37? NQ fd 36^ - Digital Library/67531/metadc279129/m2/1/high... · three, chosen for this study...
Transcript of 37? NQ fd 36^ - Digital Library/67531/metadc279129/m2/1/high... · three, chosen for this study...
37? NQ fd
Aiot 36^
TWENTIETH-CENTURY WORKS FOR TEXTLESS VOICE AND VARIOUS
WOODWINDS WITH THREE RECITALS OF SELECTED WORKS OF
STAMITZ, ROUSSEL, ALBINONI, WEBER, MILHAUD,
AND OTHERS.
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Nancy M. Gamso, B.S., M.M.
Denton, Texas
December, 1992
37? NQ fd
Aiot 36^
TWENTIETH-CENTURY WORKS FOR TEXTLESS VOICE AND VARIOUS
WOODWINDS WITH THREE RECITALS OF SELECTED WORKS OF
STAMITZ, ROUSSEL, ALBINONI, WEBER, MILHAUD,
AND OTHERS.
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Nancy M. Gamso, B.S., M.M.
Denton, Texas
December, 1992
Gamso, Nancy M., Twentieth-Century Works for Textless
Voice and Various Woodwinds with Three Recitals of Selected
Works of Stamitz. Roussel. Albinoni. Weber. Milhaud. and
Others. Doctor of Musical Arts (Woodwinds Performance),
December 1992, 131 pp., 3 tables, 39 examples, 3 appendices,
annotated bibliography of selected works, bibliography, 44
titles.
The purpose of this study is to explore the literature
for textless voice and woodwind instruments. The primary
focus concerns the timbral and ensemble possibilities
exploited in three twentieth-century works in which the
voice is treated as an instrument i.e., without the usual
preoccupation with textual meaning. An historical overview
of vocal works with obbligato woodwinds and concerted works
for textless voice serves as an introductory chapter. The
variables of voice and instrument acoustical makeup, vocal
vowel formation and instrumental voicings, volume, vibrato,
resultant tones, range, and extended techniques
(fluttertongue, special vibrato demands, non-vibrato, etc.)
are the focus of the performance considerations for this
study.
Over thirty twentieth-century textless works for voice
and at least one woodwind instrument were located. The
three, chosen for this study represent different periods in
the century, and present contrasting styles and musical
merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958)
by Ralph Vaughan Williams, and Duos I (1976) by Nancy
Chance. A style and performance analysis of these works
with pertinent research on the composers is presented.
Appendices include an annotated bibliography of selected
works for the medium, a written interview with Nancy Chance,
and performance notes provided by the composer, concerning
Duos I.
ACKNOWLEDGMENTS
It is with sincere graditude that I acknowledge the
following people for their assistance in this endeavor: my
committee, John Scott, Deanna Bush, and James Gillespie for
their editorial assistance; Marilyn Nims, Diana Gale, and
Rose Marie Chisolm for their performance assistance; Nancy
Chance for information in the Duos J; and my family and
friends for their generous and loving support.
1X1
PREFACE
The purpose of this study is to explore the literature
for textless voice and woodwind instruments. The primary
focus concerns the timbral and ensemble possibilities
exploited in three twentieth-century works in which the
voice is treated as an instrument, i.e., without the usual
preoccupation with textual meaning. In texted compositions
(numerous works) for voice and obbligato woodwinds the text
tends to affect the general character of the work and often
its overall structure. The programmatic association of the
clarinet in Schubert's Der Hirt auf den Felsen (1828) is an
obvious case. Similarly, John Banner's The Thrush, Edward
German's Bird of Blue, and Lawrence Willingham's Carol of
the Thrush, works for flute and voice, make overt
programmatic use of the obbligato instrument here alluding
to the sound of birds. Such narrow stereotyping certainly
does not constitute the majority of works written for
obbligato instruments. Yet, even in texted works of the
highest merit, the roles of the singer and instrumentalist
are inherently different.
In the absence of text, however, the composer is
better able to concentrate on matters of blend, timbral
IV
relationships and form without being constrained by
structural or programmatic implications of a text. The
variables of voice type and instrument acoustical makeup,
vocal vowel formation and instrumental voicings, volume,
vibrato, pitch, resultant tones, loudness, and special
effects (fluttertongue, special vibrato demands, non-
vibrato, etc.) become all-important without the distraction
or aid of a literary focus.
Past studies have focused almost exclusively on texted
literature for the voice and obbligato instrument and on
concert vocalises for the solo voice. Little research has
been done concerning the history, analysis, or performance
practice of music for untexted voice and woodwinds. This
study begins with an historical overview of texted works for
voice and woodwind obbligato and works employing textless
voice. In addition, this study brings together knowledge of
the special acoustical properties of woodwind instruments
and voice that should aid the performer and teacher alike.
The third chapter features a detailed analysis of the three
works. The concluding chapter summarizes the contributions
of the study. Appendices include an annotated bibliography
of selected works for the medium, a written interview with
Nancy Chance concerning Duos I, and program notes on Duos I,
provided by the composer.
Three works were selected from the bibliography of
works for their special problems encountered with the
medium. Aria (1930) by Jacques Ibert, Three vocalises
(I960) by Ralph Vaughan Williams, and Duos I (1976) by Nancy
Chance. A style and performance analysis of each complete
work to be performed and pertinent research on the composers
are presented. Marilyn Nims and Diana Gale performed the
vocal roles in these works. Their observations have aided
in this research.
VI
TABLE OF CONTENTS
PREFACE iv
LIST OF TABLES viii
LIST OF EXAMPLES ix
PROGRAMS OF RECITALS xi
Chapter
I. HISTORICAL PERSPECTIVE 1 Historical Survey of Vocal Music with Woodwind Obbligato The Use of the Voice without Text
II. PERFORMANCE CONSIDERATIONS 18 Introduction Timbre in Voice, Flute, Clarinet vibrato Pitch Loudness Special Techniques
III. ANALYSES AND PERFORMANCE CONSIDERATIONS OF SELECTED WORKS 47
Introduction Aria (1931) by Jacques Ibert Three vocalises (1958) by Ralph Vaughan Williams Duos I (1976) by Nancy Chance
IV. SUMMARY AND CONCLUSIONS 90
APPENDIX A: Annotated Bibliography of Selected Works ....95
APPENDIX B: Written Interview with Nancy Chance 107
APPENDIX C: Program Notes for Duos 1 110
BIBLIOGRAPHY 112
VI1
LIST OF TABLES
1. Cubic and simple difference tones 39
2. Harmonic Material 3, Reduction to sounding intervals, mm. 18-24, Chance Duos 1 77
3. Form of Chance Duos 1 84
Vlll
LIST OF EXAMPLES
1. Glottal "trill," Rosen Serenade 42
2. Fluttertonguing, Chance Duos 1 42
3. Syllables, McBride Vocalise 43
4. Syllables, Weigl Brief Encounters 44
5. Fluttertonguing,Chance Duos 1 44
6. Fluttertonguing, Rosen Serenade 45
7. Glissandi, McBride Vocalise 45
8. Key and Tongue Clicks, Rosen Serenade 45
9. Arrangements, Ibert Aria 50
10. Differences in editions, Ibert Aria 53
11. Differences in editions, Ibert Aria 54
12. Texture of opening, Ibert Aria 56
13. Dissonance between flute and piano, Ibert Aria 57
14. Thirds, Ibert Aria 59
15. Unisons, Prelude Vaughan Williams Three Vocalises... 63
16. Final measures, Prelude, Vaughan Williams Three Vocalises 64
17. Cross rhythms, Scherzo, Vaughan Williams Three Vocalises 65
18. Ending, Quasi Menuetto, Vaughan Williams Three Vocalises 67
19. Melodic Materials 1, Chance Duos 1 72
IX
20. MM 2, Chance Duos 1 7 3
21. MM 3, Chance Duos 1 7 3
22. MM 4, Chance Duos 1 74
23. MM 5, Chance Duos 1 74
24. MM 6, Chance Duos 1 75
25. MM 7, Chance Duos 1 75
26. MM 8, Chance Duos 1 7 6
27. Harmonic Materials 1, Chance Duos 1 77
28. HM 2, Chance Duos 1 77
29. HM 4, Chance Duos 1 78
30. HM 5, Chance Duos 1 7 8
31. Rhythmic Materials 1, Chance Duos 1 79
32. RM 2, Chance Duos 1 79
33. RM 3, Chance Duos 1 80
34. RM 4, Chance Duos 1 80
35. Principal Cadence, Chance Duos J 81
36. Transposition of principal cadence by a P4th, Chance Duos 1 81
37. Principal cadence with special effects and
rhythmic augmentations, Chance Duos 1 82
38. Foreshadowing, Chance Duos 1 83
39. Extension of motive, Chance Duos 1 83
presents
Doctoral Solo Recital
Nancy Gamso, Woodwinds
with Sarah Staton, Piano
Joueurs de f l u t e , Op. 27 Pan T i tyre Krishna Mr de la Pejaudie
Premier Solo for Bassoon
Intermission
Concerto in B f l a t Major for Clarinet Allegro moderato Adagio Poco presto
Albert Roussel
E. Bourdeau
Oohann Stamitz
Sonata for Clarinet and Piano, Op. 129 Allegro moderato Charles V. Stanford Caoine - Adagio (quasi Fantasia) Allegretto grazioso
Monday, March 6, 1989 8:00 p.m.
Recital Hall
X I
presents
Graduate Recital
NANCY GAMSO, clarinet and oboe
assisted by: Judy Fisher, piano
Paul Rennick, percussion
Monday, June 25, 1990 6:15 p.m. Recital Hall
Concerto in D minor, Op. 9, No. 2 Tomaso Albinoni Allegro e non presto (1671-1750) Adagio Allegro
Solo de Concours, Op. 10 pour Clarinette Henri Rabaud in Sib avec accompanyement de Piano (1901) (1873-1949)
Moderate - Largo - Allegro
- INTERMISSION -
Capriccio for Solo Clarinet Heinrich Sutermeister in A (1946) (b. 1910)
i Koiml
mt
X l l
Sources III for Two Performers (clarinet David Burge and percussion) (1967) (b. 1930)
I. i = ca, 60 II. J = 132
III. > = 40 IV. ) = ca. 46 (Cadenza I) V. Free Tempo (Cadenza II)
Presented in partial fulfillment of the requirements for the degree of
Doctorate of Music in Woodwinds
X l l l
presents
A Graduate Recital
NANCY M. GAMSO, flute, clarinet, saxophone assisted by
Philip Wilder, harpsichord Michael Kaprelian, ceilo
Rose Marie Chisholm, piano
Monday, March 9, 1992 6:15 p.m.
Sonata No. 2 in d minor, "La Vibray" Andante Allemande - Allegro Gavotte (les Caquets) - Tranquillo Sarabande - Largo Finale - Allegro
Philip Wilder, harpsichord Michael Kaprelian, cello
Recital Hall
Michel Blavet (1700-1768)
- short pause -
Concertino, Opus 26
Hillandale Waltzes Temp di Valse - Con garbo
I. Valse 4l4gante II. Valse passionie
III. Valse sombre IV. Valse volante V. Valse triste
VI. Valse de bonne humeur VII. Valse brillante et joyeuse
VIII. Valse oubliie
Carl Maria von Weber (1786-1826)
Victor Babin (1908-1972)
xiv
- short pause -
Scaramouche Darius Milhaud Vif (1892-1974) ModM Mouv' de Samba
Rose Marie Chisholm, piano
Presented in partial rtilfiUment of the requirements for the degree of
Doctor of Musical Arts
x v
( n o n~l~ QJfi i ci. x^lWytvJ JVLUdli
presents
A Graduate Lecture Recital
NANCY M. GAMSO, flute and clarinet assisted by
Marilyn Nims, soprano • Diana Gale, soprano Rose Marie Chisholm, piano
Monday, July 13, 1992 6:15 p.m. Recital Iiall
TWENTIETH-CENTURY WORKS FOR TEXTLESS VOICE AND VARIOUS WOODWINDS
Aria for Voice, Flute and Piano (1931)
Marilyn Nims, soprano
Jacques Ibert (1890-1962)
Three Vocalises for Soprano and Clarinet (1958) / . Prelude Ralph Vaughan Williams
11. Scherzo (1872-1958) / / / . Quasi Minuetto
Diana Gale, soprano
Duos I for Soprano, Flute and Finger Cymbals (1976)
Marilyn Nims, soprano
Nancy Chance (b. 1931)
Presented in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts
x v i
CHAPTER I
HISTORICAL PERSPECTIVE
Historical Survey of Vocal Music with Woodwind Obbliaato1
The concept of combining the lyrical qualities of the
voice with the expressive and technical attributes of wind
instruments is not a new one. Since the Medieval period and
the songs of the trouveres and troubadours, singing has been
accompanied and enhanced by various instruments. In the most
elaborate accompanying situations in medieval song, wind
instruments alternate with the voice in simple counterpoint.
Flutes, recorders, and shawms were among the instruments
employed for these occasions.2 Though the designation was
far from specific, the practice of substituting available
instruments for vocal parts in ballatas, virelais, frottolas,
motets, and madrigals is thought to have been a common
xln the context of this discussion, the term "Obbligato" refers to "an independent part in concerted music, ranking in importance just below the principal melody and not to be omitted... The archetype of obbligato part is the instrumental solo which, with a basso continuo, constitutes the accompaniment of a vast number of late Baroque arias." Don Randall, The New Harvard Dictionary of Music (Cambridge, MA.: Belknap Press of Harvard University Press, 1986), 551.
2Denis Stevens, ed., A History of Song {New York: W.W. Norton, 1960), 19.
occurance during the Medieval and Renaissance periods.3 In
the Baroque period, this "theory of availability" in
instrumentation was less flexible.4 Titles of works
typically designated voice and one or two of several
obbligato instruments, depending on the order of preference.
These were inundated by such standard instructions as:
"...per violino o flauto," "vorr viol (fluit, blokfluit,
hobo)," or "pour violon ou flute allemande.5 The violin was
the preferred instrument for obbligato accompaniment;
woodwind instruments were used less frequently with the most
popular being the flute, recorder, and oboe.
An increase in the use of obbligato woodwinds followed
structural improvements on these instruments by a group of
Parisian craftsmen, namely those of the Hotteterre family in
the early part of the Baroque period. This increase in
obbligato woodwinds is demonstrated in works by composers
such as A. Scarlatti, Telemann, Handel, and J.S. Bach who
began using obbligato flute and oboe parts in their operatic
and cantata arias.6 In the late Baroque, these arias were
3Maria K. Stolba, The Development of Western Music - A History (Debuque, IA: Wm. C. Brown, 1990), 148, 178.
4Ibid., 148.
5Ronald Wain, "Flute and Voice Ensembles," The Instrumentalist, XLV (January 1991), 13.
6Ibid., 9.
standardized into a da capo form with the obbligato
instrument participating in the opening ritornello,
interludes, and postludes anticipating the vocal line,
imitating melodic material, and otherwise unifying the
structure.
The clarinet first appeared during the mid-eighteenth
century, initially in association with vocal works. The
clarinet and its predecessor, the chalumeau, are found in a
number of works, including a Mass by Antwerp organist, J. A.
J. Faber in 1720, and in a Telemann Cantata for Whit Sunday
(1721), calling for a soprano aria to be accompanied by
"Flauto piccolo, Clarinetto et Quartett."7 In opera, the
clarinet was employed in a growing number of works, first
among them Handel's Tamerlano (1724) in which an aria calls
for the accompaniment of two cornetti, later replaced by two
clarinets. The clarinet first appears in French opera in
Rameau1s Zoroastre of 1749.8
Toward the midpoint of the eighteenth century, the
standardization of pairs of woodwinds in orchestral works
contributed to an established use of these instruments in
opera orchestrations. However, the contrapuntal passages for
woodwind obbligato characteristic of the early Baroque were
7Oscar Kroll, The Clarinet (New York: Taplinger Pub. Co., 1968), 47.
8Sumrall, 11.
replaced with less elaborate phrases by pairs of woodwinds.9
This followed the fashion in Italian arias in the 1750s and
1760s and continued throughout the Classical period. In his
operatic works, Mozart followed this trend. Within this
convention of short obbligato phrases, his works demonstrate
the timbral possibilities of the woodwinds in an obbligato
role. Mozart was fond of woodwind timbre and often used
flutes, oboes, clarinets, and bassoons in homogeneous or
heterogeneous pairs. Numerous passages are found in solo
arias and duets, and smaller ensembles (trios, quartets,
quintets, and sextets) in which the woodwinds appear in
unison with the voices, in thirds and sixths and occasionally
as obbligato instruments against the vocal parts.10 In La
Clemenza di Tito (1791), for example, Mozart chose to use the
Bb clarinet and the basset horn in F as true obbligato
instruments in two arias, "Parto, parto" (No. 9), and , "Non
piu di fiori" (No. 23). The role of the clarinet and basset
horn can be described as generally idiomatic for the
instruments, using arpeggiated passages that display both
9M. F. Robinson, "The Aria in Opera Seria, 1725-1780," Proceedings of the Royal Music Association, 88th Session (London, 1961-62), 38, cited in Sumrall, 9.
10In a survey study done by this author, the majority of bel canto arias in Mozart's operas from Idomeneo to Die Zauberflote used the woodwind instruments in this capacity.
instruments' extended range.11
The bassoon was omitted from the preceding discussion of
the obbligato woodwind instruments because of its primary
role as the bass line. In the Baroque period, there are,
however, occasional instances of more active bassoon parts,
usually exploiting the full bass range. Such parts are found
in an aria in Traetta's Olipiade and in works by Steffani
(1655-1729), Kapelmeister at Hanover, ca. 1689, where they
were performed by fine French bassoonists.12 In Steffani's
works, the bassoon is used as an obbligato instrument with
the voice. Two interesting occurences of the use of five
bassoons and continuo in the accompaniment of soprano arias
by Schiitz and Reiser are to be noted. They appear in
Heinrich Schiitz's Psalm 24 (Vol. XIII, No. I of his
Sammtliche Werke) and in Reiser's Octavia (1706).13 In the
secular cantata Durchlaucht'ster Leopold (?1718), Bach used
the bassoon, "col violoncello," in the bass aria (No. 7).14
^Mozart wrote many of his clarinet works for his friend and fellow Mason, Anton Stadler, an excellent clarinetist and the performer of clarinets and basset horns with a lower extension of a major third. Mozart's inclusion of the two obbligati arias in La Clemenza di Tito were due in part to his friendship with Stadler.
12Lyndesay G. Langwill, The Bassoon and Contra-Bassoon (London: Ernest Benn, 1965), 75.
13Ibid., 73-80.
14Ibid., 84.
Handel generally scored one or two bassoons in the accepted
treatment of the bass line. One notable exception is the
scene between Saul and the witch of Endor in the oratorio
Saul (17 39), in which two bassoons soli accompany the ghostly
voice over a sustained bass.15 Mozart's treatment of the
woodwinds, as noted previously, also extends to the bassoon.
A rarely performed aria, "Nehmt meinen Dank," K. 383 (1782)
opens with a very lyrical bassoon, flute, and oboe obbligato
and closes with an extended bassoon solo.16
Woodwind obbligato parts first appear in solo song
literature in a limited capacity in late eighteenth-century
Europe. The Breitkopf Thematic Catalog, a recognized record
of published works of the eighteenth century, records only
three chamber works for voice and woodwind obbligati; two for
oboe and one including clarinet, though the clarinet work is
not used in a true obbligato capacity.17 The genre, however,
was most popular in eighteenth-century London where music for
this medium was heard in numerous public performances at the
Pleasure Gardens, Marylebone Gardens, Ranelagh Gardens, and
Vauxhall Gardens. Although the majority of these works have
not survived, the importance of the immense volume of vocal
15Ibid., 86.
16Ibid., 88.
17Sumrall, 23.
music produced for these light entertaining events cannot be
dismissed. Frank Kidson is quoted as saying: "If we
eliminated from the published music of the time all that had
its first public hearing at the public gardens, there would
be very little to show what English music was like in the
eighteenth century."18 An example of this type of song is
James Hook's "0 whither can my William stray" for soprano,
clarinet, and piano, dating from the last quarter of the
eighteenth century. The clarinet doubles the voice line
throughout the work and finishes with an instrumental
postlude for the last few measures. Two additional songs for
soprano solo and accompaniment are representative of this
genre composed for the Pleasure Gardens. They exploit the
flute for its birdsong-like associations and include "Lo,
here the gentle lark" by Henry Bishop and "The gypsy and the
bird" by Sir Julius Benedict.19
A few surviving American songs dating from this period
have been identified. A work entitled "Sweet echo" for
voice, German flute, and violin was printed in the American
Musical Magazine (17 86); reference is made in the same
18Rosemary Hughes, "Solo Song," The New Oxford History of Music, edited by Egon Wellesz and Frederick Sternfeld (London: Oxford University Press, 1973), VII, 337 as cited in Sumrall, 16.
19Sumrall, 22.
8
journal to songs accompanied by piano and flute or oboe
obbligato from 1784.20
In the nineteenth century, the increase in the size of
the orchestra and the general interest in orchestral music
contributed to a decline in interest in chamber music. What
is lacking in volume, however, is compensated for in quality
as is evidenced by a handful of works including Schubert's
famous Der Hirt auf dem Felsen for soprano, clarinet, and
piano. Other early nineteenth-century songs with woodwind
accompaniment include: Weber's Ein Entmutigter Liebende and
Ein Begluckter Liebender, both songs scored for voice, flute,
cello, and piano; Meyerbeer's Des Schafers Lied for tenor and
obbligato clarinet and Hirtenlied for clarinet, soprano, and
piano; Spohr's Sechs Deutsche Lieder for voice, clarinet, and
piano; A. Panseron's J'attends Romance for voice, oboe, and
piano, A. Ch. Adam's Le Retour a la Montagne, Die Riiekkehr
ins Gebirge, Tyrolienne for voice, oboe, and piano; and W.R.
Bexfield Song to Ellen, Op. 4 for voice, bassoon, and piano.
As this sampling of vocal chamber works indicates, the
bassoon and oboe are rarely represented in the nineteenth
century. After their enormous popularity in Baroque cantatas
20Sonneck, O.G., Early Concert Life in America (1731-1800) (New York: Musurgia Pub., 1949), p. 415 as cited in Becker, 3.
and operas, the double reed instruments are employed with
some fregency in the chamber works of the twentieth century.
In the opera and sacred vocal genres of the nineteeth
century, woodwinds again assumed a position of importance in
supporting the voice in an obbligato manner. This is
evidenced in the clarinet obbligato of Schubert's "Romance"
from the opera Die Verschworenen and the Erstes Offertorivm,
Op. 46; in Spohr's opera Der Zweikampf mit der Geliebten in
which an important clarinet obbligato is employed; in
Donizetti's L'Blisir d'Amore, scoring a bassoon obbligato in
"Una furtiva lagrima;" in Gounod's Faust in which two
bassoons play an important role; in a Serenade in Act IV of
Verdi's Requiem using a bassoon accompaniment in the "Quid
sum miser;" and the flute obbligato in "II dolce suono mi
colpi," the "Mad-Scene" in Act III of Donizetti's Lucia di
Lammermoor.21
In the present century, vocal music with woodwind
obbligato embraces a variety of styles found in all
twentieth-century art music, from the most conservative neo-
classical works, prominent among English music for voice and
clarinet, (A. Cooke, Songs of Innocence, A. Bliss, Nursery-
Rhymes, and G. Jacob Three Songs are only a few) to the most
21Langwill, 97.
1 0
radical experimentation with the voice in terms of the size
and makeup of the ensemble, technique, use or absence of text
and various other modifications. In the opinion of Ursula
Greville, the twentieth century marks a point of no return in
the relationship of the voice with "accompanying" instruments
in chamber music.
...never has the voice consciously been allowed to merge into or mix with the texture of sounds with which it is thus environed, nor has the accompaniment dared, for a moment, openly to usurp the 'divine right' of the voice to dominate. The exception -- and there are not a few -- are the accidents, for not until today, or late yesterday, have there existed the idea of co-operation, the recognition of the social, democratic, and communal sympathies of the voice in the realm of sound.22
This change in treatment of the voice from that of
soloist to an equal chamber partner has been embraced by many
twentieth-century composers. In its new role, the voice
functions as a new instrumental timbre and many twentieth-
century works demonstrate this equality.
Among the numerous of works for voice and various wind
instruments composed at the beginning of the century,
certainly one of the most influential is Schoenberg's Pierrot
Lunaire (1912). This landmark composition was immediately
followed by Maurice Ravel's Trois Po&mes de Stephane Mallarme
22Ursula Greville, "Voice and the Chamber Ensemble," Cobbett's Cyclopedic Survey of Chamber Music, 3 vols. Compiled and edited by Walter Willson Cobbet with supplementary material edited by Colin Mason. (London: Oxford University Press, 1963), 11:555.
11
(1913) for voice, piano, string quartet, two flutes, and two
clarinets and Stravinsky's Pribaoutki (1914) for voice,
flute, oboe, clarinet, bassoon, violin, viola, cello, and
string bass. These works were succeeded by Hans Eisler's
Palmstom (1926) for speech song, flute (also piccolo),
clarinet in A, violin (also viola), and cello; and Anton
Webern's Six Songs (1917-21) for soprano, clarinet, bass
clarinet, viola, and cello. All are indebted to Schoenberg's
song cycle in their approach to instrumentation, serial
techniques, and the use of Sprechstiime.23 Homogeneous
groupings of accompanying instruments also were employed
early in the century, as in Berceuse de Chat (1916) for voice
and three clarinets by Stravinsky, Milhaud's Cocktail (1921)
for the same combination, and Webern's Five Canons (1923-4)
for voice, clarinet, and bass clarinet. Thirty years later,
Dallapiccola scored the Goethe Lieder (1953) for three
clarinets.
The numerous works for voice and small ensembles of
various woodwinds demonstrate the willingness on the part of
twentieth-century composers to experiment with different
combinations of timbres. Perhaps the most common
conservative combinations consist of voice with flute and
piano, as in Arthur Benjamin's The Piper, Delibes' Le
23Becker, 8-9.
1 2
Rossignol, and Ibert's Aria (1931); and voice, clarinet, and
piano as represented by such works as Argento's To be Sung
Upon the Water and Rorem's Ariel. Other woodwinds are
employed only rarely. In the case of the double reed
instruments (oboe, bassoon and their family members)
instrumentation often involves an ensemble of 3-11
instruments, thus lessening the impact of these instruments
in a true obbligato role. William Richard Bexfiels's Song to
Ellen, Op. 4 for voice, bassoon, and piano is an exception.
Historically, the saxophone seems to have been used the
least in combination with voice, having only been invented in
the mid-nineteenth century. A few representative works have
emerged which include Jean Absil's Nostalgia d'Arabella, Op.
22 and Phantasme, Op. 72 for alto, alto saxophone,
percussion, and piano; and jazz inspired compositions by
Boris Blacher Jazz-Koloraturen (1927) for soprano, alto
saxophone, and bassoon and the Jerome Rosen Serenade (1964)
for soprano and alto saxophone.24 The ensemble possibilities
promise to be interesting, given the saxophone's dual role in
both jazz and art music.
Vocal works with woodwind obbligato have changed and
developed throughout the history of music. The medium has
followed the trends of each style period, from the obbligato,
24These works are reviewed in Appendix A.
13
contrapuntal nature of the Baroque, the restrained, employment
in the Classical period, the programmatic, expressive
character of the Romantic period to the equal partnership and
the use of the voice and instruments in new methods of
expression in the twentieth century. Because of the
compatible nature of the voice and woodwinds, this
partnership continues to be an significant medium in chamber
music.
The Use of the Voice without Text
The vocalise, a vocal composition without text, began as
a technical exercise for the voice. In the mid-eighteenth
and early nineteeth centuries collections of solfeggi and
exercises for the voice with piano accompaniment were
published. These included both newly-composed etudes or the
melodic content of previous works, often provided with
instructions for solving technical problems. Representative
examples of the former include The Singer's Preceptor (1810)
of Domenico Corri, Traite complet ce l'art du canto (1840)
and of the latter, the supplement to L'art du chat (1755) of
Jean-Baptiste Berard, with selected compositions by Lully,
Rameau, and others.25
25Owen Jander, "Vocalise," New Grove's Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. (New York: Macmillan, 1980), 51.
14
It was not until the early twentieth century that
composers began to utilize textless vocal parts in concert
works in order to exploit the timbral potential of the voice.
The following list includes works that are among the best
known compositions without text.
Gabriel Faure - Vocalise-etude (1907) Maurice Ravel - Vocalise en forme d'habanera (1907) Sergei Rachmaninov - Vocalise, op. 34, no. 14 (1912) N. K. Medtner - Sonata-Vocalise, Op. 41, No. 1 (71922-3)
. - Suite Vocalise, Op. 41, No. 2 (71926) Aaron Copland - Vocalise (1927) Alfredo Casella - Three vocalizzi (1929) Fransesco Cilea - Vocalizzi da concerto (1932) Ottorino Respighi - Three vocalizzi (1933) Heitor Villa-Lobos - Vocalise-etudes (1929)
. - Bachianas Brazilieras No. 5, Aria (Cantilena Introduction and Conclusion) (1938-45) Reinhold Gliere - Concerto for Coloratura Soprano and Orchestra, Op. 8 (1943)
In 1907, A.L. Hettich, a professor of voice at the Paris
Conservatoire, commissioned works to be used as vocal etudes
for his students in the study of contemporary etudes.
Faure, Honneger, Ibert, Roussel, and Ravel responded to the
commission and their respective vocalises were published by
A. Leduc in A.L. Hettich1s Repertoire moderne de vocalises -
Etudes (1907). Interestingly, the Faur£ Vocalise-etude was
first entitled Piece, was written for oboe solo.
In the Villa-Lobos Bachianas Brazilieras No. 5, the Aria
movement entitled "Cantilena" with text by Ruth Correa, is
framed with a vocalise in unison with the first celli. The
Rachmaninoff Vocalise has become quite popular in both its
15
vocalise and violin version. The work was dedicated to the
coloratura soprano Antonina Nezhdanova who expressed
disappointment at the absence of text. Speaking as a true
Romantic, Rachmaninoff is reported to have replied with a
flattering tone, "What need is there of words, when you will
be able to convey everything better and more expressively
than anyone could with words by your voice and
interpretation?"26 The work, originally scored for voice and
piano, was later orchestrated by the composer and premiered
by Koussevitzky in Moscow in January of 1916. This work was
the inspiration for the concerted vocalise works to follow,
namely the Medtner and the Glidre, ambitious attempts in
creating multi-movement works for untexted voice that
constitute the height of virtuosity in the vocalise
application.27 The Copland Vocalise is dedicated to Ethyl
Luening, wife of composer and flutist Otto Luening. This
performing duo has been the recipient of several dedications
for vocal, flute works in the twentieth century, including
Robert McBride's Nonsense Syllables (1937) and Vocalise
(1952).
26Martyn, Barrie, Rachmaninoff: Composer, Pianist, Conductor (Aldershot, Hants, England. Brookfield, vt.: Gower Pub. Co., 1990), 240.
27Ibid., 241. Little historical information is available concerning Medtner's or Gli^re's vocalises. The Gliere has been recorded by Joan Sutherland and the London Symphony Orchestra (London 430006-2 LM).
16
As a timbral color in symphonic works, the vocalise
technique has been used in a number of works, including
Vaughan Williams' Symphony No. 3, "The Pastoral," (1921),
Debussy's "Sirenes" from Nocturnes (1897-9), Hoist's The
Planets (1914-16), and Ravel's Daphnis and Chloi (1911-13).
Vaughan Williams' use of the vocalise is of interest to the
present discussion. His biographer, Michael Kennedy,
describes the entrance of the vocalise in the finale.
The impression is strong throughout the work of Vaughan Williams's 'vocal' use of instruments, but in his finale he calls in the human voice for the startling effect he achieves when, over a drumroll, [a] cantilena is sung off-stage. The result is unbearably poignant, like a lament for the flowers of the forest cut down in the 1914-18 war; yet the grief is somehow transcended and becomes more cosmic than personal without losing intensity.28
It is probable that Vaughan Williams was well aware of
Hoist's earlier use of the technique in the Planets. Ralph
Vaughan Williams and Gustave Hoist were close collegues and
Hoist considered the Pastorale Symphony among his favorite of
Vaughan Williams' works.
Hoist, Debussy, and Ravel all chose to use the vocalise
in ethereal settings. Hoist used a six-part chorus of female
voices in the last movement of the Suite, "Neptune, the
28Kennedy, 171.
17
Mystic." The chorus, placed offstage, is given a sustained,
chordal line throughout. In "Sir&nes," Debussy uses the
voices to portray the water spirits. Eight sopranos and
eight mezzo-sopranos add to the tonal texture with sustained
notes, rhythmic undulating figures and occasional imitations
of melodic motives in the winds and strings. The
indicatation, "a bouche fermee," is used on occasion. Ravel
employs the vocal timbre of sopranos, contraltos, tenors and
basses who participate in the stage action in Daphnis and
Chlo6. An "A," indicating the syllable "ah," is placed at
the beginning and alternated with passages for "Bouches
ouvertes." For performances without the chorus, Ravel has
included alternate parts, rewriting for winds the choral
parts for a large ensemble comprised of woodwinds: piccolo,
flute, alto flute, oboe, English horn, clarinet, bass
clarinet, bassoon; and muted brass, especially horns and bass
trombone.
The technique of vocalise has had a selective
application in concert music for voice. Initially a vehicle
for vocal virtuosity, the vocalise has been used increasingly
by twentieth-century composers to explore the timbral
possibilities of the voice. This new-found use of the voice
as an instrument promises to be an inportant avenue for the
future development of the twentieth-century chamber music
with its rich and varied tonal palette.
CHAPTER II
PERFORMANCE CONSIDERATIONS
Introduction
The performance considerations noted in this chapter
combine information in the areas of timbre, vibrato, vocal,
and instrumental technique with observations of the
performers for this study/performance. The purpose is to aid
in the analysis and performance of the works selected for
this study.
A few similarities in all the instruments studied can be
noted. The voice, flute, and clarinet all show an increase
in harmonic partials in louder dynamic situations and
subsequently, a weakening in upper harmonics in softer
dynamic levels. The upper regions of their respective ranges
demonstrate a lack of upper partials with the flute and voice
both approaching a sine wave (pure tone).
The differences in voice type and make of instrument
contribute to the timbral blend of the performing
instruments. A particular voice type is characterized by the
relative strength of the upper partials of a given tone as
well as the singer's range. The same tone sung by a mezzo-
soprano, a lyric soprano, and coloratura soprano will display
1 8
1 9
different variations of partial intensities that will be
perceived aurally as being relatively "brighter," "darker,"
"rounder," or "with more edge". Similarly, certain makes of
clarinets, mouthpieces, reeds, flutes, and flute headjoints
will elicit the same perceptions.
Timbre in Voice. Flute, and Clarinet
To achieve a compatible ensemble, a fundamental
understanding of the acoustical properties of vocal and
instrumental timbres is necessary. Such knowledge is
essential in ascertaining those timbral aspects of a given
composition that are potentially problematic. This study
does not offer an indepth scientific explanation of the
passages under consideration; rather it summarizes the most
current and authoritative research in more general terms and
applies the information to various performance situations
that arise in the works being analyzed.
In the three works chosen, the distinct combination of
instruments, intervals, musical figures, etc., provides a
challenge to the performers' execution of the various
timbres. Certain situations seem to require that the
instruments approximate a similar timbre while others may be
enhanced by a distinct difference. For example, the
inclusion of the piano in the Ibert Aria complicates the
texture requiring the vocal line to be more distinct from the
flute. In the Chance Duos I, however, a similarity of timbre
20
emphasizes the instrumental quality of the voice and enhances
the dissonant character of the work. In the Vaughan Williams
Three Vocalises, the register of the clarinet is a major
determining factor if timbral similarities are preferred.
The relative inflexibility of the clarinet tone limits that
ensemble member's range of timbral flexibility. Each of the
works requires a different musical character that is
partially expressed in the timbral aspects of the ensemble.
Vocal Timbre
The vocalise technique emphasizes the vowels of words
almost exclusively.1 The most common vowel formations used
by singers of Western European and American art music for
sustained tone are generally restricted to "ah" as in hst or
father; "ee" as in £ve or each, "oh" as in own and "oo" as in
ooze or moon. Composers of works for textless vocal parts
invariably ask for an "ah" vowel when specified at all. The
"ah" syllable is the most resonant vowel syllable for most of
the soprano range. However, other vowel formations can also
enhance the timbre of the tone in various registers and in
conjunction with other instruments.
The vocal tract functions somewhat like a cylindrical
tube closed at one end (at the larynx). The first two, and
J-Melodies set to texts comprised of "nonsense" syllables are the exception.
21
to some extend the third, standing wave patterns of the
spectrum envelope of this tube are the most important in
vocal acoustics. These correspond to a node-antinode pattern
in a tube. The manipulation of vowels creates a distinctive
intensification at specific frequencies at these node-
antinode points in the tube and allow recognition of the
vowel. This unique set of frequencies (or pitches) is
referred to as formants. The first formant has a frequency-
ranging over a few hundred hertz on either side of 500 Hz,
the second the same range around 1500 Hz, and the third,
around 2500 Hz.2 The female vocal tract is on average 17%
shorter than the male's, thus, the formant pattern of the
same vowel sound in females is about three semitones higher,
and the child's formant pattern is a semitone higher still.
The brain's recognition process of the vowel makes an
allowance for such variations. The exact set of formants is
not fixed. Each vowel resonates at its own frequency,
approximately at a stable set of formants, regardless of the
pitch being sung. The resonant frequency will rise under the
two conditions: the reduction of the diameter of the tube at
a pressure antinofle and with the expansion of the diameter at
a pressure node. In general, the "ah" vowel raises the first
2Murray Campbell, The Musician's Guide to Acoustics {New York: Schirmer, 1988), 480.
22
formant frequency by lowering the jaw and expanding the
diameter at the first formant pressure node. Both "ee" and
"oo" vowels produce a low frequency first formant. The
second formant is enhanced by the "ee" sound while the "ah"
vowel has an overall fall in the second formant frequency.
The "ee" vowel's second formant is around 2000 Hz, 500 Hz, or
approximately a perfect fourth higher than the cylindrical
model. The "oo" vowel results in a further drop in the
second formant frequency of below 700 Hz.
In summary, each vowel sound has its own timbral
characteristics that are a result of these combinations of
formant frequencies. Researchers concerned with tone color
have borrowed terminology from the field of phonetics to
describe the timbral characteristics or "sound color" of a
given vowel.3 These descriptive terms include: Openness
(relative to the size of the oral cavity), Acuteness
(brightness), Laxness (the distinction between long and short
vowels), and Smallness, (the dimensions of the acoustic tube
or the overall size of other sorts of resonators).4 The "ah"
3Wayne Slawson, Sound Color (Los Angeles: University of California Press, 1985). The author's choice of terminology for timbre or tone color.
4Ibid., 57. This aspect has an indirect relation to timbre due to the physical tendency of relatively large or long objects to resonate at low frequencies and small or short objects to resonate at high frequencies.
23
vowel exhibits a high content of openness throughout much of
the middle to high range of the soprano voice. Acuteness, or
the bright quality of timbre, is the result of an increase in
frequency of the second formant as is the case in the "ee"
vowel. The laxness of a vowel corresponds to the relative
relaxed state of the muscles. Short vowel sounds such as "a"
as in apple and "ah" have a medium laxness, while the long
vowels, "ee" and "oo" have a low laxness. The idea of
smallness does not have any correlation to features in
vowels. It does, however, contribute to the overall timbre
because of this tendency of resonating objects, as noted.
The vowel "oo" has a medium-low smallness (meaning a larger
diameter and lower frequency), "ah," a medium smallness
quality, and "ee," a medium-high smallness, indicating a
smaller diameter and higher frequency.
In preparing the works in this study, the performers
determined the kind of character of each musical phrase
through experimentation. Various syllables or colors were
chosen depending upon the context. For example, each note
could be altered to add more openess or more acuteness. A
long "oh," vowel (adding openness) creates a darker timbre
while syllables with smallness produced a brighter tone.
In addition to affecting timbre, the singer can
manipulate the vocal formants to intensify the amplitude of
pitches. As an example, the first formant of the vowels,
24
"oo" or "ee" resonates at a frequency around that of the
pitch E4 SO that the first formant of these vowels matches
this pitch as it is vocalized. By opening her mouth
progressively wider, the soprano can keep this first formant
in tune with the sounding note up to 932.3 Hz or
approximately the pitch A#5. Similarly the vowel "ah,"
resonating at a higher frequency of around 7 00 Hz, can
resonate with pitches between E4 and G4 at their second
partials; with a rise in pitch, however, the first partials
of tones corresponding to the "ah" first formant frequency --
approximately from the pitch F5 -- are tuned to this formant.
This phenomenon of "formant tuning" has been
systematically categorized and used in vocal training and by
a number of vocal pedagogues, among them Berton Coffin.5
Using the International Phonetic Alphabet, he has carefully
charted the vowel formations corresponding to the tuned
formant for each syllable in four languages over the entire
vocal range. Coffin has developed the method based on his
understanding of vocal tone development and cultivation.
Such a thorough application of this technique further
demonstrates the extent to which acoustical study has been
applied to vocal pedagogy. Although scientific application
does not ensure a greater musical product, understanding how
5Berton Coffin, Overtones of Bel Canto (Metuchen, N.J.: Scarecrow, 1980)
25
a mechanism works is beneficial to the performer interested
in applying those acoustical principles in new performance
situations. The voice is an extremely flexible instrument
capable of creating a much broader palette of timbre than
instruments. The singer who is willing to experiment with
timbre can contribute tremendously to the blend and contrast
of an ensemble setting.
Flute Timbre
In comparison to the other orchestral wind instruments
the flute is possibly the closest in tone quality to the
human soprano voice. Its flexibility, comparable tessitura,
and vocal-like vibrato contribute to its compatibility as an
ensemble partner. Like the voice, the flute, in its low and
middle registers, displays strong harmonic overtones. In the
third register the timbre approaches a sinusoidal wave
pattern, displaying a nearly pure tone with very little upper
harmonics, similar to the lack of upper partials in the
extreme range of the voice. As in singing, the flutist can
change the shape of the formants by manipulating the shape of
the airstream in the flute tone, though to a lesser degree.
Many flute teachers profess the merits of modifying the oral
cavity to enhance timbral quality and variety. Nevertheless,
with the exception of the extreme range (around 1000 Hz, C6) ,
the general conclusion of acoustical researchers is that such
26
changes in the size of the oral cavity have very little
effect on timbre. Any perceived change in tone quality is
attributed to a change in the focusing of the air jet.6 This
focusing of the air jet is manipulated by the flute
embouchure and determines the pitch as well as tone.
Variations in embouchure shape, the relative relaxation of
the lips, the direction of the air stream, and the amount of
lower lip covering the embouchure plate all contribute to a
wide variety of tone color and pitch flexibility. A flutist
at the artist level is able to use these various tone
qualities to adapt to many performance demands. In
Kincaidiana, John Krell recounts William Kincaid's views on
flute tone.
Flutists should emulate [the violinist's] tonal options and try to approximate them. For example, the flute can produce a finger-board flautando (lots of loose air across the mouth hole) or a bristly bridge tone {pressure of tight air directed more into the flute) together with all the intermediate intensities. ...Flute tone, then, is an extremely complex phenomenon capable of great variations and modulations. The flutist should be able to change the color of his tone to suggest perfumes, to indicate textures of light and darkness, to reflect emotions of rage, repose, etc. Tone is one of the most central means of musical communication. Since music has many different kinds of things to say, the flutist should be capable of producing a variety of tonal qualities.7
6Campbell, 287.
7John Krell, Kincadiana; a Flute Player's Notebook (Culver City, CA: Trio Assoc., 1973), 9-13.
27
Although rather poetic, this statement illustrates the
expressive breadth of timbre demanded of the flute.
Regardless of the acoustical limitations of a fixed tube with
which the vocalist is not encumbered, the flute is among the
most timbrally expressive of the woodwinds.
As alluded to previously, flutes and flute headjoints
vary in relative strength of the harmonics displayed
throughout the scale. This is aurally perceived in qualities
expressed by terms as "brilliance," "warmth," "edge,"
"lightness/ heaviness," "intensity," etc. Competitive
manufacturers are continually developing flute design
variations that will deliver an ideal flute tone. This ideal
is difficult to define, considering the variety and abundance
of professional flutists in this country alone. However, in
questioning the application of blend with voice, similar
perceived qualities are to be considered.
While the singer is capable of producing remarkably
flute-like tones, the flutist is limited in imitating the
variety of vocal timbres. However, the flutist can strive to
adopt the singer's timbral flexibility and contribute to the
timbral palette of the ensemble in this way.
Clarinet Timbre
The clarinet performs acoustically as a cylindrical
tube, and with the action of the reed, acts as a closed pipe.
28
The fundamental register of the clarinet is identified by a
near absence of even-numbered partials and an exaggeration of
the odd-numbered harmonics, displaying five distinct peaks in
the spectrum envelope. In the second and third registers
fewer harmonics are present and the even partials are more
significant.
Conflicting studies report the ability of the oral
cavity to function as a resonating chamber in clarinet tone
production. According to some studies, variations in the
size and shape of the oral cavity proved to effect little
change in the harmonic spectrum while others supported a
significant change.8 There is evidence to suggest that the
tongue placement, while changing oral cavity volume, actually
acts to manipulate the air pressure and flow.9 This affects
the tone quality, especially in the higher registers.
Embouchure variations, i.e., placement and pressure placement
of the lips upon the mouthpiece, create an important variance
8Charles E. Lawson, "An Investigation to Determine if the Oral Cavity Acoustically Influences the Radiated Wave Form of the Clarinet" (Ann Arbor: University Microfilms, 1974) . Geoffrey Rendall, The Clarinet: Some Notes upon its History and Construction (London: Ernest Benn, 1971). Fredrick Thurston, Clarinet Technique (London: Oxford University Press, 197 3).
9Lawson, 79.
29
upon tone quality. A difference of .0065 inches in lip
placement can make a noticable difference in quality.10
The affect of the mouthpiece and reed combination upon
timbre is also significant. Considerable research in
mouthpiece design has resulted in an abundance of timbral
choices. Various makes and models of instruments, custom
barrels, reeds, and ligatures all make claims of offering
various degrees of refinement in tone qualities. As with the
flute, careful analysis of tone qualities should be
considered.
The clarinet is acoustically more limited than the flute
in the variety of timbres possible. Fortunately, the rich
harmonic spectrum of the clarinet tone blends with the voice
without necessitating close similarities of tone color.
Other attributes of the clarinet, such as the expressive
dynamic control and the legato playing style, compensate for
the lack of timbral variety.
Conclusions and Applications of Timbre Study
Through study of the acoustical basis for timbre of
these instruments, it must be kept in mind that perception of
timbre and timbre combinations often belies physical fact.
The area of interest in this study focuses upon what is
perceived in an instrument1s timbre in performance
10Ibid.
30
situations. With this in mind, a few applications of this
knowledge may support perceived experiences.
1) The timbres of the human voice, flute, and clarinet can
vary considerably according to individual voice and
instrument type and technical training. This allows for
numerous variables in timbral combinations beyond the gross
physical characteristics of their timbral acoustical
spectrums.
2) The timbre of the voice can be manipulated with more
variety than the instruments, but characteristic vocal tone
quality may be sacrificed in the attempt.
3) Adjustments in embouchure shape and pressure, as well as
direction of the air stream, are possible in wind instruments
to approach timbral blend with the voice.
4) Considerable unconscious adjustment takes place between
artists as a matter of course in extended ensemble
experience. The ability of the ear to make subtle
adjustments in timbre cannot be underestimated.
5) Other factors that contribute to timbre characteristics
in a performance setting include: dynamics, vibrato,
combination of instruments and the texture of the musical
context. These factors all must be considered in making tone
color decisions.
31
vibrato
vibrato is produced by several different methods: the
Thoraco-Abdominal (known as diaphramatic vibrato), the
Laryngeal (throat vibrato), a synergetic combination of the
two, and the Jaw vibrato. The various types of vibrato
generally produce a fluctuation in both the amplitude
(loudness) or frequency (pitch) with a more significant
fluctuation of amplitude in the case of the diaphramatic and
of frequency in the others.
Vocal vibrato is expected and applied in trained singers
except in specified cases such as early music or for special
effects. The vast majority of trained concert singers use a
laryngeal vibrato exclusively. This results in a fluctuation
in frequency primarily and to a lesser extent in amplitude.
In flute vibrato, manipulation of the thoraco-abdominal
muscles results in a fluctuation in amplitude. Some
variation in frequency also occurs with the natural tendency
of the flute to sound at higher frequencies with an increase
in amplitude. The use of laryngeal vibrato is used less
commonly, inspite of arguments advanced in support of its
relative merit and applications. Controversy has arisen over
its misapplication, referred to by the French as the bleating
of a nanny-goat or Chevrotement, because this type of vibrato
32
results in a more significant frequency fluctuation.11 This
is not to imply that these methods of vibrato are unrelated
phenomena. Certainly some sympathetic movement in the larynx
occurs in the application of diaphramatic vibrato. The
purpose of this study, however, is to determine the aural
results of each type of vibrato rather than their physical
origins.
Traditionally, the use of vibrato in clarinet
performance has been shunned in the United States for two
reasons. First, American clarinetists have adopted
characteristics of both the French and German styles of
playing, in regard to vibrato, the tendency has been to
favor the German consistency of tone over the use of vibrato,
characteristic of the French style. Secondly, the use of
vibrato, which has been closely associated with the jazz
idiom, further alienated its usage on the concert stage.
With the last generation of professional clarinetists,
however, vibrato is gaining acceptance in this country.
Clarinet vibrato is usually activated by movements in
the tongue and jaw with a small minority of players using the
abdominal or laryngeal methods. In the case of the "jaw"
vibrato, the fluctuation is more prominent in frequency
i:LJochen Gartner, The Vibrato with Particular Consideration given to the Situation of the Flutist {Regensburg: Gustav Bosse Verlang, 1981), 76.
33
rather than amplitude. Applications of vibrato in clarinet
playing tend to be conservative in comparison to flute
vibrato, activated at the ends of held notes or in selected
passages.
Some opinions regarding instrumental vibrato not
necessarily supported by scientific fact are of value and
should be included because they reflect a tendency in aural
perception. These include the related statements that the
flute needs vibrato because of its "pure tone" and relative
lack of upper partials; conversely the clarinet does not
require vibrato because of its rich harmonic palette.
Neither of these statements are scientifically accountable
but do represent widely accepted views among a sizable
portion of the professional community and therefore should be
noted.
The fluctuation of frequency has been reported to be
greater among singers than instrumentalists by as much as a
difference of a quarter tone. The rate of pulsations per
second for both voice and instruments is at a range of 5.6 to
8 per second.12 In this author's experience of using a tuning
device, singers register a vibrato oscillation averaging 10-
20 cents above the pitch. The same perceived depth and speed
12Carl E. Seashore, ed., University of Iowa Studies in the Psychology of Music (Iowa City: University of Iowa, 1932), vol. 1, Vibrato, 164.
34
of vibrato by a flutist registers an average of 5 cents below
to 15 cents above the pitch while the clarinetist under the
same conditions registers an oscillation averaging of 10 - 20
cents below the pitch center. The pitch difference between
the singer and clarinetist both using a wide vibrato can
therefore be as much as 40 cents. For this reason alone, the
use of clarinet vibrato should be questioned.
In the case of the clarinet, players are divided in
their preferences for a "pure tone" or the judicious use of
vibrato as the situation merits. In light of the evidence
stated above, the use of a very prominent vibrato by the
between the singer and clarinetist would result in an
unusually large pitch center. Some players are known to use
a fast, shallow "shimmering" vibrato. This kind of vibrato
is not aurally perceived as a large fluctuation in pitch and
has been proven to be effective in ensembles with voice.
Since the use of vibrato in clarinet playing is such a highly
charged issue, the judicious use of it is generally
suggested.
Some twentieth-century composers have used vibrato as a
compositional device. In the Duos I, for example, Nancy
Chance uses a normal vibrato, a smorzato vibrato, and no
vibrato as structural elements in variations of the recurring
main theme. In other compositions surveyed, the technique is
used as a melodic enhancement. In Stanley Walden's Coronach;
35
A Kaddish, the soprano and English horn parts have recurring
sections in which a quarter tone, non-synchronized alteration
in pitch is notated. The voice part fluctuates the pitch in
the manner of a vibrato while the English horn is instructed
to use a key manipulated pitch alteration ("half-close B
key").13 This mechanical type of pitch alteration produces a
change in timbre as well as pitch. The Vocalise for soprano,
flute, and piano by Henry Cowell realizes a tone color
vibrato in a different manner. A series of quarter notes is
notated with an alternating accent and harmonic symbol. A
note explains the harmonic symbol as an unaccented tone and
the accents to be stressed by "sudden thrusts of the
diaphram." Since the tempo marking is quite fast, the effect
is that of a heavy vibrato.
Pitch
In equal temperament tuning all semitones equal 100
cents, allowing complete freedom in modulation of keys. The
major drawback to this system is the mistuned major third
which is too large an interval by 14 cents and the minor
third, too small by 16 cents. In performance of instruments
in which the pitch can be instantly regulated, this
13Stanley Walden, Coronach; A Kaddish (Bryn Mawr, PA: T. Presser Co., 1989), 6.
36
adjustment can be made to tune to an aurally perceived
correct interval.
Various studies have determined the following phenomena
in tuning difficulties.14
1) The greater the dynamic contrast, the more difficult the
pitch-matching task.
2) Certain tone quality combinations present pitch-matching
difficulties not found with other combinations.
Findings by A. W. Blatter shed further light on the
difficulty to correct tuning in a performance situation. By
using electronically produced sine waves and complex
waveforms, Blatter tested both men and women instrumentalists
and pianists for their abilities to match various
combinations of electronically created timbres. The results
of Blatter's research pertinent to this study are summarized.
1) When matching harmonically complex timbres to
harmonically simpler timbres the tuning is usually flat.
2) When matching harmonically simpler timbres to
harmonically complex timbres, the tuning is usually sharp.
3) Harmonically similar timbres are easier to tune than
dissimilar ones, while more complex timbres are more
accurately tuned in the majority of situations.
14Studies, cited in Blatter, "The Effect of Timbre on Pitch-Matching Judgements" (Doctoral diss., University of Illinois, 1974). Murray Campbell, The Musician's Guide to Acoustics (New York: Schirmer, 1988).
37
4) Frequencies in higher ranges are easier to tune, with
females reaching their maximum accuracy at 800 Hz (G5) and
nearly as accurate above. Males improved up to 1800 Hz
(A/A#g) and decreased in accuracy at 3800 Hz (A#/B7).
5) The instrument performed by the test subject did not make
a significant difference in results.15
Although these findings only apply to unison pitch-
matching, significance to this study is apparent in a number
of situations in the works under consideration. In preparing
the Duos I, for example, unisons between the voice and flute
are more accurately tuned when the voice and flute use a
similar timbre. Conversely, difficulty in matching unisons
between the voice and clarinet arise when the timbres differ
significantly. The timbre of the voice in the low register
compared to that of the flute in the opening of the Ibert
Aria must be carefully adjusted for the passing unisons to
sound in tune.
Contrasting dynamics between the flute and voice occur
in both the Ibert Aria and the Chance Duos I. This causes
difficulties in tuning intervals.
In addition to these tuning problems, the phenomenon of
difference tones plays a significant role in the combination
of voice and flute or clarinet. When two pitches are
15Blatter, Alfred, w . , "The Effect of Timbre on Pitch-Matching Judgements" (Doctoral Thesis, University of Illinois, 1974).
38
simultaneously sounded in intervals of a perfect fifth or
smaller, difference and summation tones are created. Simple
difference and summation tones are the difference between two
frequencies (f2 - fx in which f2 represents the higher
frequency) or the sum of two frequencies (f2 + fj . The
summation tone has not proved to be aurally significant in
musical contexts. The difference tone is quite audible
between tones of high frequencies and at a loud dynamic
because the difference of the two frequencies may lie several
octaves below. The "cubic" difference tone is even more
audible and is derived from fx minus f2 (2fx - f2) .16 This
results in a different set of difference tones, as
illustrated in table 1. Cubic difference tones are more
audible at quieter dynamic levels than simple difference
tones.
16"The name is an historical accident, arising from a mistaken idea about the origin of the cubic difference tone." Campbell, 65, 169.
39
Notes performed: I B g - -g-
Cubic difference tones: <1? C ZZ3I
Simple r\\ difference tones: —
Table 1: Cubic and simple difference tones.
The difference tones become an additional voice in
situations in which the voice and instrument fulfill the
above criteria. Certain composers, including Nancy Chance in
Duos I, use these tones to enhance the dissonant quality of
the work.
Both Marilyn Nims and Diana Gale, the singers for this
performance study, noted that in performance situations
without a reference instrument, i.e., piano, the tendency is
to place the pitch sharp, attempting to brighten the tone
quality. Instrumentalists performing with singers should be
prepared to perform 10 - 20 cents sharp as needed. The
ability to perceive a correct interval is more difficult if
the dynamic of the flute or clarinet is quieter than the
voice or the timbre is less rich. In works requiring the
vocalist to attack notes in a more instrumental fashion,
40
(correctly placing the pitch at the attack of the note) pitch
accuracy is one of the most difficult challenges. Singers
tend to approach a tone with a certain variability in pitch
center while instruments tend to be more accurate from the
beginning of the tone.
Loudness
Although loudness has been mentioned previously in the
context of fonnant tuning and vibrato, a summary of the
physical characteristics of loudness perception would be
helpful in performance situations.
1) The richness of the timbral harmonic spectrum for the
voice, flute, and clarinet are all dependent on the dynamic
at which the tone is performed. The louder the tone the more
enhanced the upper harmonic spectrum.
2) Certain vowels are perceived louder or more intense
because of an enhancement of upper formants. The "ah" vowel,
for instance, will sound more present than "oo" at the same
intensity.
3) Certain instrumental equipment, i.e. mouthpieces, head
joints, reeds, will produce a louder intensity level than
others.
4) The use of vibrato enhances perceived loudness.
5) Although low tones have a minimum threshold of audibility
of more decibels than higher notes, lower notes require a
41
relatively smaller change in decibels to affect the full
gamut of musical dynamics.
6) There is a greater decrease in loudness of low pitches
than high pitches with an increase in distance from the sound
source.
7) Difference tones are aurally more noticable at a louder
dynamic.
Extended Techniques
In several of the works for an ensemble of textless voice and
woodwinds, the fluttertongue (flatterzunge) technique is used
for both the instrument and voice. The technique is produced
by a rolling "R" sound in the voice and flute. In the reed
instruments, the effect is more difficult to execute because
of the intrusion of the mouthpiece into the oral cavity. The
same effect can be produced on reed instruments with a throat
growl. In the Finale of Jerome Rosen's Serenade for soprano
voice and alto saxophone, a note specifies: "Flutter tongue
for saxophone, analogous sound (tongue or glottal "trill")
for voice," as illustrated in example 1. In this movement
the fluttertongue technique is alternated with rapid, slurred
techical passages and key and tongue clicks.
42
Voice
Sax.
E £
Example 1: Glottal "trill." Finale of Rosen Serenade Reprinted by Permission of American Composers Alliance, NY.
Since Duos I was intended as a study in dissonance, the
fluttertonguing adds an agitated quality to the selected
passages. The technique is difficult to execute at quieter
dynamic levels since the rolling "R" motion is facilitated by
the air stream. Both the voice and the flute are required to
either add the fluttertongue to a normal tone (a: m. 27,
Soprano part) or move from the fluttertongue to a normal tone
without a break (b: m. 42, Flute part), demonstrated in
example 2.
•ftifrt.
)opr
P ! TP
Example 2: Fluttertonguing. a: m. 27 of Soprano part, b.: m. 42 of Flute part, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
43
The fluttertongue technique is used as one of the
timbral variations of the main theme and is used frequently
throughout the work.
Most of the special techniques in the works surveyed are
recognized instrumental techniques, i.e., fluttertonguing,
variations of vibrato, timbre trills, etc. The Nancy Chance
Duos I and the Jerome Rosen Serenade are among the most
demanding for the singer and instrumentalist. The key and
tongue clicks in the Rosen work is an unusual technique.
Stems without note heads indicate the technique and the
saxophone key clicks are alternated with vocal clicks ("tch"
or "1' s") .17
Surveying various vocal and instrumental techniques used
by twentieth-century composers for textless voice and various
woodwinds, the following techniques and notational
indications were found and are illustrated in examples 3-8.
1) Various syllables:
t?rVcjf irtsinyiui V*HA-DL£-A-DA WHA-3N.6.-A-DA WHA DA-DA-DA-DAj
Example 3: Syllables. McBride Vocalise. Reprinted by Permission of American Composers Alliance, NY
17Jerome Rosen, Serenade for Soprano Voice and Alto Saxophone (New York: American Composers Alliance, 1964).
44
Soprano
Clarinet
i = w
PermLIim oflSrican S p L e r s l l S a n R e p r i n t e a **
2)Fluttertongue:
Permission of Seesaw°Sic9CorSrationU°H J' R e p r i n t e < 3 by
"76. * 1 r i g h t s r e s e r v e d . S ? e S u i „ a r c o p m s S ?P S o S e i .
Voice
Sax.
45
m N
* Tt L' ' h —
1 V
— 4 p= J j^\ 1 1 r r *
Example 6: Fluttertonguing. Rosen Serenade. Reprinted by Permission of American Composers Alliance, NY.
3) Glissandi and Fall off. Indicated with upward or downward
sweeping lines:
Sop. &LL
f Poo-W:
r i Atf
Example 7: Glissandi. McBride Vocalise. Reprinted by Permission of American Composers Alliance, NY.
4) Key and Tongue Clicks:
Voice
Sax.
K, - S t " fc==
I , 1
/ ' ^ ^ / t—— -LU L J
1 li) L J ' [ J > ; ^
= - — t
Example 8: Rosen Serenade. Reprinted by Permission of the American Composers Alliance, NY.
46
In the avant garde twentieth-century works, demands are
often made on the voice that are considered strenuous. There
is a general consensus among most singers who feel that, in
making the conscious decision to perform the often non-
idiomatic demands of many twentieth-century works, one may
sacrifice permanently the delicate control and tonal beauty
required for works of a more vocal character. Of the works
chosen for this study, the Nancy Chance Duos I treats the
voice in this manner. In an interview with the composer,
Chance stated that although she has done some singing, she
did not have vocal technique in mind when composing the work
but treated the voice as an instrument.
CHAPTER III
ANALYSES AMD PERFORMANCE CONSIDERATIONS OF SELECTED WORKS
Introduction
The output of twentieth-century works for textless voice
with a woodwind chamber ensemble is small. However, the
works found pose a variety of performance challenges to the
singer and the instrumentalist alike. The vocal parts of
some of the more avant garde works contain voice parts with
non-idiomatic melodic lines, rapid technical passages,
difficult combinations of intervals, and extended articulated
or strongly accented passages. These technical obstacles are
combined with another challenge to the singer: the absence of
the interpretative nature of the poetry found in texted
music. For the instrumentalist, performing works with a
singer is notably different than with other instrumentalists.
Although the more experimental works provide technical
problems that require special preparation (fluttertonguing,
smorzato vibrato, jazz style, etc.), the most difficult
challenge is adjusting to the singer's concept of pitch,
vibrato, rhythm, attack, articulation, and phrasing. All of
47
48
these elements of music are approached with a noticable
difference by singers than instrumentalists and both
performers must make some compromises.
The three works chosen for this study represent a wide
range of styles and techniques that demonstrate some of the
traditional as well as more experimental uses of this medium
in the twentieth century. Each work provides both artistic
and idiomatic challenges to the performers. Ibert's Aria for
soprano, flute, and piano allows the performers to explore
tone color and ensemble within the stylistic confines of song
form. The Vaughan Williams Three Vocalises for soprano and
clarinet provides an opportunity for the performers to find a
balance between contrast and blend of the two diverse tone
colors. Nancy Chance's Duos I for soprano, flute, and
finger cymbals is structured around dissonance and extended
techniques. The challenges to the performers range from the
small structural details such as rhythmic and pitch accuracy
to the larger ideas of timbre, interpretation, and phrasing.
The three works provide unique settings for the ensemble of
untexted voice with a woodwind instrument.
ARIA (1931) BY JACQUES IBERT (1890-1962)
Although the place of his birth and death are both
Paris, Jacques Ibert's music is colored with sounds he
encountered in his travels, especially in Italy, Spain, and
49
Tunisia. A major portion of his career was spent as director
of the Academie de France in Rome (1937-60). Ibert's musical
style is difficult to categorize because of the many diverse
influences which he openly embraced; he believed "all systems
are valid, provided that one derives music from them." Early
study in drama served to connect music with the other arts
and reflected his philosophy that musical expression was one
part of a total creative expression in response to human
experiences.1
Ibert's apparent affection for the various woodwind
timbres is evident in a number of small chamber works and the
three Concerti: the Flute Concerto (1934), the Concertino da
camera for alto saxophone (1935), and the Symphonie
Concertante for Oboe (1948-9). There is certainly sufficient
evidence to indicate that Ibert felt a deep admiration for
the flute as an instrument capable of enormous expressive
variety and technical prowess. The Flute Concerto (1934) has
become one of the most brilliant examples a of twentieth-
century work for the instrument, exploiting the flute's full
range and providing a rich palette of expressive
opportunities.
Ibert's vocal compositions including opera, cantatas and
a number of songs date from the period of 1910 to 1951, the
•David Cox, "Jacques Ibert," The New Grove's Dictionary of Music and Musicians (New York: Macmillian, 1980), 1.
50
most productive span of his career. The opera Angeligue is
considered one of his most successful works. The
programmatic character of his songs are well adapted to his
view of music as an "interior adventure."2 Many of them are
orchestrated and those from the film score of Don Quichotte
(1932) were gathered into an orchestral song cycle. The
flute was exploited as an obbligato instrument previous to
the Aria, in the songs Deux stales orientees (1925) for voice
and flute.
According to the score, the Aria (1931) originally
appeared in the Hettich collection, Repertoire moderne de
vocalises-etudes (1907). The work was arranged (and
subsequently published in 1931 and 1932) for a variety of
vocal and instrumental combinations which are listed on the
cover of the piano score and illustrated in example 9.
VOCALISE (collection HETTICH) . .
ALTO rr PIANO VIOLONCELLE HT PIANO
FLUTE, VIOLON ET PIANO
FLUTE Hautl»U). CLAMNKTTE XT PIANO.
CLARINBTTK EM LA XT PIANO PLOTS ET PIANO
CHANT, FLUTE ET PIANO
SAXOPHONE ALTO MI > OU SASSON
DEUX VOIX MT PIANO
Example 9: J. Ibert Aria, cover page, piano score. Reprinted with permission of Theodore Presser for A. Leduc.
2Ibid.
51
From the above list it is obvious that the number of
parts varies in the different arrangements. Six versions
imply two instruments: the alto (viola) and piano, 'cello and
piano, clarinet in A and piano, and the flute and piano.
Four indicate three instruments: the flute, violin, and
piano; flute or oboe, clarinet, and piano; voice, flute, and
piano; and two voices and piano. From studying the edition
for alto (viola) and piano, it is apparent that the second
part of the three-part arrangements is derived from the
accompaniment.
The arrangement chosen for this study/performance
contains the following footnote. La partie de Piano est
celle de la transcription pour Flute et Violon (dont seule la
reparation instrumentale est modifiee). "The piano part is
that (of the transcription for flute and violin of which only
the instrumenatal part(s) are modified)."3 This note raises
two issues. First, that the flute, violin, and piano version
preceded the voice, flute, piano arrangement and that in the
transcription for flute, violin, and piano, the flute
corresponds to the part of the voice and the violin to that
of the flute. Such a supposition is supported by evidence in
the piano score with instances of violin markings in the
flute line such as a mute indication ("Sourdine"), bowings
3Appears on the instrumental and piano parts, Ibert Aria for Soprano, Flute, and Piano, Leduc, 1931.
52
and harmonic symbols. It is most probable that this evidence
does not constitute a preference of one transcription over
another but merely demonstrates an example of Ibert1s attempt
to control printing costs.
The second issue concerns the modification of the
instrumental parts, as noted. This distribution of melodic
material differs in the two versions. The passages in
question occur at mm. 13-19 (Example 10, a. and b.) and mm.
30-39 (Example 11, a. and b.).
53
3..
Voice
Voice
b.
Violin
Violin
Example 10: Differences in editions. J. Ibert Aria mm. 13-19 of the Voice/Flute/Piano (a.)f and Flute/Violin/Piano (b.) versions. Reprinted by permission of Theodore Presser for A. Leduc.
Voice T e m p o
a.
Flute
Voice
Flute
54
Tempo
H T e m p o
Flute
Viol in
Violin=
P o c o r l t . . / / T e m p o
Violin
Example 11: Differences in editions. J. Ibert Aria mm. 31-39 of the Voice/Flute/Piano (a.), and Flute/Violin/Piano (b.) versions. Reprinted by permission of Theodore Presser for A. Leduc.
55
These passages in the flute, violin arrangement
transform the work from a song without words in the voice,
flute version, to a chamber work. In the second passage,
mm. 30-39, Ex. 10, of the voice, flute version, the voice is
imitated by the flute in canon, an octave higher. In the
flute, violin version, however, the violin part leads the
melodic line with the flute imitating in canon an octave
lower. These two factors, the octave displacement and the
instrument leading the melodic canon, also determine the
ensemble focus of the work.
In mm. 32-33, melodic lines extend higher in the flute,
violin version than the voice, flute arrangement. When
applied to the voice, flute version, the range is difficult
for the singer but can be managed. Adapting the flute,
violin arrangement for flute and voice is quite effective,
distributing the melodic interest more equally between the
two instruments.
The Aria is set in a slow tempo (Larghetto quarter note
=48) in 4/4 time with the principal tonality in F Major.
The style is cantabile, reminiscent of the Rachmaninoff
Vocalise (1912). The range of the voice is relatively low,
from C4 to Bb5( lying primarly in a lower tessitura.
Traditional notation is used and no extended techniques are
required for any of the instruments.
56
The melodic interest is primarily in the vocal line with
the exception of the return of the A section in which both
solo instruments share the melodic interest. The piano part
provides a rhythmic and harmonic accompaniment and color
throughout.
The form of the Aria is A B A1 Coda. The texture is
homophonic for the first two sections and polyphonic in the
A' section. The voice, performing the aria melody, is
accompanied by the flute and the piano in a five-note scale
in contrary motion (see example 12).
FLl'TE
PIANO
1 r f,' -
Larghetto U=4s) ft — " " " "
A 4 - - ~
PP 1 -< t- ! .
y yinr •
i l l ' 1
L "" O « — "~"U' - 11
Example 12: Texture of opening, mm. 1-3, Ibert Aria. Reprinted by permission of Theodore Presser for A. Leduc.
It is curious that the arrangements of the Aria involve
two or three instruments. In example 13, the nature of the
piano part is at odds with the flute line with passing
dissonances.
57
FLUTE
PIANO
—-r i i' i 1 — P = - ~ —
=a> J j j !
ft* J tr J * ~
Example 13: Dissonance between flute and piano parts, mm. 7 8, Ibert Aria. Reprinted by permission of Theodore Presser for A. Leduc.
Since the flute part of this study/performance plays a
supporting role throughout the work, it is conceivable to
perform this edition without the piano. The work stands on
its own and is effective in performance as a duo.
Performance with the piano part is also effective, though the
texture is more contrapuntal.
Performance Considerations
In this work, vibrato is a major performance
consideration. In the voice and flute, the difference in
depth, speed, and application of vibrato is most apparent.
Flute vibrato is generally not used during moving technical
passages and is shallower and faster than the voice. This is
58
especially the case in the high register of the flute. Both
performers can adjust these vibrato attributes, depth, speed,
and application, to affect a closer match.
In terms of the experimentation with timbre, the
performers found that the low register of the flute, as in
the opening, produced a rather bright and resonant timbre
compared to the voice in the same register. A darker tone on
the flute, combined with a brighter, more intense "oo" vowel
by the singer, seemed to offer a better blend. In the
imitative section (mm. 30-39), the flute line, in a
relatively bright register for the instrument, tends to
overshadow the voice in a less resonant register. The
passage demands careful attention to dynamic balance and
timbral blend. The addition of the piano requires the other
performers to play with a more projected tone to clarify the
parts in the thick texture.
In several instances the voice and flute share some
dissonant suspensions. These offer an opportunity for the
performers to use their timbral and vibrato blending skills
to enhance these dissonance-consonance situations.
Difference tones are produced by some consonant
intervals of these intervals and can enhance the aural
richness. However, these are masked when the piano part is
present.
59
The tuning of the major and minor thirds is critical in
the Aria. The closing six measures alone, in example 14,
contain nine thirds to adjust.
k im
m Example 14: Thirds in last six measures, mm. 40-45, Ibert Aria. Reprinted by permission of Theodore Presser for A. Leduc.
THREE VOCALISES (1958) BY RALPH VAUGHAN WILLIAMS (1872-1958)
Ralph Vaughan Williams is credited with "re-creating an
English musical vernacular and establishing the symphony as a
form of central significance for the English revival."4 From
an early period of his life, he collected folksongs and
adapted these in his own works as well as for The English
Hymnal (1906). He became an authority in the collection of
folksongs, especially those of Sussex, Norfolk, and Essex and
4Hugh Ottaway, "Ralph Vaughan Williams," The New Grove's Dictionary of Music and Musicians (New York: Macmillian, 1980), 577
60
collected over 800 in all. His music is decidedly English in
style and character and is compared to Bartok and Kodaly who
elevated folk music in Hungary.5 In the last decade of his
life, Ralph Vaughan Williams was active in London's
performance series, the Cheltenham Festival, and the Three
Choirs Festival as well as various London concerts; in spite
of deafness and poor health, he continued to compose. His
last works include the last three symphonies, the morality
play The Pilgrim's Progress (1949) and a number of songs and
cantatas. The Three Blake Songs (1957) for voice and oboe
were written for the film The Vision of William Blake. This
work is for tenor or soprano, and the oboe part may be
transposed for Bb clarinet as suggested by the composer.6
The Three Vocalises were written in March of 1958 before
the premiere of the Ninth Symphony. His long-time friend and
singer, Margaret (Mabel) Ritchie (1903-1969) was its
dedicatee. Her career in opera was highlighted by the roles
of Pamina in Mozart's Die Zauberflote, Lucia in the first
Glyndebourne production of Britten's Rape of Lucretia, and
Miss Wordsworth in Britten's Albert Herring. Her voice has
been described as small, clearly produced, and of a pure
quality. She is reported to have "an unfailing sense of
5Ibid., 569.
6Michael Kennedy, The Works of Ralph Vaughan Williams (London: Oxford University Press, 1964), 640.
61
style and showed unusual flexibility in the execution of
florid passages."7
In his biography of the composer, Kennedy notes that the
work was published after the composer's death from the
manuscript housed in the British Museum (50481). He notes:
"It is probable that the composer would have added more
dynamic indications had he been able to revise the work
before publication. No dynamics other than those which
appear in the manuscript have been added."8 This statement
also appears on the published score. The premiere of the
Three Vocalises occured at the Free Trade Hall in Manchester
on October 8th, 1958, six weeks after the composer's death.
The performers were Margart Ritchie and Keith Puddy. The
first London performance was for the B.B.C. Home Service, on
December 22th of 1958 with Margaret Ritchie and Gervase de
Peyer performing.
The movements of the Three Vocalises are entitled I.
PRELUDE. Moderato; II. SCHERZO. Allegro moderato; III.
QUASI MENUETTO. Moderato. The duration of the work is
approximately five minutes and is of a medium difficulty.
The vocal range is from a C3 to C5 but is generally contained
7Desmond Shaw-Taylor, "Margaret (Mabel) Ritchie," The New Grove's Dictionary of Music and Musicians (New York: Macmillian, 1980), 57.
8Kennedy, 640.
62
within the staff. Like the Ibert Aria, no special effects
are indicated for the voice or clarinet. Standard notation
is used.9
The first movement, the PRELUDE, is in an ABA' form.
The key signature contains one flat and begins with an
opening section marked senza misura. The pitch of the
movement is in D. The voice makes an opening statement and
the clarinet imitates, rising to a brief unison with the
voice on an F natural. This leads to a contrary motion
pattern of triplet and duplet groups of eighth notes opposed
in the vocal line, contributing to the senza misura style.
The voice and clarinet exchange melodic and accompanying
roles for the remainder of the opening section.
In the opening of this first movement, several unisons
occur that are especially problematic to tune because of the
higher placement of pitch center used in vocal tone
production.
In m. 1, the soprano has only the initial D in the
clarinet part as a point of reference before settling on the
F. The clarinet must rise to the F held by in the soprano
part and match the pitch. A similar passage occurs in m. 5.
In this case, the A in the clarinet part implies the fifth of
9There is an editorial error between the concert pitch clarinet line and the transposed line, involving the lack of a slur marking in mm. 19-22 of the Prelude movement in the Bb part.
63
the chord and is less problematic for pitch matching. Both
of these instances are illustrated in example 15.
SOPRANO VOICE
colla parte CLARINET
(concert pitch)
senza mtsura
Sopr.
Oir. (C)
I r
Example 15: Unisons, mm. 1-2, 5, Vaughan Williams Three Vocalises. Reprinted by remission of Oxford University Press, copyright 1960.
A measured central section in 3/4 (mm. 9-22) is notated
with a quarter note = quarter note tempo marking. The style
is lyrical in the voice part and is imitated in canon by the
clarinet. A modulation to F minor occurs in this section at
the climax of the melodic material and descends in range and
implied dynamics, to the D minor tonality.
The strict imitative style of this section is an ideal
context for comparing the differences between the voice and
clarinet in terms of timbre and vibrato. A detailed
64
discussion of the performer's decisions about such matters
follows this analysis.
The abbreviated return features a truncated restatement
of the opening material. A rapidly rising scale passage to
the upper range of both the voice and clarinet suggests a
climactic ending. The reiteration of a consonant-dissonant
figure in the voice sounding below a held D in the clarinet
adds to this impression (example 16).
Cl«r. (C>
J* y 4 fr J' u .
fi
rrr. XX
Example 16: Final measures, mm. 24-27, Prelude to Vaughan Williams Three Vocalises. Reprinted by Permission of Oxford University Press, copyright 1960.
The second movement, entitled SCHERZO, is in the style
of a duple metered folk dance. Formally, the movement could
be diagrammed as A - A - B - A1. The tonality of Bb Major
modulates to Eb minor in the B section.
The Soprano part alone introduces the melodic material,
marked piano, with one brief interjection from the clarinet.
The theme is then reiterated in the clarinet while the voice
creates a syncopated accompanying figure.
Texturally, the B section (mm. 17-29) is very active in
a contrapuntal exchange of thematic motives featuring
65
staccato eighth-note duplets against triplets. A short
passage of both instruments performing sixteenth notes in
contrary motion marks a return to the Bb Major tonality and
the end of this section.
Marked pianissimo, the movement ends with a short
reference to the staccato eighth-note idea of the opening and
cadences on a perfect fifth, the voice above the clarinet.
This highly contrapuntal movement requires exact
rhythmic execution. Syncopation and cross rhythms throughout
the movement complicate the texture, as demonstrated in
example 17.
Sopr.
Clar. (C)
I r
J T J J Z I A
Example 17: Cross rhythms, mm. 22-24, Scherzo, Vaughan Williams Three Vocalises. Reprinted by Permission of Oxford University Press, copyright 1960.
The spirit of the movement implies a quick tempo. The
ability of the singer to perform rapid sixteenth-note
passages without the aid of consonant syllables limits the
tempo of the movement.
Both the second and third movements have extended
staccato passages for the soprano and clarinet. Performance
66
problems associated with this articulation are discussed at
the end of the analysis.
The third moveanent, QUASI MENUETTO, has a piano marking
indicated at the opening and no other dynamic markings. The
form can be described as A B A1 Coda with a tonality in Ab
Major in the A { mm. 1-23), A' (mm. 32-35) and Coda (mm. 36-
39) sections with the B section (mm. 24-31) in A minor.
The quasi menuetto is implied through the use of triple
meter and the melodic reiteration of a strong and sustained
downbeat. The melody of the A section is in a long, lyrical
style, while the B section is staccato throughout.
The movement opens with a one-measure figure in the
clarinet followed by the statement of the main theme in the
voice part. As in the second movement, the voice is alone,
this time for only a portion of the theme after which it is
joined by the clarinet in counterpoint. The melodic interest
is shared and exchanged by the instruments in a polyphonic
texture. The second statement of the theme is in a
homophonic texture with the voice performing the melody,
accompanied by a staccato arpeggiated figure in the clarinet.
A brief two-measure return of the counterpoint leads to a
contrasting section in A minor.
The staccato melody in the voice is accompanied by an A
drone in the clarinet. This is followed by the clarinet,
restating the staccato melody. The voice accompanies,
67
emphasizing an E with sixteenth-note ornaments. Briefly, the
style of the first section returns with the Ab tonality. In
a one-measure cadenza-like bar, marked free tempo, the voice
is required to perform a very rapid group of thirty-second
notes in contrary motion to a similar figure for the
clarinet. This measure has three melodic figures. The first
two are identical and the third is an extension of the idea.
The third, extended figure then leads directly into the
closing material. The free tempo marking raises questions
about the interpretation of this passage (example 18). The
performance tempo would depend partially on the flexibility
of the singer.
(free temt>n)
Clar.
Example 18: Ending of Quasi Menuetto, m. 36-37, Vaughan Williams Three Vocalises. Reprinted by Permission of Oxford University Press, copyright 1960.
The ending of the movement features staccato eighth
notes in the highest notes of both instruments' tessituras
Once again the Ab Major tonality is confirmed by a tonic
dyad.
68
Performance Considerations
The performance for this study features the combination
of a clarinet and a lyric soprano. Although the acoustical
structure of timbre in the voice and clarinet are less alike
than that in the voice and flute, the tone colors are still
compatible. The disparity in timbre of a relatively "dark"
clarinet tone and a bright soprano voice is somewhat mediated
by the following solutions. The clarinetist used a brighter
barrel and softer reed and the soprano created a longer
resonating space by raising the soft palate and lowering the
larynx.
In respect to the question of vibrato, the consensus of
the performers was that the clarinetist should use a
shimmering effect vibrato and only on held chords that had
been determined to call for it. The singer greatly subdued
her normal vibrato, beginning unison intervals and ending the
work with a straight tone. This was felt to resolve the
difference in vibrato usage without creating an enormous
disparity in pitch between the voice and clarinet.
The next most important ensemble concern is the staccato
passages for both instruments in the second and third
movements. The quality of staccato needs to match in attack,
length, and release. In this situation, the soprano has a
very clear and crisp staccato. In order to imitate the
effect, some clarinetists might find a tongue- stopped
69
staccato to be the most similar although this author has
found a breath-stopped articulation to be more effective in
some passages.
DUOS I BY NANCY CHANCE (b. 1931)10
Nancy Laird Chance was born in Cincinnati, Ohio on March
19, 1931. She studied composition with Vladimir Ussachevsky,
Otto Luening, and Chou Wen-Chung at Columbia University and
piano under Lilias MacKinnon and William R. Smith. Chance is
the only composer to have won the ASCAP's Rudolph Nissim
Competition for Orchestral Composition on two occasions, in
1982 for Liturgy, a chamber work for harp, 5 percussion
players and strings and in 1984 for Odysseus, written for
solo voice and orchestra. She has been the recipient of
numerous awards and honors including two National Endowment
of the Arts Composer's Fellowship/Grants in 1981 and 1983,
the Norlin/MacDowell Fellow Award (1982), given annually in
honor of Aaron Copland, the Sundance Institute Composer
Fellowship at Sundance Film Composer's Laboratory, and is a
member of the Artist's Fellowships Music Composition Panel
for the New York Foundation For The Arts.
Chance's works have been premiered by numerous American
orchestras and professionial chamber groups, among them, the
10Several printing errors occur that the composer has confirmed to the author. These will be noted in the Appendix.
70
Cleveland Chamber Symphony, the Manhattan Percussion
Ensemble, St. Louis Symphony Orchestra, the Jupiter Symphony
and Da Capo Chamber Players. Her works are primarily for
chamber ensembles, employing a variety of instrumental and
vocal combinations. Her most recent works, however, have
been orchestral works, film scores and movements from the
requiem mass. Chance now lives in rural New York where she
continues to compose.11
The Duos I (1976) is scored for soprano, flute, and two
pairs of finger cymbals, played by the soprano. When asked
if the work was a commission or a dedication, the composer
replied that it was neither. When the composer was asked if
her study with Otto Luening, who wrote and was the dedicatee
of several flute and untexted voice works, had inspired Duos
I she responded that it had not.12 The sole intent of the
work was, in her words: to "reverse the usual process of
dissonance resolving to consonance, and to see if the ear
could be conditioned, within the confines of a short work to
accept a particular reiterated sharp dissonance as a point of
rest, a proper and satisfying cadence."13
1J-Unpublished biography provided by the composer.
12Written interview with the composer. See Appendix B.
13Taken from program notes, provided upon request from the composer.
71
The work combines a number of extended techniques such
as fluttertonguing, "smorzato vibrato," no vibrato, extremes
in dynamics and extended trilled passages to enhance this
experimentation with consonance and dissonance. In most
cases, the dissonance is approached by a consonant interval,
major or minor third, moving in contrary motion to a
dissonance of a minor second. The resolution of the third to
a minor second is the principal idea of the work. The aural
perception of this dissonance as a cadence point is not only
confirmed through repetition but through dynamic and rhythmic
resolve.
Chance is very articulate in her intentions to
explore the possibilites of using the voice as an instrument.
She states that "by omitting the text and treating the voice
instrumentally, it was also possible to explore certain
acoustic phenomena associated with close dissonance, in
particular the production of audible beats in forte
passages, which lends a certain aural exitement to the work."
She indicates that the "instruments" should attempt to match
tone quality and vibrato, etc. The forte passages should be
emphasized to produce "audible beats," presumably difference
tones and conflicting frequency beats.14
14Program notes.
72
The work is built structurally upon melodic, harmonic,
and rhythmic materials. These materials are used to form a
series of phrases which are grouped into the large divisions
that give rise to the work's form. In order to comprehend
the large formal character of the work, the structural
details must first be identified. The following is a
categorization of the melodic, harmonic, and rhythmic
materials of the work.
Melodic Materials (MM):
The minor second is the kernel of nearly all the melodic
material. With the exception of MM3 in Example 21, all other
melodic materials relate to this interval. Selected melodic
materials are given in Examples 19-26.
Selected Examples (MM)
S l o w J = ^fO
-"Tl J.., V. -4) « r\ f g i MJ. I LJ I tZ
\ normal j V i b ra+"o mp mj mp
Example 19: MM1 - Descending minor 2nd (m2nd). m. 1, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
73
Fl. ¥-
3 mofio.' to ZEZ
SroJ-x- mp
* f 4 = -
1
Example 20: MM2 - Expansion of the descending half-step to whole-step. Ascending m2nd, descending M2nd. m. 3, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
broade n
£ troo-den - —
Example 21: MM3 - Use of the Tritone, Perfect 4th and Perfect 5th, in various combinations, m. 11, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
74
norm. 3>J+r +r "M
2 ,
^ allanp _ - - . 9 _
Example 22: MM4 - Extended trilled passage of m2nd M2nd melodxc intervals. mm. i8-23, Change Dufs 1. Repknted by
a?? °- S e 6 S a W M U S i c CorPoration, New York, Copyright . All rights reserved. International copyright secured.
C.YGS.C. .
Example 23: MM5 - Scale passage, series of whole and half-steps: A pentachord, E tetrachord. m. 30, Chance Duo<? r
YOTk^Copyright™!!?!011 Ml86®®?1* " U S i C Co^°ration, New ' copyright secured^ * " r i S h t S r e S 6 r V e a' international
In MM6, Example 24, the excerpt is a reordered chromatic
cell and an expansion of the major second kernel.
75
Example 24: MM6 - Reordered chromatic cell, expansion of M2nd idea (MM2) to include m3rd and M2nd. m. 36., Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 197 6. All rights reserved. International copyright secured.
In MM7, Example 25, the resting points of the melodic
line create a descending pattern with half step
characteristics and an octave displacement.
iiii & i;
Example 25: MM7 - Descending pattern with half-step characteristics with an octave displacement, mm. 42-43, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
76
In MM8, Example 26, the arrangement of minor 2nds are
projected melodically and contrapuntally between the flute
and voice lines.
m S: 4
Example 26: MM8 - New arrangement of m2nd, M2nd melodic intervals, projected melodically and contrapuntally between flute and soprano parts, mm. 51-52, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
Harmonic Materials (HM)
The harmonic materials found in Duos I also revolve
around the kernel of a minor 2nd. The extensions of the
interval are much more elaborate than those of the melodic
materials. Since they occur in some form or another in every
measure, only a representative selection is presented. In
conjunction with the minor 2nd, the major 2nd, and the
tritone interval occur with some frequency. The harmonic
materials are given in Examples 27-30 and in Table 2.
77
Selected Examples (HM)
n o v m a l V i fc rat"o mp mp
normal yMb^aTo
Example 27: HM1 - minor 2nd kernel harmonic material, mm. l-2, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
*
Example 28: HM2 - m3rd preparation for m2nd resolution, m. 5, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
Wi4okt- TH.iLi.Sl
Wt-towg iRiixt :
Table 2: HM3 - whole-step trilled passage. Alternation of m3rd, M2nd, m2nd (reduction to sounding intervals). mm. 18-24, Chance Duos I.
78
FI-IH
3
t
m p ?
i
f
Example 29: HM4 - Movement from consonant interval to unison to dissonance (M2nd) . mm. 40, Chance Duos J. Reprinted by-Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
ft. TP"
Example 30: HM5 - Sustained tones on: Tritone moving to a M2nd above to a M2nd below, m. 51, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
Rhythmic Materials (RM)
The basic pulse at quarter-note =40, is divided into
two to nine notes to the beat. Rhythms seldom begin on down
beats and ties over the beat extend the vagueness of the
pulse. Rhythmic materials are demonstrated in Examples 31-
35.
Selected Examples (RM)
79
>
V 4- f-
3 ft* • > I
rr.- .-rrr >r i - # • & ' moif-o Vt bra "tap
s$i. Sf" Iff 3
1
<T>oi"h> *J I lorato pp
4* # ff
I pp
=ez
f
Example 31: RM1 - Triplet figure, often with rests occuring in one of the divisions or in hocket. mm. 44-45, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 197 6. All rights reserved. International copyright secured.
m
Example 32: RM2 - Avoidance of downbeats through use of ties, mm. 39-40, Chance Duos J. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 197 6. All rights reserved. International copyright secured.
80
n
Soon •II O1 I •
-s:
p
£
m
&
-pi+i
i
Or esc.. _ _ -
r
Example 33: RM3 - Entrances on up beats, m. 41, Chance Duos J. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
P P 6: *>r
Example 34: RM4 - Note patterns in odd metric divisions, m. 46, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 197 6. All rights reserved. International copyright secured.
Application of Structural Materials
Chance uses these structural materials in various ways.
For instance, in several places the principal cadence of the
work, an interval of a minor third moving to a minor second,
is recalled. This motive is quoted in transposition a major
third higher and a tritone lower. It also appears twice in
81
the recapitulation with extended techniques and rhythmic
augmentations. These passages are noted in Exairples 37-39.
Fl-
S o p r
s j p p n o Vi b r . f
p p v« b r .
m m T
Example 35: Principal cadence, m. 5, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
Fl,
> o p r .
* fl—|C^ p p no vi br
•*» 3
mmmi
no. a Vitr.
Fl
Sop
pp— v?br
PP
Example 36: Transposition of principal cadence by a M3rd higher and tritone lower. m. 17, 33, Chance Duos J. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
82
m jfeEEf i
pp 3 fit* _ -
—
pp
Example 37: Principal cadence with special effects and rhythmic augmentations, m. 64, 66-67, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 197 6. All rights reserved. International copyright secured.
Some structural materials are used to foreshadow an
extended developments of a particular motive. Such is the
case with the melodic motives of mm. 29 and 32 in the flute
part, which appear in an extended passage in mm. 50-54. It
is demonstrated here in Example 38-39.
83
h=f-pf-T==«
Example 38: Foreshadowing. Flute part, mm. 29, 32, Chance Duos I. Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
R.
* h fl.
S-H
Example 39: Extension of motive. Chance Duos I, mm. 50-54 Reprinted by Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International copyright secured.
84
Formal Aspects of Duos I
In Duos I, the melodic, harmonic, and rhythmic materials
form the structural basis of the work in the flute and voice
parts. The finger cymbals add a timbral quality as well as
percussive voice. They serve to introduce or conclude
phrases or to provide rhythmic accent.
The series of phrases ebb and flow in their level
of intensity. This intensity is expressed through
dissonance, dynamics, or extended techniques. Silence
defines the form of the work. Groups of phrases, divided by
rests, combine to create major divisions in the form. The
form is diagrammed in Table 3.
A B
Phrases: 1 la 2 3 4 mm: 1-5 6-9 10-12 13-24 25-31
Transition
5 5b 6 3a/4a (mm. 32-34) 35-45 46-48 49-54 55-59
Recapitulation
(mm. 60-69)
Table 3: Form of Chance Duos I
85
The opening phrase of each major division is presented
by the flute. The major divisions are made apparent by one
or a combination of three methods: a lengthy rest, as in the
division between sections A and B; an abrupt change in
character, as in the change from A to B and B to the
Transition; and new material, used between A and B, and
between B and C. The recapituation is obvious through an
exact recollection of the opening four measures.
In the formal diagram in Table 3, note the indication of
phrases 3a/4a in section C. These are abbreviated ideas,
recalling the whole-step trill passage from section A and the
Ab pentachord/E tetrachord scale passage from section B. The
truncated restatement of such material immediately preceding
the recapitulation, creates a certain symmetry in the piece.
In this work, it becomes the performer's responsibility
to interpret the intent of the composer through the character
of their instruments. For the flutist, the role can be
characterized as the instigator. It is the first instrument
to be heard and initiates nearly every phrase of the work.
The flute part is the most technically active and remains in
a higher range than the voice throughout most of the work.
However, the flute is not to be considered the most important
character in the work. The voice, used as an instrument, is
of equal importance to the flute. The voice adds the
dissonance and reacts to the initiations of the flute. The
86
finger cymbals add a third component to the texture. Since
the pitches of the cymbals (in this study/performance
approximately an F and G) lie above the range of the voice
and most of the flute, they are aurally striking in their
contrasting pitches. Their primary role, as mentioned
previously, is to introduce or conclude the phrases. The
clash of both sets of cymbals accents the loud, agitato
passages of the work. The cymbals also end the work playing
a two-measures solo.
Performance Considerations
Because of the rhythmic complexity, Duos I requires a
tremendous degree of individual rhythmic accuracy. The pulse
is not outwardly apparent and must be internalized for
ensemble.
The second major performance problem involves the
accuracy of pitches. Many passages require the performers to
produce consonant as well as dissonant intervals. The most
common interval of the piece is the minor second. The
tendency to pull a minor second up to a unison is very strong
in the human voice and this frequently sustained interval is
difficult to adapt to. The higher pitch center of the
soprano presents a challenge to the flutist, especially in
the frequent quiet passages in which the flute has a tendency
87
to sound flat. Because of its atonal nature, the work
requires a vocalist with strong relative or perfect pitch.
Various experiments with timbres were made. For some
dissonant intervals, the singer for this study used a timbre
produced with lips slightly parted. The effect is very
similar to the flute in the same register and the quality of
the vocal timbre seems to enhance the dissonance. In many
passages, the singer used a vowel with more "oh" than the
traditional "ah." Under the circumstances of this
performance, that timbre blends best with the flute. The
flutist found that a brighter, clearer tone is effective in
this piece. This timbre seemed to be the most functional for
the various extended techniques required and fit the
character of the work. Duos I requires the flutist to
perform with a good tone at the extremes of dynamics and
range while maintaining an accurate pitch center.
Vibrato (when specified as normal vibrato) between the
performers was found to be increasingly compatible as
rehearsal time progressed. As in the Ibert Aria, matching
the depth and speed of the vibrato applies here as well.
The various types of attacks specified in this work
included tenuto, smfz, meaning a sforzando attack at a mezz-
forte level, accents, flutter tongue, accented staccato, and
an sffz marking, meaning a sforzando at a fortissimo level.
88
Each of these require careful rehearsal to match the quality
of each type between the voice and flute.
The dynamics used are equally extreme: rapid crescendos
to forte followed by a subito mezzo-piano, long crescendos
over six bars to a fortissimo, subito pianissimos, fortissimo
decrescendo to pianissimo over one bar, pianissimo in the
extreme range of the flute, etc. Balance is an inportant
issue with these dynamic demands. Care must be taken in the
extremes of the voice and flute dynamic range.
The extended techniques required include: smorzato
vibrato ("a particularly slow and heavy vibrato"), no
vibrato, flutter-tongue, and extended whole-step trilled
passages. The composer requested that the smorzato vibrato
be unmeasured, gradually becoming slower and syncronized
between the performers. The initial speed of this type of
vibrato was difficult for both instruments to perform rapidly
so that the effect diminishes from approximately 5 to 2
pulses per second. The gradual slowing is difficult to
perform and to syncronize between the players while
maintaining the steady pulse. An equivalent speed of the
simultaneous trills required attention and rehearsal to
achieve. The fluttertongued passages were complicated by the
low dynamic level, since the rolled "R" action by the tongue
requires a strong air stream.
89
For the flutist, the most difficult challenge is to
maintain a pitch center and pleasing tone while affecting the
extended techniques required. For the soprano, the greatest
challenge is to perform a part that involves attacking and
maintaining pitches in close intervals. This is complicated
by the additional task of playing the finger cymbals. The
trills and fluttertonguing are quite difficult for both
players because these effects seldom occur with such extended
application.
Duos I is a highly effective composition and will be
perceived as such only if the performers are able to produce
a technically accurate and musically appealing performance.
CHAPTER IV
SUMMARY AND CONCLUSIONS
This study has attempted to identify and resolve the
performance challenges of three twentieth-century works that
employ the voice without text in combination with various
woodwind instruments. The premise of the thesis is that,
after a lengthy history of texted works with woodwind
obbligato, as outlined in Chapter I, a set of conventions
evolved defining inherently different roles for the singer
and instrumentalist. The instrumentalist's may be
subordinate to the vocalist's or it may be a more equal
partner, presenting stereotypical programmatic gestures by
way of depicting the text; at the other end of the spectrum,
the instrumentalist emerges as the dominant partner,
overwhelming the singer's verbal utterances through the
prominence of its purely musical utterances. Regardless of
what point an instrumentalist's part lies on this spectrum,
it is undeniable that the roles of the singer and
instrumentalist are different in texted works. In
compositions without a text, however, the voice is no longer
90
91
the purveyor of the word, of explicit meaning. As an
"instrument," it assumes an implicit character found in the
realm of instrumental music.1 Here, the voice, like the
instrument, is dependent upon attributes other than words to
convey musical meaning. Without the physical requirements
and poetically explicit implications of words, the singer
(and the composer) are afforded a new expressive dimension of
a richly varied palette of tone color. Nevertheless, when a
singer is present, the audience expects words. Many
composers of this century have exploited just this sense of
unresolved tension in experimental works for untexted voice
and instruments.
As was shown in Chapter III, performances of works with
non-texted vocal parts presented unique performance practice
problems. In the Ibert Aria, the ensemble problems centered
on the use of vibrato and timbre in achieving balance. In
addition to blending two diverse tone colors, the Vaughan
Williams Vocalises presented a problem of matching styles of
articulation. The most serious problems of balance were
encountered in the most experimental work of the group, the
Chance Duos I: the approximation of similar timbre, vibrato,
etc., in the context of frequent dissonance, extended
techniques, and a complex rhythmic structure.
J-Edward T. Cone, The Composer's Voice (Berkeley: University of California Press, 1974), Ch. 2-3.
92
An analysis of scientific findings pertaining to the
acoustical phenomena affecting our perceptions of timbre,
vibrato, pitch, articulation and other factors, was explored
in Chapter II. The information in this chapter provided
supporting scientific evidence for the thesis that certain
works for the medium require a close blend or match in aural
attributes such as timbre, vibrato, and articulation. For
example, the atonal nature and extensive use of dissonance in
the Nancy Chance Duos I present many problematic acoustical
situations. To highlight the structural role of the
distinctive cadential gesture of the piece, the performers
opted for very similar and specific timbres. The other two
works, the Ibert Aria and the Vaughan Williams Three
vocalises, presented different types of challenges in a tonal
context. In the Ibert, it was noted that the contrapuntal
nature of the work created balance problems that were further
complicated when the flute was in a higher tessitura than the
voice. Some adjustment of timbre and vibrato provided the
solution of this work's problems of balance. Likewise, the
disparity of timbre between the soprano and clarinet required
some acoustical adjustment in the Vaughan Williams.
Another issue explored in Chapter II centered on pitch
placement, which is problematic in all the works discussed in
this study. Factors influencing pitch placement, such as
interval, difference tones, timbre, vibrato, dynamics, range,
93
and extended techniques were discussed in connection with
representative passages from each of the three works.
Although the solutions to the particular performance problems
were not intended to be conclusive, they represent viable
solutions that were arrived at through extensive
experimentation and can thus serve as a general guide for
others who wish to perform these works.
The analytical chapter of this thesis demonstrated that
compositions without words require an organizational
structure very different from that found in texted music.
Very simply, composers writing for this medium cannot rely on
established structural models that evolved in relation to
specific poetic structures. Considering this, it is
understandable that composers are tentative in their efforts
to explore this medium, as is evidenced by the brevity and
paucity of works. The analyses of the three chosen works for
this medium involved historical, structural, formal, and
performance perspectives. However, the main thrust of the
analytical chapter dealt with the Chance Duos I which is both
the most complex structurally and the most demanding in terms
of performance requirements of the three works under
consideration.
The appendices provide an annotated bibliography of
selected works for textless voice and at least one woodwind
instrument (Appendix A) and performance information on the
94
Chance Duos I (Appendices B and C). The majority of works
for this medium consist of short chamber pieces of a light,
entertaining character. They are roughly divided in half
between those using some tonal system with standard
performance techniques and those employing atonal systems and
extended techniques. Most of the works were written in the
last forty years by American composers.
Works for textless voice with woodwind instruments prove
to be an interesting and viable medium. The successful
performance of this medium is dependent upon resolution of
certain technical challenges, as addressed in this study. By
addressing and resolving these challenges, it is hoped that
performers will be encouraged to experiment with the medium
and composers will be persuaded to attempt larger works for
textless voice and woodwinds to demonstrate, on a greater
scale, the potential of this combination.
96
The works listed in this appendix include all known
published works for a small ensemble (two to six performers)
consisting of a minimum of one voice part that is a least
partially untexted and a minimum of one woodwind instrument.
These works were primarily extracted from Richard
LeSueur's Art Songs with Obligato Instruments, an unpublished
expansion of a previous publication by the same author. His
listing is a compilation of works found in all international
publishing house catalogs and various additional sources. He
has been recognized as an authority in this type of
cataloguing and is associated with the Library of Congress in
this capacity. Some works were found in bibliographies of
works as cited in the bibliography.
Blacher, Boris Jazz Koloraturen (1927) Germany: Bote and Bock
Instrumentation: Soprano, Alto Saxophone, Bassoon Dedication or Commission: None indicated Vocal Range: F#4 - D6 Degree of Difficulty: Medium Difficulty Notation/Special Effects: Standard notation, 3 stave score, 3 copies
I.: Slowfox II.: Allegro molto (Charleston tempo) Soprano part is indicated "Kolratur auf 'Ah'" at the beginning of the first movement. No other syllabic indication is given. Some variation in attack must take place since no consonant articulation is specified, in consideration of the various accents and articulations. No altissimo is required for the saxophone. The length is approximately seven minutes. The bassoon line functions as a walking, and at times, chromatic bass line. The soprano and saxophone share in the idiomatic jazz melodic material. The tonality is in a C blues for the first movement and in a very
97
chromatic and rambling second movement with a "tonal" center around C. The mood of the entire work is of a jazz solo transcription. The jazz idiom requires performers familiar with the style. Vocalists may feel very restricted with the "ah" syllable in a situation in which jazz scat syllables would be more appropriate.
Carillo, Julian. Preludio a Cristobal Colon (1944) Bryn Mawr, PA: New Music
Instrumentation: Soprano, Flute, Violin, Guitar, Harp, Octavina Dedication or Commission: None Vocal Range: not applicable (16th tones) Degree of Difficulty: Very difficult Notation/Extended Techniques: graphic system of numbers to accommodate 96 intervals per octave (16th tones)
Poco lento. The composer claims to have written the first composition in the world in 16th tones. Carillo's notation uses numbers from 0 - 96 to indicate the particular pitch. The work is limited to one octave, presumably in demonstration of the notational system. The work is divided by fermatas into phrases that employ various combinations of the instruments. Most of the sequences of pitches vary within a half or quarter step. The work is brief and lento throughout.
Chance, Nancy. Duos I (197 6) New York: Seesaw/American Composers Alliance
Instrumentation: Soprano, Finger Cymbals - played by the Sop., Flute Dedication or Commission: None Vocal Range: B3 - G5
Degree of Difficulty: Very Difficult Notation/Special Effects: Standard, hand calligraphy on velum, two copies of score; fluttertonguing, smorzato vibrato, no vibrato. Confirmed copying errors: m. 57, flute scale should be slurred, m. 38, 2nd note should be an 8th note, m. 52 and m. 62 in the finger cymbals part should have a "let ring" indicating slur marking.
(See analysis in body of paper.)
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Cowell, Henry. Toccanta / Symphonic Set (Orchestral version) (1960) Boosey and Hawkes (presently out of print)
Instrumentation: Soprano, Flute, Cello, Piano Dedication or Commission: Vocal Range: F4 - A5 Degree of Difficulty: Medium difficulty Notation/Extended Techniques: Standard notation, no extended techniques
I. Allegro quasi Andante II. Interlude III. Moderato pomposo ma vivo IV. Interlude V. Allegro. The following note appears for the singer: "The Soprano is to be like a Vocalise, to blend instrumentally rather than to be a solo always. The vowel "ah" may be used or at the wish of the singer, other vowels may be chosen." The three solo instruments share in the melodic interest with the piano accompanying. Movements feature various contrasting styles. The Toccanta is one of the largest works for this medium.
Vocalise (1964) New York: C.F. Peters Edition, 1964.
Instrumentation: Soprano, Flute, Piano Dedication or Commission: None indicated Vocal Range: F4 - B
b5
Degree of Difficulty: Medium difficulty, duration 8 min. Notation/Special Effects: Standard notation, full score; indication for piano: "press the piano strings next to the bridge, damping their tone throughout the whole work;" a vocal effect of the same note alternatingly sung soft and loud is indicated with a harmonic (°) and an accent (>) .
Quasi Andante with rhythmical freedom, tempo rubato. Allegro L'istesso tempo. These three tempo markings represent the three sections that are presented in a form of A B C A B C A B C A. The circular character of the form is emphasized by the static nature of each section. This work approaches a pre-Minimalist style with the ostinato texture and form.
Crumb, George. Lux Aeterna. New York: C.F. Peters Edition.
Instrumentation: Soprano, Bass Flute (Soprano Recorder), Sitar, Percussion (2)
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Dedication or Commission: "For the Children of the Night." Commissioned by the Philadelphia Composer's Forum. Vocal Range: G3 - B5 Degree of Difficulty: Very difficult Notation/Special Effects: Spatial notation; vocal vowels are indicated in vocalise section; piece requires certain theatrical effects, i.e., performers should wear special clothing, seating indicated; includes detailed performance instructions.
Very slow, with a sense of meditative time; pregnant with mystery. This work uses the vocalise technique for a special effect only in the open entrance of the voice. After the voice intones the Lux Aeterna text. The vowels are used deliberately to correspond to a timbre change and a glissandi to a higher note. Although it does not constitute a true vocalise work, it is included for this unusual example of the technique.
Ibert, Jacques. Aria (1931) Paris: Leduc.
Instrumentation: Mezzo-Soprano, Flute, Piano. Other transcriptions, see Chapter III. Dedication or Commission: none indicated Vocal Range: C4 - Abs Degree of Difficulty: Medium difficulty Notation/Special Effects: Standard notation, 2 copies for flute and voice, l piano score.
(See analysis in body of paper.)
McBride, Robert. Nonsense Syllables A Vocalise for Soprano with Flute (1952) New York: American Composers Alliance
Instrumentation: Soprano, Flute Dedication or Commission: For Ethel and Otto Luening Vocal Range: E4 - Dg Degree of Difficulty: Medium Difficulty Notation/Special Effects: Standard notation, hand calligraphy on velum; syllables indicated for vocal part.
This jazz style work features triple rhythms, indicating a swing feel, as well as an alternation of triplet with
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sixteenth-note passages. The high range of flute (to G6) is used occasionally. This piece has a light, encore nature and is relatively brief (7 0 measures in length).
Vocalise (1952) New York: American Composers Alliance
Instrumentation: Soprano, Flute Dedication or Commission: For Ethel and Otto Luening Vocal Range: Db4 - D6 Degree of Difficulty: Medium difficulty Notation/Special Effects: Standard notation, hand calligraphy on velum. Score and separate part for flute. Vocal and flute glissandi.
Allegretto Commodo ben Ritmatico. Syncopated rhythmic, articulated passages are alternated with short lyrical, slurred passages. Rhythmic patterns are repetitive and should not present a major problem in ensemble. Familiarity with jazz style is helpful but not necessary. Scat syllables are carefully specified including phonetic markings. Vocalist is required to do glissandi over wide intervals. Extreme range of the flute is covered with extended, rapid staccato passages.
Reif, Paul. Encounters (197 8) New York: Seesaw Music
Instrumentation: Voice, Clarinet Dedication or Commission: None indicated Vocal Range: A3 - A
b5
Degree of Difficulty: Medium Difficult Notation/Special Effects: Some spatial notation, hand calligraphy/optional stage directions, timbre trills, vibrato, breath attacks, timbre trills for clarinet.
As in the Crumb, Reif uses the untexted voice in the introduction only. Opening untexted introduction is marked "Very Free" and features the effects noted above. The vocalise does not use any extended techniques. The introcuction is followed by the texted portion, using Shakespeare's Sonnett LXXIII. The introduction is staged with directions such as "walks slowly on stage," "sliding," and "watches singer intently." The texted portion notes: "They meet in centerstage. During the aria, player stands behind singer."
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Riegger, Wallingford. Duo (1950) Hackensack, NJ: Mobart
instrumentation: High Voice, Flute Dedication or Commission: none indicated Vocal Range: D#4 - C6 Degree of Difficulty: Medium Difficulty Notation/Special Effects: Standard notation, voice part is noted "Oboe or Flute may be substituted," short glissandi in the vocal part.
Lento. Vivace. Tempo I. The ABA form indicated by the tempo markings is in fact a short slow introduction and conclusion to a very staccato, spritely center section. Most of the melodic interest lies in the flute line with the vocalist often accompanying. The extreme high range of the flute is exploited throughout (to A#g) .
Rosen, Jerome. Serenade (1964) New York: American Composers Alliance.
Instrumentation: Soprano Voice and Alto Saxophone Dedication or Commission: Pat and Art Woodbury Vocal Range: Db4 - A5 Degree of Difficulty: Very Difficult Notation/Special Effects: Some standard notation, unmeasured sections and aleatoric instructions with minimal notation for two improvisation movements, shape notations for a chance music style; hand calligraphy on velum; fluttertongue for both instruments, key clicks and clicking noise with voice, altissimo for saxophone (written G#).
I. Prelude Molto Allegro; Improvisation I; III. Nocturne Quietly; Improvisation II; V. Finale. The avant garde character of this piece is evident. The prelude is unmeasured with technical passagework for the saxophone and long, lento expressivo notes for the voice. The two improvisation movements can be considered chance music. In "Improvisation I" the voice and saxophone are given "source material" on a one line staff and a set of instructions such as "Either part may start. The first part invents an opening phrase in the manner suggested above. The second part answers in its manner." The "Nocturne" is in standard, metered notation style in a less dissonant dialogue. "Improvisation II" uses shapes (oval for voice, rectangle for saxophone) over a single line staff. Arrows and single notes indicate a direction of movement. This movement uses a great deal of contrary motion and dynamic extremes. The "Finale" employs the extended techniques of fluttertonguing, and key
102
and tongue clicks. This movement is also unmeasured with rests indicated by single line and double line cesuras. The work ends with key and tongue clicks. Serenade requires performers with substantial technical prowess and the ability to make a highly improvised piece effective.
Stock, David. Scat (1971) New York: American Composers Alliance
Instrumentation: Soprano, Flute, Bass clarinet, Violin, Cello Dedication or Commission: Commissioned by Richard Pittman conductor, for the Boston Musica Viva Vocal Range: Ab2 to D5 Degree of Difficulty: Very Difficult Notation/Special Effects: Standard notation, two scores, four parts; scat syllables indicated for each note, glissandi, fluttertongue, fall offs Premiere: Cambridge, MA, 1971, Elsa Charlston, soprano (written with soprano Phyllis Bryn-Julson in mind who performed it subsequently) Composer comments: "The voice is treated instrumentally, as a slightly-more-than-equal partner to the instruments."
All movements are connected, with no break except tempo and style change. Fast, Swinging is indicated at opening with scat syllables indicated in the voice. A slow second section, marked Slow, relaxed, opens with instrumental interlude, the voice joining after. The last movement is marked Very Fast -- Imaginary and is quite sparce and pointillistic, gradually becoming more dense in texture. All parts are very demanding, requiring rapid leaps of over two octaves in some instances and in the extreme ranges of all the instruments. The work is in a quasi-jazz style although swing rhythms are specified in the notation but not used throughout.
Stravinsky, Igor. Pastorale (1923) London: Schott.
Instrumentation: Soprano, Clarinet, Oboe, English Horn, Bassoon Dedication or Commission: None indicated Vocal Range: C#4-F#5 Degree of Difficulty: Medium Difficulty Notation/Special Effects: Standard; none
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Largetto. In this one movement, relatively short work, the bassoon and clarinet provide the arpeggiated harmonic accompaniment while the oboe and english horn share an obbligato countermelody beneath the vocalise. The counter melody is in extremely awkward keys for the instruments(F# Major for oboe, D*5 Major for English horn), requiring rapid alternate fingerings, especially for the English horn. Otherwise, the work is not difficult and in a pleasant pastorale style. Vowels are indicated in Russian and French (A-y, A-ou) and presumably an English equivalent is acceptable.
Vaughan Williams, Ralph. Three Vocalises (1958) London: Boosey and Hawkes, 1960.
Instrumentation: Soprano, clarinet Dedication or Commission: Margaret (Mabel) Ritchie Vocal Range:C4~C6 Degree of Difficulty: Medium Difficulty Notation/Special Effects: Standard; none
(See analysis in body of paper.)
Walden, Stanley. Coronach; A Kaddish (1989) Bryn Mawr, PA: Theodore Presser
instrumentation: Mezzo-soprano, Chanter, and English Horn Dedication or Commission: Jan DeGaetani and Philip West Vocal Range: F#3 - A5 Degree of Difficulty: Medium Difficulty Notation/Special Effects: Standard, some unmeasured sections; quarter tone alterations in voice and E.H.
The vocalise technique is alternated with the Jewish prayer (Kaddish), intoned by the Chanter. The Coronach is a Scottish and Irish lamentation for the dead. During the chant (in Aramaic, not in Hebrew) the voice and English horn accompany with microtonal alterations in pitch and vowels. No vowels are indicated otherwise. The composer notes: "The Mezzo-soprano part purposely lacks syllabic notation (except where indicated). The choice of syllables is left to the discretion of the singer, to best realize her musical and emotional intentions."
Weigl, Vally. Brief Encounters New York: American Composers Alliance
104
Instrumentation: Mezzo-soprano, Wind duo, or Wind trio (Clarinet, Oboe, or English Horn, and Horn, Mvt. VI requires Bassoon)
Dedication or Commission: None indicated Vocal Range: F#3-Gs Degree of Difficulty: Not Difficult Notation/Special Effects: Standard, hand calligraphy on velum; no special effects.
I. Lament Moderato; II. Intermezzo Allegro vivace; III. Evocation Moderato mosso; IV. Alia Dansa Vivace ma non troppo; V. Arioso Adagio; VI. Rondelette Allegro; VII. Old Time Divertimento Vivace. The voice is included in movements I, III, IV and VI only. Clarinet or oboe are indicated alternatives for the voice with an alternate clarinet part included. An "Ah" vowel is indicated at the beginning and throughout the movements with the exception of Mvt. VI in which "La" is indicated. The style is fairly contrapuntal and imitative. The seventh movement, marked optional, is scored for trumpet (or clarinet), horn, and bassoon. The piece is not technically or musically demanding and could be performed by student groups.
Other works not available for review
Brant, Henry. Encephalograms (1955) New York: Composer's Facsimile Edition
Devoto, Mark. Fever Dream Vocalise. Publisher unknown.
Instrumentation: Sop, Fl, Cello, Piano, Percussion
Dresden, Sem. Four Vocalises. Amsterdam: Donemus
Instrumentation: Mezzo-Soprano, Bassoon, Clarinet, Flute, Piano, Viola, Violin
Freeman, Harry. Two Vocalise. Ottowa: Canadian Music Center.
Instrumentation: High voice, Clarinet, Piano
Knussen, Oliver, vocalise with Songs of Winnie the Pooh. (Publisher unknown)
105
Instrumentation: Soprano, Flute, English Horn, Clarinet, Cello, Piano
Kolinski, Mieczyslaw. Concertino (1974) Berandol
Instrumentation: Soprano, Clarinet, Piano
Kurimoto, Yoko. June End Songs Japan Federation.
Instrumentation: Voice, Alto Recorder, Guitar
Luening, Otto. Suite for Voice and Flute (1936-37) New York: American Composers Alliance/Galaxy.
Mortari, Virgilio. Canzone Italy: DeSante.
Instrumentation: Soprano, Flute
Peck, Russell. Automobile New York: Carl Fischer
Instrumentation: Soprano, Flute, Double Bass, Percussion
Sandstrom, Sven David. Just a Bit Stockholm: Nordiska
Instrumentation: Sop, Bassoon, Harp, Violin
Schaffer, Boguslaw. Bergoniana Ahn and Simrock
Instrumentation: Soprano, Flute, Horn, Double Bass, or Cello
Sharvil, Uri. Divertissement Jerusalam: Israeli Music
Instrumentation: Medium Voice, Flute, Bassoon, Arabic Drum, Piano
Sueyoshi, Yasuo. Musique pour la voix vocalise Tokyo: Ongaku No Tomo Sha Corp.
Instrumentation: Soprano, 2 Flutes, 3 Percussion
106
Szczeniewski, Boleslaw. Songs without Words Ottowa: Canadian Music Center
Instrumentation: Low Voice, violin, Flute, Cello
108
MAY, 1992
General:
1) What is it that interests you in the use of voice in the small ensemble?
"It is the most expressive of all the instruments --such a great shame if one did not make use of it."
2) I'm assuming from various dedications, that Otto and Ethyl Luening performed voice and flute works together. Did your work with Otto Luening at Columbia influence any of your works?
"One of the reasons Otto was such a wonderful teacher is that he made no effort to impose his ideas or style on his students, but strove to bring out and shape the student's sense of what music should be."
3) Have you written any other works using the vocalise technique or are there plans for such in the future?
"No."
Duos I Background:
1) Is the work dedicated to anyone?
"No."
2) Under what conditions was the work composed?
"Truly can't remember."
3) Was there any preparation required, as in special vocal study, that helped make performance decisions as pertaining to the special techniques required or was the voice conceived primarily as an instrumental color?"
"See 'Program Notes.' Also, I have been a singer myself."
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4) In analyzing the work, I've noted the recurring and expanded melodic, harmonic, rhythmic motives, technical devices and over all form that give the work cohesion. Is there a compositional plan or method involved that you worked from?
"See 'Program Notes'."
Performance Questions:
1) Regarding the "smorzato vibrato" which are measured by the small notes above the staff, is it your intention that they divide the assigned beats evenly, indicating an exact number and implied rhythm of pulsations or that they be used as an approximat i on?
"The small notes are spaced to indicate gradual slowing down or speeding up of pulses -- pulses should be entirely free of metric beat."
2) In the scale passage in the flute part, m. 57, should the passage be slurred as in the previous instance or articulated as indicated?
"Slurred -- (copying error)."
3) In m. 38, the flute part contains an extra eighth note value. I have assumed that the second note, Eb, should be an eighth note rather than a quarter. Is this correct?
"Yes"
4) In m. 52 and m. 62 there are notes for the finger cymbals that indicate a stopped note rather than the slur used previously, indicating "let ring". Should they be stopped notes or allowed to ring?
"Ring -- (copying error)"
111
It was my intent in this work to reverse the usual
process of dissonance resolving to consonance, and to see if
the ear could be conditioned, within the confines of a short
work, to accept a particular reiterated sharp dissonance as a
point of rest, a proper and satisfying cadence. By omitting
text and treating the voice instrumentally, it was also
possible to explore certain acoustic phenomena associated
with close dossonance, in particular the production of
audible beats in forte passages, which lends a certain aural
excitement to the work.
The two "instruments" should strive to produce sounds as
similar as possible, re: vibrato, tone quality, etc. Forte
passages should be loud enough to actually produce audible
"beats" in the particular performing space which you use --
these can be very interesting and exciting. Keep in mind
that the sharpest dissonances are at usual cadence points,
and try to convey a sense of repose and rest with the
dissonances at these points --an interesting exercise in
psychology of music.
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