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M ...r l .Vl..r,.2.o.a/-..or.... ..JJ).J.V.OJ.4 u . . ... ... 1“ :3 . , , . 0 . . r . . ....K ..y .a . . ..r. 3.2. .513; ..rovmo‘u LVN! torn“. .a. C _ _ . . ... .....!.....l..”/~I: O.rr1.'.l..l..'. o . . .. . -. JIMH... f 11"...0. .. ...-..rfirf n . . . . 7 ... . oJ: . awra. pp’L I 31!) o k a any 3 . O . .., ...... ... . ._ . .v.’....VI h I . . . 4 o I . u. _ . 6 . . v. o . ,. a Q . . o . or.. ¢ ¢ 9 . J . . . ..a . . I . .. c . . _ I. ..rr I u . . .0 v. C ’. 4 . .a . ..r... Lard}: ;.J.o..r../ . u . . . v .i...'.l'.' O‘clfll1.v . J o . v I n . i ‘ ‘ TWENTTETH CENTURY COMPOSITIONS Thesis for the‘Degree of M. M. MICHTGAN STATE UNIVERSTTY LEONARD. W. OTT 1968 A SURVEY OF BRASS ORCHESTRA“ “fir-— — a." .‘"~.'m‘qoho—-. -..fi-g .0" " O - o . ‘ a I nu— «_ fl. .. _ o, . _ . ., t o a _ n l . 0.. .00 . . P....I . . - ... . . o. t o . . . I . -. usuol u . . o a. . 4 u n .o . .c.o.a. . ol 0 ll 0 ~ - O J I. . _ . . v- n o l a VI .‘ u o 00.... A! ". ll: . . .. I -..» u . I C v 1 ul 4 . . o . .0 c ‘ . .. . . n P O .5 t . - I 0.. - . .. c . . n t 0 a 01! A . . act. .. . . o - .f . . n . o . .4 .0 . . . .. to. . . .1 tr..tl.o. o. 5.! .o .. -vu.l.lo . .o I . . K b I o 0’. . ..vvun..o_.la9s.s.k. ..Qs.-ul:a.» r‘o.0. fifty": .vvnc IPVQrg‘g ..w) ... . . no . s .. .. I . T... . . ~ . . . ...; u. . .. . . .a._..':3’0..._......_o... 33.....nflhn......S..o‘vmtun.\k\9v \No... 453 .. ....(lrdz lo-onllb O‘ 0... . kin .. .. 2 .. .. ..... . .. I .. ....4.‘ .‘n..,.. ...?f: I. ... ..... .. l... .. .. ‘ . . . . sic-.5... ...: u .q . .. ii? DD FL Ii T PP! LIBRARY idichigan 5353133 University. A SURVEY OF BRASS ORCHESTRATION IN FOUR TWENTIETH CENTURY COMPOSITIONS By Leonard W. Ott A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC Department of Music. 1968 INTRODUCTION This thesis is a survey of the brass orchestration in representative works of Igor Stravinsky, Paul Hindemith, Bela Bartok and Elliott Carter. The first part of the paper presents background material to the survey. This includes a brief history of the orchestra, a history of the development of the orchestral brasses, and a summary of the style characteristics of each of the four composers. The following compositions are examined in the second part of the paper: Stravinsky's Bite 22 Spring, Hindemith's Mathis der Maler, Bartok's Concerto for Orchestra, and Variations for Orchestra by Carter. These particular works were chosen because they are generally well known, they are scored for complete brass sections, and they represent a variety of musical styles. The Specific factonsisolated and examined include, (1) scoring for the individual sections and solo instruments, (2) the instrumentation and function of brass combinations, (3) the nature of the doublings, and (4) the special effects and unusual technical demands. Although each of the factors is examined separately, it must be noted that they all function as part of an over-all orchestral timbre at any given instant. ii Part III, following the survey, contains comparisons of the four works examined. Common situations which arise in each of the works are noted, as well as cases of scoring for brass which are unique to a particular work. A table appears at the end of each chapter in the survey to help place the discussion of the separate factors in proper perSpective. This student is grateful for the guidance and assistance given by the members of his committee, particularly Dr. Merrell Sherburn. 111 CONTENTS IntrOduCtionOOOOOOOOO.......OOOOOOOOOOO...00.0.0000... 11 Part1: General BaCkground-O.....OOOOOOOOOOOOOOOOO00.0 1 Chapter 1: The History of the Orchestral Brasses.............................. 1 Chapter 2: Orchestration as Part of Style....... 12 Part II: A Survey of Brass Orchestration............. 16 Chapter 3: The Rite of Spring by Igor StraV1nSkyo00.00000000000000000000coo 16 A. Scoring for the Individual Sections and Solo Instruments.................... 16 B. Scoring for Brass Combinations.......... 20 C. DoublingOOOOOOOOOOOO...OOOOOOOOOOOOOOOO. 25 D. Special Effects and Unusual Technical Demands.O......OOOOOOOOOO00.0.0000...OOO 28 Chapter 4: Symphonie Mathis der Maler by Paul Hindemith.......OOOOOOOOOOOOOOOOOO0OO 38 A. Scoring for the Individual Sections and Solo Instruments.................... 38 B. Scoring for Brass Combinations.......... #0 C. Doub11n800.........OOOOCCOCOOCOCO......O “5 Chapter 5: Concerto for Orchestra by Bela BartOkOO.......OOOOOOOOOOOOOOOOOO.... 52 A. Scoring for the Individual Sections and Solo InstrumentS.................... 52 B. Scoring for Brass Combinations.......... 56 C. DoublinSOO......OOOOOCOOOOCOOCOOO0...... 61 iv D. Special Effects and Unusual Technical Demands.......OOOOIOOOOIOOOOO00......00O 6“ Chapter 6: Variations for Orchestra by Elliott Carter.......OOOCOOOOOOOOOOO......... 73 A. Scoring for the Individual Sections and Solo Instruments.................... 73 B. Scoring for Brass Combinations.......... 76 C. DoublinSOO......OOOOOOOOOOOOOOO00.0.0000 79 D. Special Effects and Unusual Technical Demands.......OOOOOOOO.00.0.0.0....0.... 82 Part III: Comparisons and Conclusions................ 89 Chapter 7: A Comparison of the Brass Combinations and Their Functions..... 89 A. Identification of the Brass Combinations 89 B. The Spacing of Brass Chords............. 95 C. Orchestral Textures and InstrumentationS........................ 96 Chapter 8: A Comparison of Doublings............ 100 Chapter 9: A Comparison of Special Effects and TeChnj-cal DemandSOOOOOIOOOOOOOOOOO00o 106 Chapter 10: A Comparison of Solo Passages....... 114 Chapter 11: Summary......OOOOOOOOOOOOOO000.0...O 116 Bibliography.0......0.0.0.000.........OCOOOOOOOOOOO... 1-21 TABLES A Comparétive List of Further Examples from The Rite of Spring by Igor Stravinsky.. Functions of Individual Sections and Instruments.......OOOOCOOOOOOOOOOOOO...0.000. Functions of Brass Combinations.......... Functions of the Various Doublings....... The Use of Special Effects................... Comparative List of Further Examples from Mathis der Maler by Paul Hindemith.... Functions of Individual Sections and InStrumentSO......OOOOOOOOOOO0......0.0.0.000 Functions of Brass Combinations.......... Functions of the Various Doublings....... A Comparative List of Further Examples from the Concerto for Orchestra by Bela BartokOOOOOOOO.OOOOOOOOOOOOOOOOOOOOOo Functions of the Individual Sections InStrumentSlOOOOIOOOOOOOOOOO.00.0.0000... Functions of Brass Combinations.......... Functions of the Various Doublings....... Use Of SpeCial EffeCtSOOOOOOOOOO0.00.0000 A Comparative List of Further Examples from Variations for Orchestra by Elliott carterOOOOOOOOOOOOO000.000.000.000. Table I. A. The B. The C. The D. Table II. A A. The B. The C. The Table III. A. The and B. The C. The D. The Table IV. A. The and B. The C. The Functions of the Individual Sections Instruments.............................. Functions of the Brass Combinations...... Functions of the Various Doublings....... vi 33 33 35 36 37 48 50 51 68 68 7O 71 72 84 8h 86 87 D. The Use of Special Effects................... 88 Table V. Brass RangeSOOOOOOOOOOO0.0.0.0...0.00.0.0... 109 vii PART I: GENERAL BACKGROUND CHAPTER 1 THE HISTORY OF THE ORCHESTRAL BRASSES The orchestral brasses include French horns, trumpets, trombones and tubas, all in various keys, and exclude such non-orchestral instruments as bugles, flugelhorns and baritone horns. The term "orchestra" is used today to describe a large ensemble of instruments, as opposed to small ensembles used for chamber music, or bands and other ensembles of Special instruments. The strings are generally the backbone of the orchestra, with the woodwinds and brass producing color effects imposed upon the basic string sound. The percussion instruments are vital to the rhythmic life of the orchestra and for Special effects.1 The history of EurOpean brass instruments relates the process by which men have adapted the mellow herdsman's horn and the martial blasts of the trumpet to music of all types. It is the evolution of signaling devices to musical instruments. The process began in the Middle Ages and continues today in the experiments of instrument manufacturers.2 Of these brasses, the horns are similar 1Willi Apel, Harvard Dictionary 2: Music (Cambridge, Harvard University Press, 1961), p. 519. 2ChristOpher W. Monk, "The Older Brass Instruments," in Musical Instruments Through the Ages, ed. by Anthony Baines (Baltimore, Penguin Books, 1961), p. 277. 1 in character and use to the woodwinds, and were often doubled with oboes in the early symphonies of Haydn and Mozart. The trumpet, trombone and tuba came to be used mainly for reinforcement of the climaxes of massed sound, as well as in solo capacities and for certain soft effects.3 From the lhth century to about 1800, the trumpet existed only in the form of the natural trumpet. It be- came associated with military and ceremonial functions and was a carefully guarded privilege of the nobility. Only an official Feldtrompeter (court trumpeter) was authorized to play it. After 1600, the trumpet began to be used in art music (Monteverdi‘s 93233, 1607) in its clarino register where the harmonics form a full scale.“ fiammertrompeter (chamber trumpeter) guilds were formed in which clarino playing was highly deve10ped and was a closely guarded art. The French Revolution destroyed the courts which employed the small chamber ensembles, and with the courts the guilds were broken up. The players who were masters of the clarino technique were disbursed and became, for the most part, lost to the music world. The destruction of the guilds had another, more positive effect. In France, it permitted free experimentation to make the trumpet a chromatic instrument.5 Some of the many systems to make the trumpet more 3Apel, gp. cit., p. 519. ”Ibid.. p. 771. 5Monk, gp. gi§.. p. 288. versatile included the introduction of crooks during the 18th century to make different harmonic series available on the same instrument. Bach scored for an instrument called Tromba dg_tirarsi which refered to a trumpet with a slide mechanism at the mouthpiece. In 1770, the key trumpet was invented by Kolbel of St. Petersburg. Although Side holes were successful on conical instruments such as the cornet and bugle, their use on the cylindrical trumpet was quickly abandoned. Another attempt to make the trumpet chromatic occurred at the end of the 18th century in England. The U of the first coil was made into a slide and provided with a spring to make it return to normal position. This mechanism continued in use in England throughout the 19th century.6 It was not until around 1813 to 1815 that chromatic brass instruments, other than the trombone, became possible. It was during this time that the valve mechanism was invented by St5lzel and almost immediately improved upon by Blfihmel. The valve had the effect of building all of the necessary crooks on to the instrument to be engaged Simply by pressing a valvestem or a combination of stems. Both rotary and piston valves create a problem in intonation when used in combination, that has existed since their invention. A great variety of compensating ‘valves and a system of ascending valves has been employed 6Apel. .2. 2.1.1:... pp. 771-772. to solve this problem, but to date the brass performer must still make embouchure adjustments to keep his instrument in tune.7 The trombone, like the trumpet, has a cylindrical bore. It was the first of the orchestral brass instruments to appear in its present shape, developing out of a large trumpet with the addition of a slide in the late 15th century. Paintings of the period Show the instrument with all of the essentials of the present day trombone. The slide made the trombone suitable for art music when horns and trumpets were still being used for militarysignals.8 The first slide experiments were with a telescopic mouthpiece. The player used one hand to press the mouth- piece against his lips and the other to slide the instru- ment along the mouthpiece shaft. This could be accomplished rapidly enough to manage the slow tenor and contratenor parts.9 Among the earliest compositions for trombones is G. Gabrieli's Sacrae symphoniae (c. 1600). Gluck was perhaps the first to make effective use of trombones for accompanying chords in his Opera Alceste, and Mozart gave them a prominent place in The Magic Flute and Don Giovanni.10 71bid., p. 781. 8Ibid.. p. 767. t., p. 283. 9Monk, 22. 01 10Apel, QB. cit., p. 767. Beethoven introduced trombones to symphonic music in his 5th Symphony, but it was not until after 1850 and the precedents set by Berlioz and Wagner, that the trombone was firmly established as an orchestral instrument.11 The character of trombone playing underwent a great change from the Middle Ages to the present. In the 16th 17th centuries the instrument was commonly used with viols, recorders, organ and voices and was expected to blend with these sounds. Mersenne stressed that the temptation to play the trombone like a trumpet had to be resisted and the manner of the human voice cultivated. This idea was lost, so that by the 19th century Berlioz described the instrument as "menacing and formidable," able to " break forth into frantic cries or sound its dread flourish to awaken the dead or doom the living."12 Throughout the first half of the 18th century, the horn still had a trumpet-like sound and was often objected to as being coarse and vulgar.13 The origin of the instrument was in either France or Germany, a point still under discussion by historians. Although the English used it, in the form of a hunting horn, in the early 1700's in orchestral music as a novelty, it was not accepted into French orchestras until after 1750 when the mellow sound 11Donald J. Grout, A Histor gi‘Western Music (New York, 1V. W. Norton and Co., Inc., 1960;, p._E82. 12Monk, 92. cit., p. 285. 13Apel, _p. cit., p. 3u1. associated with the modern horn became a characteristic of the instrument.lu Several attempts were made to make the horn a chromatic instrument before the invention of the valve. Around 1760 the horn player Kalbel built the Amorschall, a horn with a modified bell and lateral holes covered by keys, the first instance of the use of keyed brass instruments. About 1770, Hampl of Dresden discovered the possibilities of altering the tones of the natural horn by inserting the open hand in the bell. This technique partially solved the problem of the gaps between the natural tones. Natural horns played in this manner were called "hand horns."15 The late 18th century saw the rise of the horn virtuoso soloist. Some of the very pOpular performers included: Giovanni Punto, for whom Beethoven wrote his horn sonata: Rodolphe in Paris; Spandau who played in London: and Leutgeb, for whom Mozart wrote four horn concertos. In their time, these hand horn virtuosos rivaled the popularity of the violin virtuosos.16 Crooks were common by the late 18th century. At first they were straight sections of tubing inserted under the mouthpiece. This was inconvenient and became impractical luR. Morley Pegge, "The Horn and Later Brass," in Musical Instruments Throggh the Ages, ed. by Anthony Baines (Baltimore, Penguin Books, 1951). p. 298. 15Apel, 22. cit., p. 341. 16Pesee. .2- 2l£-. P- 299- because the longer crooks moved the instrument too far from the body. Hampl is credited with the invention of curved crooks which were inserted into the body of the horn making the application of the hand to the bell easier. By utilizing crooks and stopped notes, the horn was an almost completely chromatic instrument, but the timbre change caused by stopping, and the time needed to change crooks were factors seriously limiting the horn's usage.17 These problems were finally solved by the invention of the valve. The early valve horn players used their valves as substitutes for crook changes and continued to use the hand horn technique.18 Because of the more I brilliant tone of the hand horn, its use was continued beside the more modern valved horn well into the 19th century.19 The modern horn is usually a double horn (F and B-flat), making the upper register easier to play. The hand is used in the bell today to insure perfect intonation and for Special horn effects.20 The tuba as it is known today did not exist until the late 19th century. Its function was filled by instruments which have since gone out of use (the serpent, 17Apel, 9p. cit., p. 3&1. 18Pegge, gp. cit., p. 300. 19Apel, gp. c t., p. 341. 20 Pegge, 220 Cit. p p. 3020 and bass keyed bugles), and were never really part of the orchestra. Modern usage of the term "tuba" seems to apply to any bass brass instrument other than the trombone, with a conical bore and often played with a cup mouthpiece similar to the trumpet. Tubas are built with four or five valves and in three general sizes: (1) tenor in B-flat (a 5th below the horn), (2) bass in E-flat or F, and (3) double-bass (an octave below the tenor tuba). The tuba designed by Wagner for his glgg has been given his name. Wagner tubas have a narrower bore and a;2 mouthpiece Similar to the horn. Wagner used two tenors and two basses with a normal double-bass. The advantage of these instruments was in their agility.21 Instruments were probably always played together, but up to about 1700, concern over balance, capabilities, and individual characteristics in combinations of instruments was very slow in developing. Most of the music of the Middle Ages and the Renaissance which is instrumental is chamber rather than orchestral music. Larger ensembles existed, however, for ceremonial purposes. Giovanni Gabrieli was the first to utilize orchestral resources in :Venice at a time when ceremonial receptions were almost everyday occurrences. Sacrae symphoniae by Gabrieli (c. 1600) are the first compositions to use a Specific instrument for each part. Little distintion was made 21Apel, gp. cit., p. 772. between the capabilities of the various instruments. Monteverdi's 95:22 (1607) is a landmark in the history of orchestration as it contains individual treatment of the instruments and Special orchestral effects. Although Monteverdi's individual use of instruments was probably an innovation, his emphasis was on wind instruments and strongly contrasting groups. These are characteristics of a Renaissance rather than a Baroque orchestra. This perhaps explains why this arrangement never became a precedent. Throughout the 17th century the emphasis on bowed instruments and the practice of thorough-bass scoring did not provide an ideal situation for progress in the use of orchestral resources.22 Organization of the orchestra in groups of strings, woodwinds and brass instruments had a tentative beginning with Lulli. His methods were an advance in orchestration because he used woodwinds and brass (trumpets) in conjunc- tion with a foundation of strings, and not instead of strings for whole movements.23 By the time of Bach, instruments and performance techniques had progressed, and various effective combinations had become common. Bach's orchestration consisted of an impartial distribution of interchangeable parts between strings and these wind combinations. Each contrapuntal 22 23Adam Carse, The History 2: Orchestration (New York, E. P. Dutton and Company, 1925). p. 7?. Ibld.. pp. 519-520. 10 line was treated independently and conceived in general instrumental terms rather than for a Specific instrument. Doubling of any of the lines by different instruments was common.2” Handel used a style of broad contrasts more than Bach, but did not depart from the contrapuntal orchestration. Trumpets alone, trumpets and oboes, and trumpets and per- cussion were favority combinations of Purcell and Scarlatti, and Scarlatti added horns to the combinations.25 The orchestra remained unchanged in the 18th century, but Rameau introduced a factor in its treatment. He was probably the first to consistently provide each instrument with a part of its own and began the line of development to the coloristic treatment of the modern orchestra. During the time of Haydn and Mozart the strings assumed the role as the foundation of the orchestra, and the number of strings grew larger in proportion to the rest of the ensemble. Also during this time, orchestral color became subject to change on a moment to moment basis rather than from movement to movement as was the Baroque practice. The instrumental group became standardized, including two horns and two trumpets as the brass section.26 The brass was now treated as capable of sustaining 24Apel, 22. cit., p. 520. i Carse, gp. c ., p. 98. Apel, 22. cit., p. 521. ll harmonic progressions, rather than merely supporting the resonance of the strings.27 Berlioz did much to establish the use of instruments for their particular tone quality. In his orchestration he drew heavily from the coloristic effects created in the works of such composers as Gluck, Cherubini, and Weber. Liszt, Wagner and Strauss were influenced by the work of Berlioz in the 1830's, and especially by his use of a huge, expanded orchestra.28 The highest point as well as the end of the 19th century deveIOpment of the orchestra can be seen in the work of Mahler whose 8th Symphony, for example, calls for a very large woodwind section as well as eight horns, four trumpets, four trombones and tubas, and in addition, a fanfare section of four trumpets and three trombones. Twentieth-Sentury developments in orchestration have included Debussy's "orchestral palette" technique, and the use of small ensembles (Stravinsky's Histoire g3 Soldat) where the tendency has been to score for the musical requirements rather than for a standardized orchestra. Another development has been the Stravinsky "perverted orchestration," in which the brass and percussion play a melodic role and the strings are scored percussively.29 2 7Louis A. Coerne, The Evolution 9: the Modern Orchestra (New York, Macmillan Company, 1908), p. 68. 28Grout, 9p, cit., p. 508. 29Ape1, 92. cit., p. 521. CHAPTER 2 ORCHESTRATION AS PART OF STYLE Orchestration is as much of a style factor in any composer's music as the basic elements of music. Since there is this relationship between style and orchestration, it is necessary to explore briefly the style of each of the composers involved in this survey. It is said of Stravinsky that "none of his works introduces the next one or prefigures it."30 This is probably true if one views only the mood and scope of each work, but there are style factors which tie the £133 pf Spring to those works which precede and follow it. Stravinsky's basic approach is contrapuntal with a great deal of rhythmic complication. Rhythmic interest is generated and tension is created by the introduction of an irregular pattern after a regular one has been established, and the return to the regular pattern from time to time. Polyrhythmic sections occur with a regular rhythm against an irregular pattern in another part. Rhythmic motives are often shifted from place to place in the measure. Stravinsky's use of silence is also important to the over-all rhythmic drive. The use of silence between chords, on normally accented beats, and before a climax generates much of the tension in the Bite 2; Spring.31 30Paul Collaer, A History 9: Modern Music (New York, Grosset and Dunlap, 1961). p. 122. 31Grout, pp. gi£,. p. 634. 12 13 Harmonically, Stravinsky organizes his music around tonal centers (except for some of the late works) and uses such devices as bitonality, pandiatonicism and modality. In the 3122 p£_Spring, his harmonic vocabulary includes sequences of 9th and 11th chords, melodic passages set in parallel 7th and 9th chords, and polytonal clusters.32 Stravinsky tends to use unusual or non-traditional combinations of instruments. The peculiar timbres produced by these combinations are part of his original conception of the music and are style factors, not simply techniques of orchestration employed after the music was composed.33 Hindemith's music, including Mathis der Maler, is tonal with major and minor parallelism, and orchestration techniques reminiscent of Brahms. A contrapuntal texture is common to the style. In the contrapuntal passages, the orchestration often is the "contrapuntal orchestration" of Baroque composers where each line of the texture is doubled by different instruments (i.e. oboes and horns, cellos and bassoons, violins and flutes, etc.). With a traditional harmonic style, Hindemith demands only conservative technical capacities of his performers. The brass ranges are all within conservative bounds, and rhythmic complexity which might tax the performers is not present. Unlike Stravinsky and Bartok, who let the demands 2 3 Homer Ulrich, Symphonic Music (New York, Columbia University Press, 1952), p. 284. 33Grout, pp. 213.. p. 639. 14 of the music determine the instrumentation, Hindemith tends to view the orchestra as a standardized group of instruments for which music is written. Bartok is said to have studied Stravinsky, and was particularly interested in Stravinsky's rich metric system.34 Bartok's music contains an element of "primitivism," the stylized imitation of primitive music by means of pounding frenetic rhythms, limited melodic ranges, much repetition of motives, and percussive harmonies. In this aspect, Bartok's work resembles Stravinsky's style in the 5133 9: Spring.35 Bartok's textures are usually either homophonic or contrapuntal. The contrapuntal textures embody free use of imitative, fugal, and canonic techniques, and are often doubled by voices moving in parallel chords. Basso osplpato figures and double and triple pedal points are used. These devices give rise to polytonal passages and other areas of obscure tonality, but Bartok's music is not atonal.36 Elliott Carter's style makes less use of massive sounds than the other three composers in this survey. In homophonic textures, Carter uses constantly changing timbres as chords are sounded by different groups of instruments. Melodic material in a contrapuntal texture is usually 34 35 Collaer, pp. cit., p. 345. Grout, pp, cit., p. 613. Ulrich, pp. cit., p. 289. 15 distributed among several instruments so that the timbre of each contrapuntal line is always changing. This technique causes the part for any individual instrument to be fragmented, a series of short utterances, which must in performance sound as part of a whole line sweeping through the full range of the orchestra. Carter's music is not serial music, but tonal centers are not established in the traditional sense. His rhythmic concepts are as subtle as the effect of his constantly changing timbres. The individual styles which have been briefly outlined, dictate certain orchestrational techniques. In the following section, the individual techniques in different situations are isolated and identified. A comparison of these techniques and conclusions drawn from this comparison is presented in the last section. PART II: A SURVEY OF BRASS ORCHESTRATION CHAPTER 3 THE RITE 0F SPRING Igor StEZvinsky A. SCORING FOR THE INDIVIDUAL SECTIONS AND SOLO INSTRUMENTS A feature of the brass solos in the Stravinsky work is the repetition of a rhythmic figure, most often in a percussive manner. Solos are either very short, or involve many repetitions of a single, short rhythmic motive. Several of the solo passages are used in more than one brass instrument as well as being written for woodwinds and strings (see Ex. 1 and 2), s . E‘iLg; ighmm'uuufldflz’ “I v ‘w (STRAI- m135. 585) and some of the solos are broken melodic lines, where the solo line is divided between two or more different instru- l6 17 ments of the orchestra ( see Ex. 3 and 4). ' Q 4' \.’I"".4- ‘ ‘VTUF‘ ' Solos for brass instruments occur most commonly with woodwind and string accompaniment, but other com- binations of instruments are also used in this capacity. For example, three horns in triads are supported by a sustained chord in flute harmonics in Example 5, and in Example 6 a tuba solo is accompanied by trombone and percussion. 18 The character of the brass solo lines is most often staccato, but some lyrical treatment does occur (see Ex. 7). In addition to such melodic material as may be provided by solo lines and melodic doubling, the brass instruments are used for other functions as well. These include sustained notes, punctuation in combination with other instruments (short percussive chords, see Ex. 8), ‘ "‘5‘ ~4‘LJ' I “f- - ‘Y' N F rapidly repeated notes for the trumpet (see Ex. 9). 20 and repeated rhythmic patterns (see Ex. 10). B. SCORING FOR BRASS COMBINATIONS In the g;pg_p§ Spring, the brass instruments are employed in twelve different combinations which serve five functions. In addition to combining two or more horns to serve one of the five functions, two or more trumpets and two or more tubas are used in the same manner. Combinations of horns alone serve all five of the functions. The functions of the combinations, the manner in which they are employed include: (1) sustained notes and chords, (2) repetition of rhythmic patterns, (3) punctuation, 21 (4) melodic material (brass melody), and (5) melodic doubling. Some of the combinations are naturally used with greater frequency than others. The most important combinationsfrom this aspect are two or more horns; trumpets and horns: two or more trumpets: and horns, trumpets and trombones. The other combinations are infrequently used and serve only one or two of the functions. The brass is orchestrated in combinations most frequently to serve a melodic function, other than melodic doubling, which will be discussed separately. The melodic function of the combinations is divided into two types of textures, homophonic and contrapuntal. Example 11 shows a brass combination with melodic material in a homophonic texture (see Ex. 11). Ei'“ (56am.auuu~39r) 22 A brass combination with a melodic function in a contrapuntal texture is illustrated by Example 12, a case of seven horns in counterpoint (see Ex. 12). (Shav- ms. 525) b- _; ' A . 23 Another frequent function of the brass combinations is punctuation. In Example 13, the brass combination is used to punctuate material in the strings. :' A. m' p ‘0 ‘ 5 3"“ -—m - m .1“ 1.9-- . c”... Ian—.5" I C ~ -” "‘ 1,...“ 4*2v pseausma h ... —s.:—. b. -. i vv--‘~ \~v- -- ~ ...-a t. a “ ...‘3‘ I g 1). h; i. .- it ”w“; H wad...;ui 2;.“ .3" ~ 5 —..~ ~" r." ‘ - ”v.4 ~w. ... '1 “ Iv???” au-“” '*- .. «p «L‘:.i‘ ; '. f. .‘ The driving rhythmic force of this-work as a whole makes the repetition of chords in rhythmic patterns an important factor in the music (see Ex. 14). Sustaining notes and chords is also a frequent function of the brass combinations (see Ex. 15). 24 ELI! (fit—'0'. was. ‘35) A 25 The over-all orchestral texture at the moment the combinations are used is most frequently that of melody and accompaniment. Contrapuntal, homophonic, and textures of a single element (usually chords or one rhythmic pattern) occur with much less frequency. The instrumentation used to create these textures is commonly strings, woodwinds and brass. Combinations of strings, woodwinds, brass and percussion, and tutti orches- trations are infrequent, as are combinations of strings and brass. One of the even more rare instrumentations of the various textures includes woodwinds and brass in a melody and accompaniment texture (see Ex. 16). .. -- I ‘h n - . On 0‘ . to .~ eucaubmmmU.—i*-—-zru. 0‘. _ ~ . ’7‘ a“... mo'» - C. DOUBLING Doublings in the glpp_p§ Spring serve four functions: melodic doubling, punctuation, sustained chords, and the repetition of rhythmic patterns including ostinato patterns. The most common occurrence of doubling is the case of melodic doubling, as shown in Example 17, an interesting case of four trumpets doubling a line in parallel 7th chords, and trumpet I is doubled by three celli (see Ex. 17). 26 ‘ ‘ ,7 L “f _ r. 7 ’3?" ,, , w-x «fml- _ O 1 -1 ' A'L . ‘34F- ,3 The other functions of doubling are less frequently used. Punctuating chords doubled by strings, woodwinds and brass are seen in Example 18. 27 The repetition of chords in a rhythmic pattern is shown in Example 19, where an ostinato pattern in the horns is doubled by the low woodwinds and strings (see Ex. 19). ExJ9 “ (sG-aviwos. 345) I 9‘ yes: ate Doublings may involve only like brass instruments. Four horns in unison, or two trumpets in octaves would be an example of this. Two or more different brass instruments are often used (i.e. two trumpets doubling two horns), and the possibilities of different combinations of brasses doubled with other instruments are thoroughly exploited in this work. Combinations of brass and strings, and brass and woodwinds each serve all of the functions, brass and wood- winds being used more often than any other combination (see Ex. 20). Ex. 20 (Shad. as. 119) 28 The over-all orchestral texture at the moment these doublings are used is most frequently melody and accompaniment. Contrapuntal textures are also frequent, but the other textures (one element and hom0phonic) are infrequent. D. SPECIAL EFFECTS AND UNUSUAL TECHNICAL DEMANDS Stravinsky makes extensive use of eleven different classifications of Special effects including those produced by various types of technical demands upon the musicians. The most frequent effect is muting. Most often horns or trumpets are muted in a melodic capacity and in a few cases they are combined in this function. Many of the examples cited before have illustrated the use of muted brass, often only for dynamic reasons, but Example 21 Shows a use of the mute for variation of tone color (see Ex. 21). 29 Trills are written frequently for horns and trumpets on sustained notes and chords. In Example 22, a chord is trilled by three trombones in addition to horns and trumpets, while trumpet I and the D trumpet perform an ascending line of consecutive quarter note leaps which are trilled (see Ex. 22). Emzt Glissandos are written for the horns and trombones. In Example 23, both horns and trombones use this effect, however the notes of the trombone glissando are not written out as the strict definition of the term requires (see Ex. 23). £1.13 A; (M. “as- 663) 30 Rapidly repeated notes are used in Example 24 in the horns and trumpets. The brasses are doubling tremolo in the strings and woodwinds which are also engaged in rapid tonguing. This gives the whole texture a shimmering effect at this point (see Ex. 24). Two muted trumpets alternate rapid tonguing passages in Example 25, doubling the violins and violas (see Ex. 25). ’l' , -- — - ’Y c I- - , _ _ - - -__‘_4 ‘ -.r I _ ‘ D ‘5 ~ . ' t‘!’ ‘ a ‘ Ju------ --.---~. ‘ ‘- ... fi"- 5. -"‘-'r' 'rr—‘r'rrr-‘Iw - L'r' ‘ .fi . ’3 -H_--—-—————-——”--.— a A —-—— - 9" "office“. - ”1".”13‘.‘ Some of the unusual technical demands involve wide leaps in extreme registers (see Ex. 26). 31 The eighth-note figure for the tubas, as shown in Example 27, is repeated sixteen times in the upper register of the instrument (see Ex. 27). Straw. ms. 253 G The two tubas alternate every two measures of this ostinato pattern. Two trombones also engage in the same pattern, but in a manner different from the tubas, each trombone having only two notes of the pattern. The remaining Special effects used by Stravinsky are those which can only be produced by horns. The effect Lp§,pavillons pp_l;plp (bells in air) is used where great horn volume is needed, such as was seen in Example 24. The effect is also used in Example 28 with a glissando (see Ex. 28). ”(:2 Example 29 illustrates the use of the cuivré"(brassy) 32 effect for horns (see Ex. 29). in“ ‘ ‘ (Straw- w 403) Horn VIII produces a secco (dry) effect with its one note punctuations doubled with the timpani in Example 30 (see Ex. 30). Ex.” t l' (straw. StOpped horns (bouché) are used in Example 31 for the horn chord (see Ex. 31). TABLE I. A COMPARATIVE LIST OF FURTHER EXAMPLES FROM THE RITE OF SPRING BY IGOR STRAVINSKY A. THE FUNCTIONS OF INDIVIDUAL SECTIONS AND INSTRUMENTS HORNS l. Melodic Material, Conjunct: Meas. 164, 255, 333, 346, 388, 441, 544, 556. 579. 587. 591. 599 Disjunct: Meas. 182, 216, 259, 267, 275, 363, 379, 392, 403, 415, 419, 481, 488 2. Sustained Notes and Chords: Meas. 20, 22, 25, 248, 290, 444, 447, 451, 530, 601 3. Punctuation: Meas. 112, 202, 247, 358, 361, 367, 418, 654. 679 4. Rapidly Repeated Notes: Meas. 101, 288 5. Repeated Rhythmic Patterns: Meas. 62, 224, 364, 633, 649. 754. 852 TRUMPETS 1. Melodic Material, Conjunct: Meas. 194, 351, 406, 536, 556, 772 Disjunct: Meas. 61, 147, 153, 268, 277, 292, 363 381. “15. M47. 457. 685. 692 2. Sustained Notes and Chords: Meas. 248, 418, 420, 601 3. Punctuation: Meas. 108, 311, 349, 361, 367, 413, 421, 428, 457, 472, 488, 524, 654, 679 4. Rapidly Repeated Notes: Meas. 101, 259, 270, 283, 500. 783 5. Repeated Rhythmic Patterns: Meas. 224, 230, 482, 633, 648, 804 TROMBONES l. Melodic Material; Conjunct: Meas. 125, 140, 362, 692, 786 Disjunct: Meas. 148, 256, 268, 377 33 5. TUBAS 34 Sustained Notes and Chords: Meas. 381, 536 Punctuation: Meas. 145, 311, 349, 361, 367, 369, 382, 428, 447, 457, 472, 488, 524, 661. Rapidly Repeated Notes: Meas. 277, 475 Repeated Rhythmic Patterns: Meas. 190, 236, 482 Melodic Material, Conjunct: Meas. 388, 437, 447, 451, 524 Disjunct: Meas. 267, 377, 395, 528 Sustained Notes and Chords: Meas. 146 Punctuation: Meas. 246, 361, 363, 367, 369, 381, 654 97 Rapidly Repeated Notes: Meas. 392 Repeated Rhythmic Patterns: Meas. 234, 377, 482 B. THE FUNCTIONS OF THE BRASS COMBINATIONS Horns and Trumpets Horns and Trombones Horns and Tubas Horns, Trumpets and Trombones Horns, Trumpets, Trombones and Tubas Trumpets and Trombones Trumpets, Trombones and Tubas Trombones and Tubas Horns, Trumpets and Tubas Horns, Trombones and Tubas Melodic Material Chords 248 250 601 835 388 436 697 692 377 536 536 35 Sustained Punct- nation 413 349 353 355 482 358 367 361 369 661 428 798 784 Rhythmic Patterns 101 633 715 799 679 909 C. THE FUNCTIONS OF THE VARIOUS DOUBLINGS Brass Sections Alone Two or More Different Brasses with other Instruments A Single Brass Instrument with Strings A Single Brass Instrument with Woodwinds A Single Brass Instrument with non-brasses Melodic Sustained Punct- Material Chords uation 101 528 697 431 457 436 798 536 419 327 78 108 61 532 457 250 525 349 406 432 441 457 692 699 886 349 346 377 352 395 654 403 544 36 Rhythmic Patterns 633 715 830 346 62 230 D. THE USE OF SPECIAL EFFECTS Muted Glissando Stopped Bell in Air Trills Brassy Horns 73 101 579 627 633 587 244 471 652 660 674 978 259 643 784 652 669 696 799 431 436 485 791 Trumpets 61 93 101 179 381 406 531 556 772 861 436 37 Trombones 536 652 865 674 968 Tubas 536 CHAPTER 4 SYMPHONIE MATHIS DER MALER Paul HIHdemith A. SCORING FOR THE INDIVIDUAL SECTIONS AND SOLO INSTRUMENTS Hindemith, in Mathis der Maler, generally tended to use a full orchestration, making more use of combinations of brass timbres than of the timbre variations possible by shifting from one solo instrument to another. When solo brasses are used in this work, the material is usually lyrical in nature and often conjunct in melodic motion (see Ex. 32). ($32. The less common marcato solos are for horn. One of these is interesting for what is an excessive length of a solo in this style (see Ex. 33). 53 a? ( “do was. I 467) The statement is four bars long and is repeated 13 times for a total of 52 measures. One rare example of a non-melodic solo is for the 38 39 trumpet, featuring rapidly repeated notes in a tutti orchestra passage (see Ex. 34). The solos are usually accompanied by woodwinds and strings, and sometimes by the full orchestra, but thinner instrumentations, as was seen in Example 32, are used as background for the solo passages. Since counterpoint is an important textural element in the Hindemith style, the melodic function of the individual sections is the most important, but they occasionally serve other functions. Included in these are sustained notes within a chord, or as harmonic filler within successions of chords: punctuation, usually in combination with other instruments (see Ex. 35), £3. 55 9 9 > (“1.14. ms. “ m c) 40 and the individual sections are used for the repetition of rhythmic patterns (see Ex. 36). (final...ea..n::9) B. SCORING FOR BRASS COMBINATIONS Hindemith, as did Stravinsky, used 12 different combin- ations of brass instruments to serve five functions. Groups of horns alone, trumpets alone and trombones alone were used as combinations of like instruments. Unlike the horns in the Stravinsky work, none of these brass groups performs all five of the functions. The most versatile of the groupings, the ones which serve the most functions, are horns, trumpets and trombones as one combination: and the tutti brass section as the second combination. Other combinations important to the Hindemith brass orchestration are combinations of horns alone, and combinations of horns and trumpets. The remaining combinations are used only incidentally and serve only one or two of the functions. 41 In Mathis ppp_M§lpp, the brass combinations serve the same functions as were used in the R;pp_p£_3pring, but with differences in frequency and style. The melodic functions of the brass combinations are the most important to the orchestration. The melodic material for the brass groupings is divided into two textures, homophonic (see Ex. 37) Ex. 3? (“3:48. was. 7r” 7 7 and contrapuntal (see Ex. 38). 42 Besides scoring brass melodically, another common use <31? the brass combinations is for sustaining chords (see Ex. 39)- Example 40 illustrates the use of punctuating chords by Hindemith as a frequent function of the brass combinations (see Ex. 40). ’43 The rarest of the functions is repetition of chords in a rhythmic pattern (see Ex. 41). 1. ‘~'.,.-' The over-all orchestral texture at the moment the combinations are used is most frequently melody and accompaniment, and contrapuntal. Homophonic textures and textures of a single element are only rarely used. The instrumentation used to create these textures is usually strings, woodwinds and brass. Also frequently used for this purpose is the instrumentation including strings, woodwinds, brass and percussion, and the tutti orchestra. The infrequent instrumentations include an unaccompanied brass chorale (see Ex. 42), E‘sz _,'. 44 strings and brass (see Ex. 43), and woodwinds and brass (see Ex. 44). 45 C. DOUBLING Doublings in the Hindemith work serve the same func- tions as was the case in the Rgpp pg Spripg, but the frequency of each function is different. Melodic doubling is a very important factor in the orchestration of this piece. The following examplasillustrate this device as it occurs in a variety of situations (see Ex. 45 through 49). Examples 46 and 47 illustrate the same line with different doublings in two separate situations. An unusual doubling of trumpets, woodwinds and percussion occurs in Example 49. \ so v14 ‘"O-mg. U '. . ‘..4 p§€31wflgfi 47 Doubling for punctuating effects is incidental, but it does occur very clearly in Example 50 where the tutti orchestra executes two sharp chords of punctuation (see Ex. 50). Doubling involving the repetition of chords in rhythmic patterns is very rare. Example 41, cited before, was an illustration of this type of doubling. The over-all orchestral texture at the moment of these doublings is usually contrapuntal. Melody and accompaniment is frequent, with homOphonic and textures of chords being rare . TABLE II. A COMPARATIVE LIST OF FURTHER EXAMPLES FROM MATHIS DER MALER BY PAUL HINDEMITH A. THE FUNCTIONS OF INDIVIDUAL SECTIONS AND INSTRUMENTS* HORNS l. Melodic Material, Conjunct: Meas. I-15, I-25, I-46, I-58, I-183, I-203, I-234, I—291, II-23, III-51, III-59, III-72, III-134, III-145, III-171 Disjunct: Meas. I-lll, I-183, I-l97, III-12, III-235, III-372, III-454 2. Sustained Notes and Chords: Meas. I-l, I-42, 1-55, I-85, I-107, I-258, I-299, I-308, II-44, III-141 3. Punctuation: Meas. I-49, I-61, I-206, III-5, 111-14 4. Repeated Rhythmic Patterns: Meas. III-19, III-76 TRUMPETS 1. Melodic Material, Conjunct: Meas. I-23, I-250, I-299, II-24, II-30, III-59, III-72, III-134, III-145 Disjunct: Meas. I-212, III-235 2. Sustained Notes and Chords: Meas. I-55, I-258, I-308, III-141, III-188 3. Punctuation: MeaS. I-49, III-5, III-14, III-151 4. Rapidly Repeated Notes: Meas. III-174 5. Repeated Rhythmic Patterns: Meas. III-l9, III-76 TROMBONES l. Melodic Material, Conjunct: Meas. I-8, I-15, I-25, I-214, I-221, I-234, II-23, III-59, III-72, III-145 III-135 *The measure numbers throughout this table are composed of Roman numerals, which indicate the movement of the work, and Arabic numerals, which indicate the measure of the movement. 48 49 Disjunct: Meas. I-115, III-12, III-235 2. Sustained Notes and 3. Chords: Meas. I-25, I-55. I-246, I-251, I-302, III-141, III-165, III—178, III-188 Punctuation: Meas. I-49, I—61, I-206, III-5, III-l4, III-7O Repeated Rhythmic Patterns: Meas. III-26, III—76 Melodic Material, Conjunct: Meas. I-23, I-214, II-23, III-59, III-75, III-145, III-155 Sustained Notes: Meas. I-25, I-55, I-246, 1-251, I-308, III-36, III-141, III-165, III-178, III-188 Punctuation: Meas. I-49, I-206, III-5, III-l4, III-170 B. THE FUNCTIONS OF THE BRASS COMBINATIONS Horns and Trumpets Horns and Trombones Horns, Trumpets and Trombones Horns, Trumpets, Trombones and Tuba Trumpets, Trombones and Tuba Trombones and Tuba Horns, Trumpets and Tuba Horns, Trombones and Tuba Melodic Sustained Punct- Material Chords uation I-29 III-383 I-l6 I-120 III-72 III-16 III-235 III-287 II-26 I-32 I-49 III—59 . I-55 III-5 III-145 I-243 III-14 III-295 I-308 III-519 1-323 III-141 III-188 I-251 I-211 I-258 I-215 I-6l I-206 50 Rhythmic Patterns III-19 III-32 C. THE FUNCTIONS OF THE VARIOUS DOUBLINGS Brass Sections Alone Two or More Different Brasses with other Instruments A Single Brass Instrument with Strings A Single Brass Instrument with Woodwinds A Single Brass Instrument with non-brasses Melodic Sustained Punct- Material Chords I-123 III-59 III-72 III-372 I-216 I-246 I-252 II-26 III-12 III-75 III-148 III-153 III-376 III-156 III-326 I-207 I-212 1-299 I-302 II-24 II-30 III-51 III-454 I-lll I-183 51 I-58 I-246 I-251 III-36 III-165 I-29 III-10 I-l III-181 Rhythmic uation Patterns I-6l III-l9 III-5 III-16 III-151 CHAPTER 5 CONCERTO FOR ORCHESTRA Bela Egrtok A. SCORING FOR THE INDIVIDUAL SECTIONS AND SOLO INSTRUMENTS The solos in the Concerto pp; Orchestra are well diversified in character. Some are lyrical, but disjunct in melodic motion (see Ex. 51). k we» ‘45) Other of the lyrical solos have a conjunct melodic motion (see Ex. 52). £1.51 (Bar to k Another common characteristic of a solo in this work is a bold, marcato statement (see Ex. 53). Ex. 52 53 Some of the brass solos make use of Special effects. The horn solo note in Example 54 is a soft, punctuating tone preceded by a grace note.(see Ex. 54). .515 A trill by two trumpets in seconds comprises the solo in Example 55 (see Ex. 55). 55' ( I03) G | Two trombones are used in Example 56 in a solo passage consisting of unaccompanied glissandos (see Ex. 56). 54 Two of the trumpet solos are notable for their length. The passage as shown in Example 57 is a solo for two trumpets in seconds which features repeated, staccato notes and continues for 30 measures accompanied only by strings (see Ex. 57). (Barb k “C35- 90) The other trumpet solo as shown in Example 58 is a state- ment of a theme, which is then inverted, and finally appears in an inverted canon with the horn. The whole passage is underlain by a static harmony in the strings and woodwinds (see Ex. 58). Ei;flB 7' unmmsuuu Cflmdwkuutaantzofi) 55 The solos for brass in the Bartok work are likely to appear in a texture of melody and accompaniment, or counter- point, but there are some examples of unaccompanied solos (see Ex. 59). 5.5.9 (Sm-bk «‘39.: I) Strings and woodwinds are usually used farthe instru- mentation of the accompaniment to these solos, but other orchestrations are used occasionally. In addition to the trumpet solo accompanied only by strings (seen in Ex. 57). there is a horn solo accompanied by woodwinds and harp (see Ex. 60). Generally, the solo passages for trumpet have the greatest variance in the instrumentation of the accompaniment. Other functions served by individual brass sections include sustained notes, punctuation effects (see Ex. 61), 56 *6 *W o- . v1 .‘ 4 - ". . * A. ~ 2- LJ‘IHO‘TWAT- and repeated rhythmic figures (see Ex. 62). 1hu*vk1n¢anut415 B. SCORING FOR BRASS COMBINATIONS Bartok combined the brass in eleven different groupings to serve the same five functions as were stated for Stravinsky and Hindemith. The combination of horns alone, and the combination of horns, trumpets and trombones each serve all five of the functions, being the most versatile of the combinations. The combination of horns, trumpets, trombones and tuba is also frequently used. The remaining brass groups are used much less and serve only a few functions. The combinations are most often used for melodic material. Again, the melodic function is divided between two types of textures, homOphonic and contrapuntal. A 57 brass group serving a melodic function in a homophonic texture is seen in Example 63 (see Ex. 63). a \. a". -» ’.‘f' C“ .D 'f"; ‘3 Brass instruments in counterpoint with each other are seen in Example 64 where the brass combination is unaccompanied throughout most of the contrapuntal section (see Ex. 64). (Bade—bk “gas. 366'}: ' ..Lu-h__.-= .: 58 The sustaining of notes and chords is also an important function of the brasses (see Ex. 65). IELGS’ (larhh.-«ms.1naue) and the repetition of rhythmic patterns and chords is common (see Ex. 66). 59 An illustration of the brass combinations used for punctuation may be seen in Example 67 (see Ex. 67). The over-all orchestral texture at the moment the combinations are presented is most frequently melody and accompaniment, with contrapuntal textures being almost equally important. Much less frequently, textures of chords and homophonic textures are used. The primary instrumentation of these textures is strings, woodwinds, brass in the cases of melody and accompaniment and homOphonic textures. The texture of chords appears with strings and brass, and avoids the use of woodwinds. The instrumentation of the instances of the homophonic texture is exclusively brass alone. The rarest instrumentations are brass and percussion (see Ex. 68), 60 and strings, woodwinds, brass and harp (see Ex. 69). 61 C. DOUBLING As in the Stravinsky and Hindemith works, the doubling possibilities are divided into two general categories: One or more of a like brass instrument with orchestra, or two or more unlike brass instruments with orchestra. Doubling, however, is not an important factor in the Concerto 2p; Orchestra. The doubled lines tend to be short, and the extensive use of this device which was common to Hindemith is not present. The same functions are served by doublings as in the two previous works, but with different frequency. The most frequent function of doubling is sustained notes and chords (see Ex. 70), but the other functions are represented. 10 {Garb}. “425.1597 p \ The repetition of notes and chords in rhythmic patterns is very rare in this style. Instances of melodic doubling are illustrated by Examples 71 through 73. In Example 71, a line is doubled by three trumpets creating parallel major triads in second inversion, and in addition, Trumpet I is doubled 62 by the harp (see Ex. 71 through 73) (Ca-bk «dus- I m) 63 Doubling for reasons of punctuation is a common use of this device of orchestration. All of the Bartok com- binations used for doubling perform this function at least once (see Ex. 74). One of the rare occurrences of the repetition of a rhythmic pattern is illustrated by Example 75 (see Ex. 75). 64 Combinations of instruments involved in doubling which perform all of the functions are those including brass and strings, brass and woodwinds, and groups of brass instruments alone. The rarest of the combinations used for doubling is brass, woodwinds and strings (see Ex. 76). lo 32- §JY I £1.76 (Bartok “as. I”) .a'. . , ‘ 3 ' ’ : S. {IVE}; f." The over-all orchestral texture at the moment these doublings occur is most often melody and accompaniment, but the contrapuntal texture is also important in the doublings. D. SPECIAL EFFECTS AND TECHNICAL DEMANDS Bartok used eight different Special effects in this work, but only muted, sustained notes and chords with frequency. Example 77 illustrates a more uncommon use of the mute for horns. After the punctuating chord is struck, the mute is rapidly inserted (see Ex. 77). Combinations of Special effects are used in Example 78. The muted trumpets have a duet in seconds, accompanied by tremolo in the strings (see Ex. 78). cf Example 79 shows trills scored for the trumpets. Three muted trumpets trill a second inversion triad. This device is usually used with mute in the Bartok work (see Ex. 79). 66 A use of glissando in the trombones appears in Example 80 where the trombones are unaccompanied. It. must be noted here that Bartok scored the first glissando in the example for bass trombone (Trombone III in this work is a bass trombone). The glissando, as written, is impossible to perform on the bass trombone (see Ex. 80). Ex.80 (weak 1: so) 5/ )V ‘ . .9 ’83”? There is a notable technical demand made upon the second trumpet player in Example 81. The entrance of the line is in the extremely low register, muted and dynamically marked ppp (see Ex. 81). one - I in) ?V' The remaining Special effects all include horns. The sustained chord in Example 82 is scored for four stopped horns, and is to be played fortissimo (see Ex. 82). 67 The 32nd-notes for horns and trumpets in Example 83 create the effect of accented grace notes (see Ex. 83). An unusual effect is created by the accents within the sustained chord in Example 84 (see Ex. 84). TABLE III. A COMPARATIVE LIST OF FURTHER EXAMPLES FROM THE CONCERTO FOR ORCHESTRA BY BELA BARTOK A. THE FUNCTIONS OF INDIVIDUAL SECTIONS AND INSTRUMENTS* HORNS 1. Melodic Material, Conjunct: Meas. I-342, 1-462, I-514, II-147, III-46, III-119, IV-27, V-184, V-349, V-469 Disjunct: Meas. III-32, V-l 2. Sustained Notes and Chords: Meas. I-86, I-233, I-265, I-509, II-l54, III-34, III-54, III-93, V-4, V-21, V-31, V-88, V-121 3. Punctuation: Meas. I-77, I-316, III-74, V-44, v-74 V-81, V-118, V-249 4. Repeated Rhythmic Patterns: Meas. I—242, I-467, I-496, V-l38 TRUMPETS l. Melodic Material, Conjunct: Meas. I-220, I-462, II-123. Disjunct: Meas. I-232, I-329, I—365, I-514, V-104, v-201. v-231. v-374 2. Sustained Notes and Chords: Meas. I-48, I-391, II-126, IV-112, V-46 3. .Punctuation: Meas. 1-248, III-34, III-74, V-4, V-44, V-74, V-88, V-137, V-249 4. Repeated Rhythmic Patterns: Meas. I-39, II-ll6, IV-108 TROMBONES l. Melodic Material, Conjunct: Meas. I-215, II-123, II-150, V-l32, V-498 Disjunct: Meas. I-l34, I-316, I-349, I-514 *The measure numbers throughout this table are composed of Roman numerals, which indicate the movement of the work, and Arabic numerals, which indicate the measure of the movement. 68 4. TUBA 69 Sustained Notes and Chords: Meas. I-47, I-233, I-239, II-126, , IV-ll5, V-231 Punctuation: Meas. I-90, I-27l, I-342, 1-488, I-519, IIi-34, IV-84, IV-103, V-249, V- 08 Repeated Rhythmic Patterns: Meas. IV-108, V-l38 Melodic Material, Conjunct: Meas. II-123, II-150, IV-108, V-88 v-411, v-499 Disjunct: Meas. I-380 Sustained Notes and Chords: Meas. I-90, 1-233, II-126, II-l56, V-86, V-23l Punctuation: Meas. I-489, 1-520, III-34, IV-84, IV-92, V-249 B. THE FUNCTIONS OF THE BRASS COMBINATIONS Melodic Sustained Punct- Rhythmic Material Chords uation Patterns Horns and V-508 I-64 III-74 Trumpets III-93 V-44 v-74 V-413 Horns and II-147 Tuba Horns, Trumpets V-5l5 V-379 I-47 V-l37 and Trombones V-408 Horns, Trumpets, I-380 I-23l III-34 V-249 Trombones, V-556 V-412 and Tuba Trumpets and I-325 Trombones V-549 Trumpets, II-123 II-126 Trombones and Tuba Trombones V-4l8 V-23l I-90 and Tuba I-488 IV-84 IV-103 Horns, V-234 Trombones and Tuba 7O C. THE FUNCTIONS OF THE VARIOUS DOUBLINGS Melodic Sustained Punct— Rhythmic Material Chords uation Patterns Brass Sections I-342 I-233 IV-84 Alone I-514 II-157 IV-108 V-211 V-4ll Two or More III-93 III-74 Different V-23l IV-103 Brasses with V-5 other Instruments V-44 V-74 V-78 V-413 A Single Brass I-90 I-90 I-488 Instrument with I-155 I-489 Strings I-l75 IV-92 I-212 V-118 II-120 III-54 III-99 A Single Brass V-231 I-58 III-34 Instrument with V-426 I-209 V-47 Woodwinds I-39l V-88 IV-112 V-121 V-221 A Single Brass I-462 I-32 I-77 V-394 Instrument with I-467 I-47 I-520 non-brasses V-88 I-397 V-127 V-426 V-248 D. THE USE OF SPECIAL EFFECTS Muted Glissando StOpped Bells in Air Trills Brassy Horns I-l49 I-397 I-467 II-254 III-22 III-74 III-93 IV-142 V-8 V-349 V-379 III-54 Trumpets I-215 I-220 I-462 II-9O II-120 II-228 V-96 V-512 IV-84 IV-103 IV-112 72 Trombones Tuba V-374 V-498 v-498 v-521 IV-9O CHAPTER 6 VARIATIONS FOR ORCHESTRA by Elliott Carter A. SCORING FOR THE INDIVIDUAL SECTIONS AND SOLO INSTRUMENTS The brass solos in the Carter, Variations for Orchestra are lyrical, lacking the percussive treatment of those in the Stravinsky and Bartok works (see Ex. 85). cat-hr ‘ .f ...? Some of the more disjunct solos are represented by Example 86 (see Ex. 86). The staccato passages such as the trumpet solo in Example 87 are usually conjunct in melodic motion (see Ex. 87), $7 ‘P ) 73 74 but there is one example of a disjunct, marcato passage for horn (see Ex. 88). For the most part, the brass solos are very short utterances (touches of timbre), rather than long lyrical statements. Perhaps the longest passage involving a solo instrument is found in a tuba solo of seven measures con- sisting of a broad line of long note values (see Ex. 89), £5589 and in a 15 measure staccato trumpet line which is Shared by two alternating trumpets during a point of high tension in the movement (see Ex. 90). 90 ( mafi’) we? ”‘7 _ ' The solos appear in a contrapuntal texture, or are statements of motive which later become involved in counterpoint. Most often strings and woodwinds accompany the solos, and occasionally the harp is added to this instrumentation. Less frequently, woodwinds and harp accompany solo passages (see Ex. 91). The linear aSpects of the Carter style make the melodic function of the individual instruments very important, but do not exclude other functions such as sustained notes, rapidly repeated notes (see Ex. 92), and punctuation. Carter uses a wide variety of combinations for punctuation, but usually in a thin texture of instruments (see Ex. 93 and 94). 75 E1432 5 ”'0 (W “a. “) G 76 B. SCORING FOR BRASS COMBINATIONS The brass in the Carter work is used in eleven different combinations to serve four functions. With the exception of the repetition of rhythmic patterns and chords, the brass combinations serve the same functions as in the other three works, with the differences coming about because of style peculiarities. Of the eleven combinations, horns, horns and trumpets, and trumpets and trombones as combinations each serve all four of the functions. The four functions are performed about equally by all of the groups. Sustained notes and chords occur often for the brasses, but instead of being only for harmonic support, the chords are often of melodic importance in the particular style. In Example 95, the chords are alone in the texture and are part of a melodic line distributed among different groups of instruments (see Ex. 95). .99 «