percussion ensembles.â€œ

Imisation (1931) was Vareses only composition for percussion
ensemble, although percussion was an important aspect of some of his other
compositions: lntegrales (1920) and WIS/77 (1926). in lonisation, he
employed thirteen players and thirty to forty instruments35 The
conventional instruments used include drums, wood blocks, gongs, cymbals,
cowbells, chimes, maracas, and piano. The less conventional ones include
sirens, anvils, slapsticks, sleigh bells, and the lion's roar. These
instruments were treated in different ways depending on whether they were
of definite pitch, indefinite pitch, or â€œcontinuously moving pitch,â€œ e.g.,

33A â€œmultiple-percussion" part is a part in which the percussionist
plays more than one instrument together or in quick succession.

34The technical details will be discussed in the next chapter.

35The exact number depends on one's counting method; for example,
Michael Rosen said â€œover thirtyâ€œ on p. 1 1 1 of his article while Gordon Peters
counted â€œ42" on p. 210 of Me Drummer? Nan.

sirens and lion's war.â€œ The latter were used to create a â€œpolyphony of
glissandi.â€œ37 lonisation was an important composition for percussionists
and all other musicians. According to Blades it was â€œmonumental in the
history of the percussion ensemble.â€œ38 Peters said it â€œimmediately . . . set
up a trend in percussion ensemble composition.â€œ39 Musicologist H. H.
Stuckenschmidt described its overall importance and Vareseâ€˜s use of â€œsound
massâ€œ:

lonisation is the first major work based on a new conception of music

to be dominated by timbre and noise. . . . lonisation also has a strictly-

organized rhythmic and dynamic structure of a type that later became
common in the serial works of the Darmstadt school.40

The use of new timbres, many of which had been previously classified as
noise, and new and more complex rhythmic structures, primarily those
adapted from foreign cultures, continue to be two of the most important
developments in twentieth century music.

Vanlandingham described the following stages of instrumentation
development of the early percussion ensemble:

(1) the use of standard orchestral and indigenous percussion
instruments; (2) a clear trend away from the use of standard
percussion; (3) a return to the almost exclusive use of standard
percussionâ€œ1

36Vyvian C. Lawrence, " lonrsat/on--Edgard Varese,â€œ Percussion/3t
7, no. 4 (May 1970): 123.

37H. H. Stuckenschmidt, Twentietn CentoryM/sic; trans. Richard
Deveson (New York: McGraw Hill, 1969), 68.

â€Blades, 433.

39Peters, 210.

40Stuckenschmidt, 68.

â€œVanlandingham, â€œThe Percussion Ensemble: 1930-1945,â€œ
Percussionist 10, no. 4(Summer 1973): 123.

Varese used some standard instruments but had begun to move away from
them by the time he composed Ionization Harrison and Cage â€œstrongly de-
Mphasized orchestral percussion.â€œâ€˜12 Cage used â€œvarious kinds of noise
[which] he felt would ultimately culminate in the electronic production of
all imaginable sounds.â€œ43 Since these noises were often of indefinite pitch,
rhythmic structure was emphasized in Cage's early compositions such as
First Construction (in Metal), 3 percussion ensemble composed in 1939.
Concurrently, Cage was experimenting with the prepared piano which
Griffiths described as â€œa one-man percussion ensemble, with defined
pitches largely replaced by noises and complex sounds.â€œ4â€˜1 Chavez, Cowell,
and Hovhaness primarily used standard instruments but tried to use them in
exotic ways evoking Latin America, Armenia, Africa, India, or the Orient.
The next period of percussion ensemble activity began in 1950. The
important event of that year was the official acceptance of â€œPercussion
Ensembleâ€œ into the curriculum of the University of illinois.45 The
percussion ensemble became a standard ensemble with regular rehearsals
and concerts like string quartets and woodwind and brass quintets. In
addition to providing percussionists with chamber music experience and
presenting concerts and clinics, the University of Illinois Percussion

Ensemble, under the direction of Professor Paul Price, had the special

421bid.

43Glenn Watkins, Soundings: Music in tne Twentieth Century (New
York: Schirrner Books, 1988), 559.

4â€˜1Paul Griffiths, Modem Mrs/c:- Tne Avant Barde since I945 (New
York: George Braziller, 1981), 34. Griffiths also suggested on p. 34 that the
prepared piano â€œwas perhaps consciously developed as a home-made
substitute for the synthesizer of the future.â€œ

45This program is discussed in detail in Walter Parks, â€œThe Origin of
the Percussion Program in the American University: The University of
Illinois,â€œ MICMP/ Journal 34, no. 3 (Spring 1986): 4-10.

mission of encouraging composition for percussion by serving as a
performance workshop.â€œ Priceâ€˜s promotion of the percussion ensemble also
included â€œthe establishment of a publishing firm devoted exclusively to the
publication of percussion music [Music for Percussion, 1nc.].â€œ47

Shortly thereafter, percussion ensemble activity began at the
Eastman School of Music. Gordon Peters founded the â€œMarimba Mastersâ€œ
ensemble in January of 1954, while he was a student at Eastman.48 This
developed into Eastman's percussion ensemble but, for the first several
years, it was a student-run, hon-credit organization. The percussion
department began sponsoring annual percussion ensemble contests in 1955
and Music for Percussion, inc, guaranteed to publish the winning
composition each year.49

The composers of the first two clarinet-percussion duos, Armand
Russell and Sydney H0dkinson, were students at the Eastman School during
this time. Their duos were published by Paul Price's company, Music for
Percussion, Inc, in 1964 and 1969, respectively. Russell and Hodkinson also
became important composers for the percussion ensemble. Armand Russell's
Percussion Suite won the 1956 Eastman contests0 and an ensemble by
Sydney Hodkinson won the 1958 prize.51 Both composers have had several
percussion ensembles published by Music for Percussion, Inc.

â€œJack McKenzie, university of Illinois Percussion Ensemble
(Urbana, 111.: The University of Illinois School of Music Custom Recording
Series, 1962), record jacket notes, CR5 6.

"Peters, 21 1.

Â«mm, 220-226, 279.

491bid, 224.

s0Ronald Keezer, â€œA Study of Selected Percussion Ensemble Music of
the Twentieth Century,â€œ Percussionist 8, no. 3 (March 1971): 94.

51 Publicity information of Sydney Hodkinson.

Post- I 950 percussion ensemble composers had conventional and
unconventional instruments at their disposal and also several good
percussion ensembles to study as models. Percussionist Ronald Keezer
described the development of a â€œmiddle-of-the-road, assimilatOiy vein"â€˜~52 of
percussion ensemble music:

Varese and Cage/Harrison represent the left, or avant garde. The
works of these men hold an intellectual appeal. Cowell and Hovhaness
represent the right or ethnic approach. [Armand] Russell and Childs act
the role of an assimilator. Both Russell and â€œleft-leaningâ€œ Childs have
drawn from each of the other two categories, yet their work is original
and their third, or buffer zone, category is meaningful.53

There were many styles in this middle ground. Barney Childs
generally used conventional instruments combined with â€œchanceâ€œ procedures.
Percussionist Michael Rosen described pieces written for the University of
Illinois percussion ensemble as a â€œcomposition movementâ€œ that was more
conservative than those of the â€œSan Franciscoâ€œ movement of Cowell and
associates."54 An even more conservative â€œmovementâ€œ was that associated
with symphonic percussionists such as Saul Goodman (New York
Philharmonic) and Harold Farberman (Boston Symphony). These men used
only conventional percussion instruments. F arbermanâ€˜s dislike of pieces
with unconventional instruments is clear. He wrote that he â€œshould like to
see an end to pieces for percussion utilizing sirens, whistles, glass plates,

etc, which are nothing less than a debasement of, and cause for

52Ronald Keezer, â€œA Study of Selected Percussion Ensemble Music of
the Twentieth Century,â€œ Percussionist 8, no. 4 (Summer 1971 ): 134.

53Idem, â€œA Study of Selected Percussion Ensemble Music of the
Twentieth Century,â€œ Percussionist 9, no. 1 (Fall 1971): 22.

5"Michael Rosen, â€œA Survey of Compositions Written for the
Percussion Ensemble,â€œ Percussion/st 4, no. 4 (May 1967): I90.

embarrassment to, percussion p1ayers.â€œ55 Different composers valued
different things and, just as there is a multiplicity of styles in twentieth.
century music generally, there is a similarly wide stylistic spectrum in the
percussion ensemble repertoire. â€œThe exploration of percussion ensembles,
both traditional and exotic, has led to such a range of instruments and
variety of techniques as to defy summary,â€œ56 said Watkins.

The percussion ensemble has become an ensemble of international
participation. Blades mentioned the â€œTokyo Percussion Ensemble,â€œ the
â€œPercussion Ensemble of London,â€œ and â€œles Percussions de Strasbourg,â€œ as a
few examples.57 Current professional publications, such as Percussive
M16555 attest that this genre Is international. Watkins described its
possibities and consequent popularity:

The range of expression of the modern percussion ensemble is perhaps
the largest with respect to dynamics and timbre of any instrumental
g'ouping, a fact that helps to explain the multiple functions it has
served in the twentieth century, from the hushed quietude of some of
Crumb's magical noctumes to the ear-splitting climaxes of pieces too
numerous to mention. Fascination for its potential shows no sign of
abating.59

Wand
Although the clarinet Is one of the youngest of the standard

orchestral instruments, 1118 5010 and chamber ITIUSIC repertoire 13 two
centuries older than that 01r percussion. CODTUSIOD exists over the BCtUBI

55Harold F arberman, Evolution-Mic for Percussion, Boston
Percussion Group, record jacket notes, Boston B-207.

si3Watkins, 625-626.

57Blades, 435.

53The official journal of the Percussive Arts Society, Urbana,
Illinois.

59Watkins, 627.

date of the clarinet's birth, When it was officially named, whether It was
developed or invented, and whether certain pastoral orchestral passages of
around 1700 were intended for the clarinet or the chalumeau. The definitive
answers tothese questions, beyond the fact that the clarinet does indeed
exist, are not crucial to the development of the clarinet-percussion duo.
Suffice it to say that the clarinet was created around 1700 by Johann
Christoph Denner, a respected woodwind maker of Nuremberg, Germany. His
experimentation on and â€œimprovementâ€œ of the chalumeau included the
addition of the register key. This resulted in a significant upWard extension
1 of the range.

During the nearly 300 years of the clarinet's existence, a vast
repertoire has developed giving today's composers a body of great clarinet
literature in numerous styles to study. In the twentieth century, composers'
increased interest in timbre has led to a proliferation of compositions for
clarinet as well as other wind instruments.60 The solo literature can be
divided into concertos (accompanied by orchestra, band, and assorted
chamber ensembles), music for clarinet and piano, and unaccompanied
pieces. Standard chamber music ensembles employing the clarinet are
clarinet quintets, i.e. clarinet and string quartet (where the clarinet tends
to be a soloist in this otherwise homogeneous ensemble), and woodwind
quintets (where the clarinet is an equal partner in a heterogeneous wind
group). The chamber repertoire also includes music for many combinations
of clarinet with keyboard, wind, string, and percussion instruments and
voice. A large clarinet section serves as the backbone of the band,

-. 60F or example, Stravinsky wrote innovatively for winds. His catalog
of music for clarinet includes solos, chamber ensembles, and works for band
and orchestra.

functioning similarly to the violin section of the orchestra. The orchestral
clarinet section, which usually consists of two to four players, functions as
an important timbre and solo voice. Additionally, clarinets are often used in
jazz, folk music, and show music such as Broadway pit bands.

The first prominent use of the clarinet was as a solo instrument and
the first pieces to feature the clarinet were six concertos for the two- or
three-keyed D clarinet written by Johann Melchior Molter.â€œ These were
written during the 1740â€˜s, perhaps as late as 1747, and featured the upper
register.62 Other early concertos include one by Johann Stamitz, written
sometime before his death in 1757,53 and two by Franz Xaver Pokomy,
written around 1765.54 Vivaldi included two C clarinets in combination
with various other instruments in several chamber concertos. Other early
works for clarinet include an overture for two D clarinets and corno di
caccia by Handel and six sonatas for clarinet, bassoon, and harpsichord by
C. P. E. Bachï¬s

Clarinetists first became regular members of the orchestra around
1759, when the Mannheim Orchestra, an ensemble with an â€œimmense
reputation for sensitivity and ref inement,â€œ55 employed two. These players

6IMany sources list four concertos by Molter. Richard Adrian
Shanley documented two additional concertos in â€œThe Fifth and Sixth
Clarinet Concertos by Johann Melchoir Molter. A Lecture Recital Together
with Three Additional Recitalsâ€œ (D.M.A dissertation, North Texas State
University:J 1976).

6 ack Brymer, Clarinet (New York: Schirmer Books, 1976), 31.

63iBrymer said, on p. 3 i, that it was written in the 1760's but
Stamitz died in 1757 according to p. 79 of Rendall, and other sources.

54F. Geoffrey Rendall, Tne Clarinet, rev. Philip Bate, 3d ed (London:
Ernest Benn Limited, 1971), 85.

65Oskar Kroll, Tne C/a'vnet (Kassel: Barenreiter, 1965) trans.
Anthony Baines. (New York: Taplinger, 1968), 47.

66Rendall, 79.

probably doubled on oboeuntil around 1778. The clarinet became a member
of the military band during the same era, â€œin 1763 or soon after,â€œ according
to Rendall.67 Bands substantially popularized the clarinet in the late
eighteenth century and this trend has continued into the twentieth
century.68

The late eighteenth century was the transitional period from the
three-keyed to the five-keyed clarinet. The five-keyed instrument could
play in all registers â€œjuxtaposed with complete freedom,â€œ reports Brymer.69
The previous literature and players should not be discarded as unimportant
as Brymer states, â€œEven before it reached the five-key stage, the clarinet
was a formidable instrument in the virtuoso field.â€œ70

Carl Stamitz, the son of Johann, was associated with the Mannheim
Orchestra. He wrote at least a dozen clarinet concertos between 1770 and
1784. They made use of the full pitch and expressive range of the improved
clarinet. Several virtuoso clarinetists of this era doubled as composers and
wrote music to display their performing talents. This was the beginning of
the â€œheydayâ€œ of clarinet soloists which lasted until approximately 1840.71
The most important solo concertos written during this period were by
Mozart, Weber, and Spohr. Mozart, Beethoven, Weber, and Schubert were
among those who composed important chamber works for clarinet.

Two clarinets became a standard part of the orchestra at the end 0f
the eighteenth century. Mozart and Haydn included clarinets in their last

67|bid.

63Many countries maintain professional military bands. In the
United States, bands are also a vital part of the music education system in
elementary school through college.

69Brymer, 31-33.

7Â°Ibid., 29.

71Rendall, 92.

23
symphonies. Beethoven was the first major composer to use a pair of
clarinets in all of his symphonies. Weber, Schubert, and Rossini also used
the clarinet to great advantage in symphonic and operatic music. Once the
wind section became standardized, including pairs of flutes, oboes,
clarinets, bassoons, and horns, the woodwind quintet assumed importance,
as the principal players had occasion to play chamber music.72

During the second half of the nineteenth century the clarinet,
although no longer in the spotlight as a concerto instrument, was an
indispensable member of the orchestra and frequently had prominent solo
parts in the orchestral literature. Brahms' Trio, 0p. ll4,and 0uintet,
0p. 1 l5, of 1891 and Sonatas; 0p. lZQ of 1894 began a resurgence of
clarinet solo and chamber music writing that has continued to the present-
day. A wealth of solo, chamber, band, and orchestral literature has been
written for clarinet in the twentieth century.

Many different pitched clarinets appeared during the course of the
instrument's history. Most of the clarinet's early literature was written for
the C and D soprano clarinets. By the late eighteenth century, however, the
slightly lower-pitched Bb soprano clarinet had become the standard
instrument and It remains so to this day. Mozart's Quintet, K 56'], and
Concerto, K. 622, were two of the earliest compositions to use the A
clarinet as a solo instrument. Berlioz, a master orchestrator, â€œwas among
the first to use various sizes of clarinet for their particular tone quality.â€œ73
The devilish Eb clarinet solo in Sympnonie Fantastioue is a good example.

â€David Pino, Tne Clarinet andC/arinet Playing (New York: Charles
Schribner's Sons, 1980), 241 .

73 mart/â€œmay aim/sic 2nd ed., rev. & en1., s.v. â€œClarinet
family.â€œ

Other members of the clarinet family were developed around 1770.
Mozart used the basset horn in several operas and in the Serenade in BP,

K .761. Mendelssohn also wrote for the basset horn but its use then
wanedâ€œ The bass clarinet was not used prominently until the mid-
nineteenth century. Meyerbeer included important bass clarinet solos in tes
hivguenots and la Propnete. Wagner was the first composer to use the
instrument extensively. He continued the trend of increasing the size of the
orchestral clarinet section to more than two players as he expanded the
orchestra and its respective sections generally. The symphonic poems of
Richard Strauss employ varied combinations of auxiliary clarinets; for
example, Don auixote uses the bass clarinet, Til Eulenspiege/ uses the D
and bass clarinets, and [in He/den/eoen uses the ED and bass clarinets.

The bass clarinet had little solo literature until the mid-twentieth
century and its emergence as a solo instrument is chiefly due to the efforts
of Josef Horak of Czechoslovakia and Harry Sparnaay of Holland. Horak, the
senior of these two artists, began his career as a soloist in 1955.75 Much
of the music written for him is for solo bass clarinet or bass clarinet
accompanied by piano. He formed a duo, â€œDue Boemi di Praga,â€œ with pianist
Emma Kovarnova in 1963 and they continue to concertize extensively to the
present day. in 1962, Horak commissioned composer Zdenek Pololanik to
write a work for bass clarinet and percussion. riusica Spingeta ill, the first

7â€˜iln the early twentieth century, Richard Strauss wrote parts for
basset horn in some of his operas. In the latter half of the twentieth
century, the basset horn has been experiencing a revival. John P. Newhill,
Tne Basset-Mnavd/ts/â€˜lusic (Cheshire, England: John P. Newhill, 1983),
16- 17, 91.

75Norman Heim, â€œThe Josef Horak Phenomenon, part VI,â€œ The Clarinet
8, no. 2, (Winter 1981): 40.

25 .
duo Written for bass clarinet and percussion, was the result. It was
published by Panton in 1966.

The bass clarinet as well as the BP and A soprano clarinets are the
members of the clarinet family which currently have a repertoire of solo
music. Some solos exist for other clarinets but not in great numbers. The
Eli, and occasionally the C and D soprano clarinets, join the Bâ€, A, and bass
clarinets in the orchestra. The family extends from the E1) soprano to the B1â€™
contrabass clarinet used in bands and clarinet choirs.

The solo repertoire for the Bâ€ and A clarinet is widely varied
ranging from unaccompanied works to sonatas, concertos, and works with
piano. Unaccompanied clarinet music is largely a twentieth-century
phenomenon. Although the first work for unaccompanied clarinet is probably
Anton Stadler's Trois canricespow' la clarinette seu/e, published In 1810,
Gillespie stated in 1973 that â€œnearly all works now in print for solo clarinet
were composed in the last fifty-five years?"6 (Today, that statement could
be updated to include the last seventy years.) Strav1nskyâ€˜s anee Pieces for
Clarinet Solo, composed in 1919, seems to be the first work of this new era
of composition for solo clarinet.

Although there have been some outstanding pieces written for
unaccompanied clarinet, the masterworks of the solo repertoire are
accompanied in some manner. included in this list are the sonatas of
Brahms, Reger, Poulenc, and Hindemith; the concertos of Mozart, Weber,
Nielsen, Copland, and Corigliano; and other clarinet and piano pieces by
Weber, Debussy, and Berg. Among the most important chamber music works

7â€˜iJames E. Gillespie, Jr., Solos for Unaccompanied Clarinet.- An
AmotatedBioliog'ao/ly of Published Wants (Detroit: Information
Coordinators, 1973), 1 i.

written for clarinet and other instruments are: trios by Mozart, Beethoven,
Brahms, and Bartok; quartets by Messiaen and Hindemith; and quintets for
clarinet and strings by Mozart, Weber, Brahms, and Reger.

Heightened interest in timbre in twentieth century music led to
repertoire in which the clarinet was combined with instruments other than
the standard strings, winds, and piano. Music using percussion instruments
heads the list of new colorful orchestrations. Some other calorful and
uniquely twentieth century combinations are clarinet and ore-recorded tape,
clarinet and live electronics, and clarinet in numerous diverse chamber
music combinations.

Since 1950, Increased interest in timbre has led to experimentation
with new sound possibilities on the clarinet and other instruments.

F lutter-tonguing, subtone, vibrato, note-bending, microtones, and
multiphonics are some of the sounds which were once considered noises but
are now colors being successfully integrated into many compositions for
clarinet.77 in addition, the trend toward increased virtuosity has continued
to improve the technique of clarinetists and extend the range of the clarinet
upward.

We
The clarinet-percussion duo can be partially explained as a logical
extension of the increased prominence and use of percussion in the
twentieth century. Color is now an important mu51cal parameter and sounds
once considered noises are currently valued for their exotic qualities.
Percussionists are increasingly asked to function as soloist, partner, and

77These new techniques will be discussed in the next chapter.

accompanist, a range or roles usually reserved for pianists. The wide
variety Of percussion instruments, timbr es, and techniques plus the ability
of percussion to function as an effective accompanist has prompted
composers to write for percussion and virtually every instrument. Some
duet combinations have a sizeable repertoire."

The clarinet-percussion dUO repertoire is large and IS increasing for
several reasons. Clarinet and percussion is a highly effective combination.
The clarinet is an agile instrument with immense possibilities for
virtuosity. It has the largest pitch, dynamic, articulatory, and timbral range
of the woodwind instruments. The entire family of clarinets has an
enormous range of pitches. The clarinet has the dynamic potential for
competing as a chamber music partner w1th extremely IOUd or soft
percussion sounds and the articulatory capability to match the attack and
decay of numerous percussive sounds.

Many duos have been composed for specific performers and
ensembles. Shortly after the first clarinet-percussion duos had been
written, certain ensembles and â€œnew musicâ€œ performers began specializing
in the combination. In addition, many duos have been written for performers
not members of a permanent dUO ensemble because the composers
considered the clarinet-percussion dUO such an interesting and viable
combination Percussionist James Holland has proposed an additional reason

â€œIn addition to clarinet-percussion duos, there are, for example, a
large number of f lute-percussion and saxophone-percussion duos, and
ensembles have been formed to specialize in this repertoire. â€œTambousâ€œ is a
f lute-percussion duo composed of f lutist Holly Stackhouse and
percussionist Theodore Frazeur. Saxophonist and low clarinetist Henri Bok
and percussionist Evert 1e Mair are the members of â€œDuo Contemporain.â€œ

for the existence or percussion chamber music SUCII as the clarinet-
percussion dUO:

Here 1 have to make a confession: though 1 am an ardent percussionist
and have worked considerably for the percussion â€œcauseâ€œ, including
helping to form the London Percussion Ensemble, 1 find an all-
percussion programme, unrelieved by any other instrument or voice,
can be something of a disaster. Blasphemy? Perhaps; but percussion-
only programmes may be fine for the players concerned, but what of
the audience? Continuous unrelieved percussion for a whole concert,
to my mind, makes for a rather dull uninteresting programme. Further,
comparatively few composers write effectively for percussion.79

Coincidentally, perhaps, four of the earliest clarinet-percussion duo
perform1ng ensembles were married couples. Each duo had a somewhat
different focus. While marriage is certainly not a prerequisite for playing
clarinet-percussion duo music, the desire to perform duets together was
probably one reason why married couples who play these two instruments
performed this â€œunlikelyâ€œ repertoire in its embryonic days. With other
instrumental duet and chamber music combinations, musicians often get
together and sightread pieces which they are interested in performing.
Since much of the clarinet-percussion duo repertoire is for multiple-
percussion setups, casual sightreading is not an option. A great deal of
setup time must be invested merely to try a piece out. individuals who
normally spend a great deal of time together, such as married couples, are
more apt to investigate and have a commitment to perform such music. Now
that the viability of this genre is evident, an increasing number of
musicians are programming clarinet-percussion duos on recital programs.

Ron and Joan George of California began performing clarinet-

percussion dues in 1967. They expanded their performances into multi-

79James Holland, Percussion (New York: Macmillan, 1978), 262.

media events under the name â€œMusic for Sound and Light.'80 Duos written
for the Georges include Wild Tales Told on tne River Road by Netty
Simons,â€œ aotions // by Elliott Schwartz, Essence ofAmpersand by
Raymond Weisling, and Flower Bel/s and/â€˜iigrations by Susan Palmer. Ron
George composed Music foraFavor/te Person for their ensemble. He is an
innovator in the development of â€œpercussion consoles,â€œ i.e., specialized,
compact multiple-percussion setups.

Larry and Linda Maxey of Kansas perform duos for clarinet and
marimba. Inventions and interludes by Charles Hoag and Prelude andt icks
by Chester Mais were written for them.82

â€œClarinet and Friend,â€œ founded in 1974 after receiving
commissioning grants, combines the talents of clarinetist Phillip Rehfeldt
and composer-performer Barney Childs of the University of Redlands.83
Although a pianist, Childs is able to masquerade as a percussionist and
perform Soirit Puck, commissioned from Peter Racine F ricker, and Duo
Cxcnalges; commissioned from Wendell Loganï¬â€˜1

Robert Rosen and Andrea Splittberger-Rosen, the â€œUwharrie
Clarinet-Percussion Duo,â€œ have performed together since 1974. The
â€œUwharrie Duoâ€œ performs duos for the entire range of clarinets and
percussion instruments. Many compositions have been written for the

80Correspondence with Ron George.

81 Wild Tales ls discussed in Chapter 7.

32Correspondence and conversations with Larry Maxey, Charles Hoag,
and Chester Mais.

331-1 James Schoepflin, â€œClarinet and Friend,â€œ Tne Clarinet 5, no. 1
(Fall 1977): 32.

8â€œCorrespondence and conversations with Phillip Rehfeldt, Barney
Childs, Peter Racine F ricker, and Wendell Logan.

3o
â€œUwharrie Duoâ€œ including duos by Jon Deak, Jere Hutcheson, Frank McCarty,85
Paul Martin Palombo, and Michael Udow of the United States, Jozef GahÃ©r and
Alois Simandl Pinos of Czechoslovakia, Georg Katzer of East Germany,
Enrique Raxach of Holland, Kazuto Miyazawa of Japan, and lvo Petricâ€™ and
Primoi Ramovsâ€™ of Yugoslavia. In addition to commissioning and premiering
new works, the â€œUwharrie Duoâ€œ sponsored an international Composition
Contest in 1979 which produced many outstanding compositions, some of
which have yet to be performed. The â€œUwharrie Duoâ€œ is also an experienced
presenter of new music to general audiences of all ages.

The most recent ensemble to commission and perform clarinet-
percussion duos extensively ls â€œDuo Contemporainâ€œ of Holland. Henri Bok
plays bass clarinet, contra-alto clarinet, alto saxophone, and tenor
saxophone. Evert le Mair is the percussionist, playing primarily mallet
instruments. They have performed together since 1980. Their impressive
list of internationally-commissioned duos includes works for one or more
clarinets or saxophones with vibraphone or marimba as well as with large
multiple-percussion setups. Bass clarinet-percussion duos commissioned
and recorded by â€œDuo Contemporainâ€œ include Meditation et Danse by Piotr
Moss of Poland, Diason by Eugen Wendel of West Germany, and Wanton Wiles
by Frans Vuursteen of Holland.â€œ

John and Beverly Floyd of Virginia have performed numerous duos
but have not as yet commissioned works for the clarinet-percussmn duo
although John Floyd composed anee Niniatmes for Clarinet moraimoa

35 Variation Duos by Frank McCarty is discussed in Chapter 8.
â€œCorrespondence with Henri Bok and publicity materials of â€œDuo
Contemporain.â€œ

31
Andre Morin and Toshiakl Hamada of Quebec have performed together for
several years. One of their commissions is Vignettes by John Cheesmanï¬"

Some larger contemporary music ensembles have included clarinet-
percussion duos on their programs. Donald Erb wrote his Sonata for Clarinet
avdPercussion for the â€œBoston Musica Viva,â€œ which premiered it. Jon Deak's
Sinister Tremors, written for and premiered by the â€œUwharrie Duo,â€œ has
been programmed by â€œSpeculum Musicae.â€œ

Duos have also been written for other reasons. Composer-
clarinetist Sydney Hodkinson wrote for himself and Robert Myers, an
accomplished percussionist at the University of Virginia. David Burge wrote
Somes l// for his faculty colleagues at the University of Colorado,
clarinetist Jerry Smith and percussionist John Galm. Duos, like other
works, have been written to commemorate friendships and special
occasions. Leo Kraft dedicated Episodes to Meyer Kupferman and Dennis
Anderson wrote Sage King Goes Hollywood as a first (paper) anniversary
present for Steve and Debra Moshier.

There is now such a large body of clarinet-percussion duo literature
with such a broad range of styles and instrumentations that it is pr0bable
every clarinetist and percussionist of at least moderate ability can find
satisfying music to perform. So much literature exists, in fact, that it
seems nearly impossible to keep up with it all. Virtually every new issue of
professional clarinet and percussion journals include mention of a duo
unknown to the author. Additionally, inquiries about duos are addressed to
the author with increasing frequency.

8â€œâ€™Correspondence and conversations with John Floyd and AndrÃ©
Morin.

CHAPTER TWO

TECHNICAL DEVELOPMENTS FOR CLARINET AND PERCUSSION

The technical capabilities of instrumentalists have increased over
time. Composers and performers have often worked together in an attempt
to stretch the boundaries of what has previously been thought to be
playable. Paul Griffiths states, â€œThe history of music has repeatedly shown
difficulty of performance to be a transitory quality of a work, evaporating
as innovations become absorbed within the common practice of
executants.â€œ33 Some compositions written after World War 11, such as te
marteau sans maitre by Pierre Boulez, Zeitmasse by Karlheinz
Stockhausen, and many works of Milton Babbitt, were so technically
difficult that they â€œwould appear to reach the border lands of the
feasible."89 Several decades later, these compositions are considered
difficult but playable.

The clarinet-percussion duo is a post-World War 11 genre of a
predominantly virtuoso nature. A recent review of a relatively easy duo
prompted this reaction from the reviewer.

At last--a piece for this combination which doesn't require unnatural

acts from the clarinetist nor acrobatics from the percussionist! anee
Pieces [by George Ferencz] is of moderate difficulty, accessible to two

â€œGriffiths, 223.
89lbid.
32

mature college students, or possmly even two exceptional high SChOOI
students.9Â°

Music written for clarinet and percussion as a duo is similar in style and
difficulty to the solo literature of both instruments. This being the case,

some historical discussion of the solo repertoire is in order.

M i r ' 1
In his bibliography of solos for unaccompanied clarinet, James
Gillespie states:
Far too many of the works [for unaccompanied clarinet] may be
played only by very advanced players, and it is hoped that composers

Will respond to the need for more intermediate-level pieces Within the
reach of student clarinetists.91

It would seem that this general virtuosity occurs in clarinet solos because
of the difficulty inherent in sustaining interest throughout a composition
using a one-line instrument.92

Ralph D'Mello described the growing repertoire for unaccompanied

clarinet in an article published in 1971:

In the twenty years that followed the Stravinsky pieces only about six
pieces, including compositions by Cage, Karg-Elert, Pf eif f er, and
Bentzon, were published. An equal number of pieces were printed in
the decade of the F orties. Some of the composers represented in this
era were Barati, Perle, and Sutermeister.

9Â°David Pickthorn, review of Time Pieces for Clarinet avd
Percussion, by George F erencz, in Percussive Notes 25, no. 2 (Winter 1987):
52.

9â€˜Gillespie, 12.

92A â€œone-line instrumentâ€œ is defined here as an instrument that
traditionally plays only one note at a time rather than chords. Woodwind
and brass instruments are one-line instruments.

Judging from the many pieces for unaccompanied clarinet that were
written by, among others, composers of the calibre of Krenek, Martino,
Pousseur, Rosza, Tailleferre, and Wellesz, the Fifties could be
considered as the golden era of solo clarinet music93

This growth has continued through the 1960's, 1970's, and 1980's. Two
reasons for the surge in composition for unaccompanied clarinet are the
importance of color in twentieth century music and the development of new

sound possibilities, which add timbral and contrapuntal capabilities.

Whit
Technical expansion of woodwind instruments and the use of new
sonorities has been the focus of much research and experimentation since
1950. Catalyzed by advances in electronic music, composers and performers
began searching for new color and pitch possibilities on acoustic
instruments. Bruno Bartolozzi, a researcher into new sounds for

woodwinds, saw three potential areas for progress:
(a) the suitability of woodwind for the creation of single sounds with
marked difference of timbre; (b) the ability of these instruments to
play music which contains smaller intervals than those contained in
the tempered Chromatic scale; (c) the suitability of each instrument

for creating polyphony, that is, not only the emission of chords, but the
execution of a true and proper instrumental polyphony.94

The chief special effects that are how a standard part of advanced clarinet
technique are flutter-tonguing, subtone, vibrato, note-bending and other
timbre variations, microtones, and multiphonics. These effects appear in
music for solo clarinet, clarinet and piano, band, orchestra, and the

spectrum of chamber ensembles, including the clarinet-percussion duo.

93Ralph D'Mello, â€œMusic for Unaccompanied Clarinet,â€œ Woodwind
World 10, no. 3 (June 1971 ): 17.

948mm Bartolozzi, New Sounds for Woodwmd, trans. and ed.
Reginald Smith Brindle, 2d ed. (Oxford: Oxford University Press, 1982), 5.

35 _
Their use adds new dimensions to music in general and expands the
compositional possibilities for clarinet as well as the other one-line
instruments.

Clarinetist-composer William O. Smith experimented with new
sounds in the context of jazz improvisation and was one of the first to
research and codify multiphonics95 During the early 1960's, he
collaborated with other composers in creating music that incorporated
multiphonics and other new sounds for clarinet. The number of researchers
into new clarinet techniques has increased significantly since Smith did his
pioneering work. Books and dissertations, such as those by Ronald Caravan,
Frank Dolak, Gerald Farmer, Phillip Rehfeldt, and Nicholas Valenziano,96 and
many articles, most published within the past fifteen years, are available to
aSSISt clarinetists with contemporary performance techniques.97

9'5William O. Smith is also a fine jazz clarinetist and uses the name
Bill Smith in that context.

96Ronald L. Caravan, â€œExtensions of Technique for Clarinet and
Saxophoneâ€œ (D.M.A dissertation, University of Rochester, 1974); Ronald L.
Caravan, Preliminary Exercises and Etudes in Contemporary Tecnnioues for
' Clarinet (Oswego, N.Y.: Ethos Publications, 1979); Frank J. Dolak,
â€œAugmenting Clarinet Technique: A Selective, Sequential Approach through
Prerequisite Studies and Contemporary Etudesâ€œ (DA dissertation, Ball State
University, 1979); Frank J. Dolak, Contemporary Tecnnioues for Me Clarinet
(Lebanon, 1N: Studio MR, 1980); Gerald James Farmer, Multipnonics and
Dtner Contemporary Clarinet Tec/ini'oues (Rochester, NY: SHALL-u-mo
Publications, 1982); Gerald James Farmer, â€œMultiphonic Trills and Tremelos
for Clarinetâ€œ (DMA dissertation, University of Oregon, 1977); Phillip
Rehfeldt, Mew Directions for Clarinet (Berkeley: University of Cal ifornla
Press, 1977); Nicholas Jerome Valenziano, â€œTwenty-one Avant-Garde
Compositions for Clarinet Published Between 1964 and 1972: Notational
Practice and Performance Techniquesâ€œ (D.M.A dissertation, University of
Missouri, 1973).

97Elsa Ludewig-Verdehr's article â€œA Practical Approach to New and
Avant-Garde Clarinet Music and Techniques,â€œ Tne Clarinet 7, no. 2 (Winter

36 .

In a lecture titled â€œContemporary Aspects of Woodwind
Performance,â€œ clarinetist and new music specialist F. Gerard Errante divided
the spectrum of new sounds into seven categories:

1. multiple sonorities
glissando and portamento
variations in initiating and terminating tones
microtones
alteration of timbre

9â€˜91ng

percussive effects
7. alteration of instrument.

Most of these categories can be divided into subcategories; for example,
types of timbre alteration are: vibrato, change of timbre While sustaining or
repeating a pitch, subtone, timbre or key trills, use of mute, teeth on reed,
air sounds, growl, and lip smacks.98 Techniques of all seven categories and
their subcategories are used in the clarinet-percussion duo repertoire.

Flutter-tonguing, subtone, and vibrato are coloristic devices. Note-
bending is coloristic but, more importantly, also adds to the musical
inflection. Flutter-tonguing is the â€œrrrrâ€œ sound that is produced by rolling
the tongue or by producing gargling noises in the throat while playing. It
was introduced by Strauss in 1897 in Don Quixote, a tone poem for
orchestra.99 An early example of flutter-tonguing in clarinet chamber
music is found in Berg's Vier Stdcke rcr Klarinette undK/awâ€˜er, Dp. S,
written in 1913. Clarinetist Gerald Farmer notes that â€œflutter-tonguing is

1980): 10-15, 38-41, contains a thorough bibliography and systematically
outlines a method for incorporating these new techniques into one's playing.
98F. Gerard Errante, lecture outline of â€œContemporary Aspects of
Woodwind Performance.â€œ
99Rehfeldt, 63.

37
not a particularly new device on the clarinet, hav1ng had great popularity
among jazz performers for many decades.â€œ100 it is a technique that can be
used on all of the wind instrumentsim F lutter-tonguing is used in many
clarinet-percussion duos including three of the compositions analyzed in
this paper. Drawings: Set lVo. 3(1961) by Sydney Hodkinson, Tomoeau
(1971) by Andre Boucourechliev, and Wild Tales Told on Me River Road
(1973) by Netty Simons.

Subtone and note-bending were first used in jaZZ. Farmer States:

Subtone was first associated with the â€œcoolâ€œ jazz style of the late
1940's, 1950â€˜s and early 1960's, exemplified by the minimal vibrato
and subdued tone quality of saxophonists Lester Young, Lee Konitz,
and Stan Getz. Its use in contemporary music for clarinet can usually
be described as soft, dark, and dull, with a minimum of overtoneslo2

Clarinet-percussion duos which include subtone are numerous. It is used
extensively In the duos of Hodkinson and Simons, for example.

Vibrato has been an item of debate for some time among classical
clarinetists.1Â°3 Use of vibrato in the pre-twentieth century repertoire is a
decision to be made by each clarinetist. in many contemporary
compositions, however, vibrato is required and is a standard coloring
technique. Often its speed, size, and type are specified by the composer.

Another type of timbre variation involves the alternate use of
fingerings which produce the same pitch but different timbres. These

Io0Farmer, riu/tipnonics 139.

1Â°1Flutter-tongu1ng is only marginally successful on the double reed
instruments.

1Â°2Farmer, riu/tipnonics; 140.

1Â°3F or a thorough discussion of clarinet vibrato, see Paul Drushler,
â€œClarinet Vibrato: Terminology, Utilization, Aesthetics, Part I,â€œ MCWP/
Joomal 27, no. 4 (Summer 1979): 37-48, and â€œ. . . Part II,â€œ ii/ACWP/Joumal
28, no. 1 (Fall 1979): 4-8.

38
undulations may occur slowly or quickly and with a regular or an irregular
pace. Example 1 is from the clarinet-percussion duo Bindung-Tei/ung
(1979) by Kazuto Miyazawa and illustrates the use of timbre variation on
one pitch.

Example 1. Bindung-Teilung by Kazuto Miyazawa, mm. 126-128, timbre
variation on one pitch.

â€˜ T â€˜ I â€˜dï¬tzikn â€˜
- L E3 gamma: _,
Tâ€™ â€˜11:: E 'I'Lâ€”Waï¬h.â€˜ r; â€”â€”
O
o e 3 3 T 'r 1-

_ / / 1 n n -
â€˜12â€” m I: I- [e EH 1 a g:
IE... 9 v v v 1 '1 A {V
- . n L AL A A 1v ,1. V .
M E 1% o . 123 g .

O
â€œ:33: -L "1 . Â° 5 H râ€” 3â€”-
â€˜1! AA A P L
"â€™ _I_â€”I r L 9 ï¬g -â€”â€”â€”â€”â€”J1â€”-fT-ï¬â€”-~â€”â€”-â€”â€”â€”â€”â€”Â¢
râ€˜ I, 53' ï¬‚ 171A ï¬‚ *1 â€˜2 1 A
â€˜- ,â€” f r â€™v v
t #1 A _
I; 5 Al. 1 1

O 1985 Kazuto Miyazawa
Used By Permission Of The Composer

Pitch bend, glissando, and portamento are some of the most common
terms for the technique of note-bending. â€œPitch bendâ€œ generally refers to
small pitch changes that are achieved without changing f ingerings. The
pitch changes are caused by varying lip and jaw pressure and, sometimes, by
changing the position of the throat.104

Undoubtedly, the most famous clarinet â€œglissandoâ€œ is the beginning
of Pnaosooy in Blue (1924) by George Gershwin. Farmer points out that this
wonderful upward smear of pitches is actually a â€œportamentoâ€œ

There appears to be much confusion in the use of this term as applied
to wind instruments. In the strict sense, the glissando does not
involve lip bends or the pure portamento effect associated with the

10â€˜IRehfeldt, 59.

39
trombone, violin, or human voice. However, the term glissando has
been used interchangeably With the word portamento, and many scores
call for â€œ91153â€œ when the desired effect is really portamento.105

Pitch changes, whether large or small or achieved by embouchure or
finger change, are some of the experimental sounds which were first used in
jazz and have now been used to expand the timbral resources of â€œclassicalâ€œ
music. â€œBlue notesâ€œ are subtle pitch bendings of selected notes of the scale.
This technique began as jazz singers sought to inf lect their melodies and
was adopted by jazz instrumentalists such as Omette Coleman. According
to Farmer. â€œColemanâ€˜s practice of lowering or raising certain pitches, which
he calls â€œemotional pitch,â€œ is a deliberate attempt to give the music a human
vocal quality.â€œ 105

In the clarinet-percussion duo repertoire, note-bending ranges from
subtle changes at soft dynamic levels, such as in Binot/ng-Tei/ung by Kazuto
Miyazawa (Example 2), to loud smears with a range of more than an octave,
.such as in the climactic section of Contacts (1979) by lvo Petric which is
illustrated in Example 3.

Example 2. Binomg-Tei/ung by Kazuto Miyazawa, mm. 80-82, small
glissandi.

e 1985 Kazuto Miyazawa
Used By Permission Of The Composer

105Farmer, rill/tipnonics 134.
106I bid., 1 o.

Example 3. Contacts by lvo PetriÃ©, p. 4, line 2, larger glissandi.

â€”'â€”_.=â€”ï¬"
-reEEEE-QM

Ci. ==:-=----â€”
: | I
CL- râ€”Jâ€” ) ï¬‚ 1 =â€”__â€˜__'>â€”___".l
mg. sEsE.EiFâ€”-
H v Â« 1 ill-
_.____,
I
e 1979 lvo Petricâ€™
Used By Permission 01â€˜ The Composer

Microtones, the division of the whole-step Into intervals smaller
than the half-step, are related to pitch bends but use a change of fingering
and are more exacting in the resultant pitch. Experimentation with quarter-
tones was taking place at the end of the nineteenth century.

Stuckenschmidt states:

G. A. Behren-Senegalden patented a quarter-tone piano in 1892. But it
was not until 1924 that the Czech firm of August Foerster actually
constructed a quarter-tone grand piano of its own design.107

Composers Richard H. Stein of Germany, Ivan Vyshnegradsky of Russia, and
Ferruccio Busoni, originally of Italy, wrote microtonal theories of music in
1909, 1933, and 1906, respectively. Stein and Vyshnegradsky used quarter-
tones while Busoni proposed the use of third-tones, although he never

composed using this system.108

107Stuckenschmidt, 40.
108lpid., 41.

The Czech composer Alois Haba (b. 1893) is the person most closely
associated with microtonal theory and composition of the early twentieth-
century. He encouraged construction of quarter-tone instruments and had a
trumpet, guitar, harmonium, the Foerster piano, and two clarinets built for
him. V. Kohlert's Sons of Kraslice, North Bohemia designed and built the two
clarinets. The first, built in 1924, was a German-style clarinet and the
second, built in 193 1, was of the French style.109 Haba wrote Fantasy, On.
22 for quarter-tone clarinet and quarter-tone piano in 1924 and Suite, 0p.
55 for solo quarter-tone clarinet.110 The latter was probably written
around 1931.

It is possible to perform quarter-tones on a regular, chromatic
clarinet. Special fingerings are required. Extensive microtonal fingering
charts are given by Caravan and Rehfeldt, however, these must be
personalized for each player and the intonation and response idiosyncrasies
of their instruments. In his training text for composers, David Cope states
his opinion regarding the use of microtones:

Possibly the most potential resides in existing instruments of set
pitch tunings (e.g., piano, harp) and new instruments tuned or retuned,
as the case may be, to microtonal ideals with which the composer
wishes to work. This eliminates the problem of notation (which can
indeed be completely traditional) and leaves the performer with little
new to cope with except the resulting sound.l '1 -

Microtones appear often in new clarinet compositions but have not
achieved universal use, probably for the above-listed reason. Perhaps

composers feel that listeners would not be sensitive enough to grasp the

1Â°9Milan Kostohryz, â€œQuarter-Tone Clarinet,â€œ Tne Clarinet 3, no. 3
(May 1976): 12.

noIbld.

1 1 1Cope, New Music Composition, 88.

effect of microtones. Haba thought of quarter-tones as an evolutionary step
â€œon the road from simplicity to complexity.â€œI 12 He wrote in an essay:

We can assume that man's greatest desire, to bring natural phenomena
under the most wide-ranging conscious control, will also induce
musicians to bring under conscious control all the frequencies that the
ear can distinguish.113

Although none of the duos analyzed in this paper employ
specifically-notated microtones, other duos do use them. Zoom (1970) for
clarinet and bongo drums by the Yugoslavian composer Milan Stibil j uses
quarter-tones as an integral part of the melodic style. Approximately one-
fourth of the pitches of the clarinet part are quarter-tones.114 Zoom is
bichromatic because the quarter-steps between each half -step of the
chromatic scale are used. Stibil j uses the same symbols as Haba did for the
quarter-tone higher ( 5 ) and the quarter-tone lower ( d ) and provides a
fingering chart in the score for each quarter-tone.1 '5 Example 4 illustrates
the use of quarter-tones in Zoom.

Ballade (1982), a duo by Georg Katzer, employs bichromatic scale
segments on several occasions in the clarinet part. The quarter-tones are
important in these sections but do not pervade the music as they do in Zoom
Katzer uses different symbols than Stibil j and does not include fingering
charts. (Example 5.)

1 12Stuckenschmidt, 42.
1131bid.
11â€˜IOuarter-tones are also an integral part of the percussion part.
The bongo drums are tuned to c1 and a3].
15Milan Stibil j, Zoom (Ljubljana, Yugoslavia: Skaldje, 1972);
Stuckenschmidt, 42.

43
Example 4. Zoom by Milan Stibil j, line 24, quarter-tone use.

r r i
I: I: 1:5 V
T=r%1â€˜=l F=FÂ§Tï¬Â§u1==1=1 1==1=Â§1=1 1=r=1==.
.3â€˜/â€”\. 3â€œ s is
Nâ€˜
a?! as? 1 A > Â«E I s. ; WWW.
"$.13? e â€ Ifâ€:
>Â§s=s \m i'
v. 7 i ~â€”â€” â€˜r ~02 FAGâ€”"r
~;\-â€”-â€”-â€”-â€™D or M

e 1972 Milan Stibilj
Used By Permission Of The Composer

Example 5. 53/30? by Georg Katzer, p. 12, line 6, quarter -tone use.

> > P ,#> >

1' i

Reprinted by permission of C. F. Peters Corporation,
on behalf of VEB Edition Peters, Leipzig

Multiphonics, the performance of two or more tones at once on a
woodwind instrument, is the most significant development in clarinet
technique of the twentieth century. The clarinet, a monophonic instrument,
has become an instrument with polyphonic possibilities. Multiphonics can
be divided into three general categories: those produced by using standard
monophonic fingerings and altering the embouchure or breath support
(Example 6), those proauced by using special fingerings, with or without
altering the embouchure or breath support (Example 7), and those produced
by humming and playing simultaneously (Example 8).1 16

115Humming and playing is the only way that brass players can
achieve multiple sonorities.

Example 6. [00/77 by Milan Stibilj, lines 4'5, multiphonic with standard
fingering for written câ€™3.

e 1972 Milan Stibil j
Used By Permission Of The Composer

Example 7. ApresMoi le Somme/l (1974) by James Marshall, p. 2, line 1,
multiphonics with special fingerings.

7 1'

e 1974 Janos rlrshell
Used By Permission Of The Composer

Example 8. Ballade by Georg Katzer, p. 12, line i, humming and playing.

[auto

f â€œi

Reuinhd by permission of C. F. Peters Corporation,
on behalf of VEB Edition Peters, Leipzig

45 ,

Notation of multiphonics and other new sounds is not yet
standardized and may never be. Multiphonlcs Is the notational area that is
the most problematic. Composers use multiphonics in such different ways
that standard notation is not always appropriate; for example, some
composers desire a specific chord while others desire a sound-mass of a
particular character. Ideally, the composer interested in specific pitches
will notate the pitches and fingering]17 The composer desiring a sound-
mass may tell the performer to produce a quiet and gentle multiphonic, for
example, or a leud and harsh multiphonic.

Perhaps the best known of the early clarinet solos which include
multiphonics is Concert Iâ€˜ll/SIC for Solo Clarinet by John Eaton. It was
written in 1961 as a result of his experimental collaboration with William
O. Smith. Numerous compositions with multiphonics have been written in
the last three decades. Two of the duos analyzed in this paper employ
multiphonics. They have different notation and functions. Most of the
multiphonics in Variation Duos (1979/ 1981) by Frank McCarty are notated
with specific pitches and 1' ingerlngs. In Wild Tales Told 0/) the Rl'Ver Road
by Netty Simons, the use of multiphonics is suggested in certain sections as
a method of timbre variation. A pitch group is specified but the precise
multiphonic is left up to the clarinetist.

117The author prefers to see the multiphonic fingerings in the part
because it tends to indicate that the composer has considered the practical
matters of chord production.

46 '
W

The ability of percussionists to play several instruments
simultaneously or in quick succession is perhaps the most important
technical development of percu3310n music in the twentieth century.
Multiple-percussion setups allow one player to produce multiple timbres
that were previously produced by several players playing one instrument
each. Many composers and performing musicians who are not percussionists
are unaware of the technical and logistical difficulties inherent in music
for percussion instruments and, especially, for multiple-percussion setups.
Some knowledge of how percussionists work is valuable for composers and
performers intending to collaborate with them.

As the Appendix shows, many clarinet-percussion duos are scored
for multiple-percussion setups and a wide variety of instrumentation
exists. The six duos analyzed in this paper are each written for a different
â€œpercussion instrument.â€œ Variation Duos by Frank McCarty Is scored for
clarinet and one percussion Instrument, the marimba. This is not a
multiple-percussion setup. The other five duos are each scored for a
collection of instruments which must be arranged to form a specialized
â€œpercussion instrumentâ€œ for the particular composition. The setup for
DraW/ngs: Set/w J by Sydney Hodkinson is not very complicated since it is
scored only for three instruments (three drums of relative pitches high,
medium, and low) and the instruments all use the same playing technique.
The duos of Andre Boucourechliev and Armand Russell are scored for modest
multiple-percussion setups. Sonata by Frederick Lesemann uses a very
large percussion setup which Is composed of many different types of

instruments and requires a variety of playing techniques.118 Wild Tales
Toldon tne River Road by Netty Simons uses an even larger setup with an
even greater variety of instruments and playing techniques.

The concept of multiple-percussion setups started with vaudeville's
â€œone-man band.â€œ The â€œtrap-drummer,â€œ as Blades called him, of the early
twentieth century used â€œdrums, cymbals, and cunningly-controlled gadgetsâ€œ
to perform in â€œvarious forms of light entertainment, including the dance
hall, the traveling show, the circus and the theatre pit.â€œ1 â€˜9 Some of the
gadgets that might have been included in the trap-drummers â€œkitâ€œ or â€œtrapâ€œ
were slapstick, tambourine, triangle, washboard, castanets, sandpaper
blocks, saucepan lids, tin cans, whistles, and wire brushes]20 Blades
described the talent and function of the trap-drummers:

Despite such atrocities, and the frugal nature of the early equipment,
the majority of these players were extremely skilful. The trap-
drummer was not only the metronome of the band: his purpose was to
colour it with every sound possible from the instruments at his
disposal, and to give the combination style with his adlin
syncopatlon.â€œ121

Percussion was, once again, being used for coloristic, rhythmic, and
accompanimental purposes.

The drum set of present-day jazz and rock bands is a descendant of
the â€œone-man band.â€œ It is the most standard multiple-percussion setup but
even these setups vary according to the style of music and the performance

style and budget of each drummer.

118Sonata is scored for marimba, vibraphone, 3 tomtoms, 2 bongo
drums, bass drum, 2 suspended cymbals, triangle, tamtam, xylophone block,
box chime, crotale, brake drum, and 5 temple blocks.

1 19Blades, 458.

1201bid.

1211bid.

Although its roots are in the entertainment industry, Historie du
Soldat (1918) is an example groundbreaking use of the multiple-percussion
setup in chamber music:

Stravinsky exhibited a vast range of percussion effects by obtaining
different timbres through the use of a snare drum, field drum, bass
drum, tambourine, triangle, two tom-toms, and cymbals. Well-defined
melodic implications were produced by the use of different sizes of
drums. That the implications are significant is illustrated by the
composer's statement that â€œthe pitcn of the drums is extremely
important, and the intervals between high, medium, and low should be
as nearly even as possible; the performer must also be careful that no
drum exerts its own 'tonality' over the whole ensemble.â€œ'22

Other early chamber works with significant multiple-percussion parts were
Facade (1922) by William Walton, ta Creation duMonde (1923) by Darius
Mi lhaud, and Sonata for Two Pianos and Percussion (1937) by Bela
Bartok.123 The latter is scored for two percussionists, each with a
multiple-percussion setup.
Percussionist John Baldwin described-what happened after the

introduction of the multiple-percussion concept:

Now that the concept of multipercussion has been realized and

recognized by both composers and percussionists as legitimate and

necessary, more and more multipercussion parts are being written and

correctly performed and interpreted in the chamber music medium. The

leaders in this use of multipercussion include the French composers,

the younger American composers, and the â€œavant-gardeâ€œ extremist
composers.

122Vanlandingham, 73.
123Richard Cheadle, â€œDevelopment of the 5010 Performance Media for
the Percussionist,â€œ lVACWP/ Journal 35, no. 3 (Spring 1987): 26.

Multipercussion in solo music has also seen an exploitation of the
multipercussion concept, although later than, and not as freely as, the
area of chamber music. 124

These comments were made in 1968. Many solo multiple-percussion works
have been written since then. According to percussionists Greg and Judy

Murray of the â€œRosewood Percussion Duo:â€œ

The twentieth century has witnessed percussionists assuming new
responsibilities--those of soloists and chamber musicians. Up to this
point, we have been accompanists and timekeepers, accorded only rare
flourishes of glory.125

It Is logical, therefore, that solo percussion works became prominent after
chamber works. For years, percussion was not used or conceived of
melodically so the idea of solo works would have been silly. As the melodic
capabilities of unpitched as well as pitched percussion instruments have
become increasingly apparent, more solo multiple-percussion solo works
have been written.

One of the difficulties inherent in percussion performance is dealing
with large volumes of percussion equipment. The non-artistic chore of
carting equipment from place to place and then setting it up and taking it
down is one of the burdens of being a â€œtotal percussionist.â€œ This significant
drudgery is undoubtedly why there are few multiple-percussionists who
pursue concert touring. Most touring â€œpercussionistsâ€œ specialize in playing
the marimba or vibraphone. Those dedicated percussionists who do tour do
so because of their deep love and appreciation of twentieth-century
percussion music. Since the essence of the repertoire is for multiple-

124John Baldwin, â€œMultipercussion in Chamber and Solo Music,â€œ
Percussionist 5, no. 3 (March 1968): 287, 289.

1256reg Murray and Judy Murray, â€œEnsemble Insights: Programming,â€œ
Modem Percussionist 2, no. 3 (June 1986): 44.

so _
percussion setups, this involves moving equipment. After reviewing a

concert by the â€œUwharrie Clarinet-Percussion Duo,â€œ Ann McCutchan stated:
One reason they perform Zoom [for clarinet and bongo drums] often
is because it is so portable. Robert Rosen spoke of the time and labor
involved in traveling with a truckload of large percussion instruments.
Each composition requires a different combination of instruments in

different set-ups. The clarinetist is quite fortunate in having all
necessary equipment in a small black case1126

The job of a multi-percussionist does not end after all the
equipment for a particular composition has been accumulated into one room
and assembled. Before the composition can be played, the instruments must
be arranged carefully. James Holland suggests,

As with many contemporary pieces, the main difficulties for the

percussionist lie in setting up the instruments in a playable formation
and having to move very rapidly from one to the other. . . .

Before starting to attempt to play, the performer must look carefully
through his part, note down all the instruments and equipment needed,
and try to assess the best layout. Even so, having started rehearsal
with the other members of the group, he may well find that his first
assessment needs modi f ication.127

Rehearsing with a percussionist is unlike rehearsing with any other
instrumentalist. The non-percussionist must be patient and realize that
rehearsal time must be taken for tinkering with the setup and many
repetitions may be necessary for the sake of choreography.

Composer Reginald Smith Brindle wisely suggests that composers
plan the number of percussionists and instruments that they intend to use

'26Review of a recital by the Dw/iarrie Clarinet-Percussion Duo by
Ann McCutchan, in Tne Clarinet 8, no. 3 (Spring 1981): 60.
127Holland, 229.

51
before beginning to compose. He gives the following advice about having a
setup In mind:

If the instruments are already â€œpositionedâ€œ in the composer's mind
when he writes the music, and the plan of this positioning is given to
the player by being reproduced in the score and parts, the performers
â€œwork-movementâ€œ problems are solved. Stravinsky did this as long ago
as Historie du Soldat and incidentally, by evolving an original
instrument layout, wrote some ingenious percussion music which could
hardly be played in any other way.

It must be remembered that It is not sufficient for an instrument to be
just within reach. The player must be able to put himself in a
satisfactory playing position.128

The setup problems of the percussionist are not often solved as easily as
Brindle makes it appear, i.e., by placing a drawing in the score, but it is
certainly helpful to know what the composer was visualizing.

Some setups are more complex and intricate than others. One of the
masterpieces of the multiple-percussion solo repertoire is Zyk/us, written
by Karlheinz Stockhausen in 1959. Max Neuhaus, one of the early exponents
of Mlus, spoke of the difficulty of creating a workable setup even though
Stockhausen had provided a drawing:

They [the difficulties] began with the problem of â€œconstructing the
instrument;â€œ i.e. discovering the optimum position for each one of the
instruments and finding the means to place them in such positions.

Thus they WOUIO SOIIOITY into one instrument upon which the maximum
number of versions or the piece would be possible.

This solidification of the thirteen instruments, which the piece
employs, into one is largely something that occurs in the performer's
mind; he begins to think of the vibraphone or the drums not as
individual instruments, but as different areas or â€œnotesâ€œ in the color
scale he has available to him. However, there is one physical
condition concerning the Instrument placement that, I believe, enables

128Brindle, Contemporary Percussion, 18- 19.

the performer to achieve this conception. This is that the movement
from any one instrument to any other involves no more than one step.
As long as one foot remains in place (in a given passage) the
kinesthetic orientation is not lost.129

The concept of each multiple-percussion setup being a different
â€œinstrumentâ€œ is an important aspect of percussion performance. One of the
difficulties of this field is the need to be able to play all the instruments
classified as â€œpercussion,â€œ i.e., those that produce their sound by being
struck, scratched, or shaken. Composer-percussionist Frank McCarty
described the problem: â€œUnlike the musician who develops skills on a single
instrument, the percussionist must acquire a multiplicity of techniques and
apply them to many different instruments.â€œ130 That which is considered
standard technique on individual instruments is constantly changing; for
example, the work of marimba virtuosos such as Keiko Abe and Leigh Howard
Stevens has expanded the technical possibilities on that instrument.
Experimental sound-producing techniques further expand the pool of timbral
resources. Considering each multiple-percussion setup as an individual
instrument makes the list of â€œinstruments to be masteredâ€œ even longer.

Holland provides some perspective on progress in the art of
percussion:

Composersâ€œ demands on percussion, instruments and players, have of
course changed rather dramatically over the past thirty years.
Personally, I can remember very well being sent Boulezâ€˜s teMarteau
around 1960, and thinking it was a poor joke, and quite unpiayable.
How many times since have I thought how dangerous it can be to judge
works on current technical standards. Today I regard teMarteau as

129Max Neuhaus, â€œZyklus,â€œ Percussionist 3, no. 1 (November
1965), 6-7.

130Frank McCarty, â€œPercussion Notation,â€œ Percussionist 15
(Winter 1978): 49.

technically very demanding, but no more, and probably in twenty years
time that degree of technique will be regarded as the norm. 131

One of the leading researchers in the area of multiple-percussion

setup design is Ron George, who described his research:

In an effort to expand the potentials of multiple-percussion
performance and composition over the past several years, i have
developed a new type of multiple-percussion instrument which I call
the percussion console. The concept behind the multiple-percussion
console is fundamentally different from that of the traditional
multiple-percussion setup In that:

1. The instruments are mounted in racks and on heavy adjustable
stands which enables the player to use not only the normal playing area
but also the area directly in front of the player as well as the area
directly above the head.

2. The individual instruments, when mounted in racks and on the heavy
adjustable stands are extremely compact allowing the performer much
more control over a large number of individual instruments than has
been previously possible. As a result of this, new technical and
timbral resources have opened up large new areas of multiple-
percussion composition and performance]32

The uniqueness of the percussion console and any multiple-percussion
instrument for that matter, lies in the fact that it is an open system.
Unlike other Western instruments such as clarinet, piano, violin, etc.
which cannot be changed to any great extent, a multiple-percussion
instrument can be constructed in any manner or form desired to meet
whatever needs the performer or composer has. There are an infinite
number of ways to combine individual percussion instruments and
groups of instruments and each new combination always suggests, if
one examines the results closely, new possibilities for expanding the
instrument and new methods of working with and writing for the
instrument. 1 33

13â€˜James Holland, â€œPerformers Platform: Writing for Percussion,â€œ
Composer (London), 76/77 (Summer/Winter 1982): 2.
132Ron George, â€œResearch into New Areas of Multiple-Percussion
Perform'aglgze and Composition,â€œ Percussionistl2, no. 3 (Spring 1975):110.
1b1d.,127.

54
These immense possibilities are both a blessing and a curse for the
percussionist and the composer.
Much of the solo and chamber multiple-percussion repertoire is of a
virtuoso nature if one merely considers the number and speed of the notes
that must be played. Mastery of logistical, visual, and aesthetic problems is

also required.

WWW

Notation is another problem with which the percussionist must deal.
All musicians who perform music of the twentieth century encounter some
new symbology but the difficulties for the multiple-percussionist are much
greater. Since each setup is a new instrument, each composition requires a
different notational system. While there have been attempts to standardize
the symbology134 and these ideas can be applied on a general basis, total
standardization is impossible due to the many possible combinations of
percussion instruments; for example, each of the six duos analyzed in this
paper use different systems. The older duos, those by Russell, Hodkinson,
and Lesemann, each use a five-line staff and adapt it to the unpitched
instruments that are employed but, since each piece uses different
instruments, each notational system is different. The other duos use
flexible combinations of the pitched f ive-line staff, the non-pitched five-
line staff (or several of them, depending on the activity of the moment),

one-line or two-line staves, and graphic notation. Pitched and unpitched

13â€˜1McCarty, 49-60; Frank McCarty, â€œSymbols for Percussion

Notation,â€œ Percussive ii/otes Pesearc/i E ditionÂ° Percussionist 18, no. 1 (F all
1980): 8- 19.

55
instruments are often written on the same five-line staff, with appropriate
identification of instruments given.

Percussion terminology is another area of difficulty and confusion.
Even if only considering the standard percussion instruments, there is a long
list of instruments Which may be named in the score in English, French,
German, Italian, or a host of other languages. The multiplicity of other
percussion instruments and the techniques of playing them is also
encountered in an assortment of languages.

Knowledge and careful use of terminology is crucial fdr both the
percussionist and composer. This area is so important that Percussive
notes has a regular column entitled â€œTerms Used In Percussion.â€œ '35 No such
column appears in Tne Clarinet, nor is it necessary. No percussion reference
book claims to be complete, and it would probably be an impossible task, but
there are a number of helpful sources. Handoook of Percussion Instruments
by Peinkofer and Tannigel and Dictionary of Percussion Terms by Lang and
SpivaCK are among them. 136

Once all the terms are known, terminology problems are still not
totally solved. There have been changes in usage of terms and cases where
the same term means different things in different languages. An excerpt
from W oiPercussion Instruments illustrates a portion of the
problem:

'35Michael Rosen is the column's editor.

I1â€™>5Karl Peinkof er and Fritz Tannigel, Handbook of Percussion
Instruments: Tneir Cnaracteristics and Playing T ecnnioues, wit/7
Illustrations and Examples from the t iterature (Mainz: B. Schott's Sohne,
1969) trans. Kurt and Else Stone. (Mainz: B. Schott's Sohne, 1976): 32;
Morris Lang and Larry Spivack, Dictionary of Percussion Terms (New York:
Lang Percussion Co., 1977).

Among such misnomers falls, for example, the tamtam (Malaysian-
African tammittam meaning â€œdrumâ€œ) which we, in our musical world,
consider to be a gong with indefinite pitch, while â€œgongâ€œ generally is
considered by us to be an instrument with definite pitch (domed gong).
Further adding to the confusion is the fact that the small, high-
sounding tamtam is sometimes called gong in order to differentiate it
from the large tamtam.

An especially graphic example is the name tamoourin which for some
reason is widely used as the name for the tambourine. Only in French-
speaking areas is tarnoourin used to designate the cylindrical long
drum of the Provencals, while the tambourine there is called

tamoour de oasoue.

In Italian, the diminution of tamouro is tamourino, which explains why
certain Italian scores of older vintage, to avoid confusion, use tamouro
piccolo for the small drum. Often, the proper instrument can only be
determined by examining the entire score.â€7

Finances is another problem of the â€œtotal percussionist.â€œ The
accumulation of an adequate supply of instruments is expensive and to have
a more than adequate inventory is even more costly. In addition, the
percussionist must have space for practice and instrument storage. If each
multiple-percussion setup is, indeed, an â€œinstrument,â€œ it must remain setup
for long periods of time. If several multiple-percussion compositions are
being rehearsed, the practice space must be large enough to accommodate
several â€œinstrumentsâ€œ at once.

Composers writing for percussion should do so with great care.
Prudence is advised if one expects their music to be performed. This does
not mean that composers should stifle their imaginations, however. Books
such as Holland's Percussion and Petersâ€œ Tne Drummer/Van offer insights

into performance problems and how percussionists think. Reference books

137Peinkofer, 32.

57
and articles are also avai_lable.138 Consultation with players of percussion

instruments Is more crucial than with players 01' other instruments. Holland
urges composers to ask for help:

The pitfalls for the composer in writing for percussion are endless.
While 1 am aware that a few of my colleagues may not take any
interest in what is being written in the 1980's, most of us are
interested and more than willing to help or advise. Some of the most
famous twentieth century composers have been happy to come and ask
â€œis this possible?â€œ, or â€œwill that work?â€œ Percussionists (mostly) are
very willing to help.139

138Examples include Percussive lVotes; Brindle, Contemporary
Percussion; Peinkof er; H. Owen Reed and Joel T. Leach, Scoring for
P9PCUSSID/2' And Me /nstruments oi the Percussion Section (Engl ew ood
Cliffs, N. J.: Prentice-Hall, 1969).

139Holland, â€œPerformers Platform,â€œ 2.

CHAPTER THREE

PAS 0505M BY ARMAND RUSSELL

52913912911051
Armand King Russell was born in Seattle, Washington in 1932. He

received BA and MA degrees in composition from the University of
Washington and the PhD. in composition from the Eastman School of Music.
Hiscomposition teachers were John Verrall, George McKay, Bernard Rogers,
and Howard Hanson. Russell has been Professor of Music Theory and
Composition at the University of Hawaii since 1961. He has also taught at
Eastman during several summer sessions and at North Dakota State College
from 1958-1961.â€0

A prolific composer, Russell has published solo, chamber, _
orchestral, band, and choral music.141 Writing percussion music, with or
without other instrumentalists and voice, is something Russell has been
particularly interested in throughout his career. He was a doctoral student

at Eastman during the mid-1950's, the embryonic days of the percussion

140E. Ruth Anderson, comp. Contemporary Americm Composers A
Biograonical Dictionary, 2d ed. (Boston: G. K Hall, 1982), 444; Armand
Russell, letter of February 18, 1988, to the author. -

1â€œHis music is principally published by Boume, Hmar Percussion,
Music for Percussion, G. Schirmer, and Seesaw Music.

59
ensemble. An exciting atmosphere OT discovery and experimentation
prevailed. Russell's response to questions as to why he scored P35 JBDBUX
for clarinet and percussion describes his general feeling toward percussion:

My decision to use percussion was influenced foremost by the fact that
I was married to a percussionist. I frequently considered the various
things that I might do with percussion. The interest of the Eastman
percussionists in new music and various ensemble combinations was
another important factor particularly since I had several friends among
these percussionists at Eastman.â€œ12

Pas ole Decor, apparently the first clarinet-percussion duo ever
written, was composed during the 1957-1958 academic year after Noel
Stevens, 3 clarinet student at Eastman, requested a composition for his
recital from Armand Russell. Peter Tanner played the percussion part on
this recital. Pas oeDeuv is frequently performed on collegiate and other
recitals. A survey of college recital programs done by Merrill Brown
revealed that Pas de Dem was clearly the most performed clarinet-
percussion duo at that timeâ€:5 An informal poll by this author indicates
that, if someone knows of or has played a clarinet-percussion duo, it is
usually Pas de Deux.

Russell has since written three other duos for clarinet and
percussion, each with different instrumentationlâ€˜iâ€œ He has, therefore,

written not only the first but also the greatest number of works for the

142 Armand Russell, letter of July 30, 1988, to the author.

1â€˜11'1The survey studied approximately 4500 programs from the 1971-
1972 concert season of 701 c011eges and universities with wind and
percussion faculty. Of the 15,607 compositions, 779 were ensembles which
included percussion. Pas deDeur was performed 9 times and was the only
clarinet-percussion duo cited. Merrill Brown, â€œPercussion Solos and
Ensembles Most Often Performed in College Student Recitals,â€œ Percussionist
12, no. 1 (Fall 1974): 35.

1â€œRussell, July 30, I988.

genre to date.145 Tne Ce/onas is scored for 813 clarinet and marimba and
was written in 1976. anemerons Is scored for Bâ€ clarinet and two
triangles, three suspended cymbals, five tomtoms, two high suspended bells,
gong, and bell tree. it was composed in 1977 and awaits publication by G.
Schirmer. Prelusions was written in 1981 and is scored for ED, 8Â°, and bass
clarinets (one player) and vibraphone.

Baum
Pas oeDeux is a three-movement work of approximately seven

minutes length. Each of the movements is in ternary form, although their
internal schemes are different. The first movement, ELongueandï¬‚aLch,
consists of a slow introduction, analogue, and a fast tripartite [1131111. The
untitled second movement ls slow. The third movement Is rather quick and
titled Scherzo, This is a cyclic composition since Russell turns the theme
of the Match into the theme of the Scheme by changing the time signature
from 2/4 to 6/8. There is also some correlation of melodic cells between
movements. 1

Each movement is scored for different percussion instruments in
duet with the 8b soprano clarinet. The Manch utilizes a small multiple-
percussion setup of snare drum, tomtom, triangle, and suspended cymbal.
The second movement is scored for four tuned drums and the Scherzo for
xylophone. This duo could be played by good high school musicians since the

145The Finnish composer Tauno Marttinen and the Colombian/West
German composer Francisco ZumaquÃ© have also written four duos. Duo
(nd), Duo, 0p. 66/2(1971), Duo, Do. 220 (1983), and Metamorios-
muooimmwtos an. 245 (1985) are the clarinet-percussion compositions by
Marttinen. Zumaque composed all of his four duos in 1988. They are
entitled Carizo, Cnampigana, lmproirisacion, and Dnama

percussion equipment requirements and range of the clarinet part (written
pitches e-e113) are modest and no special effects or notations are used.
Analyzing music for â€œunpitchedâ€œ percussion can be problematic.

Harmony and melody, the prime focus of traditional analysis, are supplanted
by other more important elements. Comments from a lecture by Armand
Russell are helpful for the analysis of Pas deDeux and as a general
approacn for analyzing much percussion music. Rhythm, relative pitch,
timbre, dynamics, and form are elements that deserve prime consideration.
Russell describes his methoo: â€œAs a composer my conception of percussion
writing really starts and hinges on line.â€œ1415 He shapes small rhythmic
figures to include â€œfocal pointsâ€œ and then joins several figures to create
larger figures which, in turn, have focal points.â€œ17 Focus and direction are
the keys:

This sense of direction and of motion toward goals is a very important

thing in my mind when it comes to development of line and melodic
treatment for percussion. 1 â€˜13

Creating melodies with unpitched percussion instruments such as
drums, cymbals, wood blocks, and triangles is one of the innovations of
' composition in the twentieth century. Snare drums, tomtoms, bongos,
congas, and similar drums are tuneable to a small extent. These and other
instruments can be arranged in order of size and relative pitch, thus making

melodic writing possible. According to Russell:

146Armand Russell, panelist on National MENC Panel Discussion:
â€œPercussion Music - A Musical Experience,â€œ in Percussionist 7, no. 2
(December 1969): 70.

1â€œmm

1â€œ151b1cl, 71.

This means that we. . . must consider a fresh approach to pitch in
which a relative pitch approach is used as opposed to an exact,
absolute or determined approach to pitch. From this point of view, you
can develop a kind of line, then, in a set of tom-toms and a line in
temple blocks and then relate it to a similar line on xylophone.â€9

The dynamic range and timbre spectrum of percussion are enormous
and should be exploited, especially when pitches are limited. Russell treats
timbre as â€œmonochromeâ€œ and â€œpolychromeâ€œ when structuring melodic lines. A
monochromatic line â€œresembles a shift of tonality in traditional terms. You
can mix the colors in various ways with the predominance of one family or
one part of a family in the percussion section.â€œ1'50 On the other hand,
Russell suggests variety through the use of what he calls â€œ â€œpolychromeâ€œ
lines, that is a single melodic line that shifts its colors as it moves from
instrument to instrument.â€œ 151

He also feels it necessary to treat form differently in percussion
pieces:

Percussion writing leads the composer, or I think it should lead him,
toward a slightly different consideration of form. . . . Recapitulation is
less exact and has the pressure of change forced on it because of the
preceding situations. Phrases are variable units: they may be
suggested, they may be clear, they may be unclear. There is a give and

take waxing and waning, because of the nature of the resources
used.152

Elm
The Emlpgue is scored for clarinet alone and is a slow, cantabile

introduction to the first movement. It is largely in 3/4 time thereby

1491bid.
1â€™501bid.
11'31lbid.
152lbld., 72.

63
contrasting with the 2/4 time signature of the main portion of the first
movement, the Match. The middle measures are in 4/4 and 2/4 time,
respectively. The analogues sixteen measures are asymmetrically divided
Into three phrases of four, seven, and five measures length. The first and
third phrases are soft and in the chalumeau register While the middle phrase
is loud and uses the clarion register.

Eleven tones of the chromatic scale appear at least once in the
W153 but the tonal center seems to be F, which begins the Emjpgue,
and occurs often. The dominant, leading-tone, and supertonlc pitches point
toward tonic and appear as frequently. The Emiggue ends with a half
cadence. When the Match begins, this cadence can be retroactively viewed
as an elided deceptive cadence which serves as an effective harmonic
directional device. The harmony of the W is melodically
conceived because it consists of unaccompanied clarinet and, in the Match,
clarinet and unpitched percussion.15â€˜1

The melodic style of the clarinet part can be described, to borrow a
term from Leon Dallin, as â€œnonvocal style.â€œ155 The melody, illustrated in
Example 9, is highly dis junct and spans a range of nearly three octaves.
Leaps are large, frequent, and would be difficult to sing. The melody could
have been condensed to approximately one octave but the large leaps make
the me10dy seem more expansive and expressive. Such use of â€œoctave
displacementâ€œ creates an angularity that is often used in twentieth-century
music.

153The subtonic is the omitted pitch.

15â€˜1Melodically-conceived harmony occurs in all the duos when the
clarinet is paired only with unpitched percussion.

155Leon Dal l in, Techniques of Twentieth Century Composition, rev.
ed. (Dubuque: William C. Brown, 1964), 31-34.

63
contrasting with the 2/ 4 time signature of the main portion of the first
movement, the Mama. The middle measures are In 4/ 4 and 2/ 4 time,
respectively. The Emlmueâ€˜s sixteen measures are asymmetrically divided
Into three phrases of four, seven, and five measures length. The first and
third phrases are soft and in the chalumeau register while the middle phrase
is loud and uses the clarion register.

Eleven tones of the chromatic scale appear at least once in the
Emlpgue153 but the tonal center seems to be F, which begins the Emjogue
and occurs often. The dominant, leading-tone, and supertonlc pitches point
toward tonic and appear as frequently. The Emjggue ends with a half
cadence. When the 12131111 begins, this cadence can be retroactively viewed
as an elided deceptive cadence which serves as an effective harmonic
directional device. The harmony of the W is melodically
conceived because it consists of unaccompanied clarinet and, In the Match,
clarinet and unpitched percussion.15â€˜1

The melodic style of the clarinet part can be described, to borrow a
term from Leon Dallin, as â€œnonvocal style.â€œ155 The meIOdy, illustrated in
Example 9, is highly dis junct and spans a range of nearly three octaves.
Leaps are large, frequent, and would be difficult to sing. The melody could
have been condensed to approximately one octave but the large leaps make
the me10dy seem more expansive and expressive. Such use of â€œoctave
displacementâ€œ creates an angularity that is often used in twentieth-century
music.

153The subtonic is the omitted pitch.

1'5â€˜11â€˜ielodically-conceived harmony occurs in all the duos when the
clarinet is paired only with unpitched percussion.

155Leon Dal 1 in, Techniques of Twentieth Centwy Composition, rev.
ed. (Dubuque: William C. Brown, 1964), 31-34.

64
Example 9. Mvt. 1, analogue, mm. 1-16, clarinet solo.

Largo

Bb Clarinet

pp cantabile â€”â€”-=

> â€”â€˜~./ N.

If
sf:â€” dim ....................... W00 acca

â€”<

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Although the 12110199119. serves as an introduction to the first
movement proper, the Macon begins with its own fifteen-measure
Introduction. The overall form of the 1313121211 ls ternary, A-B-Aâ€™ with an
introduction. Section A begins in m. 32 with a three-measure percussion
introduction to the march theme. Section 8 begins in m. 67 with a four-
measure percussion introduction. This is followed by the clarinet melody,
WhiCI'l contrasts the march theme of Section A The final section, Aâ€œ, begins
in m. 120 with a six-measure percussion introduction to the original march
theme. Suspense is created by the successively longer introductions and the
consequent increased wait for each appearance of the melody.

The introduction of the Manch (mm. 17-31) begins with the clarinet
continuing to play alone as In the actuating, The meloay is in the key of D
minor, the relative minor of F major. When the percussion finally enters, a

65
three-measure, two-stage sequence occurs. The sequential stages suggest
the key centers of F and 0, respectively.

Other key centers used in this movement, Eb, BD, and C, can be
consecutively related to F through the circle of fifths. The lydian mode, a
major mode, is used frequently."56 All of these major tonalities are
closely-related to F except for Eb, which is the next-closest key to the
â€closely-relatedâ€œ group.

Section A (mm. 32-downbeat of m. 67) is in ternary form: Parts 3
(mm. 32-39) - b (mm. 40-55) - a' (mm. 56-67). it begins with a polychrome
line; the tomtom, cymbals, and snare drum play alternate eighth notes and
the Clarinet enters with the first statement of the theme of the mm in
m. 35. (Example l0.) The theme is nine beats long, in F lydian mode, and
ends with a half cadence. Derivative material, largely based on the rhythm
of two sixteenth notes and an eighth note, ensues in Part D and the march
theme returns in ED lydian mode with a slight rhythmic change.l57 Phrase
extension begins the transition into Section 8.

Section 8 (mm. 67-l i9), in binary form, is divided into a lively first
part (Part c) and a lyrical second part (Part d). It is more harmonically
ambiguous than the preceding parts of the mm, which are clearly in the
aeolian and lydian modes. Part c (mm. 67-91) of Section 8 uses eleven notes
of the chromatic scale, omitting Câ€˜IDD. 80 acts as tonic, F as the dominant
and both are prominent pitches. The fourth and seventh scale degrees

l56'liodes' are defined here as pitch material derived from intervals
and will not include the medieval harmonic implications. The lydian mode is
identified as a â€majorâ€œ mode because it begins like a major scale, i.e., with
two whole-steps. Its fourth scale degree is an augmented fourth, not a
perfect fourth as in the major scale, above tonic.

I57The eighth and two sixteenth notes are reversed in m. 59.

Example l0. "Vt. I, mm. 32'39, polychrome percussion line and clarinet
With march theme.

P > Sue .< >â€”
TJâ€˜. Câ€™sâ€œ), P

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fluctuate, creating modal ambiguity. The percussion accompaniment is
confined to the two drums. Melodicaily, Part c consists of a seven-measure
phrase which is repeated with a similar contour but some pitches (largely,
the written pitches of C and 6) remain the same and some pitches (largely,
the written pitches of F and 8) change through the use of accidentals. This
can be clearly seen in Example I l. The second phrase (seven measures
before 'Eâ€˜) is extended and derivative material is used in the transition into
Part d.

Part <1 (mm. 9i-i 19) of Section B is almost as harmonically
ambiguous as Part c. it uses all of the tones of the chromatic scale except
two, 0/0â€ and F â€60.153 C is the key center for Part (1 which is in
harmonic minor but includes some split thirds.lâ€˜~'>9 F, now functioning as the
subdominant, continues to be a prominent note. The percussion accompanies

using the metallic sounds of triangle and cymbal. Six four-measure melodic

â€˜53?th was omitted and F'le was rarely used in the previous
Part c.

l59"Split thirdsâ€ are defined as superimposed major and minor
triads; e.g. C-Eb-E-G.

Example I I. "Vt. I, mm. 69-85, seven-measure clarinet phrase repeated
WItIâ€˜I similar contour.

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phrases, sometimes punctuated by an extra measure of percussion
accompaniment, are grouped to form three periods with an a-b-aâ€˜ scheme.
This tiniest of â€œaâ€œ sections seems reminiscent of the Baum

The last large section of the mm (mm. l20- i 42) is designated Aâ€˜
because of alterations to the primary melodic material, the march theme,
and the polychromatic percussion accompaniment. This demonstrates
Russell's previously-quoted statement that â€œrecapitulation is less exact and
has the pressure of change forced on it because of the preceding
situations."5Â° Section A' is based entirely on the F lydian mode. The march
theme reappears in its original form in m. l26 but is interrupted and
extended after three measures. The final statement of the march theme is
next. it appears intact, however, it is an octave lower and has the slight

rhythmic change used previously. A six-measure codetta follows.

l60Russeil, MENC, 72.

68
timeout

The second movement, marked Andante resoluto, is also in A-B-A'
form. There is no introduction and a short codetta is incorporated into the
final section. The clarinet only plays in Section B and the codetta. Since
the first movement included a long solo part for the clarinetist, it seems
appropriate that the percussionist should receive a similar opportunity. The
solos for drums in this movement aptly demonstrate melodic writing for
unpitched percussion.

The Andante resoluto is a typical slow movement in that a three-
movement composition is often in a fast-slow-fast arrangement, but there
is a considerable amount of activity within the slow beats. This is no doubt
necessary because drums do not sustain sound except through the use of
rolls. The mood is generally quieter, gentler, and darker than that of the
suâ€˜romding movements and thus the function of a contrasting slow
movement is fulfilled. Russell's indication to use â€œsoft timpani sticksâ€œ
contributes to the mood.

Although the composer the specified pitches of e, f, aâ€˜, and b for
the tuning of the four drums, these pitches are primarily used to create
relative pitch relationships between the drums. There is some pitch
relationship to the four-note central cell of the clarinet part but the drum
â€œpitchesâ€œ do not effect the harmony of Movement ii. '6'

Section A is twelve measures long and divided into three four-
measure phrases of solo drum. While each phrase begins quietly, each one
has a different dynamic contour. Sudden dynamic changes, including fpp,
sff, and accents, are used as well as some gentle nuances. Drive to the
cadence is present in each case. The first phrase ends loudly while the

l5'Russell, July 30, i988.

other two end quietly. The end of the third phrase elides with Section B as a
crescendo activates the clarinet.

The first two measures of Movement li establish the slow mood,
using quarter notes and then eighth notes as the quickest notes. After the
first two measures, Section A primarily consists of divisions of the beat
into varied patterns of four, six, and eight parts. Several factors contribute
to the sense of development through this section, which is illustrated in
Example l2. The first phrase uses only the lowest two drums. The second
phrase begins With the lowest two drums, adds the next highest, and
finishes using all four drums. The third phrase uses all four drums with
equal frequency.

Example I2. Iâ€™M. II, mm. I-IZ, Section A, drum SOIO.

Tuned Drums .5 soft Timpani sticks (.3 n3

PP Mcresc .......

............................ :17me p pp

sffâ€˜ P Hâ€™

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The first measure of each phrase contains more activity than that of the
previous phrase. The second and third phrases include two and one-fourth
measures of identical material beginning in the second measure of the
phrases (m. 6 and m. id). The varied rhythmic fluctuation and drive adds to
the drama of the lengthy drum solo.

The clarinet part revolves around two pairs of half-steps separated
by a whole-step constituting a four-note central cell, E-F and G-Ab. This
cell is the basis for most of the flurries of quick notes. (Example l3.)

Example I3. â€Vt. II, mm. I3â€˜I7, clarinet part With four-note CGDUâ€˜ZI CGII,
octave leap, and transformation.

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The pitch Db also occurs frequently but functions differently. It is used in
prominent places, most often as the top note and focal point of phrases. C,
although not used as often, functions similarly and seems to eventually
function as tonic, since both Section B and the codetta end with the same
pitches, E-F-G-C. Ten chromatic tones are used in this movement. '52 The
codetta's central cell (Example I4) differs by one note from the original

1529/60 and A are omitted.

central cell and IS an inside-out version, major second â€˜ MIDOI" second "
major second. These and other versions (Example I5) 0f the four-note cell
are found in other movements.

Example I4. "Vt. II, mm. 32'34, four-note cell Of cadetta.

: s m

V
V
\I

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Example IS. Other versions of four-note cell: Mvt. I, mm. 255-36, march
theme of clarinet part (same notes also found in scherzo theme of Mvt. ill);
Mvt. III, mm. 48-50, xylophone ostinato.

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The clarinet enters and joins the crescendo of the drums to begin
Section B. The crescendo by the clarinet develops into a f lorry of sextuplets
followed by a dramatic octave leap downward. This pattern appears four
times, starting on different notes of the f our-note central cell and
alternately on and off the beat. The pattern of octave leaps is transformed
using grace notes and interval contraction. (Example i3.) Meanwhile the
percussion part has become a slow, unobtrusive accompaniment for the
clarinet. The only equal partnership of this movement begins with the

thirty-second notes in m. i8 and lasts for eight measures, until the end of
Section B. This is marked by frenzied activity which gradually abates as the
section draws to a close.

Section Aâ€œ is only nine measures long. It is divided into two phrases
of three and one-half and five and one-half measures length, respectively.
The rhythm of the first phrase is exactly like that of the first phrase of
Movement ll except that two beats (beats 9 and l0) are omitted and the
pitch succession of the drums is slightly altered. The last phrase
incorporates a three-measure codetta and is composed of repeated sixteenth
notes in the drums until the penultimate measure. The melodic contour of
the drum part is similar to previous material, however, this is the only area
in either Sections A or A' to incorporate such a long steady rhythmic
pattern. Offbeat accents are used in the codetta serve to confuse the
feeling of pulse and provide rhythmic interest.

The third movement, Scherzo, is written for clarinet and xylophone.
It is the only movement which uses a pitched percussion instrument and,
thus the only movement in which tonality can be considered vertically and
horizontally, that is, harmonically and melodically. The xylophone is not a
resonant instrument, however. This fact, coupled with the high frequency of
the pitches, makes the xylophone chords into rather fleeting experiences so,
although vertical sonorities have been considered, a horizontal approach to
tonality seems more appropriate.

A notational difficulty noticed during analysis should be mentioned.
The problem found in the m effects the analysis of sounding chord

inversions and probably stems from a logical desire to avoid excessive use
of ledger lines. In l958 the standard written range of the xylophone was
f l-c5.'53 Xylophones traditionally sound one octave higher than their
written range, but the written range used in the xylophone part of the
Scherzo is g-c3, i.e., sounding two octaves higher than written. By notating
in this fashion, Russell kept the notes close to or within the staff.
Consequently the part must be analyzed as sounding two octaves higher than
written. In general percussionists are accustomed to dealing With many
notational systems and difficulties and fitting parts onto instruments, so
would play the notes one octave higher than written in this situation.

The Scherzo is another example of ternary form and is in the mold of
a typical dance movement. It includes a literal repeat, using the dal capo
indication, so that the specific form is A-B-A, plus a composer-labelled
coda of four measures."54 The exposition of Section A comprises mm. l-2l
and the recapitulation is mm. 74-94. Section B includes mm. 22-73. The
coda consists of four extra measures at the end. The time signature is 6/8,
except for one 9/8 measure in the middle of the A section and a concluding
3/8 measure in both the A and 8 sections. This provides an interruption of
the regular stress pattern and catches the listeners by surprise.

The vertical harmonies are a mixture of tertian and quartal
sonorities and clusters. These result from fast-moving melodic lines and
frequent pedal points and ostinati. The lydian mode, largely on F, prevails in

â€˜63In i989, the range can be extended down as far as cl, giving a
four-octave written range, however, xylophones with a variety of ranges are
common.

'64i t seems that â€œcodettaâ€œ might be a better term, because of its
brevity, but the term â€codaâ€ was probably used for the convenience of the
D. c. ale-Coda indication.

both melodic and harmonic contexts. An extended portion of Section B is in
80 natural minor. Other tonalities are touched briefly and some
chromaticism exists.

The march theme (mm. 35â€”39 of Movement I) appears the theme of
the Scheme in the first four measures of Movement III. While the pitches,
rhythms, and articulations remain exactly the same, the time signature is
changed from 2/4 to 6/8. The march theme is an eighteen-note theme, or
actually, nine notes which are repeated exactly. (Example I6.) in the first
statement of the scherzo theme, rests are inserted between the two sets of
nine notes. (Example lb.) The only other rendition of the scherzo theme
(mm. IS-l7) occurs without rests.

Example 16. "Vt. I, mm. 35-39, march theme in 2/ 4; Mvt. Ill, mm. 1'4,
scherzo theme in 6/ 8.

f:â€” p

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A three-note cell provides mel0dic material for much of the
movement. Although its first appearance in the Schema, is as the first three
notes of the upper line of the xylophone part, this cell is also found in notes
three, four, and five of the march-scherzo theme. As Example i7 shows, the
cell appears as three notes moving in the same direction (down in the I

xylophone and up in the clarinet) with the'intervals of a major second on the
bottom and a minor second on top. The composite interval '65 of a minor
third becomes prominent when the three notes are rearranged from
scalewise order, resulting In a pattern with a change of direction. The
rhythmic treatment of this melodic cell varies. For example, In mm. IO-l4,
the cell appears inverted, with the minor second as the lower interval in a
two-stage sequence. The cell is transformed In a variety of other ways,
such as through interval expansion of the three-note cell and by addition of
another major second, yielding a composite perfect fourth and a four-note
cell.

Example i7. Mvt. Ill, mm. i-2, three-note cell (subset of four-note cell
shown in Ex. IS).

Allegro moderate e glocoeo

Bi, Clarinet

Xylophone

â€œI

f â€”-p. a" â€”â€”-=

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As in Movement I, Section A of Movement III is an example of
internal ternary form, a (mm. I-S) - b (mm. 6-l4) - a' (mm. ISâ€”2l ). The
scherzo theme is found in the clarinet part in Parts a and a' of Section A in
Part a, the upper line of the xylophone part establishes a countermelody

'55'Composite intervalâ€œ is defined as the interval between the
outermost notes of the pattern.

based on scaleWIse use of the three-note cell while the notes of the lower
line occur on the beats. This section Is entirely in the F lydian mode.

Part a' begins In F lydian mode with an ascending, scalewise xylophone
countermelody and the same on-beat accompaniment. After the clarinet
states the scherzo theme, four measures of harmonically volatile transition
occlr. The three-note cell appears with change of direction. Pedal points
are an Important feature. The section ends in F.

Part D (mm. 6- l 4) of Section A can be described as episodic,
motivic, and harmonically active. The modes of ED lydian, B phrygian, and Fâ€˜
phrygian with chromaticism are passed through on the return to Part a' and
the key center of F. The three-note cell is used in scalewise fashion by the
xylophone In mm. 6â€”8 and With inversion and change of direction by the
clarinet In the sequential mm. of l0-l4. The xylophone part changes against
the sequence of the clarinet part.

As in the mm, Section B of the Schema is In binary form. The two
parts are diVided from each other and the A sections by double barlines.

Part c (mm. 22-47) of Section B is in the lydian mode; Ab lydian lasts Into
m. 36 and then changes to F lydian. A stylistic change also occurs at this
point. Mm. 22-36 are homophonic with melody and accompaniment
alternating between the two instruments. There Is some quartal harmony
and when the xylophone takes up the melody, it is in Imitation of the
clarinet. Mm. 36-47 of Part c of Section B are In a contrapuntal style
similar to the episodic second section of Section A (mm. 6-l4). This
passage begins with the clarinet temporarily using the whole-tone scale but
then settles into F lydian mode. The three-note cell is used in its upright,
inverted, scalewise, and changing-direction forms. Pedal tones reappear. In

mm. 4l -43, the Intervallic cell is expanded to a pair of major seconds in the
xylophone part.

Part d of Section 8 (mm. 48-73) Is in BD natural minor. A major
second is added to the top of the three-note cell to create a symmetrical
f our-note cell with the composite range of a perfect fourth. This cell, when
stated scalewise, has intervals of major, minor, and major second. It is the
same configuration that appeared in the codetta of Movement II. It is based
on the four-note cell with direction change (in the xylophone part's lower
line), the three-note cell (in the clarinet part), and the pedal tone idea (in
the upper line of the xylophone part). This can be seen in Example I8. Some
slight alterations of this material occur; for example, the four-note cell is
used by the clarinet in mm. 54-56 but the upper interval is expanded from a
major second to a major third. The upper line of the xylophone part uses the
four-note cell in mm. 60-65 but it has been reordered so that the major
seconds are on the bottom and the minor second is on the top. The
composite interval remains a perfect fourth. Diminution is used on the
figure.

Rhythmic stratification is important here. The rendition of the cell
by the clarinet is always quite slow. The xylophonist plays against it in
' approximate double time and, in mm. 60-65, in double and quadruple time.
(Example l8.) The last several measures of Section 8 become increasingly
chromatic and transitional. The section ends with a C chord (without the
third) which serves as a half cadence for the return to Section A, which like
the Macon, has F as the tonal center.

Example I8. Mvt. Ill, mm. 48-64, xylophone with four-note cell and pedal
tones; clarinet with three-note cell; rhythmic stratification.

A .

sma ï¬reman

r r r
PP

e I964 Music for Percussion Inc.
Used By Permission Of The Publisher

Russell's compositional style in Pas deDet/x can be described, to
use a term of Reginald Smith Brindle's, as â€œfree diatonicism.'l66 There are
definite tonal centers In this music. Scales of seven notes or less are used
most often. Chromaticism also occurs at transitional points.

Polychrome can be observed when viewing the composition as a
whole. Each of the movements is scored for different percussion
instruments. The monochrome technique is used in Movement II with four
tuned drums and Movement III with xylophone. It is also used in two ways
(drums vs. metals) in the 8 section of the polychromatic Movement I.

Pas de Der/x is not an avant garde composition, nor was it in I958.
Although clearly rooted in musical traditions of the eighteenth and

l568rindle, Musical Campos/â€œtron, 92.

nineteenth centuries, It does not sound like an "Old" piece because a host OI
variation techniques common to twentieth-century music are employed.
Timbr e IS an Important component. Phrases tend to be irregular In length
aid asymmetrical within periods and larger sections. Modal scales
predominate over major and minor scales. Although ternary form I3 used
exclusively, the movements are all constructed differently.

CHAPTER FOUR

ORA â€(l/V6.5? SET/l0 3 BY SYDNEY HODKINSON

Sydney Phillip Hodkinson was born in Winnipeg, Manitoba, Canada in
i934. His adult life has been spent in the United States. He studied at the
Eastman School of Music (8M. and MM.) and the University of Michigan
(D.M.A). Hodkinsonâ€™s career as a university professor began in 1958 and has
included positions at the University of Virginia, Ohio University, the
University of Michigan, and Southern Methodist University. He has taught
composition and conducting at'the Eastman School of Music since I973 and
directs Eastman's virtuoso new-music ensemble, â€œMusic Nova.â€67

Hodkinson's list of published compositions,â€˜68 commissions,
recordings, and awards is extensive. His compositions include the genres of
opera and oratorio, band, choral, and orchestral music as well as solo
instrumental works and chamber music. He has completed commissions for

a wide range of performers, such as organist William Albright, English horn

i67Anderson, 241; Bakers Biographical Dictionary ofï¬‚usrr/ans; 7th
ed., s.v. â€œSydney P. Hodkinson;" Mew Grove Dictionary ofAmer/can nus/c s.v.
â€œSydney Hodkinson,â€ by James 6. Roy, Jr. ; publicity materials of Sydney
Hodkinson; correspondence and conversations with Sydney Hodkinson.
â€˜53His principal publishers are the American Composers' Alliance,
Associated Music Publishers, Music for Percussion, and Theodore Presser.
80

virtuoso Thomas Stacy, the â€Blackearth Percussion Group,â€ the â€œVerdehr
Trio,â€œ the New York Philharmonic Orchestra, the Banff Centre for the Arts,
as well as church choirs and public school ensembles.'59

Hodkinson studied with an array of prominent composers who write
in a broad range of styles. He has fused this background Into a colorful and
imaginative style In which â€he explores with pragmatic coherence all
resources of modern techniques.â€œl70 His primary composition teachers
were Louis Mennini, Bernard Rogers, Leslie Bassett, Niccolo Castiglloni,
Ross Lee F inney, and George B. Wilson. He also studied briefly with Elliott
Carter, Roger Sessions, and Milton Babbitt.

Many of Hodkinson's compositions have catchy titles: for example,
Edge of Me was One (for English horn, strings, and percussion), One Manâ€˜s
Neat (for double bass solo), Another/Vans Poison (for brass quintet), and
Emma/boom- swamp/3001mm (for symphony orchestra). His music is as
free-spirited as the titles. Composer Elliott Schwartz spoke of Hodkinson's
â€great fondness for the musically bizarre, [and] the elegant becoming
nightmarish.'i7i The musical result is often â€the eclectic juxtaposition of
impossibly matched styles.â€i72 James Roy wrote:

As a composer, Hodkinson Is distinguished by his ability to write in

idioms as dissimilar as jazz and electronic music with sensitivity
and appeal, and by his grasp of instrumental capabilities.l73

l59|bld.

'70 Bate/â€˜15; 'Hodkinson.â€˜

'7'Elliott Schwartz, â€œThe Gamut of American Music," Hus/rand
HUS/clans 2 I , no. 3 (November I972): 22.

l72|bld.

'73 Grove American Music; â€œHodkinson.â€œ

82
W

Drawings: Set No. .3â€™ was the second composition written for
clarinet-percussion duo. It was written in l96l and commissioned by the
National Association of College Wind and Percussion Instructors for a
performance at the Southern Division Meeting of the Music Educators'
National Conference. Composer-clarinetist Hodkinson and percussionist
Robert K Myers performed the premiere in April I96I in Asheville, North
Carolina. l 74 Drawings: Set/Va. 3, like Pas ole Deux, is published by Music
for Percussion, Inc., and was published in l969.

The dedication reads â€œto Charles Smith, artist and friend."'75 Smith
was an early proponent of block lithography and specialized in
miniatures.â€6 He and Hodkinson were both teaching at the University of
Virginia in l961. The title and artistic dedication are probably interrelated.
The title also aptly describes the sketch-like movements of Wary/7795' Set
No. I

Hodkinson was in the midst of writing other percussion music at the
time he composed this duo.â€7 He knew Armand Russell and attended the
Eastman School of Music at the same time but was unaware of Pas de Deux
and it did not, therefore, provide an impetus for the creation of his own duo.
Hodkinson's interest in percussion and the fact that an accomplished
percussionist was in residence at the University of Virginia, led him to
write for Myers and himself. 1 78

l74Sydney Hodkinson, Draw/lys- Set/Va. J (New York: Music for
Percussion, Inc., I969), Inside front cover.

l75ibid.

'75Conversation with Sydney Hodkinson, May 7, I989.

'77 Drawings- Set m / (I960) is a percussion quartet and Drawings-
Set/Va. 4 (I96I) is a percussion trio.

â€˜73Conversation with Sydney Hodkinson, May 7, I989.

Drawings 5s! No. 3; a f Ive-movement work of approximately seven
and one-half minutes length, is scored for B0 soprano clarinet and three
drums. The instructions read: â€œthree drums of Indefinite pitches should be
used (high, medium, and low). Preference is given to open end instruments
(single head timbales are ideal)."l79 The flexibility of instruments inherent
In these instructions will continue to result in many performances because
almost every percussionist has access to this equipment.

Although the Instrumentation is less varied than that of Pas de
Deux, the clarinet and drums combine to produce a wide range of timbres,
effects, and styles within the monochromatic percussion setting. Various
mallets and striking locations produce a spectrum of drum sounds. Brushes
(open and half-closed), wool mallets (hard and soft), drinking straws, and
timbale sticks are used in Movements I, ll, ill, and V, respectively. Special
effects of flutter-tonguing, subtone, vibrato, note-bending, and glissandi
expand the expressive range of the clarinetâ€0 The drums are pitched in a
relative arrangement from high to low and are used melodically at some
time in each of the four movements in which they play. They imitate the
contour of pitched melodies and their melodic role Is evident when the
clarinet and drums exchange lines or play Imitatively. Harmony Is implied
melodically only in the clarinet part since the drums are unpitched.

Drawings: 59! No. 5 Is a twelve-tone composition that Is not tonal
but does not negate all tonal implications. The row appears throughout the
composition. When condensed to Its smallest possible range, it consists of
the intervals of one minor third, one perfect fourth, and nine minor seconds.

i79Hodkinson, Drawings, inside front cover.

l80MultIphonics are not used. They were just beginning to enter
concert music in I96I.

(See Example l9.) These intervals, especially the seconds, are frequently
inverted in order to add interest to the melodic line.

Example l9. Intervals Of the POW.

lid/A). Pâ€˜i

gÂ¥9 6-3-

The row is all-combinatorial; for example, Po displays hexachordal
combinatoriality With R0, P6, R6, Ii, RI I, I7, and RI7. The matrix is shown In
Example 20.

The row is used flexibly and treated differently in each movement.
Rows usually overlap. Notes or note groups are repeated and recur by way of
Implosion in every movement. Implosion is the embedding of extra notes or
note groups into the row. (Example 2 I .) Notes are sometimes omitted or
substituted. These alterations of the row are diagrammed in Example 2i.
The first and last movements use the row with the least regularity. A
comparison of row treatments at the beginning of each movement is shown
in Example 22.

Example 20. The matrix (concert pitch).

I0 II I2 III "0 I3 I4 I5 I6 l7 Io I9

Po C'DDâ€˜CBEFFâ€™GGâ€˜AAâ€˜ R0
PiiC C'D BAâ€˜Dâ€™E F Fâ€˜G 63A RII
Pi08CCâ€™Aâ€™ADDâ€™EFFâ€˜GG3 RIO
PIDDâ€™ECâ€™CFFâ€˜GGâ€™AA'B RI
P2 D'EFDCâ€™F'GG'AAâ€™BC R2
P9 Aâ€˜BCAGâ€˜C'DDâ€˜EFFâ€™G R9
PoAA'BG'GCCâ€˜DDâ€˜EFF' no
P7 Gâ€™AA'GF'BCC'DDâ€˜EF R7
PoGGâ€™AF3FA*BCC*DD'E R6
P5 Fâ€˜GGâ€˜FEAAâ€™BCCâ€™DD' R5
P4FF'GED*G*AA'BCC*D R4
PaEFHDâ€˜DGGiâ€™AA'BCCâ€™ R3

RIO RII RI2 RIII RIIO RI3 RI4 RIS RI6 RI7 RIB Ri9

Example 2I. ROW alterations.

grepetition giâ€˜mplosion Implosion
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[I 2 3 4 I 2 3 4*6
overlap repetition

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Theorist Rudolph Reti's discussion OI Schoenberg's development and
subsequent use or the twelve-tone technique included this comment:

Schoenberg. . . did not hesitate to omit notes in the row or replace
them through [sic] others in instances where they did not suit his
compositional intention. Although from a purist point of view this
would appear as a cardinal sin against the spirit of twelve-tonism, it
speaks strongly for Schoenberg as a composer. He was much too
intense a musician not to follow his musical instinct in a contest
between it and his theorieslal

The same can be said of Hodkinson and his creative methods in Drawings 5st
No. 1

Drawings: 5s! No. 3 illustrates Hodkinson's eclectic style. Diverse
elements of serialism, jazz, and pre-twentietn century styles are combined
to create music that listeners find accessible. Obvious jazz influences are
the use of brushes in Movement I, the bop style of Movement III, and the
special effects found In the clarinet part. The first four movements are in
ternary form, A-B-Aâ€˜, while the finale is a short, five-part march. Although
the macro ternary forms are identical, the internal structures and methods
of recapitulation vary in each movement. lmitative and motivic
relationships are vital. Phrases are easily distinguishable but tend to be
irregular in length.

The arrangement of the movements is fast-slow-fast-slow-fast,
with attacca indications linking Movements HI and iv-v. Timings and
metronomic markings are provided for every movement. The odd-numbered
movements are metered and use simple time signatures almost exclusively.
Movements II and iv have no time signatures and no time line. In Movement

WRudolph Richard Reti, fona/ity rn/â€˜ioalem/â€˜Ilrsic (New York: Collier
Books, I962), 69.

II, synchronization lines Indicate Where the clarinet and percussion parts
should coincide.

Today, Drawings:- Set/Va. 3 would probably be perceived as a
conservative composition. in l96 I, it was considered a forward-locking
composition because of the special clarinet effects and the type of
ensemble for which it was written. The work is playable by tOdayÂ°s young
college students because the range is moderate and the speCIaI effects are
no longer considered demanding. i 52

Boltzmann
Movement I, marked Relaxed and quietly, is a subtle piece that

begins playfully but becomes melancholy at the recapitulation. The playful
style is created through the use of flutter-tonguing, vibrato, note-bending,
grace notes, and light staccato notes in the clarinet part and the swatting
of the drums with brushes. These activities are not found in the melancholy
section.

This is the only movement employing all four forms of the row. In
the first half the prime form Is used three times (P0, P6, and P9); in the
second half the retrograde inversion is used twice (RI9 and RI3) and the
inversion (i2) and retrograde (R5) once each. Most of the seven rows are
Incomplete. P0, the Initial row, is stated in correct order and with three
groups of imploded notes. (See the previous Example 22.) The other rows
are irregular. All have imploded as well as reordered and omitted notes.

Rhythmic and melodic motives also organize the structural
relationships. in m. I, the drums present a three-note motive which is the

â€˜82High notes are rare. The highest notes are the g3-ab3 trill at the
climax of Movement II and the last note of the finale, f 3.

* basis for the movement. In m. 2, the clarinet enters in rhythmic canon. The
rhythmic motive and first three notes of the row combine in the clarinet's
entrance to give the motive a pitch identity. This Is the first Instance of
melodic use of the drums. The first three notes of the row are chromatic.
Inversion produces the more distinctive configuration of ascending minor
second and descending major seventh. The motive Is shown with Its
rhythmic and pitch identities in Example 23. It also appears augmented,
contracted (under diminution), and with varied durations of the third tone.

Example 23. Wt. l, mm. l'4, three-note motive.

motive.

Clarinet

in 8b funâ€œ, ' Â°

-.-<.#>

(J-uo) brushes (open 0

Drum

light"

0 I969 hate for Percussion Inc.
Used By Permission or The Publisher
Movement I is moderately fast but becomes slower as the

melancholy final section approaches. It is primarily in 4/4 time. The form
is best outlined as A-B-A' (mm. l-6, 7- l 7, and l8-24). Although there is no
literal recurrence, motivic transformation supports the existence of a
recapitulation (A') which uses the inverted row as well as expanded
versions of the pitch and rhythmic motives. Phrases are In four-note groups
(Example 24), however, the clarinet and drums do not play imitatively as in
the beginning of the movement since the three-note motive Is transformed

Example 24. Mvt. I, mm. l7- l9, four-note versions of the motive.

(moï¬dÃ©'ï¬
'7 F j

" â€˜-< 94
mo'h' v6

0 I969 Music for Percussion Inc.
Used By Permission Of The Publisher

differently In each part. The Clarinet leads. The pitch motive is inverted
and a note is added SO that the first four notes of the row are used and

repeated. This version or the motive evolved from mm. 7'8. The rhythmic
motive is expanded In the drum part through the addition of a pickup note.

timmentJl
Movement II, marked Very freely, is notated without time

signature or barlines. It Is performed ad libitum, according to the
published guidelines, which include a suggested tempo for the quarter note,
vertical dotted lines intersecting both staves to help synchronize the
performers, and a variety of tempo, dynamic, coloristic,â€˜83 and stylistic
instructions. Pitches and approximate rhythmic proportions are notated.
There are brief opportunities for improvisation at the climax. This Is the
only movement Which includes improvisation.

Movement II portrays a competition. The drum and clarinet parts
exchange melody and countermelody as if each is challenging the other to
perform the same line better. The melody is presented first by the drums

l83Vibrato, non-vibrato, subtone, note-bends, and glissandi are used.

and begins with an accelerating repeated pitch. This is accompanied by a
clarinet countermelody which begins with trills. The tiny exposition is
repeated at letter â€œA,â€ with the clarinet and percussion parts exchanged and
inverted. This Is shown in Example 25.

The competition begins quietly, builds up to a tremendous frenzy and
volume, and calms down to fade out completely. Further evidence of a
competition is found at the climax, where the composer has written in the
percussion part: â€œimprOVIse in an attempt to overpower the clarinet.â€ To
achieve the required frenzy, soft wool mallets are exchanged for hard
mallets in the percussion part and the clarinet part climbs to 93, trills to
ab3, and descends with a passionate glissando.

The ternary form of A-B-A' is clearer than in Movement I. The
return is signaled by an obvious restatement of the original clarinet line at
letter â€œD.â€œ The drum part is closely related to that of the beginning. The
clarinet line eventually changes rhythm and articulation while maintaining
the row and then cadences on E. This pitch was missing from several
versions of the row in the A section so Its repetitive use at the end provides
a fulfillingconclusion.

The prime form of the row Is used almost exclusively in Movement II
and the row is usually full length. Some notes are reordered, imploded,
repeated, and omitted as illustrated earlier in Example 22.

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Drinking straws are used as the mallets in Movement III which is
marked Whimsically, but in strict time. While discussing Drawings-
Set/Va. J a number of years after its composition, Hodkinson remarked that
one of his most vivid memories of this duo was the wonderful sound
produced by these unconventional mallets.â€˜84 Improbable as it may seem,
the 'Uwharrie Duoâ€œ experimented with different drinking straws and noticed
subtle sonic differences. The straws from MacDonald's Restaurants
produced the best results.

The first twenty-seven as well as the last ten measures of the
movement use the inverted form of the row. In Mm. 28-35 the prime form is
used. Example 26 compares the beginning and letter "E" and shows almost
five measures of exact Inversion between the clarinet and drum parts. The
first section (mm. I-6) hints at a tonic of F' while the inverted section
(mm. 28-33) hints at a tonic of Ab.

Row statements overlap in this movement. They are usually
complete and In order. Several notes are systematically imploded as seen
earlier in Example 22. Straying from the row'occurs in mm. 7-9, where a Bâ€œ
is needed to make three overlapping rows complete, and in m. 28, where the
6* grace note is either a note substitution for F' or a misprint.

Jazz influence Is evident. Mm. lo- I 8 and 35-43 are to be played
With a slight bop feeling. Written eighth notes must be converted to the
characteristic long-short triplet style of b0p. Section A (mm. l- l 8) and
Section Aâ€œ (mm. 28-43) of this ternary movement are divided into two parts:
non-bop and b0p. Section 8 (mm. l8-22) features a thicker texture, double
stops in the drum part, and a melody with multiple repetitions of el in the

I84Conversation with Sydney Hodkinson, July l976.

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95
clarinet part. Vibrato and note-bending are the only clarinet special effects
used and they seem to enhance the Whimsical and jazzy feeling of the
movement.

A rhythmic motive of three eighth notes is prevalent. It is
announced melodically by the clarinet in m. l and adopted by the drums in
m. 2. (See Example 26.) This motive appears on and off the beat and with
and without rolls, accents, and a grace note. After becoming well
established, It also appears as a two-note motive.

Movement III Is In 3/4 time. Its two tempos are to be performed In
strict time and they are linked by a tempo rubato.'85 The majority of
the movement Is contrapuntal and Imitative. Between letters â€œCâ€œ and â€Dâ€œ
there is a brief section of rhythmic unison and, at times, unison accent-
patterns. The final five notes of the movement are in rhythmic unison.

Although the dynamic marks range from ppp to ffl, Movement III is
usually quiet because of the volume limitations of the drinking straw drum
mallets and the necessity for the clarinetist to balance with the percussion.
The fact that the drummer Is using drinking straws as mallets and producing
such a special and tiny sound induces the audience to focus even more
closely on their listening.

mammoth
Movement IV, marked Simply, is for solo clarinet. It is a soulful

piece In ternary form, Aâ€˜Bâ€˜A'. The opening melodic line returns, after a
dramatic 5 section and long fer mata, With the original eighteen pitches and

l55The beginning is marked quarter note equals mo and letter â€F is
marked quarter note equals 92.

octave registrations. The rhythm, articulation, and dynamics vary. Example
27 compares the A and A. sections.

Example 27. The opening OI lâ€™IVt. IV and the r ecapitulation.

(imam

Lr'

P P? f < "P

Lines â€˜i-S' M
83: 0rd.

n r ..= ~1- >â€” p n -< >â€”
0 I969 Music for Percussion Inc.
Used By Permission or The Publisher

The movement begins with the second hexachord of RI7. The first
three pitches are repeated Immediately. Only the retrograde inversion form
of the row Is used. Notes are systematically Imploded into the first
hexachord and the row is usually uninterrupted from pitches five through
twelve. This is Illustrated In Example 22. A climactic note substitution,
Câ€˜ for C, occurs at the ff marking.

Tonal implications are strongest In Movement Iv. Bil is the key
center. The first interval consists of the dominant and tonic pitches, F and
Bâ€. Melodic phrases end with half cadences on B, C, Câ€˜, and A The
movement ends with emphasis on B0; In fact, the final cadence is repeated,
In different octaves and with augmentation.

Movement IV, like Movement II, includes a tempo marking but no
time signature or barlines. The quasi-barlines used in the second movement
for synchronization of parts are not necessary in this solo piece. The

dynamics range from ppp to ff, but, the volume Is usually soft. Nuances are
frequent. Special effects of subtone, vibrato, and note-bending are used to

expressive advantage.

Movementl
Movement V, marked Fairly quick, but decisive, has the same

tempo marking as Movement I (quarter note = I i6) but Its style is quite
different. Timbale sticks, the first "real' drumsticks used in the duo,
possess louder dynamic capabilities than the other mallets. This
predominantly loud, characteristically finale movement starts very softly,
beginning with an attacca entrance by the drums on the last note of the
previous movement, and ends very loudly. The tempo remains steady except
for relaxations at the cadences of the two lyrical sections. The prevailing
2/4 time signature occasionally changes to the asymmetrical meter of 5/8.

The style and structure of Movement V conform to the five-part
march scheme: 1 85

Introduction mm. I-6

March mm. 7-15 ('A"-"B')
Trio mm. l5-2I ('B"-"C')
March mm. 22-32 (â€C'-'E")
Trio mm. 32-38 ('E'-'F")
March mm. 39-49 (â€P-end)

â€˜35'Marches are generally in simple, strongly marked rhythm and
regular phrases. The standard form, derived from the minuet-with-trio, is
that of a march repeated after one or several trios of a more melodious
character. MTM, or MTMTM.â€ HarvardDictionary of/â€˜iusiq 2nd ed., rev. & enl.,
s.v. "March.â€œ

The trio sections are more lyrical and legato than the marcato march
sections.

The row is used quite differently in Movement V. It is divided into
hexachords and only the retrograde form Is used. (See Example 22.) The
first hexachord consists entirely of half-steps; the second includes the
intervals of the third and fourth. When the chromatic hexachord Is used, the
pitches are variously reordered to provide intervallic diversity. The second
hexachord occurs intact and with only one deviation; I.e., a note ls
substituted for the last pitch of the composition.

The motives of the march theme are included in the drum
introduction (mm. I-6). The theme can be divided Into head motive (drum,
mm. 7-8) and tail motive (clarinet, mm. 8-lO) and Is illustrated in Example
28. The head motive consists of three successive eighth notes that are
separated by rests and approached by an increasing number of grace notes.
It appears in mm. I-3 of the introduction in an expanded version, with extra
rests between the notes. The tail motive consists of a four-note figure
(two sixteenth and two eighth notes) used twice in Immediate succession.
This rhythmic pattern occurs off the beat, then on the beat. It first appears,
decorated with grace notes, in mm. 5-6 of the introduction. The last note of
the tail motive is sometimes an eighth note and is sometimes longer than
the original note value. Most of this movement Is derived from the head and
tail motives.

Melodic use of the drums Is evident as the clarinet and drums trade
the motives back and forth. Example 28 illustrates one instance of
switched melodic lines. The prevailing contrapuntal texture is contrasted
by several brief solo passages and others In which some or all of the theme
is performed in unison. In mm. 44-45, the head has two-note chords in the

99
Example 28. Mvt. V, mm. 7- i 0 and 22-25, march theme with motives.

J-oj I

back in time

e I969 Music for Percussion Inc.
Used By Permission Of The Publisher

drums and with two sixteenth notes in the clarinet, Instead of the grace
notes. They are stated together and create a deliberate final statement.
This is followed by a stretto based on the tail motive.

The festive mood of the finale Is enhanced by the particular special
effects employed. Found in the drum part are note-bends, rim shots, and
playing on the shell of the drum. Clarinet vibrato and note-bending are used
in every movement. Subtone and glissandi are also used here.

CHAPTER FIVE

50AM 7A FOR ClAR/A/[fA/VD PERCUSSION BY FREDERICK LESEMANN

Frederick Lesemann (b. I936) is a native of Los Angeles. He received
his B.M. degree from Oberlin College where he studied composition with
Joseph Wood and Richard Hoffman. He studied composition with Ingolf Dahl
and received his MM. and D.M.A degrees from the University of Southern
California. Lesemann has been on the Theory and Composition faculty of the
University of Southern California since I966. He became the Director of the
U.S.C. Electronic Music Studio in l974.â€˜87

Lesemann has written compositions for a wide variety of genres.
Most of his early works are chamber music. Since I970, the year of his
first composition for electronic tape, the majority of his compositions have
been for this medium but he has continued to compose for diverse
instrumental and vocal combinations. His work includes music for piano,
prepared piano, piano and tape, string trio, string quartet, amplified string
quartet, cello and woodwind quintet, orchestra, orchestra and tape, chorus,

chorus and orchestra, voice and piano, voice and chamber ensemble,

187Anderson, 3 I4; correspondence with Frederick Lesemann.
100

101

percussion ensemble, synthesizer and percussion, trombone solo, and brass
octet.188

Lesemann has written two clarinet-percussion duos. These and most
of his other compositions are unpublished. Sonata for Clarinet and
Percussion (I968l I972) is one of his earlier works. Doubles (I983- I 984),
originally a commissioned work for horn and viola, has a variable
instrumentation of twenty-five possibilities. One version is for clarinet

and marimba.

5 ! E El . ! I E .
Sonata for Clarinet and Percussion was inspired by Lesemann's
close association with the developing percussion program of the University
of Southern California. Working with outstanding percussionists such as
William Kraftâ€˜89 and Karen Ervinl90 had a major impact on the composer.
The Sonata was written for Karen Ervin and is one of the few works of the
clarinet-percusSion duo repertoire available on a commercial recording.l9l

On the record jacket, Lesemann described the stimuli for the composition:

For myself, the response was a fascination with the virtuosity of the
improvising percussionist. After all, it is the players who discover
what they can do, and their experiments in this direction are
essentially a form of improvisation. The challenge to the composer,
then, was to write a piece With an idiomatic virtuosity equal of the
Sonata in terms of how impressed one Is with the performers, not
with the piece itself.â€˜92

I88Ibid.

â€˜39T hen, tympanist of the Los Angeles Philharmonic Orchestra and a
U.S.C. percussion professor; now, an important composer.

â€˜90T hen, a U.S.C. student; now, a highly respected percussion soloist.

I 9 I Frederick Lesemann, Sonata for Clarinet and Percussion, Karen
Ervin and Mitchell Lurie, Crystal Records 5641 (l973).

I92Record jacket notes, lbid.

102

Lesemann fulfilled his humble intention to showcase the performers
and wrote a fine composition as well. A review by Ann McCutchan stated:
â€A well-crafted composition, the Sonata offered both players the
opportunity to display virtuosity as well as subtly and sensitivity.â€93

Sonata for Clarinet and Percussion is a work of approximately
eleven minutes length and is scored for BI) clarinet and marimba, vibraphone,
two bongo drums, three tomtoms, bass drum, two suspended cymbals,
triangle, tamtam, five temple blocks, and four instruments pitched at
A-440: box chime or tuning bar, crotale, brake drum, and xylophone block or
bar. The clarinet part uses standard techniques and has an extensive range,
d-bb3. The percussion part Is written on one five-line staff, with the
pitched and unpitched instruments mingled as the music requires. The
notational legend is Illustrated In Example 29.

The percussion instrumentation Is different in each section. Most
sections employ a mixture of pitched and unpitched Instruments. Three
sections use unpitched percussion Instruments exclusively.l94 The
percussion part usually features single notes rather than two or more notes
articulated together. The percussion line Is treated monochromatically,
polychromatically, and as a melodic line, an accompaniment, and with
several layers. Klangfa'oenmelooie on the tonic pitch Is an Important
element In the coda.

I93McCutchan.
l9â€˜iSections B', Dâ€˜, and C".

103

Example 29. Percussion legend.

â€™me To; Stud CszIoaIe Trlgnbts Tcwrlc alaskh
n x Â«<7: 1r * A : H
W " is? i - . - '
Nb (" Â«0-) Le... Iâ€˜IleIA Lâ€œ, l, â€œ3,4,,
has. m M at. W M v Y'bâ€™dIâ€˜Wâ€œ M Muss.

Lew to H IIAA

(Mn-wee aâ€œ ttmuimâ€™i.) hifâ€˜ Agâ‚¬::?Â¢}w)
bruKLDIOM pox CIx'lwxc. Xvi; Pincus Block Amtiooc walâ€™oai
â€˜Qo A .

' I. . â€˜ . . v .
v Mâ€˜sâ€œ: damnÂ» AS tine. Lul 0T Titâ€œ. \V\ â€œca-rice Inset. \â€˜tuc.

x Other-wkâ€œ. Let ecu" â€œstub- vlyup \.

Sonata Is in sonata-allegro form. It is monothematic and uses the
tonic and dominant relationships in the manner traditional to music of the
eighteenth and nineteenth centuries. Lesemann describes the form as
exposition (mm. I-4l ), repeated exposition (mm. 42-97), development
(mm. 98-2l7), recapitulation (mm. 2l8-274), and coda (mm. 275-339)]95
These sections divide into twelve smaller sections (A-B-C-A'-Bâ€˜-C'-D-E-D'-
C"-B"-Aâ€œ-coda) and the composition can be dually described as a sonata and
a theme-wlth-twelve-variations. Since there is only one theme, the
analysis letters compare melodic activity, rhythmic activity, texture, and

I95Frederick Lesemann, letter of April 27, I980, to the author.

104 _
percussion orchestration. Lesemannâ€˜s use Of an array Of percussion colors
adds a contemporary sound to the Standard sonata-allegro form. The form
is:
W (and) W

A- mm. l-l2 (tonic)

B: mm. l2-29 exposition (dominant)
C: mm. 30-4I (dominant)
A': mm. 42-55 (tonic)

8': mm. 55-84 repeated exposition (dominant)
C': mm. 85-97 (dominant)
D: mm.98-I28

E: mm. I29-I84 development

0': mm. l85-2I7

C": mm. 2l8-230 (tonic)
8": mm. 230-263 recapitulation (tonic)
A": mm. 264-279 (tonic)
coda: mm. 280-339 coda

The exposition and repeated exposition consist of three thematic
sections. In Sections A and A', the theme is stated slowly. It is angular
since most of the melodic intervals are quite large. Section B features the
rearranged theme played quickly and at the dominant pitch level. In Section
B', the pitches of the clarinet melody of Section B are inverted. Sections C
and C', also at the dominant level, are slow versions of the theme that use
octave displacement. Con junct motion predominates and the clarinetist and
vibraphonist perform the theme canonically.

The development section is divided into three sections (D, E, and 0').

Sections 0 and Dâ€˜ are lively, loud, and utilize asymmetrical time signatures

105 _
which change frequently. Section E uses a very fast tempo and several
versions of the theme. It is the only p0lntillistic section.

If the dis junct (A) and con junct (C) forms of the slow theme are
used as the analysis criteria, the recapitulation can be described as
Sections C", B", and A". All three sections are at the tonic pitch level.
Canon, an important element In Sections C and Câ€˜, is not used in Section C".
Section B" uses the clarinet melody of Section B. The A version of the
theme appears last. Its large melodic leaps are more dramatic than the
small Intervals of the C version of the theme and provide an effective
conclu3ion for the recapitulation.

The theme is a nineteen-note row that uses all of the pitches of the
chromatic scale. Notes i-3 and l7- l9 of the row are the same pitches, in
the same order, and comprise motive a. The last note of motive a and of the
row Is A This Is tonic. The theme, condensed to its smallest simple
intervals, and four primary motives (motives a, b, c, and d) are illustrated
in Example 30. These motives appear throughout the composition in prime,
inversion, retrograde, and retrograde Inversion forms.

Example 30. Theme with motives a, b, c, and d.

106

W
The theme, In Sections A and C, is stated In a slow, stately, tension-

filled manner and ascends to high notes near the final cadence. It Is
organized into four phrases of three, five, five, and six notes, respectively.
All of the slow variations except Section A' have the metronome marking of
quarter note equals 60. Section A' is slightly faster, with the marking of
quarter note equals 78. All of the slow variations are in 4/4 time except
Section C', which Is largely In 5/4 time.

The theme Is presented in Section A (mm. l-l I). This angular
melody is performed in a legato style by the clarinetist and employs
dramatic use of large intervals. Few of the melodic intervals are smaller
than an octave. The climactic note Is bb3. This is a treacherous note for the
clarinetist since it is very high, soft, and long and is approached and left by
large leaps. The rhythm of the theme is slow and unrepetitive. Quarter
notes are the quickest notes. The longest notes are five beats long.â€˜96
Example 3i snows Section A

The percussion part adds rhythmic and timbral interest. The
tamtam, marimba, vibraphone, low suspended cymbal, bongo drums, and two
highest-pitched tomtoms are used. The part Is sparse but becomes more
active toward the end of the section. The rhythm is irregular. This
illustrates the Improvisatory style that is evident throughout the Sonata.

'95The theme maintains its original rhythm, or distance between
attacks, in all of the slow variations except 0, where the time signature is
different.

107

Example 3i. Section A, mm. Iâ€œI l.

l=Go

sen-need. tb'eeeede
â€˜ touÂ¢qï¬u

Cote RAVE. 31) 12 â€œ--Â¢â€™ â€˜."" {LT

(yeeev

,â€” \ f 2
â€œK * ' .

0 I972 Frederick Lesemann
Used By Permission Of The Composer

108

The harmony is primarily melodically conceived. There are brief
occasions When the vibraphone or marimba sound a note together with the
clarinet. The resultant dyads. whether simple or compound intervals, are all
minor seconds. When chords occur in the Sonata, they are usually dissonant
dyads. ' 97

Section Aâ€œ (mm. 42-55) is the portion of the repeated exposition that
is in tonic. The theme ls spilt, hocket-Style, between the Clarinet and
Vibraphone. This is illustrated in Example 32. A quicker tempo is used.

This helps the vibraphone notes resonate long enough to create a sustaining
effect with the clarinet notes of the theme.

Example 32. Mm. 42'45 01' Section A', theme in hocket-style.

M g ./Hâ€™vâ€™v

12 if I! -; TE â€™2 22 .4 z

o 1972 Frederick Lesemann
Used By Permission Of The Composer

'97Although Lesemann's sketches of June 4, l968 (p. 6) show plans
for using the theme in four-part harmony, this option was discarded before â€˜
the composition was completed.

109

The other percussion instruments used in Section A' are temple
blocks, marimba, suspended cymbals, bongo drums, and tomtoms. They are
played softly and definitively but in the background. Although there is more
rhythmic activity than in Section A, this polychromatic accompaniment is
also sparse. Harmony occurs on only five occasions, when the marimba
plays simultaneously with the clarinet. The dyads are usually dissonant.

The last appearance of the slow theme is as the clarinet melody of
Section Aâ€œ (mm. 264-275), the section prior to the coda. The theme is
legato, disjunct, and at the tonic pitch level. A wide dynamic range,
including large crescendos and diminuendos, is required.

The polychromatic percussion accompaniment includes several
layers and uses the vibraphone, low suspended cymbal, temple blocks,
bongos, and tomtoms. The vibraphone notes are usually widely separated in
time and are all f or ff. The cymbal is always played pp. The other
instruments are usually soft. Example 33 shows the opening of Section Aâ€.

Section c (mm. 30-4l) features the theme stated a perfect fifth
higher than it was in Section A198 The theme is legato, tranquil, and uses
octave displacement to create con junct motion. The resultant small
intervals create a different kind of dramatic tension from that of Section A
Harmonic structure and the dissonant dyads are much more prominent. The
vibraphone states the theme in melodic, but not rhythmic, canon with the
clarinet. Both parts have the entire nineteen-note theme. The canonic lines
are close together and produce harmonic intervals of seconds and thirds
until they end in a perfect unison.

i98The theme ends on the pitch E rather than on A.

1 10
Example 33. Mm. 264â€˜268 or Section A", wide dynamic range.

ii i .. 222..-.-.7'27 SE

LH' / L!â€œ f >f

O 1972 Frederick Lesemann
Used By Permission Of The Composer

ill

The percussion part has three layers. The vibraphone shares the
melodic foreground with the clarinet. The background consists of 3 pp roll
played on the high suspended cymbal. This roll is sustained throughout the
variation. The tamtam, bongo drums, and tomtoms are also pp. They add
rhythmic and timbral vitality. The quarter note triplet is an important
rhythmic figure. Section C is shown in Example 34.

Section C' (mm. 85-97) features the con junct theme in double
melodic canon, legato, and at the dominant level. The clarinet and
vibraphone parts are both divided into lower and upper registers. The first
canon uses the lower register and the inverted theme. The vibraphone leads
and the pitch order becomes free toward the end. The second canon
intertwines with the first. it uses a higher register and the prime form of
the theme. The clarinet leads. There is no increase in activity toward the
final cadence. The canons intertwine at a leisurely pace and with irregular
rhythm. Tension is created by the predominance of close intervals (i.e.,
seconds and thirds) that resolve to a perfect unison at the final cadence. A
portion of the double melodic canon is shown in Example 35.

The percussion part is exclusively for metallic instruments. The
two melodic lines of the vibraphone make up the majority of the part. Two
tamtam notes and a low suspended cymbal note add to the shimmer and
spookiness of this variation. The soft cymbal roll at the conclusion of the
variation is reminiscent of Section C. Reviewer Joseph Horowitz described
Section C' when he wrote that it â€œeffectively employs a vibraphone to
surround the clarinet with a ghostly, oscillating halo.â€99

i99Review of a recital by the UW/Ia/Tl'e Clarinet-Percussion Due; by '
Joseph Horowitz, in The New Vane Times 17 February l980, 68.

l 12
Example 34. Section C, mm. 30'4i , canon.

('i'bn ecu-wee Ct) â€˜
(â€fume e 74--tum,21)

O 1972 Frederick Lesemann
Used By Permission Of The Composer

113

Example 35. Hm. 85-91 01' section C', double canon.

â€˜

3â€˜- Us â€˜ogâ€˜ .5.â€œ '.
v ' â€˜ O O Q 5"

2 t: 2 â€™22 â€™B

/ ~,â€”â€”â€”<â€œ " /'

â€˜iwv

0 1972 Frederick Lesemann
Used By Permission Of The Composer

Tied notes totalling five eighth notes appear frequently in the

_ clarinet and percussion parts. (See Example 35.) These uneven divisions of
the beat disguise the pulse and function similarly to the quarter note
triplets of Section C.

The slow, legato version of the theme also appears at the
recapitulation, beginning in m. 218. It is at the tonic level and is labelled
Câ€œ because of the mostly-conjunct melodic intervals. There is no canon
because the theme is accompanied by unpitched percussion, i.e., the bongo
drums and tomtoms. This is the only section that uses continuous motion

114

throughout. The accompaniment consists or continuous thirty-second notes
played softly on the drums. The heads and rims of the drums are struck, in
alternate passages, with the rattan ends of the mallets. This creates small,
non-resonant sounds. The theme, in the Clarinet part, is marked 0 and
espresslvo. It features the altissimo range and contrasts the sterile-
sounding, monochromatic drum part.

Was
The theme or portions of the theme are used in a variety of

configurations in the fast variations, i.e., Sections B, B', B", D, D', E, and the
coda. These sections feature motivic use of the theme and contrast the
expansive use of the theme in the slow variations. Often various motives
from the head of the theme are manipulated and derivative melodies are
created.

All three of the B sections (B, B', and B") are Allegretto but the
tempo gets faster in each succeeding section. The energy consequently
increases as the composition progresses. The B version of the theme begins
with motive a and consists of many overlappings and reorderings of motives
a, b, c, and (1.200 Example 36 shows the beginning of the rearranged theme.

This melody first appears in Section B (mm. l2-29) in the clarinet
part and consists of sporadic groups of sixteenth notes. Each group includes
several small groups of slurred notes and staccato notes. The jagged
melomc lines and the breaking of the theme into short groups of notes are
reminiscent of Section A

200Although the Sonata is monothematic, this rearranged version of
the theme will be referred to as the '8 theme" for the remainder of this
analysis. It will make the discussion more succinct.

115

Example 36. B theme (reduced to simple intervals) with overlapping
motives.

a. Q- C Fâ€”~1 C
3â€˜ $3 A Uh
F! v ycï¬' f u
r ._____.__I |______J I L______. Lâ€”â€”-â€”-â€”' i.____..â€”J

Although the time signatures are different in each of the B sections,
the clarinet melody maintains identical phrasing patterns. The note values
change with the time signatures but the pitch contour and relative note
values remain constant. The beginning of each of these melodies is
compared in Example 37.

Section B is in the dominant tonality. The modulation from tonic to
dominant is camouflaged, however, because the theme is rearranged.
Section B appears to be a transition to Section C, which is clearly in the
dominant tonality. Comparison of Sections B and B" shows that the melody
is a perfect fourth lower in Section B. Section B" (mm. 230-263), part of
the recapitulation, is at the tonic pitch level. Section B is, therefore, at the
dominant ievei.

Section B is in 3/4 time and begins with irregular alternation of the
vibraphone and marimba. Although the _meiody is in the clarinet part, the
vibraphone performs first, stating a countermelody. These entrances are
shown in Example 38. The countermelody includes the rearranged head
motive of the theme, large leaps, irregular rhythms, and phrasing in small
note groups. The short phrases are separated by marimba pedal tones in the
range of d' -f"i. The juxtaposition of the percussion part, composed of
many different note lengths, with the comparatively regular clarinet part
give the impression of improvisation.

116

Example 37. Clarinet melody phrasing comparison, SectIOns B (mm. iS- l 8),
8' (mm. 56-62), and Bâ€ (mm. 230-235).

q; r!_"l rLâ€”ï¬ ,4 - --

â€b"

. e e
O 1972 Frederick Lesemann
Used By Permission or The Composer

117

Example 38. rim. 12- i S of Section B, vibraphone countermelody, marimba
pedal tones, clarinet melody (B theme).

â€˜ '8-

â€œ .J
#3 i i s:
\mll I J
T
Lv F's-ï¬‚ / M . 1'3"

[1 II \ A \ I

u v I k .r [â€”W
$3 a t r ,1 r I. s r a: U
T i g.â€˜ Hâ€™, â€˜7 i I

Â«â€˜2 Jun â€˜22 1 â€œf f

0 1972 Frederick Lesemann
Used By Permission Of The Composer

The percussion part is scored for vibraphone and marimba, except
for six fleeting temple block notes in mm. 16-17. This is one of two
sections that uses pitched percussion instruments almost exclusively.7-â€™0I

Several aspects of Section B are changed in Section 8' (mm. 56-84).
The clarinet begins; the melody is inverted; and its beat divisions are
triple. The clarinet part is marked '6/8 (3/4)," indicating alternate triple
and dupie groupings of eighth notes. Concurrently, the percussion part is
marked in 2/4 time. Its quarter note beat equals that of the dotted quarter
note of the clarinet part. The three-against-two relationship is, thus,
exploited horizontally (clarinet vs. clarinet) and vertically (clarinet vs.

percussion). This is illustrated in Example 39. A metric modulation, the

20Section C' is scored for vibraphone plus four tamtam or cymbal
notes. Unpitched percussion instruments are used exclusively in three
sections (8', D', and C").

118

first of several in the work, is used in the transition from the previous
section.

Example 39. Min. 56-63 of Section B', three-against-two.

O 1972 Frederick Lesemann
Used By Permission or The Composer

Section Bâ€˜ is the first section scored only for unpitched percussion
instruments. It is scored for bongo drums, tomtoms, bass drum, suspended
cymbals, and temple blocks. Duple beat divisions predominate in the
percussion part. The chief rhythmic motive, also featured in the coda, is the
pattern of three triplet sixteenth notes followed by an eighth note. (See
Example 39.) It is performed on drums and appears on and off the beat with
varied accentuation. A short passage of col legno on rims foreshadows

119

more extensive use of these two coloristic techniques later in the
composition.202

Section B" (mm. 230-263), in S/8 time, is the only section to use an
asymmetrical meter throughout. it is also the only B section where the two
parts play in rhythmic coincidence rather than opposition. The clarinet part
uses eighth notes and the percussion part uses complementary dotted
quarter, quarter, eighth, and sixteenth notes, as shown in Example 40.

Example 40. Mm. 230237 of Section B", asymmetrical meter.

Minnie imp ii b ' ' 5â€˜ â€™5

(3?) lie veeJo evl- ! T f

\l'

:37

0 1972 Frederick Lesemann
Used By Permission OfThe Composer

202Col legno on rims means to use the wooden handles, i.e. the
rattans ends, of the mallets to strike the rims of the drums. These
techniques, striking the rims and striking with the rattans, are used in
mm. 209-230, in Sections 0' and C".

120

The melody of Section B" appears in the clarinet part. it is the B
theme without inversion and is at the tonic pitch level.203 The vibraphone
has a ten-note countermelody that begins and ends with motive a and the
tonic pitch. Its internal notes are derived from the inversion of the
descending intervals of the B theme. The countermelody is reminiscent of
the slow theme because the notes are widely spaced in time. The harmony
between the two melodies is a mixture of consonance and dissonance.

Additionally, the percussion part is scored for bongo drums,
tomtoms, bass drum, and temple blocks. The clarinet and these unpitched
percussion instruments provide the rhythmic interest and drive of
Section B". The rhythmic figure of four sixteenth notes followed by eighth
notes is expanded to include Six sixteenth notes and is later contracted to
include only two sixteenth notes. This figure, which is always played on the
drums, links the short clarinet phrases.

Sections 0 and 0' contain many accents and are usually loud and
active. They begin identically, except for octave registration, but evolve
differently after the first phrase. These sections of the development
section are somewhat similar to the B sections due to their active nature,
quick tempo, and motivic treatment of the theme.204 They are the only
sections with frequently changing time signatures. Section 0 begins in 5/8
time and uses a mixture of 3/4, 2/4, 4/4, 6/8, 3/8, 5/8, 5/4, iO/8, and 2/2
times. Section 0' uses a mixture of 5/8, 3/4, 5/16, and l2/ l 6 times.

Section 0 (mm. 98-128) is the most sectionalized of the variations.
Nearly all of the percussion inventory is used. Different instruments or

203The melody of Section B" is a perfect fourth higher than that of
Section B, except for the (1M in mm. 259-260.
2Oâ€˜iSections D and D' are Allegro; the B sections are Allegretto.

121

groups of instruments are used in short sections: rim. 98- l 07 include all of
the drums (two bongos, three drums, and bass drum) and some of the temple
blocks. The marimba and middle drum are used in mm. 1 l l-i i4 and the
vibraphone appears in mm. 122- l 23. The choked high suspended cymbal
creates a special effect in mm. 124- I 26. The triangle, vibraphone, drums,
and a temple block are employed in mm. 127- I28, the transition into
Section E.

Section D is the first section to give a strong feeling of puise.20S
Its rhythmic, attention-getting opening is shown in Example 41. Although
the variation is structured in small pieces by instrumentation and time
signatures, its rhythmic f low is structured as one large section. Continuity
is achieved with several metric modulations. Accents are frequent and
sometimes disguise the meter.

The melodic style of this portion of the development section is that
of a dialogue between the clarinet and percussion. The clarinet line
features the head of the A theme, the head of the B theme, and motivic
manipulations of motives a, b, c, and d. The marimba performs the A theme
quickly with some reordering of the pitches. The vibraphone line is derived
from the inverted head of the A theme.

Section 0â€˜ (mm. iBS-ZIB) is in binary form. Part I (mm. lBS-i94) is
similar to the beginning of Section D. Part ii (mm. l95-2l6) begins in S/IB
time and consists of continuous sixteenth note motion, with the exception
of a few silences. Continuous motion is created by alternating and '

205The previous sections all have distinct rhythmic identities but
can be described as creating an ambiguous feel by dividing the beat into a
wide variety of note values, using ties and cross rhythms, and avoiding the
pulse with irregular note lengths.

122

Example 4i . Mm. 98'105 of Section D, active and accented.

If: f
0 1972 Frederick Lesemann
Used By Permission Of The Composer

overlapping the two melodic lines. (See Example 42.) The final variation of
the development section sounds the most active and sets up Section C",
which contains continuous thirty-second note motion in the drum part and
underlies the recapitulated theme.

The melodic line of the clarinet consists of motIVIc manipulations
of the A theme, the B theme, and the four motives. The percussion part is
entirely unpitched and, after the opening phrase Which includes the highest
temple block, only uses the five highest-pitched drums. The rattan ends of
the mallets are used to strike the drums beginning in m. 209.

Section E (mm. l29-l84) is marked Vivo. it is positioned between
Sections 0 and Dâ€˜ and is entirely in 6/8 time. Due to the pointillistic style,
the very fast tempo, and notes sounding unpredictably on all beats and beat
portions, the overall effect is that of randomly distributed notes rather

than of notes arranged within a constant meter. The clarinet part is

123

Example 42. Mm. l95'204 of Section 0', almost continuous motion.

oâ€˜vogtif a. . â€™b **/L""T
.p-

{LN

l7r â€™ ( >3

â€f :..:=.* . i.

4.
Iâ€œ "- ~ â€œi Kâ€˜dâ€˜f

if) I. Â«l- â€”-= f c I.
O 1972 Frederick Lesemmn
Used By permission or The Composer
characterized by large leaps and sudden dynamic changes. The percussion
part also has sudden dynamic changes.

Section E Is scored for Vibraphone, mar imba, bass drum, triangle,
and drums (the bongos and the highest tomtom). Each instrument has its
own role to play and is not treated as part or one polychromatic percussion
me10dy. The pass drum functions as an attention-getter and metronome. it
introduces the section by playing f we steady, on-beat notes that start ff
and diminuendo in preparation of the soft entrance Of the Clarinet. The
triangle is a high-pitched pedal point. The marimba plays low A's,
establishing tonic as a low-pitched pedal point. The Vibraphone enters in
m. 150. it distributes one complete Statement of the theme, at the
subdominant level, across thirty measures. The high-pitched, non-resonant

124

drums play flam figures.206 These various percussion elements combine to
form a timbre mosaic. The clarinet melody is a variation of the B theme. A
portion of Section E is shown in Example 43.

The coca (mm. 275-339) begins with a five-measure introduction of
continuous thirty-second notes played on the drums. This leads to a loud
bass drum note on beat one of the coda â€œproper.â€œ Three tamtam notes
crescendo to a clanging metallic box chime, suspended cymbal, and brake
drum passage which sets the tone of the loud and energetic coda.

Lesemann's first page of sketches for the Sonata was his initial plan for its
structure. Although the structure changed by the time the composition was
finished, some of his colorful descriptive notes apply to the coda: â€œAll hell
breaks loose, maximum density, ff. Extreme diminution of prior elements of
a and b."207

All of the percussion instruments chosen for the Sonata are used in
the coda except the triangle and marimba. The brake drum, box chime,
xylophone block, and antique cymbal only appear in the coda. These
instruments are pitched at A-440 and combine with the vibraphone, which in
the coda only plays the pitch A-440, to produce a clattering
Klangfatoonmo/oo'io on the tonic pitch. Their notation is illustrated in
Example 44.

206â€Flam" is a term used in percussidn music to indicate a note
preceded by a single grace note.
207Lesemann, sketches of June 3, 1968, i.

125 ,
Example 43. Mm. 129-144 of Section E, pointillistic style.

live l': 1H

ll?

ff J'iw.s\iÂ¢.n .e e!

? (AeL)

0 1972 Frederick Lesemann
Used By Permission Of The Composer

126

Example 44. Percussion notation for instruments of K/angfaroonme/oo/a.

vibraphone brake (rum box chime xylophone antique
block cymbal

The coda is in 4/4 time and its tempo is quarter note equals l20,
twice as fast as Tempo I. A strong feeling of pulse exists. Although
neither part plays consistent rhythms, regularity of meter creates the
strongest feeling of pulse of the entire composition. Two ideas predominate
in the percussion part: a rhythm reminiscent of Section B' (see Example 45)
and the Klangfa/oenmo/oo'to on the pitch A Their use gives the impression
that they are the basis for an improvisation.

Example 45. Percussion rhythm prominent in Section B. and the coda.

17:3) .. 1TH

The clarinet part of the coda consists of extensive manipulation of
the theme and motives a, b, c, and d. The coda begins With the first seven
notes of the theme. Notes l l- l 4 of the theme, the intervallic pattern of
minor second-major second-minor second, is used for an important
repetitive scale fragment beginning is m. 296. (See Example 46.)

127
Example 46. rim. 295-298 of Coda, scale fragments plus Klangfamonme/oo/e.

(I) 'l' n '5 ( â€™t 'i/N.

116

O 1972 Frederick Lesemann
Used By Permission Of The Composer

Longer scale passages evolve from these short passages. Transposed
versions of mm. l95- l 96 of Section D' and mm. 230-23l of Section B" are
combined to form a new melody in mm. 309-312. This is shown in Example
47. After the clarinet part culminates With a fff Dâ€, it joins the
Klangfa/Denmo/oo'to to conclude the composition, as shown in Example 48.

Example 47. Coda, mm. 308-3l2. Melodic remnants of Sections 0' and 8"

plus K/angramenme/oo/e.
(â€K/â€œKl f3. â€™4â€˜. . PA, ,ï¬
. â€˜_ k
m i like an. His-m

(iii v3 >

fan K- â€A,

3â€

e l972 Frederick Lesemann

If!) ,, 32 V 32
Used By Permission Of The Composer

128
Example 48. Mm. 330-339, the end of Sonata

(if)

"A .
â€™/'\ r7

339

(iii

O 1972 Frederick Lesemem
Used By Permission Of The Composer

CHAPTER SIX

7073540 BY ANDRE BOUCOURECHLIEV

Andre Boucourechliev (b. 1925), 3 Bulgarian native who has resided
in France since 1949, has pursued a many-faceted musical career. He began
his career as a concert pianist and left his homeland to study at the Ecole
Normale de Musique in Paris. After graduation, he served on that
institution's piano faculty for eight years. Boucourechliev's long career as
music critic and biographer includes books about Schumann, Chopin,
Beethoven, and Stravinsky. In the mid- l 9503, he became interested in
avant-garde music and spent several summers at the Darmstadt
courses.208

Boucourechliev's significant compositions, written after his
Darmstadt study, are for electronic tape, instrumental soloists, and
chamber ensembles.209 He worked with Luciano Berio and Bruno Madema at
the Phonology Studio in Milan during l9S7 and I958. Additional work was

208 Bate/â€˜29 ammo/val DI'Câ€˜UO/IZ/y of/â€˜tosic/ans: 7th ed., s.v. â€œAndre
Boucourechliev;â€œ David Mason Greene, GreeneSâ€˜BI'og/apn/ra/ inert/media of
Composers (Garden City, N. Y.: Doubleday, l985), l308; Paul Griffiths, fne
fnames andwoson [ncyc/opeo/a of Durant/em -Century NUS/r (London:
Thames and Hudson Ltd., l986), 36; New Grove Dictiona/y o/Nos/â€˜c and
Molt/ans s.v. â€œAndre Boucourechliev,â€ by Anne Girardot.

209His principal publishers are Leduc and Universal.

129

130
done at the studios of the Gr oupe de Rechereches Musicales in Paris.
Texte / and TEXIIEâ€™ //, his most important compositions for electronic tape,
were written In l958 and l960. Anonymous record jacket notes describe
Texte /:

Material, electronically supplied, Is set in motion and after
progressive elaboration, which is rigorously controlled, finishes as a
large block of fundamental sound material, extremely mobile in its
inner parts and in constant evolution.â€o

Although his non-electronic works far outnumber his electronic works, the
latter are notable because the â€œhighly refined conception of sound displayed
in his instrumental works is a manifestation of sensibilities developed in
the electronic environmentf'zu Electronic and instrumental compositions
both employ mobile form.212

Of his non-electronic compositions, Boucourechliev is best known
for his aleatoric Aron/pet series. The Aron/pols were written for different
instruments or instrumental combinations between I967 and I972 and
employ a â€road mapâ€œ score.213 The realization of each Aron/pol â€œdepends on
how one interprets a score that looks like a navigational map."2M Paul

Griffiths commented that, â€œthe Aron/pol series. . . provides 'archipelagos'

2ioAndrÃ© Boucourechliev, "Texte I,â€œ [loot/ionic Nusk/lâ€˜tusiooe
Concrete: A Panorama offxpenâ€˜menta/ NUS/z; vol. I, Mercury Stereo SR2-
9 i 23.

2' i idem, "Archipel Iv,â€ Newt/no Plano idil Biret, pianist, notes by
ilhan Mimaroglu, F innadar SR902I (i978).

â€Music in â€œmobile formâ€œ is music in which sound elements are
defined b the composer but their implementation is variable.

2 3Such scores include one or several pages with musical elements
or events variously distributed on the page, plus extensive written
interpretational instructions for the performers. Tombeau is an example.

21â€˜iGreene, I308.

131
of material to be visited by the performers at will.â€œ215 Tomoeao, although
not an Aron/pet was written during the same period and uses a similar
approach. It is scored for A soprano clarinet accompanied by percussion or
piano. There are two separate accompaniment parts. The clarinet and
percussion version will be discussed here.

IQIILDEBM
Andre Boucourechliev's 70070930 is a poignant composition because

of the tragedy that caused its creation. It Is one of a collection of pieces
â€œdedicated to the memory of the French composer Jean-Pierre GuezÃ©c Who
died at the age of 37."216 Boucourechliev described it as â€œthe quintessence
of 3 Requiem."217 It was written in I97I and premiered at the Royan
Festival the same year.218 It is typical of Boucourechliev's aleatoric
compositions although it is shorter and less complicated.

The powerful emotional content of this three to four minute
composition belies Its short duration. Performance instructions describe
the style as â€œgloomy and almost beyond time.â€œ219 Boucourechliev chose the
instrumentation well. The A soprano clarinet has a darker, mellower tone
than the BD soprano clarinet. The percussion Instruments used for most of
the composition are dark-toned: snare drum with snares off, bass drum, and
medium- and low-pitched tamtams. The glockenspiel and snare drum with
snares on are used briefly in two dramatic situations. Other factors Which
help create the gloomy, funereal character are the use of very slow note-

2' 5Grif f iths, encyclopedia, 36.

2i5AndrÃ© Boucourechliev, Tomoeao (Paris, France: Editions
Musicales Alphonse Leduc, I974), introductory notes.

2â€Andre Boucourechliev, letter of February 2 I, I982, to the author.

2 i 3 Grove "Boucourechl iev.â€œ

219Boucourechliev, Tomoeaq introductory notes.

132
values in the clarinet part, the prevalence of soft dynamics, and the
requirement that the clarinetist remain motionless throughout the
performance, except when providing a few subtle cues for the partner.

The score is organized into three parts: a page of music for the
clarinetist, a page of music for the percussionist, and extensive written
instructions. The instructions are printed in French, German, and English
and total two pages. The inclusion of three languages for these crucial
instructions makes more performances likely since most prospective
performers will not have to bother with the task of translation.

In performance, the clarinetist leads this collaboration while the
percussionist reacts to the clarinetist's music and signals. Certain
elements are to be played when the clarinetist gives small cues. Other
elements are to be played between the clarinetists phrases or While the
clarinetist plays, but not exceeding the dynamic level???0

The clarinet part has two facets: the â€œcentral pitch-materialâ€œ and a
â€circular diagram of phrases, durations and nuances which are meant to
articulate this material.â€221 The pitch-material consists of a cycle of
fifteen notes with the range of câ€˜-fâ€˜2. These pitches are played in normal
order; i.e., from left to right. The pattern Is repeated as necessary. This
â€melodyâ€œ is notated on a Staff in the middle of the page. The articulatory
material Is arranged In a circular manner around the staff. it consists of
one to four notes of three to seven seconds length each. The dynamics range
from ppp to p. Some of the minimal dynamic changes are gradual ; others
are sudden. Normal tone production is used except for one instance of
flutter-tonguing and two of vibrato. Starting points within the pitch-

220lbid.
22' lbid.

133
material and circular diagram are chosen by the clarinetist at each
performance. The clarinet part is shown in Example 49.

The percussion part includes several categories of â€œsound-elementsâ€œ
that are played In variable order. Sound-elements are labelled as
initialeslflnales, consonneslponctuations, ilasons ou noeuds,
mixtures, structures, interventions, and clausule finale.222 Only
the glockenspiel's Intervention, marked obligatoire, and the snare drum's
roll, marked clausule finale, must be played.223 The instructions tell how
and when each type of element should be performed. The percussion part is
shown in Example 50.

The two obligatory percussion surprise-passages add to an Imagined
storyline of this programmatic composition. Both passages are loud and
intended as surprise interruptions of the clarinet part. The glockenspiel
part is played once during the second half of the work at â€a freely chosen
momentâ€ between two clarinet phrases.224 (See Example 50.) This is the
only use of the glockenspiel and Its sudden appearance serves as a contrast
to the earlier slow, soft, and dark passages. The dynamic marking is tutto
fff and hard xylophone sticks are specified to create this dynamic. The five
phrases of this interference range in length from six to eleven notes. Each
phrase is played as fast as possible. The flurry of activity and introduction
of the bright glockenspiel sound into the gloomy and timeless atmosphere is
a surprise which, at first impression, might be considered a

222The English translation for these terms, which is found on the
Instructions page, is initials/finals, consonants/punctuations,
connections or knots, mixtures, structures, interferences, and final
clause.

22380ucourechliev, Tomoeaq introductory notes.
2241 bid.

134

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joyful recollection of life. Further contemplation, however, might suggest
feelings of anger and shock because of the brittleness of the tone of the
glockenspiel and the occurrence of highly dissonant clusters which result
from the harmonic sounding of the notes of the five phrases.

The final clause of the percussion part provides another surprise. it
consists of a snare drum roll that begins fff, rudely interrupts the clarinet
and then diminuendos and â€œbrings the piece to an end in absolute immobility
and silence."225 This slow, quiet composition gives the impression that it
will continue forever but it is suddenly stops prematurely. This is an
obvious allusion to GuezÃ©c's untimely death. Perhaps the drum roll also
serves as a funereal military tribute.

Tombeau is an atonal composition. Some atonal compositions lean
toward one or more pitch centers, however, a tonic is not created in this
work because of the order of the clarinet's pitches, the Intervals chosen,
and the extremely slow pitch changes.226 Some of the â€phrasesâ€ consist of
only one note. The longest phrase is four notes in length and could last as
long as twenty-eight seconds. Two notes of the chromatic scale are
omitted and five are played twice, usually in different octaves. The melodic
intervals involved are four minor thirds, a tritone, a perfect fifth, three
major sixths, two minor sevenths, a major seventh, and three minor ninths.

The harmony is melodically conceived over an accompaniment of
unpitched percussion. There is one brief section of pitched percussion, the
five-phrase obligatory glockenspiel interference. it is played between the
clarinetists phrases. The passage is so fleeting and the glockenspiel is so

2â€˜25Ibid.
226Each of the notes lasts from three to seven seconds.

137
resonant that the impression is one of five dissonant blocks of sound, rather
than five arpeggiated chords in harmonic progression.

The sensation of â€œalmost beyond time" which Boucourechliev wished
to evoke is created by playing slowly and quietly with many interspersed
silences. The use of chance elements does not change or interrupt this
sensation. Listening to 70070930 is synonymous with viewing a hanging
mobile. The composer, in fact, used the term â€œmobileâ€œ in his general
performance instructions. Cope described the phenomenon:

When the timbre, structure, and dynamics of two sounds are so
different as to avoid the traditional concept of melody, they become
events. . . . Each is equal in importance and does not necessarily build
to a climax or cadence. The introduction of silence as an integral part
of a composition, and treated equally with sound, helps in identifying
these events in time. As sounds move further and further apart, their
order becomes less and less important. This reflects the same concept
as a â€œmobileâ€ in art: that is, the shape, color, and design of each part is
fixed, with the order and angle constantly changing.22

Aleatoric compositions which use mobile form are often highly-controlled
compositions.228 The general style of Tombeau is established by
Boucourechliev, who provided "comprehensive rules for the assembling of a

performance.â€œ229 The structure is mobile.

227David H. Cope, New Direct/ms 177N051: 4th ed. (Dubuque: William
C. Brown, i984), 274.

228"Few composers other than Cage have made as much use of true
aleatory composition,â€ said Paul Griffiths in Grove, â€œAleatory.â€ "Aleatory
music in Europe might, in general, be considered as a matter of choice
rather than chance, and the most significant choices have usually remained
with the composer, whether he exercises them in notating a score or in
directing a performance.â€ Cage, on the other hand, used â€œchance operations
in compositionâ€œ and "lef t options as open as possible."

229 6mm, 'Aleatory.â€

138

At times composers receive unsatisfactory performances or their
COITIDOSitiOhS because either their notation or instructions are unclear. This
has occurred With aleatoric pieces as well as With works 0i more
traditional h0t8ti0h. Boucourechliev's notational system is very clear in
7'0/170930 and might well serve 38 a model for other composers. NO matter
now clear the instructions are, thiS style or ITIUSiC iS DOt to be read at Sight.
Time and patience are required to understand the instructions.

inasmuch as 70070930 iS a short piece and the instructions are hOt
overly complicated, it might serve as a good introduction to the mobile
style. it is technically a well-constructed work and and has a strong
emotional impact upon the audience and the performers alike.

CHAPTER SEVEN
WILD 771155 TOLDON Thf/iâ€™l V51? ROAD BY NETTY SIMONS

5391393251051

Netty Simons was born in New York City in i9l3. She was educated
at New York University's School of Fine Arts, where her composition
teachers were Marion Bauer and Percy Grainger, and at the Julliard Graduate
School. She also studied composition privately with Stefan Wolpe. Early in
her career, Simons taught and served as a vocal coach at the Third Street
Settlement School. From l965- l 97l she produced radio broadcasts of
contemporary music for the American Composers Alliance for WNYC radio of
New York City and for WUOIâ€˜i radio of the University of Michigan}:50

Simonsâ€˜ primary occupation, however, has been that of composer.
Her list of published compositions?â€œ is extensive and reveals steady and
individualistic creation since her opera, The Bell Witch of femessee, was

completed in l958. Several of her compositions have been recorded,

21"0Anderson, 475,- Aaron I. Cohen, /ntemationa/ encyclopedia of
Women Composers; 2d ed., vol. 2 (New York: Books and Music, l987), 644-45,
l l29; Judith Lang Zaimont and Karen F amera, Contemporary Concert tit/sic
by Women- A Directo/y of Composers and Tneir Wants (Westport, Ct.:
Greenwood Press, l98l ), l l2; publicity materials of Netty Simons,-
correspondence and conversations with Netty Simons.

23â€˜Her music is published by Merion Music, Inc.

139

140

including the Pied/Diner ofhâ€™amelin which â€œwas a bestseller on CRI
Records."232

Simons has written theater pieces, an opera, music for piano, band,
orchestra, and a multitude of chamber groups. Some of her compositions are
scored for a flexible number of players and variable instrumentation?â€œ A
number of her compositions are graphic scoresï¬w4 Her early music is
â€œcharacterized by an extreme economy of means and imaginative control of

color."23'5 In recent years she
has become more and more Involved with aleatoric principles--her aim
being â€to free the performer--to allow his imagination and
inventiveness to take flight, bound only by Indicated pitches and pitch
relationships with the free choice of combined activities and
dynamics.â€œ Under these controlled conditions within a framework of

free choice, one and the same work can conceivably take on different
shape and form in each performance.236

WM
Netty Simons composed her fanciful clarinet-percussion duo, Wilo'

Tales role on the River/Pose: in l973 as a result of a commission from Ron
and Joan George. The programmatic focus of the work is underscored by the
titles of the ten continuous movements. The titles are:

232Zaimont, l 12.

233E or example, Design Groups / is for one, two, or three
percussionists. Design Crowsz is for a duo of one high- and one low-
pitched instrument. fnis Slowly Drifting Cloud can be performed by a brass
or woodwind quintet, numerous larger wind groups with optional percussion
and strin bass, or a band of any size.

2 4Graphic scores are notated with a preponderance of symbols
other than those of standard musical notation.

235Netty Simons, â€Design Groups 4' l ," â€Design Groups *2,â€ and
â€Silver Thaw,â€œ Bertram fwetzkx cont/a pass; record jacket notes, Desto

DC-7128.
236mm.

141

An Encounter Between a Nose and a Doorpost

Tale of a Distant Dream

Tale of the Bewildered Snout

Mating Waters

The Constant Knock on the Door

Tale of the Forever Lost

The Wanderer in the Deep Cavern

Caught Up in the Rushing Stream

Gently F luttering--the Heavenly Bells Hang from a Cloud
l0. Reflected In a Drop of Dew-"Memories Floating

DQNgâ€˜SJâ€˜APâ€˜N.â€œ

The movements depict â€œfantasies In the fashion of the â€œsingular adventures'
of Baron von M0nchausen.'237 The Baron Is a legendary eighteenth-century
German raconteur and literary figure to whom numerous â€highly coloured
mendacious storiesâ€œ are attributed."'I-â€™1â€™>8 The titles of Simonsâ€˜ fantasies
cannot help but incite oneâ€˜s "imagination and [cause one's] Inventiveness to
take flight"239 and she undoubtedly had them in mind as she composed. The
titles also make the music more vivid for the listener and are vital to
performers attempting to realize the graphic score. This is similar to the
interpretative information afforded a singer by knowledge of the text of a
vocal piece.

Wild l'ales, a work of approximately twenty-two minutes duration,
is scored for Bâ€ soprano clarinet, bass clarinet, and a giant array of
percussion equipment. Eight of the ten tales are scored for Bb clarinet. The
remaining two tales are scored for bass clarinet and can be played by a non-
virtuoso bass clarinetist. The clarinet part Is specifically notated except
for the rhythm, which is notated With symbols of approximate duration. The
percussion part uses graphic notation almost exclusively.

237Ruth Uebel, press release, January I980.
233 [ncyclopeadia Britannica, 14th ed., s.v. â€Baron Milnchausen.â€˜
239Simons, Desto DC-7128.

142

Composers who employ graphic notation have a wide variety of controls
and results at their disposal. Brindle's Instruction book for composers
describes the spectrum of possibilities:

The score â€œwith instructionsâ€ may have as its objective a well-
defined sound result, that [i.e., the score] â€œwithout" may be intended
only as a stimulus to improvisation, which may follow a course
suggested by the design.240

Although the percussion part of Wild Tales is primarily graphic, the
musical results of the entire work are carefully structured. Each
performance will not sound the same, as would a conventionally-notated
piece?â€œ but there are enough â€constantsâ€œ to make Wild lâ€™ales recognizable
from performance to performance and to create ten tales of different styles
as well.

Simons created contrast between the tales in a variety of ways:
e.g., with staccato vs. legato, dynamics, pitch Inventory, the speed at which
the notes follow each other, prominence or lack of prominence of certain
pitches, different types of graphically-indicated sounds, different
instruments, timbres, cadential pitches, texture, and form. Different
textures include use of an unaccompanied solo instrument, solos that are
accompanied by the other instrumentalist, dialogue sections in which the
clarinet and percussion play alternately but with material of equal
importance, and duets in which the parts have equivalent material that is
played simultaneously. The tales are generally short and their forms can be
compared to songs in a song cycle.â€œ2 Several tales are through-composed.

24Â°Brindle, Musical Composition, 157.

2â€œLesemannâ€˜s Sonata and Russell's Pas de Deux are examples of
conventional ly-notated pieces.

2â€œThe tales average slightly over two minutes in length.

143
Others are set in binary and ternary forms but lack literal repetition of
material.

Wild Tales uses every pitch of the chromatic scale but the sevenâ€”
note â€œpitch groupâ€œ of FIG" plus the six chromatic notes Aâ€˜le through
Dâ€˜lEb is the backbone of the composition. These pitches are used in all ten
tales and will be classified herein as â€œPitch-group I.â€œ (See Example SI.)

Example 51. Pitch-group I.

.aï¬‚

â€œPitch-group II", the pitches E, F, G, Gâ€™lAb, and A, are all used in the
transition passage between Tales I and iI. Various subsets of Pitch-group II

are used In the other transitions. Pitch-group II is also used in two of the
tales; i.e., in the percussion part of mungï¬‚atecs and in the clarinet part of
W The function of Pitch-group I IS analogous
to diatonic or consonant pitches; conversely, Pitch-group II has a function
analogous to nondiatonic or dissonant pitches.243

Pitch-group l is treated differently In each movement. All seven
pitches attain prominence at some time during Wild Tales. Prominence Is
afforded through length, repetition, and important placement, e.g., the first
note or last note of a phrase. Each pitch has the opportunity to conclude at
least one tale,- F' ends four of the ten tales. â€œResolution pitchesâ€œ are
created in several tales. This Is achieved by infrequent or no use of a pitch

2â€œSpecific examples will be cited later in this chapter.

144

until the time of resolution. Exact proportional relationships of pitch
occurrences cannot be studied because the rhythmic notation is
approximate; however, Ignoring note lengths and counting the number of
occurrences of each pitch clearly reveals that C is the most used and F 3 is
the least used pitch of Pitch-group L?â€œ

In some graphic compositions, instrumentation Is unspecified. In
Wild Tales; the percussion setup is extensive and somewhat variable.
Sometimes percussion instruments or types of sounds are specified. At
other times, because of the graphic notation, the choice of sound and
instrument is left to the percussionist. Marimba, vibraphone, xylophone,
glockenspiel, bass drum, piccolo timpano, large suspended cymbal, large
triangle, small tamtam, and small tomtom are required. Specified
instrument types are: "light sounding instruments in all ranges,â€œ "low-
pitched Instruments,â€˜ â€œcymbal-type Instruments,â€ â€small head drums,â€œ
â€˜glass-like Instruments. . . Including glass wind chimes,â€ and "low pitched
drums."245 Additionally, the instructions state:

if Vibraphone with low C Is not available, use a Bass Metallophone in
adjunct with the Vibe or, as another alternative, the Lu jon (six metal
tongues fixed on vertical resonating box). Use Bass Marimba in adjunct
with the Marimba. If not available, the entire Marimba part should be
transposed up an octave. . . . If using glass instruments, arrange them
over a trough so as to catch shattered glass which in turn can be used
as an instrument. High-pitched metallic instruments can be used in
place of glass, but must be chosen for fortissimo and furloso
possibilities.246

2â€œâ€œC's of various lengths appear approximately 270 times. F "5
appear approximately 60 times. This is about half as much as A'le and
Dâ€˜lEb, the next most infrequent pitches, appear.

2â€˜i'5Netty Simons, Wild Tales Toldon the River Road (Bryn Mawr, Pa:
Merion Music, Inc., l977).

246lbl'd, 2.

145

In additionto the large number of Instruments specified,247 amplification
Is also requested In certain sections. It is generally employed to add depth
to particular soft sounds, such as In Tales ii and VI l.

The pitches of the clarinet part are specifically notated. The
clarinet line Is predominantly angular, using 'nonvocar style. This style,
characteristic of much twentieth century music, Is helpful for avoiding the
monotony that stating Pitch-group I in order might bring. The highly
dis junct lines also add some wildness to Wild Tales. Several tales include
brief opportunities for improvisation by the clarinetist. These usually
occur as tonal variations and may include multiphonics. The choice of
particular multiphonics IS left to the clarinetist but Simons' instructions to
use Pitch-group I should be followed. Multiphonics are suggested in Tales
II, III, VI, VIII, and X.

Detailed performance Instructions are provided for Wild Tales
because Simons seeks to guide the performers' Interpretation of the graphic
notation. There are three pages of explicit instructions: one page for the
duo and one page each for the percussionist and clarinetist. Some of the
symbols are standard while others are appropriate to Simons' personal style
and this particular composition. The instruction pages show and define
symbols for a variety of note lengths and pauses, from short to long, and the

2â€œAssembling all this equipment is a mammoth task and most
percussionists do not have access to the full list of suggested percussion
instruments, particUlarly the extended range vibraphone and marimba. This
unfortunately limits to a certain extent the number of performances that
Wild Tales might receive. Prospective performers must weigh the
possibilities of slightly altering some passages by substituting similar
percussion instruments and then determine if the music is still valid. The
"Uwharrie Duoâ€œ made such adjustments and felt that Wild Tales proved to be
most effective, well worth the challenge of dealing with the large
percussion setup.

146

pacing of specific note groups, from leisurely to as fast as possible.
There are also symbols for staccato or legato, for types of repetitious
sounds, for accents, sound clusters, varied tone production and dampening.
The symbols and their definitions are illustrated in Examples 52, 53, and S4.

Ibslales
BMW is scored for 3"

clarinet and â€œlight sounding [percussion] instruments in all ranges.â€œ The
clarinet part uses Pitch-group l, beginning with the core of Bb-B-C-Câ€˜.

C appears most frequently, but D and 8â€ receive more agogic accent and the
latter ends the tale. No pitches are specified for the percussionist.

Numerous types of musical gestures or events and graphic symbols
are used to create this tale. The clarinet part includes flutter tonguing,
sharply-accented notes, short single notes as well as single notes that are
stressed and lingered upon or single notes that are held for a long time, and
notes that are beamed together. The latter signifies groups of two to eight
notes that are played as fast as possible, legato or with an uneven,
leisurely staccato.

Tale I is predominantly soft but crescendos to ff three times. The
pattern of events outlines a two-part form. Section A of the percussion
part includes numerous graphic symbols. Example 55 shows the wealth of
symbols used in the clarinet and percussion parts at the beginning of Tale I.
Section B begins midway through line 4, at the pp marking. There is a
moment of silence, a large drop in dynamic level and intensity of events, and
a return to the mood of the opening. Section B builds to a more violent
climax than Section A and uses fewer types of graphic symbols. Trills build

147

Example 52. General Instructions.

INSTRUCTIONS

- Enter together. Continue at own pace (as indicated).

7â€˜ - Enter immediately following previous activity.
I
I

I
{â€”9) - Continue to next line or page without pause.

â€”â€”â€”% - Continue indicated activity to end of arrow. Begin following activity without pause.
, - Breath.

â€™9â€œ - Long breath.

Pause. Long pause.
5â€˜ - Long hold over pitch. 6" f3 - Very long hold over pitch.
Prolonged activity. Very prolonged activity.

A - Continue aï¬er all sound dies away.

/ - Sharp break. I - indeterminate pause.
m

Ill (bottom of page l2l 1- Prolonged activity for percussion after the clarinet drops out.

Sharps or ï¬‚ats are not continuous unless so notated.
All extended activities are indeterminate in duration.

Ampliï¬qtion: Speakers should preferably be placed in different parts of the hall.

0 I977 Marlon Music Inc.
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148

Example 53. Percussion instructions.

PERCUSSION

O - Short sound. m - Leisurely. uneven staccato. a As fast as possible. staccato.

I I l - Semi-slow (ea.J -l16) or semi-fast (can-116) staccato. Use one or the other tempo for each pitch
grouping. Never combine both tempi within any one pitch grouping â€” a new grouping begins after any
pause.

-
I - - Indeterminate amount of short sounds slowly paced. y- The same quickly pawd.
I I
I
â€” I I I I - Uneven repetition - any amount of one sound.

m- Play exact amount of indicated sound at â€œfast as possible" tempo.
m1 - Exact amount â€” each x a different sound â€” at a leisurely pace.
m - Exact amount â€” each x a different sound â€” as fast as possible.

I u U .-â€”â€”D - Begin with slow repetition of one sound and gradually increase speed to next activity, follow-
ing overall dynamics.

0 (0) ch: - indicated pitch or pitches interspersed at will during indicated activity. in given range. order and inter-
val relationship. Pitch groups must always be completed. but may be interspersed with non-pitched
sounds in the process.

0(a) - As above in any range. but in exact order and interval relationship. During completion of pitch groups.

intervals may be spanned over more than one octave at will (in direction shown), and may be in-
terspersed with non-pitched sounds as above.

/- Single stroke. // - Single stroke and repeat. / / I Each stroke on different instrument.

A- Single sharp. loud accent. Do not dampen.

M- Two sharp. loud accents, same pitch or varied. as fast as possible. Dampen.

- Sharp accents â€” loud or soft. slow and fast. spaced at will.

- - Sound cluster. Do not dampen.
H - Varied sound cluster activity to end of arrow.

â€”> - Dispersed activity to end of arrow. Follow overall dynamics.

- Trill using varied techniques: brush round cymbal. tam-tam or head of drum: stick
drawn across wood blocks, wind chimes. etc.

Iii
1:1

- Each trill on different instrument. L . V, - Do not dampen.

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149
Example 54. Clarinet instructions.

CLARINET
O - Short sound. less abrupt at end of phrase. m - Sustained sound of short duration.
4 ' ' ' - Uneven. slow legato.
b - Lingering sound. ) - Lingering sound with slight stress.
I I - Uneven. leisurely staccato. D - Uneven. leisurely legato.

ï¬‚â€™ - As fast as possible, staccato. 5â€™- As fast as possible. legato.

I 1 J- Semi-slow(ca.J-l16)orsemi-fast(ca.te-ll6)staccato.Useoneortheotherternpoforeachpitch

grouping. Never combine both tempi within any one pitch grouping â€” a new pitch grouping starts after any
pause.

o-Longsound.

0 .- Long sound with hold. With or without variation of dynamics.
m f."

O - Long sound with long hold.

- Without variation of dynamics.
0/ â€™\Â° - Variation of dynamia. inaudible break between pitches.

â€-- - Slow repeats â€” indeterminate amount. No variation in dynamics.

lI-Iâ€”â€”â€”-9///- Start slow. gradually increasing speed to flutter tongue.

A - Multiphonics. Limited to indicated pitches of particular numbered section (as below). Related quarter tones
allowed.

PITCHES
(actual sound)

ll. Tale ofa Distant Dream: oil 0 pi all all a C
III. Tale of the Bewildered Snout: Aii B C CII D DII Fli
Vl. Tale of the Forever Lost: Cii D DII F9 Ali B C
Vlll. Caught Up in the Rushing Stream: Cli D Dii AI! B FiiC
X. Reï¬‚ected in a Drop of Dew â€” Memories Floating: A5 B C C It D F It DII

In improvisation areas, multiphonics are allowed.

fâ€”9 - Use varied tone production.

L A

I 5 - Use varied tone production with multiphonics interspersed (following the above instruc-
tions).

W A
r > - Oscillate slowly at will using varied tone production. with multiphonics
interspersed (as above).
A - Sharpaccent.
O O O g

V - Repetition of loud and soft attacks â€” indeterminate amount in varied speeds.

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150

Example 55. Tale I, lines I-2, many graphic symbols.

A /\

llb Cl.

sounding instalment: in all

Perc. I . .

BL Cl.

Perc.

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toward the climax of four loud, sharp percussion accents and the clarinetâ€˜s
wailing reaction. The final group of notes is played as fast as possible.

The clarinetist and percussionist perform as equal partners in An
WW often playing different material
simultaneously. The â€œencountersâ€œ are dialogues in which the percussionist
plays sharp accents and the clarinetist reacts immediately with a flurry of
quickly-played notes.

The last line (line 9) of Tale l is the transition into Tale II. The
percussionist improvises quietly using the dispersed activity graphic
instruction and Pitch-group ll, while the clarinetist changes to the bass
clarinet. The transition is illustrated in Example 56. Its lmprovisatory
style is typical of all of the transition sections.

151

Example 56. Tale I, line 9, Improvised tranSItion.

050392 to 34:: C2

Bo CI.

Pere. â€˜

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WW IS a slow, quiet bass clarinet solo
entitled molto espressivo and is colored by percdsslon sounds. Low-
pitched percussion instruments are specified. These are amplified and the
drums are muffled. The bass clarinet part is most often scored in the
clarion and altissimo registers where the tone tends to be less full. This
range as well as the echo effect and the low-pitched percussion sounds
contribute to the dreamy and distant character of this subdued tale. The
tale is through-composed and interrupted by an agitated crescendo to the
climax (line 7). The frenzy culminates in a short section With spit out
loud accents (i.e., 5.0.) where a group of notes are performed by the bass
clarinetist as fast as possible.

The bass clarinet part primarily consists of uneven, leisurely
staccato, uneven, leisurely legato, and long notes. The long notes are,
perhaps, different stages of the dreaming process. They frequently use
some type of timbral variety; e.g., flutter-tonguing, echo effects, and
varied tone production with multiphonics interspersed. Tale II
begins as a bass clarinet solo with a long note that is variously colored by
flutter-tongue and echo effects. Stepwise motion is used until the end of
the first phrase, where large, expressive leaps up and down occur. The first
phrase is shown in Example 57. The melodic line continues using a mixture

152
Of conjunct and disjunct motion as well as repeated notes. The
percussionist COiOfâ€˜S the bass clarinet SOIO with a variety Oir slowly-moving
sounds. Graphic SYlTiDOiS in both parts call i'OI" tiâ€˜iiiS, dispersed activity,
uneven repetitions Of one sound, SiOWiY paced short sounds, and sound
clusters.

Example 57. Tale ii, line i, bass clarinet SOiO.

7: alto orpsersiro /, _ - - .
ILL â€œbe (wane!

n... g : 1:; an; Wï¬.â€”â€”_a

Ci.

'0} n stuns 05,019.55.

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The bass clarinet part uses Pitch-group I. While C is the most
frequently used pitch, Fâ€™ is the most important and is used for many long
notes, including the final note. The percussion part is unpitched.
The last line of the movement (line 10) is the transition into
Tale lll. While the clarinetist returns to the BD clarinet, the percussionist
improvises freely using dispersed activity and the pitches E and F from
Pitch-group II. The improvisation crescendos to f f l' and concludes with the
Ditch E.

W19 the ONY tale With a Clear
pitch center. With the exception of the codetta, every gesture or event ends
on C.248 In the codetta, F' implies a half cadence and prepares the

transition into W The Bâ€ clarinet part of M

2â€œSeven of the ten tales, including the first five, use C most
frequently. Tale III is the only tale where C is also the most important
structural note.

153
W uses Pitch-group l. The percussionist is instructed to
â€œuse all available non-pitched instruments."

Tale ill is in a conversational style. The parts alternate with each
other. The form is ternary with a codetta. Section A extends into line 3.
Section 8 begins in the middle of line 3 where the term agitated appears.
Line 6, marked same as beginning, begins Section Aâ€œ. The codetta
consists of the clarinet part's final note, F â€˜ with echo tone, and
reminiscent rhythms in the percussion part.

A limited repertoire of graphic symbols signal the production of
very dry percussion sounds in the configurations of single notes, single
notes approached by a grace note, and groups of two to nine notes that are
played as fast as possible. The clarinet part has the same notes and
symbols as are found in the percussion part as well as several long notes.
The clarinet notes are slurred and contrast with the dry percussion sounds.
Example 58 shows Section A and illustrates the types of graphic symbols
used In Tale III.

In the transition to Tale IV (line l0 of Tale ill), the clarinetist
suddenly attacks f3 at a fff dynamic level and the percussionist joins in an
improvisation which includes the same pitch and dynamic level. This sudden
change of dynamics comes as an immense surprise because Tale III to this
point had been soft with the exception of two brief crescendos by the
clarinetist.

154
Example 58. Tale Ill, lines l-3, Section A, limited types of graphic symbols.

/'\

iâ€ Ci.
' I
I I | '

' l i . t . l : . . l

:Itu (II aMi/IQII nu-pltdld instalment. - â€˜p/a] Ultâ€˜ltâ€˜ltb" fitâ€™nrt as â€œtells- :

I r I t | s

Pete.

85 Cl.

Perc.

[lb Ci.

sit .....

PP? I
. i

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m it Used By Permission or The Plblisher

W marked ft SEEING-'tUTiOSO, iS the first
iOUd and extremely agitated tale and also the tifâ€˜St to use pitched

percussion. The marimba part consists of Pitch-group i I. These pitches are
introduced in an improvised introduction that evolves out of the previous
transition. The clarinet part continues to use Pitch-group I. Classifying
Pitch-groups I and II as â€œconsonantâ€œ and â€dissonantâ€ seems appropriate in
this context. The different pitch groups behave like two rivers Joining, I.e.,
mating, with a violent clash.

Additionally, harmonic dissonance is present in the quickly-passing
vertical sonorities. The clarinet and marimba parts have three note-
f lurries marked as fast as possible which are played in rhythmic unison

These passages, shown in Example 59, contain some consonant intervals but

155
Example 59. Tale Iv, lines 2-3, furloso note-flurries.

â€œmpg: .} Â«than
I

â€œand "sit-be sticks suit.)

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the consonances are heard only fleetingly because Of the fast-moving,
furloso tempo. Selected pitches 0t other Clarinet note-flurries are
synchronized with one pitch or tWO' and four-note chords or the marimba
part. The composite sonorities are always dissonant. (See Example 59.)
Although C occurs MOSt frequently, the furloso character, rather
than a particular pitch center, iS the main focus 0t Tale iV. F' functions as
the long-awaited resolution note and appears only as the last pitch.
W iS through-composed and is a duet with the
clarinetist in the lead. During the clarinet's long notes, the percussionist
lmprovises in accordance With the dispersed activity graphic instruction
indicated in the score. Each improvisation USES an instrument 0t different

156
timbre; i.e., cymbals, small head drums, glass-like instruments, low-pitched
drums, highest to lowest pitched instruments, bass instruments, and high
instruments. Example 59 shows the first three such passages. The
transition into Tale V consists Of a percussion diminuendo to the minutest
SOUï¬‚d and also functions as a general cooling-off from this aggressive tale.

With humor Is the prevailing direction for Wu],
W. Scored for Bb clarinet and â€all [percussion] instruments
with a variety of mallets,â€œ it is in ternary form, A-B-A', with an
introduction and codetta. The introduction is a percussion improvisation
that sets the humorous mood and incorporates 6* from Pitch-group II. This
Is the only pitch utilized by the percussion and it Is found only three times
In the body of the tale. Sections A and A' are Characterized by an extremely
soft dynamic level which is punctuated by single loud and sharply-accented
notes played by the clarinetist. The abbreviation 5.0. found in the score
signifies the spit out loud accents technique. Section 8 features a long
crescendo to f, led by the clarinetist, and a diminuendo back to the soft
Section A'. The codetta is an unpitched percussion improvisation that
tapers to poop and leads into the soft Tale Vl.

F3 is the most prominent, although not the most frequently used,
pitch in the clarinet part. Each of the five times it is stated, it employs the
attention-getting 5.0. technique. Three are played simultaneously with
Gâ€œs of the marimba part, a fourth occurs simultaneously with a loud bass
drum note, and the fifth is a clarinet solo. The contrasting use of G' in the
percussion part of the introduction and Section A as well as the use of 5.0.
are illustrated in Example 60. The tension generated by the aggressive F"s
is resolved at the end with a dominant to tonic relationship. The last note

157 _
Example 60. Tale V, lines lâ€˜2, use 0t 6â€˜ DY percussion and 5.0. DY Clarinet.

A
1

r
f

I
'wl'tlt llamas
itâ€˜s all installments with a vuiety of mallets-thteusheut. [oi/ea Jigs-list a, {rennet (no surreal)

Be Cl.

Pere.

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of the clarinet part, B, is played very softly and is only used once in the
tale, where it appears as the resolution note.

The clarinet part also consists of slurred groups of two to eight
notes marked as fast as possible and, in Section B, several long notes.
All of these notes are flutter-tongued. F lutter-tongulng is somewhat
awkward to produce on the high notes but it is possible.

W951, for unaccompanied 3b Clarinet, is
one Of two tales that Is SOtt throughout. it is the only tale in which C is not

the most or second-most used pitch; instead, C functions as the pitch of
resolution, appearing only four times, all in the last line. Bâ€ and D, the
pitches that are Whole steps on either side 0f C, are important notes
because of agogic accent.

W is through-composed but there are several
recurrent pitch patterns, especially near the beginning. The octave
registration and rhythms of these pitch patterns sometimes change and the

158
idea or a iOSt person retracing his or her path or part of the path and then
searching out a new direction may be the reason for this melodic treatment.
Some 0t the recurrent pitch patterns are shown in Example 6i.

Example 6i. Tale Vi, lines iâ€˜4, recurrent pitch patterns.

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Graphic notation is used to indicate a long note, a lingering sound
with slight stress, an uneven, leisurely legato, and oscillate
slowly at will using varied tone production, with multiphonics
interspersed. The relative length of rests is also indicated. The
instruction of doloroso legato, the wandering melodic style, and the aural
stretching by the use of many large, slurred leaps all contribute to the
â€œlostâ€œ feeling.

159

W is a percussion solo with
intermittent bass clarinet accompaniment. It is scored for xylophone,
piccolo timpano, large suspended cymbal, vibraphone, large triangle, small
tamtam, and bass drum. Selected instruments are amplified. The entire
percussion part is specifically, rather than graphically, notated. Only the
exact durations of the pitches are left to the performers discretion.249

Tale VII gives the general impression of leisurely wandering which
is achieved through the varied pacing of the notes. Semi-slow or semi-
fast staccato, as shown in Example 62, is the main component of both
parts. in addition, the xylophone part includes some leisurely and uneven
staccatos, long trills, and very fast climatic notes.

The cavern is portrayed in several ways. High sounds, such as
xylophone and triangle, juxtaposed against low sounds, such as timpano,
vibraphone, and bass clarinet, give the impression of a cavern with high
ceilings. The short, high-pitched xylophone notes sound like droplets falling
from imaginary stalactites.

Dissonant harmony in the form of cluster chords adds to the eerie
atmosphere. The percussion part opens With a xylophone cluster chord; i.e.,
the half-step Aâ€™-B and an additional ninth up to C. This chord, shown in
Example 62, generates much of Tale VI I's pitch material. The tale ends with
four xylophone chords, played against the bass clarinet's flutter tongued Dâ€™.
All but the last chord include octave spacing, a cluster, and the pitches B, C,
and Câ€˜. The last sonority is the dyad Câ€™-Dâ€˜.

2â€˜iâ€˜IThis kind of notation is consistently employed in the clarinet
part.

160

Example 62. Tale Vii, line i, leisurely wandering style.

Bliss
Ci.

Perc.

Pied. Timpani (3)
mated e amp/filed.

ciusrer Choral 1 cont 1 iv

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â€œDissonanceâ€ also occurs because the percussion part uses Pitch-
group I and the bass clarinet uses four of the five pitches of Pitch-group
H.250 The bass clarinet part provides a sense of resolution for this
dissonant tale because the last note, the long and loud flutter-tongued Dâ€™,
is a member of Pitch-group I. Although the final chord is the cluster of
Câ€™-Dâ€™, the bass clarinet's movement from nondiatonic to diatonic provides
a cadential feeling.

WED is in binary form. Section A
consists of the first two pages of the score and is always soft. Section 8
begins with the xylophone cadenza on the third page. Section A begins
slowly, speeds up near the end (line 4), and then slows down. Section 8
follows a similar pattern but it is exaggerated. There is a molto crescendo

2'50The pitch A is omitted.

161

and an accelerando from the xylophone cadenza into a din of bass Clarinet
flutter -tonguing accompanied by cymbal and vibraphone trilling. This
precipitates an animated extension or the xylophone line which is capped by
a bass Clarinet 5.0. A long bass drum roll tapers from f" to pppp to end
Tale Vii.

W is thrOUQh'ComPOSGO and

is the second loud and energetic tale. It is primarily a clarinet solo. The
image of a rushing stream is created by clarinet trills, flutter-tonguing, and
numerous flurries of notes played as fast as possible. Dynamic
fluctuation creates the image of waves and flowing water. (See Example
63.) The percussionist adds vital moments of volume building toward the
climax, described as complete pandemonlum.

Example 63. Tale VIII, lines l-S, beginning of clarinet solo.

.
u E V 13 Xx A
I I F

.13: i i j w " ._ 17F} Â«oi to)

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162

Complete pandemonlum is performed in duet with the
clarinetists quasi scream--hold as long as possible on the very high
note of bâ€. This is such an intense moment that a lengthy rest is then
required for the recovery of the performers as well as the audience.
Following the rest, the clarinetist plays softly and breathlessly.

The clarinet part uses Pitch-group I. No pitch predominates, because
of the intense activity, until after the long rest. all then achieves
prominence as the note of recovery. The next, and final, two pitches are B
and F'. Their subdominant-tonic relationship implies a plagal cadence
which seems important in this context. Example 64 illustrates the use of
these pitches.

Example 64. Tale VIII, lines I2â€˜I3, plagal cadence.

W :34â€˜
9r 3 , s a
aÂ» e we
fie-I.esyedeâ€™toedh. "t """
-r P;
A
L
Be Câ€˜I.â€˜ ï¬g
- I: r.â€˜ - Tâ€œ
W 3i!-

e I977 Ilerion llusic Inc.
Used By Permission Of The Plblisller

The improvised transition into Tale iX features continuous soft,
dense, and low-pitched percussion sounds, which may include 5 from Pitch-
group II.

163

" â€˜l â€˜ io- lâ€˜aâ€˜v â€˜l 3' a-.lo ill- 0 IS
scored for BI) clarinet, glockenspiel, and â€glass instruments including glass
Wind chimes.â€ MOSt Of the Clarinet notes are in or near the altissimo
register. The glockenspiel and glass instruments have high tessituras.
These sounds can be interpreted as heavenly sounds. Gentle fluttering is the
result or the sustained quiet dynamic level, groups 0t fast notes, flutter "
tongulng, and grace notes.

Both parts use Pitch-group I bUt the Clarinet omits Dâ€™. This pitch
only occurs at the beginning and end Oi Tale IX. It is the first pitch and also
appears in the codetta, repeated five times, like a tolling bell. several
other pitches achieve prominence because Oi repetition or length. The
clarinet has several lengthy Cs and C's. The glockenspiel uses the
repetitive â€tolling bellâ€œ idea with Câ€™ on three occasions.

The melodic style is often conversational, with the melody snared
alternately by the percussion and Clarinet. This is shown In Example 55.

Example 65. Tale Ix, lines 2-3, conversational style.

85 Cl.

Pete.

0b CI.

Perc.

0 I977 Herion rlusic Inc.
Used By Permission Of The Piblisller

164

Tale IX is In binary form With a codetta. Line 5 begins Section B. The
codetta begins at the end or line i0, after the clarinet part is finished. The
tolling D"s are featured against a background or dispersed activity using
glass instruments.

Wins. the last

tale, is the longest. This seems appropriate for the f lnal movement of this
lengthy, multimovement composition. Tale x is divided into three sections.
Section A is atmospheric and lasts through the diminuendo at the end of line
5. Section B is similar to Section A but is less lmprovisatory and extends
from line 6 through the fermata at the end of line i3. Section C consists of
the clarinet-marimba duet of the f lnal page. A simple codetta concludes
Wild Tales and 1319.8. it consists of a soft and lengthy f lutter-tongued
clarinet note with a high unpitched percussion accompaniment.

The last two tales are the only ones in which both the clarinet and
percussion parts utilize Pitch-group l. Tale X begins, however, with a
percussion-improvised introduction featuring the â€œnondiatonicâ€ pitch A It
is the only â€dissonanceâ€ used since Tale Vii and dissipates soon after the
clarinet enters. Following the introduction, no pitch predominates in Tale x.
Pitched percussion parts for marimba and vibraphone are prominent and
include specific pitches for use in the improvisations. it is the only tale to
have done this.25'

Trills are most important in this tale, creating the impression of
shimmering water on which memories float. The clarinet and percussion

251Specific pitches for improvisation were previously used only in
the transition sections.

165

often change trilled pitches alternately, like waves in chain reaction, as
Example 66 Illustrates.

in Tale X, graphic and specificallyâ€”notated materials create an
ethereal, floating atmosphere Wthh Changes through increasing intensity
and the emergence Of melodic lines. Several unison pauses add to the
dramatic buildup to the culminating duet Of the last page. in the codetta,
the two voices fade 0â€œ into the distance as the fantasy ends and â€œrealityâ€
returns.

Example 66. Tale X, lines 6'7, trills imitating Shimmering water.

Bb CI.

MallÂ» 64

85 CI.

O l977 ï¬‚erion Music Inc.
Used By Permission Of The Mlisher

CHAPTER EIGHT

VAR/A 770170605 BY FRANK MCCARTY

musing

Frank McCarty was born in Pomona, California in 194I. His college
studies were accomplished in California where he received his BA, rm, and
Ph.D. degrees from San Diego State College, the University of Southern
California, and the University of Califomia-San Diego, respectively. His
composition teachers were David Ward-Steinman, Howard Brubeck, Ingolf
Dahl, George Perle, David Raksin, Robert Erickson, Kenneth Gaburo, and
Pauline 0Iiveros.2'52

McCartyâ€”has taught composition and electronic music and directed
the new music ensemble at the University of North Carolina-Greensboro
since 1976. His previous teaching positions were at California State
University-Fullerton and the University of Pittsburgh.253 He has extensive
experience as a performer of woodwind, percussion, and electronic

instruments, including ten years as a percussionist with the San Diego

2'52Anderson, 344; Peter Christ, ed., Composiunz- Annual Index of
Contemporaiy Compositions (Los Angeles: Crystal Record Co., l972), 23,-
correspondence and conversations with Frank McCarty.

253mm.

166

167

Symphony and numerous concerts as a member of BIOME, â€œa mixed-media,
live-electronic music ensemble.â€œ254

McCarty's research interests include acoustics, aesthetics,
composer's theater, composition, computers, electronic music, new music
notation, percussion, and woodwinds. He has published articles on many of
topics. In l974, he served as an American delegate to the international
Conference of New Music Notation in Ghent, Belgium?!55

His compositions are in a broad range of styles, are for numerous
media, and include collaborative productions for dance, film, radio,
television and theatre. Although Variation 0003 is unpublished, some of
McCartyâ€™s compositions are published by Artisan Music Press, J. Boonin,
HaMaR Percussion, Media Press, and Soundlib.2'56

I! . l . D
Variation Duos is a timbre study for Bâ€œ clarinet and marimba,
individually and in combination. it employs a variety of styles, as the title
suggests, and â€œexploits the fact that both instruments share the same basic
timbre, a wave-form with prominent odd-numbered harmonics.'257 This
six-movement composition of over twenty minutes length was written for
the â€Uwharrie Clarinet-Percussion Duo.â€ Variations H V were composed in
1979 and received the award of Honorable Mention in the Uwharrie Duo
International Composition Contest of the same year. Variations V-Vl were

completed in l98 l.

2â€™54Frank McCarty, letter to the author, July 21, l988.
2'55Two of his articles about notation are cited on p. 54 of Chapter 2.

256McCarty, July 21,1988
257ibid.

168

Many new performance techniques and â€sound effectsâ€ are utilized in

Variation 0005.253 Multiphonics and timbre variations are the most
prevalent new sound elements in the clarinet part. Dead-sticking and
bowing are two of the new marimba techniques used.259 Notation
appropriate for these techniques appears in the score and is clearly
explained in the instructions. All of the variations except Nocturne use a
wide dynamic range.260 Although the pitch range is relatively modest, this
is not a duo for novice performers?â€œ The new techniques are used
extensively and tricky ensemble situations prevail.

' The six movements (i.e., variations) are different in tempo and style
but are unified by a pitch-series (Example 67) and the recapitulative final
movement, Spondes, Some of the styles represented are pointillism, sound
mass, chance, controlled improvisation, and minimalism.

258McCarty's performance experience on clarinet and percussion was
valuable because he was able to test the multiphonics, timbre variations,
and new marimba techniques and effectively incorporate them. Composer-
performers are often the individuals on the cutting edge in the expansion of
instrumental technique; for example, William 0. Smith was in the forefront
of the development and musical use of multiphonics for clarinet and Michael
Colgrass was an innovator in writing music for percussion.

25Sâ€™Dead-sticking is the technique of striking the marimba bar and
not allowing the mallet head to rebound off the bar. Dead-sticking prevents
the bar from resonating; therefore, a dry sound is produced. Standard
striking technique allows the bar to resonate because the stroke includes a
rebound.

25Â°â€N" is a dynamic mark found in all of the variations. It signifies
the softest possible dynamic, "niente' or â€œnothing.â€œ

2â€œThe marimba part has a range of c-a3, which fits the range of the
standard marimba. Although the range of the clarinet part is d-a3 (for
Roche: and the total composition), the altissimo range is not exploited.
The clarinet part only extends upward to bl!2 in some of the variations.

169

Example 57. Pitch-series.

The variations (ILQCDQS. [185.093. Catch. W Charm. and
Spondes) are arranged as f ast-slow-fast-slow-fast-fast.262 The slow

variations are pulseless. The fast variations each have a pulse, however,
Charm is the only variation that uses a time signature. Only Charm and
Spondes use barlines; they are metrically necessary in Charm and they
organize the diverse elements of Spondes.

The clarinet and marimba perform as equal partners, playing
simultaneously or alternately, in Variations I-ill and VI. Variations Iv-v
provide contrast through use of a melody-plus-accompaniment style. In
both of these variations the marimba plays almost all of the time. It
provides the background in Nocturne and the foreground in Charm, These
variations are paired as â€œintermezzoâ€ and "divertimento" with the clarinet
and marimba, respectively, in the lead.253

mm
mm: is pronounced 'trokes,â€œ which rhymes with 'tropes.â€264
These rhyming words describe two structural aspects of Variation i: the
trochaic poetic meter and the technique of troping. The first three notes
are stated in unison by the clarinet and marimba and comprise a motive

262% has a slow introduction and mag: has a slow coda.
263McCarty, July 2i, l988.
26â€œConversation with the composer.

170

(Example 68) which has rhythmic, accentual, and melodic identities. The
motive is germinal for leeches and is also used in other variations.

Example 68. mm line i, opening motive.

( O'Netick'l
. . I].
(Mâ€˜ â€*1 dag-era)
O 1981 Frank "CCl'ty
UsedBy PermissionOfThe Composer

Traditional melodic lines and phrases are not present in Variation
Duos. Motivic unity, rhythmic action, and timbre are the most important
parameters in Imenes, The melodic style is one of fragmentation. Rests
are almost as important as notes. A wide dynamic range is required.
leeches is notated without barlines or time signatures but the length of
each note and rest is specifically Indicated. "It Is fast and energetic yet
does not have a controlling, repetitive meter,â€œ said McCarty.265

There are four brief unison passages in leeches, .The first three are
shown in Example 69. They are focal points because of their monophonic
texture and loud dynamic level. The unisons alternate with contrasting
segments of contrapuntal and homophonic styles. These are the troped
passages.

265McCarty, July 2 l , i988.

171

Example 69. Images, lines i-2, unison passages, troping, sound masses, and
motive expansion.

unison â€˜I â€™M 01" V5
f"â€”_â€˜I

)

(Â«an Â«an x

S
Somal massÂ£
mï¬oe expwiai-SVâ€˜ unlSonâ€™J. assignâ€ h

rouse-3i motive. cxfxmolnotâ€˜ PS'

0 1981 Frank McCarty
UsedBy PermissionOfThe Composer

The rhythmic â€stamp" of the motive is the long-short pattern
characteristic of the trochaic poetic meter. Although the motive is notated
with eighth notes and rests, a footnote in the score indicates that the
pattern is performed as quarter note, eighth note, dotted quarter note, with
a sfzpp on each note. (See the previous Example 68.) The dramatic sfzpp
effect, stated in unison by the duo in a rather high tessitura, begins the
composition with fanfare. On some occasions the trochaic rhythm pattern
of the motive is used without accents.

The melodic shape of the motive is the intervallic pattern of
descending minor third followed by ascending perfect fourth. Using set
theory analysis, this group of three notes is identified as W

172

(0, 2, '5).266 Imehee evolves organically out of this motive. The head of the
motive, the interval of a minor third, appears frequently.

The characteristic intervals of major second, minor third, perfect
fourth, and their inversions are all derived from use (0, 2, S) and are used
harmonically in dyads, multiphonics, and trills or tremelos. Other melodic
patterns are related as use (0, 2, S); for example the tail of the motive, the
interval of a perfect fourth, is expanded in several ways. It follows the
minor third with a perfect fourth plus octave displacement (see Example 69)
or a perfect fifth, with or without octave displacement (see EXample 69). In
the three-note, repetitive passage of clarinet accelerando with marimba
ritardando that is shown in Example 70, the notes of the motive are
rearranged into descending or ascending pitch order to produce melodic
intervals of a major second and a minor third. The major second achieves,
â€significant intervalâ€œ status through Its relationship to the opening motive.

Example 70. leeches, line 2, clarinet accelerando with marimba ritardando.

O I9BI Frank McCarty
Used By Permission OfThe Composer

Special effects or dead-sticking on the marimba and multiphonics
and timbre variation on the Clarinet are featured in M. McCarty

266"Pitch class setâ€œ will henceforth be abbreviated as "fees

173

provides an adequate explanation of his symbology and considerately
provides fingerings for the clarinet effects?â€˜57 Dead-sticking transforms
the resonant marimba into a nonresonant instrument. The relatively new
technique of the one-handed roll is also used on the marimba. Although it
does not produce a special aural effect, it expands what is playable on the
instrument. Special effects transform the clarinet from its traditional role
as a one-line instrument into a multivocal entity capable of producing
harmony and counterpoint. This ability is, of course, somewhat limited.
Blocks of sound or â€sound massesâ€ are used in a variety of ways and
are shown in the previous Example 69.258 Tremelos are used as a
homophonic marimba accompaniment to brief clarinet melodies and as
clarinet-marimba chords. When the marimba plays brief melodies, the
clarinet accompanies brief marimba melodies with two types of sound mass:
(l) a multiphonic and (2) a more contrapuntal sound mass, i.e., a held note
decorated with a â€passagi"-like timbre variation?69 (See Example 7i.)

Example 7i. mm line 2, "passagi' type 0i timbre variation Of Clarinet.

m2 >f

I I; V~
[LV

o 1981 Frenk McCerty
Used By Permission Of The Composer

267If all composers used such clear and thorough notation, fewer
performers would be hesitant to approach compositions requiring new
techniques.

253"Sound mass" is a term often associated with Edgard Varese.

269'Passagi" are fast, ornamental, and often scalewise ornaments
that were added improvisationally to some music of the Renaissance and
Baroque periods.

174
W

masque Is not music for a sixteenth or seventeenth century English
party; another definition of â€œmasquerade,â€œ i.e., â€œto assume the character of
another,"270 does describe the activities of this variation. It is a study in
K/aogfamenme/oo'ie i.e., color melody, and Manor/amen -kon7oosition, i.e.,
â€sound-mass which ebbs and flows through constant overlapping of timbre
and spatial modulation."271 The clarinet and marimba alternately assume
the character of the other, trading off notes and chords and sneaking in and
out of each others' sounds. The interchanging sounds of the duo usually
start inaudibly or loudly and crescendo or diminuendo to the opposite
extreme. This creates ever-changing timbres although only two instruments
are used as sound sources. According to the composer, â€œneither instrument
should be recognized as representing its conventional self and both meet in
certain shared-areas.'272 The beginning of Masque Is shown in Example 72.

Example 72. m line i, overlapping or pitches and sound masses.

*o-(ieee b:
o e

e <s>e ~â€”â€”-â€”- "21$.

' he. I10 - H y

: n<Â§ â€™ i'
F

-N< q >Il
â€˜aâ€˜dffv i >Â£2<9

e 1981 Frank McCa-ty
UsedBy PermissionOfTheComposer

270Random House College Dictionary, rev. ed. (I984), s.v. "masque"
27 i Cope, New Directions, 358.
2â€McCarty, July 2i, I 988.

175

Single notes and sound masses are overlapped. Single sustained
notes are produced on the marimba by bowing the bars with a string bass
bow. This produces a lovely tone.273 The single pitches, i.e., non-
multiphonics, of the clarinet part occur with and without timbre variation.
The timbre variations are of two types: (1) the â€œpassagiâ€ variety similar to
those which appeared in leeches and (2) a simpler undulating variety. These
are shown in Example 73. The sound masses are one-handed and two-handed
tremelos on the marimba and multiphonics, with and Without timbre

variation, on the Clarinet.

Example 73. name, line 3, timbre variations of clarinet part.

e54;
o Fri-Â«p code-It
F L $â€˜3â€˜ . A" â€™(ï¬ï¬‚ahhiâ€˜kâ€˜)

rt j â‚¬33

.- one bruit-e

ooh.

x 13â€˜

Hand trees.

0 I981 Frank McCarty
Used By Permission Of The Composer.

The marimbist is instructed that "mallet combinations should be
'voiced' throughout for equal loudness.â€œ This is accomplished by using an
array of four mallets, arranged in the hands from left to right, ranging from
soft to hard. Each mallet is appropriate to the range of the notes played by
the particular mallet.

273â€It Is quite different from the eerie tone produced by bowing the
percussion instruments that are most likely to be bowed, those made of
metal.

176

Various elements of â€œchanceâ€œ are employed in Masque. There Is no
meter or time signature and duration is left to Chance as well. The length
of â€œone breathâ€œ or the amount of time the performers choose to spend on
their long notes is not specified by the composer.

The climax of Masque illustrates chance with regard to pitch
selection. It consists of four unison, sfz eighth note chords. The pitches
are not specified but the directions state: â€œclarinetist selects a rich
multiphonic capable of easily-controlled sf 2 attacks. Marimba plays the
same pitches as in the multiphonic.â€ It is curious that the composer, who
had enough performance ability on clarinet to experiment With multiphonics,
who notated the multiphonics and f ingerings on all other occasions, and who
used serial pitch techniques, would leave this to chance. The author has
found the multiphonics of Variation Duos to be playable, but some are not
overly responsive. Perhaps the composer wanted to be sure that this
moment would be truly climactic, unspoiled by unresponsive or failed
multiphonics.

Elements of minimalism274 and serialism are blended to create a

virtuosic display of ensemble playing in men. Special effects, such as

274â€˜Minimal musicâ€ is referred to by a variety of names, depending
on the source. Some of the names are â€œAmerican minimal music,â€œ
â€œminimalist music,â€œ â€œrepetitive music,â€ â€œphase music,â€œ â€meditative music,â€œ
and â€acoustical art.â€˜ The founders of this style, which has strong exotic
influences (i.e., Eastern and African), were composer-performers La Monte
Young, Terry Riley, Steve Reich, and Philip Glass who were the â€first to
apply consistently the techniques of repetition and minimalism in their
works,â€œ according to Wim Mertens, Minimal Hus/c'talâ€˜ionte Young, fer/y
Riley, Steve Reich, Philip Elass (Belgium: n.p., i980) trans. J. Hautekiet
(London: Kahn and Averill, l983), i I.

177

multiphonics, are not paramount as they are in the other variations. The
only such effect used in mm is a quickly repeated multiphonic at the end,
which functions as a tiny codetta. The mesmerizing effect of phase-music
is the principal feature of Variation Ill.

catch is based on a nine-note row (Example 74) that is used in its
original and inverted forms. The row is derived from note *I I followed by
notes '3 through â€˜ l o of the inversion of the original pitch-series, which
was illustrated in Example 67. When reduced to the smallest possible
intervals, or their enharmonic equivalents, the melodic intervals of the row
include one half-step, two whole-steps, three minor thirds, and two perfect
fourths. These Intervals are sometimes Inverted. The row has one rhythm
which Is maintained throughout the introduction. This rhythm is Slightly
changed several times in the Allegro Molto.

Example 74. Nine-note row used as basis for Calm.

f
1 DH A
LI] V IT 11*

V Â°-5V"#Fe-bv

Eaten begins with a slow introduction and accelerandos to the
Allegro Molto. The introduction has a range of approximately three
octaves per instrument and most of the intervals are compound. The
marimba plays first, stating the original form of the nine-note row. The
clarinet answers with the inverted form of the row. This overlaps the first
phrase of the marimba. (See Example 75.) The marimba alternately states
the original and inverted row forms at various pitch levels six times. The

178

clarinet also states the row six times, alternating the inverted and original
forms in the opposite order to the marimba.275

Example 75. Catch. line I, the beginning of the introduction.

: tau and â€œMed for as long as possible -.

e 1981 Frank McCarty
Used By Permission Of The Composer

Most of eaten, i.e., the Allegro Molto, is a chase in Which the
clarinet tries to catch the marimba, which always has one less note of the
repetitive patterns. As McCarty describes it: â€œcatch is a kind-of canon, or
(in French) a 'chaisse', in which the musical units are played and repeated at
changing time-delayed intervals."276 Steadiness of tempo is of utmost
importance. The range Is half the size of that of the introduction and the

intervals are usually smaller than an octave. The melodic lines remain
I thoroughly dis junct, however.

The Allegro Molto is repetitive and subtractive music.277 The
clarinet begins with the nine-note row. Concurrently, the marimba plays
the same row but the second pitch is omitted. The melodic patterns are

275Three notes (numbers I, 8, and 9) are omitted from the fifth
clarinet statement so that the duo will reach the Allegro Molto at the
same time.

275McCarty, July 2 l, I 988.

277Subtractive music is the opposite of additive music; i.e. notes
are subtracted from rather than added to the pattern.

179

repeated until both instruments join in unison on the first note of the next
pattern. In the first cycle of the repetitive patterns (shown in Example 76),
the clarinetist plays its nine-note row ten times while the marimbist plays
its shortened version, the eight-note row, eleven times. They are
synchronized on the next downbeat, where the beaming of the notes
coincides. At this point, each part drops a note and begins the chase again.
This process of coming In and out of phase with each other continues until
the parts are both reduced to one pitch.

Example 76. Lam lines 2-4, the first chase cycle.

A GRO MOLTO

0 I981 Fruit McCrty
UsedBy PermissionOI'TheConwser

180

There are eleven different cycles. Beginning With the third cycle,
the clarinet always takes on the exact melodic line, i.e., pitches and
rhythms, that the marimba had in the previous cycle. Slight rhythmic
differences are necessary in the first two cycles.

The last three marimba cycles and the last two clarinet cycles
include only the pitch d1. As Example 77 shows, the rhythm changes in each
cycle. A ritardando is created by the insertion of increasing amounts of
rest between the notes. This final pitch is not a part of the original row of
the Allegro Molto. It is introduced by the marimba in the fourth cycle.
When dl is added, a note is also dropped from the original row pattern, and
the rhythm Is altered.276

Minimal music uses a minimum amount of material, such as short,
simple melodic patterns, repetitive schemes, a steady pulse, and â€œphase
relationships . . . based on the idea of gradual nonsynchronization.'279
Minimal compositions are generally long so that the â€œmusical statis' can be
achieved catch clearly has elements of minimal music280 but does not last
as long as a full-blown minimal piece. The use of dynamic changes and the
type of changing patterns, relate Eaten most closely to the style of Steve
Reich. Many minimal pieces are additive music. cm is subtractive music;
i.e., it begins with nine notes and diminishes to one.

2â€The order in which the notes are dropped from the nine-note row
(A-B-C-Eb-F'-Câ€™-B-E-G) Is numbers 2, 3, 4, and then S. The new, shorter
row consists of the original notes 1-6-7-8-9 with the D inserted as the
second note of the new row (A-D-C*-B-E-G). The order in which the notes
are dropped from this row is numbers 3, 4, S, 6, and 1, respectively. The
pitch d1 is the only note that remains at the end.

279Watkins, 572.

280Elements such as short, simple melodic patterns, repetitive
schemes, steady pulse, and phase relationships are present.

131 ,
Example 77. Catch. lines 9-io, disintegration of line to one pitch.

0 1981 Frank McCarty
Used By Permission Of The Composer

Describing the overall scheme of Variation Duos McCarty said,

This is the mid-point of the piece. Latch acts as an internal finale. It
is the fastest and most virtuosic . . . of the set. It also rounds-out the
first half of the piece, conforming to an overall fast/slow/ fast shape.
From here on, the piece refers both forwards and backwards in form,
thematic and expressive content.28i

We
â€œNgetume acts as a slow 'intermezzo' which is related to the
Bartokian 'night music' style, but potentially, is somewhat more emotional
and dynamic," according to the composer.282 it is in an aleatoric style. The
indeterminate form includes a chord progression which is played on the
marimba, graphically-notated materials upon which the clarinetist
improvises, and optional scale passages performed by the clarinetist with

23iMcCarty, July 2 i, l988.
282â€˜Ibid.

182

or without the marimbist. The marimba chords provide the background for
the foreground of clarinet improvisation. The scale passages are ritornelli.
We is notated on one page which is shown in Example 78.

Most of the clarinet part is notated with graphic symbols. The
symbols consist of notes without staves, dynamic and articulation
markings, and implied phrases which resemble multiphonics, timbre
variations, tremelos, and accelerando patterns from Variations l and II. The
events are randomly distributed around the page (Example 78) and will not
all necessarily be used in each performance. The clarinetist is simply
instructed to â€improvise nocturnally on the graphic materials.â€œ The clarinet
part also includes four scale passages which have several options for
performance. Portions or all of the scales can be performed and may be
repeated. If the clarinetist chooses to give a cue, the marimbist is invited
to join in the performance of the scale passages.

The pitches of the marimba part are written out but their timing is
left to the discretion of the marimbist. The marimba part includes a chord
progression of twenty-eight chords and four optional scale passages. The
extensive instructions discuss texture, dynamics, style, length of the
chords, and length of the entire variation.

The chord progression (shown In Example 78) begins with a dyad,
expands to two triads, and then uses quartad5283 exclusively until the

283The terms â€dyad,â€œ â€œtriad,â€ and 'quartad' will be used here to
designate chords of two, three, and four notes, respectively. â€Triad,â€ in this
context, will simply mean a three-note chord, not the more familiar
definition associated with tertian harmony of a three-note chord stacked in
thirds. F our-note chords will be called â€quartadsâ€ because the terms (I)
'tetrachordâ€œ and (2) â€œquartal chordâ€œ traditionally refer to (I) a scalewise
grouping of four notes and (2) chords stacked in fourths. These terms do not
describe the sonorities which appear in the NM.

183

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184

mm ends With another dyad. The dyads, a minor third and a major
SiXth, are consonant. All Of the triads and quartads include some
dissonance. The dissonances are arranged With distant spacing so that the
dreamy atmosphere char acteristlc Of a nocturne is created. Changes
between the Chords are usually subtle Since most adjacent Chords maintain
at least one common tone and the melodic motion is usually by Step.

Analysis Of all Of the Intervals Within all Of the Chords, i.e., the
intervals between adjacent and non-adjacent chord tones, reveals several
trends. The dyads are consonant. The triads each have one dissonance so,
Since there are three Intervals, are 33% dissonant.?â€œ None Of the quartads
are i003 dissonant or consonant. The pattern or quar tad consonance-to-
dissonance is one Oi' nearly symmetrical frequency. This is illustrated in
Example 79.

Quartads With an equal amount (50%) Oi consonance and dissonance
are used most frequently. These chords establish an equilibrium Oi sonority
against Wthh Chords 0i more or less dissonance are compared. The most
dissonant Chords, those With four and five dissonant Intervals, are
Strategically placed. Two occur jUSt before the midpoint or the progression;
the Others occur toward the end. The last five sonorities Of the progression
are, in order, quartads With four, five, four, and one dissonance followed by
the final dyad, the major Sixth. This culminating pattern or dissonance-
towards-consonance (67%-83%-67%-17% dissonance) is equivalent to the
â€drive to the cadenceâ€ concept.

234F or example, in the first triad (bb-f i-abâ€˜ ), the adjacent intervals
of bb-f l and f l-ahi are consonant (PS and m3) and the non-adjacent interval
of bil-abi is dissonant (m7). The score says that the pitches can be used in
any octave. Possible inversion due to this instruction will not effect the
consonance or dissonance of the intervals involved.

185

Example 79. Dissonance pattern Oi quartads.

number of
quartads: 10

number of dissonant
intervals in quartad- 0 I 2 3 4 S 6

amount of
dissonance: 0% 17% 33% 50% 67% 83% 100%

If the clarinetist signals the marimbist to join in a scale passage,
the core chord progression is interrupted. It is resumed after the playing of
the scales. Each of the four scale passages (see the previous Example 78)
consists of descending, con junct motion with at least one leap upward,
followed by another descending scale passage. The longest descent is
twelve notes and the shortest is three notes. Each of the passages have a
different number of notes, different harmonies, different melodic patterns,
and different starting and ending points for the marimba in relation to the
clarinet.

Parallelism is a prominent feature of the scale passages and is used

differently each time. Passage A285 consists of major and minor thirds

285The scale passages have been labelled A, B, C, and D in Example f
77 solely for ease of discussion. This does not imply the order in which the
scales should or might be performed.

186

between the scales and results in the sounding of tertian triads.286
Passage 8 evolves from clarinet alone, to parallel major seconds, to a
parallel cluster of two major seconds, to minor seconds, and finally to a
parallel cluster of two minor seconds?â€ The other two scale passages
(C and D) consist, when three notes are sounding, of pea (0, 2, 7) sonorities.
Passage C has parallel perfect fourths or pairs of perfect fourths while
Passage 0 evolves through perfect fifths, pairs of perfect fifths, major
second above perfect fifth, and, finally, parallel major seconds.288

Once a nocturnal mood has been established by the marimbist, the
success of [lemme depends on the willingness and ability of the
clarinetist to improvise. Improvisation in this context should be much
easier for the â€œnon-Improviserâ€ than jazz improvisation, for example,
because it is more flexible. In jazz, the improvising performer must be
concerned with the chord changes. In mime, no theoretical specifics are
required. Achieving the appropriate mood is necessary and is a more
subjective task.

W
The composer describes em as â€œa 'divertimento,â€˜ pairing
backwards to the Neetume on a formal level."289 The marimba is the
instrument featured in this â€œdrumming pieceâ€ whose title is an anagram of
â€œmarch.â€ Three lengthy repetitive sections comprise the basic form:
March I - Trio - March II. The Trio is a â€drum soloâ€ that is improvised on the

marimba. The sections are highlighted by a three-measure introduction,

286Passage A is dissonant 7% of the time, i.e., for one chord.
237The duo sonorities are dissonant l00% of the time in Passage 8.
2â€œThe dissonance ratio of both Passages C and D is 75%.
289McCarty, July 2i, 1988.

187

four breakup Strains 0f different lengths, and a â€stinger.â€œ The overall form
Is an asymmetrical arch form:

lntcoduction (3 measures)

MABQH la (marimba Klangfa/oenmelodie plus clarinet)

MW (4 measures)
MARgH IQ (marimba Klangiâ€˜aroenmelooâ€™ie plus clarinet)

Breaggp attain II (2 measures)
1819 (marimba solo)

W (8 measures)

MABQH lie (clarinet hand popping plus marimba)

WM (2 measures)
MARCHJJQ (clarinet hand popping plus marimba)

ngetta (the stinger)

menu has elements of minimal music290 and Its repetitive patterns
bear some similarity to those of eaten?â€œ Luann is additive and
subtractive music. Each of the five main sections (March Ia, March lb, Trio,
March Ila, and March lib) begin with one pitch, expand to more timbres and
pitches, and contract back to one pitch. Example 80 shows the plan for the
Trio.

This is the only variation which uses time signatures. They are
necessary for organizational and accentual reasons. A variety of compound,
simple, and asymmetrical time signatures are used. The rapid pulse (eighth
note equals 240) remains constant. Meter changes are frequent but are

290The use of the â€drummingâ€ concept shows similarity to the style
of Steve Reich.

29193343115 subtractive music. its Allegro Molto begins with a
nine-note pattern which is subjected to a disintegration process. The
variation ends when the process has reduced the pattern to one pitch.

188
Example 80. cm lines 4â€˜5, marimba solo (Trio).

I Improvise. a subtle. 'Dmin Soio'... gradually â€œ .2!
moving through the pitch-sets _ overall M... â€œM3,,â€œ â€™ Drop .1 , .4
face : an . v-u ' I â€”â€” : '0â€œ ' .
. I â€™â€œVâ€˜ n â€˜1: "â€™ " â€” =- 1 . I re
. . . , ., ctrâ€” '4 . r.-
dgnamle. range: App/mp _. develop previous "- ff
boxecl materials _ stress mallet colors. I
4- â€˜. Iain. 9
O 1981 Frank McCrty
Used By Permission Of The Composer

deemphasized in order to create the hypnotic atmosphere characteristic Of
minimal music. Hemiola and ties further confuse the sense 0f meter. These

features are shown in Example 8i.

Example 8i. mam lines l'2, March Ia, frequent meter Changes.

mm March Io.

(catch bent-h i0 unsung) L

I"? Â«put each aural
ï¬nes - an
d I0! .1

O 1981 Frank McCarty
Used By Permission Of The Composer

189

Time signatures are most aurally evident in the introduction and
breakup strains. These short passages have rhythmic flair and function as
fanfares. The introduction of [ham (Example 82) uses the trochaic rhythm
of the motive from leeches, The breakup strains use a variety of rhythms.
These passages evolve, through repetition of their tails, into the hypnotic
repetitive sections (i.e., March I, Trio, and March 11) that comprise most of
the movement. Breakup strain 1 and the transition into March lb are shown
in Example 83.

Example 82. cm line i, introduction With tr ochaic rhythm.

0:,

3: oiope'!

-BO) 5 â€˜.
()=J'M ' ' >w
O 1981 Frllk McCarty
Used By Permission Of The Composer

Example 83. mm lines 2â€˜3, Breakup Strain I and transition into March lb.

(slack. one) Moreâ€œ lb

v
v

A A

â€5' s f;,hLâ€˜Ljf air];

â€™314 3 [329

mates? e a â€˜2. ' ' ;

O 1981 Frlik McCrty
Used By Permission Of The Composer

190

Several special techniques are exploited in Chaim. The marimba
part uses dead-sticking, one-handed rolls, and pitch-bends.292 The primary
special marimba technique is concurrent use of four different mallets
arranged to â€produce equal gradation in color from semi-hard to dark.â€ The
different mallets293 are used to play repetitively on one pitch for extended
periods of time. They accentuate different acoustical properties of the
marimba and produce KlangiaMenme/ooâ€™ie The Improvised â€drum soloâ€
includes the instruction â€stress mallet colors."

Most of the pitches of the clarinet part are altered using the
undulating and passagi timbre variation methOds. Tlmbre variation is used
melodically in the introduction and breakup strains and colorlstically In the
March I and Trio. The clarinet part sneaks In and out of the marimba
texture, adding another dimension to the repetitive passages.

The final section, March II, Is reminiscent of MarCh I and features a
popping (I.e., drumming) melody played on the clarinet. With the mouthpiece
and barrel removed, the clarinetist strikes the right hand on top of the upper
joint and fingers the clarinet with the left hand to produce six different
pitches.294 Example 84 shows the second phrase of the popping me10dy. The
marimba uses dead-sticking to match the popping sounds of the contrapuntal
exchange. As in March I and the Trio, March II begins and ends with one
repeated pitch. Additive and subtractive pitch manipulation methods are
used Within each section.

292â€˜The pitch-bends are accomplished by sliding the mallet head
across the marimba bar to gradually deaden the pitch.

293The mallets are notated in the score as I, 2, 3, and 4.

29â€˜iMcCarty Included fingering charts and resultant pitches.

191
Example 84. mm, line 7, second phrase 0f popping melody Of Clarinet.

o 1981 Frank McCarty
Used By Permission Of The Composer

The harmony Is structured around perfect consonances, particularly
the perfect fifth. Virtually all passages, other than those With unisons or
octaves, include a perfect fifth as part of the harmony. If the fifth is not
present, its inversion, the perfect fourth, is. Structural relationships and
more complex sonorities most often revolve around a major or minor triad,
sometimes With the added second or Sixth. Such simplicity of harmonic
materials IS Often a characteristic Of minimal music.

The finale, spendes, is a collage of recapitulated material from the
previous five movements plus a new machine-like melody constructed of
continuous eighth notes. Much of the recapitulated material Is derived from
Imehee, the troped variation. ï¬nehgea is a trope within a trope. McCarty
said, "I had a real sense of â€˜things within things within things' In writing
It.'295 Example 85 Illustrates the insertion of the new melody between the
first four phrases of Imcbes

The machine-like melody consists of a composite rhythm of
continuous eighth notes and appears four times. The first time (Example
85), the marimba plays continuous eighth notes and the clarinet joins in an
irregular pattern of unisons on every second or third note. The second time

295McCarty, July 2 l, 1988.

192

(Example 85), they reverse roles. The third and fourth renditions use the
hocket technique. All of these passages use the textures of clarinet alone,
marimba alone, and clarinet-marimba In Klanofa/oenmeloo/e

The title refers to the spondaic poetic meter???6 and "to the fact
that the movement reSpondie)s to all the previous ones.â€œ297 memes begins
With the sfzpp motive of Imehes298 A slight change In orchestration
occurs within the first phrase. Five other quotes from Limhes, all with
slight changes, also appear. The other variations are quoted or parodied at
least once; for example, the fourth phrase of Cateh is quoted in Its entirety.
The scale passage composed of perfect fourths is quoted from We.
Passages similar to the scales of heetume and the breakup strains of Chanm
are included as well. The mimicking does not occur in the original order of
the variations; for example, the coda Is based on the style of Variation II,
masons.

Shame: Is filled with rhythmic excitement until the coda. In order
to maintain this level of Intensity and synthesize the recapitulated
material, â€œup-tempoâ€ passages from the previous variations are recalled.
The diverse melodic styles use diverse tempos and are linked by the
machine-like melody whose non-rubato style provides a constant around
which the reminiscing can occur.

295>Spondaic meter is represented by notes of equal length. These
appear In the machine-like melodies and In much of the recapitulated
material.

297McCarty, July 21, 1988.

298There is a slight orchestration change in that the clarinet holds
the third note while the marimba punctuates it with eighth notes. The roles
have been temporarily reversed. The original scoring returns for the first
multiphonic of the clarinet.

193
Example 85. m lines lâ€˜3, trope within a trope.

. I

-_.'-'.'-l- .'-'4- -:- I rrarr

-- -l- l i m --m
we

-lâ€˜.-
Iâ€œ- _I,l-l-
I I. =l II -IA.â€”I.â€œl u rr-mu- I.-
â€”_T

IA=_---"-_f-
In ---- -'l-â€”II 1
-___l

"W distant indent-like _ ivy to sound like. line 0 - .

I '9' W
x-AI r. a ï¬â€”ï¬YIIIIIIIIIIIIIII111_L
â€”
P--â€”. I -â€”â€”n- -----"â€”_-Iâ€”'-
1â€œ i i â€”u_â€”ml-_Ir-â€”â€”-I'-bs arrâ€”I-I.
. c . a :-

I-â€”---_---_-- -â€œI=----=---_---_-
Il_-_lf'-â€”.-__.a' -----â€”â€”â€”â€”â€”â€”.
e ' ' f;-

O 1981 Frank McCarty
Used By Permission Of The Composer

194

The timeless style of masque employed in the coda provides an
automatic ritardando that bring Variation Duos to an effective conclusion.
The texture fluctuates as one-handed rolls, bowed notes, and a combination
of the two are used on the marimba. Neither instrument uses the sound
mass technique. The pitch 8'3 is the focal point of the coda. It Is used for
Klangfa/oennie/oo'ie for a dramatic, timbre-trill cadenza by the clarinet
and, after some harmonic ambiguity In the Adagio Rubato,299 for the final
note of Variation Duos. The coda is shown in Example 86.

299There is an F minor chord and several dissonant sonorities.

195
Example 86. Spendes. lines 8-10, the coda.

Come grim Ultima

short , energetic
Cadenza : held the
with If e bra 1th
(ast- lingered
: < >

K<W>ï¬‚

â€”â€”â€”i

iC'Nl

o 1981 Frank McCarty
UsedBy PermissionOfThe Composer

CONCLUSION

The clarinet-percussion duo Is an ensemble born In and of the
twentieth century. The importance of timbre in this century has resulted in
new sounds and techniques for clarinet and has brought percussion from the
musical background to the foreground. Western art music now employs a
spectrum of timbres produced by traditional percussion instruments, exotic
percussion instruments, i.e., those from other cultures, and sounds formerly
considered to be noises. The development of the multiple-percussion
technique has made possible the performance of music with many timbres
by a single percussionist. Pitched and unpitched percussion instruments are
now used In melodic as well as timbral and accompanimental roles.300 The
piano is the traditional chamber music partner of the clarinet. Percussion
is capable of functioning in similar roles and providing more timbral

interest. The agility as well as the wide pitch, dynamic, articulatory, and

300For example, the first clarinet-percussion duo, Pas oe Deux by
Armand Russell, illustrates this expanded usage of percussion. Movement I
employs a polychromatic collection of instruments (a triangle, cymbal, and
two drums) In an accompanying role. The drums and metal Instruments are
used monochromatically and polychromatically to provide an accompaniment
of timbral diversity. Movement II is scored for the monochromatic
collection of four drums. Much of this movement features the drums,
unpitched instruments not formerly thought capable of producing melodies,
in a melodic capacity as a soloist. The xylophone is used in Movement III
and functions as melodist, duet partner, and rhythmic and harmonic
accompanist.

196

197

timbral range of the clarinet make it an effective chamber music companion
for percussion.

Music of the twentieth century, especially the second half of the
twentieth century, exists with a multitude of styles and aesthetic bases.
Many of these are represented in the clarinet-percussion duo repertoire.
The six duos analyzed in Chapters Three - Eight exhibit the breadth of style
and instrumentation within this genre. They also represent many of the
major stylistic Innovations of the twentieth century.

Tlmbre is an important aspect of all six duos. Although Variation
Duos (for marimba) and Draiw'ngs- Set No. 3 (for timbales) are scored only
for one percussion Instrument or instrument-type, a wide range of
percussion colors is produced on these instruments through the use of
various mallets and special playing techniques. The other four duos have
inherent timbral variety due to their multiple-percussion setups.

Much variety of rhythmic treatment occurs in these duos. Pas o'e
Deux is metered throughout and makes slight use of changing meters.
Dramngs- 5et No. .7 alternates metered and unmetered movements. There is
some use of changing meters. Sonata uses a variety of meters and metric
modulations. Tombeau, Wilo' Tales, and most of Variation Duos are notated
without meter. Each has a different aesthetic intent.

Aleatoric techniques are used for different reasons and in different
amounts in the duos of McCarty, Simons, Boucourechliev, and Hodkinson.
None of these duos is left entirely to chance. Hodkinson left the specific
pacing of Movement II of Dram'ngs- Set No. I to the performers. He also
suggested some improvisation at the climax. Boucourechliev notated all of
the elements to be played in fomoeau but the moment at which they occur
varies due to the mobile form. Simons left many items to chance by using

198

graphic symbols for the notation of most of the percussion part and a
portion of the clarinet part of Wild Tales Told 0n tne Pii/er Poad Wild Tales
and Variation Duos require some controlled improvisation.

Pitch organization is different in each of the duos. Pas de Deux is
freely diatonic. Sonata is chromatic but centered on the pitch A Tombeau
is atonal. In Wild Tales, Simons establishes two pitch groups which
function analogously to diatonic and nondiatonic pitches. Drawings- Set
No. 3 and Variation Duos are based on twelve-tone rows. The row is of
primary importance in the former and of secondary importance in the latter.

The clarinet-percussion duo repertoire continues to Increase. It is
now so large and varied that clarinetists and percussionists of all
persuasions should be able to find music to perform. Although primarily a
virtuoso medium, there aresome clarinet-percussion duos which can be
played by young college or advanced high school students.301 There is great
variety of instrumentation. Some duos have theatrical elements. There are
duos which only employ standard clarinet techniques,302 some which use

special effects in a limited amount,303 and others in which special effects

30â€˜ Circus Parade by Pierre Max Dubois, anee Pieces by George
F erencz, Douole Solo by George Heussenstamm, Journey by Edmund
Siennlcki, and Movements by Marilyn Ziffrin are some examples of duos of
moderate difficulty.

302 T welVe Preludes by Jozef GahÃ©r is a â€bookâ€œ of character pieces.
A large percussion setup is required, however, each prelude has a different
setup. Several preludes are unmetered. The clarinet part uses no special
effects. The only special clarinet effects used In Contacts by lvo Petricâ€™
are a few glissandi (see Example 3, Chapter 2). This duo uses a large
multiple-percussion setup and an unmetered, arabesque-like lyrical style.

303 Bindung-Teilung by Kazuto Miyazawa would be a excellent duo
choice for a clarinetist interested in a gentle introduction to new
techniques. A few multiphonics and timbre variations are incorporated (see
Examples 1 and 2, Chapter 2). The percussion setup is moderate.

199

prevail.304 Percussionists must consider playing techniques, the difficulty
of the music, and instruments to which they have access when choosing
music to perform. The duo repertoire includes great variety in these
categories.

This variety is reflected in the six duos studied. Pas de Deux has
modest instrumentation and technical requirements and is playable by
college students. It uses only standard techniques in both the clarinet and
percussion parts.

DraWings- Set No. 3 uses a small setup. It has more technical
difficulties than Russell's duo but is also playable by college students. The
clarinet part uses some special effects but no multiphonics. The percussion
part requires standard but more varied techniques than Pas de Deux in order
to produce timbral changes.

Sonata uses no special clarinet effects but the clarinet part is
taxing with regard to range and control. The percussion setup is large and
complex. The percussion part is quite difficult. The dual sonata-allegro and
theme-and-variations form makes Sonata 3 good choice for those who wish
to perform a difficult but traditional duo.

Tombeau requires a clarinetist with excellent control of soft
playing and the ability to stand practically motionless for almost four
minutes. The percussion setup and technical requirements are modest.
Stylistic sensitivity and the proclivity to wade through the extensive

Instructions are required of both performers.

304Zoom by Milan Stibil j features a plethora of multiphonics,
quarter-tones, flutter-tonguing, and "hearable" inhaling. The rhythmic
notation Is complex and highly specific but logical and effective.

200

Wild Tales Told Dn tne Pi'Ver Poad is a work for advanced players.
Both parts require the ability to decipher new notations and perform with
new techniques. The percussion setup is gigantic.

Variation Duos is also a work for advanced players. It does not
have percussion setup difficulties since it is scored only for marimba.
Special effects abound and numerous styles are used in this duo.

Variety of Instrumentation is one of the many appealing features of
the clarinet-percussion duo repertoire. Balanced recital programming
requires variety no matter what the style of the music. When performing
programs consisting entirely of twentieth century music, especially music
that is unfamiliar to the audience, variety is essential. The â€œUwharrie
Clarinet-Percussion Duoâ€ always programs at least one duo With a large
multiple-percussion setup. Such setups are visually as well as aurally
interesting.

Factors which determine the programming of multiple-percussion
pieces are the length of the pieces, the complexity of the setups, the amount
of time It takes to setup, and the size of the concert stage. Compositions
which use few Instruments are very important with regard to logistics.
Percussion compositions, including clarinet-percussion duos, which are not
equipment-intensive are more apt to be frequently programmed, especially
by touring ensembles. This is not to suggest that works should not be
written for large percussion setups. Composers must balance the
excitement inherent In using every noisemaker with valid musical decisions.

The most portable clarinet-percussion duos to date are Zoom for
clarinet and a pair of bongo drums by Milan Stibil j and (twist [xcnange for
clarinet and two suspended cymbals by Stephen Chatman. Both are fine
pieces of music so they can be programmed for the best reasons. Zoom has

201

one of the most virtuosic clarinet parts in the duo repertoire. It is filled
with multiphonics, quarter-tones, and complex rhythms. The bongo drum
part includes much timbral variety created through the use of various
mallets, portions of the hand, and striking locations on the drum headslâ€05
Dui'et Exchange a duo of moderate difficulty, alternates sections in "swingâ€œ
style with unmetered, more avant-garde sections. A variety of timbres are
produced on the cymbals using brushes and knitting needles. In a review of

Duiet [xchange has an immense amount of audience appeal. It is
effective at any point on a program, even as a closer, and is relatively

easy to put together. If it sounds ideal, it is only because it actually
5306

There are numerous compositions for clarinet and one of the basic
mallet percussion instruments, i.e., marimba, vibraphone, and xylophone.
These are easy to program since the percussion instrument is usually part
of the large multiple-percussion setups of other works being performed. In
most situations the instrument can be rolled in and out of the setup without
disturbing it.

A detailed discussion of every style of clarinet-percussion duo is
beyond the scope of this paper. One other category, duos with multi-media
aspects, should be mentioned with regard to variety in programming. The
addition of one or several elements to the duo of one clarinetist and one
percussionist has many possibilities. Apres Moi le Sommeil by James

Marshall is performed in conjunction with the viewing of a slide of the Max

305The â€Uwharrie Duoâ€ has performed Zoom approximately 250
times because it is a good piece and has a portable setup.

3Â°5John Mohler, review of Duiet Cxchange by Stephen Chatman, in
The Clarinet 6, no. 2 (Spring 1979): 40.

202

Ernst painting of the same title. Sources //l by David Burge is performed by
candlelight. Additionally, some theatrics are required and the clarinetist
plays several percussion instruments.

There are a number of pieces for clarinet-percussion duo and
recorded tape. Options // by Elliot Schwartz is an aleatoric work for
clarinet, percussion, and prerecorded tape segments that are to be put in
order by the performers. Sinister Tremors by Jon Deak is a quartet for two
clarinetists and tWo percussionists, i.e. one live and one recorded clarinet-
percussion duo plus many sound effects. Perhaps the biggest extravaganza
in the repertoire is A Dream Fantasy by Merrill Ellis. The title page
describes it as â€A Ballet for Clarinet-Sax [sax is optional], Percussion,
Prepared Tape and Vi'suals."3O7 The visuals include two l6-mm films and
optional slides projected at a â€cloud" of material suspended from the
ceiling. The use of dancers is another optional element.

There is a wealth of music for the clarinet-percussion duo. It is
hoped that this study has given the reader a glimpse of the variety and
quality within the genre so that clarinetists and percussionists will become
interested in performing duos and composers will become Interested in

writing more duos.

307Merrill Ellis, A Dream Fantasy (New York: Carl Fischer, 1976),
title page.

APPENDIX

CLARI NET-PERCUSSION DUOS

Amman, Benno - Frammento (1983)
Bass clarinet - vibraphone.
(Switzerland; address unknown)
Anderson, Dennis - Sage King Goes Hollywood ( l 976)
8b clarinet - vibraphone.
(cl 0 Roger W. Anderson, 3289 Minnesota Ave, Costa Mesa, CA 92626)
Arma, Paul - Resonance (1975, p. 1981)
80 clarinet - xylophone, vibraphone, snare drum, 2 tomtoms, 2 suspended
cymbals, 3 wood blocks .
(Dorn Publications)
Ayres, Thomas A. - Suite for Clarinet and Percussion (n.d.)
Bb clarinet - xylophone, vibraphone, snare drum, 4 tomtoms, 2 bongo
drums, conga drum, suspended cymbal, tambourine.
(School of Music, The University of Iowa, Iowa City, IA 52242)
Back, Sven-Erik - Fire Preludes (p. 1971)
Bâ€œ clarinet (or flute) - vibraphone, 2 bongo drums, field drum, tomtom,
bass drum, 4 suspended cymbals, 2 triangles, tamtam, crotale, wood
block, temple block, bamboo wind chimes.
(Edition Wilhelm Hansen)
Baguerre, Francis - Wep ( I 981)
Bass clarinet - marimba.
(France; address unknown) .
Bakki, Jozsef - Pas de Deux (1969, p. 1973)
Bb clarinet - chime note, 2 bongo drums, field drum, tomtom, bass drum,
2 suspended cymbals, triangle, temple block, 2 wood drums.
(Editio Musica Budapest)
Banzhaf, Kris - Sonata for Clarinet andDrum Set ( l 979)
BiJ clarinet - drum set.
(U.S.A; address unknown)

203

204

Bargielski, Zbigniew - lkar (1981)
Bil/bass clarinets (or bass clarinet/alto saxophone)- marimba,
vibraphone.
(Pro Nova/Sonton)
Barkl, Michael - Blues (1986)
Contra-alto clarinet - marimba, vibraphone.
(Australian Music Centre, PO Box 49, Broadway NSW 2007, Australia)
Becerra-Schmidt, Gustavo - Duo (1987)
Bass clarinetâ€” marimba, vibraphone.
(Kurt-Schumacher-str. l 1, 2900 Oldenberg, West Germany)
Beerman, Burton - Shadows Cast (1979)
Bâ€ clarinet - glockenspiel, vibraphone, chimes, snare drum, 2 tomtoms,
2 timpani, 3 suspended cymbals, triangle, tamtam.
(American Composers Alliance)
Beerman, Burton - Chamber/limo ll (1986)
Bass clarinet - marimba, vibraphone.
(American Composers Alliance)
Bergsma, William - lllegiole Canons (1968, p. 1973)
Bâ€ clarinet - xylophone, vibraphone, glockenspiel, snare drum, tenor drum,
2 bongo drums, wood block, 3 temple blocks, wind chimes.
(Galaxy Music)
Bertomeu, Augustin - ....y despues (1976, p. 1977)
Bb clarinet - xylophone, glockenspiel, vibraphone, 3 bongo drums,
3 suspended cymbals, 3 triangles, tamtam, 3 temple blocks.
(Editorial Alpuerto)
Bialosky, Marshall - Fragments (1987)
Bass clarinet - vibraphone.
(San jo Music Co., Box 7000-104, Palos Verdes Peninsula, CA 90274)
8er esson, Lars-Ove- lnte/parolo, 0p. 33(1982)
Bass clarinet- marimba.
(Swedish Music Information Center, Sandhamnsgatan 79, Box 27327,
S- 10254 Stockholm, Sweden)
Boucourechliev, AndrÃ© - Tomoeau (1971)
A clarinet - glockenspiel, snare drum, bass drum, 2 tamtams (or piano,
instead of percussion).
(Alphonse Leduc)
Brandon, Sy - Zodiac Suite No. l (1979)
Bil/bass clarinets - xylophone, marimba, vibraphone, 4 tomtoms, bass
drum, 4 timpani.
(R02, Box 150 A, Wrightsville, PA 17368)

205

Briggs, Thomas - Notions (p. 1982)
B clarinet - marimba, 2 tomtoms, suspended cymbal, triangle.
(Needham Publishing Co.)
Buckinx, Boudewi jn - Ve/regend (1985)
Bass clarinet - vibraphone.
(c/o BRT-3, August Reyerslaan 52, 1040 Brussels, Belgium)
Burge, David - Sources l// (1967, p. 1968)
Bâ€ clarinet - vibraphone, 4 tomtoms, bass drum, 2 conga drums, sizzle
cymbal, 3 triangles, large tamtam, lujon (or 8 cowbells), 3 wood blocks.
(Tetra Music Corp, Alexander Broude, Inc.)
Cabus, Peter - Sonate (1962)
8D clarinet - xylophone, drum with snares, drum without snares, bass
drum, 4timpan1, 2 suspended cymbals, triangle, gong, wood block.
(J. Maurer PublISher)
Campo, Frank - Dual/dad (p. 1982)
Bass clarinet - marimba, vibraphone, 2 timbales, 2 suspended cymbals,
triangle, 5 temple blocks.
(Dario Music, 12336 Milbank Street, Studio City, CA 9 I 604)
Chan, Francis Ka Nin - Three Movements for Clarinet and Percussion (1979)
Bâ€ clarinet - marimba, glockenspiel, vibraphone, chimes, snare drum,
5 tomtoms, bass drum, 5 timpani, 5 suspended cymbals, hi-hat, triangle,
3 gongs, 2 cowbells, octave of crotales, bell tree, 5 temple blOCkS, metal
wind chimes, machine castanets.
(School of Music, University of Toronto, Toronto, Canada M55 1A1)
Chatman, Stephen - Dui'et Exchange (1976)
Bh clarinet (or alto saxophone) - 2 suspended cymbals.
(Dorn Publications)
Cheesman, John - Vignettes (1986)
Bâ€ clarinet - marimba.
(64 Qeele, Toronto, Canada M60 2J9)
Chiesa, Renato - tila 6 (1979)
Eble/bass clarinets - vibraphone, 4 tomtoms, 2 bongo drums,
4 suspended cymbals, gong, 4 wood blocks, 4 campanacci, campanelle a
calotta.
(Italy; address unknown)
Childs, Barney - The Day Sequence (n.d.)
Bass clarinet - timpani.
(Withdrawn from publisher by Childs; School of Music, University of
Redlands, PO Box 3080, Redlands, CA 92373-0999)

206

Cirone, Anthony - Sonate *3 (p. 1976)
Bâ€ clarinet - vibraphone, 3 tomtoms.
(Cirone Publications, PO Box 612, Menlo Park, CA 941 15)
Coban, Vincentiu-Cristian - Hetaoole / (1979)
Bb clarinet - glockenspiel, vibraphone, 9 tomtoms. '
(207 Magnolia Lake Drive, Longwood, FL 32779)
Cohan, Vincentiu-Cristian - lâ€˜ietaoole ll (Kataoolel (1979)
Bâ€œ clarinet - snare drum, bass drum, 2 timpani, suspended cymbal, sizzle
cymbal, 2 triangles, tamtam, crotale, sleigh bells, bell, maracas, crystal
glass, plastic ruler.
(207 Magnolia Lake Drive, Longwood, FL 32779)
Cohen, David - Ceremony (1981)
Bb clarinet - reciterlpercussionist with temple blocks, tuning bars,
tuned wine glasses, an Illuminated glass Object.
(c/o Barney Childs, School of Music, University of Redlands, PO Box 3080,
Redlands, CA 92373-0999)
Colding-Jargensen, Henrick - Zweigesprach (1983)
Bass clarinet - marimba.
(Rennevangshusene 71, 2. Th., DK-2630 Taastrup, Denmark)
Collins, Philip - Fpi'sodes(1979)
Bb clarinet - snare drum, military drum, tenor drum, bass drum,
3 timpani, suspended finger cymbal, suspended cymbal, suspended splash
cymbal, tamtam, suspended pipe.
(700 Spring St., Santa Cruz, CA 95060)
Corcoran, Frank - tines and Configwations (1982)
Bass clarinet - marimba.
(Schalchstr. 16, D-7447 AichtaI-Neuenhaus, West Germany)
Cornish, Glenn - Clinamen (I979)
Bb clarinet - marimba,v1braphone, chimes, 5 tomtoms, triangle, small
gong, 5 temple blOCKS, guiro.
(Music Department, Edison Community College, College Parkway,
Fort Myers, FL 33907)
Cramer, Willem - Zinc D C. (1983)
Bass clarinet - marimba.
(Donemus)
Culbertson, D. C. - Three Ritual Dances (1978)
Bâ€ clarinet - Snare drum, 4 tomtoms, suspended cymbal, maraca.
(6738 Glenkirk Rd, Baltimore, MD 21239)

207

Dana, Ram on - Rhapsooy for Clarinet and Percussion (1979)
Bb clarinet - vibraphone, glockenspiel, chimes, 3 tomtoms, bass drum,
bongo drum, 3 timpani, suspended cymbal.
(1314 Warren St, St. Louis, MO 63106)
Davies, Peter Maxwell - Stedman Douoles (I956: quartet, rev. as duet:
1968, p. 1978)
A clarinet - snare drum, tenor drum, 2 bongo drums, bass drum, 2 tablas,
mridangam, 4 small finger drums, 3 suspended cymbals, finger cymbals,
tamtam, wood block.
(Boosey and Hawkes)
Deak, Jon - Sinister Tremors (1977)
Ell/8Â° clarinets - marimba, glockenspiel, bass drum, suspended cymbal,
crash cymbals, tamtam, large metal plate gong, wood block, ratchet,
flexatone, deer or moose call, police Whistle, acme siren, closet craSh -
tape.
(215 West 98th Street, â€˜48, New York, NY 10025)
Deason, David - Di'atomaceous Farth (1978, p. 1982)
Bass clarinet - vibraphone.
(Music for Percussion, lnc.)
Denhof f, Michael - tamento-Scherzo-Dialogo (J Stucxe fur Bass-klarinette
mdMarimoa) ( 1984)
Bass clarinet - marimba.
(Ed. Gravis, Germany)
de Ruiter, Wim - Variaties (1988)
Bass clarinet - marimba, vibraphone.
(Rollandlaan 2S, 2015 GB Haarlem, The Netherlands)
Desportes, Yvonne - t/n Choix Diff/pile (1980)
Clarinet (or saxophone) - percussion.
(Dorn Publications)
Dhaine, Jean-Louis - Coulours or Imaginary City ( I 979)
Eble/bass clarinets - xylophone, vibraphone, chimes, snare drum,
4 tomtoms, bass drum, piccolo timpano, timpani, 3 suspended
cymbals, 3 gongs, cowbells, wood block.
(6, rue Racine, F 91 100 Corbeil Essonnes, France)
Dhont, Jan - Miniatures (1978)
Bblbass clarinets - vibraphone.
(3525 AM Utrecht, The Netherlands)
Dimov, Bojidar - Anixanter (1985)
Bass clarinet - marimba.
(Mozartstr. 28, D-5000 Koln 1, West Germany)

208

brazen, Patrick - Sonata for Bass Clarinet and Pâ‚¬FCUSSIDR (1979)
Bass clarinet - marimba, chinese blocks, hanging wind chimes.
(U.S.A; address unknown)
Dubois, Pierre Max - Circus Parade (1964, p. 1965)
Bo clarinet (or alto saxophone) - snare drum, 2 tomtoms, bass drum,
suspended cymbal, triangle, wood block.
(Alphonse Leduc)
Eder de Lastra, Erich - Klari'marimfoni'a (1983)
Bass clarinet - marimba.
(Rochusgasse 13, A-1030 Wien, Austria)
Ellis, Merrill - A Dream Fantasy ( i 976)
BD clarinet with optional alto saxophone (or alto saxophone with optional
soprano saxophone) - marimba, glockenspiel,v1braphone, chimes, bass
drum, 2 or 3 timpani (or S tuned tomtoms), suspended cymbal, tamtam,
2 wood blocks, (optional) trap set- tape, 16- mm films, (optional) slides.
(Carl Fischer)
Epstein, Marti- Clarimoa (1980)
8D clarinet - marimba.
(I7 Highgate, *7, Allston, MA 02134)
Erb, Donald - Sonata for Clarinet and Percussion (1979, p. 1980)
8Â° clarinet - xylophone, marimba, glockenspiel, vibraphone, Chimes,
jazz set (4 tuned drums, pedal bass drum, 3 suspended cymbals, hi-hat), 2
bongo drums, 2 timbales, tamtam, 6 crotales, D harmonica, C harmonica -
organ (may be prerecorded).
(Merion Music)
Erdmann, Dietrich - Ciuoco per Due (1985)
Bass clarinet - marimba, vibraphone, suspended cymbal, tambourine,
3 wood blocks.
(Biesalskistr. 12, 1000 Berlin 37, West Germany)
Erdmann, Dietrich - Duo (1975, p. 1982)
Bb clarinet - logdrum, snare drum, 3 tomtoms, 3 bongo drums, suspended
cymbal.
(Breitkopf & Hartel)
Eyser, Eberhard - Aooelli'mentiâ€™ (1983)
Bass clarinet - marimba.
(Swedish Music Information Center)
Farmer, Peter, R. - Trio-Duo (1977)
Clarinet - marimba, vibraphone.
(93 Cheever Street, Milton, MA 02187)

209

Fedele, Ivan - Modus (1988)

Bass clarinet - marimba, vibraphone.
(Via Ceradini 18, I-20129 Milano, Italy)

Fennelly, Brian - J/ntermezzi (1983)
Bass clarinet - marimba.

(2 Schryver Court, Kingston, NY 12401)

Ferencz, George J. - Three Pieces (1979, p. 1986)

B'3 clarinet - marimba, drum set (snare drum, 2 tomtoms, bass drum,
suspended cymbal, hi-hat, triangle), 4 timpani.
(Ludwig Music Publishing Co.)
Fleischer, Tsippi - War (1988)
Bass/contra-alto clarinets - marimba, vibraphone, percussion.
(7 Sderot Bat-Galim, Haifa 35012, Israel)
Floyd, John M. - Three Miniatures (1980)
B'3 clarinet - marimba.
(85 Sara St. NW, Christiansburg, VA 24073)

Fontyn, Jacqueline - Controverse (1983, p. 1984)

Bass or Bil clarinet (or tenor saxophone) - marimba, glockenspiel,
vibraphone, snare drum, tomtom, bass drum with pedal, 2 bongo drums,
2 timpani, 3 suspended cymbals, triangle, 2 gongs, crotales, wood block,
3 temple blocks, piano or celesta (optional).

(Bote & Beck)

Frackenpohl, Arthur - Duo for Woodwind andDrum Set (1974)
Any clarinet (or piccolo, any flute, oboe, English horn, any saxophone) -
snare drum, 2 tomtoms, bass drum, 2 bongo drums, suspended cymbal,
hi-hat, cowbell, wood block, 5 temple blocks.

(Rochester Music Photocopy, Maiden Lane, Sodus Point, NY 14555)-

Frazeur, Theodore - Fowâ€˜ Sea Fragments (p. 1977)

Bâ€ clarinet - marimba, vibraphone, 2 suspended cymbals, triangle,
3 crotales, 5 temple blocks, 2 log drums.
(Permus Publications, PO Box 02033, Columbus, OH 43202)

Fricker, Peter Racine - Spirit Puck, 0p. 71 (I974)

Bb clarinet - snare drum, bass drum, 3 timpani, suspended cymbal,
triangle, gong.
(Dept. of Music, University of California, Santa Barbara, CA 93106)

F ulkerson, Christopher - The l-hrperidians and the Bailiff (1987)
Bass clarinet - marimba, glockenspiel, vibraphone, triangle.

(1206 8th Avenue, San Francisco, CA 94122)

210

GahÃ©r, Jozef - Twelve Preludes (I979)
Eb/Bb clarinets - marimba, vibraphone, S tomtoms, 4 timpani,
2 suspended cymbals, 2 tamtams, 5 wood blocks.
(Solivarska 4, 82900 Bratislava, Czechoslovakia)
Garcia, Orlando - JlndividualMigiations (1985)
Bâ€œ clarinet - glockenspiel, 3 suspended cymbals, maracas, guiro.
(5840 SW. 57th Avenue, *105, Miami, FL 33143)
George, Ron - Music foraFavori'te Person (1969/1974)
A clarinet - vibraphone.
(School of Music, California Institute of the Arts, 24700 McBean Parkway,
Valencia, CA 91355)
Gilbert, Donald - Percussi'net (p. 1971)
Bâ€ clarinet - glockenspiel, snare drum, 2 tomtoms, 2 timpani, suspended
cymbal, triangle, tamtam, 4 temple blocks.
(Kendor Music)
6113, Gust - Zeven l-laixoes (1983)
Bass clarinet â€” marimba.
(Hoge Kaart 260, B-2 1 3O Brasschaat, Belgium)
Girard, Anthony - Duo (1983 )
Bass clarinet - marimba.
(85, rue Legendre, F-7SO l 7 Paris, France)
Glazer, Stuart - Duo (1975, p. 1979)
8D clarinet (or soprano saxophone) - vibraphone, 2 bongo drums,
2 suspended cymbals, 5 temple blocks.
(Shawnee Press)
Grahn, Ulf - lmages (1981)
Bass clarinet - marimba.
(Edition Nglani, PO Box 871, Merrifield, VA 221 16)
Grange, Philip - Three Pieces for Bass Clarinet andMarimoa alter Drawings
oyM C [scher ( l 983)
Bass clarinet - marimba.
(Trinity College, Cambridge, CB2, ITO, England)
Hamburg, Jeff - Duk (Duck/e) ( 1986)
Bass clarinet - marimba
(Donemus)
Hames, Richard David - Djurmga (1985)
Bass clarinet - marimba.
(6/ 142 Cu110den Road, Marsfield 2122, Australia)

211

Harada, Tomoatsu - Arcturus (1979)
Bb clarinet - marimba, 3 timpani, 3 suspended cymbals, triangle,
2 tamtams, voice.
(1341, Sakuradaiâ€”danchi, 39, Sakuradai, MidorI-ku, Yokohama-shi, Japan)
Harrison, Jonty - Peaux (BoislMetaux (1979)
BP clarinet - snare drum, tomtom, high-pitched drum (eg. one bongo), bass
drum, 3 suspended cymbals, hi-hat, jingle bells, small bell, glass wind
chimes.
(12 Balmoral Close, Westleigh Ave, London SW15, England)
Haslmoto, Sin - Fall Away (1979)
Bil/bass clarinets - vibraphone, sanza (on timpani), big gong, 2 tamtams,
octave of crotales, 3 wood blocks, f lexatone.
(Japan; address unknown) '
Hazzard, Peter - Sonata/yo. ll, 0p. 2} (1971, p. 1977)
Bâ€ clarinet - marimba.
(Seesaw Music Corp.)
Hegdal, Magne Gunnar - Ghost Music.- Concerto /V(1982)
Bass clarinet - marimba.
(Norwegian Music Information Center)
Heim, Norman - Collage (1979)
Bâ€ clarinet - xylophone, marimba,v1braphone, chimes, snare drum, gong.
(7402 Wells BlVd., Hyattsville, MD 20783)
Heim, Norman - Concertante (1978)
Bâ€ clarinet - xylophone, marimba, vibraphone.
(7402 Wells Blvd, Hyattsville, MD 20783)
Heim, Norman - Solisti; 0p. 42 (1980, p. 1981)
Bil clarinet - marimba.
(Dorn Publications)
Helns, John -- Sonata for Clarinet and Percussion (p. 1985)
Bâ€ or A clarinet - small snare drum, 2 bongo drums, timbales, suspended
cymbal, triangle, 5 temple blocks.
(Southern Music Co.)
Hekster, Walter - Music fora Summemight (1983)
Clarinet - percussion.
(Donemus)
Helberger, Heinzpeter - Musilr fu'r Klarinette in D und Vioraphon (p. 1978)
811 clarinet - vibraphone.
(Musickverlag Helbling Kg.)

212

Hendon, George - Two Transferences (1979)
Eb/Bb/A clarinets - marimba, vibraphone, 3 chimes, snare drum, tomtom,
bass drum, 2 bongo drums, 2 conga drums, 3 suspended cymbals, tamtam,
temple blocks, snare drum sticks tapped on floor.
(4902 Poinsetta Ave., Tallahassee, FL 32304)

Herbolsheimer, Bern - Phoenix Variations (1981)
BP clarinet - marimba, vibraphone, 5 tomtoms, bass drum, timpano,
brake drum, suspended cymbal, triangle, wood block, 5 temple blocks.
(2309 Boyer Avenue East, Seattle, WA 981 12)

Hervig, Richard - AnCntertainment (1978)
BB clarinet - marimba, vibraphone.
(1822 Rochester Avenue, Iowa City, IA 52240)

Heussenstamm, George - Douole Solo, 0p. 26 (1970)
BP clarinet - glockenspiel, snare drum, tenor drum, 2 tomtoms, bass drum,
2Sâ€œ timpano, 2 suspended cymbals, triangle, small tamtam.
(Seesaw Music Corp.)

Hiatt, Kevin - Sidereal t iai'sons II (1986)
Bass clarinet - marimba, vibraphone, piccolo snare drum & snare drum (or
2 tuneable tomtoms), 3 suspended cymbals, sizzle cymbal, triangle.
(123 Santillane *3, Coral Gables, FL 33134)

Hoag, Charles - Inventions and Interludes (1973, p. 1976)
BblA clarinets - marimba, suspended cymbal.
(Paul Price Publications)

Hodkinson, Sydney - Drawings.- Set No. 3(1961, p. 1969)
Bb clarinet - 3 drums of indefinite pitches (â€œpreferably open end - ideally:
single head timbalesâ€œ)
(Music for Percussion, Inc.)

Hofmann, Wolfgang - Dolema (1983)
Bass clarinet - marimba, vibraphone.
(Hebelstrasse I3, 6800 Mannheim 1, West Germany)

Holmes, Reed - Shapes for Clarinet and Percussion (F lorestan andFuseoius)
(I979)
Bblalto/bass clarinets, shock absorber, crowbar, crotale, triangle -
marimba, vibraphone, 3 tomtoms, bass drum, 2 timpani, triangle, tamtam,
crotale, cowbell, wood block, temple blocks, maracas, 3 brake drums,
shock absorber, 2 crowbars.
(Music Dept, University of Texas, San Antonio, TX 78285)

213

Houllif, Murray - Five for Two (1978)
Bb/alto/bass clarinets - marimba, glockenspiel, vibraphone, 6 tomtoms,
bass drum, 8 rototoms, 4 timpani, 3 suspended cymbals, 2 triangles,
3 small gongs, bell tree, 5 temple blocks, glass wind chimes.
(14 Mill Pond Rd., Stony Brook, NY I 1790)

Hutcheson, Jere - Duo Sonata for Clarinet andPercussion ( l 979)
8b clarinet - marimba, 2 tomtoms, bass drum, bongo drum, 3 suspended
cymbals, hi-hat, small gong.
(American Composers Alliance)

Ivey, Jean Eichelberger - Pantomme (1982)
80 clarinet - xylophone.
(320 West 90th Street, *3A, New York, NY 10024)

Jankowski, Loretta - Daguerreotypes (1979)
EDIBD clarinets - vibraphone, snare drum, 3 tomtoms, bass drum,
3 rototoms, 4 timpani, 4 suspended cymbals, hi-hat, 3 triangles, set of
crotales.
(291 Ravenswood, Mountainside, NJ 07092)

Katzer, Georg - Ballade (1982)
80 clarinet, low tomtom - marimba, glockenspiel, vibraphone, 3 tomtoms,
3 bongo drums, 4 small cymbals, 3 cymbals, water gong, tamtam, 3 cow
bells, 3 wood blocks, assorted wind chimes, police Whistle, assorted
instruments at pitch of police Whistle.
(Edition Peters, Leipzig, East Germany)

Katzer, Georg - Moments Musicaux (1985)
Bass clarinet (and, optional, contra-alto clarinet) - marimba, suspended
cymbal, 2 triangles, gong, 2 wood blocks; glass, wood, and metal wind
chimes.
(Weserstr. 5, 1615 Zeuthen, East Germany)

Kitazume, Michio - Slapping Crossing ( I 976)
Bass clarinet - marimba, vibraphone, tomtom, bongo, chinese gong,
tamtam, 9 cowbells, 3 wood blocks, log drum, whip, sand glass,
metronome.
(3-22-5 Igusa Suginami-ku, Tokyo 167, Japan)

Klein, Lothar - Brand Duo Concertante for Clarinet and Timpani ( I 979)
BD clarinet - 4 timpani.
(44 Wallingford Rd., Don Mills, Ontario, Canada M3A 2T9)

Kosut, Michal - Dastandder Verzauoerten Sonne (1982)
Bass clarinet - marimba, vibraphone, triangles.
(Triskalova 10, Brno 63800, Czechoslovakia)

214

Kovach, Jos E., Jr. - Duet forMarimoa and Bass Clarinet (1984)

Bass clarinet - marimba.

(2104 Rhawn Street, Philadelphia, PA 19152)
Koyle, Gregg - Kumoengo (1986/ 1987)

B'3 clarinet (or soprano saxophone) - marimba.

(PO Box 4234, Ann Arbor, MI 48106)

Kraft, Leo - Episodes (1979, p. 1982)

Bâ€ clarinet - 3 snare drums, 2 suspended cymbals, 2 triangles, crotale,
brake drum, 5 chinese blocks, claves, castanets, maracas.
(General Music Publishing Co.)
Kreutz, Robert - Prisms (1979)
80 clarinet - marimba.
(1090 Zinnia, Golden, CO 80401)
Krill 1, Georg - Schattenspiel, S Stucke i'dr Bassklarinette und Vioraphon
(1986)
Bass clarinet - vibraphone.
(Cleverstr. 5, D-SOOO Koln 1, West Germany)
Krzanowski, Andrze j - More the Rainoow Ends ( 1985)
Bass clarinet - marimba.
(ul Zeromskiego 30, 43-322 Czechowice-Dziedzice, Poland)

Kurimoto, Yako - Relations (1979)
8D clarinet - marimba, snare drum, 3 tomtoms, suspended cymbal,
tamtam, maracas.

(18-18 Kamitokihazama Inuyama, Inuyama, Aichi 7484, Japan)

Kuinik, Norbert Mateusz - Cantaoile (1985)

Bass clarinet - marimba.

(ul. Lazurowa 6 m. 23, 01-315 Warszawa, Poland)
Kuinik, Norbert Mateusz - Bomakiâ€˜r ( 1985)

Bass clarinet - marimba.

(ul. Lazurowa 6 m. 23, 01-315 Warszawa, Poland)

Kvam, Oddvar - Sonata for Clarinet and Percussion 0p. 53(1979, p. 1980)
EbIBb/Albass clarinets - xylophone, marimba, glockenspiel, vibraphone,
snare drum, tenor drum, 3 tomtoms, 3 conga drums, bass drum, 4 timpani,
suspended cymbal, tamtam, 3 bicchieri.

(Musikk-Huset AIS, Oslo, Norway)

Laburda, JIrI - Kasace Ar. 3 (Duo in B) (1979)

Bass clarinet - marimba, vibraphone, snare drum, tenor drum, 4 tomtoms,
5 bongo drums, 3 suspended cymbals, triangle, piatto chinese, 6
campanaccios, 6 wood blocks, 5 temple blocks, f lexatone.

(Seesaw Music Corp.)

215

Le jet, Edith - Elans Imaginaires (1986)
Bass clarinet - marimba.
(1 1/13 rue Cino del Duca, F-75017 Paris, France)
Lemos, Anne Edgerton - Cla'vnet/Percussion Duo (1979)
Bâ€œ clarinet - vibraphone, 2 bongo drums, 2 brake drums, 5 temple blocks.
(36 Fairvlew Ave, Middletown, CT 06457)
Lerstad, Terje Bjorn - Duo for Bass Clarinet and Percussion, Dp. l39c
0980/ I 981)
Bass clarinet - marimba, glockenspiel, chimes, snare drum, 4 tomtoms,
bass drum with pedal, tamtam, tambourine.
(Norwegian Music Information Center, Toftesgt. 69, 0552 Oslo 5, Norway)
Lerstad, Terje Bjorn - Variations on an Interval Signal, 0p. 7]
(1974/1977)
A clarinet - marimba.
(Norwegian Music Information Center, Toftesgt. 69, 0552 Oslo 5, Norway)
Lesemann, Frederick - Douoles (1984)
Bâ€ clarinet - marimba (or 25 other combinations).
(School of Music, University of Southern California, Los Angeles,
CA 90089-0851)
Lesemann, Frederick - Sonata (1968/1972)
Bh clarinet - marimba, vibraphone, 3 tomtoms, 2 bongo drums, bass drum,
2 suspended cymbals, triangle, tamtam, xylophone block (A 440), box
chime (tuning bar - A 440), crotale (A 440), brake drum (A 440), 5 temple
blocks.
(School of Music, University of Southern California, Los Angeles,
CA 90089-0851)
Lewin-Richter, Andres - Duo for Bass Clarinet and Percussion (1986)
Bass clarinet - marimba, vibraphone, 3 triangles, small Thai gong.
(Reina Cristina I, Barcelona-3, Spain)
Loeb, David - Driâ€˜e Bezicnten naar Nieuwexamp (1982)
Bass clarinet - vibraphone.
(Memes College of Music, 150 West 85th Street, New York, NY 10024)
Loeb, David - llIottumo eDue Scherzi (p. 1975)
8b clarinet - vibraphone, snare drum, 3 tomtoms, 4 suspended cymbals,
3 cowbells, 4 wood blocks.
(Lang Percussion Co.)
Loevendie, Theo - Duo (1988)
Bass clarinet - marimba, 4 tomtoms, suspended cymbal, triangle.
(Joh. Verhulststr. 5, 1071 MP Amsterdam, The Netherlands)

216

Logan, Wendell - Duo Exchanges (i979)
Bb/bass clarinets - glockenspiel, vibraphone, 2 bongo drums, 2 timbales,
timpano, 2 suspended cymbals, triangle, tamtam, log drum.
(167 5. Pleasant St., Oberlin, OH 44074) '
Lopez, Dawn - Duo for Clarinet and Tonitoms ( l979)
Bb clarinet - 4 tomtoms.
(1391 Frank St, Honolulu, HA 96816)
LoudovÃ©, lvana - Duo Concertante (1982)
Bass clarinet - marimba.
(Pod Strani 2/66, 100 00 Praha 10, Czechoslovakia)
Louie, Alexina - Cadenzas (1985)
8D clarinet - marimba, glockenspiel, vibraphone, suspended cymbal.
(Canadian Music Centre, 20 St. Joseph Street, Toronto, Ontario,
Canada M4Y 139)
Luedeke, Raymond - Fanci'es ano' lnterludes / V (1982)
Bass clarinet - marimba, vibraphone, 2 triangles, 2 wood blocks.
(Music for Percussion, Inc.)
Magnanensi, Giorgio - Dnoa (1987)
Bass clarinet - marimba, vibraphone.
(Via Paolo Costa 3, I-40137 Bologna, Italy)
Mais, Chester - Prelude anot icks (1975, p. 1982)
BP clarinet - marimba.
(Music For Percussion, Inc.)
Mangini, Marino Anthony - )cinti'p/ion)l // (1982)
BP clarinet - marimba.
(20 Vine Street, Naples, NY 14512)
Manneke, Daan - Batter/â€œe (1984)
Contra-alto clarinet - marimba, vibraphone.
(Donemus)
Manneke, Daan - Gestures (i981)
Contra-alto clarinet - percussion.
(Donemus)
Marez Oyens, Tera de - Octopus (1982)
Bass clarinet - marimba, vibraphone.
(Donemus)
Marshall, James â€” Acres â€of le Sommeil (1974) â€˜
Bb clarinet - glockenspiel, vibraphone, 3 triangles, 2 tamtams, bell plate
- slide of Max Ernst painting.
(703 Valiant Circle, Garland, TX 75043)

217

Marttinen, Tauno - Duo for Clarinet and Percussion (n.d.)
Clarinet - percussion.

(Finnish Music Information Centre, Runeberginkatu 15 A,
SFâ€”OOIOO Helsinki 10, Finland)

Marttinen, Tauno - Duo, Do. 220 for/â€˜iarimoa ano'Dass Clarinet (1983)
Bass clarinet - marimba.

(Finnish Music Information Centre, Runeberginkatu 15 A,
5F-00100 Helsinki 10, Finland)

Marttinen, Tauno - iâ€˜iuooonmuutos metamorphosis), Do. 245 (1985)
Bass clarinet - marimba.

(Finnish Music Information Centre, Runeberginkatu 15 A,
SF-OOIOO Helsinki 10, Finland)

Marttinen, Tauno - Duo, 0o. 66, no Zior Clarinet and Percussion (n.d.)
Bb clarinet - 3 bongo drums, bass drum, 3 suspended cymbals, triangle,
tamtam, 3 temple blocks.

(Finnish Music Information Centre, Runeberginkatu 15 A,
5F-00100 Helsinki 10, Finland)

Matsushita, isao - SereragiiVa . . . ( ..... of a brook/e0 (1980, p. 1984)
A clarinet - marimba, 3 tomtoms, rototom, 3 suspended cymbals,

3 tamtams, 5 wood blocks.
(Ongaku No Tomo 5ha Corp.)

Mazurek, Ron - Neoitation (1978)

BP clarinet - vibraphone, 3 triangles, gong, metal or glass wind chimes.
(39 Ross Road, Wallington, NY 07057)

McBride, Marshall Wade - ta/â€˜iarea (1979)

8'3 clarinet - marimba, vibraphone, snare drum, 2 tomtoms, suspended
cymbal, sizzle cymbal, triangle.
(940 Askin St, Maumee, OH 43537)

McCarty, Frank - Variation Duos (l979/ 1 981)
8b clarinet - marimba. . '

(1347 New Garden Rd., Greensboro, NC 27410)

Michel, Paul-Baudouin - Transparence (1971, p. 1972)

Bâ€œ clarinet - metal (vibraphone, 2 suspended cymbals, 2 triangles).
(CeBeDeM)
Miereanu, Costin - Distance Zeâ€™ro (i988)
Bass/contra-alto clarinets - marimba, vibraphone, percussion.
(Edition Salabert)
Miranda, Ronaldo - images (n.d.)
Clarinet -percussion.
(Brazil; address unknown)

218

Miyazawa, Kazuto - Bindung- lei'lung (Variationen onne Menu) (1979)
A clarinet - glockenspiel, vibraphone, timpano, 2 suspended cymbals,
tamtam, 4 almglocken, 3 temple bells, bambusrohr.

(2-38- 18 Tagara Nerima-ku, Tokyo, Japan)

Miyazawa, Kazuto - Stroni (Stream) (1983)
Bass clarinet - marimba.

(2-38-18 Tagara Nerima-ku, Tokyo, Japan)

Morbo, Claudio - [t-Con (1988)

Bass clarinet - marimba, vibraphone.
(Via Novarea 2, I- 10064 Pinerolo, (TO) Italy)

Morgan, David S. - Voyage into Solitude, Do. 72, for a duo of 6 clarinets and
multiple percussion ( 1983)

Eb/BblAibasslcontra-bass clarinets/basset horn - xylophone, marimba,
glockenspiel, vibraphone, tubular bell, snare drum, 3 tomtoms, pedal bass
drum, large bass drum, 2 suspended cymbals, finger cymbals, hi-hat,
triangle, 4 gongs, 3 tamtams, brass chimes, tubophone.

(Australian Music Centre, PO Box 49, Broadway NSW 2007, Australia)

Morton, John - Sneaves (1979)

80 clarinet - marimba, vibraphone.
(363 Canal St, New York, NY 10013)
Moss, Piotr - Meditations (1982)
Bass clarinet - marimba, vibraphone, 2 triangles, 5 wood blocks.
(Pro Nova/Sonton)
Muller, Ulrich - fan: die Masonine (1986)
Bass clarinet - marimba.
(Rembrandtstr. 20, 8000 Munich 60, West Germany)
Mullins, Hugh- Pecitaliâ€˜iusic â€™3 (n.d.)
BP clarinet (or oboe) - xyIOpnone.
(Music Dept., California State University - Los Angeles, 5151 State
University Drive, Los Angeles, CA 90032)
Mullins, Hugh - Peciâ€˜tal/â€˜iusic '4 (n.d.)
Bb clarinet - marimba.
(Music Dept, California State University - Los Angeles, 5151 State
University Drive, Los Angeles, CA 90032)

Murray, Greg - A Piece for Friends (1980)
8D clarinet - marimba, vibraphone, 8" cymbal, 8" and 10" gangs,

3 triangles, chinese cymbal, crotales e1 - 32, mark tree, 3 stainless
steel bowls.
(Music for Percussion, inc.)

219

Nakamura, Shigenobu - invention ii (1979)
BP clarinet - marimba, glockenspiel, vibraphone, 3 tomtoms, 2 bongo
drums, timpani, 2 suspended cymbals, triangle, tamtam, 3 cowbells, 2
wood blocks, 5 temple blocks, maracas, claves.
(Takatsuki-machi 12- 1, TakatsukiiOsaka, Japan)
Nasveld, Robert - Preparations for Coma (1974)
Bass clarinet - typewriter.
(Donemus)
Nef f , Jerome - Pastoral Piece wit/i Frogs (1966, rev. 1979)
BP clarinet - suspended cymbal, tamtam, tambourine, rack of high bells,
5 temple blocks, metal wind chimes,castanet machine, 1 Iexatone, wind
machine, noise makers (e.g. crow call, lionroar, slide whistle, taxi horns,
police whistle, gunshots, ratchet) - tape.
(Music Dept, California State University, Hayward, CA 94542)
Nelson, Joseph - Piece for Clarinet andriarinioa (i987)
Bb clarinet - marimba.
(Department of Music, West Texas State University, Canyon, TX 79016)
Nelson, Larry - Cadenzas and interludes (1975)
Bâ€ clarinet - glockenspiel, vibraphone, chimes, 4 tomtoms, bass drum,
3 suspended cymbals, 2 triangles, tamtam, 5 temple blocks.
(School of Music, West Chester State College, West Chester, PA 19380)
Nihashl, Junichi - Visions improvisees ( 1983)
Bass clarinet - marimba, vibraphone.
(402 Tamura Building, 2-1-20 Honan, Suginamiku-Tokyo, Japan)
Obst, Michael - Dialog ( 1985)
Bassicontra-alto clarinets - marimba, vibraphone, percussion.
(von Grooteplatz 3, 53 Bonn 2, West Germany)
Ocker, David - incline Up (1979)
Bâ€ clarinet - marimba.
(4313 Finley, Los Angeles, CA 90027)
Ocker, David - Backward tooking, Forward (VC) ( 1977)
Bb clarinet - vibraphone. (a set of four pieces for various combinations
of Bâ€ clarinet, vibraphone, and piano)
(4313 Finley, Los Angeles, CA 90027)
O'Shea, Dennis - involvement for Clarinet and/â€˜iarimoa (1979)
Bâ€ clarinet - marimba.
(626 Delaware Ave., Ridgewood, NJ 07450)
Ouzounofi', Daniel - Pnoniâ€˜alesJ (p. 1985)
BP clarinet - vibraphone, 5 temple blocks.
(Billaudot)

220

Pal 1332, Edward - fwo Reminiscences from Cniidnood ( 1983)
Bass clarinet - marimba.
(Polish Music Information Center)
Palmer, Susan - Flower Dells andrii'grations (n.d.)
Bbibass clarinets - xylophone, marimba, glockenspiel, vibraphone,
chimes, snare drum, 2 suspended cymbals, tamtam, almglocken, jingle
bells, wood block.
(cio ZCLA, 927 South Normandie, Los Angeles, CA 90006)
Palombo, Paul Martin - Canto dâ€˜un Altra Volta (1985)
Bb clarinet - marimba, vibraphone, snare drum, 4 tomtoms, bass drum,
3 suspended cymbals, 2 triangles, 3 Vietnamese gangs, 2 tamtams,
4 crotales, 3 temple bells, 5 temple blocks, log drum.
(cio Uwharrie Duo, 4320 River Drive, Plover, WI 54467)
Parker, Philip - Five Dagatelies (p. 1987)
8D clarinet - marimba, vibraphone.
(Southern Music Co.)
Patrick, Andre - Cinoweme Pliapsodi'e (p. 1986)
Bâ€ clarinet - vibraphone.
(Alphonse Leduc)
Paul, Berthold - interplay, 0p. 2i (1975, p. 1978)
Bb clarinet - vibraphone.
(Edition Hans Gerig)
Pavlenko, Serge - Duo a fre (1981)
Bass clarinet - marimba, vibraphone.
(Novoalekseevskaya, Str. 3 KV28, Moscow 129626, USSR)
Paynter, John - The Laughing Stone (1982)
Bass clarinet - marimba, vibraphone.
(Westfield House, Newton on Derwent, York Y04 SDA, England)
PetriÃ©, lvo - Contacts (1979)
Bâ€ clarinet (with optional bass clarinet) - xylophone, marimba,
glockenspiel, vibraphone, chimes, snare drum, tenor drum, 5 tomtoms,
bass drum, 3 suspended cymbals, triangle, gong, tamtam, 5 cowbells,
wind chimes, bamboo chimes, maracas, slapstick, flexatone, guiro.
(Bilecanska 4, 61000 Ljubljana, Yugoslavia)
Petry, George - Duo for Clarinet and Percussion (1979)
A clarinet (and/or other clarinets) - snare drum, 2 suspended cymbals,
triangle.
(152 Keyel Dr., Rochester, NY 14625)

221

Pierce, Alexandra - After DuDuffet's 'Zimoour as a Crustacean" (1979)
Bâ€ clarinet - marimba, snare drum, 3 tomtoms.
(126 E. Fern Ave., Redlands, CA 92373)
Piï¬os, Alois Simandl - iâ€˜ietadances(1979)
Bb clarinet - membranophones, metallic instruments, and wooden
instruments of the performers choice - tape.
(Borodinova 12, 6 23 00 Brno-Kohoutovice, Czechoslovakia)
Polin, Claire - Viâ€™gni'ature (1979)
Bh clarinet - xylorimba (or marimba), vibraphone, small suspended
cymbal, triangle, smallest gong, 2 crotales, kalimba.
(374 Baird Rd, Merion Station, PA 19066)
Pololanik, Zdenek - Musica Spingenta M (1962, p. 1968)
Bass clarinet - percussion.
(Panton)
Ponjee, Ted - l'nird Homes (1986)
Bass clarinet - marimba, vibraphone.
(Donemus)
Pratt, Moe - Diimi/ (1979)
80 clarinet - marimba, 3 conga drums.
(836 lsack, Windsor, Ontario, Canada N85 3W7)
Pressl, Hermann Markus - iii/1i 2/2 (1986)
Bass clarinet - vibraphone.
(Korblergasse 9, A-8010 Graz, Austria)
Priest, J. Barnaby - A lovely Time (1976, version for BI) clarinet; 1986,
version for bass clarinet)
Bb or bass clarinets - marimba, vibraphone, chimes, 2 snare drums,
4 tomtoms, pedal bass drum, 4 suspended cymbals, rivet cymbal,
3 triangles, large tamtam, 3 gangs, 3 crotales, lujon, glass and wooden
wind chimes.
(Via Giordano Bruno 13, 1-04010 Roccagorga, italy)
Qui l 1 ing, Howard - iâ€˜ieantoc (Fneme and loccata) (I976)
Bb clarinet - marimba, glockenspiel, vibraphone, snare drum, 2 tomtoms,
bass drum, 2 suspended cymbals, 5 temple blocks.
(3001 Harmony Dr., Bakersfield, CA 93306)
Ramovs, Primoz' - CtAP-PFPC (1988)
BP clarinet - piccolo snare drum, 3 tomtoms, 2 bongo drums, 2 suspended
cymbals, 2 triangles, tamtam, 2 cowbells, sleigh bells, 5 temple blocks,
ratchet.
(Kardeljeva 18, 61000 Ljubljana, Yugoslavia)

222

Raxach, Enrique - Careful wit/i tnat. ..... (1982)
Eb/Bb clarinet - 4 tomtoms, bass drum, 2 bongo drums, 2 conga drums,
2 suspended cymbals, low tamtam, wind chimes.
(Donemus)
Rebel, Meeuwis - Adagio nr. 2 ( 1983)
Bass clarinet - marimba.
(Donemus)
Rechberger, Herman - All'Dnganese (1983)
Bass clarinet - vibraphone.
(Finnish Music information Center, Runeberginkatu 15 A,
SF-00100 Helsinki 10, Finland)
RendÃ©n, Guillermo G. - Pentamorposis en Narron yArgenta ( 1983)
Bass clarinet - marimba.
(Ap. Aereo No. 76103, Zona 2, Bogata, Colombia)
Riedstra, Tom - Duplex (1986)
Bass clarinet - marimba, vibraphone.
(Donemus)
Riley, James - fangents (1979)
Bb clarinet - vibraphone, snare drum, 2 tomtoms, 2 bongo drums, conga
drum, bass drum, 2-4 suspended cymbals, hi-hat, 3 triangles, temple
blocks, glass Chimes, maraca. piano With top off - tape.
(Music Dept, James Madison University, Harrisonburg, VA 22807) Â°
Rimmer, John - Emergence (I981)
Bb clarinet - xylophone, vibraphone, snare drum, 3 tomtoms, 2 bongo
drums, 3 suspended cymbals, bell tree, 3 temple blocks, maracas, claves.
(Catena Press, 67 Marlborough Avenue, Glenfield, Auckland 1310,
New Zealand) -
Rodriguez, Robert Xavier - Ciironi'es (1981, p. 1986)
Bass clarinet - marimba, tenor drum, suspended cymbal, gong, variable
non-pitched instruments (e.g. bongos, conga, â€œtableâ€ tambourine, small
tenor drum,etc....)
(Galaxy Music)
Roeder, Toni - liaoanera (1975, p. 1976)
BP clarinet - vibraphone, 3 tomtoms, 2 bongo drums, 2 suspended cymbals,
tamtam, 5 temple blocks, castanets, maracas, vibraslap.
(Gotthard F. Dbring)
Rolin, Etienne - Visages et Masques (1986)
Bass clarinet - marimba.
(1, Bd Thiers, F-16000 Angouleme, France)

223

Romeo, James - Tne Fall: i657 (1979)
Bb clarinet - glockenspiel, vibraphone, 2 tomtoms, bongo drum,
3 suspended cymbals, 2 wood blocks, metal wind chimes, glass wind
chimes, brake drum.
(PO Box 8786, Rochester, NY 14624)
Rosen, Jerome - Serenade (1967)
Bb clarinet - glockenspiel, vibraphone, at least 4 dumbegs, cymbal tree,
2 sets of cowbells or Pakistani bells (a total of 12 bells), sleigh bells,
glass bowl (or crotale), lion-roar.
(American Composers Alliance)
Ross, Richard - Sonatina for Clarinet Percussion Duo ( l 979)
Bb clarinet - glockenspiel, vibraphone, 5 tomtoms, 2 bongo drums,
2 timbales, 4 brake drums.
(365 Partridge St, Albany, NY 12208)
RossÃ©, Francois - iâ€˜iodSon 4 micro-tragedie instrumentale (1984)
Contra-alto clarinet - marimba, vibraphone.
(9, rue de Roland, F-33850 Leognan, France)
Ruggiero, Charles- Studies for Clarinet and Vioe (1979i 1 980)
BD clarinet - vibraphone.
(School of Music, Michigan State University, East Lansing, MI 48824)
Russell, Armand - Die Celonas (1976)
BP clarinet - marimba.
(Music Dept, University of Hawaii, 241 1 Dole St, Honolulu, HA 96822)
Russell, Armand - [pnemerons (1977)
BP clarinet â€” 5 tomtoms, 3 suspended cymbals, gong, 2 high suspended
bells, bell tree.
(Music Dept, University of Hawaii, 241 1 Dole St, Honolulu, HA 96822)
Russell, Armand - Pas de Deux ( l 958, p. 1964)
Bb clarinet - xylophone, snare drum, tomtom, 4 tuned drums, suspended
cymbal, triangle.
(Music for Percussion, Inc.)
Russell, Armand - Prelusions (1981)
Eb/Bbibass clarinets - vibraphone.
(Music Dept, University of Hawaii, 241 1 Dole St, Honolulu, HA 96822)
Sakurai, Kiyoshi - Flsewiiere iii (1979)
BP/bass clarinets - glockenspiel, vibraphone, snare drum, 5 tomtoms,
pedal bass drum, 2 timpani, 6 suspended cymbals, 2 tamtams, crotale,
cowbell, 3 wooa blocks, 3 temple blocks.
(Nerima ku Kouyama 3015-27, Tokyo, Japan)

224

Salazar, A'lvaro - Per/plos (1988)
Bass/contra-alto clarinets - marimba, vibraphone, percussion.
(Av. Dr. Antunes Guimaraes 313, Porto, Portugal)
Salvatore, Caltagirone - Duo impressions (1979)
Bb clarinet - snare drum, 3 tomtoms, bass drum, suspended cymbal,
triangle, wood block, 5 temple blocks.
(15, cite de Brouckere, 6240 Farciennes, Belgium)
Sampson, David - l'ne Fndless instant (i978)
Eb/Bb/bass clarinets - xylophone, marimba, glockenspiel, vibraphone,
chimes, 5 tomtoms, 30" timpano, suspended cymbal, 2 triangles, crotales,
2 cowbells, 2 wood blocks, 5 temple blocks, wind chimes, 2 anvils.
(166 W. Hanover Avenue, Morristown, NJ 07960)
Schietroma, Robert - Dialogue (p. 1982)
Bâ€ clarinet - marimba, vibraphone.
(Music for Percussion, Inc.)
Schroder, Hanning - â€051* (1974, p. 1976)
Bb clarinet - vibraphone.
(Edition Corona Rolf Budde)
Schwartz, Elliot - Dptions ii (p. 1972)
Bâ€ clarinet - vibraphone, xylophone, 4 drums, suspended cymbal, 3 wood
blocks or temple blocks - tape.
(Media Press)
Sciortino, Patrice - Paraxyle (1984)
Bass clarinet - marimba.
(49, rue Rouelle, F -75015 Paris, France)
Sermila, Jarmo Kalevi - Clockwork Ftudes (1983)
Bass clarinet - marimba, vibraphone.
(Finnish Music information Center, Runeberginkatu 15 A,
SF â€”001 00 Helsinki 10, Finland)
Shackelford, Rudy - â€ine t ignt Passages " - Variations on a l'neme oy
Deetnoven (0p. lDl) ( 1976)
Bb/bass clarinets - glockenspiel, vibraphone, snare drum, 5 timpani -
grand piano (and pianist) or tape recorder.
(Severn Post Office, Gloucester County, VA 23155)
Shanahan, Ian - [woes/fantasies (p. 1984)
Bass clarinet - vibraphone, tubular bells.
(Australian Music Centre, PO Box 49, Broadway NSW 2007, Australia)

225

Shiner, Kristen - fnree Pieces for Bass Clarinet and/â€˜iarimoa ( I 982)
Bass clarinet - marimba.

(Music Department, Nazareth College of Rochester, 4245 East Avenue,
Rochester, NY 14610)

Siennicki, Edmund J. - Journey (p. 1971)

Bb clarinet (or bassoon) - 5 suspended cymbals, piano strings, other
instruments â€might include cymbals, woodblocks, bongos, various
tomtoms, rototoms, triangles, cowbells, tambourine, snare drum, temple
blocks, etc."

(Raymond A Ojeda)

Simons, Netty - Wild Tales fold on the PiverPoad ( 1973, p. 1977)
BD/bass clarinets - xylophone, marimba (and bass marimba, if available),
glockenspiel, vibraphone with low c (if a vibraphone with low c is not
available, a bass metallophone or lujon is suggested in adjunct), large
triangle, large suspended cymbal, small tamtam, glass wind chimes,
assorted drums including: small head, low pitched, small tomtom, piccolo
timpano. In addition, general types of sounds are called for, rather than
specific percussion instruments - amplifier.

(Merion Music)

Singer, Andre - l'iiree Collooui'es (1979)

Eb/Bb/A clarinets - xylophone, marimba, snare drum, suspended cymbal,
triangle, tamtam, temple blocks.
(138 Gemionds Rd., West Nyack, NY 10994)
Sitsky, Larry - Zuouero (1987)
Bb clarinet - 3 bongo drums (or piano with lid down over keyboard)
(Seesaw Music Corp.)
Smith, J. B. - in t ignt of Three (n.d.)
Bn clarinet - electronic drums.
(School of Music, Arizona State University, Tempe, AZ 85287)

Stalvey, Dorrance - Pt C-Fxtract (version for clarinet andpercussioni
(solo: 1968, p. 1975; duo: 1973)
8D clarinet - vibraphone, 2 bongo drums, sizzle cymbal, misc. metals and
woods of indefinite pitch.

Stalvey has written a variety of accompaniments for the clarinet solo
(PtC-[xtract which was taken from a larger ensemble work, Points-
t ines-Cinclesl.

(Clarinet 5010 published by: Editions Salabert, US. agent: G. Schirmer.
Percussion accompaniment available from: Stalvey, 2145 Manning Ave,
Los Angeles, CA 90025)

226

Stibilj, Milan - Zoom (1970)
Bâ€ clarinet - 2 bongo drums.
(Grabloviceva 28, 61000 Ljubljana, Yugoslavia)

Stock, David - Starlignt (1979)

BP clarinet - vibraphone, chimes, crotales.
(American Composers Alliance)

Strlmholm, Folke - Music for Clarinet and Percussion, 0p. 23 (1970)
Bb clarinet - xylophone, vibraphone, snare drum, suspended cymbal,
triangle, large gong, 3 wood blocks, whip.

(Langsetveien 4, Oslo 4, Norway)

Tal iaferro, Lloyd - Septem De Animi'culis Carmina Cum Meditations Add/â€œta

(n.d.)
Bb clarinet - marimba.
(U.S.A; address unknown)

Tautenhahn, Gunther - Sonata (1972, p. 1973)

Bâ€œ clarinet - marimba.
(Seesaw Music Corp.)

Tavernier, Jean-Claude - Suda (p. 1985)

BP clarinet (or flute, oboe, or alto saxophone) - tambourine or tomtom.
(Billaudot)
Theobald, Jim - rusteryMusic â€˜4 (i979)
Bb/bass clarinets - marimba, vibraphone, chimes, tomtom, conga drum,
bass drum, hi-hat, cowbell, wood block.
(545 W. 1 1 1th St, Apt. 9E, New York, NY 10025)
Thomas, Jay - Penny Dance (1979)
BP clarinet - 4 timpani.
(861 Cherry St, Oshkosh, WI 54901)
T ickmayer, Stevan KovaÃ© - Molto Sempli'ce, Music in Memory of Andrey
fantovsky ( 1987)
Bass clarinet - marimba, vibraphone, gong.
(ui. Milete Jaksica 21a, 21000 Novi Sad, Yugoslavia)

Tittle, Steve - Snadowplay (1978)

BP clarinet - marimba, 2 tomtoms, suspended cymbal, tamtam, sleigh
bells - tape.
(Boutilier's Point, Halifax County, Nova Scotia, Canada SOJ 1G0)

Torres-Zuleta, Luis - Fstampas Precoiomoinas (1983)

Bass clarinet - marimba, vibraphone.
(K 28 *90-41, Bogata, Colombia)

227

Turner, Kerry Drew - Fantasy (1979)
8D clarinet - marimba.

(SO22 Crusade, San Antonio, TX 78218)

Tyssens, Albert - Divertimento (1979)

BP clarinet (or alto saxophone) - vibraphone.
(5 rue Louis de Brouckere, 4300 ANS, Belgium)

Udow, Michael - Vistas (formerly called Miere Are We?) (1979)
Bass clarinet - marimba, 5 tomtoms, suspended cymbal, cymbal on
timpano, timbrack (3 almglocken, 3 cowbells, 3 wood blocks, 3 temple
blocks).

(Equilibrium Press, 1425 Creal Crescent, Ann Arbor, Mi 48103)

van Beurden, Bernard - 7Haiitoes (1983)

Bass clarinet & voice - marimba, vibraphone & v0ice.
(Donemus)
van den Booren, Jo - ti'tany, 0p. 64 (1987)
Bass clarinet - marimba.
(Donemus)

van den Booren, Jo - Pas de Deux, 0p. 56 (1986)
Bass/contra-aito clarinets - marimba.
(Donemus)

Vuursteen, Frans - Wanton Wiles (1985)
Bass clarinet - marimba.
(Donemus)

Walacinski, Adam - introspection (n.d.)
Clarinet - percussion
(Artia)

Walker, Vanessa - Three for Two (1979)
Bâ€ clarinet - marimba, vibraphone.
(416 Clough St, Apt. D, Bowling Green, OH 43402)

Wallin, Peter - ire stamningar (1984)

BP clarinet - marimba.
(Swedish Music information Center, Sandhamnsgatan 79, Box 27327,
S- 10254 Stockholm, Sweden)
Weisling, Raymond - Fssence of Ampersand (p. 1970)
ED clarinet - glockenspiel, snare drum, (optional) pedal bass drum.
(Media Press)
Wendel, Eugen - Diason (1982)
Bass clarinet - marimba, vibraphone, 4 tomtoms, gong.
(Sonoton, Schleibinger Strasse 10, 8000 Munich 80, West Germany)

228

Werder, Felix - Auf- undZagaoe (1982)
Bass clarinet - marimba.
(3/374 Auburn Road, Hawthorn, Vic. 3122, Australia)
Wilson, Eugene - Sonata for Clarinet andelop/ione (1979)
Bâ€ clarinet - xylophone.
(School of Music, University of British Columbia, 6361 Memorial, British
Columbia, Canada V6T 1W5)
Yarber, Thomas - Fncomium (1979)
Bbibass clarinets - vibraphone, suspended cymbal, triangle, tamtam.
(U.S.A; address unknown)
YDrer, Ahmet - Forest Clearings in Wales (1979)
EDiBPibass clarinets - xylophone, marimba, glockenspiel, chimes, snare
drum, 3 tomtoms, 2 bongo drums, pedal bass drum, 2 timpani, gamelan
bonang (or wooden-drum), cymbals, suspended cymbal, gong, tamtam,
5 crotales, cowbell, wood block, temple blocks, chain, whip, anvil, bronze
sheet, 3 clay pots, basketfui of hay and hardboiled eggs - optional,
recorded tape.
(U.S.A; address unknown)
Zif f rin, Marilyn J. - Movements for Clarinet and Percussion (n.d.)
BD clarinet - marimba, 4 timpani, suspended cymbal.
(PO Box 179, Bradford, NH 03221)
Zuidam, Rob - Ski'amacni'a (i986)
Contra-alto clarinet - marimba.
(Donemus)
Zumaque, Francisco - Carrizo (1988)
Contra-alto clarinet - marimba, vibraphone.
(Mittelstr. 63, D-5300 Bonn 2, West Germany)
Zumaque, Francisco - C/iapigana (1988)
Contra-alto clarinet - marimba, vibraphone, snare drum, 2 tomtoms,
3 suspended cymbals, triangle, tamtam, wood block.
(Mittelstr. 63, D-5300 Bonn 2, West Germany)
ZumaquÃ©, Francisco - improvisacioâ€™n (1988)
Bass clarinet - marimba.
(Mittelstr. 63, D-5300 Bonn 2, West Germany)
ZumaquÃ©, Francisco - Dnama' (1988)
Bass clarinet - marimba.
(Mittelstr. 63, D-5300 Bonn 2, West Germany)

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