A Multidimensional Polymetric Analysis of Excerpts from...
Transcript of A Multidimensional Polymetric Analysis of Excerpts from...
A MULTIDIMENSIONAL POLYMETRIC ANAYLSIS OF EXCERPTS FROM THE
WIND BAND MUSIC OF DAN WELCHER AND YO GOTŌ
David DeWitt Robinson, Jr., B.M.E., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
December 2016
APPROVED:
Eugene Migliaro Corporon, Major Professor
Diego Cubero, Committee Member
Dennis Fisher, Committee Member
Benjamin Brand, Director of Graduate Studies
in the College of Music
John Richmond, Dean of the College of Music
Victor Prybutok, Vice Provost of the Toulouse Graduate School
Robinson, David DeWitt, Jr. A Multidimensional Polymetric Analysis of Excerpts from
the Wind Band Music of Dan Welcher and Yo Gotō. Doctor of Musical Arts (Performance),
December 2016, 91 pp., 4 tables, 101 figures, references, 47 titles.
Polymetric writing is an integral technique in contemporary compositional practice. Dan
Welcher and Yo Gotō are principal employers of this practice in the wind band medium. Their
methods endure even the results of modern scholarship showing limited human perception of
polyrhythmic events. This dissertation provides a comprehensive metric analysis of excerpts
from the music of Welcher and Gotō. Five examples are explored from major band works of
each of the two composers. The analytical process in the study utilizes the metrical concept set
forth by Maury Yeston, so that a comparison can be made between the rhythmic components of
the competing meters. The results of the study show that both Welcher and Gotō, in all ten
excerpts, create polymetric sections containing elements that surpass the aural limits proposed by
modern scholarship. Additionally, through identification of the misaligned metric layers causing
each polymeter, pedagogical considerations are offered to aid performance of each identified
excerpt.
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Copyright 2016
by
David DeWitt Robinson , Jr
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ACKNOWLEDGEMENTS
I would like to thank the faculty of the Wind Studies area, Eugene Migliaro Corporon,
Dennis Fisher, and Nicholas Williams, for their constant support and guidance. Thanks, too, to
Daniel Arthurs and Diego Cubero, who also helped me through the proposal and dissertation-
writing process. I am indebted to my colleagues and students at McMurry University for their
patience as I completed this endeavor. Finally, I am also grateful for the unwavering
encouragement from my family, without whom a project such as this would not be possible.
Appreciation is extended to Theodore Presser Company (the works of Dan Welcher) and
Bravo Music, Inc. (the works of Yo Gotō). All musical examples in this dissertation, except
those in the public domain, are excerpts from their original respective scores and are used with
their permission.
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TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ........................................................................................................... iii
LIST OF TABLES ......................................................................................................................... vi
LIST OF EXAMPLES .................................................................................................................. vii
Chapters
1. INTRODUCTION ...................................................................................................1
Purpose .........................................................................................................1
Significance..................................................................................................2
2. COMPOSER BIOGRAPHIES.................................................................................4
Dan Welcher ................................................................................................4
Yo Gotō ........................................................................................................6
3. POLYMETER..........................................................................................................8
A Definition of Polymeter ...........................................................................8
The Problem of Polymetric Perception ........................................................9
Method of Analysis ....................................................................................11
4. POLYMETRIC ANALYSES OF WELCHER EXCERPTS .................................15
Zion (1994), mm. 214-221 .........................................................................15
Laboring Songs (1997), mm. 161-172 .......................................................20
Circular Marches (1997), mm. 133-147....................................................25
Circular Marches (1997), mm. 196-223....................................................32
Minstrels of the Kells (2001), mm. 109-128 ..............................................37
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5. POLYMETRIC ANALYSES OF GOTŌ EXCERPTS .........................................43
Lachrymae (2005), mm. 55-69 ..................................................................43
Fantasma Lunare (2008), mm. 72-74 ........................................................47
Fantasma Lunare (2008), mm. 78-86 ........................................................53
Fêtes lointains (2009), mm. 56-65 .............................................................58
Fêtes lointains (2009), mm. 105-117 .........................................................70
6. PEDAGOGICAL COMPARISON ........................................................................80
7. CONCLUSION ......................................................................................................87
BIBLIOGRAPHY ..........................................................................................................................89
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LIST OF TABLES
Page
1. Excerpts for Polymetric Analysis ......................................................................................12
2. Misalignment of Excerpts by Metric Level .......................................................................80
3. Polymetric Composition of Excerpts with Misalignment at All Levels ............................81
4. Polymetric Composition of Fêtes lointains, Second and Third Strands, mm. 105-117 ....81
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LIST OF EXAMPLES
Musical examples are used by permission from these copyright holders:
*1998/2006 Theodore Presser Company, Bryn Mawr, PA
†2005/2008/2009 Bravo Music, Inc., Deerfield Beach, FL
Page
1. Sample Metric Layering ....................................................................................................13
2. *“Zion’s Security,” excerpt, Zion, mm. 1-5 .......................................................................15
3. *“Zion’s Walls,” excerpt, Zion, mm. 149-152 ...................................................................15
4. *Full Score, excerpt, Zion, mm. 214-217 ..........................................................................16
5. *Score Reduction, Zion, mm. 214-217 ..............................................................................17
6. *Re-notation of “Zion’s Security” Component, Zion, mm. 214-217 ................................18
7. Metric Layering of “Zion’s Security” Component, Zion, mm. 214-217 ...........................18
8. *“Zion’s Walls” Component, Zion, mm. 214-217 .............................................................19
9. Metric Layering of “Zion’s Walls” Component, Zion, mm. 214-217 ...............................19
10. Polymetric Layering, Zion, mm. 214-217 ..........................................................................20
11. “Followers of the Lamb,” excerpt, traditional, mm. 1-8 ....................................................20
12. *Full Score, excerpt, Laboring Songs, mm. 163-164 ........................................................21
13. *Score Reduction, Laboring Songs, mm. 163-164 ............................................................22
14. *Re-notation of Flute Background Component, Laboring Songs, mm. 163-164 ..............23
15. Metric Layering of Flute Background Component, Laboring Songs, mm. 163-164 .........23
16. *Re-notation of “Followers of the Lamb” Component,
Laboring Songs, mm. 163-164...........................................................................................24
17. Metric Layering of “Followers of the Lamb” Component,
Laboring Songs, mm. 163-164...........................................................................................24
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18. Polymetric Layering, Laboring Songs, mm. 163-164........................................................25
19. *“Twelve-tone Ostinato,” excerpt, Circular Marches, mm. 21-24 ...................................26
20. *Full Score, excerpt, Circular Marches, mm. 133-138 .....................................................27
21. *Score Reduction, Circular Marches, mm. 133-138 .........................................................28
22. *“Band 1” Component, Circular Marches, mm. 133-138.................................................29
23. Metric Layering of “Band 1” Component (Upper Woodwinds & Xylophone),
Circular Marches, mm. 133-138 .......................................................................................29
24. *“Band 1” Component (Upper Woodwinds & Xylophone),
Circular Marches, mm. 133-138 .......................................................................................29
25. Metric Layering of “Band 1” Component (Snare Drum),
Circular Marches, mm. 133-138 .......................................................................................30
26. *“Band 2” Component (Snare Drum), Circular Marches, mm. 133-138 .........................30
27. Metric Layering of “Band 2” Component, Circular Marches, mm. 133-138 ...................30
28. Polymetric Layering, Circular Marches, mm. 133-138 ....................................................31
29. *“Compound Melody,” excerpt, Circular Marches, mm. 51-52 .......................................32
30. *“Come Contentment, Lovely Guest,” excerpt, Circular Marches, mm. 97-98 ...............32
31. *Full Score, excerpt, Circular Marches, mm. 196-199 .....................................................33
32. *Score Reduction, Circular Marches, mm. 196-199 .........................................................34
33. *Re-notation of “Compound Melody,” excerpt, Circular Marches, mm. 196-199 ..........34
34. Metric Layering of “Compound Melody,” excerpt, Circular Marches, mm. 196-199 .....35
35. *Re-notation of “Come Contentment, Lovely Guest,” excerpt,
Circular Marches, mm. 196-199 .......................................................................................35
36. Metric Layering of “Come Contentment, Lovely Guest,” excerpt,
Circular Marches, mm. 196-199 .......................................................................................36
37. Polymetric Layering, Circular Marches, mm. 196-199 ....................................................37
38. “Hardiman the Fiddler,” excerpt, traditional, mm. 1-4 ......................................................37
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39. *Full Score, excerpt, Minstrels of the Kells, mvt. 1, mm. 109-110 ...................................38
40. *Score Reduction, Minstrels of the Kells, mvt. 1, mm. 109-110 .......................................39
41. *Re-notation of “Hardiman the Fiddler” Component,
Minstrels of the Kells, mvt. 1, mm. 109-110 .....................................................................40
42. Metric Layering of “Hardiman the Fiddler” Component,
Minstrels of the Kells, mvt. 1, mm. 109-110 .....................................................................40
43. *Background Material Component, Minstrels of the Kells, mvt. 1, mm. 109-110 ............41
44. Metric Layering of Background Material Component,
Minstrels of the Kells, mvt. 1, mm. 109-110 .....................................................................41
45. Polymetric Layering, Minstrels of the Kells, mvt. 1, mm. 109-110 ..................................42
46. “Lachrimae Antique,” excerpt, Lachrimae, mm. 4-6 ........................................................43
47. †Full Score, excerpt, Lachrymae, mm. 60-64 ....................................................................44
48. †Score Reduction, Lachrymae, mm. 60-64 .......................................................................45
49. †Re-notation of “Lachrimae Antique” Double Reed Version,
Lachrymae, mm. 60-64 ......................................................................................................46
50. Metric Layering of “Lachrimae Antique” Double Reed Version,
Lachrymae, mm. 60-64 ......................................................................................................46
51. †Re-notation of “Lachrimae Antique” Clarinet/Saxophone Version,
Lachrymae, mm. 60-64 ......................................................................................................46
52. Metric Layering of “Lachrimae Antique” Clarinet/Saxophone Version,
Lachrymae, mm. 60-64 ......................................................................................................47
53. †Polymetric Layering, Lachrymae, mm. 60-64 .................................................................47
54. Moonlight Sonata, mvt. 2, excerpt, mm. 1-4 .....................................................................48
55. †Full Score, excerpt, Fantasma Lunare, mm. 72-74 .........................................................49
56. †Score Reduction, Fantasma Lunare, mm. 72-74 .............................................................50
57. †Re-notation of Moonlight Sonata, mvt. 2, Double Reed Version,
Fantasma Lunare, mm. 72-74 ...........................................................................................51
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58. Metric Layering of Moonlight Sonata, mvt. 2, Double Reed Version,
Fantasma Lunare, mm. 72-74 ...........................................................................................51
59. †Re-notation of Moonlight Sonata, mvt. 2, Clarinet Version,
Fantasma Lunare, mm. 72-74 ...........................................................................................52
60. Metric Layering of Moonlight Sonata, mvt. 2, Clarinet Version,
Fantasma Lunare, mm. 72-74 ...........................................................................................52
61. Polymetric Layering, Fantasma Lunare, mm. 72-74 ........................................................53
62. Moonlight Sonata, mvt. 1, excerpt, mm. 5-7 .....................................................................53
63. †Full Score, excerpt, Fantasma Lunare, mm. 81-83 .........................................................54
64. †Score Reduction, Fantasma Lunare, mm. 81-83 .............................................................55
65. †Re-notation of Moonlight Sonata, mvt. 1, Clarinet Version,
Fantasma Lunare, mm. 81-83 ...........................................................................................56
66. Metric Layering of Moonlight Sonata, mvt. 1, Clarinet Version,
Fantasma Lunare, mm. 81-83 ...........................................................................................56
67. †Re-notation of Moonlight Sonata, mvt. 1, Saxophone Version,
Fantasma Lunare, mm. 81-83 ...........................................................................................56
68. Metric Layering of Moonlight Sonata, mvt. 1, Saxophone Version,
Fantasma Lunare, mm. 81-83 ...........................................................................................57
69. Polymetric Layering, Fantasma Lunare, mm. 81-83 ........................................................57
70. “Canzon septimi toni,” excerpt, Sacrae symphoniae (1597), mm. 15-21..........................58
71. “Canzon septimi toni,” excerpt, Sacrae symphoniae (1597), mm. 22-26..........................59
72. †Full Score, excerpt, Fêtes lointains, mm. 56-62 ........................................................ 60-61
73. †Score Reduction, Fêtes lointains, mm. 56-62 ............................................................ 62-63
74. †Re-notation of “Canzon septimi toni” Double Reed Version,
Fêtes lointains, mm. 56-62 ................................................................................................64
75. Metric Layering of “Canzon septimi toni” Double Reed Version,
Fêtes lointains, mm. 56-62 ................................................................................................64
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76. †Re-notation of “Canzon septimi toni” Saxophone Version,
Fêtes lointains, mm. 56-62 ................................................................................................65
77. †Metric Layering of “Canzon septimi toni” Saxophone Version,
Fêtes lointains, mm. 56-62 ................................................................................................65
78. Re-notation of “Canzon septimi toni” Low Brass Version,
Fêtes lointains, mm. 56-62 ................................................................................................66
79. †Metric Layering of “Canzon septimi toni” Low Brass Version
Fêtes lointains, mm. 56-62 ................................................................................................66
80. Re-notation of “Canzon septimi toni” Trumpet/Trombone Version
Fêtes lointains, mm. 56-62 ................................................................................................67
81. †Metric Layering of “Canzon septimi toni” Trumpet/Trombone Version,
Fêtes lointains, mm. 56-62 ................................................................................................67
82. Polymetric Layering, Double Reed Version with Saxophone Version,
Fêtes lointains, mm. 56-62 ................................................................................................68
83. Polymetric Layering, Saxophone Version with Low Brass Version,
Fêtes lointains, mm. 56-62 ................................................................................................69
84. Polymetric Layering, Low Brass Version with Trumpet/Trombone Version,
Fêtes lointains, mm. 56-62 ................................................................................................70
85. Nocturnes, mvt. 2, excerpt, mm. 124-126..........................................................................71
86. Re-notation of Nocturnes, mvt. 2, excerpt, mm. 124-126 .................................................71
87. †Full Score, excerpt, Fêtes lointains, mm. 107-110 .................................................... 72-73
88. †Score Reduction, Fêtes lointains, mm. 107-110 ........................................................ 74-75
89. †Re-notation of Nocturnes, mvt. 2, Horn Version,
Fêtes lointains, mm. 107-110 ............................................................................................76
90. Metric Layering of Nocturnes, mvt. 2, Horn Version,
Fêtes lointains, mm. 107-110 ............................................................................................76
91. †Re-notation of Nocturnes, mvt. 2, Trombone Version,
Fêtes lointains, mm. 107-110 ............................................................................................77
92. Metric Layering of Nocturnes, mvt. 2, Trombone Version,
Fêtes lointains, mm. 107-110 ............................................................................................77
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93. †Re-notation of Nocturnes, mvt. 2, Trumpet Version,
Fêtes lointains, mm. 107-110 ............................................................................................78
94. Metric Layering of Nocturnes, mvt. 2, Trumpet Version,
Fêtes lointains, mm. 107-110 ............................................................................................78
95. Polymetric Layering, Fêtes lointains, mm. 107-110 .........................................................79
96. †Saxophone Parts in Written and Re-notated Forms,
Fêtes lointains, mm. 58-60 ................................................................................................83
97. *Competing Strands in Original Notation, Circular Marches, mm. 196-199 ...................83
98. *Competing Strands in Original Notation, Zion, mm. 214-217 ........................................84
99. *Competing Strands in Original Notation, Laboring Songs, mm. 163-164 ......................85
100. *Competing Strands in Original Notation,
Minstrels of the Kells, mvt. 1, mm. 109-110 .....................................................................86
101. †Competing Strands in Original Notation, Fêtes lointains, mm. 107-108 ........................86
CHAPTER 1
INTRODUCTION
Purpose
Polymeter can be defined as “the presence of two (or more) concurrent metric
frameworks.”1 Its use in compositional practice has taken many forms throughout Western music
history: the basic construction of Medieval motets, Classical examples such as the “three
orchestras” scene in Mozart’s Don Giovanni, and Twentieth Century uses by composers such as
Charles Ives, Elliott Carter, and Bela Bartok. Polymeter itself is a more developed use of the
musical effect of polyrhythm, or “any two or more separate rhythmic streams in the musical
texture whose periodicities are non-integer multiples.”2 Thus, under these definitions, every
polymeter contains a polyrhythm but not every polyrhythm represents a polymeter.
Nonetheless, composers continue to write sections of music that use multiple meters
simultaneously. Composers have continued this trend in their wind band works in modern times,
among them Dan Welcher and Yo Gotō. Both are recipients of the prestigious Sousa/Ostwald
Award for their wind band works. These composers have employed polymeter in several
passages in their works. Such a fundamental aspect of their works warrants further scrutiny.
In light of recent scholarship, the purpose of this study is to provide a metric analysis of
polymetric sections in the wind band works of Dan Welcher and Yo Gotō. This dissertation
shows how the competing meters are developed through rhythmic layering beyond the pulse
level that creates a polyrhythm. The intent of this information is to provide a resource for these
pieces that displays the metric layers present and provides analysis of how these components
interact.
1 Justin London, Hearing in Time: Psychological Aspects of Musical Meter (New York: Oxford, 2012), 66. 2 Ibid.
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Significance
The impetus for this study comes from Welcher and Gotō themselves. Both composers
have cited polymeter as a primary device in their compositional languages. Gotō listed polymeter
as one of four major traits of his compositional style.3 Furthermore, he has specifically stated that
he wants the listener to be confronted with multiple meters and the separate pulses that they
suggest.4 Welcher has both used and taught polymetric writing frequently and even instructed his
students on proper ways to write polymetrically.5 Additionally, Welcher is actively interested in
proper performance of these sections. About the performance of a polymetric section in his
Laboring Songs, Welcher stated in a personal interview, “how do these people coordinate? You
have to make it work. You (the conductor) have to understand it enough yourself that you can
perform it physically, or you’ll never be able to teach a band to do it.”6
Other sources do frequently mention the polymetric style of both of these composers but
without metric analysis. These include a 1997 dissertation on Welcher’s Three Places in the
West (a triptych that includes Zion) by Sarah McKoin and several performance guides in the
Teaching Music Through Performance in Band book series.7 No other known sources mention
the use of polymetric writing by these composers. Beyond the aforementioned sources, analytical
writings on the band music of these two important composers is notably absent from current
scholarship. By highlighting the paramount importance of rhythm and polymeter in the works of
both Welcher and Gotō, this study will help fill a gap in existing literature.
3 Yo Gotō, “Voci Lontani for Flute, Trumpet, Percussion, Piano, and String Quartet: Critical Essay and
Score” (MM thesis, University of North Texas, 2004), 12. 4 Ibid. 5 Dan Welcher, personal interview, May 8, 2012. 6 Ibid. 7 Sarah Lynn McKoin, “‘Three Places in the West’ by Dan Welcher: An Analysis and Critical Reference
for Conductors.” (DMA diss., The University of Texas at Austin, 2004), 1997. A complete list of relevant articles
from the Teaching Music series is included in the Bibliography.
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CHAPTER 2
COMPOSER BIOGRAPHIES
Dan Welcher
Dan Welcher (b. 1948) is a native of Rochester, New York. He began his career at age six
by studying piano. Welcher cites the beginning of his compositional career as writing music to
accompany homemade cartoons.8 His musical experiences broadened during his teenage years as
he learned to play the bassoon and in order to perform with his high school band and orchestra.
Welcher, who cites an early interest in both creative writing and music, began his
undergraduate studies at the State University of New York at Potsdam, in order to study both
music and journalism. After two years, he transferred to the Eastman School of Music to study
music exclusively. During his Eastman years, he served as principal bassoon for both the
Eastman Wind Ensemble and Eastman Philharmonia. He later continued his musical studies at
the Manhattan School of Music and completed a master’s degree in composition.
Welcher has balanced the roles of bassoonist, composer, and conductor throughout his
professional career. His first post-graduate job was principal bassoonist in the Louisville
Orchestra. During his years in Louisville, Welcher was appointed to the artist faculty of the
Aspen Music Faculty, where he taught bassoon and composition for fourteen years.
In 1978, Welcher became the Lee Hage Jamail Regents Professor of Composition at the
University of Texas at Austin. There, in addition to conducting the New Music Ensemble, he
now teaches courses in composition and orchestration. His composition teachers have included
Robert Washburn, Samuel Adler, and Warren Benson. Welcher has received wide acclaim for
8 Ysabel Sarte, “Dan Welcher,” in A Composer’s Insight, Vol. 4: Thoughts, Analysis and Commentary on Contemporary Masterpieces for Wind Band, ed. Timothy Salzman (Galesville, MD: Meredith Music, 2009), 240.
3
his works, to include five Pulitzer Prize nominations, a fellowship from the Guggenheim
Foundation, and the 1996 American Bandmasters Association Ostwald Award for his Zion.9
Shortly after his appointment at the University of Texas at Austin, he served as Assistant
Conductor of the Austin Symphony Orchestra for ten years. He was the founding conductor of
the New Music Ensemble at UT, and conducted over thirty concerts during an appointment as
Composer-in-Residence with the Honolulu Symphony.10 Welcher guest conducts his pieces in
clinics and receives guest conducting invitations regularly.
Rhythm is one of the defining characteristics of Welcher’s compositions. He has
admitted, “I never fake rhythm. I’m never vague about rhythm. What I write is exactly what I
want.”11 Welcher freely uses advanced rhythmic and metrical techniques in his music, to include
metric modulations, mixed meter, polyrhythm, and polymeter.
Welcher’s use of polymeter arises from several influences. One of his primary teachers,
Arthur Weisberg, compiled his teachings of contemporary performance practice into a 1993 text:
Performing Twentieth-Century Music: A Handbook for Conductors and Instrumentalists.
Welcher, in fact, penned a review for this book, in which he endorsed Weisburg’s “least common
denominator” approach to performing polymetric passages.12 Welcher also lauded composer
Charles Ives about his use of polymeter. About his Circular Marches, he referred using the
“Charles Ives technique” to compose a section of music.13 Many other examples of polymeter
appear in Welcher’s compositional output.
9 The Ostwald Award was renamed the Sousa/Ostwald Award in 2011. 10 Scott Carter. “Songs Without Words,” in Teaching Music Through Performance in Band, Vol. 4, ed.
Richard Miles (Chicago: GIA Publications, 2002), 555. 11 Sarte, “Dan Welcher,” 242. 12 Dan Welcher, review of Performing Twentieth-Century Music: A Handbook for Conductors and
Instrumentalists, Notes 52 (Sept. 1995): 127. 13 Sarte, “Dan Welcher”, 247.
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Yo Gotō
Yo Gotō (b. 1958) is a native of Akita, Japan. Gotō’s educational career encompasses
studies both in education and composition. He holds a Bachelor of Music Education degree from
Yamagata University in Yamagata Prefecture, Japan, and a Performer’s Certificate in
composition from the Tokyo College of Music. In 2001, Gotō moved to the United States to
attend the University of North Texas, where he earned both the Masters of Music Education
degree and the Master of Music degree in composition. His primary composition teachers have
been Shin-ichiro Ikebe in Japan and Cindy McTee in the United States.
Gotō’s professional career includes work in both the educational and compositional
realms. He has given numerous clinics in both Japan and the United States on an array of
educational topics, including band literature selection and pedagogical philosophy. Gotō has
served as an advisor, board member, and president of the Japan Band Clinic. He has guest
conducted regularly, to include appearances at the World Association of Symphonic Bands and
Ensembles Convention and the Midwest Band and Orchestra Clinic.
After completing studies in Texas, Gotō returned to Japan to work as a free-lance
composer. His compositional output for band contains works from young to professional bands,
including more than thirty compositions or arrangements in publication. Gotō has received
abundant acclaim for these works, including the 2000 Academy Award from the Academic
Society of Japan for Winds and the 2011 Sousa/American Bandmasters Association/Ostwald
Award for his Songs for Wind Ensemble. In 2016, Gotō was appointed Professor of Wind Studies
and Composition at Showa Academia Musicae, where he serves both as band conductor and
graduate composition teacher.
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One of the most important aspects of Gotō’s music is the listener’s experience of time. In
his master’s compositional thesis, he suggested that “composers should give new consideration
to the modern experience of time.”14 Gotō attempts to avoid a “strictly linear experience of time”
in his music.15 His compositional techniques, therefore, include rhythmic gestures that aim to
avoid traditional metric structures.
Similar to Welcher, Gotō cites Charles Ives as an influence in his use of polymetric
writing. In his thesis, he mentioned Ives’s The Unanswered Question as an influential example of
“simultaneous juxtaposition of different musics.”16 Gotō described this technique as the creation
of two different tempos through divergent rhythmic groupings. He admittedly attempted to
recreate this effect in his master’s thesis composition Voci Lontani, and this technique can be
found in many of Gotō’s other works.17
14 Gotō, “Voci Lontani”, 3. 15 Ibid., 6. 16 Ibid., 4. 17 Ibid., 12.
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CHAPTER 3
POLYMETER
A Definition of Polymeter
A specific definition of the term “polymeter” is difficult to establish. A basic
understanding of the concept, of course, implies two or more meters in use simultaneously.
However, a proper understanding of this idea must consider the finer points of the meaning of
“meter” itself.
First, many modern theorists have abandoned the idea that meter and time signature are
synonymous. As Christopher Hasty suggested in his Rhythm as Meter, meter is primarily a
product of a rhythmic process free from the time signature and barlines—one that does not
“presuppose an invariant procession of equal beats.”18 In other words, while a time signature
may suggest a metric structure, the written music may or may not reflect that meter. Therefore,
while simultaneous use of different time signatures might signal the use of polymeter, it is not
necessary for different time signatures to be used.
On what, then, should a definition of meter be based? The answer must arise from the
music itself. Several approaches have been proposed by experts on the topic. For example,
Grosvenor Cooper and Leonard Meyer, defined meter as “a grouping of accented and unaccented
pulses.”19 Fred Lerdahl and Ray Jackendoff proposed a theory equating musical meter with
poetic meter.20 Theories such as these are valid and useful in understanding meter in various
ways.
18 Christopher Hasty, Rhythm as Meter (Oxford: Oxford University Press, 1997), 149. 19 Grosvernor Cooper and Leonard B. Meyer, The Rhythmic Structure of Music (Chicago: University of
Chicago Press, 1960), 4. 20 Fred Lerdahl and Ray Jackendoff, A Generative Theory of Tonal Music (Cambridge: Massachusetts
Institute of Technology Press, 1983), 25.
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Perhaps the most relevant definition to a discussion in polymeter is one set forth by
Maury Yeston. He proposes an idea of meter as a product of different layers of rhythmic activity
in the music. For Yeston, music produces regularly recurring pulses on different rhythmic levels,
which he defines as a pulse layer, a micropulse layer (that divide the pulses), and an interpretive
layer (that group the pulses).21 How these layers interact with each other in music, then, creates
the metric structure.
Yeston’s definition allows for a more thorough understanding of polymeter. Harald Krebs
does exactly this by discussing a similar concept: metric grouping dissonance. Krebs believes
that this is created by a conflict between two different metric structures as exemplified by a
conflict at one or more rhythmic layers (as defined by Yeston).22 This description allows for a
way to qualify polymeter, especially that which is not explicit from the use of simultaneous time
signatures.
The Problem of Polymetric Perception
An expert on rhythm in music, Justin London exposed an issue with polymetric music in
his Hearing in Time. Citing several psychological studies, he emphasized that the perception of
polyrhythms is greatly affected by the human tendency to avoid the interpretation of multiple
stimuli. London remarked that when confronted with a polyrhythm, listeners “either extract a
composite pattern of all of the rhythmic streams present, and then match it to a suitable metric
framework; or focus on one rhythmic stream and entrain to its meter while treating the other
21 Maury Yeston, The Stratification of Musical Rhythm, 2nd ed. (New Haven: Yale University Press, 1976),
27. нн Harald Krebs, Fantasy Pieces: Metric Dissonance in the Music of Robert Schumann (New York: Oxford
University Press, 1999), 23.
8
rhythmic stream(s) as ‘noise’.”23 No fewer than four published psychological studies support
London’s claim.24 Though London here is discussing polyrhythm, there is an impact on how we
understand polymeter.
For example, one of these studies, published in 1981 by Stephen Handel and James S.
Oshinsky, consisted of a series of experiments to test the ability of subjects to tap simple
polyrhythmic pulses. Participants were simultaneously played the two different electronically
created pulses from different speakers and asked to “tap along with the perceived beat.”25
Variables included the polyrhythmic ratio (i.e, 2:3, 3:4, etc.), overall tempo, pitch variance
between streams, and level of subjects’ musical training.26 Handel and Oshinsky found that the
vast majority of responses preferred tapping one of the pulse trains while largely ignoring the
other.27
Other studies since, each with differing sets of variables, have all produced similar
results. It is reasonable to assume, then, that a listener does not hear two rhythmic strands
simultaneously. However, this result only pertains to the perception of a simple polyrhythm.
These experiments only tested two simple pulse trains without any variance of rhythms within
each pulse.
So, while this conclusion does not necessarily apply to polymetric perception, it does rule
out the idea that one senses a polymeter by the conflict of pulses alone. While such a conflict is
necessary, the development of the metric layering of the two different meters is also required.
23 Ibid., 48. 24 These four studies are: “The Meter of Syncopated Auditory Patterns” (1981) by Stephen Handel and
James S. Oshinsky; “Using Polyrhythms to Study Rhythm” (1984) by Stephen Handel; “Test of Attentional
Flexibility in Listening to Polyrhythmic Patterns” (1995) by Mari Riess, Jones, Richard J. Jagacinski, and William
Yee; and “Detecting Perturbations in Polyrhythms: Effects of Complexity and Attentional Strategies” (2013) by
Brian C. Fideli, Éve Poudrier, and Bruno H. Repp. 25 Stephen Handel and James S. Oshinsky, “The Meter of Syncopated Auditory Patterns,” Perception and
Psychophysics 30, No. 1 (January 1981): 3. 26 Ibid. 27 Ibid.
9
The existence of the other layers, as revealed in the music, prevents the two competing strands
from being interpreted into a single metric context. Therefore, for a polymeter to be perceived,
both two (or more) concurrent metric frameworks and a conflict on one or more levels is
required, and the more levels that conflict, the more perceptive the polymeter will be.
Thus, to capture the true essence of a polymetric passage of music, a qualitative
analytical approach is necessary. London and the above studies do successfully show that
polymetric perception cannot solely rest on the underlying polyrhythmic ratio involved. As
London stated, two or more conflicting rhythmic streams that can become integrated will be
heard in one metric framework.28 Therefore, the following analysis focuses on the elements that
help the listener perceive the polymetric nature of the passages beyond the polyrhythmic ratio.
Method of Analysis
This document provides a qualitative metric analysis of the polymetric sections of the
wind band works of Dan Welcher and Yo Gotō. This examination shows the metric layering of
each competing meter in order to show the conflict of multiple rhythmic layers in each example.
The excerpts in the works of Welcher and Gotō that contain polymeter are scattered among
several of their pieces. The identification of polymetric sections in these composers’ works can
be found in articles from the Teaching Music Through Performance in Band series. These
examples are the excerpts analyzed in chronological order in this document and are listed in
Table 1.
28 Ibid., 83.
10
Composer Piece Excerpt
Welcher
Zion (1994) mm. 214-221
Laboring Songs (1997) mm. 161-172
Circular Marches (1997) mm. 133-147
mm. 196-223
Minstrels of the Kells, mvt. 1 (2001) mm. 109-128
Gotō
Lachrymae (2005) mm. 55-69
Fantasma Lunare (2008) mm. 72-74
mm. 78-86
Fêtes lointains (2009) mm. 56-65
mm. 105-117
Excerpts for Polymetric Analysis
Table 1
For feasibility, only the measures necessary to establish each polymeter are used for
analysis. In many examples, the established rhythmic patterns repeat throughout the excerpt.
These repetitions are excluded from the analysis. The remaining measures are first illustrated in
concert-pitch full score.
The method of metric analysis for each example include three steps: score reduction,
metric re-notation, and polymetric analysis. First, each full score is compressed into condensed
score format. All parts that share the same rhythm are represented on the same line. Additionally,
all condensed lines that have similar rhythmic patterns are grouped next to each other in the
score and connected by braces. At this point, all sustained sounds and other rhythms that do not
conform to a regular metric structure are removed.
Next, each remaining component is re-notated to display its implied meter. As detailed by
Krebs, the meter of a passages is properly heard in terms of rhythmic groupings, irrespective of
the given time signature and barlines.29 This re-notation displays each of the rhythmic strands in
the “heard” meter. Several factors help establish these new meters: the original metric function
29 Krebs, Fantasy Pieces, 23.
11
of borrowed material, the metric format of the same material earlier in the composer’s work,
pitch placement, note beaming, mid-measure barlines, and articulation markings such as accents
or slurs. For consistency, all re-notated metric structures in this study contain subdivisions of
eighth notes. New time signatures and barlines are assigned as necessary.
Finally, these re-notated excerpts are converted into a skeletal illustration of their metric
structures. The notation for each is shown in the three layers theorized by Yeston: interpretive
layer (measure), pulse layer (beat), and micropulse layer (subdivision, if exists).30 The division
of beats in the pulse and micropulse layers is represented in traditional notation; the grouping of
these beats into interpretive layers are displayed by bracket above. A sample graphic of a passage
heard as two bars in four-four time is presented in Example 1 below. The diagram shows the
division of the measure into four pulses, each with a duple subdivision.
Sample Metric Layering
Example 1
To show the polymetric nature of each excerpt, the metric layering of each component is
then aligned in respect to the composer’s original. This final result shows how each polymeter
operates aurally through all rhythmic layers of metric motion. Layers of misalignment in the
metric layering are discussed, since this misalignment that causes the polymetric effect to be
aurally perceived. Layers of alignment, regardless of what level that occur, cause the aligning
layers to be heard in the same pulse track, making them more likely heard within a single metric
30 Ibid.
12
structure. A discussion of the misaligning layers and their manner of composition closes each
analytical excerpt.
13
CHAPTER 4
POLYMETRIC ANALYSES OF WELCHER EXCERPTS
Zion (1994), mm. 214-221
Welcher’s Zion is ten-minute symphonic tone poem and one of four portions in his Four
Places in the West.31 Its primary melodic content is derived from two folksongs: “Zion’s
Security” and “Zion’s Walls.” These two melodies exist both melodically and motivically
throughout the work, and the two tunes compete for “musical domination” as the work
develops.32 Examples 2 and 3 present the themes as they appear earlier in Welcher’s work.
Dan Welcher, Zion, mm. 1-5 (Alto Saxophone)
“Zion’s Security,” excerpt
Example 2
Dan Welcher, Zion, mm. 149-152 (Horn 1)
“Zion’s Walls,” excerpt
Example 3
These two themes are layered polymetrically beginning in m. 214. In her 1997
dissertation, Sarah McKoin labels this section as the climax of the piece, with the two
superimposed themes accompanied by other motives introduced elsewhere in the piece.33 This
31 Welcher initially formed a trilogy Three Places in the West from the three standalone pieces Arches
(1984), The Yellowstone Fires (1988), and Zion (1994). Welcher later amended the collection to Four Places in the West with the addition of Glacier (2003).
32 Sarah Lynn McKoin, “’Three Places in the West’ by Dan Welcher: An Analysis and Critical Reference
for Conductors.” (DMA diss., University of Texas at Austin, 1997), 81. 33 Ibid., 94.
14
Dan Welcher, Zion, mm. 214-217
Full Score, excerpt
Example 4
15
polymetric section lasts eight bars. The last four bars are a reorchestrated melodic repeat of the
first four, so are not included in the full score excerpt in Example 4. All parts are notated into a
7/4 time signature.
As shown in Example 5, “Zion’s Security” is scored for upper woodwinds and
glockenspiel while “Zion’s Walls” appears in mid-range woodwinds and upper brass. Welcher
also includes an eighth-note staccato version of “Zion’s Walls” in clarinet and piano. Layers of
unpitched percussion provide a metronomic basis to this section, while sustained harmonic
sounds and the timpani part conform to the 7/4 time signature.
Dan Welcher, Zion, mm. 214-217
Score Reduction
Example 5
“Zion’s Security”, at this point in the score, is re-notated by Welcher from its original
statement shown in Example 1. The re-notation in Example 6 returns it to a quarter-note pulse.
New barlines are included with the new version to reflect the three-beat pulse of the original.
16
Dan Welcher, Zion, mm. 214-217
Re-notation of “Zion’s Security” Component
Example 6
Dan Welcher, Zion, mm. 214-217
Metric Layering of “Zion’s Security” Component
Example 7
“Zion’s Walls” is also augmented from its original 7/8 form to the 7/4 meter reflected in
the time signature. This line is supported metrically by the sustained harmonic sounds and
timpani. The clarinet and piano version of “Zion’s Walls” mirrors the more sustained version but
sometimes trails canonically by a half or full beat, but not in a regular enough pattern to establish
its own meter. The unpitched percussion lines, with overlapping accents, are not fundamental to
establishing any meter. Example 8 returns the “Zion’s Walls” line to the eighth-note subdivision,
while Example 9 shows the metric layering of the 7/4 mixed meter.
17
Dan Welcher, Zion, mm. 214-217
“Zion’s Walls” Component
Example 8
Dan Welcher, Zion, mm. 214-217
Metric Layering of “Zion’s Walls” Component
Example 9
Metric analysis shows that this excerpt does contain misalignment of layers of metric
activity. As shown in Example 10, while the micropulse layers of the two components align, the
interpretive and pulse layers do not. The absence of the mixed-meter pulse in the first strand
cause the first to “race ahead” of the second. Therefore, the polymetric effect in this example
relies on the competing pulses and measure groupings (interpretive layers) of these two lines of
music.
18
Dan Welcher, Zion, mm. 214-217
Polymetric Layering
Example 10
Laboring Songs (1997), mm. 161-172
Laboring Songs is the result of a 1997 commission from L. D. Bell, The Colony, and
Duncanville High Schools in Texas. Its composition reflects Welcher’s interest in the spiritual
practices of the Shaker community.34 The piece is approximately ten minutes in length. It
utilizes six Shaker hymn tunes and melodies, including the shuffle tune, “Followers of the
Lamb” (see Example 11). Laboring Songs, though written and published as a stand-alone piece,
is now considered by Welcher as the first of two movements of Symphony No. 3, “Shaker Life.”
“Followers of the Lamb,” excerpt, traditional
Example 11
34 Dan Welcher, Laboring Songs (Bryn Mawr, PA: Theodore Presser, 2006), 1.
19
“Followers of the Lamb” is the last of the six Shaker tunes to appear in Laboring Songs.
Its first use in the piece is in a four-measure polymetric section. Welcher notates part of the
ensemble in 6/4 and another part simultaneously in 12/16, though the relative lengths of notes are
equal between the two groups. Since Welcher writes two 12/16 bars for every one 6/4 bar, mid-
measure barlines are necessary in the 12/16 instruments. Only the first two measures of the
section are included in Example 12, as the following two measures contain the same rhythmic
content.
Dan Welcher, Laboring Songs, mm. 163-164
Full Score, excerpt
Example 12
20
The “Followers of the Lamb” quotation here is found in the low woodwind group and
tom-toms in this section, all containing 12/16 time signatures. The group of instruments written
in 6/4 consists of a four-part flute background chorale figure of varying rhythms and two short
sixteenth-note runs in the vibraphone part. The single tam-tam note has no relevance to the
metric organization of the passage.
Dan Welcher, Laboring Songs, mm. 163-164
Score Reduction
Example 13
The flute background material notated with a 6/4 time signature is grouped by accents
and slur markings that aurally represent a triple meter. The resulting metric structure of this
section clearly reflects three pulses per bar with a duple subdivision of the beat. Examples 14 and
15 show this re-notation and metric structure using the eighth-note subdivision employed in this
study.
21
Dan Welcher, Laboring Songs, mm. 163-164
Re-notation of Flute Background Component
Example 14
Dan Welcher, Laboring Songs, mm. 163-164
Metric Layering of Flute Background Component
Example 15
The “Followers of the Lamb” component is properly heard in 6/8, as it appears in the
traditional folksong. This re-notation creates twice as many bars as Welcher’s version with each
bar having two beats, each with a triple subdivision. The remaining pianissimo vibraphone part,
though notated originally in 6/4, does not fit metrically into the 3/2 groupings of the flute
background. It does fit rather comfortably into the 6/8 pattern established by the “Followers”
component, as shown in Example 16.
22
Dan Welcher, Laboring Songs, mm. 163-164
Re-notation of “Followers of the Lamb” Component
Example 16
Dan Welcher, Laboring Songs, mm. 163-164
Metric Layering of “Followers of the Lamb” Component
Example 17
The implied metric structures in this excerpt do have a degree of alignment, as shown in
Example 18. Four interpretive groupings of the second strand fit into one of the first, and four
micropulses into four of the same. The only level that does not align is the pulse level. In each
bar of the original, three beats of the flute background pass for every eight beats of the
“Followers of the Lamb” segment. Other layers interlock (four fit into one, sixteenth equals
23
sixteenth). So, the polymetric effect in this excerpt is created only by the conflict at the pulse
level.
Dan Welcher, Laboring Songs, mm. 163-164
Polymetric Layering
Example 18
Circular Marches (1997), mm. 133-147
Commissioned by the American Bandmasters Association, Circular Marches is the
second movement of Symphony No. 3 “Shaker Life.” It was premiered in 1998 by the United
States Air Force Band. It, too, quotes Shaker tunes, but also utilizes material composed originally
by Welcher. The most prevalent of these is a ground-bass-type ostinato that contains all twelve
chromatic pitches in each of its four-measure cycles. It first occurs early in the work as it appears
in Example 19.
24
Dan Welcher, Circular Marches, mm. 21-24 (Bassoon 1)
“Twelve-tone Ostinato,” excerpt
Example 19
This “twelve-tone ostinato” line returns later in the work and bleeds into a polymetric
section at m. 133. Reminiscent of Charles Ives’s “two-band effect” in Three Places in New
England, this section is scored by Welcher into “Band 1” and “Band 2.”35 The instruments of
each of the two “bands” are grouped together, disregarding the standard instrumental order at
this point in the score. Each of the two groupings also contain its own set of unaligned barlines,
meaning that the instruments of each of the two “bands” are necessarily listed out of the usual
order at this point in the score. Of the fifteen bars of this section, three bars of “Band 1” pass for
every two bars of “Band 2” (thus three beats of “Band 1” for every two of “Band 2”). Due to
significant repetition, only the first six bars (four for “Band 2”) are necessary for metric analysis.
A reduction of the score shows that the melodic construction within each of the two
“bands” is relatively simple. “Band 1” is represented by an articulate, fast-paced melody in upper
woodwinds and xylophone. A metronomic line in the snare drum serves to reinforce the metric
nature of this group against some syncopations in the melodic line. The “Band 2” reduction also
shows that the low woodwind, low brass, piano, and double bass line compress into the “twelve-
tone ostinato” present elsewhere in the piece. The first tom part serves to articulate the rhythm of
the ostinato, while the second serves to reinforce the nature of this line against syncopations.
35 One section of “Putnam’s Camp” depicts two marching bands marching toward each other at different
tempos. Ives’s original version represents these two bands by assigning two different simultaneous tempos in the
piece.
25
Dan Welcher, Circular Marches, mm. 133-138
Full Score, excerpt
Example 20
26
Dan Welcher, Circular Marches, mm. 133-138
Score Reduction
Example 21
Since Welcher has already grouped the two “bands” together in the score, a regrouping of
this excerpt is not necessary. The “Band 1” component already exists as its own unit with its own
cut-time time signature. Welcher does, however, call for the conductor to beat the quarter-note
pulse of this group instead of the half-note pulse implied by the time signature.36 This and the
absence of half-note figures suggest that the woodwind melody is more properly heard with four
beats to the bar in duple subdivision, as shown in Examples 22 and 23.
The snare line in “Band 1,” though it shares the same pulse as the woodwind line,
contains a repeating rhythmic pattern of seven beats instead of four. Confirmed by an accent that
signals each new recurrence, this component is illustrated in Examples 24 and 25.
36 Dan Welcher, Circular Marches (Bryn Mawr, PA: Theodore Presser, 2006), 19.
27
Dan Welcher, Circular Marches, mm. 133-138
“Band 1” Component (Upper Woodwinds & Xylophone)
Example 22
Dan Welcher, Circular Marches, mm. 133-138
“Band 1” Component (Upper Woodwinds & Xylophone)
Example 23
Dan Welcher, Circular Marches, mm. 133-138
“Band 1” Component (Snare Drum)
Example 24
28
Dan Welcher, Circular Marches, mm. 133-138
“Band 1” Component (Snare Drum)
Example 25
The “Band 2” grouping is also clearly heard in 4/4 time. The metric layering of this also
component yields four beats per bar at a duple subdivision, as shown in Example 26 and 27.
Dan Welcher, Circular Marches, mm. 133-138
“Band 2” Component
Example 26
Dan Welcher, Circular Marches, mm. 133-138
Metric Layering of “Band 2” Component
Example 27
A high level of polymetric activity exists among the three metric structures. As shown in
Example 28, the two components of “Band 1” share the same pulse and micropulse, but conflict
29
on the interpretive layer. The metric structures between the “Band 1” upper woodwind and
xylophone component and “Band 2” component are identical but pass at a three-for-two rate on
all levels, respectively. None of the layers align between these two components. The conflict
between the “Band 1” snare component and “Band 2” component share the same three-to-two
rate on the pulse and micropulse levels. The interpretive layers, however, conflict at a seven-to-
six rate.
Dan Welcher, Circular Marches, mm. 133-138
Polymetric Layering
Example 28
30
Circular Marches (1997), mm. 196-223
A second example of polymeter occurs later in Circular Marches. This passage utilizes
two other melodic components from earlier in the piece. The first is a quick, lively dance tune in
alternating bars of 6/8 and 9/8 (see Example 29). The other is another Shaker tune, “Come
Contentment, Lovely Guest,” which is first stated in a simple 4/4 pattern as shown in Example
30.
Dan Welcher, Circular Marches, mm. 51-54 (Flute 1)
“Compound Melody,” excerpt
Example 29
Dan Welcher, Circular Marches, mm. 97-98 (Flute 1)
“Come Contentment, Lovely Guest,” excerpt
Example 30
As in the polymetric excerpt from Zion, Welcher superimposes these two melodies
toward the end of the piece in polymetric fashion. Over a 28-bar section, the two themes compete
in the same rhythmic fashion through a variety of different orchestrational assignments. The
passage, as written by Welcher, is notated in its entirety in 3/4. Only the first four bars of the
section are necessary for metric analysis as shown in Example 31.
31
Dan Welcher, Circular Marches, mm. 196-199
Full Score, excerpt
Example 31
Discounting the variety of sustained sounds present, the melodic activity in this passage
is complete in three strands. The first, containing the “compound melody” is found in the upper
woodwinds. A separate bongo part reinforces the triplet nature of this melody with sporadic
triplets across the four bars. A second strand, consisting of all dotted rhythms, collapses into a
chorale-like version of “Come Contentment, Lovely Guest.”
32
Dan Welcher, Circular Marches, mm. 196-199
Score Reduction
Example 32
Since the “compound melody” was heard earlier in the work, the listener is already
aurally familiar with the metric feel of the line. Example 33 shows this component re-notated
into its initial form, with triple subdivision throughout and alternation between three beats per
bar and two beats per bar. Since this exchange between three and two does not fit perfectly into
the three-beat pattern of the original, this leaves an incomplete bar at the end of the re-notated
excerpt.
Dan Welcher, Circular Marches, mm. 196-199
Re-notation of “Compound Melody” Component
Example 33
33
Dan Welcher, Circular Marches, mm. 196-199
Metric Layering of “Compound Melody” Component
Example 34
By this point in the piece, the listener is also familiar with the “Come Contentment,
Lovely Guest” tune. In the polymetric excerpt, to fit the 3/4 time signature, Welcher divided each
bar in half and stretched each of the two beats into three by dotting every note. The re-notation in
Example 35 removes these adaptations. The result reflects the initial four beats with duple
subdivision as shown in Example 36.
Dan Welcher, Circular Marches, mm. 196-199
Re-notation of “Come Contentment, Lovely Guest” Component
Example 35
34
Dan Welcher, Circular Marches, mm. 196-199
Metric Layering of “Come Contentment, Lovely Guest” Component
Example 36
The resulting polymetric structure has a high degree of misalignment. Three pulses of the
“compound melody” component compete with every two pulses of the “Come Contentment,
Lovely Guest” portion. The micropulse level contains a nine-to-four mismatch. A misalignment
also exists at the interpretive layer, further complicated by the alternation of beat lengths in the
first strand. Alignment does exist at every third pulse of the “compound melody” segment at both
the pulse layer and micropulse layer. The three-to-two and nine-to-four cycles both align at this
point (the originally notated barlines of the excerpt). Thus, the polymetric activity in this excerpt
is mostly contained within the barlines given by Welcher.
35
Dan Welcher, Circular Marches, mm. 196-199
Polymetric Layering
Example 37
Minstrels of the Kells, mvt. 1 (2001), mm. 109-128
The Big Twelve Band Directors Association commissioned Minstrels of the Kells to
honor former Texas Tech University Director of Bands James Sudduth. Welcher chose to base
the composition on Irish folksongs to honor Suddeth’s curiosity for “all things Celtic”.37 The
work is complete in two movements, “Airs in the Mist” and “Reelin’ and Jiggin’.” Minstrels of
the Kells quotes no fewer than nine Irish folk songs, including the traditional tune “Hardiman the
Fiddler.”
“Hardiman the Fiddler,” excerpt, traditional (mm. 1-4)
Example 38
37 Albert Nguyen. “Minstrels of the Kells,” in Teaching Music Through Performance in Band, Vol. 7, ed.
Richard Miles (Chicago: GIA Publications, 2009), 715.
36
The “Hardiman the Fiddler” folksong is used extensively in the last section of the first
movement of Minstrels of the Kells. Over a period of twenty measures, a version of the tune
appears five different times, each time over a period of roughly two measures apiece. Each
appearance has the same essential rhythmic construction, so only the first two measures of the
section are necessary for metric analysis.
Dan Welcher, Minstrels of the Kells, mm. 109-110
Full Score, excerpt
Example 39
37
In these two measures, “Hardiman the Fiddler” is scored in piccolo. A countermelodic
line similar in rhythmic structure appears in tambourine. Both parts are written into a 9/16 time
signature, which begins on beat two of the prevailing 4/4 time. Mid-measure barlines are
necessary in both lines to delineate the faster 9/16 bars; each of these passes at one-and-a-half
beats of 4/4 time.
The note lengths between the two groupings are not mathematically equivalent with each
other. The 9/16 notes function essentially as triplets in the other time signature. Also, since the
9/16 structure does not fit evenly into the 4/4 time, incomplete measures are necessary at the
beginning (left as a single beat in 4/4) and end of the line in Welcher’s notation.
Dan Welcher, Minstrels of the Kells, mm. 109-110
Score Reduction
Example 40
The “Hardiman the Fiddler” component already exists in its proper metric context as
notated by Welcher. Re-notation of the melody in Example 41 ignores the quarter rest at the
38
beginning of the excerpt. The line assumes three beats per measure with a triple subdivision, as
shown in Example 42.
Dan Welcher, Minstrels of the Kells, mm. 109-110
Re-notation of “Hardiman the Fiddler” Component
Example 41
Dan Welcher, Minstrels of the Kells, mm. 109-110
Metric Layering of “Hardiman the Fiddler” Component
Example 42
The remaining melodic material functions as background to the folksong at this point. No
other quoted tunes are present at this point, except two pick-up notes on the last beat of the
excerpt in oboe and clarinet. These and sustained tones are not necessary for further
consideration. The remaining material fits comfortably into 4/4 time: the first bassoon part that
marks the subdivision and vibraphone and piano part that helps delineate the major beats of the
meter.
39
Dan Welcher, Minstrels of the Kells, mm. 109-110
Background Material Component
Example 43
Dan Welcher, Minstrels of the Kells, mm. 109-110
Metric Layering of Background Material Component
Example 44
The polymetric effect, here, rises mostly from a misalignment at the interpretive layer.
Since the “Hardiman” measure length represents one-and-a-half beats of the four-beat structure,
if the prevailing pattern continued, eight “Hardiman” measures would pass at the rate of three of
the background measures. While it appears that further misalignment exists at the other layers,
the pulse layer of the “Hardiman” component equals exactly the micropulse layer of the other.
The beat of the 9/16 portion and its micropulses, then, can be heard consonantly within the
subdivision of the original time. Therefore, these do not contribute to the polymetric effect in this
excerpt.
40
Dan Welcher, Minstrels of the Kells, mm. 109-110
Polymetric Layering
Example 45
41
CHAPTER 5
POLYMETRIC ANALYSES OF GOTŌ EXCERPTS
Lachrymae (2005), mm. 55-69
Yo Gotō’s Lachrymae (Latin for “tears”) was commissioned by Japan’s Executive
Committee for Twenty-First-Century Wind Music as a requiem for victims of political and
religious conflicts.38 The eight-and-a-half-minute composition contains an assortment of fanfare
figures and indeterminate motivic gestures. Gotō also incorporates the quotation of the first of
seven pavanes in John Dowland’s 1604 collection Lachrimae. The 24-bar “Lachrimae Antique”
uses a five-voice texture as illustrated in Example 46.
John Dowland, Lachrimae “Lachrimae Antique,” excerpt (mm. 4-6)
Example 46
“Lachrimae Antique” is quoted four times in Gotō’s Lachrymae. The first two statements
overlap each other during a 15-bar section, beginning in m. 55. The second quotation does not
enter until m. 61, interrupting the seventh bar of the first statement. The two overlap for two-and-
38 Erin Bodnar. “Lachrymae,” in Teaching Music Through Performance in Band, Vol. 7, ed. Richard Miles
(Chicago: GIA Publications, 2009), 523-524.
42
a-half measures before the second statement completes the last six measures of the section alone.
The five-measure excerpt in Example 47 exhibits the overlapped segment.
Yo Gotō, Lachrymae, mm. 60-64
Full Score, excerpt
Example 47
The seven parts present in this excerpt divide clearly into two groups: a double reed
group and a single reed group. The trio of double reed parts are highly syncopated but align
rhythmically amongst themselves in many places. The clarinet and trio of saxophones are far less
syncopated but also move together themselves. This demarcation is shown in Example 48.
43
Yo Gotō, Lachrymae, mm. 60-64
Score Reduction
Example 48
In the first quotation of “Lachrymae Antique” by the double reeds, Gotō compresses the
relative speed by reducing the value of each note by one quarter (i.e. quarters become dotted
eighths). Example 49 shows the re-notation into Dowland’s original values. In the restored
version, the rhythms and intervals of the outer voices are exact, except for the displacement of
the last oboe note of the second bar by one beat. Gotō composed the middle voice selectively
from the three remaining original voices in order to present the most balanced three-part texture.
The resulting metric structure represents a clear 4/4 meter. However, since the re-notation
reveals no subdivision of any beat, the micropulse layer is omitted in the metric structure
rendered in Example 50.
The second statement of “Lachrimae Antique” by the clarinet and saxophones quotes a
portion of the same excerpt (Example 46) as the double reeds. This version is already written in
Dowland’s original meter and enters with material found later in the excerpt than the first.
Similar to the first quotation, the second uses the outer voices exactly (with displacement of the
same note in the top part) and contains freely adapted inner voices from the original. This
44
version (see Examples 51 and 52), too, reflects the same four-beat, duple-subdivision metric
structure.
Yo Gotō, Lachrymae, mm. 60-64
Re-notation of “Lachrimae Antique” Double Reed Version
Example 49
Yo Gotō, Lachrymae, mm. 60-64
Metric Layering of “Lachrimae Antique” Double Reed Version
Example 50
Yo Gotō, Lachrymae, mm. 60-64
“Lachrimae Antique” Clarinet/Saxophone Version
Example 51
45
Yo Gotō, Lachrymae, mm. 60-64
Metric Layering of “Lachrimae Antique” Clarinet/Saxophone Version
Example 52
Since the two groupings have the same metric structure, the displacement of one over the
other causes misalignment at every level of metric activity. Every four bars of the first strand
pass for every three of the second. Because the metric structures are equivalent, this four-to-three
ratio then applies to all three layers.
Yo Gotō, Lachrymae, mm. 60-64
Polymetric Layering
Example 53
Fantasma Lunare (2008), mm. 72-74
Fantasma Lunare (Latin for “ghost moon”) was commissioned by the Kanazawa
Municipal Technical High School Symphonic Band for a performance at an all-Beethoven
46
festival. Given this opportunity, Gotō chose to construct the piece from motives of Moonlight
Sonata for piano. The longest fragment quoted in Fantasma Lunare is found at the beginning of
Beethoven’s second movement, “Allegretto.” The first four bars of the segment are illustrated in
Example 54.
Ludwig van Beethoven, Moonlight Sonata, mvt. 2 (mm. 1-4)
Example 54
Gotō introduces this material in two quickly overlapping segments at a transition point in
the piece. The first statement emerges from a loud polyrhythmic texture of repeated notes, and
the second joins only two beats after. The entire excerpt is presented completely in the three bars
shown in Example 55.
As in Lachrymae, the two quotations occur in two separate woodwind choirs. The first
occurs in a double reed quartet, with the bottom bassoon voice not entering until the final three
notes. The second statement is made by four clarinet voices, with the bass clarinet not entering
until the last two notes. The polyrhythmic texture of repeated notes and other sustained sounds
are irrelevant to the layering of the two quotations and not considered in the analysis.
47
Yo Gotō, Fantasma Lunare, mm. 72-74
Full Score, excerpt
Example 55
48
Yo Gotō, Fantasma Lunare, mm. 72-74
Score Reduction
Example 56
Though the first statement of the Moonlight Sonata, mvt. 2, fragment is proportionally
exact, it is highly syncopated as notated. From the original, Gotō first reduced all note values by
half. He then displaced the material forward in time by one sixteenth of a beat before moving the
barlines to fit it into 4/4 time. Example 57 shows Gotō’s end product re-notated back into the
original three-beat, duple-subdivision format conceived by Beethoven.
49
Yo Gotō, Fantasma Lunare, mm. 72-74
Re-notation of Moonlight Sonata, mvt. 2, Double Reed Version
Example 57
Yo Gotō, Fantasma Lunare, mm. 72-74
Metric Layering of Moonlight Sonata, mvt. 2, Double Reed Version
Example 58
The second statement is also exact but again highly syncopated by Gotō. To create this
version, he first shifted the barlines of the original all forward by one beat. He then shortened all
of the note values by one third, essentially making all values triplets. Finally he reassigned
barlines to fit the 4/4 and 3/4 of the composition at that point. Example 59 shows the reversal of
these back into Beethoven’s three-beat, duple-subdivision original.
50
Yo Gotō, Fantasma Lunare, mm. 72-74
Re-notation of Moonlight Sonata, mvt. 2, Clarinet Version
Example 59
Yo Gotō, Fantasma Lunare, mm. 72-74
Metric Layering of Moonlight Sonata, mvt. 2, Clarinet Version
Example 60
The overlapping of metric structures in this excerpt is quite complex. No alignment exists
at any level of metric activity (see Example 61). The two strands only align with the original
notated pulse (which is not audibly present in any part at this point). Noting the points of
alignment through the original pulse, four micropulses in the first strand pass for every three in
the other. This proportion applies for the other layers as well, ensuring a high degree of
misalignment in all layers.
51
Yo Gotō, Fantasma Lunare, mm. 72-74
Polymetric Layering
Example 61
Fantasma Lunare (2008), mm. 78-86
Perhaps the most distinguishable motivic idea from the Moonlight Sonata is the triplet
eighth-note arpeggios from the first movement. This line simply outlines the various harmonies
underneath the sustained melody and above the octave-doubled bass line. The motive keeps the
same rhythmic and melodic form for almost the entire movement, though it expands and
contracts in intervals for feasibility in performance. A sample of this motive is exhibited in
Example 62.
Ludwig van Beethoven, Moonlight Sonata, mvt. 1 (mm. 5-7)
Example 62
52
Gotō uses this arpeggiated motive several times throughout Fantasma Lunare, sometimes
in traditional notation and other times in indeterminate notation. While polymetric possibilities
exist with the indeterminate sections of the piece, their aleatoric nature precludes a definitive
analysis. Therefore, this study will only consider the portions of the piece in traditional notation.
Example 62 displays three measures of one of these sections in traditional notation. Two lines of
indeterminate repeated motives by percussion instruments are excluded from the full score and
the analysis that follows.
Yo Gotō, Fantasma Lunare, mm. 81-83
Full Score, excerpt
Example 63
The eight parts in this excerpt collapse into five strands of rhythmic activity. The two
flute parts, when combined, create an unbroken stream of triplet sixteenth notes. The bottom
53
clarinet parts and alto saxophone parts function similarly, generating streams of sixteenth notes
and eighth-note triplets respectively. The entrances of each strand are staggered with the higher-
pitched strands entering progressively later.
Yo Gotō, Fantasma Lunare, mm. 81-83
Score Reduction
Example 64
The excerpt above is, as notated, only a five-layer polyrhythmic structure. Since the
rhythms simply repeat at one continuous rate for each line, no multi-layered metric structure
could be perceived in computerized performance. However, since the motives in three of the
lines would have a different weight to them in live performance, a strong-to-weak alternation can
be assumed to create a metric structure within the lines. The combined line, if played through by
only one instrument or group (as in the other two parts), would have no metric potential, and
thus, no polymetric possibilities. Therefore, the piccolo and first clarinet lines must be omitted
from polymetric analysis. Each of the two remaining strands collapses back into the 12/8 feel of
54
Beethoven’s original, implying a four-beat, triple-subdivision metric structure, as shown in
Examples 65 through 68.
Yo Gotō, Fantasma Lunare, mm. 81-83
Re-notation of Moonlight Sonata, mvt. 1, Clarinet Version
Example 65
Yo Gotō, Fantasma Lunare, mm. 81-83
Metric Layering of Moonlight Sonata, mvt. 1, Clarinet Version
Example 66
Yo Gotō, Fantasma Lunare, mm. 81-83
Re-notation of Moonlight Sonata, mvt. 1, Saxophone Version
Example 67
55
Yo Gotō, Fantasma Lunare, mm. 81-83
Metric Layering of Moonlight Sonata, mvt. 1, Saxophone Version
Example 68
A polymetric layering of these two lines shows that misalignment of metric structures
exists at all levels. Equivalency of the two strands passing at different rates creates a high level
of metric dissonance, the given displacement of beats between the two. Four pulses in the first
group pass for every three of the other, and the four-to-three ratio holds for all layers of activity.
Yo Gotō, Fantasma Lunare, mm. 81-83
Polymetric Layering
Example 69
56
Fêtes lointains (2009), mm. 56-65
Fêtes lointains (French for “distant celebrations”) was written by Gotō for the Osaka
Municipal Symphonic Band. The piece was commissioned by the band to honor the 120th
anniversary of that city’s municipal founding. Gotō incorporates indeterminate sounds, fanfare
figures, syncopated melodies, and quotations of pre-existing works into Fêtes lointains.
The first borrowed material in this work comes from Giovanni Gabrieli’s collection
Sacrae symphoniae (1597). “Canzon septimi toni No. 2” was composed for two antiphonal
choirs of four brass instruments each. For most of the canzon, the two choirs are scored
independently of each other. The quoted excerpts from each of the choirs are presented in
Examples 70 and 71.
Giovanni Gabrieli, Sacrae symphoniae (1597) “Canzon septimi toni,” excerpt (mm. 15-21)
Example 70
57
Giovanni Gabrieli, Sacrae symphoniae (1597) “Canzon septimi toni,” excerpt (mm. 22-26)
Example 71
“Canzon septimi toni No. 2” is quoted four different times over a seven-measure segment
of Fêtes lointains, beginning at m. 56. Since the rhythmic nature of each strand is different in
each quotation, all seven measures are necessary for polymetric analysis. The full score is
illustrated across two images in Example 72.
The condensed version in Example 73 shows the four quotations more clearly. Each
statement enters at a separate time and is made by a different quartet of instrumentalists: double
reeds, saxophones, euphoniums and tubas, and trumpets and trombones. This material is
surrounded by a cluster chord that descends quasi-chromatically through flutes and clarinets. The
cluster chord, along with the sustained percussion sounds and tutti chord that begin the segment,
will not be necessary for analysis.
58
Yo Gotō, Fêtes lointains, mm. 56-62
Full Score, excerpt
Example 72
59
Yo Gotō, Fêtes lointains, mm. 56-62
Full Score, excerpt
Example 72
60
Yo Gotō, Fêtes lointains, mm. 56-62
Score Reduction
Example 73
61
Yo Gotō, Fêtes lointains, mm. 56-62
Score Reduction
Example 73
62
The first quotation of “Canzon septimi toni” utilizes material from Example 70. Gotō
borrows the material verbatim in all four parts from Gabrieli but notates the segment with halved
note values. Thus, each two measures of the original encompasses the time of one in Gotō’s
work. The re-notation portrays a four-beat, duple-subdivision metric structure.
Yo Gotō, Fêtes lointains, mm. 56-62
Re-notation of “Canzon septimi toni” Double Reed Version
Example 74
Yo Gotō, Fêtes lointains, mm. 56-62
Metric Layering of “Canzon septimi toni” Double Reed Version
Example 75
The saxophone material that enters two bars begins with the same material as the double
reed version. Instead of shortening each note by half, Gotō contracts each of them by only one-
fourth. Each quarter note then becomes a dotted eighth note; each half note becomes a dotted
63
quarter. Example 76 restores the notation to Gabrieli’s original, and Example 77 confirms the
same four-beat, duple-subdivision metric structure.
Yo Gotō, Fêtes lointains, mm. 56-62
Re-notation of “Canzon septimi toni” Saxophone Version
Example 76
Yo Gotō, Fêtes lointains, mm. 56-62
Metric Layering of “Canzon septimi toni” Saxophone Version
Example 77
The third quotation in this section employs a different excerpt than the first two. The
material played by euphoniums and tubas (see Example 71) immediately follows the previous
excerpt in the original. Gotō shortens each note length by third in this fragment, essentially
turning every note into a triplet. Since the excerpt begins on an upbeat, this causes the resulting
64
notation to become highly syncopated. Example 78 restores Gabrieli’s notation, again in four
beats and duple subdivision.
Yo Gotō, Fêtes lointains, mm. 56-62
Re-notation of “Canzon septimi toni” Low Brass Version
Example 78
Yo Gotō, Fêtes lointains, mm. 56-62
Metric Layering of “Canzon septimi toni” Low Brass Version
Example 79
The final statement uses the same material as the fourth, with note lengths halved from
the original. Though this passage enters a full bar after the third, the shorter note lengths cause
the two statements to end simultaneously at the end of the 5/4 bar. Example 80 shows the re-
notation back to the original four-beat, duple subdivision structure.
65
Yo Gotō, Fêtes lointains, mm. 56-62
Re-notation of “Canzon septimi toni” Trumpet/Trombone Version
Example 80
Yo Gotō, Fêtes lointains, mm. 56-62
Metric Layering of “Canzon septimi toni” Trumpet/Trombone Version
Example 81
The polymetric effect in this passage is a progressive one. Since no more than two of the
quartets are sounding simultaneously, each moment in the music that does overlap has its own
polymetric feel. As the first quotation conflicts with the second, three beats pass at the time of
two, respectively. Since the two metric organizations are identical, misalignment exists at every
metric level (as shown in Example 82).
66
Yo Gotō, Fêtes lointains, mm. 56-62
Polymetric Layering, Double Reed Version with Saxophone Version
Example 82
The overlapping of the second quartet with the third creates the most complicated of the
three polymetric structures. Not only do the pulses pass at different rates, but they do not actually
align at any point in the excerpt. Both do, however, align with the original pulse (not aurally
perceptible at this point in the music). As shown in Example 82, the top part passes at four beats
for each three original pulses, and three beats pass for each two of the bottom. Thus, it would
take six original pulses for each part to align, eight for the top for each nine of the bottom.
Misalignment, again, exists between all metric layers.
67
Yo Gotō, Fêtes lointains, mm. 56-62
Polymetric Layering, Saxophone Version with Low Brass Version
Example 83
The final point of conflict occurs between the third and fourth quartets. Again, no layers
align, but three bars pass at the rate of four for the other. Since the metric structures are
equivalent but offset, the same proportion applies for the other layers here as well. Therefore, the
polymetric effect is quite strong throughout this entire section, since none of the quartets align
metrically at any level.
68
Yo Gotō, Fêtes lointains, mm. 56-62
Polymetric Layering, Low Brass Version with Trumpet/Trombone Version
Example 84
Fêtes lointains (2009), mm. 105-117
The other quotation in Fêtes lointains is taken from the second movement of Claude
Debussy’s three-movement Nocturnes for orchestra. The original excerpt (for trumpets in F)
contains triplets in a 2/4 time signature. Since the triplets imply a different subdivision of the
beat, the excerpt is re-notated in Example 86.
The thirteen-measure section of Fêtes lointains that uses the Nocturnes quote is the most
rhythmically active of the piece. Gotō introduces several layers of rhythmic activity and shapes
the different layers dynamically over this segment. Example 87 illustrates four bars toward the
beginning of this section. The bars that precede and follow contain the same material, so are not
necessary for analytical consideration.
69
Claude Debussy, Nocturnes, mvt. 2 (mm. 124-126)
Example 85
Claude Debussy, Nocturnes, mvt. 2 (mm. 124-126)
Re-notation into a Simplest Metric Presentation
Example 86
There are five distinct layers of rhythmic activity, all similar in motivic structure to
Debussy’s original shown in Examples 85 and 86. Two of the five strands contain the same
rhythmic values as others—the saxophones continues the same sixteenth-note-triplet line as the
horns, and the piccolo and flutes do the same for the trumpets. A variety of other sustained
sounds and isolated motives are scored for a variety of woodwind, low brass and percussive
instruments. These do not contribute to metric overlapping of the other strands and will not be
analyzed. Example 86 illustrates the different layers as grouped by similarity of function.
70
Yo Gotō, Fêtes lointains, mm. 107-110
Full Score, excerpt
Example 87
71
Yo Gotō, Fêtes lointains, mm. 107-110
Full Score, excerpt
Example 87
72
Yo Gotō, Fêtes lointains, mm. 107-110
Score Reduction
Example 88
73
Yo Gotō, Fêtes lointains, mm. 107-110
Score Reduction
Example 88
74
The first strand, in the horns, is similar in construction to Debussy’s excerpt. Gotō
assigns it the same sixteenth-note-triplet values as the original. Example 89 shows it re-notated
to the triple-subdivision implied by the triplets. The re-notation assumes the same four-beat
grouping from Example 86.
Yo Gotō, Fêtes lointains, mm. 107-110
Re-notation of Nocturnes, mvt. 2, Horn Version
Example 89
Yo Gotō, Fêtes lointains, mm. 107-110
Metric Layering of Nocturnes, mvt. 2, Horn Version
Example 90
Gotō, however, modifies the trombone line from Debussy’s initial rhythms. While
keeping the same chordal structure, Gotō repeats occasional notes and compacts the triplets into
sixteenth notes. Examples 91 and 92 show that the result reflects the same four-beat structure as
the first strand, but implies a duple instead of triple subdivision.
75
Yo Gotō, Fêtes lointains, mm. 107-110
Re-notation of Nocturnes, mvt. 2, Trombone Version
Example 91
Yo Gotō, Fêtes lointains, mm. 107-110
Metric Layering of Nocturnes, mvt. 2, Trombone Version
Example 92
Since there are again no triplets, the third strand is similar in construction to the second.
This line, however, uses thirty-second notes instead of sixteenths. Therefore, the trumpets are
playing as twice as fast as the trombones. Example 93 shows the line re-notated to match the
second, and Example 94 shows that it also contains the four-beat, duple-subdivision metric
structure.
76
Yo Gotō, Fêtes lointains, mm. 107-110
Re-notation of Nocturnes, mvt. 2, Trumpet Version
Example 93
Yo Gotō, Fêtes lointains, mm. 107-110
Metric Layering of Nocturnes, mvt. 2, Trumpet Version
Example 94
Polymetric analysis of the three levels shows a mix of alignment and misalignment.
Between the first two strands, the pulse layers align while the micropulse layers conflict between
triples and duples. The interpretive layers are equivalent but displaced, due to the canonic nature
of Gotō’s writing. Since the pulse layer of the third strand matches the micropulse layer of the
second, the bottom two strands sound metrically consonant with one another. However, since the
first two strands do not line up, the first contains the same misalignment with the third.
Therefore, the polymetric effect in this excerpt arises solely from the horn part conflicting with
the other two strands at the micropulse layer with the other two strands.
77
Yo Gotō, Fêtes lointains, mm. 107-110
Polymetric Layering
Example 95
78
ул
CHAPTER 6
PEDAGOGICAL COMPARISON
Of the ten excerpts included in this study, all ten include misalignment of metric
structures on at least one level of metric activity. Therefore, all ten examples can potentially be
heard as polymetric in some manner. A comprehensive list of all passages is presented in Table
2, indicating the presence of misalignment in each layer.
Piece Excerpt
Interpretive
Layer
Misalignment
Pulse
Layer
Misalignment
Micropulse
Layer
Misalignment
Zion mm. 214-221 YES YES NO
Laboring Songs mm. 161-172 NO YES NO
Circular Marches mm. 133-147 YES YES YES
mm. 196-223 YES YES YES
Minstrels of the Kells, mvt. 1 mm. 109-128 YES NO NO
Lachrymae mm. 55-69 YES YES ----------
Fantasma Lunare mm. 72-74 YES YES ----------
mm. 78-86 YES YES YES
Fêtes lointains mm. 56-65 YES YES YES
mm. 105-117 NO NO YES
Misalignment of Excerpts by Metric Level
Table 2
Four of the ten passages contain misalignment in all three layers. Another two passages
contain misalignment to interpretive and pulse layers but are missing a micropulse layer. Since in
these two examples both strands contain the same quoted material, misalignment can be assumed
since either choice of subdivision would conflict, if present. Therefore, these six excerpts exhibit
the highest aural effect of polymeter according to the definition of metric dissonance. The
analytical results of these excerpts are displayed in Table 3. Details for all three occurrences of
polymetric layering in the first Fêtes lointains segment are listed separately.
79
Piece Excerpt First
Strand
Second
Strand
Polymetric
Ratio
Circular Marches
mm. 133-1474 pulses
2 micropulses
4 pulses
2 micropulses 3 to 2 (all levels)
mm. 196-2233+2 pulses
3 micropulses
4 pulses
2 micropulses
3 to 2 (pulses)
9 to 4 (micropulses)
Lachrymae mm. 55-694 pulses
----------
4 pulses
2 micropulses 4 to 3 (all levels)
Fantasma Lunare
mm. 72-743 pulses
----------
3 pulses
---------- 4 to 3 (all levels)
mm. 78-864 pulses
3 micropulses
4 pulses
3 micropulses 4 to 3 (all levels)
Fêtes lointains
mm. 56-65
Dbl Reed/Sax
4 pulses
2 micropulses
4 pulses
2 micropulses 3 to 2 (all levels)
mm. 56-65
Sax/Low Br
4 pulses
2 micropulses
4 pulses
2 micropulses 8 to 9 (all levels)
mm. 56-65
Low Br/Tpt-Tbn
4 pulses
2 micropulses
4 pulses
2 micropulses 3 to 2 (all levels)
Polymetric Composition of Excerpts with Misalignment at All Levels
Table 3
In seven of these eight polymetric locations, the metric composition of the two strands is
identical. The misalignment in these locations is caused by taking the same metric structure and
elongating one of them, causing all of the layers to misalign. However, this technique alone is
not sufficient to ensure complete misalignment. As shown in Table 4, the second and third
strands of the other Fêtes lointains excerpt displace the same material but do not have complete
alignment.
Piece Excerpt Second
Strand
Third
Strand
Polymetric
Ratio
Fêtes lointains mm. 105-1174 pulses
2 micropulses
4 pulses
2 micropulses 2 to 4 (all levels)
Polymetric Composition of Fêtes lointains, Second and Third Strands, mm. 105-117
Table 4
80
The reason for this exception is the choice of polymetric ratio. The example from Fêtes
lointains, mm. 105-117, contains a two-to-four ratio, which causes layers that misalign to realign
with other layers. In other words, in this example, the subdivision of one layer is the same as the
pulse of another. Since all layers realign with other layers, no metric dissonance exists between
these two strands. The first strand, containing three micropulses, is necessary to create the
polymetric effect against the other two strands in this excerpt.
The other excerpts do not have this problem because of different choices of polymetric
ratios. The aforementioned example contains metric groupings entirely in groups of twos (noting
that fours can be heard in groups of two). The choice of a ratio that also has groupings of twos
ensures realignment. The fully misaligned excerpts from Table 3 all contain a ratio of duple-to-
triple in some manner (since nine-to-four and eight-to-nine contain factors of twos and threes).
For conductors of these pieces, the excerpts from Table 3 should have the highest degree
of polymetric effect if performed with rhythmic precision. Care should be taken to make certain
that performers (who do not have the benefit of the score) understand the implied metric
structures. For example, in Fêtes lointains, the saxophonists in mm. 58-60 should understand that
their dotted eighth notes equate to the actual pulse of their part (see Example 96). Since Gotō
uses pre-existing music in all of these excerpts, familiarity with the original is also critical.
The second excerpt from Circular Marches (mm. 196-223) contains a similar
performance challenge (see Example 97). Instead of layering the same material at different
speeds, Welcher prefers to superimpose different themes already introduced earlier in the work.
The performance challenge in the excerpt is the same, however. Performers should be reminded
of the previous use of each of the separate melodies and to be encouraged to retain the metric
feel of the original statements.
81
Yo Gotō, Fêtes lointains, mm. 58-60
Saxophone Parts in Written and Re-notated Forms
Example 96
Dan Welcher, Circular Marches, mm. 196-199
Competing Strands in Original Notation
Example 97
The performance challenge in the remaining four excerpts is more problematic, though.
In these examples, the polymetric effect is diminished because of alignment in some metric
levels. It is important, then, for conductors and performers to focus on what does misalign, since
perception of the polymetric effect rests solely on those layers.
In Zion, only the interpretive and pulse layers conflict. It is imperative, then, that the
performers help define the conflicting beat and measure groupings. Attention to Welcher’s
articulation markings, which help define the two different meters, is critical (as shown in
82
Example 98). Again, knowledge of the two folksongs’ original statement can also assist in
placing the proper agogic stress for each line.
Dan Welcher, Zion, mm. 214-217
Competing Strands in Original Notation
Example 98
The other three excerpts rely on only one conflicting rhythmic level each to help the
polymetric effect be heard. Except for one level of rhythmic activity in each, all of their rhythmic
information aligns into one metric framework. These, then, are the most precarious polymetric
examples of this study. Therefore, if attention is not paid to the single conflicting level of
activity, the polymetric effect will be absent in performance.
In Laboring Songs, only the pulse levels misalign. Performers here should be encouraged
to execute Welcher’s accents (see Example 99), which help define the separate pulses. The
conductor should also rehearse the competing groups separately, so that each can perceive its
own pulse independently of the other.
83
Dan Welcher, Laboring Songs, mm. 163-164
Competing Strands in Original Notation
Example 99
Misalignment only occurs in the interpretive layer in the Minstrels of the Kells excerpt.
Here, the performance of the accents that define each measure grouping is important for any
polymetric effect to be heard. Additionally, the conductor must explain to the performers how
the two time signatures function with each other. The piccolo and tambourine players should be
aware that their note beamings will not align with the conducting time, as shown in Example
100.
Finally, in Fêtes lointains, only the micropulse layer misaligns. This arises from the
conflict between the competing strands of sixteenth-note triplets, sixteenth notes, and thirty-
second notes (see Example 101). Since the second and third strands (sixteenth notes and thirty-
second notes) are heard in the same metric context, proper performance of the sixteenth-note
triplet is imperative. Performers should avoid rushing these triplets in this passage, so that the
conflict between the figures remains aurally perceptible.
84
Dan Welcher, Minstrels of the Kells, mm. 109-110
Competing Strands in Original Notation
Example 100
Yo Gotō, Fêtes lointains, mm. 107-108
Competing Strands in Original Notation
Example 101
85
CHAPTER 7
CONCLUSION
This document provides an in-depth look into the mechanics of a critical aspect of
Welcher’s and Gotō’s works. Since both composers express similar influences on their
compositional processes, a certain amount of likeness can be expected in comparison of their
polymetric music. However, in review of the analyses present in this study, this does not appear
to be the case.
Of the five excerpts from Welcher in this study, all five have well-defined polymeter.
Welcher mostly uses a combination of folk songs in these polymetric sections; therefore, the
melodic content in these areas tends to be comprised of single melodic lines (sometimes with
new harmonies that support one or both of the lines). The assumed meters in each of these
sections vary greatly, but are often distantly related meters that align at certain points close to
barlines. Welcher typically uses the same or related keys between the different folk songs, but
not exclusively. Additionally, these sections usually appear toward the end of their pieces; each
excerpt, thus, represents a “simultaneous recapitulation” of sorts that uses the respective folk
songs.
The five examples of Gotō’s music all have clear uses of polymeter. Gotō mainly quotes
preexisting material from major instrumental or choral works; therefore, each component of the
polymeter in these places is often itself a three-, four-, or five-part texture. The implied meters in
these sections, for Gotō, are usually the same, since he typically quotes different excerpts from
the same work within the polymeter. The polymetric effect, here, is intensified by the delayed
entries of one or more polymetric components, as well as the use of distant keys between the
different parts. In Gotō’s works, these sections of music usually appear toward the middle of
86
their pieces; these excerpts do not function as “simultaneous recapitulations” since the melodic
content usually does not appear earlier in the work.
Through these analyzed excerpts, Welcher and Gotō provide two unique solutions to the
problem of making polymeter aurally present to the listener. This study demonstrates how the
two composers have each developed a distinctive yet individual expression of polymeter in their
own musical language. These results are a snapshot into two separate approaches to the
polymetric “problem,” and are intended to be of use to the wider audience as polymetric writing
continues to be a viable compositional technique.
87
BIBLIOGRAPHY
Dan Welcher
“Biography,” on Dan Welcher’s official website, accessed June 17, 2016,
http://www.danwelcher.com/bio.php.
Carter, Scott. “Songs Without Words.” In Teaching Music Through Performance in Band, Vol. 4. Ed. by Richard Miles. Chicago: GIA Publications, 2002.
McCutchan, Ann. “Dan Welcher.” In The Muse That Sings: Composers Speak About the Creative Process, 87-96. New York: Oxford University Press, 1999.
McKoin, Sarah Lynn. “‘Three Places in the West’ by Dan Welcher: An Analysis and Critical
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