''''' PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. DATE DUE DATE DUE DATE DUE {SW IC "â€1 ll MSU Is An Affirmative Action/Equal Opportunity Institution ammuna-m A STUDY OF SELECTED COMPOSITIONS FOR CLARINET-PERCUSSION DUO BY 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 BY 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.“ Six duos which have been performed by the “Uwharrie Duo†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/‘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 “Duo Contemporain,“ 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 © 1974 by Andre Boucourechliev, and Edition Peters for Ballade © 1982 by Georg Katzer; and by composers whose duos are in manuscript: Frederick Lesemann, James Marshall, Frank McCarty, Kazuto Miyazawa, lvo Petric’, 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 “Uwharrie Clarinet- Percussion Duo†and, most of all, for his patience, support, and love during this project. iv 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/[l’ 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 I. 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 Petric’, 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/‘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, DOIYCI’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 X 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 XI 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/aflgfa/De’nme/odle ........................................................................................ 1 27 Coda, mm. 308-312. Melodic remnants of Sections D' and 8" plus Klangi‘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 ..................... ‘ ................................. 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 2’3, TUI‘IOSO note-flurries .................................................. 155 Tale V, lines 1-2, use of G‘ 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. NIDG‘DOLG I‘OW USGO as DZSIS 101‘ £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. 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. 1 2 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.“3 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, “Sources 111 and Other Works for Clarinet and Percussion (Part 1),†The Clarinet 2, no. 3 (May 1975) 12. 51dem, "Music for Clarinet and Percussion Instruments,‘ 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, “Music for the Clarinet-Percussion Duo,“ 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 Petrié wins Uwharrie Clarinet-Percussion Duo Composition Contest,“ Tne Cla'v'net 7, no. 1 (Fall 1979): 41. 4 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 “Favorite Six Clarinet-Percussion Duos.“ 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 . Duo“ and has been performing and researching this repertoire for fifteen years. 5 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, “in 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, “The 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 W 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 “in 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 percussion“ 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, “A Survey of Compositions Written for the Percussion Ensemble,“ Percussion/st 4, no. 2 (January 1967): 106. â€Reginald Smith Brindle, Contemporary Pertussion (Oxford Oxford University Press, 1970): 178. 9 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 “part 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: “A full Janissary [also spelled “Janizary“l 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,“ Pertussionist 2, no. 4 (September 1965): 7. 1“Sherman Hong, “Percussion in the Orchestra: 1750-1850,“ 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. IO symphonic uses are also found in two movements of Haydn's Sympnony M2 100 (â€Tne/‘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: “The 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. 2“Blades, 306. ll 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 “fashionable†(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. 12 This evolution 01' the orchestral percussion section was one Of the impetuses TOI‘ the formation Of the TII‘SIZ percussion ensembles. It 3130 led to an expansion OI DeI‘CUSSIODIStS' technique, WIIICII helped make 8010 and chamber DGI‘CUSSIOD literature ITIUSICBIIY viable in the twentieth century?" PeI‘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€pop“ 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 “all art was being impaired by tradition."29 Russolo also maintained that “musical sound was too limited in qualitative variety of timbre, and that the future of music lay in the subjugation and organization of noise.“30 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 publicS’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, “The Percussion Ensemble:1930-l945," Percussion/3t 9, no. 3 (Spring 1972): 71. 301b1d. 31Michael Rosen, 108. 32Vanlandingham, 71. 14 field drum, bass drum, tambourine, triangle, two tomtoms, and cymbal. This “multiple-percussion“ or “multipercussion' 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.“ 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 “continuously moving pitch,“ e.g., 33A “multiple-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 “over thirty“ on p. 1 1 1 of his article while Gordon Peters counted “42" on p. 210 of Me Drummer? Nan. 15 sirens and lion's war.“ The latter were used to create a “polyphony of glissandi.“37 lonisation was an important composition for percussionists and all other musicians. According to Blades it was “monumental in the history of the percussion ensemble.“38 Peters said it “immediately . . . set up a trend in percussion ensemble composition.“39 Musicologist H. H. Stuckenschmidt described its overall importance and Varese‘s use of “sound mass“: 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 percussion“1 36Vyvian C. Lawrence, " lonrsat/on--Edgard Varese,“ 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. “Vanlandingham, “The Percussion Ensemble: 1930-1945,“ Percussionist 10, no. 4(Summer 1973): 123. 16 Varese used some standard instruments but had begun to move away from them by the time he composed Ionization Harrison and Cage “strongly de- Mphasized orchestral percussion.“‘12 Cage used “various kinds of noise [which] he felt would ultimately culminate in the electronic production of all imaginable sounds.“43 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 “a one-man percussion ensemble, with defined pitches largely replaced by noises and complex sounds.“4‘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 “Percussion Ensemble“ 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. 4‘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 “was perhaps consciously developed as a home-made substitute for the synthesizer of the future.“ 45This program is discussed in detail in Walter Parks, “The Origin of the Percussion Program in the American University: The University of Illinois,“ MICMP/ Journal 34, no. 3 (Spring 1986): 4-10. i7 mission of encouraging composition for percussion by serving as a performance workshop.“ Price‘s promotion of the percussion ensemble also included “the establishment of a publishing firm devoted exclusively to the publication of percussion music [Music for Percussion, 1nc.].“47 Shortly thereafter, percussion ensemble activity began at the Eastman School of Music. Gordon Peters founded the “Marimba Masters“ 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. “Jack 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. «mm, 220-226, 279. 491bid, 224. s0Ronald Keezer, “A Study of Selected Percussion Ensemble Music of the Twentieth Century,“ Percussionist 8, no. 3 (March 1971): 94. 51 Publicity information of Sydney Hodkinson. 18 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 “middle-of-the-road, assimilatOiy vein"‘~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 “left-leaning“ 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 “chance“ procedures. Percussionist Michael Rosen described pieces written for the University of Illinois percussion ensemble as a “composition movement“ that was more conservative than those of the “San Francisco“ movement of Cowell and associates."54 An even more conservative “movement“ 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 arberman‘s dislike of pieces with unconventional instruments is clear. He wrote that he “should 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, “A Study of Selected Percussion Ensemble Music of the Twentieth Century,“ Percussionist 8, no. 4 (Summer 1971 ): 134. 53Idem, “A Study of Selected Percussion Ensemble Music of the Twentieth Century,“ Percussionist 9, no. 1 (Fall 1971): 22. 5"Michael Rosen, “A Survey of Compositions Written for the Percussion Ensemble,“ Percussion/st 4, no. 4 (May 1967): I90. l9 embarrassment to, percussion p1ayers.“55 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. “The exploration of percussion ensembles, both traditional and exotic, has led to such a range of instruments and variety of techniques as to defy summary,“56 said Watkins. The percussion ensemble has become an ensemble of international participation. Blades mentioned the “Tokyo Percussion Ensemble,“ the “Percussion Ensemble of London,“ and “les Percussions de Strasbourg,“ 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. 20 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 “improvement“ 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. 21 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.“ These were written during the 1740‘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 “immense reputation for sensitivity and ref inement,“55 employed two. These players 6IMany sources list four concertos by Molter. Richard Adrian Shanley documented two additional concertos in “The Fifth and Sixth Clarinet Concertos by Johann Melchoir Molter. A Lecture Recital Together with Three Additional Recitals“ (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. 22 probably doubled on oboeuntil around 1778. The clarinet became a member of the military band during the same era, “in 1763 or soon after,“ 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 “juxtaposed with complete freedom,“ reports Brymer.69 The previous literature and players should not be discarded as unimportant as Brymer states, “Even before it reached the five-key stage, the clarinet was a formidable instrument in the virtuoso field.“70 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 “heyday“ 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. 7°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, “was among the first to use various sizes of clarinet for their particular tone quality.“73 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/“may aim/sic 2nd ed., rev. & en1., s.v. “Clarinet family.“ 24 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 waned“ 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, “Due Boemi di Praga,“ 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 7‘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/‘lusic (Cheshire, England: John P. Newhill, 1983), 16- 17, 91. 75Norman Heim, “The Josef Horak Phenomenon, part VI,“ 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 B1’ contrabass clarinet used in bands and clarinet choirs. The solo repertoire for the B†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 “nearly 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.) Strav1nsky‘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 7‘iJames E. Gillespie, Jr., Solos for Unaccompanied Clarinet.- An AmotatedBioliog'ao/ly of Published Wants (Detroit: Information Coordinators, 1973), 1 i. 26 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. 27 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 “new music“ 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 “In 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. “Tambous“ 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 “Duo Contemporain.“ 28 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 “cause“, 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 “unlikely“ 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. 29 media events under the name “Music for Sound and Light.'80 Duos written for the Georges include Wild Tales Told on tne River Road by Netty Simons,“ aotions // by Elliott Schwartz, Essence ofAmpersand by Raymond Weisling, and Flower Bel/s and/‘iigrations by Susan Palmer. Ron George composed Music foraFavor/te Person for their ensemble. He is an innovator in the development of “percussion consoles,“ 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 “Clarinet and Friend,“ 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 “Uwharrie Clarinet-Percussion Duo,“ have performed together since 1974. The “Uwharrie Duo“ 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, “Clarinet and Friend,“ Tne Clarinet 5, no. 1 (Fall 1977): 32. 8“Correspondence and conversations with Phillip Rehfeldt, Barney Childs, Peter Racine F ricker, and Wendell Logan. 3o “Uwharrie Duo“ including duos by Jon Deak, Jere Hutcheson, Frank McCarty,85 Paul Martin Palombo, and Michael Udow of the United States, Jozef Gahér and Alois Simandl Pinos of Czechoslovakia, Georg Katzer of East Germany, Enrique Raxach of Holland, Kazuto Miyazawa of Japan, and lvo Petric’ and Primoi Ramovs’ of Yugoslavia. In addition to commissioning and premiering new works, the “Uwharrie Duo“ sponsored an international Composition Contest in 1979 which produced many outstanding compositions, some of which have yet to be performed. The “Uwharrie Duo“ 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 “Duo Contemporain“ 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 “Duo Contemporain“ include Meditation et Danse by Piotr Moss of Poland, Diason by Eugen Wendel of West Germany, and Wanton Wiles by Frans Vuursteen of Holland.“ 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. “Correspondence with Henri Bok and publicity materials of “Duo Contemporain.“ 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 “Boston Musica Viva,“ which premiered it. Jon Deak's Sinister Tremors, written for and premiered by the “Uwharrie Duo,“ has been programmed by “Speculum Musicae.“ 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. 8“’Correspondence and conversations with John Floyd and André 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, “The 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.“33 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 “would 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 “Griffiths, 223. 89lbid. 32 33 mature college students, or possmly even two exceptional high SChOOI students.9° 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. 9°David Pickthorn, review of Time Pieces for Clarinet avd Percussion, by George F erencz, in Percussive Notes 25, no. 2 (Winter 1987): 52. 9‘Gillespie, 12. 92A “one-line instrument“ 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. 34 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, “Music for Unaccompanied Clarinet,“ 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, “Extensions of Technique for Clarinet and Saxophone“ (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, “Augmenting Clarinet Technique: A Selective, Sequential Approach through Prerequisite Studies and Contemporary Etudes“ (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, “Multiphonic Trills and Tremelos for Clarinet“ (DMA dissertation, University of Oregon, 1977); Phillip Rehfeldt, Mew Directions for Clarinet (Berkeley: University of Cal ifornla Press, 1977); Nicholas Jerome Valenziano, “Twenty-one Avant-Garde Compositions for Clarinet Published Between 1964 and 1972: Notational Practice and Performance Techniques“ (D.M.A dissertation, University of Missouri, 1973). 97Elsa Ludewig-Verdehr's article “A Practical Approach to New and Avant-Garde Clarinet Music and Techniques,“ Tne Clarinet 7, no. 2 (Winter 36 . In a lecture titled “Contemporary Aspects of Woodwind Performance,“ 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 9‘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 “rrrr“ 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/aw‘er, Dp. S, written in 1913. Clarinetist Gerald Farmer notes that “flutter-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 “Contemporary Aspects of Woodwind Performance.“ 99Rehfeldt, 63. 37 not a particularly new device on the clarinet, hav1ng had great popularity among jazz performers for many decades.“100 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 “cool“ jazz style of the late 1940's, 1950‘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.1°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. 1°1Flutter-tongu1ng is only marginally successful on the double reed instruments. 1°2Farmer, riu/tipnonics; 140. 1°3F or a thorough discussion of clarinet vibrato, see Paul Drushler, “Clarinet Vibrato: Terminology, Utilization, Aesthetics, Part I,“ MCWP/ Joomal 27, no. 4 (Summer 1979): 37-48, and “. . . Part II,“ 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. ‘ T ‘ I ‘dï¬tzikn ‘ - L E3 gamma: _, T’ ‘11:: E 'I'L—Waï¬h.‘ r; —— O o e 3 3 T 'r 1- _ / / 1 n n - ‘12— 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 “:33: -L "1 . ° 5 H r— 3—- ‘1! AA A P L "’ _I_—I r L 9 ï¬g -—————J1—-fT-ï¬â€”-~——-—————¢ r‘ I, 53' fl 171A fl *1 ‘2 1 A ‘- ,— f r ’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. “Pitch bend“ 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 “glissando“ is the beginning of Pnaosooy in Blue (1924) by George Gershwin. Farmer points out that this wonderful upward smear of pitches is actually a “portamento“ 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 10‘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 “91153“ 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 “classical“ music. “Blue notes“ 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. “Coleman‘s practice of lowering or raising certain pitches, which he calls “emotional pitch,“ is a deliberate attempt to give the music a human vocal quality.“ 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. 40 Example 3. Contacts by lvo Petrié, p. 4, line 2, larger glissandi. —'—_.=—ï¬" -reEEEE-QM Ci. ==:-=----— : | I CL- r—J— ) fl 1 =—__‘__'>—___".l mg. sEsE.EiF—- H v « 1 ill- _.____, I e 1979 lvo Petric’ Used By Permission 01‘ 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. 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 1°9Milan Kostohryz, “Quarter-Tone Clarinet,“ Tne Clarinet 3, no. 3 (May 1976): 12. noIbld. 1 1 1Cope, New Music Composition, 88. 42 effect of microtones. Haba thought of quarter-tones as an evolutionary step “on the road from simplicity to complexity.“I 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. 11‘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%1‘=l F=F§Tï¬Â§u1==1=1 1==1=§1=1 1=r=1==. .3‘/—\. 3“ s is N‘ a?! as? 1 A > «E I s. ; WWW. "$.13? e †Ifâ€: >§s=s \m i' v. 7 i ~—— ‘r ~02 FAG—"r ~;\-—-—-—-’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. 44 Example 6. [00/77 by Milan Stibilj, lines 4'5, multiphonic with standard fingering for written c’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 “i 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 I‘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 “percussion instrument.“ 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 “percussion instrument“ 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 47 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 “one-man band.“ The “trap-drummer,“ as Blades called him, of the early twentieth century used “drums, cymbals, and cunningly-controlled gadgets“ to perform in “various forms of light entertainment, including the dance hall, the traveling show, the circus and the theatre pit.“1 ‘9 Some of the gadgets that might have been included in the trap-drummers “kit“ or “trap“ 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.“121 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 “one-man band.“ 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. 48 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 “the 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.“'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 “avant-garde“ extremist composers. 122Vanlandingham, 73. 123Richard Cheadle, “Development of the 5010 Performance Media for the Percussionist,“ lVACWP/ Journal 35, no. 3 (Spring 1987): 26. 49 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 “Rosewood Percussion Duo:“ 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 “total percussionist.“ This significant drudgery is undoubtedly why there are few multiple-percussionists who pursue concert touring. Most touring “percussionists“ 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, “Multipercussion in Chamber and Solo Music,“ Percussionist 5, no. 3 (March 1968): 287, 289. 1256reg Murray and Judy Murray, “Ensemble Insights: Programming,“ Modem Percussionist 2, no. 3 (June 1986): 44. so _ percussion setups, this involves moving equipment. After reviewing a concert by the “Uwharrie Clarinet-Percussion Duo,“ 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 “positioned“ 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 “work-movement“ 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 “constructing the instrument;“ 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 “notes“ 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. 52 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 “instrument“ 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 “percussion,“ i.e., those that produce their sound by being struck, scratched, or shaken. Composer-percussionist Frank McCarty described the problem: “Unlike the musician who develops skills on a single instrument, the percussionist must acquire a multiplicity of techniques and apply them to many different instruments.“130 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 “instruments to be mastered“ even longer. Holland provides some perspective on progress in the art of percussion: Composers“ 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 Boulez‘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, “Zyklus,“ Percussionist 3, no. 1 (November 1965), 6-7. 130Frank McCarty, “Percussion Notation,“ Percussionist 15 (Winter 1978): 49. 53 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 13‘James Holland, “Performers Platform: Writing for Percussion,“ Composer (London), 76/77 (Summer/Winter 1982): 2. 132Ron George, “Research into New Areas of Multiple-Percussion Perform'aglgze and Composition,“ 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 13‘1McCarty, 49-60; Frank McCarty, “Symbols for Percussion Notation,“ Percussive ii/otes Pesearc/i E dition° 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 “Terms Used In Percussion.“ '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. I1’>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). 56 Among such misnomers falls, for example, the tamtam (Malaysian- African tammittam meaning “drum“) which we, in our musical world, consider to be a gong with indefinite pitch, while “gong“ 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 “total percussionist.“ 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 “instrument,“ 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 “instruments“ 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 Peters“ 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 “is this possible?“, or “will that work?“ 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, “Performers Platform,“ 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. - 1“His music is principally published by Boume, Hmar Percussion, Music for Percussion, G. Schirmer, and Seesaw Music. 58 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.“12 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 instrumentationl‘i“ 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. 1‘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, “Percussion Solos and Ensembles Most Often Performed in College Student Recitals,“ Percussionist 12, no. 1 (Fall 1974): 35. 1“Russell, July 30, I988. 60 genre to date.145 Tne Ce/onas is scored for 813 clarinet and marimba and was written in 1976. anemerons Is scored for B†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, 8°, 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, ELongueandflaLch, 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 Zumaqué 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 61 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 “unpitched“ 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: “As a composer my conception of percussion writing really starts and hinges on line.“1415 He shapes small rhythmic figures to include “focal points“ and then joins several figures to create larger figures which, in turn, have focal points.“17 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 ‘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: “Percussion Music - A Musical Experience,“ in Percussionist 7, no. 2 (December 1969): 70. 1“mm 1“151b1cl, 71. 62 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 “monochrome“ and “polychrome“ when structuring melodic lines. A monochromatic line “resembles 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.“1'50 On the other hand, Russell suggests variety through the use of what he calls “ “polychrome“ lines, that is a single melodic line that shifts its colors as it moves from instrument to instrument.“ 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. 1’501bid. 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.15‘1 The melodic style of the clarinet part can be described, to borrow a term from Leon Dallin, as “nonvocal style.“155 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 “octave displacement“ creates an angularity that is often used in twentieth-century music. 153The subtonic is the omitted pitch. 15‘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 Emlmue‘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.15‘1 The melodic style of the clarinet part can be described, to borrow a term from Leon Dallin, as “nonvocal style.“155 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 “octave displacement“ creates an angularity that is often used in twentieth-century music. 153The subtonic is the omitted pitch. 1'5‘11‘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 ——-= > —‘~./ N. If sf:— dim ....................... W00 acca —< O 1964 Music for Percussion Inc. Used By Permission Of The Ptblisher 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-A’ 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, A“, 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-related“ 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 C‘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€major“ 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. 66 Example l0. "Vt. I, mm. 32'39, polychrome percussion line and clarinet With march theme. P > Sue .< >— TJ‘. C’s“), P e l964 flusic for Permission Inc. Used By Permission Of The Publisher 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 'E‘) 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, 0/0†and F â€60.153 C is the key center for Part (1 which is in harmonic minor but includes some split thirds.l‘~'>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 ‘53?th was omitted and F'le was rarely used in the previous Part c. l59"Split thirds†are defined as superimposed major and minor triads; e.g. C-Eb-E-G. 67 Example I I. "Vt. I, mm. 69-85, seven-measure clarinet phrase repeated WItI‘I similar contour. @ O 1964 flusic for Percussion inc. Used By Permission Of The Plblisher phrases, sometimes punctuated by an extra measure of percussion accompaniment, are grouped to form three periods with an a-b-a‘ scheme. This tiniest of “a“ sections seems reminiscent of the Baum The last large section of the mm (mm. l20- i 42) is designated A‘ because of alterations to the primary melodic material, the march theme, and the polychromatic percussion accompaniment. This demonstrates Russell's previously-quoted statement that “recapitulation is less exact and has the pressure of change forced on it because of the preceding situations."5° 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 su‘romding movements and thus the function of a contrasting slow movement is fulfilled. Russell's indication to use “soft timpani sticks“ contributes to the mood. Although the composer the specified pitches of e, f, a‘, 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 “pitches“ 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. 69 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. I’M. II, mm. I-IZ, Section A, drum SOIO. Tuned Drums .5 soft Timpani sticks (.3 n3 PP Mcresc ....... ............................ :17me p pp sff‘ P H’ I i964 Music for Percussion Inc. Used By Permission Of The Publisher 70 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. I3‘I7, clarinet part With four-note CGDU‘ZI CGII, octave leap, and transformation. 0 1964 Music for Percussion Inc. Used By Permission Of The Pibiisher 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. 71 central cell and IS an inside-out version, major second ‘ 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 > O l964 Music for Percussion Inc. Used By Permission Of The Publisher 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. I O l964 Music for Percussion inc. Used By Permission Of The Publisher 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 72 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 A“ 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. mm 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 73 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 ‘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 “codetta“ might be a better term, because of its brevity, but the term â€coda†was probably used for the convenience of the D. c. ale-Coda indication. 74 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. 35—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:— p e I964 Music for Percussion Inc. Used By Permission Of The Pullisher 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 75 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 “I f f —-p. a" ——-= e I964 msic for Percussion Inc. UsedBy PermissionOfThe Ptblisher 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. IS—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 interval“ is defined as the interval between the outermost notes of the pattern. 76 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 F‘ 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. 6—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 77 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. 78 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 “free 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/“tron, 92. 79 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 mm 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). Hodkinson’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, “Music Nova.â€67 Hodkinson's list of published compositions,‘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 offlusrr/ans; 7th ed., s.v. “Sydney P. Hodkinson;" Mew Grove Dictionary ofAmer/can nus/c s.v. “Sydney Hodkinson,†by James 6. Roy, Jr. ; publicity materials of Sydney Hodkinson; correspondence and conversations with Sydney Hodkinson. ‘53His principal publishers are the American Composers' Alliance, Associated Music Publishers, Music for Percussion, and Theodore Presser. 80 81 virtuoso Thomas Stacy, the â€Blackearth Percussion Group,†the “Verdehr Trio,“ 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.“l70 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 Man‘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/‘15; 'Hodkinson.‘ '7'Elliott Schwartz, “The Gamut of American Music," Hus/rand HUS/clans 2 I , no. 3 (November I972): 22. l72|bld. '73 Grove American Music; “Hodkinson.“ 82 W Drawings: Set No. .3’ 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 “to 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. ‘73Conversation with Sydney Hodkinson, May 7, I989. 83 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: “three 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. 84 (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). P‘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. 85 Example 20. The matrix (concert pitch). I0 II I2 III "0 I3 I4 I5 I6 l7 Io I9 Po C'DD‘CBEFF’GG‘AA‘ R0 PiiC C'D BA‘D’E F F‘G 63A RII Pi08CC’A’ADD’EFF‘GG3 RIO PIDD’EC’CFF‘GG’AA'B RI P2 D'EFDC’F'GG'AA’BC R2 P9 A‘BCAG‘C'DD‘EFF’G R9 PoAA'BG'GCC‘DD‘EFF' no P7 G’AA'GF'BCC'DD‘EF R7 PoGG’AF3FA*BCC*DD'E R6 P5 F‘GG‘FEAA’BCC’DD' R5 P4FF'GED*G*AA'BCC*D R4 PaEFHD‘DGGi’AA'BCC’ R3 RIO RII RI2 RIII RIIO RI3 RI4 RIS RI6 RI7 RIB Ri9 Example 2I. ROW alterations. grepetition gi‘mplosion Implosion AI23_I_2_l456783_29I0ii89IOII8I2 [I 2 3 4 I 2 3 4*6 overlap repetition *omitted note 86 a.-. 79.33 â€oz Entire; Haâ€. «7. Tesla; "a: Eelniulme; no: -_ 79-31. “n: aim-.-v-m-m "ea v-_-~-c-n.m.vlnlm.-_le-m â€a: a.-. 72-0.: no: Hamada—u InlaI. â€a:— N.-. TSdéAlciméI .ITnlmAmch «E «I TSIslolelrmércTeInluI. H. _ E «I _..o_..o-oi?-cimlvis-o.Ynlm... no... a.-. ToToIoIslrmé I .Iinlmimlci He:— N.-. ToTeimielclmé.-. .Yelnlmimci H. E S... Sisal???“ Ex £49393 -Tlnlml_s§.§.?§ na. -9; _-2A3193.5...Enroielclmeinlu-_ Hn. .as§_ss.~..§-_ ToToLNAYQIeeImITnINL He. 9... lets—6.3 TulchnTmlvlniT. He. «.7. 15.8.. .loTINAToIWelelmu; nN. also: ToTimérmlsemlimu; â€m. #9933 -o_-im.nvo.s-c.m+-mlml_ no. a a.-. TochToIeislmchvInA; E sauna a.-. To.AmYsAnrriEscimrminiml 6.. 87m Elli. To.-3~-c-o.?c.m.1mrn-u-_ "as g «783.. Io_-m-8-v-o_-:.3.u sssloélnreimeAA; "as -simricliiw 2.. “a: a?“ 05-9-. Ti~ATidilT~l.Yeinlmlos -_ Hn3 «78-. Tesla; To. -iuAYoisrmiz- _ IA... â€as gag—u .EmEoSE 58 3 8.233 m5 an em: 3oz Nu 29:80 87 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-A‘, 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/‘ioalem/‘Ilrsic (New York: Collier Books, I962), 69. 88 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 tOday°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 ‘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. 89 * 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 fun“, ' ° -.-<.#> (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 90 Example 24. Mvt. I, mm. l7- l9, four-note versions of the motive. (moï¬dé'ï¬ '7 F j I" " ‘-< 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,‘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. 9i 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 “A,†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: “imprOVIse in an attempt to overpower the clarinet.†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 “D.“ 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. 92 53.2 s: 8 8.3.5.3.. 3 as: .2. Sauces 8. as: so. 0 ............. UOUU‘M «v >~u£u=u " a . - I II . . . K \V. .256 E 323 meg at. IKE. 3‘ n . . 0 IV .. .. . . .6333... 22.3.... an emu.— c: or E .......... 0—3: 6 MCISOB \\. mpg—OE 003 :Om E K && N . .33.. 2.22.3 no.9. .o .2. 32.03:. x‘VII- \§ 3 G eeeeeeee 0—“flm— d M:w3°_m cozouuaa .uuoEuouuon .d Avndn’ev 300.:— h.— o> COD—moaxo coumoaou can COS—woaxo .: :32 no OCEEOmm .mN m-amem 93 W1 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.‘84 Improbable as it may seem, the 'Uwharrie Duo“ 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 B“ 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 A“ (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. 94 35.3.... s: .o 8.3.2.... .3 an: .2. 8.4.38... a. so... So. e x s. .39.“. Ah av 2 0— mu A“ mv m FOK‘Tm W _Ibm @— So..+$+..+n&«.n Lo â€animate.“ A A A lr uT ,hFl m . -l Hulï¬ a â€min mwwm 7.33 m 9.255 tenancies. ain‘t“ “ V.I "Hull H‘k/W/ k d I :1.†t P P "I d F I w m“: MW . a. . E l ï¬mmm idI .- h HJ‘I nu. .2... II .5 «duals. ht . / . .32 c. a... a. a a a m parafï¬n .:o_m..m>E .mnlmw new 0:. .EE .5 a2... ON 29:86 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 “C“ and â€D“ 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, A‘B‘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. 96 octave registrations. The rhythm, articulation, and dynamics vary. Example 27 compares the A and A. sections. Example 27. The opening OI l’IVt. IV and the r ecapitulation. (imam Lr' P P? f < "P Lines ‘i-S' M 83: 0rd. n r ..= ~1- >— p n -< >— 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, C‘ 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, C‘, 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 97 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) ‘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.†HarvardDictionary of/‘iusiq 2nd ed., rev. & enl., s.v. "March.“ 98 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 ff 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 w 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.‘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 Kraft‘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.‘92 I88Ibid. ‘39T hen, tympanist of the Los Angeles Philharmonic Orchestra and a U.S.C. percussion professor; now, an important composer. ‘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. l9‘iSections B', D‘, and C". 103 Example 29. Percussion legend. ’me To; Stud CszIoaIe Trlgnbts Tcwrlc alaskh n x «<7: 1r * A : H W " is? i - . - ' Nb (" «0-) Le... I‘IleIA L“, l, “3,4,, has. m M at. W M v Y'b’dI‘W“ M Muss. Lew to H IIAA (Mn-wee a“ ttmuim’i.) hif‘ Ag€::?¢}w) bruKLDIOM pox CIx'lwxc. Xvi; Pincus Block Amtiooc wal’oai ‘Qo A . I ' I. . ‘ . . v . v M‘s“: damn» AS tine. Lul 0T Tit“. \V\ “ca-rice Inset. \‘tuc. x Other-wk“. Let ecu" “stub- 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'-B‘-C'-D-E-D'- C"-B"-A“-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. Lesemann‘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 D‘ 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 C‘, 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.‘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. I“I l. l=Go m; sen-need. tb'eeeede ‘ tou¢qï¬u Cote RAVE. 31) 12 “--¢’ ‘."" {LT (yeeev ,— \ f 2 “K * ' . 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 A“ (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 ./H’v’v 12 if I! -; TE ’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 ‘ 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 A“ (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. 264‘268 or Section A", wide dynamic range. ii i .. 222..-.-.7'27 SE LH' / L!“ 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 “effectively 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€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. 9 ‘ 3‘- Us ‘og‘ .5.“ '. v ' ‘ O O Q 5" 2 t: 2 ’22 ’B / ~,———<“ " /' 88 9e ‘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 C“ 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 F—~1 C 3‘ $3 A Uh F! v ycï¬' f u r ._____.__I |______J I L______. L——-—-—' i.____..—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 B†(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). ‘ '8- “ .J #3 i i s: \mll I J T Lv F's-fl / M . 1'3" [1 II \ A \ I u v I k .r [—W $3 a t r ,1 r I. s r a: U T i g.‘ H’, ‘7 i I «‘2 Jun ‘22 1 “f 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-’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. 60 O 1972 Frederick Lesemann Used By Permission or The Composer Section B‘ 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 ' ' 5‘ ’5 (3?) lie veeJo evl- ! T f q \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. 2O‘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 0‘ (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 D‘ 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. o‘vogtif a. . ’b **/L""T .p- {LN l7r ’ ( >3 â€f :..:=.* . i. 4. I“ "- ~ “i K‘d‘f if) I. «l- —-= 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 “proper.“ 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: “All 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\i¢.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 ( ’t 'i/N. v5 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/“Kl f3. ’4‘. . PA, ,ï¬ . ‘_ k m i like an. His-m l (iii v3 > fan K- â€A, 3†e l972 Frederick Lesemann If!) ,, 32 V 32 Used By Permission Of The Composer 128 Example 48. Mm. 330-339, the end of Sonata ,0 (if) "A . ’/'\ r7 339 (iii f O 1972 Frederick Lesemem Used By Permission Of The Composer CHAPTER SIX 7073540 BY ANDRE BOUCOURECHLIEV mm 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/‘29 ammo/val DI'C‘UO/IZ/y of/‘tosic/ans: 7th ed., s.v. “Andre Boucourechliev;“ David Mason Greene, GreeneS‘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/‘c and Molt/ans s.v. “Andre Boucourechliev,†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 TEXIIE’ //, 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 “highly 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 map“ score.213 The realization of each Aron/pol “depends on how one interprets a score that looks like a navigational map."2M Paul Griffiths commented that, “the Aron/pol series. . . provides 'archipelagos' 2ioAndré Boucourechliev, "Texte I,“ [loot/ionic Nusk/l‘tusiooe Concrete: A Panorama offxpen‘menta/ NUS/z; vol. I, Mercury Stereo SR2- 9 i 23. 2' i idem, "Archipel Iv,†Newt/no Plano idil Biret, pianist, notes by ilhan Mimaroglu, F innadar SR902I (i978). â€Music in “mobile form“ 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. 21‘iGreene, I308. 131 of material to be visited by the performers at will.“215 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 “dedicated to the memory of the French composer Jean-Pierre Guezéc Who died at the age of 37."216 Boucourechliev described it as “the 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 “gloomy and almost beyond time.“219 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. 2i5André 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.“ 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 “central pitch-material“ 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 c‘-f‘2. These pitches are played in normal order; i.e., from left to right. The pattern Is repeated as necessary. This â€melody“ 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 “sound-elements“ 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 moment†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 35...? 2: 6 8355 3 so: as: $8.32 8.8.2.: 22:3 :2 e ii if \..i aï¬xlwfll Milli/N it . liV o I r/Ky Kt 5.13.1 â€3 854..., ° NA ii. p is o er o... 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UJ / \ .. /..4 2...».ï¬ \ / b: x... at c...“ -\ t , t“ . \‘V& M n K «Jose 41'.» 0. (IL Ti‘ ti 3 3.2.. :1... :v v :sim. $4 ... l .. .tma .3596ng On. m—amem 136 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 “brings 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 Guezéc'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€phrases†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 2‘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 “almost 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 “mobile“ 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 “mobile†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.“229 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,†said Paul Griffiths in Grove, “Aleatory.†"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.†Cage, on the other hand, used “chance operations in composition“ and "lef t options as open as possible." 229 6mm, 'Aleatory.†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/i’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 WUOI‘i radio of the University of Michigan}:50 Simons‘ primary occupation, however, has been that of composer. Her list of published compositions?“ 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. 23‘Her music is published by Merion Music, Inc. 139 140 including the Pied/Diner ofh’amelin which “was 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?“ A number of her compositions are graphic scoresï¬w4 Her early music is “characterized 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.“ 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,†and â€Silver Thaw,“ 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 DQNg‘SJ‘AP‘N.“ The movements depict “fantasies In the fashion of the “singular 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 stories“ are attributed."'I-’1’>8 The titles of Simons‘ fantasies cannot help but incite one‘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 B†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.‘ 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 “with instructions†may have as its objective a well- defined sound result, that [i.e., the score] “without" 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?“ but there are enough â€constants“ to make Wild l’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.“2 Several tales are through-composed. 24°Brindle, Musical Composition, 157. 2“Lesemann‘s Sonata and Russell's Pas de Deux are examples of conventional ly-notated pieces. 2“The 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 seven— note “pitch group“ of FIG" plus the six chromatic notes A‘le through D‘lEb is the backbone of the composition. These pitches are used in all ten tales and will be classified herein as “Pitch-group I.“ (See Example SI.) Example 51. Pitch-group I. .afl “Pitch-group II", the pitches E, F, G, G’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 mungflatecs 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. “Resolution pitches“ are created in several tales. This Is achieved by infrequent or no use of a pitch 2“Specific 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?“ 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,“ "low- pitched Instruments,‘ “cymbal-type Instruments,†â€small head drums,“ ‘glass-like Instruments. . . Including glass wind chimes,†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 2““C's of various lengths appear approximately 270 times. F "5 appear approximately 60 times. This is about half as much as A'le and D‘lEb, the next most infrequent pitches, appear. 2‘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 2“Assembling 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 Duo“ 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 “light sounding [percussion] instruments in all ranges.“ The clarinet part uses Pitch-group l, beginning with the core of Bb-B-C-C‘. C appears most frequently, but D and 8†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). 7‘ - Enter immediately following previous activity. I I I {—9) - Continue to next line or page without pause. ———% - Continue indicated activity to end of arrow. Begin following activity without pause. , - Breath. ’9“ - Long breath. Pause. Long pause. 5‘ - 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 flats 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. Used By Permission Of The Publisher 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 — a new grouping begins after any pause. - I - - Indeterminate amount of short sounds slowly paced. y- The same quickly pawd. I I I — I I I I - Uneven repetition - any amount of one sound. m- Play exact amount of indicated sound at “fast as possible" tempo. m1 - Exact amount — each x a different sound — at a leisurely pace. m - Exact amount — each x a different sound — as fast as possible. I u U .-——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. A - Sharp accents — loud or soft. slow and fast. spaced at will. - - Sound cluster. Do not dampen. H - Varied sound cluster activity to end of arrow. —> - 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. I Iii 1:1 - Each trill on different instrument. L . V, - Do not dampen. O l977 Marion Music Inc. Used By Permission Of The Publisher 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. fl’ - As fast as possible, staccato. 5’- 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 — a new pitch grouping starts after any pause. o-Longsound. m 0 .- Long sound with hold. With or without variation of dynamics. m f." O - Long sound with long hold. 0 - Without variation of dynamics. 0/ ’\° - Variation of dynamia. inaudible break between pitches. â€-- - Slow repeats — indeterminate amount. No variation in dynamics. lI-I———-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. Reflected in a Drop of Dew — Memories Floating: A5 B C C It D F It DII In improvisation areas, multiphonics are allowed. f—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 — indeterminate amount in varied speeds. _ g 0 I977 Merion Music Inc. S, 0. Spit out loud accents. Used By Permission Of The â€ï¬sh"- 150 Example 55. Tale I, lines I-2, many graphic symbols. A /\ llb Cl. sounding instalment: in all Perc. I . . BL Cl. Perc. 0 I977 rlerlon Music Inc. Used By Permission Of The Publisher toward the climax of four loud, sharp percussion accents and the clarinet‘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 “encounters“ 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. ‘ o 1977 rlerlon rlusic Inc. Used By Permission Of The Publisher 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 COiOf‘S the bass clarinet SOIO with a variety Oir slowly-moving sounds. Graphic SYlTiDOiS in both parts call i'OI" ti‘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 “be (wane! n... g : 1:; an; Wï¬.——_a Ci. '0} n stuns 05,019.55. 0 I977 mrlon Music Inc. Used By Permission or The publisher The bass clarinet part uses Pitch-group I. While C is the most frequently used pitch, F’ 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 B†clarinet part of M 2“Seven 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 “use 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 A“. The codetta consists of the clarinet part's final note, F ‘ 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. /'\ i†Ci. ' I I I | ' ' l i . t . l : . . l :Itu (II aMi/IQII nu-pltdld instalment. - ‘p/a] Ult‘lt‘ltb" fit’nrt as “tells- : I r I t | s Pete. 85 Cl. Perc. [lb Ci. sit ..... PP? I . i PL 0 i977 mrlon rillslc Inc. m it Used By Permission or The Plblisher W marked ft SEEING-'tUTiOSO, iS the first iOUd and extremely agitated tale and also the tif‘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 “consonant“ and â€dissonant†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. “mpg: .} «than I “and "sit-be sticks suit.) O l977 lierlon l‘luslc Inc. Used By Permission Of The Plblisher 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 SOUfld 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,“ 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 G“s 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 l‘2, use 0t 6‘ DY percussion and 5.0. DY Clarinet. A 1 r f I 'wl'tlt llamas it‘s all installments with a vuiety of mallets-thteusheut. [oi/ea Jigs-list a, {rennet (no surreal) J Be Cl. Pere. 0 I977 rierion Music Inc. Used By Permission Of The Ptbiisher 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. B†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 i‘4, recurrent pitch patterns. 0 I977 mrlon fluslc Inc. Used By Permission Of The Publisher 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 “lost“ 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 A’-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 D’. All but the last chord include octave spacing, a cluster, and the pitches B, C, and C‘. The last sonority is the dyad C’-D‘. 2‘i‘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 0 i977 rlerion Music Inc. Used By Permission Of The Plblisher “Dissonance†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 D’, is a member of Pitch-group I. Although the final chord is the cluster of C’-D’, 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} «oi to) 0 I977 rlerlon rluslc Inc. Used By Permission Of The Publisher 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 I2‘I3, plagal cadence. W :34‘ 9r 3 , s a a» e we fie-I.esyede’toedh. "t """ -r P; A L Be C‘I.‘ ï¬g - I: r.‘ - T“ W 3i!- n: 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 " ‘l ‘ io- l‘a‘v ‘l 3' a-.lo ill- 0 IS scored for BI) clarinet, glockenspiel, and â€glass instruments including glass Wind chimes.†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 D’. 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 bell“ idea with C’ 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. is 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 “nondiatonic†pitch A It is the only â€dissonance†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 specifically—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 0“ into the distance as the fantasy ends and “reality†returns. Example 66. Tale X, lines 6'7, trills imitating Shimmering water. Bb CI. P Mall» 64 85 CI. O l977 flerion 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 McCarty—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, “a mixed-media, live-electronic music ensemble.“254 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 McCarty’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 B“ clarinet and marimba, individually and in combination. it employs a variety of styles, as the title suggests, and “exploits 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.†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. 2’54Frank 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 effects†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?“ 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. 25S’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. 25°â€N" is a dynamic mark found in all of the variations. It signifies the softest possible dynamic, "niente' or “nothing.“ 2“The 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 “intermezzo†and "divertimento" with the clarinet and marimba, respectively, in the lead.253 mm mm: is pronounced 'trokes,“ 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. 26“Conversation 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]. (M‘ 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,“ 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 ‘I ’M 01" V5 f"—_‘I ) («an «an x S Somal mass£ mï¬oe expwiai-SV‘ unlSon’J. assign†h rouse-3i motive. cxfxmolnot‘ 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 interval“ 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 set“ will henceforth be abbreviated as "fees 173 provides an adequate explanation of his symbology and considerately provides fingerings for the clarinet effects?‘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 masses†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 “masquerade,“ i.e., “to 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, “neither 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 ~——-—- "21$. ' he. I10 - H y : n<§ ’ i' F -N< q >Il ‘a‘dffv i >£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 “passagi†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-«p code-It F L $‘3‘ . A" ’(ï¬ï¬‚ahhi‘k‘) rt j €33 .- one bruit-e ooh. \ x 13‘ 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.“ 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 “chance“ are employed in Masque. There Is no meter or time signature and duration is left to Chance as well. The length of “one breath“ 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: “clarinetist selects a rich multiphonic capable of easily-controlled sf 2 attacks. Marimba plays the same pitches as in the multiphonic.†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 274‘Minimal music†is referred to by a variety of names, depending on the source. Some of the names are “American minimal music,“ “minimalist music,“ “repetitive music,†“phase music,“ â€meditative music,“ and â€acoustical art.‘ 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,“ according to Wim Mertens, Minimal Hus/c'tal‘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 ‘ 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 °-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 “Med 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: “catch 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 “phase relationships . . . based on the idea of gradual nonsynchronization.'279 Minimal compositions are generally long so that the “musical 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'-C’-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. 1. ff 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 “Ngetume 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. 282‘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.“ 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,“ “triad,†and 'quartad' will be used here to designate chords of two, three, and four notes, respectively. â€Triad,†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€quartads†because the terms (I) 'tetrachord“ and (2) “quartal chord“ 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 £03.41. .33 3:3 311:: 23. new "1333» .3 mi: :13 wsmwï¬aonow 23.». =0 .6 «$5.5m. 6.33%.: 3.126 2: to 315.48: unwaoEEH .3 .235». «.650 93 a... .6: sun:— of 3:5. Jump 1...; :3 3.43 95233“. (East 9: 35 x5... 15:6 .5309th on... 5 coin—Eton >9 tom: 23 ’n— wuau 3:3 633:1: out.» 26% was, 116.3 uuua ué 9:: as» o» «W . 35083 #358 5...» «:91 ï¬ne :0 $233 3 a» EEG. 3.33. «a: .8. e «V. a 15mm . 81:30.6 7:513 .. Emctié E a» z A EoG 1:352:91 «£533? .295: Laneâ€: 8593.. :57 Eoyw 353v L .ii\ (\G A i). 5 S. 9:32, :3: “33:55.0 a ï¬ r ). ï¬x}: 0* i oaayuo SN 1 1>°£01on6 hA m. 5. 2.3a 2: 3: .aeé E. Nsz I!!! l.Lr.-'w'! I.I‘~.Il~.lblll.l' .Iih'u.“ .uaafldz .3 29:3 184 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.?“ 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 cadence†concept. 234F or example, in the first triad (bb-f i-ab‘ ), 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?†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 “non-Improviser†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 “a 'divertimento,‘ pairing backwards to the Neetume on a formal level."289 The marimba is the instrument featured in this “drumming piece†whose title is an anagram of “march.†Three lengthy repetitive sections comprise the basic form: March I - Trio - March II. The Trio is a â€drum solo†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. 2“The 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.“ The overall form Is an asymmetrical arch form: lntcoduction (3 measures) MABQH la (marimba Klangfa/oenmelodie plus clarinet) MW (4 measures) MARgH IQ (marimba Klangi‘aroenmeloo’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?“ 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€drumming†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 4‘5, marimba solo (Trio). I Improvise. a subtle. 'Dmin Soio'... gradually “ .2! moving through the pitch-sets _ overall M... “M3,,“ ’ Drop .1 , .4 face : an . v-u ' I —— : '0“ ' . . I ’“V‘ n ‘1: "’ " — =- 1 . I re . . . , ., ctr— '4 . r.- dgnamle. range: App/mp _. develop previous "- ff boxecl materials _ stress mallet colors. I 4- ‘. 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"? «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 ‘. ()=J'M ' ' >w O 1981 Frllk McCarty Used By Permission Of The Composer Example 83. mm lines 2‘3, Breakup Strain I and transition into March lb. (slack. one) More“ lb v v A A â€5' s f;,hL‘Ljf air]; ’314 3 [329 mates? e a ‘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.†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/oo’ie The Improvised â€drum solo†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. 292‘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. 29‘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. W 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 ‘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.“297 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, “up-tempo†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 l‘3, trope within a trope. . I -_.'-'.'-l- .'-'4- -:- I rrarr -- -l- l i m --m we -l‘.- I“- _I,l-l- I I. =l II -IA.—I.“l u rr-mu- I.- —_T IA=_---"-_f- In ---- -'l-—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 — P--—. I -——n- -----"—_-I—'- 1“ i i —u_—ml-_Ir-——-I'-bs arr—I-I. . c . a :- I-—---_---_-- -“I=----=---_---_- Il_-_lf'-—.-__.a' -----——————. 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>fl ———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 30‘ 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 Gahér is a â€book“ 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 Petric’ 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 “Uwharrie Clarinet-Percussion Duo†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 "swing“ 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 0u1eté'xchange, clarinetist John Mohler stated: 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 Duo†has performed Zoom approximately 250 times because it is a good piece and has a portable setup. 3°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 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) B“ 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 clarinet— marimba, vibraphone. (Kurt-Schumacher-str. l 1, 2900 Oldenberg, West Germany) Beerman, Burton - Shadows Cast (1979) B†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) B†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, André - 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) B†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) B†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) B†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) B†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 - l‘ietaoole ll (Kataoolel (1979) B“ 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) B†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/8° 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, ‘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 P€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) 8° 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'menti’ (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 - Fow‘ Sea Fragments (p. 1977) B†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 Gahér, 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) B“ 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) B†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 — 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, Sakuradai—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) B†clarinet - marimba. (Seesaw Music Corp.) Hegdal, Magne Gunnar - Ghost Music.- Concerto /V(1982) Bass clarinet - marimba. (Norwegian Music Information Center) Heim, Norman - Collage (1979) B†clarinet - xylophone, marimba,v1braphone, chimes, snare drum, gong. (7402 Wells BlVd., Hyattsville, MD 20783) Heim, Norman - Concertante (1978) B†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) B†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, 2S“ 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 (“preferably open end - ideally: single head timbales“) (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) B†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 - Bomaki‘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) B“ 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) B†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 - Dri‘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) Loudové, 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/“e (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 — Acres â€of le Sommeil (1974) ‘ 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, SF—OOIOO Helsinki 10, Finland) Marttinen, Tauno - Duo, Do. 220 for/‘iarimoa ano'Dass Clarinet (1983) Bass clarinet - marimba. (Finnish Music Information Centre, Runeberginkatu 15 A, 5F-00100 Helsinki 10, Finland) Marttinen, Tauno - i‘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/‘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) B“ clarinet - metal (vibraphone, 2 suspended cymbals, 2 triangles). (CeBeDeM) Miereanu, Costin - Distance Ze’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- Pecitali‘iusic ’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 - Peci‘tal/‘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) B†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) B†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 B†clarinet, vibraphone, and piano) (4313 Finley, Los Angeles, CA 90027) O'Shea, Dennis - involvement for Clarinet and/‘iarimoa (1979) B†clarinet - marimba. (626 Delaware Ave., Ridgewood, NJ 07450) Ouzounofi', Daniel - Pnoni‘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 d‘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) B†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) Petrié, lvo - Contacts (1979) B†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) B†clarinet - marimba, snare drum, 3 tomtoms. (126 E. Fern Ave., Redlands, CA 92373) Piï¬os, Alois Simandl - i‘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 - Vi’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 - i‘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) Rendén, 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) ° 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, “table†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) Rossé, Francois - i‘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 — 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) B†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) B†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 —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/‘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) B†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/“ta (n.d.) Bb clarinet - marimba. (U.S.A; address unknown) Tautenhahn, Gunther - Sonata (1972, p. 1973) B“ 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 ‘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 Kovaé - 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) B†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) B†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) Zumaqué, Francisco - improvisacio’n (1988) Bass clarinet - marimba. (Mittelstr. 63, D-5300 Bonn 2, West Germany) Zumaqué, Francisco - Dnama' (1988) Bass clarinet - marimba. (Mittelstr. 63, D-5300 Bonn 2, West Germany) BIBLIOGRAPHY BIBLIOGRAPHY Anderson, E. Ruth, ed. [00(19/1700/‘3/7 American Composers-A BIDWflfl/C‘Z/D/CUU/la/y 20 GO. 50310112 G. K. Hall, 1982. Baldwin, John. "Multipercussion in Chamber and 5010 Music,“ Percussionist 5, no. 3 (March 1968): 286-289. Bartolozzi, Bruno. New Sounds for Woodwind trans. Reginald Smith Brindle. 2d ed. London: Oxford University Press, 1982. Battcock, Gregory, editor. Breaking tne Sound Barrier- A Critical Antnology of tire iliewMusic. New York: E. P. Dutton, 1981. Blades, James. Percussion instruments and Tneir i-ii'story. rev. ed. London: Faber and Faber, 1975. Boretz, Benjamin and Edward T. Cone, ed. Perspectives on Contemporary Music Tneory. New York: W. W. Norton, 1972. -------- . 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