AN ANALYSIS OF WHEN PEACE FLOWS, AN ORIGINAL …

AN ANALYSIS OF WHEN PEACE FLOWS,

AN ORIGINAL COMPOSITION FOR TWO SOPRANOS AND ORCHESTRA

by

JAMES ZACHARY WEAVER

(Under the Direction of Roger Vogel)

ABSTRACT

The dissertation is divided into two parts. The first part is an original composition for two

sopranos and orchestra using texts extracted from the book of Revelation of the Holy Bible and

an original poem by the composer. The work is scored for 2 flutes doubling piccolo and alto flute,

2 oboes, 2 clarinets in Bb doubling Eb clarinet, 1 bassoon, 2 horns, 2 trumpets, 1 trombone,

timpani, percussion with miscellaneous battery instruments, vibraphone/glockenspiel, piano, 2

soprano voices, 8 first violins, 6 second violins, 4 violas, 3 cellos, and 2 basses. The second part

of the dissertation is an analysis of the work by the composer. The analysis consists of a

discussion of text influence on the structure and style of the composition, a description of the

form of the work, categorization of musical textures, an explanation of the rhythmic components

of the composition, reflection on the use of timbre and instrumentation, an inventory of melodic

motives and their recurrence, a breakdown of the intervallic content of fundamental harmonies

using set analysis, and a summary of the tonal aspects of the harmony of the composition.

INDEX WORDS: Two sopranos and orchestra, Orchestra, Composition, Peace, Religious,

Christian, Revelation, Bible



by


B.M., Southwestern Oklahoma State University, 1999

M.M., Southwestern Oklahoma State University, 2000

A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial

Fulfillment of the Requirements for the Degree

DOCTOR OF MUSICAL ARTS

ATHENS, GEORGIA

2010



by


Major Professor: Roger Vogel

Committee: Adrian Childs Leonard Ball Dorothea Link

Electronic Version Approved:

Maureen Grasso Dean of the Graduate School The University of Georgia July 2010

iv

DEDICATION

To my wife, Amy,

whose confidence, encouragement, love, and constant self-sacrifice

made this all possible.

v

TABLE OF CONTENTS

Page

FORWARD…………………………………………………………………………………….....1

CHAPTER

1 INTRODUCTION........................................................................................................2

Terminology and Delimitations...............................................................................2

Goals........................................................................................................................4

Overview of Document Chapters.............................................................................5

2 TEXT INFLUENCE.....................................................................................................6

Biblical Text.............................................................................................................6

Poetic Text...............................................................................................................8

Examples of Text Painting.....................................................................................12

Numerological Influence and Significance............................................................15

Arrangement of Biblical and Poetic Texts.............................................................16

3 FORM.........................................................................................................................19

Descriptions of Larger Sections............................................................................19

Descriptions of Individual Sub-Sections...............................................................21

Arch Form..............................................................................................................24

Summary of Formal Structure...............................................................................24

vi

4 TEXTURE..................................................................................................................27

General Contrasts in Texture.................................................................................27

Fluctuations in Texture..........................................................................................29

Texture Classifications..........................................................................................34

Patterns in the Progression of Texture Categories................................................38

5 RHYTHMIC COMPONENTS...................................................................................40

The Role of Meter.................................................................................................40

Tempo...................................................................................................................44

The Function of Rhythm.......................................................................................45

Rhythmic Text Setting..........................................................................................47

Rhythmic Motives................................................................................................48

6 INSTRUMENTATION AND TIMBRE.....................................................................53

Three Ensembles of Seven Solo Instruments........................................................53

Tone-color Variation............................................................................................55

Combined Speech and Singing in Sopranos.........................................................58

Duets Between Like-Quality Instruments............................................................59

Association of Specific Harmonies with Instrument Families.............................61

Special Effects and Extended Techniques............................................................62

7 MELODIES AND MOTIVES....................................................................................67

Types of Motives..................................................................................................67

Main motive for the Orchestra (MMO)...............................................................68

MMO Melody......................................................................................................69

Main motive for the Soprano (MMS)..................................................................70

vii

Hearts of Men Motive..........................................................................................72

Seven-Note Motive..............................................................................................72

Octave/Fifth Motive.............................................................................................73

Rising Motive......................................................................................................75

Water Motive.......................................................................................................76

Sixteenth note Motive.........................................................................................78

8 HARMONY – PART I...............................................................................................80

Inversional Symmetry and Interval Cycling........................................................80

Set Class [05].......................................................................................................81

Set Class [015].....................................................................................................84

Set Class [0158]...................................................................................................86

The Diatonic Collection.......................................................................................89

Set Class [024579]...............................................................................................91

9 HARMONY – PART II.............................................................................................95

The MMO............................................................................................................95

The Chorale and MMO Melodies........................................................................98

The MMS...........................................................................................................102

The Dance Section.............................................................................................105

The Water Section.............................................................................................106

The Lake of Fire Section...................................................................................107

The Fast Section................................................................................................108

Juxtaposition of Major and Minor Triads.........................................................109

Macro-Level Harmonic Relationships..............................................................111

viii

10 SUMMARY AND CONCLUSION........................................................................114

Analytic Summary............................................................................................114

Goals Revisited.................................................................................................117

REFERENCES............................................................................................................................120

APPENDICES.............................................................................................................................121

A INSTRUMENTATION...........................................................................................121

B PERFORMANCE NOTES......................................................................................122

C WHEN PEACE FLOWS, MUSICAL SCORE.......................................................126

1

FORWARD

There will come a day with no more sorrow, no more pain, and no more suffering. There

will come a day when heaven and earth will pass away, and everything will be made new and

complete. There will come a day when peace will flow throughout the earth. When Peace Flows

is based on passages extracted from the Revelation of St. John that follow the events surrounding

the creation of a new heaven and earth and the eternal peace that follows. An original poem,

along with these biblical texts, center on one important phrase: the “water of life,” which is

Christ, and is given freely to all who are thirsty and answer His call.

2

CHAPTER 1

INTRODUCTION

This original composition, entitled When Peace Flows, is a single movement work for

two sopranos and orchestra that is approximately thirty minutes in duration. The instrumentation

is as follows: 2 flutes, 2 oboes, 2 clarinets, 1 bassoon, 2 horns, 2 trumpets, 1 trombone, timpani,

percussion, vibraphone, piano, 2 sopranos, 8 first violins, 6 second violins, 4 violas, 3 cellos, and

2 basses.

The composition sets texts derived from the Revelation of St. John, chapters 4:1-2, 5a;

20:11-13, 15; 21:6; 22:1-2a, 17; the Gospel of John, chapter 3:8; and an original poem based on

Revelation 20-22. Biblical texts consist of several translations of the Holy Bible including the

King James Version (KJV), the New King James Version (NKJV), the New Living Translation

(NLT), the New International Version (NIV), and the Amplified Bible (AMP). The King James

Version of the Holy Bible is public domain and may be freely quoted. Permission to use the

remaining translations was not necessary based on the publisher’s copyright information.

Terminology and Delimitations

The following discuses non-standardized terms and procedures used in the analysis of When

Peace Flows.

1. Octave Designation – Scientific pitch notation, as defined by the Acoustic Society of

America (ASA), is used to reference specific pitches. This system designates middle C as

C4, the C one octave below as C3 and the C one octave above as C5, and so on in like

fashion. Those notes that lie between C4 and the C5 are designated with the number 4.

3

Thus C4 and D4 would refer to middle C and the D one whole step above it, while B3

would refer to the B one half step below middle C.

2. Pitch, Triad, and Key Labels – Within the text, the labels of all Major and Minor Triads

and key areas are spelled out completely, as are sharps and flats. Within Tables and

Examples, however, abbreviations are used as follows: Major = M, Minor = m, sharp = #,

flat = b, seventh = 7. For example, while the body of text would read G-sharp Major

seventh chord, the Examples and Tables would read G#M7.

3. Pitch Class – Pitch class is used to refer to a pitch no matter the octave in which it occurs.

In this document, pitch class will be referenced as a letter name without the adjacent

scientific pitch octave designation (i.e., C, D, E as opposed to C4, D4, E4).

4. Prime Form – Prime form is the arrangement of the members of a specific pitch class set

into the smallest possible distance in pitch space taking inversion into account. The

pitches are ordered by an increasing number of half steps with the first pitch given as 0.

5. Interval class – Interval class refers to the shortest distance, measured in half steps,

between two pitch classes. For instance, the distance from C to F can be measured, when

ascending, as five half steps and, when descending, as seven half steps. Regardless of the

direction of motion, ascending or descending, the shortest distance between those two

pitches is five half steps. Therefore, this interval is referred to as interval class 5. There

are six interval classes: 1 = m2/M7, 2 = M2/m7, 3 = m3/M6, 4 = M3/m6, 5 = P4/P5, 6 =

aug4/dim5 (tritones).

4

6. Diatonic collection – The diatonic collection refers to the seven-note diatonic scale as a

whole without implication as to the functional hierarchy of traditional diatonicism. Using

a system created by Dr. Adrian Childs at the University of Georgia, the label DIA is used

to reference the diatonic collection in general. A + or – symbol followed by a number

designates the number of sharps or flats in the key signature of a specific collection (+

equals sharp and – equals flat). As an example, a collection with seven flats is designated

DIA-7, while a collection with seven sharps is designated DIA+71

7. Transposition and Inversion – Transposition of a particular set class is indicated by a

capital “T” and a subscript number that designates the interval (in half steps) of

transposition (i.e., T2). All transpositions are ascending. Inversion of a particular set class

is indicated by a capital “I” and a subscript number that designates the index number

around which the set is reflected (i.e., I5). In all operations, C equals zero (0).

Goals

1. To compose a work that draws people closer to Jesus Christ and is accessible to those in

all levels of music appreciation and Christian understanding.

2. To exploit the two sopranos and orchestra idiom.

3. To develop distinctive harmonic languages and compositional styles for each text source

in order to distinguish concepts and sections.

4. To develop motives that enhance the message of the text and to emphasize important

moments in the text through the use of text painting.

5. To integrate symmetry and balance into form, harmonies, and motives.

1 Adrian P. Childs, “The Diatonic Collection,” from an unpublished manuscript entitled “Notes on Scalar Referential Collections,” University of Georgia, Athens, 1.

5

Overview of the Document Chapters

Chapter 2 discusses the influence of the text on the form, melody, harmony, and

instrumentation of the overall composition. Chapter 3 outlines the form of the work. Chapter 4

details five distinctive categories of texture used within the work, assesses their effectiveness as

text-painting devices, and charts trends of the progression of these categories through the

composition. Chapter 5 compares the rhythm and meter of various sections of the composition.

Chapter 6 highlights the exploitation of the orchestra and soprano idiom, and addresses

instrumentation and extended techniques. Chapter 7 explores specific motives and their

usefulness in unifying the composition. Chapter 8 examines seven fundamental harmonies and

harmonic strategies used in constructing the composition. It specifically discusses the intervallic

content of these harmonies using set analysis. Chapter 9 discusses tonal aspects of the harmony

and the overall key scheme. Chapter 10 summarizes the analytic findings of the document and

evaluates the success of the work in achieving the abovementioned compositional goals.

6

CHAPTER 2

TEXT INFLUENCE

The text for When Peace Flows developed from an original poem written by the

composer. The poem is an interpretation of Revelation chapters 21-22, which describe a time in

the future, following God’s final judgment of mankind, when peace is restored through the

creation of a new heaven and earth. This poem was eventually coupled with selections from

these same chapters in Revelation, as well as additional biblical passages from Revelation and

the Gospel of John, to form the complete text for the composition. These texts focus on God’s

love and redemption as opposed to His judgment of mankind.

Biblical Text

Example 1 displays the biblical text in its approximate arrangement within the piece.

Some of the passages are repeated during the initial use of each paragraph. The example does not

reflect this repetition. The verses are selections from the Gospel of John and the Revelation of St.

John.

John 3:8 sets the tone for the work by detailing a metaphor for the nature of the Holy

Spirit as wind that is untamed and ubiquitous. It is in this context that the book of Revelation,

which is John the apostle’s vision of events to come, is written. The first paragraph of biblical

text depicts the transition from this world to heaven. In the second paragraph, John witnesses the

scene surrounding the throne of God. In the third paragraph, John explains the judgment of the

dead, who have been condemned for their sins and unbelief. The fourth paragraph portrays the

fullness of God. The final paragraph describes the new throne of God (a stark contrast from the

7

Example 1: Biblical Text

The wind blows where it wishes. You hear the sound of it, but cannot tell where it comes from or where it goes. So is everyone who is born of the Spirit.2 (John 3:8) I looked, and before me was a door standing open in heaven.3 And the voice I heard was like a trumpet, saying, “Come up here, and I will show you things which must take place after this.”4 (Revelation 4:1-2) Then I saw a great white throne and him who was seated on it. Earth and sky fled from his presence, and there was no place for them.5 From the throne came flashes of lightning, and rumblings and peals of thunder.6 (Rev. 20:11, 4:5a) And I saw the dead, great and small, stand before God.7 And all were judged according to what they had done. And anyone whose name was not found recorded in the Book of Life was thrown into the lake of fire.8 (Rev. 20:12-13, 15) It is finished.9 I am Alpha and Omega, the beginning and the end.10 To those who are thirsty I will give to drink without cost from the spring of the water of life.11 (Rev. 21:6) Then the angel showed me a river with the water of life, clear as crystal, flowing from the throne of God and of the Lamb.12 “Come!” And let him who hears say, “Come!” Whoever is thirsty, let him come; and whoever wishes, let him take the free gift of the water of life.13 (Rev. 22:1-2a, 17)

2 Scripture taken from the New King James Version. Copyright © 1982 by Thomas Nelson, Inc. Used by permission. All rights reserved. (NKJV) 3 King James Version (KJV) 4 NKJV 5 Scripture taken from the HOLY BIBLE, NEW INTERNATIONAL VERSION®. Copyright © 1973, 1978, 1984 Biblica. Used by permission of Zondervan. All rights reserved. The "NIV" and "New International Version" trademarks are registered in the United States Patent and Trademark Office by Biblica. Use of either trademark requires the permission of Biblica. (NIV) 6 English Standard Version (ESV) 7 KJV 8 Scripture quotations marked NLT are taken from the Holy Bible, New Living Translation, copyright 1996, 2004. Used by permission of Tyndale House Publishers, Inc., Wheaton, Illinois 60189. All rights reserved. 9 NLT 10 KJV 11 NIV 12 NLT 13 NIV

8

first picture of the throne), from which the water of life flows, and offers God’s free gift to all

who are thirsty. Rather than fully quoting chapters or paragraphs, the author extracted and

combined verses to make a concise progression of specific events that detail the aforementioned

story.

Poetic Text

The original poem, shown in Example 2, focuses primarily on the latter two paragraphs

of biblical text. In these final chapters of Revelation, John speaks of a new heaven descending on

a cloud where Jesus will establish his reign. During this time, people will drink milk and honey

from streams, and there will be no need for the sun, the moon, or the stars, as Christ will be the

light of the world. The poem is a personal interpretation of this new world and focuses on a river

that flows throughout the earth and carries in it the water of life. The tone of the poem is

intended to convey peace and conjure images of grandeur, vastness, and smoothness.

The poem is constructed in three stanzas followed by a concluding statement. Stanzas one

and two describe the cause and effect of certain events. The third stanza combines portions of the

first two (the words “throughout the earth” recall the second stanza, while the words “above the

earth” recall the first stanza) and adds the words “in the heavens.”

Cyclical and evolutionary elements pervade the poem. The words “peace” and “flow”

occur in each of the three stanzas, and stanzas one and two reiterate similar concepts and

construction. Also, the final stanza restates earlier terms and concepts in a new way. Thus, the

elements of this text necessitate a musical structure that likewise conveys cyclic form and

thematic evolution.

Example 3 shows the order and arrangement of the poem within the work. The poem is

segmented in ways that do not necessarily correspond to its stanzas. These segments are treated

9

Example 2: Original Poem by the Composer

When peace, like a river, flows above the earth, And on a cloud descends… (Unto the hearts of men.) Behold! A new day dawns and new light, as an eternal sun, Glistens brilliantly throughout the land. When milk and honey, flow throughout the earth, Like a river… The waters of life – Giving (never ceasing) Their cycle of peace and harmony. Then (only then) Does peace, like a river, f l o w,

throughout the earth… and above the earth…

and in the heavens: – Peace –

Goodwill to men

10

in musically different ways and are often separated by large orchestral interludes. Sections of

similar content are composed of similar music. The roman numerals to the left of the poem

reflect these similarities and reveal a pattern of recurrence.

Example 3: Organization of the Poem

The roman numerals I and I' both represent text that discusses “flow” but in regards to

different subjects. This is represented musically by retaining the same melody in each statement

while varying the accompaniment. The melodic and rhythmic setting reflects the peaceful and

subdued tone of these stanzas.

11

The music that corresponds to roman numeral II is intended to convey the grandeur and

brilliance of its text through a predominantly homophonic texture that is not unlike a chorale or

hymn. The melodic contour of this section generally rises as the “new day dawns.” The

verticality of the music in this stanza stands in stark contrast to the mostly linear melodies in this

composition.

The music of section III is cast in a minimalist texture characterized by recurring

sixteenth note scalar passages, an accompanying ostinato, a repetitive harmonic vocabulary, and

slow harmonic rhythm. The music paints a picture of the words “giving, never ceasing” in

reference to the waters of life and is most depictive in rolling, wave-like passages in the piano

and vibraphone and the sopranos’ constant dovetailed refrain: “water.”

Section IV and the closing statement are the only spoken portions of the poem. This is

done for emphasis and variety. In these sections, the text is recited against an undulating, static

harmony that oscillates through various registers.

Generally, the tone of the poem is more lyrical and flowing than that of the biblical text,

and this facilitates a more melodic, smooth, and peaceful texture. Compared to the biblical text

setting, the music that accompanies the poem is often repetitive, simplistic, tonal, and more

rhythmically driven. In contrast, the biblical text setting is characterized by pitch-centricity,

atonality, and moment-to-moment shifts in timbre, texture, rhythm, meter, and dynamics. In both

text settings, however, the composer set the words in a way that the tone, rhythmic intensity,

structure, and texture of the music highlight the meaning of the text. However, in the biblical text

areas the music complements the text in a much more abstract and dynamic way when compared

to the more subtle approach of text painting in the poetic text sections. Following are a few

examples of text painting as it applies to the biblical text portions of the music.

12

Examples of Text Painting

John 3:8 speaks of the wind blowing where it wishes. This text is spoken by the sopranos

in the introduction and closing of the work amidst the sound of wind in measures 1-5 and 541-6,

as seen in Example 4. The overall effect is continuous noise created by the strings at various

noise ranges as they bow on the bridge of their instruments. This is overlaid with surges of wind

created by intermittent blowing through the brass and woodwinds and rubbing the harp of the

piano with the damper pedal depressed.

Example 4: Opening “Wind” Section, mm. 1-5

Example 5a shows another example of text painting that occurs at measure 43. Here the

words “like a trumpet” precede a strong brass, piano, and vibraphone tone cluster that bridges the

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13

gap between John’s narration and the words of God. In measures 55-6, seen in Example 5b, col

legno battuto in the strings, sporadic tone clusters in the piano, bass drum rolls, and high register

violin glissandi accompany the portion of text, Rev. 4:5, that describes God’s throne as emitting

lightning and thunder.

Example 5a: Biblical Passage Text Painting, mm. 43-5

Example 5b: Biblical Passage Text Painting, mm. 55-6

This section is immediately followed by a funeral march. Frequent brass fanfares dot the

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14

phrase modulation and tempo shift at measure 85. These events symbolize the lake of fire

judgment (Rev. 20:12-12, 15). Major mode battles Minor mode in this section, as seen in

Example 6, but its resolution in a Major key signifies God’s triumph. A dramatic pause precedes

the closing words “It is finished.” This type of moment-to-moment shift accommodates the text

and characterizes many of the biblical text portions.

Example 6: Transition into and out of the “Lake of Fire” Judgment, mm. 82-6 and 103-6

(orchestral reduction)

The sopranos have a unique relationship to each other and to the orchestra during the

biblical sections. They may speak in unison, or one soprano may speak while the other sings.

Additionally, the sopranos may dialogue with the orchestra. The reason for these various

techniques is the nature of the book of Revelation.

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15

Revelation is a vision of the end times as seen by John the Apostle on the island of

Patmos. John conveys this vision primarily through narration and through dialogue between

himself, God, and one who is identified only as “the angel.” Alternating speaking roles between

the orchestra and the sopranos captures the spirit of this exchange. Because speaking the text

retains its intended character and intensity while maximizing clarity, much of the biblical text is

spoken with inflection and is evocative of a dramatic reading. Generally, the orchestra speaks the

lines spoken by God and the angel, while the sopranos speak John’s lines and narrate those parts

that do not include dialogue. Exceptions to this occur when greater intensity, stronger emphasis,

or larger dynamic output necessitates the use of orchestra in what would normally be the

soprano’s role.

Numerological Influence and Significance

The influence of the biblical text extends beyond tone, texture, and rhythm to

numerological significance found in the choice of instrumentation, prominent interval classes

and pitch class sets, form, cadences, and key organizations. Numerology is quite prominent in

Revelation. Its use in this work focuses on the numbers three, seven, and twelve.

The number three, “the number of God,”14 can be found in the transposition of main

sections of the work by a Minor third, from E centric harmonies in the beginning of the work to

G centric harmonies at the end, for instance. Its influence is also seen in the number of notes in

the motivic pitch class set [015] and in the number of repetitions of the soprano’s main motive.

Seven is “the number of completeness.”15 A different ensemble of seven solo instruments

sets each of the first three paragraphs of biblical text.16 A similar collection of seven instruments,

14 Benedict T. Viviano, O.P. and Geoffrey Wigoder, eds., Illustrated Dictionary and Concordance of the Bible (Jerusalem: G.G. The Jerusalem Publishing House Ltd., 1986), 859. 15 Ibid.

16

though not always solo, is found two other places in the work: when the biblical text returns from

measures 414-28 and during the “Free” section, which begins in measure 433. The diatonic

collection, which serves as a superset for a majority of the work, contains seven pitches.

Likewise, interval class five, which figures prominently in the construction of motives, melodies,

and harmonies, includes the interval that spans seven half steps.

The number twelve is used to represent “governmental perfection.” “There were twelve

tribes of Israel, twelve Apostles, twelve foundations in the heavenly Jerusalem, twelve gates,

twelve pearls, and twelve angels.”17 In this composition, twelve is the number of distinct musical

sections used in its construction.

The plagal cadence, also known as the “Amen cadence” due to its association with the

closing text of many hymns, is an additional sacred influence and is particularly applicable to

this work. It closes four major sections and many minor phrases of the composition including the

“Lake of Fire” section, measures 106-9 and the “Chorale” section, measures 183-4.

Arrangement of Biblical and Poetic Texts

One of the major issues in constructing a work using multiple texts is deciding how they will be

used in combination. The subject of the poem is easily inserted amidst the latter two biblical

paragraphs from Revelation as the poem is derived from the same chapters. Their specific

segmentation is intended to maximize concentration on a common phrase of both texts, “the

water of life.” Example 7 shows the arrangement of both texts within the work. The final biblical

text from Revelation, which specifically addresses the waters of life, is interpolated between two

statements of the phrase, “The waters of life,” in the poem. Within the actual poem itself this

16 Sopranos, percussion, and bass are not counted in the total number of instruments. In ensemble three, the vibraphone and piano, which essentially double each other’s parts, must be counted as one instrument in order to reach seven total instruments. 17 Matthew J. Slick, “What is Biblical Numerology?” Christian Apologetics and Research Ministry, 14 March 2010 <http://www.carm.org/what-biblical-numerology>

17

Example 7: Combined Arrangement of Biblical and Poetic Texts*

The wind blows where it wishes. You hear the sound of it, but cannot tell where it comes from or where it goes. So is with everyone who is born of the Spirit. (John 3:8) When peace… flows I looked, and before me was a door standing open in heaven. And the voice I heard was like a trumpet, saying, “Come up here, and I will show you things which must take place after this.” (Revelation 4:1-2) Then I saw a great white throne and him who was seated on it. Earth and sky fled from his presence, and there was no place for them. Out of the throne came flashes of lightning and rumblings and peals of thunder. (Rev. 20:11, 4:5a) And I saw the dead, great and small, stand before God. And all were judged according to what they had done. And anyone whose name was not found recorded in the book of life was thrown into the lake of fire. (Rev. 20:12-13, 15) It is finished. I am Alpha and Omega, the beginning and the end. To those who are thirsty I will give to drink without cost from the spring of the water of life. (Rev. 21:6) When peace, like a river, flows above the earth, And on a cloud descends… (Unto the hearts of men.) Behold! The new day dawns and new light, as an eternal sun, Glistens brilliantly throughout the land.

*Biblical text Poetic text

When milk and honey, flow throughout the earth, Like a river… The waters of life – Then the angel showed me a river with the water of life, clear as crystal, flowing from the throne of God and of the Lamb, down the middle of the great street of the city. “Come!” Let anyone who hears say, “Come!” Whoever is thirsty, let him come; and whoever wishes, let him take the free gift of the water of life. (Rev. 22:1-2a, 17) The waters of life – Giving (never ceasing) Their cycle of peace and harmony. Then (only then) Does peace, like a river, flow When peace, like a river, flows above the earth, And on a cloud descends… When peace, like a river, flows above the earth, throughout the earth… and above the earth… and in the heavens: – Peace – Goodwill toward men. The wind blows where it wishes. You hear the sound of it, but cannot tell where it comes from or where it goes. So is with everyone who is born of the Spirit. (John 3:8)

18

phrase is stated only once. Its repetition following the biblical text allows a smooth transition

from the biblical text and emphasizes the water of life.

The text is also arranged so that the first portion of the composition sets a greater amount

of biblical text, while the latter portion trends toward poetic text. This shift implies a progressive

transformation from the more dissonant and disjunctive biblical text settings to the more

consonant, flowing, and structurally more consistent poetic text setting.

Together, the poem and biblical texts form a unit, a story of progression and restoration, a

story of a free gift – the water of life, which is Christ Jesus. Revelation 22 is the completion of a

process begun in the time of Adam and Eve. Although mankind was separated from God by its

sin, that relationship is restored in these final chapters. All things that existed before the fall of

man are now returned and more; an even better Eden exists as all that was lost is now found. The

work conveys this restoration and completion in its final two sections, which revisit the opening

two sections, in reverse, transposed up three half steps.

19

CHAPTER 3

FORM

When Peace Flows is a one-movement work composed of small sections of music that

are distinguished by their thematic content, texture, use of text, and instrumentation. These sub-

sections are grouped into five larger sections based on stylistic similarities and patterns of

recurrence. Using these larger sections, the structure of the work can be labeled as Introduction

ABA'B'A" Coda, where the first, third, and final sections contain similar material, and the second

and fourth sections likewise contain similar material that is dissimilar from the other three. The

“Introduction” and “Coda” also contain similar material. When Peace Flows can be described as

having an arch form in terms of its recurring sections and mirror construction. Table I identifies

the smaller sub-sections that make up the larger sections along with measure numbers and the

type of text each sets.18

Descriptions of the Larger Sections

The A section sets a combination of the first five paragraphs of biblical text and the first

stanza of the poem. The B and B' sections set only the words “the waters of life,” which are

found in both the biblical and poetic texts. The A' and A" sections set the remainder of biblical

and poetic texts as well as repeat the first half of the poem’s first stanza. The Introduction and

Coda both set biblical text from John 3:8.

Specifically, seven sub-sections are contained within the larger A section, which extends

from measures 14 to 197. The characters of these sub-sections vary from slow-moving sound

18 Gaps in measure numbers represent those measures that are merely transitional between sections.

20

Table I: Delineation of Sections

Introduction

sections: Wind Pitch-centric measures: 1-5 7-13 text: biblical none A

sections: Conversation Avant-garde Lake of Fire MMO MMS Chorale Chorale Melody measures: 16-27 35-84 85-105 113-30 132-46 156-84 185-97 text: poetic biblical none none poetic poetic none B

sections: Fast Dance Fast Dance measures: 198-233 238-77 278-305 306-24 text: none none none none A'

sections: Conversation MMS (abridged) measures: 325-38 359-68 text: poetic/biblical poetic B'

sections: Water measures: 370-413 text: poetic/biblical

A" Conversation sections: Avant-garde (abridged) Free MMS MMO Chorale Melody measures: 414-29 429-32 433-54 456-65 474-518 516-27 text: biblical none poetic poetic poetic poetic Coda

sections: Pitch-centric Wind measures: 533-40 541-6 text: none biblical

21

masses to rapid minimalist passages and from lyrical melodies to angular atonal areas. The B and

B' sections, measures 198-324 and 370-413 respectively, feature instrumental duets such as two

clarinets, flute with violin, and vibraphone with piano. Though the A' section, measures 325-369,

contains only two sub-sections, these reiterate sub-sections found in both the A and A" sections.

The sub-sections of the A" section, measures 414-532, are nearly identical to those of the A

section but are varied and reordered. For example, the “Main motive of the Orchestra” and the

“Main motive of the Sopranos” as well as the “Conversation” and “Avant-Garde” sections are

reversed, as can be seen in Table I. The sub-sections of the Introduction and Coda are likewise

reversed, and thus the work ends the way it began.

Descriptions of the Individual Sub-Sections

Both the Introduction and Coda are composed of two distinct sections, the “Wind” and

“Pitch-Centric” sections. The “Wind” sections use full orchestra to generate both wind gusts and

sustained wind sounds through extended techniques. They contain no pitches. In contrast, the

“Pitch-Centric” sections incorporate a sparse four instruments in the Introduction and seven in

the Coda. These sections are texturally very thin and sustain a single dyad decorated by a

consistent upper neighbor note.

A melodic motive played in dialogue between two instruments gives the “Conversation”

section its name. The motive follows a distinctive contour of step then leap. Its initial exposition

features the two sopranos. Subsequent statements use alto flute with viola and two C flutes. Each

of the statements varies in length and pitch content, but the contour and instrument exchange

remains the same.

The “Avant-Garde” sections encompass a variety of rhythmic, harmonic, melodic, and

textural elements, and they are best characterized by moment-to-moment fluctuations in density,

22

rhythmic intensity, phrasing, meter, and tempo. Their general lack of a tonal center helps

distinguish them from other sections in the composition. The “Avant-Garde” sections are used

exclusively to set biblical text, and, in fact, they are used to set all of the Revelation texts.

The Main motive of the Orchestra, or “MMO,” occurs in both the A and A" sections,

though the latter is much more extensive. This section is composed of fast, steady rhythms that

maintain a melodic ostinato. Diatonic harmony, cadential progressions, and regular phrasing

typify this section. The section always closes with some form of an authentic cadence in large

fanfare.

In the Main motive of the Sopranos, or “MMS,” the sopranos alternate singing phrases

from the first three lines of the first stanza and the first two lines of the second stanza of the

poem. The harmonic and surface rhythms of the work are slowed in this section through a

somewhat free setting of the melody’s rhythm against an ostinato backdrop. Quintal harmony

provides the accompaniment and the framework for the melody. Each statement of the MMS

varies the instrumentation of the accompaniment.

The homophonic texture of the “Chorale” section and “Chorale Melody” set them apart

from the remainder of the composition. The “Chorale” section repeats the same text, the last

three lines of the poem’s first stanza, twice, in two similar phrases, separated by a short interlude.

The “Chorale Melody” follows. At the end of the piece, the “Chorale Melody” returns separately.

It is characterized by simultaneous ascending and descending motion that expands the range to

greater than five octaves at its apex and contains the highest and lowest pitches of the

composition.

The “Fast,” “Dance,” and “Water” sections are almost exclusively instrumental, and are

composed of lively melodies, polyphonic textures, complex polyrhythms, and energetic tempos.

23

All are cast in a diatonic framework. The “Fast” section layers several rhythmic ostinatos and

features a playful clarinet duet. The “Dance” section showcases the piano and vibraphone in

rapid, scalar passagework. It also introduces a dance-like refrain in 10/16 meter. Both of these

sections are repeated at approximately half of their original length. The “Dance” and “Water”

sections are closely related and distinguished mainly by the use of text in the latter. Prominent

melodies and lack of text (the “Water” section sets only the words “the waters of life”)

distinguish these three sections from the remainder of the composition.

The A' section, inserted between the “Dance” and “Water” sections, provides a reprieve

amidst the driving minimalism of the B section. It is preceded by an extended pause following

the “Dance” section, one of two in the entire piece. A more relaxed pace and thinner texture,

along with this pause, disassociates the material of the A' section from that of the surrounding B

and B' sections.

The A and A" sections are closely related; however, there is quite a discrepancy in terms

of focus. In the A" section, the length of the second “Avant-Garde” section is a fraction of the

original. It uses one-sixth the biblical text and spans fifteen measures compared to forty-nine

measures in the A section. To contrast, the MMO plays a more substantial role in the A" section.

In fact, at forty-four measures it is nearly the same length as the “Avant-Garde” portion in the A

section.

This shift reveals an important transformation. As the work progresses, the harmony

gradually becomes more consonant, the beat becomes steadier, and structural integrity increases.

The MMO typifies all of these elements. The fact that it encompasses such a large portion of the

A" section validates the transformation.

24

Arch Form

The preceding chapter concluded, on page 21, with a discussion of mankind’s separation

from God through sin and its eventual reconciliation as Christians with Him in a new heaven and

earth. The design of When Peace Flows echoes this theme. It begins with certain elements,

progresses away from those elements to something new and exciting, and ultimately returns to its

origin in a slightly modified state. This is expressed formally in the composition through arch

form.

The Oxford Companion to Music defines arch form as a structure “where the first two

sections are repeated in reverse order after the contrasting middle section, thereby creating a

mirror symmetry.”19 In the case of When Peace Flows, the first three sections, Introduction, A,

and B, return slightly varied at the end in reverse order as B', A", and Coda. The “contrasting

middle section,” A', is a condensed and modified version of the other two A sections.20 The sub-

sections contained within the Coda are reiterated from the Introduction in reverse order, thus the

composition ends where it began.

Summary of Formal Structure

The diagram in Example 8 is a graphic representation of Table I and charts the individual

sections of When Peace Flows, their respective lengths in terms of measures, and the text

associated with each. Dashed lines indicate the end of sections. Below the chart, the letters B and

P identify biblical and poetic texts.

19 "arch form." In The Oxford Companion to Music, edited by Alison Latham. Oxford Music Online, http://www.oxfordmusiconline.com.proxy-remote.galib.uga.edu/subscriber/article/opr/t114/e365 (accessed June 4, 2010). 20 Ibid.

25

Example 8: Graph Delineating Sections

The derivation of the arch form structure, Introduction ABA'B'A" Coda, is based on the

recurrence of specific sub-sections parsed according to their distinctions in melody, texture,

rhythm, and use of text, according to their sense of closure and independence from the adjacent

material. These sub-sections are then grouped into larger sections, where similarly labeled

sections, A, A', and A" for example, contain similar sub-sections. The use of the prime label

following A and B indicates variation in the content of these sections in terms of the sub-sections

each contains and the sub-sections themselves.

26

The A, A' and A" sections set the majority of text for the work. Generally, the sub-

sections of which they are constructed exhibit more diversity in texture, harmony, and rhythm

than the B and B' sections. These tend toward more consistent harmonic progressions and much

faster tempos than the A, A', and A" sections.

The A' section is significantly smaller than the A and A" sections and contains only two

sub-sections, the “Conversation” section and the MMS. The dissimilarity of the music of these

two sub-sections from the surrounding B and B' sections led to the parsing of the A' section. Its

use of material found in both the A and A' sections supports this analysis.

In conclusion, balance, symmetry, and continuity, which are integral to the construction

of When Peace Flows, are expressed through the arch form of the composition and through the

ABA'B'A" structure. This structure reflects important biblical principles of transformation and

restoration by restating modified versions of original material. The recurrence and variation of

individual sub-sections, that combine to form the larger structures of the work, echo this theme.

27

CHAPTER 4

TEXTURE

In the previous chapter, texture was often mentioned as one of the components of formal

articulation. The use of texture not only aids in delineating the structure of the work but also in

the perception of particular sections as a word-painting device. In this piece, textures are grouped

into five categories: 1) sound mass/stasis, 2) lyrical melody with accompanying ostinato, 3)

ostinato, 4) mixed, and 5) chorale. These five categories are associated with a particular level of

intensity, which is measured by the texture’s density, rhythmic activity, and instrumentation. The

progression of these categories through the work reveals patterns, transformations, and trends.

General Contrasts in Texture

Textural diversity dominates the architectural landscape of When Peace Flows. Areas of

vastness and relatively static motion contrast with those of dense activity. The terms vast and

static motion refer to the use of relatively widely spaced harmonies (i.e., those that generally

retain a perfect fifth or greater between adjacent pitches), slow moving or static harmonic

progressions and rhythms, and relatively sparse instrumentation. Those areas characterized by

this texture are the MMS, measures 132-46, 359-68, and 456-65; the “Pitch-Centric” sections,

measures 7-13 and 533-40; the “Conversation” sections, measures 16-27, 325-38, and 429-32;

and the “Free” section, measures 433-54. Excerpts from the opening “Pitch-Centric” section and

the first MMS appear in Examples 9a and 9b.

28

Example 9a: Opening “Pitch-Centric” Section, mm. 7-13

Example 9b: Excerpt from the First MMS, mm. 132-9

!

"

!

"

7

Flutes

Oboes

Vibraphone

Contrabass

!!

!!

!!

!!

!solo

fp fp mp fp

!solo

pp p mp

!" (leave down) sfz mp sfz sfz p mp sfz mp mf

#

$ % & & % ' # % % % % % $& ( %) % % ' '*

+ ' $ ' +'

+ + ' $ $*

$$$$ & ''''% &

% %%%% & + ''''' %, # %,) ''

,##

% % % % %%%%%,

$$$* ',

*

$ $ $ $ $ $ $

!

"

!

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!

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!

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132

!!

"!

!!

#!

!!

Flutes

Oboes

Clarinets in Bb

Bassoons

Horns in F

Trumpets in Bb

Trombone

Piano

Soprano

Soprano

Violin I

Violin II

Viola

Violoncello

Contrabass

! "mp

3 3 3 3 3 3 3 3 3 3 3 3 3 3

! " "n p sempre

! "n p sempre# "

p

! "p

breath attack

! " " breath attack

p# "breath attack

p

! "p

3 3 3 3 3 3 3 3 3 3 3 3 3 3# " " " " " " " "

!When

mf

peace like a ri ver- flows a bove- theearth

"

! " " " " "mf

and on acloud de scends-

! "n p sempre

! "n p sempre

$ "n p sempre

# "n p sempre

# "mf p

" "mp

%&' %'( %%& %( %

%&' %'( %%&' %'( %

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+ * ,' + ,'

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29

Despite their differences in instrumentation density, similarities exist in the harmonic

content and rhythmic activity of these two sections. Both are composed of primarily quintal

harmony and generally sustain no more than three pitches at any given time. The “Pitch-Centric”

section is mostly devoid of metrical pulse, while niente attacks and a rhythmically “free and

expressive” soprano melody obscure the beat of the MMS. The full instrumentation of the MMS

does not result in what would normally be a dense texture. Rather, the small number of pitch

classes spread across a large register and throughout the orchestra actually contributes to the

vastness of the section. The openness of the quintal harmony, the static harmonic rhythm, the

distance between attacks, and the sparse instrumentation all contribute to a vast and relatively

static texture.

In contrast, dense, more dynamic activity typifies the MMO, much of the “Avant-Garde”

sections, and the majority of the B section. In these areas, expanded register and fuller

instrumentation, along with more compacted chords, faster rhythms, and faster harmonic

progressions contribute to a sense of greater density. Example 10 shows a selection from the

“Fast” section, measures 280-8, that serves as a typical example of dense texture. Here, full

instrumentation combines with the simultaneous layering of various motives and rhythms to

create density.

Fluctuations in Texture

Contrasting areas of vastness and density are often found adjacent to one another in the

piece. For example, the MMS and MMO in both the first and final sections are adjacent to one

another, as are the “Conversation” and “Avant-Garde” sections. This juxtaposition of textures

creates an ebb and flow that can be quantified by measuring the density of a particular section.

30

Example 10: Excerpt from the second “Fast” Section, mm. 280-8

!

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!

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!

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!

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!

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280

!!

"!

!!

"!

!!

Flutes

Oboes

Bassoons

Horns in F

Trumpets in Bb

Trombone

Piano

Violin I

Violin II

Viola

Violoncello

Contrabass

"!

6

!!

"!

!!

Fl.

Ob.

Bsn.

Hn.

Tpt.

Tbn.

Pno.

Vln. I

Vln. II

Vla.

Vc.

Cb.

! "p p

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#

!

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# "p p

#

$

!cresc. poco a poco

f

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% & '( '( ' '( ')( % * % & '( '( ' '( ')( % & '( '( ' ' ')

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, ')( ') & '), ') ') & ')

,

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'( ') & ')(+ & ')+ & ', ')' '( '( ') & ')(+ & ')+ & ', ')

' '( '( ') & ')(+ & ')+ & ',''')( ''') &

''')+''')(( ''') & ''')+

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% & '( '( ' '( ')( % * % & '( '( ' '( ')( % & '( '( ' ' ')

% & '( '( ' '( ')( % * % & '( '( ' '( ')( % & '( '( ' ' ')

'( ') & ')(+ & ')+ & ', ') ' '( '( ') & ')(+ & ')+ & ', ') ' '( '( ') & ')(+ & ')+ & ',

'( ')& ')(+ & ')+ & '+ ') ' '( '( ')

& ')(+ & ')+ & '+ ') ' '( '( ')& ')(+ & ')+ & '+

% '( '( ' '( ')( '( '( ' '( ') ' ' ' ' ') ' ' ' '( ')( '( '( ' ' '.( % *

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')( ') '-(') ') '-( ')( ') & ')+ ') ') & ')+ ')( ') & ')+ ')( ') '- *

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% '( '( ' '( ')( '( '( ' '( ') ' ' ' ' ') ' ' ' '( ')( '( '( ' ' '.( % *

') ' '( '( ') & ')(+ & ')+ & ', ') ' '( '( ') & ')(+ & ')+ & '),

') ' '( '( ')& ')(+ & ')+ & '+ ') ' '( '( ')

& ')(+ & ')+ & ')+

#

31

Surface Activity

*H ^H CM ra co -<fin to LO LO m vn

Table II charts the density of specific sub-sections of the composition based on their

instrumentation.

Table II: Instrumentation Density Chart

Measure numbers

Specifically, the Y-axis of the chart ranges from level 1, which represents an

unaccompanied solo instrument, to level 16, which represents the full orchestra. Thus, all values

refer to the number of instruments being used at a given time. The X-axis references the specific

measure numbers at which significant shifts in instrumentation density occur. These points

usually correspond to the beginning of new sections, but sometimes they chart fluctuations

within a section, or transitional moments between sections.

Overall, the chart reveals frequent, large fluctuations in instrumentation density. Table III

shows the relative level of surface activity, that is, the amount activity created by rhythmic

complexity, instrument interaction and independence, and tempo, using the same measure

delineations. The Y-axis references this level of surface activity using an arbitrary numbering

system where 1 is a minimal level of surface activity and 10 is a more active level of surface

activity.

32

Instrumentation Density

Table III: Surface Activity Chart

Measure Numbers

Surface activity, which includes rhythmic complexity, pulse, and the prominence of

rhythm, also contributes to the texture of a section. While the second graph is less polarized than

the first, similar disparities are present. Measures 103-6, 304-25, 407-14, and 511-29 show the

greatest swing from intense surface rhythm to relative stasis. These measure numbers parallel

fluctuations in instrumentation density at the same points and correspond with the conclusion of

four sections: the “Lake of Fire,” “Dance,” “Water,” and final MMO. The “Lake of Fire” and

MMO sections will serve as representative examples.

The end of the “Lake of Fire” section, measures 103-5, and the beginning of the

subsequent section, measure 106, marks the transition from biblical to poetic text and depicts the

completion of God’s final judgment and His promise of the water of life. Depicted in Example

11, this moment is emphasized by a dramatic shift from full orchestra with a driving ostinato to

sparse rhythm and instrumentation. The graphs in Tables II and III corroborate this contrast.

33

Example 11: Ending of the “Lake of Fire” Section, mm. 103-6 (orchestral reduction)

The concluding measures of the A" section, measures 522-7, are marked by a shift from

full orchestra to solo piano, as seen in Example 12. The steady rhythm gradually deflates via a

ritardando and a repeated ostinato figure as the A" section transitions into the Coda. Here, the

textural change likewise enhances the text. The final phrase “in the heavens” is cut short and

only the words “in the…” are sung. This is followed in measure 531 (not shown) by the final

words of the poem, “Peace, goodwill to men.” The intent is to signify that the events described in

the poem and biblical passages have not yet occurred, so for the moment a blessing of peace and

a call for goodwill are extended to all mankind.

103

Alla Breve h = 60

Meno mosso q = 50

Woodwind

Brass

Vibraphone

Piano

Voice

Strings

!!

!!

!!

!!

!!

!!

!!

!!

!!

!!

""

""

""

""

""

""

""

""

""

""

!ff

"" "" #3 3 3 3 3 3 3 3

$ff

#

!ff

#$

ff

#

!ff

#

!ff

#3 3 3 3 3 3 3 3

$ #

% # # #mf

It is fin ished-

3

!ff

#3 3 3 3 3 3 3 3

$ff

#

& &" &" & & &&'

& &'

& & & & & & &&'

& &'

& & &" &" & & &&'

& &'

& & & & & & & (()""

&'

& &'

&&&*"" &&* &&* &&* &&* &&* &&* &&* &&*"" &&* &&* &&* &&* &&* &&* &&* (()""

&*" &

*&*

&*

&*

&*

&*

&*

&*" &

*&*

&*

&*

&*

&*

&*

()"

&*" &* &* &* &* &* &* &* &*" &* &* &* &* &* &* &* ()"

&&&""" &&& &&& &&& &&& &&& &&& &&& &&&""" &&& &&& &&& &&& &&& &&& &&& ((()

&" &" &" &" & & & & & & & & &" &" &" &" & & & & & & & & (((()"""

&&&""" &&& &&& &&& &&& &&& &&& &&& &&&""" &&& &&& &&& &&& &&& &&& &&& ((()

+) , & & & & , +&" &" &" &" & & & & & & & & &" &" &" &" & & & & & & & & (()""

(" ( ()

34

Example 12: Transition from the A" section into the Coda, mm. 522-7

Each of these sections is characterized by intense rhythm and dense instrumentation and

is disassociated from the music that follows by a sharp drop in instrumentation density. These

shifts, along with the others in Tables II and III, effectively segment the work into pockets of

varying textures and help delineate sub-sections of the composition. Many of the sub-sections in

the composition are therefore diversified not only by their unique melodic and harmonic make up

but also by their texture as defined by rhythmic and instrumentation densities.

Texture Classifications

To classify the varying types of textures used in When Peace Flows, five categories have

been devised. Most of these categories allude to traditional classifications such as homophony or

polyphony, but they go beyond that to accommodate more thoroughly the styles and textures

522

rit. molto rit.

molto rit.

Woodwind

Brass

Vibraphone

Piano

Soprano

Strings

!!

!!

!!

!!

!!

!!

!!

!!

!!

!!

!!

!fff f mf

" "#

!ff mf p

" " " "#

$fff f

" " "#

!fff f mf

" " " "#

$fff f

" " " "#

!ff mf p

" " " "#

!fff

ff ff sub. pp

6 6 6 6 6 6 6 6 6 6 6 6

$subito p

!f

in the

%hea vens-

mf

in

%the

" " " "#

!fff f mf

" " " "#

$

fff f

" " "#

&&' &&

' (( &&&&

&& && (( &&%%&& )* )

&&+ &&&&

&&+ &&&&

&&+ &&&&

&&+ &&&&

&&+ &&&&

&& &&+ &&+ &&

&& &&&& &&

&& &&&& &&

&& &&&& &&

&&

) ) )

&&' &&' (( &&&& && && (( &&%%

&&

) )&+ &&&+ &&&+ &&&+ &&&+ &&& &+ &+ & & & & & & & & & & & & & &

&&&&' &&&&

' (((( & & & & ( &% & &+&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&& &&&+&&

&+&&

&+&&

&+&&

&&&&&&&&&& )#

))+ ))+ ))+)),, )) ))

#

- . & && & & & (& & ( & && &

&&&' &&&' ((( &&&&&&%

&&& &&& ((( &&&%%&&&

))

)) ))

35

used in this composition. The five categories are as follows: 1) sound mass/stasis, 2) lyrical

melody with accompanying ostinato, 3) ostinato, 4) mixed, and 5) chorale.

Having defined the sound mass/stasis category above, those sections identified in this

category are the “Wind” and “Pitch-Centric” sections that open and close the work, the storm

portion of the “Avant-Garde” section, measures 54-64, the accompaniment to the initial MMS, as

can be seen in Example 9b, the “Conversation” sections, and the “Free” section, measures 433-

54. Example 13 displays the opening “Wind” section.

Example 13: Opening “Wind” Section, mm. 1-5

The second and third texture categories reference two different types of ostinato. The first

type, lyrical melody with accompanying ostinato, describes those areas where ostinato is used to

!

"

!

"

!

"

!

"

Woodwinds

Brass

Percussion

Piano

Soprano 1

Soprano 2

Strings

! "7"


8"# # #

# " # # #

! "7"

f

8"# # #

# "f

# # #

$ " wind chime % &&&&&&& "&&&&&&&& " "

#rub hand over low bass strings &&&&&&&&&&&&&&&&&&&&

&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&

&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&

l.v.

#'&&&&&&

&&&&&&&&&&&&&&&&&

&&&&&&&&&&&&&&&&&

&&&&&&&&&&&&&&&&&

&&&&&&&&&&&&&&&&&&&&

simile

&&&&&&&&&&&&

&&&&&&&&&&&&

&&&&&&&&

&&&&&&&&&&&

&&&&&&&&&&&&

&&&&&&&&&&&&

&&&&&&&&&&&&&&&&

spoken

! " "S1: "The wind blows where it wishes. // You hear the sound of it/ but cannot tell / S2: where it comes from// or where it goes. / a2: So is with everyone / who born of the Spirit."

"

! " " "

!ff Strings bow the bridge

or tailpiece

7" 8"# # #

#ff

# # #

$ $ $ $

$ $ $ $

$ $ $ $

$ $ $ $

( )%%%*

$ $ $ $ $

$ $ $ $ $

36

provide an underlying framework for a more prominent lyrical melody. The latter type, simply

termed “ostinato,” indicates those areas where ostinato alone is the focal point.

Specifically, examples of lyrical melody with accompanying ostinato occur in the

following places. From measures 132-46, the first MMS is sung over an ostinato in the flute and

piano. Measures 345-67 showcase a violin and flute duet as well as the second MMS. Both of

these overlay a piano ostinato, later joined by the vibraphone. The third MMS is supported by a

cello ostinato from measures 456-65. Finally, from measures 486-95, a soprano melody floats

atop a modified MMO, which is itself an ostinato. A portion of the first MMS is shown in

Example 14. Each of these areas is distinguished by consistent rhythm, steady beat, steady

harmonic rhythm, and clearly defined melody with accompaniment.

Example 14: Excerpt from the First MMS, mm. 132-9

The “Lake of Fire,” “Fast,” “Dance,” and “Water” sections, along with the MMO best

demonstrate the second type of ostinato texture. Nearly two hundred sixty of the work’s five

hundred forty-five measures are devoted to this texture. Not surprisingly, this category contains

great diversity in terms of instrumentation density and rhythmic, as well as melodic, activity. The

one commonality is the lack of a clear and definable melody to which the ostinato is subordinate.

Most of the ostinatos contain melodic and rhythmic elements, and some contain harmonic

elements as well.

!

"

132

Flute

Piano

Soprano 1

Soprano 2

!!

!!

!!

!!

"!

"!

"!

"!

!!

!!

!!

!!

#!

#!

#!

#!

!!

!!

!!

!!

! "mp

3 3 3 3 3 3 3 3 3 3 3 3 3 3

! "p 3 3 3 3 3 3 3 3 3 3 3 3 3 3

!When

mf

peace like a riv er- flows a bove- the earth

"

! " " " " "mf

and on a cloud de scends-

#$% #%& ##$ #& #

#$% #%& ##$% #%& #

#$ #& ##$% #%& #

#$ #& ##$% #%& #

#$ #& ##$% #%& #

#$ #& ##$ #& # #$% #%& #

#$ #&#% #% #% # # # # # #% #% #% # #% #% #% # # # # # #% #% #% # # # # # #% #% #% # # # # #

#%#% #% # #

# # ##

# # # #% #% #% # # # #

#% '% # # #( #%& # #& ' # #% ' # # )% ' ' #

* + , #%&#% # #& # # #& # #% # )%

37

The MMO, for example, is constructed of a melodic ostinato in the upper voice, which is

shown in Example 15. The “Lake of Fire,” “Fast,” and “Dance” sections and much of the “Water”

section are each composed of several simultaneous ostinatos layered at various rhythmic and

pitch intervals. Individually, these ostinatos each retain a consistent pattern, but corporately, their

interaction varies depending on the number of beats it takes for a particular ostinato pattern to

cycle. The first part of the second “Fast” section, measures 280-8, is illustrative of this

interaction (see Example 10 on page 30). In this section, the overall texture is created from three

different, concurrent ostinatos in the upper woodwinds and upper strings, brass, and bassoons

and lower strings.

Example 15: MMO Ostinato

The mixed category encompasses the two “Avant-Garde” sections, measures 35-84 and

414-29. This category is so named for the wide range of textures, styles, rhythms, and

instrumentation densities found in the “Avant-Garde” sections. The variance in these sections is

mainly due to their governance by the text, as the music is painted to suit its every whim of

emotion and meaning.

The final category, chorale, is most easily defined as homophonic. This texture is unique

to two sections of the work, the “Chorale” and “Chorale Melody,” measures 156-97, and the

second “Chorale Melody,” measures 519-27. In these sections, the majority of the orchestra

harmonically parallels the melody and rhythm of Soprano I much like a hymn or a chorale, as

can be seen in the excerpt from the “Chorale” section in Example 16.

!!

!!

!

"

#$ # #$ ############# #$ #$ ############## #$ # #$ ############# #$ #$ ##############

%%& %%

&$$ %%&$$ %%&

$$

38

Example 16: Excerpt from the “Chorale” Section, mm. 159-68

Patterns in the Progression of Texture Categories

Example 17 arranges the five texture categories of each sub-section in order of their

appearance within the larger sections of the work.21 Dashed lines represent the prolongation of a

specific texture from one sub-section to another based on repetition of that texture. The chart

reveals symmetrical construction of the composition as it regards texture and echoes the formal

structure of the work, and the changes in texture reinforce the specific parsing of sections and

sub-sections.

The A and A" sections are quite similar in their textural makeup, as are the B and B'

sections. Example 18 examines the relationship of the A and A" sections more closely. Repeated

textures are combined and a line divides the sections into two parallel parts to highlight

similarities. Both sections contain the same textures in nearly the same order. Connecting lines

denote the cross relationship of textures 1 and 4 in the beginning and 1 and 5 at the end of each

section.

21 By no means does this or the previous explanation of the five textures encompass all parts of the work. There are transitional moments that have been excluded and smaller moments that have been labeled under an umbrella term in order to reveal large-scale relationships and specific patterns of texture.

159

Woodwind

Brass

Soprano 1&2

Strings

!!

!!

!!

!!

!!

!!

!!

"!

"!

"!

"!

"!

"!

"!

!!

!!

!!

!!

!!

!!

!!

#!

#!

#!

#!

#!

#!

#!

!!

!!

!!

!!

!!

!!

!!

! " " "p f

"p# "

mp

"

! "mp p f mf

"p

# " "

!Be

mf

hold- a new day dawns and new light new

mp

light as an e ter- nal- sun

f

glis tens glisglis stens- glis tens- bril liant- ly

3

3

mp

through out- the land

3

! " " " " "mf f 3 p3 3

# " " " "f 3

$$$ $$ $$ %% &&&%%% %%%' $$$ !

!

! %%% !

!

!

%%%($$$ !

!

!

&&& $$$' !

!

! )

* + %, % % $ !

) & % ! %, % & % %' $ ! % ! %' , $ !

& $' ! )

* + %%,%% %% $$$' !

!

!

)$$ %%' !

! %%,

%% %%'

%%

!

! %%-, &-& % % $ !% % $ !

% !%!

%, $ !%( $ !

&& $ !$ !

)

* + %, % % $ !

) $ $' % ! %, % & % %' $ ! % ! %' , $ !

& $' ! )

%. $%/ $ % % % % $ !% % % % $ ! ) )% % % $ + % !%' % % !

%,%(% !

% % !% !

% % !

%, &%( & % % $ !% % $!

% !% !

%, $%( $ % % %% % % %% %% % !% ! %, $ !%( $ ! %% &&

+ %%(%% %% %%' %% %% %% %% %% %% %% $$ !

! %% !

! %%(

$$ %% %% %% %% %% %% !

! %%($$ !

! %% $$ !! )

) !

%%,

%% &&% %' $ ! % ! %' , $ ! $$&

%% %% %% &&&$$$' !

!

! )

39

Example 17: Arrangement of Texture Categories Within the Work

Example 18: Reduction and Comparison of sections A and A"

In summary, adjacent sub-sections of When Peace Flows are characterized by large

fluctuations in texture, instrumentation density, and rhythmic intensity. By charting the

alternation of the five categories of texture as they progress through the work, patterns emerge

that parallel the symmetrical structure of the composition. The extreme variance of textures aids

in the recall of particular sections when those or similar textures return. Further, these textures

create another level of text painting that captures and emphasizes specific moments of the texts.

40

CHAPTER 5

RHYTHMIC COMPONENTS

Meter, tempo, and rhythm all fall under the larger heading of rhythmic components. In

When Peace Flows, each of these is used to create the identity of particular sections, to enhance

the impact of the text or concepts presented by the text, to replicate natural speech patterns in

spoken text, and to provide broad scale connectivity through the use of rhythmic motives or other

recurring elements. The following chapter focuses on four primary rhythmic components: meter,

tempo, rhythm, and rhythmic motives.

The Role of Meter

The role of meter can be grouped into four categories: areas without meter, areas with

aurally imperceptible meter, areas of alternating meter, and areas of consistent meter. The “Free”

section, measures 433-54, is representative of those areas without meter, measures 433-41 of

which are shown in Example 19. The piano and vibraphone are intended to portray the

undulation of water. In this regard, the use of indeterminate notation and the absence of meter

effect more natural ebb and flow during the performance. However, the degree to which the

listener perceives this freedom largely depends on the performers. The performance notes dictate

the specific avoidance of any steady beat or rhythm, though one can never be assured of such

exact discipline when writing aleatoric music. This category is also seen in the “Wind” sections.

41

Example 19: Area Without Meter, Excerpt from the “Free” Section, mm. 433-41

The second category addresses those areas with aurally imperceptible meter. Examples of

this are the “Pitch-Centric” sections and the first MMS. As seen in Example 20, during the first

MMS, measures 132-45, dovetailed entrances, niente attacks, and wedge dynamics create the

effect of non-metered music despite consistent entrances on every beat of the measure. Adding to

this effect are the sopranos, who sing their phrases somewhat out of time with the metered

accompaniment.

!"

!"

!

"

Fl.

Perc.

Vib.

Pno.

S.

S.

Vla.

!

"

!

!#

!

!

!

Event driven:All entrances are cues to other performers.Duration and repetition are therefore improvised

solo

mp

alto fl.

#mp

$ $

mp

l.v. 6"

%&(leave down)

l.v.

$ %%mp

&%%

- insert random pitches from F Major into contuning arpeggio- ad lib. rhythm and interaction independent of piano- avoid steady beat, rhythm, or scalar pattern

''''''''''''''''''''''''''''''''''''''''''''''''

(($ %%

mp

&%%

10"

(($ %%

&(leave down)

&%%

(

(

(((

- insert random pitches from F Major into contuning arpeggio- ad lib. rhythm and interaction independent of vibes- avoid steady beat, rhythm, or scalar pattern

'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

%6"

spoken slowly and serenely

The waters of life

6" simile

g i v i n g

%the

p

wa ters

'-

()ppp

#

)) * +, ) ( ) (

)

+ + + + + - - - -*.+ --

+ + + + - -- - -

+ + - --

- - -

+ +. % )

( /

42

Example 20: Imperceptible Meter, Excerpt from the First MMS, mm. 132-9

Alternating meter is the most pervasive of the three metrical categories. Most instances

alternate between various simple meters (4/4, 3/4, etc.). Shifting the downbeat allows phrase

extensions and elision. Example 21 depicts one such moment, excerpted from the “Water”

section.

!

"

!

"

!

"

!

"

132

!!

"!

!!

#!

!!

Flutes

Oboes

Clarinets in Bb

Bassoons

Horns in F

Trumpets in Bb

Trombone

Piano

Soprano

Soprano

Violin I

Violin II

Viola

Violoncello

Contrabass

! "mp

3 3 3 3 3 3 3 3 3 3 3 3 3 3

! " "n p sempre

! "n p sempre# "

p

! "p

breath attack

! " " breath attack

p# "breath attack

p

! "p

3 3 3 3 3 3 3 3 3 3 3 3 3 3# " " " " " " " "

!When

mf


"

! " " " " "mf


! "n p sempre

! "n p sempre

$ "n p sempre

# "n p sempre

# "mf p

" "mp

%&' %'( %%& %( %

%&' %'( %%&' %'( %

%& %( %%&' %'( %

%& %( %%&' %'( %

%& %( %%&' %'( %

%& %( %%& %( % %&' %'( %

%& %()' )

* +)' # %

+ * ,' + ,'

* )' ) * )' ) * ,' * )' # % + + %'

+ )' # % + + )' # % + +%' ) #

+ + ,' * )'

,,'' )) %% + )' ) * , * )' # % + + %'+ %%'' )) ## + + )' # % + + %' ) # + + ,'

* + %' ) % + + %' ) # + + )' # % + + )' ) + +%' %' %' % %%%% %' %' %' % %' %' %' % %%%% %' %' %' % %%%% %' %' %' % %%%%

%'%' %' % %

%%%%%% % %' %' %' % %%%

%' )' % # %- %'( % %( ) # %' ) # % ,' ) ) #

* + . %'(%' # %( % # %( % %' # ,'

* +%' ) %

+ +%' ) #

+ +)' # %

+ *%' ) %

+,' )

+)' # %

+ *,'

+ + )' # % + + %','

+%' ) #

+ + )' # % + + %' ) # + +,'

,' % + ,' * )' ) * ,' + + )' #

,' ) , ) ) # ,'

43

Example 21: Alternating Meter, Excerpt from the “Water” Section, mm. 383-90

In measures 349-57 of the A' section, the eighth note remains constant, but the meters

alternate between simple and compound, specifically 4/4 and 7/8. Displayed in Example 22, the

recurring addition and subtraction of a single eighth note shifts the downbeat of the ostinato and

in doing so emphasizes different pitches in the pattern, as do the triplets in the 4/4 meter in

measure 256.

Example 22: Alternating Meter, mm. 351-57

!

"

!

"

Flute

Clarinet in Bb

Vibraphone

Piano

mp

p

mf

mp

Fl.

Cl.

Vib.

Pno.

5

!"

""

!"

""

!"

!"

""

!"

""

!"

!"

""

!"

""

!"

!"

""

!"

""

!"

!"

""

!"

#"

!"

""

!"

#"

!"

""

!"

#"

!"

""

!"

#"

!383

! "

!" " " " " " " " " "

! # # # # # # # # # # # # # # # # # # # # # # #

!387

! "! " " " " " " " " "! # # # # # # # # # # # # # # # # #" # # #" # # #" # #" #

$% # & $ # &

' (%) (% () (% (% ( ( ( ( (% (% ( ( ( (% (% ( ( ( ( (( (% (% ( (% ( ( ( ( ( ( (% (% ( (% ( ( ( ( ( ( ( ( ( (% (% ( (% ( ( ( ( ( ( (% (% ( (% ( ( ( ( ( ( ( ( ( (

(((% ((( * (((+

((( ((( (((% ((( * (((+

((( ((( * (((+

(((%% ((( * (((+

((( ((( (((%% ((( * (((+

((( ((( ((( (((

$ # & $ # $ # $

( (% (% + (% (%) (% (% ( ( ( ( (% (% ( ( ( (% (% ( ( ( (% (% ( (%

( (% (% ( (% ( ( ( ( ( ( (% (% ( (% ( ( ( ( ( ( ( ( ( (% (% ( (% ( ( ( ( ( ( (% (% ( (% ( ( ( ( ( ( ( ( ( ( (% ( ( ( (

(((% ((( * (((+((( ((( * (((%

+((( ((( * (((

+((( ((( (((%% ((( * (((

+((( ((( (((%% ((( ((( ((( ((( ((( ((( ((( ((( (((

351

Flute

Piano

Violin

!!

!!

!!

!!

"#

"#

"#

"#

!!

!!

!!

!!

"#

"#

"#

"#

!!

!!

!!

!!

! "f mp

3

3 3

#mf mp 3 3

#

!mp cresc. poco a poco f mp

$% & & & '( ) * &( &&+&+ &+( & & &( & $ &, ' '

&( &( & & & & & & &( &( & && & & & &-( &( & & &&& &- &( &( & & & & & &-( &( & & & & &( &- &( &( & && & && & &( &( & & & & & &

'' '' $$-(( !

!

&&. ''

- &-,$-( $$

-!

! &-,&-(

! &&.

'' ''

' $ &&& &( &( &&& && $( ! &, ' $- ! &, '- '

44

Similarly in the “Dance” section, the eighth note remains constant between the 4/4 and

10/16 meters, but the pulse shifts to two dotted eighth notes followed by a quarter note, usually

substituted as two eighth notes, as shown in Example 23. This irregularity, in addition to the

slight increase in tempo, has the effect of propelling the dance-like music forward to the simple

4/4 meter that eventually follows.

Example 23: Alternating Meter, Excerpt from the “Dance” Section, mm. 236-9

As the piece progresses to the B' and A" sections, the final category of meter, consistent

meter, becomes prominent. From measure 456 to 527, there is only one measure of deviation

from the consistent 4/4 time signature. This increase in stability and consistency parallels

previous discussions of texture and form up to the end of the A" section.

Tempo

Along with meter, the tempo of the work remains steady from the entrance of the MMO

at measure 474 until the end of the A' section in measure 527. Elsewhere in the composition, the

tempo is less consistent. Many of these variances are due to the influence of text on the tempo of

a particular section.

For example, the indications of Misterioso at measure 35 and With Anticipation at

measure 44, both of which occur during the first “Avant-Garde” section, correspond respectively

to John’s mysterious revelation and the expectancy of the angel’s declaration, “Come up here,

and I will show you things which must take place after this.” Likewise, the turbulence of the

236q = 140

!"!#

!"!#

e. = 168

Piano

$$

$$

!mf

!p

"#$ "# % "#& "# "# % "#& "#$ "# % "#& "# "# "'$ "($ "#$ "#($ " "#(

& "#() "($ "#$ "#($ " "#(

& "#()

"""#$$ """#% """#

&"""# """#

% """#&

"""#$$ """#% """#

&"""# """# """'*$ """

+#$$& , """

+#& , """

+#&

"""+#&

"""+#$$& , """

+#& , """

+#&

"""+#&

45

“Lake of Fire” judgment is depicted in the change from Piu Mosso to Alle Breve at the start of

the “Lake of Fire” section, measure 85.

A specific tempo is also often associated with particular sections, and the same or similar

tempos are returned each time that section is repeated. For instance, the “Avant-Garde” sections,

measures 35-84 and 414-29, and the “Conversation” sections, measures 16-27, 325-38, and 429-

32, are both marked at fifty beats per minute with every recurrence. The “Fast” sections,

measures 198-233 and 278-305, are both designated Allegro Energico. The “Dance” sections,

measures 238-77 and 306-234, and the “Water” section, measures 370-413, all share similar

thematic material as well as a similar tempo indication of one hundred thirty and one hundred

forty beats per minute respectively. These consistencies provide unity and regularity in the work

and could aid in the recall of particular sections.

The Function of Rhythm

Many uses of rhythm in the work are exemplified by their use in the “Avant-Garde”

sections. As such, the “Avant-Garde” section is used to illustrate general rhythmic function.

Rhythm is often used to enhance the text. For instance, in measures 51-3 and 54-5,

repetitive rhythmic figures are used to create a sense of progression or unrest as dictated by the

text, which describes the scene surrounding the throne of God. In Example 24, the rhythmic

ostinato, first in the viola and cello, and then in the vibraphone, captures this intensity.

Indeterminate rhythm also helps augment biblical imagery. In measures 54-6, shown in

Example 25, indeterminate rhythm is used to create sporadic fluctuations in rhythmic, harmonic,

and instrumental densities. This occurs during the portion of the text that discusses “flashes of

lightning and rumblings and peals of thunder.” The result is a rhythmically complex interaction

of the bass drum, piano, first violins, and remaining string section. The volatile nature of this

46

Example 24: Rhythmic Text Painting, Excerpt from the “Avant-Garde” Section, mm. 51-5

Example 25: Indeterminate Notation in the Storm Section, mm. 54-6

!

"

!

"

52

!!

Vibraphone

Soprano 1

Soprano 2

Viola/Cello

54

"!

4

#!

Vib.

S.

S.

!f

"##

! $earth

f

and sky fled

ff

from His pres ence-

3

and

(in a loud whisper)

there was no place for

33

! $earth

f

and sky

ff

fled from His pres ence-

3

and

(in a loud whisper)

there was no place for3 3

3

!

#

ff sub. p

6 6 6 6 6 6 6 6 6

!mf ff

6 6

6 6 6 6 6

!them

fshouted

from the throne came flash

ff

es- of light ning-

3

3

!them Ah

mf

flash

ff

gliss.

es- of light ning-

3

%%&## %%& %%&

## %%& %%&%%& %%&

%%& %%&%%& ''''

% % % %& % % % %( % %( ) * + + + + + $ +

% %# %# % %& % %# %# %" ( % %( ) * + + + + + $ +

%&# % %# %& % % %&# % %# %& % % %& % % %& % % %& % % %& % % %& % % %& % % %&" % % %& % % %& % % %& % % %&" % % %& % % %& % % %& % %

, %&#%# % %

&# % % %&

% % %&" % % %

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- %%%%- %%%%

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-

+ , ) * +. +. +.$ +

.( %- %- %- %- %- ,

+ , ' $ %-/ %- %- %- %-# ,

!

"

!

"

54

!" Quite Anxiously q = 68

#"

!"

Bass Drum

Piano

Soprano 1

Soprano 2

Violin I

Strings

! "f

# " #$%##

ff

## ## ## ## ## & $%####'''''''''''''''''''''''''''''''''''''''''''''6

''''''''''''''''''''''''''''''''''''''& " # $%## ## ## ## ## ## &

($%#### ''''''''''''''''''''' ''''''''''''''''''''$%

6 ''''''''''''''''''''''''''''''''''''''''''''

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from the throne came flash

ff

es- of light ning- and rum

f

blings- and peals of thun der-

3

3

3

#Ah

mf

flash

ff

gliss.

es- of light ning-and rum

f

blings- and peals of thun der-

33

# solosul D

mf ff

gliss.

sfz sfz sfz sfz simile3

#ff

col legno battuto

ad lib. rhythms & pitches

) !* !*+ , - ) -

)**. **. **. **. **. **.

*) **. **. **. **. **. **.

*

) , / 01 01 01& 0

1+ *. *. *. *. *. ,& *2 * *+ * * *. * & * 0 0

) 3 & *.4 *. *. *. *.% ,& *5 *$ *6 * *4 *.4 * & * * *

) '''3 &*14 *1 *1 *1 *1% 0 0 & 00 0 0 & 0 0 0 0 & 0 0 0 0 & 00 0 0 & 0 0 0 00 & 0

00 0 0 0 0 0 0 0

0 0 0 00 0

0 0 0 0 0 00 0 0 0 0 0 0 0

0 0 0 00 0

0 0 0 0 0 00 0 0 0 0 0 0 0

0 0 0

47

moment would be difficult to recreate with measured notation, and it is for this reason

indeterminate notation was chosen.

Rhythmic Text Setting

Within the “Avant-Garde” section, the rhythms of the spoken text are intended to reflect

the cadence of natural speech patterns. Three considerations were made in rhythmically setting

these texts: the individual rhythm of each word, the combination of those words into sentences,

and the grouping of these sentences into entire passages.

The syllables and syllabic stress of each word, as well as the natural spoken cadence of

the word, guided the construction of the rhythm of both the word itself and the phrase or

sentence. For instance, in the word “beginning” the stress falls on the second of the three

syllables. When setting this word into a phrase within a given meter, it was important to retain

this stress. Therefore, “-gin-” falls on a beat and “be-” becomes a pickup beat. The result of this

process is displayed in Example 26.

Example 26: Rhythmic Text Setting

The importance of each word, a somewhat subjective decision, determined its place

within the measure and within the phrase. For instance, in the phrase “I am Alpha and Omega,

the beginning and the end,” the important words are “I,” “Alpha,” “Omega,” “beginning,” and

“end.” With the exception of the word “Omega,” all fall on a beat within their respective

measures. The phrase is divided between “Omega” and “the beginning” due to the comma

separation in the biblical text. Example 27 shows the result of this process using the above text in

measures 107-8. Though the rhythms are complex, aligning important words on the beat keeps

the orchestra, which is at this time speaking the text, together and helps prevent a loss of clarity.

q = 50

Voice !the be gin- ning-

3

" # # # # $ " %

48

Example 27: Rhythmic Text Setting, mm. 107-8

A minimal amount of rhythmic activity accompanies spoken text. Sung text, on the other

hand, initiates much more rhythmic interaction between the sopranos and the orchestra. Pitches

in the accompanying instruments must correspond to some of the notes sung by the sopranos in

order to assist with pitch and to provide continuity. Whether preceding or concurrent with the

soprano’s pitch, this interaction provides the underlying rhythmic framework of a particular

passage.

Rhythmic Motives

The presence of three rhythmic motives characterizes the B and B' sections and provides

broad scale connectivity to each individual section’s disparate melodies. This distinction is based

on the consistency of the recurrence of these rhythms and their use in a variety of contexts and

combinations. Example 28 displays the three rhythmic motives labeled A, B, and C. These labels

are referenced throughout the following discussion.

Example 28: Rhythmic Motives

Rhythm A is first introduced in measure 246 of the “Dance” section layered atop the

opening 10/16 rhythms. This is followed, in subsequent measures, by rhythm C and then rhythm

B. In measure 268, rhythms A and C are performed simultaneously. Example 29 shows this

interaction from measures 238-71.

107

q = 50

Voice!!!I am Al pha-

3

and O me- ga- the be gin- ning- and the end

33

"#

"$ " " % " " " " & " " " " % " ! " " &

q = c.140

q = c.140

4

q = 140

!!

!!

!!

!A.

!B. !C.

" " ! "#$ %

"&" " " " "

&" " " " "

&" " " " "

&" " " " "

&" " " "

&" " " " " ' "

#" " ' "

#" " ' "

#" " (

49

Example 29: Rhythmic Motives in the “Dance” Section, mm. 238-71 (orchestral reduction)

During the return of the “Fast” section at measure 278, the opening melodic ostinato is

combined with rhythms B and C, as seen in Example 30. This interaction returns at the close of

the second “Fast” section.

238

e. = 168

!"!#

!"!#

244

249

q = 140

256

262

266

$$

$$

$$

%$

%$

$$

$$

%$

%$

%$

%$

$$

$$

%$

%$

$$

$$

%$

%$

%$

%$

$$

$$

!mf

10/16 Dance Rhythm

!p

! " "mf

rhythm A

!

!

! " " " "p

rhythm C

!

!

!p

rhythm C rhythm B

mf

!mp

!

!

rhythm A

mf

!p

! #rhythm C

$%& $'& $'%& $ $'% $'% $%& $'& $'%& $ $'% $'% $%& $'& $'%& $ $'% $'% $%& $'& $'%& $ $'% $'% $%( $' $'%( $ $'% $'% $%( $' $'%( $ $'% $'%

$$$)'&&* + $$$

)'* + $$$

)' $$$

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)'

$( !, $( !, $ -( $, - $,$%( $' $'%( $ $'% $'% $%( $' $'%( $ $'% $'% $%& $'& $'%& $ $'% $'% $%& $'& $'%& $ $'% $'% $%& $'& $'%& $ $'% $'%

$$$)'((* + $$$

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- $,$' $' . $', $' $' . $', $' $' . $', $' $' /

$%& $'& $'%& $ $'% $'% $%( $' $'%( $ $'% $'% $%( $' $'%( $ $'% $'% $%( $' $'%( $ $'% $'% $%( $' $'%( $ $'% $'% 01 0

$$$)'&&* + $$$

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$$$'&& $$$'. $$$'

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'&& * .

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$( $ $( $( $'( $ $ $ $ $' $( $ $( $( $'( $ $ $ $ $' $ $ $ $ $& $& $ $& $'& $ $ $ $ $' $& $& $ $& $'& $ $ $ $ $' $ $ $ $

$$$'((* . $$$' $$$'

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$& !

$&, - 0 $& !

$&, - 0

$( $ $( $( $'( $ $ $ $ $' $( $ $( $( $'( $ $ $ $ $' $ $ $ $ $$$'&& $$$' . $$$',$$$' $$$' . $$$',

$$$'&& $$$' . $$$',$$$' $$$' . $$$',

$$$'(( $$$' . $$$',$$$' $$$' . $$$',

$$$'(( $$$' . $$$',$$$' $$$' /

$$$'((* . $$$' $$$'

. $$$'*

$$$'((* . . $$$'

* . $$$'*$$$'* .

$$$'&& $$$' .$$$',

$$$' $$$' .$$$',

$$$'&& $$$' .$$$',$$$' $$$' .

$$$',$$$'(( $$$' .

$$$',$$$' $$$' .

$$$',$$$'(( $$$' .

$$$',$$$' $$$' /

50

Example 30: Rhythmic Motives in the “Fast” Section, mm. 278-87 (orchestral reduction)

Throughout the “Water” section, layering and polyrhythm are continued characteristics.

In measures 391-402, as can be seen in Example 31, rhythm C is used as the accompaniment for

rhythm A. Further, in measure 399 the pianist’s right and left hands both play rhythm C offset by

an eighth note.

Example 31: Rhythmic Motives in the “Water” Section, mm. 391-402

278

283

!!

!!

!!

"!

"!

"!

!!

!!

!!

"!

"!

"!

!!

!!

!!

"!

"!

"!

"!

"!

"!

!!

!!

!!

"!

"!

"!

!!

!!

!!

"!

"!

"!

! " " "rhythm B

!

#rhythm C

!

!#

$ % &' &' & &' &(' $ )

&' &( % &('* % &(* % &+ &(& &' &' &( % &('* % &(* % &+ &(

& &' &' &( % &('* % &(* % &+

&&&(' &&&( %&&&(*

&&&( &&&( %&&&(*

&&&(' &&&( %&&&(*

&&&(' &&&( %&&&(*

&&&('' &&&( % &&&(*&&&('' &&&( % &&&(*

&&&('' &&&( % &&&(*&&&( &&&( &&&,'

$ % &' &' & &' &(' $ % &' &' & & &( $ &' &' & &' &(' &' &' & &' &( & & & & &( & & & &' &(' &' &' & &

&(& &' &' &( % &('* % &(* % &+ &(

& &' &' &( % &('* % &(* % &+ &(& &'

&&&(' &&&( %&&&(*

&&&(' &&&( %&&&(*

&&&( &&&( %&&&(*

&&&(' &&&( &&&,'' &&&('' &&&( % &&&(*&&&( &&&( % &&&(*

&&&('' &&&( % &&&(*

!

"

!

"

391

Flute

Vibraphone

Violin

Piano

397

Flute

Vibraphone

Piano

!!

!!

!!

!!

!!

"!

"!

"!

"!

"!

!!

!!

!!

!!

!!

!

!

!rhythm A

" "

!rhythm C

# " " " " !rhythm C

!

! " "cl./ob. $ $ $ $ $ $ $ $ $ $ $

!

!rhythm C

!rhythm C

%$ %$ % % % % % % %$ %$ % % % % %$ %$ % % % % %$ %$ % % % % % %&$ %$ %& % % %&$ % %& %$ %&$ % %&$ % %& %%$ %$ % % % % % % %$ %$ % % % % %%$ %%$$

%% %% %%%% %%$$

%%$ %% %%%% %%

%% %$ %$ % % % % %$ %$ % % % % %

% # %$' ( ( # % % # %$' ( )

%%%*$ %%%* + %%%*,%%%* %%%* + %%%*

,%%%*$ %%%* + %%%*

,%%%* %%%* + %%%*

,%%%*$$ %%%*

+ %%%*,%%%* %%%*

+ %%%*,

%%%*$$ %%%*+ %%%*

,%%%* %%%*

+ %%%*, %&$ %$ %& % %&$ % %& % %&$ %$ %&$ % %& % %& %

%%%*$$ %%%* + %%%*,%%%* %%%* + %%%*

,%%%*$$ %%%* + %%%*

,%%%* %%%* + %%%*

,

%&$ %$ %& % % %&$ % %& %$ %&$ % %&$ % %& % %$ % % % % %$ % %$ %$ % % % % %$ % % % % %$ % %$ %$ % % % % %

%%&

%$ %%&

% %%&

% %%&

% %%&

%$ %%&

% %%& % %%&

%$ %%&

% %%&

% %%&

% %'%&, + %'%

&, + (&(%$ %$ % % % % %$ %$ % % % % % %%$ %$ %% %% % %% %$ %%$ % % %% %%$ %$ %% %% % %% %$ %%$ %% % %% % %%%&$ %$ %& % %&$ % %& % %&$ %$ %&$ % %& % %& % + %%$$

,%%-*, + %%* %%* %%

-*, + %%*

$$ %%* %%-*, + %%* %%* %%*

$$, + %%* %%

-*

+ %%*,%%* %%

-*

+ %%*$$,%%* %%

-*+ %%*

,%%* %%

-*

%%%*$$ %%%* + %%%*,%%%* %%%* + %%%*

,%%%*$$ %%%* + %%%*

,%%%* %%%* + %%%*

,%%%-*$ %%%* + %%%*

,%%%-* %%%* + %%%*

,%%%-*$ %%%* + %%%*

,%%%-* %%%* + %%%

-*$,%%%*, + %%%* %%%

-* %%%*

, + %%%*$ %%%-* %%%*

, + %%%* %%%-* %%%*

, +

51

The culmination of rhythmic motives A, B, and C occurs in the final measures of the

“Water” section, measures 406-11. Seen in Example 32, this is the only time that all three

motives are performed simultaneously. The addition of text to rhythm A is a feature of the

“Water” section, and it is from this text that the name of the section is derived.

Example 32: Culmination of Rhythmic Motives in the “Water” Section, mm. 406-11

Table IV lists every occurrence of the three rhythmic motives by measure number and

instrumentation. Many of these occurrences overlap, and some examples of this have been

discussed above. That these motives are exclusive to the B and B' sections lends further credence

to the form of the work.

Rhythm as a whole, encompassing meter, tempo, and motives, is a crucial element to

When Peace Flows. Indeed, the prominence or absence of rhythm and meter defines many of the

sections. Recurring rhythmic devices, including ostinatos and motives, aid in the delineation of

form and the grouping of particular areas. Though fluctuation in the regularity and stability of

rhythmic elements is still a pronounced feature of the overall structure, as the piece progresses

there is an intentional move toward larger areas of consistent rhythmic patterns and a

stabilization of tempo and meter.

!

"

406

(Doppo Movimento q = 130)

Woodwinds

Brass

Piano/Vibraphone

Soprano 1

Soprano 2

!!

!!

!!

!!

!!

!!

! "

!rhythm C "

!rhythm B

!

!the

rhythm A

wa ter-

"the wa ter-

! "the wa ter- the wa ter-

# $$%$$%

$ $$$ $$

$$ $ $$$$ $ $$

$ $$%$ $$%

$$ $ $$$$ $ $$

$ $$$ $$

$$ $ $$%$$ $ $$%

$ $$$ $$

$$ $ $$%$$ $ $$%

$ $$$ $$

$$ $ $$$$ $ $$

# $$$&% $$$& ' $$$&(

$$$& $$$& ' $$$&(

$$$&% $$$& ' $$$&($$$& $$$& ' $$$&

($$$&)%% $$$&

' $$$&)(

$$$& $$$&' $$$&

($$$&)%% $$$&

' $$$&)($$$& $$$&

' $$$&(

#$$)% $$% $$% $$ $$% $$) $$ $$ $$ $$ $$) $$ $$ $$ $$%% $$)% $$% $$ $$ $$ $$) $$ $$ $$ $$ $$ $$ $$ $$)% $$% $$ $$% $$ $$) $$ $$ $$ $$ $$) $$ $$ $$ $$ $$)% $$% $$ $$% $$ $$) $$ $$ $$ $$ $$ $$ $$ $$$$$$

)%%

****** ######

# $$$+&%( ' ' $$$

+&( # $$$

+&( ' ' $$$

+&%( # $$$

+&( ' $$$

+&( ' $$$

+&%%( ' ' $$$

+&( # $$$

+&( ' ' $$$

+&%%( # $$$

+&( ' $$$

+&( '

$$$)%% *** ###

$% $ # $%, * * # # - # $% $% # $%, *

# - # $% $ # $%, * * # $% $% # $%, *

52

Table IV: List of Rhythmic Motives

Rhythmic motive A:

- measure 246: trumpet - measure 268: trumpet - measure 270: trumpet - measure 310: trumpet - measure 314 (first note removed): trumpet - measures 327-8: soprano 1 - measures 363-5: sopranos - measures 368-9: sopranos - measures 406-11: sopranos - measures 374-81: sopranos and violins - measures 391-3: violin I - measures 436-48: soprano 2, vibraphone, piano, and flute

Rhythmic motive B:

- measures 201-7: flute, oboe, percussion, and later trumpet - measures 213-7: flute, oboe, bassoon, and snare (briefly) - measures 260-7: vibraphone and piano - measures 281-7: flute, oboe, violins, and viola - measures 302-5: all woodwinds, trumpet, vibraphone, and piano - measures 383-90: vibraphone - measures 403-11: vibraphone and piano

Rhythmic motive C:

- measures 230-7: brass - measures 296-9: brass - measures 371-82: brass - measures 403-410: brass - measures 233-7: brass and piano - measures 254-5: flute and oboe - measures 256-9: brass and piano - measures 300-5: brass and piano - measures 268-71: piano (both hands) - measures 278-88: brass and piano (left hand) - measures 383-98: piano (left hand) - measures 399-402: bassoon, brass, piano (both hands), strings

53

CHAPTER 6

INSTRUMENTATION AND TIMBRE

In composing a work for orchestra and two sopranos there are many instrument

combinations and tone-color opportunities. Great care was taken to exploit these possibilities in

every facet of the composition. While much of the discussion regarding form and texture hinged

on the density of the instrumentation, the following chapter discusses instrument groupings,

sonorities, the blending of like-quality instruments, special effects, and extended techniques.

Three Ensembles of Seven Solo Instruments

One of the more significant groupings of instruments is the three ensembles of seven solo

instruments used during the first “Avant-Garde” section. Table V shows the distribution of three

different paragraphs of biblical text into three separate instrument ensembles. While the number

of instruments and groups was selected for numerological significance,22 the specific instruments

were chosen for timbral reasons.23 Specifically, the criteria for instrument choice were based on

two factors: how well the instruments suited the tone of a particular section of text and how well

their timbres blend.

22 This is discussed in Chapter 2 from pages 15 to 16. 23 The number of instruments does not include the percussion section, double bass, sopranos, or voices (where applicable). The double bass is not included because it plays an independent role. From the Introduction, it alone is used to create the foundation for harmonic progressions and to provide pedal point amidst sparse textures. This same function is served during these smaller ensemble sections.

54

Table V: Distribution of Three Ensembles of Seven Solo Instruments

I looked, and before me was a door standing open in heaven. And the voice I heard was like a trumpet, saying, “Come up here, and I will show you what must take place after this.” (Revelation 4:1-2) Then I saw a great white throne and him who was seated on it. Earth and sky fled from his presence, and there was no place for them. Out of the throne came flashes of lightning and rumblings and peals of thunder. (Rev. 20:11, 4:5a) And I saw the dead, great and small, stand before God. And all were judged according to what they had done. And anyone whose name was not found recorded in the book of life was thrown into the lake of fire. (Rev. 20:12-13, 15)

- Ensemble 1: flute, bassoon, horn, violin I & II, viola, and cello

- Ensemble 2: horn, trumpet, trombone, vibraphone, violin I, viola, and cello

- Ensemble 3: horn, trumpet, trombone, vibraphone, piano, violin I, and cello

The first ensemble is used from measure 35 to 49, and the second ensemble follows from

measure 49 to 55. A temporary diversion from this ensemble that adds the piano and remaining

string section occurs during the portion of the text that states, “Out of the throne came flashes of

lightning and rumblings and peals of thunder.” The third ensemble is introduced with the third

stanza of text in measure 69 and is continued until measure 84. It is essentially the same as the

second ensemble except that the piano replaces the viola. The “Avant-Garde” section ends with

this ensemble.

Each group is designed to enhance the biblical text. For the second paragraph, which

describes the presence of God, brass instruments are used in place of woodwinds. In the third

paragraph, which details the judgment of the dead, the viola is replaced with the more percussive

sounds of the piano. Here, in another temporary diversion from the seven-member ensemble,

brass, snare drum, and timpani are used to sound a funeral march.

Ensemble 1

Ensemble 2

Ensemble 3

55

Tone-color Variation

The addition of two sopranos to the orchestral genre generated a wealth of possibilities

with regard to complexity, melodic construction, harmony, and tone-color. It also prompted the

combination of instruments with similar tone qualities, also referred to as like-quality

instruments, elsewhere in the work. These combinations are used to blur the boundaries of

phrases, and they are used to retain certain pitches, pitch classes, and harmonies over an

extended period of time by passing them from one instrument to another. This process varies the

tone-color of the prolonged element. Though this technique is similar to Klangfarbenmelodie,

these instruments are generally used to sustain one individual tone rather than outline an entire

melody.

Example 33 provides an illustration of one use of this technique. From measures 37-42,

within the “Avant-Garde” section, the instruments of ensemble 1, as defined above, are used to

outline pitch classes C, E F, and A over the span of three measures. The lines, color highlighted

for clarity, identify pitch classes and trace their movement through the ensemble. Each of the

pitch classes is passed through several registers and various like-quality instruments before it is

progressed to the next pitch class. Generally, the register of a specific pitch is retained when

moving between like-quality instruments (i.e. soprano to violin, soprano to flute, horn to bassoon,

etc.).

Another example of tone-color variation occurs during the “Pitch-Centric” section from

measures 7-13, as the flute, oboe, and vibraphone are used to rotate attacks on the same pitch, B5,

as can be seen in Example 34. The sustained pitches of the flute and oboe extend this pitch far

beyond the resonance of the vibraphone, which is the initiator of most attacks. As the

instruments alternate, the tone-color morphs from the brilliant ping of the vibraphone to the

56

bright and airy sound of the flute to the reedy edge of the oboe. Especially effective is the

simultaneous attack of the flute and vibraphone. The tone of the flute is strikingly similar to the

resonance of the vibraphone. It is, at times, difficult to separate the two tones, and this allows the

pitches in the vibraphone to decay unnoticed.

Example 33: Tone-color Variation of Pitch Classes C, E, F, and A, mm. 37-42

Example 34: Tone-color Variation in the “Pitch-Centric” Section, mm. 7-13

The accompaniment to the first MMS, measures 132-46, represents the culmination of

tone-color variation. A portion of this is shown in Example 35. Throughout this section, the

!

"

!

"

7

Flutes

Oboes

Vibraphone

Contrabass

!!

!!

!!

!!

!solo

fp fp mp fp

!solo

pp p mp

!" (leave down) sfz mp sfz sfz p mp sfz mp mf

#

$ % & & % ' # % % % % % $& ( %) % % ' '*

+ ' $ ' +'

+ + ' $ $*

$$$$ & ''''% &

% %%%% & + ''''' %, # %,) ''

,##

% % % % %%%%%,

$$$* ',

*

$ $ $ $ $ $ $

57

majority of the orchestra is used to sustain first pitch classes F-sharp and C-sharp and then pitch

classes F-sharp, C-sharp, and G-sharp. Each instrumentalist alternates playing one of these pitch

classes in various registers. A different instrument is introduced on every beat of the 4/4

measures, and its pitch is held for four beats. Every entrance is initiated by a niente or breath

attack that grows into the overall dynamic of the conglomerate. The goal of this process is to

create an amorphous, cloudlike accompaniment whose tone-color and register are in constant

flux as different instrument groups combine.

Example 35: Tone-color Variation in the First MMS, mm. 132-9

!

"

!

"

!

"

!

"

132

!!

"!

!!

#!

!!

Flutes

Oboes

Clarinets in Bb

Bassoons

Horns in F

Trumpets in Bb

Trombone

Piano

Soprano

Soprano

Violin I

Violin II

Viola

Violoncello

Contrabass

! "mp

3 3 3 3 3 3 3 3 3 3 3 3 3 3

! " "n p sempre

! "n p sempre# "

p

! "p

breath attack

! " " breath attack

p# "breath attack

p

! "p

3 3 3 3 3 3 3 3 3 3 3 3 3 3# " " " " " " " "

!When

mf


"

! " " " " "mf


! "n p sempre

! "n p sempre

$ "n p sempre

# "n p sempre

# "mf p

" "mp

%&' %'( %%& %( %

%&' %'( %%&' %'( %

%& %( %%&' %'( %

%& %( %%&' %'( %

%& %( %%&' %'( %

%& %( %%& %( % %&' %'( %

%& %()' )

* +)' # %

+ * ,' + ,'

* )' ) * )' ) * ,' * )' # % + + %'

+ )' # % + + )' # % + +%' ) #

+ + ,' * )'

,,'' )) %% + )' ) * , * )' # % + + %'+ %%'' )) ## + + )' # % + + %' ) # + + ,'

* + %' ) % + + %' ) # + + )' # % + + )' ) + +%' %' %' % %%%% %' %' %' % %' %' %' % %%%% %' %' %' % %%%% %' %' %' % %%%%

%'%' %' % %

%%%%%% % %' %' %' % %%%

%' )' % # %- %'( % %( ) # %' ) # % ,' ) ) #

* + . %'(%' # %( % # %( % %' # ,'

* +%' ) %

+ +%' ) #

+ +)' # %

+ *%' ) %

+,' )

+)' # %

+ *,'

+ + )' # % + + %','

+%' ) #

+ + )' # % + + %' ) # + +,'

,' % + ,' * )' ) * ,' + + )' #

,' ) , ) ) # ,'

58

Combined Speech and Singing in Sopranos

The simultaneous singing and speaking of the two sopranos is a distinctive aspect of this

composition. This technique occurs only within the “Avant-Garde” sections in one of three ways.

The first method, which is found in measures 37-40, 413-16, and 426-8, involves Soprano II

singing and sustaining the vowel sounds of selected words spoken by Soprano I. Example 36

shows measures 37-40 and indicates the relationship between their texts.

Example 36: Simultaneous Singing and Speaking by Sopranos, mm. 37-40

The second method is similar to the first. However, Soprano II transitions from singing

vowel sounds to singing full text, which is sung simultaneously with the same text spoken by

Soprano I. This technique, shown in Example 37, only occurs in measures 40-42, and it is used

to emphasize and clarify the text.


In the third method, which occurs in measure 49 and in measures 420-2, the sopranos

speak and sing the same text out of time with one another. In Example 38, Soprano 1 sustains

!

"

37

Soprano 1

Soprano 2

!"

!"

""

""

!I looked and be fore- me

3

was a door stand ing- o pen- in heav en-

3

"3

!

Vowel:

Text:

I

mp

i ee uh oh ih ah

I me door open in (hea)-ven

ee

3

uh oh ih > ah

3

# $# % &' & % & & &' & & & & # & & # & & & &' &

# $# % ( ( ( ( ()* (* ( ( ( ( ( (( # ( ( ( # ( # #

!

"

Soprano 1

Soprano 2

and the voice

cresc. molto

I heard was like a trum pet- say ing-

40

mf

and the voice

cresc. molto


!"

#"

!"

#"

!3 3

!3

" # # # # # " " #$ # # # #% #% " #%

#%# "

" & &' & &( && & & & &% &% " &% &% # "

59

one word while soprano 2, using spoken text, quickly reiterates a phrase or word group.

Throughout the remainder of the work, the two sopranos interact in a more traditional way.


Duets Between Like-Quality Instruments

Thus far, like-quality instruments have been used to emphasize certain elements of the

text, to create timbral hybrids, and to smooth out progressions and transitions. Elsewhere, like-

quality instruments are emphasized through duets. These featured duets introduce each section of

the work, and they include two sopranos, two clarinets, clarinet and trumpet, vibraphone and

piano, alto flute and viola, and flute and violin.

The sopranos perform the first duet during the “Conversation” section, measures 16-27.

The conversation is opened in Example 39 as Soprano 2 reiterates her opening motive followed

by Soprano 1 in the same octave. Thus begins a series of dovetailed statements of this same

three-note motive that is transposed in its final statements. Beyond simply restating material, the

overlapping pitches emphasize important harmonies. The lingering interval is almost always

interval class five, and the three-note motive is almost always set class [015], which are both

fundamental harmonies in the work.

Example 39: Like-Instrument Duets, Sopranos 1 and 2, mm. 16-27

!

"

420

Soprano 1

Soprano 2

!!

!!

!who ev- er- - - - -

!who ev- er- an y- one- who is thir sty-

33

" # " " " "# " " " $

%# &' & & % ( & & & % " " " " " ) "* %

!

"

!

"

16Più mosso q = 50

Soprano 1

Soprano 2

!!

!!

"!

"!

!!

!!

#!

#!

"!

"!

!!

!!

!mp

When peace-

" " "When peace flows When

mf

peace flows when

mp

peace When

mf

peace flows

sub. p3

3

!When peace-

"When peace flows When

mp

peace flows

f

flows

mf

peace

mp mf

When peace

sub. p

flows

3

# $% $ # $ & ' $% $ $ $ & & # # $ $ $ $ $ # $%( & $% $ $ & # & # $ $ &% # $% $ )*%

# $% $ # $ & # $% $ $ $ $ &% ) ' $% $ $ & & # $ # $+ & & & & # $ $ ) )*

60

The “Fast” section features two clarinetists that, for support and clarity, generally parallel

the same melody displaced by an octave. This section also includes a duet between clarinet and

muted trumpet. The alto flute and viola are used to open the A' section in measure 325 with

another “Conversation” section that mimics the previous soprano example. Alto flute and viola

were chosen for their rich, sonorous tone-color and similar range. Following this, at measure 345,

a more dynamic conversation is begun between C flute and violin I that replaces actual pitch

reiteration with rhythmic repetition and some contour inversion.

The piano and vibraphone are featured in a duet in the “Dance” and “Water” sections,

measures 238-67 and 403-12, and share less prominent roles in the second two statements of the

MMS, measures 360-8 and 463-5; both statements of the MMO, measures 121-30 and 492-523;

and in the “Free” section beginning in measure 433. The duet in the “Dance” and “Water”

sections essentially consists of concurrent, five-note, descending runs. From measure 260 to

measure 267, the pattern alternates ascending and descending runs, and the instrumentalists play

in unison. From measure 403 to measure 410 both instrumentalists engage the pattern in parallel

thirds, as shown in Example 40. The percussive nature of the two instruments is used to provide

some balance between fluid runs and precise attacks.

Example 40: Like-Instrument Duets, Vibraphone and Piano, mm. 403-6

Vibraphone

Piano

f

f

mf

!!

!!

!!

!" " " " " " " " " "

403

!" " " " " " " " "

"!

#$

#$

#$

#$

#$

#$

#$

#$

#$

#$

#$

#$

%& % % %& %& % % % % % % % % % %& %& % % %& % % % % % % % % % % % %& %& % % % % % % % % % % % % % %& %& % % % % % % % % %

% %& %& % %& % % % % % % % % % %& % %& %& % % % % % % % % % % %& %& % %& % % % % % % % % % % % %& %& % %& % %& % % % % % % %

%%%&' ( ( %%%

' ) %%%' ( ( %%%&

' ) %%%' ( %%%

' ( %%%&&' ( ( %%%

' ) %%%' ( ( %%%&&

' ) %%%' ( %%%

' (

61

Association of Specific Harmonies with Instrument Families

In another function of instrument sonority, families of instruments are used to highlight

specific harmonies in the work. For instance, the [015] trichord is frequently orchestrated in the

brass section. In measures 24-7 and 527-30, shown in Example 41 a and b, a diatonic collection

tone cluster is amassed in the wind and string sections. This tone cluster is centered spatially on

an [015] trichord that is orchestrated in the brass section. In measures 68-71, shown in Example

41c, the brass section is used to iterate two different [015] trichords in a fanfare like declaration.

Example 41 a and b: Brass Section Highlights Set Class [015], mm. 24-7 and 527-30

Example 41c: Brass Section Highlights Set Class [015], mm. 68-71

!

"

!

"

!

"

!

"

Woodwind

Horn in F

Trumpet in Bb

Trombone

Strings

Strings

f p

mf

pp mp

pp mp

pp ff

p n p

p mf

! " "a. # $ $ ! "

b.24 527

% " " " $ % " "

! " $ ! " "

! " $ ! " "

% "$ % " "

! # $!

% $ & " "

' '( # (( )(( (( * ' + ) ( + (((

* ( * ,+- + (

' ,# +# . ( ) ) ' ( # (

' , +/ ( )# ( ( ' ( # (

' ( # ) ) * ' 0 +1 #- (

* ' + )) )) )) * ' + ) + ))+ ((

(

' ( # ))) )))

))) * , +- +0 +1 #

/ ((

!

"

Horn in F

Trumpet in Bb

Trombone

!!

!!

!!

!" # # ###

c.

$ "3

68

!" # # ### $ "

3

%"

# # ### $ "3

& '() ' ' #'') * '() &

& '() ' ' #'') * '() &

& '() ' ' #'') * '+ () &

62

Special Effects and Extended Techniques

The final function of instrumentation in When Peace Flows is to create special effects

through extended techniques. The first of these instances both opens and closes the work.

Generated by the entire orchestra, the “Wind” section of the Introduction and Coda requires a

combination of several different extended techniques. The first of these sections is displayed in

Example 42.

String players provide a constant and consistent whisper of wind by bowing directly on

the bridge of their instruments, which creates a non-pitched sound similar to white noise. “Wind”

players are asked to either remove mouthpieces or place lips in such a way as to avoid creating

any defined pitch when air is blown through their instruments. The desired effect of this

technique is non-pitched gusts of wind that fluctuate with each new breath and vary based on air

pressure and valve alignment or finger combinations. (Performers are directed to experiment

with various key or valve combinations). With the damper pedal depressed, the pianist is directed

to slide a flattened palm back and forth along the length of the low bass strings, creating a sound

also reminiscent of wind gusts.

Within these sections, all entrances are on an individual basis. This means that the overall

sound is in constant flux based on the amount of time a performer can sustain their breath. The

aleatoric nature of this sound mass will, of course, vary with each performance, but its specific

effect with regards to timbre and texture should remain consistent.

Apart from the wind section, the use of extended techniques is confined to the A section,

and they are only used in those areas that set biblical text. The bulk of these occur from measures

54 to 65, accompanying the text “from the throne came flashes of lightning and rumblings and

63

Example 42: Extended Techniques in the “Wind” Section, mm. 1-5

!

"

!

"

!

"

!

"

!

"

Flutes

Oboes

Clarinets in Bb

Bassoons

Horns in F

Trumpets in Bb

Trombone

Timpani

Percussion

Vibraphone

Piano

Soprano 1

Soprano 2

Violin I

Violin II

Viola

Violoncello

Contrabass

f

f

f

f

f

f

ff

ff

ff

ff pp

!

!

!

"

!

!

"

"

#

!"

"

!

!

!

!

$

"

"

[sound of wind]

%7" 8"

# # #

%Blow thru instrument - alternate fingerings

# # #

%ad lib. surges of wind # # #

% # # #

%7"

f

8"# # #

% # # #

% # # #

% % % % %

%wind chime&'''''''' %''''''''' % %

% % % % %rub hand over low bass strings ''''''''''''''''''''''''''''

'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

l.v.

(''''''''''''''''''''''''''''''''

''''''''''''''''''''''''''

'''''''''''''''''''''''''

''''''''''''''

'''''''''

simile

'''''''''''''''''''''''''''

''''''''''''''

''''''''''''

''''''''''''''''''''''''''

'''''''''''''''''''''''

spoken% %S1: "The wind blows where it wishes. // You hear the sound of it/ but cannot tell / S2: where it comes from// or where it goes. / a2: So is with everyone / who born of the Spirit."

%

% % %

ff

7" 8"

# # #

Strings bow the bridgeor tailpiece # # #

# # #

# # #

# # solo

$ $ $ $

$ $ $ $

$ $ $ $

$ $ $ $

$ $ $ $

$ $ $ $

$ $ $ $

) *%%%+

$ $ $ $ $

$ $ $ $ $

$ $ $ $ $

$ $ $ $ $

$ $ $ $ ,

64

peals of thunder. Earth and sky fled from His presence and there was no place for them.” This is

shown in Example 43.

As with the “Wind” section, several techniques overlap to create a storm-like effect. The

elements of the storm are rain (strings), lightning (selected violins), and thunder (piano and bass

drum). String players are instructed to play col legno battuto at a fortississimo volume while they

improvise rhythms and pitches. The contour of the notation suggests a variance of pitch, and the

music indicates their meters should be independent of one another. The score directions also

reflect this.

Example 43: Extended Techniques in the Storm Portion, mm. 54-6

!

"

!

"

Bass Drum

Piano

Soprano 1

Soprano 2

Violin I

Strings

f

Quite Anxiously q = 68

them From the throne came flash es- of light ning- and rumb lings- and peals of thun der-

them Ah

mf

flash

ff

es- of light ning- and rumb

f

lings- and peals

ff

of thun der-

ff

! "

!"

#"

!"

# "$%

###

ff

## ## ## ## ## & $%####''''''''''''' ''''''''''''''''''''''''''

'''''''''''''''''''''''''''''''''''6

& " $%### ## ## ## ## ## &

($%#### ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

'''''''''''''$%

6

#3 3

3

# gliss.

3 3

#solo

sul D

mf ff

gliss.

sfz sfz sfz sfz simile3

#col legno battuto

ad lib. rhythms & pitches

)!

*!

*+ , - ) -

)**. **. **. **. **. **.

*) **. **. **. **. **. **.

*

/ - , 0 /1 /1 /1& /

12 * * * * * ,& *3 * *2 * * *. * & * / /

/ - 4 & *5 * * * *% ,& *6 *$ *+ * *5 *.5 * & * * *

) '''4 &*15 *1 *1 *1 *1% / / & // / / & / / / / & / / / / & // / / & / / / // & /

/ / / / // / / / / / / / / / / / / / /

/ / / / // /

// / / / /

/ / / / / / / / / / / /// / / / / /

65

Example 43 cont: Extended Techniques in the Storm Portion, mm. 57-64

The second effect, lightning, requires three of the first violinists to play loud, rapidly

descending glissandi from a relatively high note, which is indicated by the range of the “x”

notehead. The notation implies a variance in pitch. The overlapping of these various glissandi

perpetuates a sound akin to fireworks whistling.

The bass drum and piano are used to create the final element, thunder. A constant roll on

the bass drum, with indicated wedge dynamics, yields an undulating rumble, which is both felt

!

"

!

"

Bass Drum

Piano

Soprano 1

Soprano 2

Violin I

Strings

57

from the throne flash es- of light ning-

f

and

mp

peals

flash es- of light ning-

mf

light ning- and rumb lings- and

mp

peals and

!

#

f sempre

"

!!

# l.v. " " $%$$$$

pp

&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&

&&&&&&&&&&&&&&&&&&&# " "

'$%$$$$ &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&

&&&&&&&&&&&&&

%&

( " 3

(33

( "

(

!

)!

)

*

*

+ *% * , * *% * *% * *- + + *. *%

/ * * * *0- *0 * + *0- *0 ' * * * * + *. * ' *.

1 1 ' 11 1 1 ' 11 1 1 ' 11 1 1 ' 11 1 1 ' 11 1 1 ' 11 1 1 ' 11 1 11 ' 1

1 1 11 1 1 1 1

1 1 1 1 1 1 11

1 1 1 1 1 1 1 1 11 1

1 1 1 1 1 1 1 1 1 11 1

1 1 1 1 1 11 1 2

!

"

60

!"

""

#"

Meno mosso

Bass Drum

Piano

Soprano 1

Soprano 2

Strings

!

#

"ff

" "3

# l.v.

" " " $%&$$$$'''''''''''''''''''''''''''''''''''''

'%&

l.v.

"''''''''''''''''''''''

# " " " $(%&$$$$

mp

'''''''''''''''''''''''''''''''''''''' "'''''''''''''''''''''''

$and peals, and peals of thun der- earth

mp

and sky fled from His pres ence-

33

$peals, and peals of thun der- earth

mp

and sky fled from His pres ence-

33

$

) * * * ''+*

*

*& * *& * *,(( *&- *. *. ) *& * * * + ( *& *& */ * ) )

* ( *&0*,& (( *- *. *.& ) *& *& *& * +& ( *& * *1 / * ) )

22 2

2 2 2 2 2 22 2 2 2 2 2 2 2

2 2 2 22 2

2 2 2 2 2 22 2 2 2 2 2 2 2

2 2 2 22 2

2 2 2 2 2 22 2 2 2 2 2 2 2

2 2 2

66

and heard throughout the section. The pianist is instructed to drum their fingers on any, and

preferably all, chromatic pitches within the lower two-and-a-half octaves of the piano. With the

damper pedal depressed, the amassing notes continue to resonate until they become more of a

texture and timbre than an actual pitch.

The use of these and other aleatoric components in When Peace Flows allows the

performers to be involved in the creative process and ultimately affect the outcome of these

portions in a significant and unique way. The result will always be different, and the passion and

originality with which the individuals play will only increase the effectiveness and intensity of

the sound. This is hopefully an intriguing component in the work.

In conclusion, the decision to use two sopranos in When Peace Flows began a process by

which many combinations of like-instruments were used to create hybrid sounds that function in

duets, in the extension of particular notes, and in tone-color variation. The specific

instrumentation of certain sections was also used to better elucidate the meaning of the text

through instrument quality, special effects, and extended techniques. Together, instrumentation

and timbre were used to exploit many of the tone-color opportunities available for the genre of

two sopranos and orchestra.

67

CHAPTER 7

MELODIES AND MOTIVES

Motives are found throughout When Peace Flows in nearly every sub-section. Many of

these sub-sections contain numerous motives that are often layered to provide a dense

concentration of a particular character or harmony. Indeed, their presence is used to unify the

composition and to contribute to the structure of the work. This chapter analyzes the individual

melodic structure of motives; their development through modulation, transformation, and

combination; and their function within the work as a whole.

Types of Motives

The term “motive” is used to distinguish recurring musical ideas with a recognizable

rhythm, melody, contour, or any combination of these. Two types of motives can be observed in

the work. Some are returned nearly the same each time, and as such they recall prior moments

and reestablish moods and characters. Examples of these are the “Water” motive, the “Hearts of

Men” motive, the “Main motive for the Orchestra,” and the “Main motive for the Soprano.”

Other motives are recast with each recurrence in an attempt to blend with the current

mood and texture of the specific section in which they occur. These are woven into the fabric of

the composition as connective tissue between disparate sections. This type tends to be composed

of material that is predominately shorter and more flexible. Examples of these are the “Rising”

motive, the “Octave/Fifth” motive, the “Sixteenth Note” motive, and the “Seven-Note” motive.

All of these motives will be discussed in the following pages.

68

When Peace Flows contains two main motives, the Main motive for the Orchestra (MMO)

and the Main motive for the Soprano (MMS). The musical elements of these two motives were

used to form the basic harmonic language, character, rhythm, and texture for many sections of

the work. The majority of the poetic text is set with both of these motives.

Main motive for the Orchestra (MMO)

The MMO is purely instrumental, and it alternates two diatonic pitch patterns, scale

degrees 3, 1, 7 and 2, 5 or [015] and [05] in prime form, as shown in Example 44a. Rhythmically

both patterns are set in continuous sixteenth notes. Therefore, in 4/4 time, which is the only

meter used for the MMO, the [015] pattern is repeated four times within a measure, and the [05]

pattern is repeated eight times within each measure. The entire phrase, shown in Example 44b, is

composed of four measures in a pattern of [015]-[05]-[015]-[05].

Example 44a: Diatonic Pitch Patterns of the MMO

Example 44b: Complete MMO Phrase

The MMO is always in the Major mode, and it is transposed into three different keys: B

Major, A Major, and G Major. The following measures contain statements of the complete

MMO phrase as seen in Example 44b: measures 113-6 in the key of B Major; measures 474-7,

482-5, 488-91, and 492-5 in the key of A Major; and measures 511-14 in the key of G Major.

![015]

![05]

"# " "# " " " " " " " " " " " " " "# "# " " " " " " " " " " " " " "

!!

!!

![015] [05] [015] [05]

"I V6 vi V

#$ # #$ ############# #$ #$ ############## #$ # #$ ############# #$ #$ ##############

%%& %%

&$$ %%&$$ %%&

$$

69

While the MMO label refers only to the treble voice, it is typically linked with a four-note (one

whole note per measure), descending scalar bass line on scale degrees 1-7-6-5, as can be seen in

Example 44b. The typical harmony of the MMO when coupled with this bass progression is I-

V6-vi-V.

MMO Melody

The MMO is often intertwined with the more lyrical “MMO Melody,” which is

characterized by sustained notes, a higher tessitura, and conjunct, ascending motion. As seen in

Example 45, the first two measures of the melody each begin exactly the same as the first two

measures of the MMO, but the [015] and [05] patterns are abandoned and the last notes of the

opening statements are sustained after only one statement rather than continued in an ostinato.

An ascending, generally scalar line is traced through the “MMO Melody,” which emerges

seamlessly from the MMO.

Example 45: Comparison of the MMO and “MMO Melody”

The “MMO Melody” occurs in measures 121-4, 125-8, and 470-3 (without the MMO). It

appears slightly modified in measures 474-7 and 511-8, the latter of which is set with text. The

MMO is generally continued as an accompaniment during the “MMO Melody.” When this

121

5

!!

!!

!!

!!

!!

!MMO

I

"I! V6 vi V

" #- - - -

!MMO Melody

3

!MMO (altered)

"I V6 vi V IV I

" #- - - -

#$ # #$ # # # # # # # # # # # # # #$ #$ # # # # # # # # # # # # # # #$ # #$ # # # # # # # # # # # # # #$ #$ # # # # # # # # # # # # # #%%& %%

&$$ %%&$$ %%&

$$

#$ # #$ # ' $ #$ #$ $ ' # #$ #$ ' '$ %

#$ # #$ # # # # # # # # # # # # # #$ #$ # # # # # # # # # # # #$ # #$ #& #$ #$ #$ #& # # # #&$ # # #$ #& # # # #& #$ # #& # # #& # # #& # # #& # # #$

%%& %%

&$$ ''&$$ ''&

$$ %%&

70

happens, the third and fourth measures of the MMO are usually altered harmonically and

melodically, as can be seen in Example 45.

Main motive for the Soprano (MMS)

The MMS has a vastly different character from the MMO. It consists of a lyrical soprano

melody that is designed to convey peacefulness and expansiveness through the use of consonant

skips and a slow, relatively free, rhythm. A slow-moving ostinato or sound mass is often used as

the accompaniment for the text, which is always poetic. The MMS occurs three times within the

work in measures 132-46, 359-68, and 456-65. Example 46 displays the third MMS, which will

be used for the following analysis.

Example 46: Third MMS, mm. 456-64

The length of the MMS depends on the amount of text that is set, and, as such, it varies

with each repetition. The first MMS is the most complete and sets the first three lines of the first

stanza of the poem. The second MMS is the most abridged and sets the first two lines of the

second stanza of the poem. The third MMS is nearly identical to the first. From it is eliminated

!

"

!

"

Soprano 1

Soprano 2

When

mp

peace

molto espressivo

like a ri ver flows a

mf

bove

dim.

- the earth

and

f

S1.

S2.

then

mp

peace like a ri ver- flows

on a cloud de scends-

!!

!!

!

Sub-phrase 1

3

456

!#

" " " "

! "

Sub-phrase 3

461

!

Sub-phrase 2

" "3

#$ # $ #% # # # # $# # # $ & #%# # # & # # '

( ) * #%

( ) # # # $ #% # $ # # # & $

# $ #% # # # # '

71

only the third line of the first stanza. In both the first and third stanzas, part of the first line is

repeated after the second line.

The MMS is divided into two irregular phrases. As can be seen in Example 46, phrase

one is extended through measure 460, and phrase two is continued until the end. Each of these

contains sub-phrases that reflect the individual lines of a particular stanza of the poem. Each sub-

phrase is segmented by long tones in the sopranos that are dovetailed into the beginning of the

next sub-phrase. Sopranos 1 and 2 alternate singing these sub-phrases.

The contour and composition of each sub-phrase is designed to reflect the text. When the

soprano sings the words “above the earth,” a leap occurs in the melody followed by a stepwise

descent. The apex of this MMS is reached when the soprano sings “on a cloud.” The descending

melisma that follows is depictive of the word “descends.” In the first MMS (not pictured), the

words “unto the hearts of men” are accompanied by a descending gesture and the lowest register

of the melody.

Each sub-phrase, with the exception of sub-phrase four in the first MMS, is composed of

an opening consonant skip and an ornamentation that is turned around a central pitch. This pitch

is highlighted in each sub-phrase shown in Example 46. The pitch E5 is central to sub-phrases

one and three. Sub-phrases one and three are composed of double-neighbor motion around E5,

while sub-phrase two is similarly structured around B5. These central pitches, E5 and B5, along

with the pitches that begin each sub-phrase, A4 and E5, are the structural pitches of the motive.

E5 is the symmetrical center of these structural pitches, and it is to this pitch the motive is

consistently returned.

72

Hearts of Men Motive

Like the MMO with the “MMO Melody,” the MMS is connected to a motive by which it

is preceded, accompanied, or followed. The “Hearts of Men” motive, named for its association

with the text “Unto the hearts of men” at the end of the first MMS, is composed of an ostinato

figure repeated twice within a measure. Example 47 shows the first occurrence of this motive.

Throughout subsequent statements, its phrase lengths are inconsistent. They are varied from six

measures in the first occurrence to eleven in the second to only four in the third. The “Hearts of

Men” motive is found after the first MMS from measures 150-5 in the cello, before the second

MMS from measures 349 to 359 in the piano, and during the third MMS from measures 463 to

465 in the cello.

Example 47: Hearts of Men Motive, mm. 150-5

The contour of the ostinato consists of an ascending leap followed by a three-note upper

neighbor figure. The lowest note of the ostinato is subsequently moved either up or down in

stepwise motion, and eventually it is returned to its initial pitch. The initial ascending interval is

varied in accordance with this motion. The motive is always concluded with a rolled chord in the

piano.

Seven-Note Motive

The “Seven-Note” motive, shown in Example 48, is composed of three different,

ascending scalar pitches. Although the motive is diatonic, it is not consistently associated with a

particular set of scale degrees. Further, it is not consistently associated with a particular rhythm,

and as such, it is labeled as a melodic motive, a designation that is shared by the “Rising” motive.

Cello

mp

q = 60

!!

!

!!!!!!

"Piano

####$$$

%$ %$ % % % % % % % %$ % % % % % % % %$ % % % % % % % %$ % % %$ % % % %$ %$ % % % % % % #$

73

Example 48: Seven-Note Motive, in D Minor

The “Seven-Note” motive is subjected to transformation and transposition in nearly every

occurrence, as it is adjusted to suit the mood, style, and texture of the section in which it occurs.

It is found seven times within the composition in measures 80-3, 146-7, 342-5, 360-5, 395-8,

399-402, and 418-24 (first four notes only). Example 49 shows excerpts from these occurrences

in which is revealed variation in instrumentation, dynamics, rhythm, texture, and style.

In measures 395-8, two simultaneous statements of the “Seven-Note” motive are layered

in flute and piano. In F-sharp Minor, the pitches in the flute are scale degrees 1, 2, and 3, and in

the piano are 5, sharp 6, and 7. In the piano, the motive is set on every beat of the measure, while

in the flute the motive is slightly syncopated and offset from the piano by one beat. Immediately

following this statement, in measures 399-402, the motive is restated in the oboe and clarinet part

in parallel thirds on scale degrees 7, 1, 2 and 2, 3, 4 respectively, as can be seen in Example 49.

Octave/Fifth Motive

The “Octave/Fifth” motive is seen throughout the work in one of two different permutations,

each of which is varied in length and significance. The motive is essentially an arpeggiation of

the root and fifth of a specific chord. The contour is either a descending octave leap in the root of

the chord followed by an ascending leap to the fifth of the chord, or it is a toggle between the

upper root and the lower fifth. Generally, the alternation between these pitches is maintained

within a one-octave range. Example 50 shows the motive in its two basic constructions and the

order of their occurrence within the work in measures 28-34, 133-45, 170

! " " " " " " "

74

Example 49: Excerpts from Various Occurrences of the Seven-Note Motive, mm. 80-3,

146-7, 342-5, 360-5, 395-8, 399-402, and 418-24

!"

!"

!"

!

"

!

"

Vibraphone

80

Flute

Viola

Piano

342

Flute

Piano

395

Oboe

Clarinet

399

Hnorn

Trumpet.

Trombone

418

!!

!!

!!

!!

!!

!!

!!

!!

"!

!!

!!

"!

!!

"!

!!

"!

!!

"!

!!

!

Vibraphone/ Piano/ Cello "

!146

!

!*

*This interaction is replicated in bars 360-53

!# # # # # # # # # # # # # #

!# # # # # # # # # # # # # # # #

! $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

! # # # # # # # # # # # # # #

!# # # # # # # # # # # # # #

! # # # # # # # # % # # # # # # ##

# # ##

! # # ##

# # ## % # # #

# # # # # # # # #

& # # # # # # # # % # # # # # # # # # # # #

'( (((

((((((((((((

((((((

))( (((((((((((((((

'(" ( ((

((((((((((((

(( ))(((( ( (((((((((((((((

(* (* +* (* )

(* (* (* ( ( ( (* ( (* (* (* ( (* ( ( (

(*,(* (* ( ( (* ( ( ( (* (* (* ( ( ( ( ( (* (* ( (* ( +

(* (* ( ( ( (* ( ( (* (* ( (* ( ( ( (* (* ( ( ( (* ( ( (* (* ( (* ( ( (

(* (* ( ( (* ( ( ( (* (* (* ( ( ( ( ( (* (* ( ( (* ( ( ( (* (* (* ( ( ( ( (

(((** ((( - (((.((( ((( - (((

.(((** ((( - (((

.((( ((( - (((

.(((** ((( - (((

.((( ((( - (((

.(((** ((( - (((

.((( ((( - (((

.

(, - (, - (*, - (*, - (, - (*, - (*, - (, - (, - (*, - (*, - (, - (*, - +*

(* (* ( ( ( ( ( ( (* (* ( ( ( ( (* (* ( ( ( ( ( ( (, - (*, - +*

- (. ( ( ( + ' - (. ( ( + - (. ( ( + - (. ( # ( ++ - (. ( # ( ++- (. ( ( ( + ' - (. ( ( + - (. ( ( + - ((, (( ## (( ++ - ((, (( ## (( ++

- (, ( ( ( + ' - (, ( ( + - (, ( ( + - (, ( # ( +- (, ( # ( +

$

$

$

$

$

75

(in the horn), 339-41, 463-5, and 506-8. In these occurrences is revealed the adaptive nature of

this motive, as these measure numbers represent a variety of textures and tempos.

Example 50: Octave/Fifth Motive

The three-note “Octave/Fifth” motive is always followed by either one beat of rest or a

one-beat extension of the third pitch and then a repetition of that pattern. The surrounding

material determines its length and pitches, and it functions in both accompanimental and

transitional roles. Static harmony and lack of phrase structure characterize this motive.

Rising Motive

The “Rising” motive is a melodic motive, and it is distinguishable by its contour and

gesture, which is an ascending step followed by an ascending leap. This three-note motive is not

linked to one particular set class. Rather, it is used in one of four harmonies labeled by their

prime form in Example 51 as [015], [025], [027], and [013], though [013] is used much less

frequently than the other three. Examples of these motives are integrated throughout the

composition as separate motives and as a part of larger melodic structures.

Example 51: Four Variations of the Rising Motive

!"#

$$!A.

Order of Occurrence

Bars: 28-34 133-45 170 339-41 463-5 506-8

Also found in 4/4

A

B

B. !3 3 3 3" " "# " !

" " " " !

" " "# " !

" " " " !

" " " " " " " " " " " " " " " "

![015] [025] [027] [013]

" " # " " # " " # " " #

76

The sections that use the “Rising” motive may consist of one specific set class or any

combination of the four sequenced in contiguous statements. A case in point is the first

“Conversation” section, shown in Example 52a, in which set classes [013], [015], [025], and

[027] are composed within the soprano melodies. The opposite construction is revealed in an

excerpt from the “Dance” section, shown in Example 52b. This entire portion is made up of one

set class and even the same pitch-class sets.

Example 52a: Use of the Rising Motive in the “Conversation” Section, mm. 16-27

Example 52b: Use of the Rising Motive in the “Dance” Section, mm. 238-41

Water Motive

The final two motives correspond with rhythmic motives A and B, as defined in Chapter

5 on page 51. Their inclusion in this chapter cites their melodic attributes. Displayed in Example

53, rhythmic motive A will be referred to as the “Water” motive due to the text with which it is

often set. Motive C will be referred to as the “Sixteenth Note” motive. Occurrences of these

motives are labeled in Table IV located in Chapter 5 on page 52.

!

"

!

"

Soprano

Soprano

When peace- When peace flows

16

When peace When peace flows When peace

S.

S.

When peace flows when peace When peace flows

22

flows flows peace When peace flows

!!

"!

!!

#!

"!

!!

"!

!!

#!

"!

"!

!!

"!

!!

![015]

" " "[015]

3

!#

[015] "[015]

[015]3

![015] [015] [015] [025] [013] #

3

![027] #

$ %& % $ % ' ( %& % % % ' ' $

$ %& % $ % ' $ %& % % % % '& ) ( %& % % '

$ % % % % % $ %&* ' %& % % ' $ ' $ % % '& $ %& % )&

' $ % $ %+ ' ' ' ' $ % % ) )

Piano/Glockenspiel !

[027]" # #" #" #" " # #" #" #" " # #" #" #" " # #" #" #"!"!#

$% $% $% $ $ $ $% $% $% $ $ $ $% $% $% $ $ $ $% $% $% $ $ $

77

Example 53: Rhythmic Motives Compared with Melodic Motives

The contour of the “Water” motive is similar to that of the “Rising” motive. However,

this three-note motive is composed of an ascending leap of a Major or Minor third followed by

an ascending step. Though text is not always associated with this motive, its most frequent use is

seen during the “Water” section in which the sopranos repeat the words “the water.” From

measures 364-412, the “Water” motive is stated ten times by the sopranos and two times by the

violins. An excerpt from this section is seen in Example 54.

Example 54: “Water” Motive Use in the “Water” Section, mm. 374-82

Other instances of this motive are found in the “Free” section. After Soprano 1 speaks the

words “the waters of life,” soprano 2 sings the “Water” motive. The “Free” section closes with a

reminiscence of this motive in a flute solo. The “Water” motive also occurs just prior to the final

MMO section, measures 508-10. This time, the words “the water” are replaced by the words

“when peace flows.” The return of the motive with a different text is symbolic of the continuity

between the water of life and the peace that flows “throughout the land.”

q = c.140q = c.140

6

!!

!!

!!

!!

!

Rhythmic Motives: A and B

A. !B." " " " " "

#the

Melodic Motives: Water and Sixteenth Note

wa ter-

#" " " " "

$ $ ! $% & ' $$$$$ $$$$$ $$$$ $ $$$$$ $$$$$$$$

$( $ !

$() $ $ & !

$ $( $( $ $( $ $ $ $ $ $ $ $ $ $( $ $( $( $ $ $ $ $ $ $ $ $ $

!

"

374

Soprano 1

Soprano 2

!!

!!

!the wa ter-

"the wa ter-

" "

! " "the wa ter-

"the wa ter-

#$ # # #$% & & # ' ( ' #$ # # #$% & & # '

( ' #$ # # #$% & & # ' ( ' #$ # # #$% & )

78

Sixteenth Note Motive

The “Sixteenth Note” motive is stated only within the B section and in three different

ways, as seen in Examples 55a, b, and c. All of these have similar characteristics including scalar

lines, conjunct motion, and, of course, rhythm. In the “Fast” section, shown in Example 55a, the

“Sixteenth Note” motive is repeated in the measures leading up to the entrance of the clarinet

duets in measure 208. An ascending contour and growth in intensity and volume are consistent

with each repetition, as the motives are packed more closely together and a crescendo increases

the volume from piano to forte. This use of the motive occurs in measures 201-8, 213-7, and

281-7.

Example 55a: “Sixteenth Note” motive use in the “Fast” Section, mm. 201-8


Example 55b: “Sixteenth Note” motive use in the “Dance” Section, mm. 260-3

Example 55c: “Sixteenth Note” motive use in the “Water” Section, mm. 403-6

p pcresc . poco a poco

f

201

!!

"!

!!

"!

!!

"!

!!!

" " " " " " " #$% $% $ $% $% & ' & ( $% $% $ $% $% & ( $% $% $ $ $ & $% $% $ $% $% $% $% $ $% $ $ $ $ $ $ $ $ $ $% $% $% $% $ $ $% & '

Vibraphone

Piano

260

!"

""

!"

""

!"

""

!"

""

!"

""

!"

""

! " " " " " " " "

! ##" " " " " " " "

! " " "" " " " " " " " " " " " "

$# $# $ $# $# $ $ $ $ $ $# $# $ $# $# $ $ $ $ $ $ $ $ $ $% $ $% $% $% $ $ $ $ $ $% $ $% $% $% $ $ $ $ $ $ $ $ $

&$ $# $ $# $# $ $ $ $ $ $# $# $ $# $# $ $ $ $ $ $ $ $ $ $% $ $% $% $% $ $ $ $ $ $% $ $% $% $% $ $ $ $ $ $ $ $ $

'$$$##( )

$$$ $$$ ) $$$(

$$$##( ) ) $$$

( ) $$$($$$( ) $$$%%

( ) $$$ $$$ ) $$$(

$$$%%( ) ) $$$

( ) $$$($$$( )

Vibraphone

Piano

403

!!

!!

!!

!" " " " " " " " " "

!" " " " " " " " "

"!

#$

#$

#$

#$

#$

#$

#$

#$

#$

#$

#$

#$

%& % % %& %& % % % % % % % % % %& %& % % %& % % % % % % % % % % % %& %& % % % % % % % % % % % % % %& %& % % % % % % % % %

% %& %& % %& % % % % % % % % % %& % %& %& % % % % % % % % % % %& %& % %& % % % % % % % % % % % %& %& % %& % %& % % % % % % %

%%%&' ( ( %%%

' ) %%%' ( ( %%%&

' ) %%%' ( %%%

' ( %%%&&' ( ( %%%

' ) %%%' ( ( %%%&&

' ) %%%' ( %%%

' (

79

Within the “Dance” section, the pattern of recurrence of the “Sixteenth Note” motive is

more regular than in the “Fast” section, as it is set in two four-measure phrases. The first two

measures are ascending, the second two are descending, and then the phrase is repeated.

Examples 55a and 55b illuminate this difference.

In the “Water” section, the motive is heard first as a piano solo, measures 383-90, and

then as a duet between piano and vibraphone in parallel thirds, measures 403-10. The latter is

shown in Example 55c. In this statement, a similar phrasing model to the “Dance” section is

retained. However, the contour is varied as all four measures are descending. The second two

measures are one step lower than the first.

Motivic recurrence binds When Peace Flows in a cohesive and structured way. Some

motives are used to define entire sections; others are implemented more subtly within a section.

Motives are grouped into two categories, those that are returned the same every time and those

that are transformed to suit the current mood and style of the section in which they occur. These

melodic components are also used to contribute to the cyclic form and sectional delineation of

the composition.

80

CHAPTER 8

HARMONY – PART I

The structural harmonies of When Peace Flows were derived from two primary motives,

the MMO and the MMS. These motives and their constituent harmonies contain seven elements

that were used to shape the work harmonically. These seven elements are symmetry; set classes

[05], [015], [027], [0158], [024579]; and the diatonic collection. The discussion of harmony in

this document will be divided into two chapters. This chapter discusses the intervallic content of

the harmonies using set analysis. Chapter 9 will discuss tonal aspects of the harmony and overall

key scheme.

Inversional Symmetry and Interval Cycling

Set classes [027], [024579], and [013568t] (the diatonic collection) are inversionally

symmetric and can be generated through interval cycling. For instance, three pitch classes, C, D,

and G, have a combined prime form of [027]. They are therefore inversionally symmetric at I2,

such that C and D map onto each other and G maps onto itself. They also can be generated by an

interval cycle at interval class 5. That is, they can be arranged so that all pitch classes are

separated by the same interval so that from C to G is interval class five and from G to D is also

interval class five. The other two set classes can be constructed in a similar fashion. Set class

[0158] is inversionally symmetric but cannot be generated by interval cycling. These properties

are exploited in the harmonic structure of many motives.

81

Set Class [05]

Set class [05] is the building block for the fundamental harmonies of When Peace Flows,

each of which can either be generated through an interval cycle at interval class 5 or contains

within them one or more instances of the [05] dyad. Therefore, whenever those fundamental

harmonies are present, so is set class [05]. That is to say, moments saturated with [015] or

[024579], for example, are likewise saturated with [05]. Therefore, this discussion of [05] will

focus on those areas in which it is a central component of a harmonic structure and occurs

independently of other fundamental harmonies.

The first and last harmonies of the piece, during the “Pitch-Centric” sections in measures

7 and 533 respectively, are set class [05]. This sonority is designed to convey peacefulness and

expansiveness as it is prolonged throughout the sections. Similar characteristics are found in each

repetition of the “Octave/Fifth” motive, which is also composed only of a single [05] dyad.

Example 56 displays one occurrence of this motive, in measures 463-5, during the third MMS

statement. Three permutations of the “Octave/Fifth” motive in the vibraphone and piano are used

to highlight three different arrangements of set class [05] with E as a common tone.

The function of [05] within a given key may be quite ambiguous. This ambiguity is often

exploited through quintal harmony when modulating or transitioning between two disparate

areas. Several times within the piece, quintal harmony is used to disassociate two different

tonalities or key areas from one another without totally evaporating diatonic harmony. This is

accomplished either through arpeggiation of quintal chords or by the retention of a common tone

between two different [05] set classes.

82

Example 56: Use of the [05] dyad in the Octave/Fifth Motive, mm. 463-5

Example 57a shows the fanfare leading into the “Chorale” section from measures 155 to

159 and the conclusion of the “Hearts of Men” motive in measures 154-5. The pitch D is retained

from the “Hearts of Men” motive as the common tone for the initial leap from D to A in horn and

bassoon. On the third iteration of the fanfare, G is added in the trombone and three simultaneous

perfect fifths are created. The pitch A is used as a common tone to transition from the fanfare to

the soprano melody. Pitches C and G are then added in the trumpet and horn to E and A in the

sopranos. Example 57b shows these pitch classes arranged in order of their occurrence. The

example reveals equidistant [05] dyads centered on D. This expansion in successive perfect fifths

effectively blurs any hint of expected cadence or pitch center.

Example 57a: Transitional Fanfare into the “Chorale” Section (in C), mm. 154-9

463

Vibraphone

Piano

!!

!!

!p

3 3 3 3 3

!3 3

3 3 3

" " " " " " " " " " " " " " " " " " " # !

" " " " " " " " " " " " " " " " " " " # !

154

!!

!!

!!

! " " " "sopranos 1 & 2

Be hold- a new day

! "horn /bassoon

trumpet / horn

! cello

Hearts of Men melody

piano

!!!!!!

f " "trombone#

$ % &" '( )'* ) ' '' ' ' '' '

$ % &" '( ) " ' " ' ) " ' ' ++ $ & '','' ''

'- '- ' ' ' ' ' '++++--- + $ & ', ' '

83

Example 57b: Symmetrical Arrangement of set class [05] in “Chorale” Section from

measures 155 to 159

Another example of quintal harmony is found in accompaniment to the first MMS,

measures 132-46, and in the structural pitches of the motive itself. Example 58 shows an excerpt

of the MMS melody and the accompaniment with structural pitches highlighted in red.

Example 58: Quintal Harmony in the First MMS, mm. 135-9 (orchestral reduction)

In this example, the structural pitches of the MMS are F-sharp 4, C-sharp 5, and G-sharp

5. The pitch classes that accompany this melody are F-sharp, C-sharp, and G-sharp. The

structural pitches of the sopranos’ melody, which is composed mainly of ornamentation around

quintal harmony, is reinforced by these pitch classes. A similar structure can be observed in

successive iterations of the MMS. Thus this section and the other MMS statements are saturated

with quintal harmony.

[05]

[05]

A

D

A

D

G

E

A

E

A

G

C

[05]

[05]

symmetrical center -successive dyads are equidistant from D

!

"

132

Soprano 1

Soprano 2

!!

!!

!!

"!

"!

"!

!!

!!

!!

#!

#!

#!

!!

!!

!!

!When

mf

peace like a ri ver- flows a bove- the earth

"

! " " " " "mf


! "These pitch classes are dispered severalregisters and throughout the orchestra

#$ %$ # # #& #$' # #' % # #$ % # # ($ % % #

) * + #$'#$ # #' # # #' # #$ # ($

(($$ %% (( (( ((%%%$ %%% ##

# (((

84

Set Class [015]

Set class [015] is first introduced in the “Pitch-Centric” section, from measures 7 to 13 of

the Introduction. In this section, C6 is added to the predominate [05] harmony as an upper

neighbor note to B5. The resultant set class at these moments is [015]. In the “Conversation”

section that follows, [015] is more structural and stable.

A series of dialoguing statements by the sopranos, in measures 16-27 of the

“Conversation” section, outline various permutations of set class [015]. Often, these are either

anticipated or echoed harmonically in the accompanying instruments. Example 59 shows the

parsing of set class [015] throughout this section and the pitch classes it contains, as well as the

function of interval class 5 as a connection between successive [015] statements.

Many of the successive trichords in the above example retain common tones. The use of

common tones seen in Example 59 typifies the “Conversation” sections in each recurrence, and it

is characteristic of many other harmonic progressions in the work, as can be seen in Example

57b. Using common tone progressions allows for smoother transitions between various set class

[015] trichords and provides cohesion throughout the section.

Example 60 displays measures 37-42 of the “Avant-Garde” section, in which set class

[015] is stratified throughout the orchestra and in the melody line of soprano 2. Tone-color

variation in the seven solo-instrument ensemble is used to prolong pitch classes B, C, E, F, and A,

as discussed in Chapter 6 on pages 55-6. These adjacent pitch classes can be grouped into three

successive [015] trichords as follows: (B,C,E); (C,E,F); and (E,F,A). Much of the soprano 2

melody is also composed of [015], as can be seen in the dashed boxes in Example 60.

Additionally, the first three pitches of an ostinato played by the violist in measure 40 are A, B-

flat, and F or [015] in prime form, as can be seen in the dashed box in Example 60. Specific pitch

85

Example 59: Use of set class [015] in the “Conversation” Section, mm. 16-27

Example 60: Excerpt from the “Avant-Garde” Section Highlighting Set Class [015],

mm. 37-42

!

"

!

"

16

Vibraphone

Soprano

Soprano

22

Vib.

S.

S.

!!

!!

!!

!!

"!

"!

"!

"!

!!

!!

!!

!!

#!

#!

#!

#!

"!

"!

"!

"!

"!

"!

"!

!!

!!

!!

!Oboe/Trumpet

pp

B, D#, E [015]

ff pp

B, D#, E [015]

ff

" " "B, C, EG, B, C [015]

"

! "3 3

"F#, A#, B [015]

!B, D#, E [015]

When peace-

" " "B, D#, E [015]

When peace flows

3

!# When peace

"B, D#, E [015]

When peace flowsB, D#, E [015]

When peace

B, C, E [015]

3

!A, C#, D [015]

" " "

!When

G, B, C [015]

peace flows when

E, G#, A [015]

peace When peace flows3

!flows flows peace When peace flows

# $ % &&&' (&&&( % % &&&' (

&&&( % $

%&&&&) &&&&

&&&&(&&&&) &&&& ***

*'' ++++

++++ $$$$

$ &' & $ & + # &' & & & + + $

$ &' & $ & + $ &' & & & & +' * # &' & & +

# &&&&****

****

$ & & & & & $ &'( + &' & & + $ + $ & & +' $ &' & *,'

+ $ & $ &- + + + + $ & & * *,

!

"

!

"

37

Flute

Bassoon

Horn in F

Soprano 2

Violin I

Violin II

Viola

Violoncello

! # $$%

mp

non-metered

% % % %&$$ ''''''''''''''''''''''''''''''

mf

gliss.

" # # $n f

# #

!E, F, C

#C, B, E

#F, E, A

#mp3

!mp

I ee

3

uh oh ih > ah andand

mf

the voice

cresc. molto


3 3

! # solo

pp mp

pizz. arco

mp

! # # solo %mf mp

#

$ solo &mp

#pp mf f 3

3

3 3 3

3

3 3 3

!

%%%%%% = A

= viola ostinato

= C

= E

= F

= B

# solo

B, C, E - prolonged pitch classes

mf

C, E, F - prolonged pitch classes

"f

E, F, A - prolonged pitch classes

$3

'( '( '( '( '( ) ' ' ' ' '* ' '* ''( + ' ' ' ) )

,- $ ,& ) , $

,-* $ ,& , '. '. '. '. ' , )

) +$ / ' ' ' ' '01 '1 ' ' ' ' ' '' $ ' ' ' $ ' $ / ' '0 ' '* '' ' ' ' '. '. / '. '. $ /

/ '1 , ' ' ' ' ' $ '1 ' ' '1 / + ,( '' ' $ ' '

+ ' ' %,,(

) ) ,( $, ) , $ ' '0 ' ' ' ' ' ' ' ' ' ' ' '0 ' ' ' ' ' ' ' '0 ' ' ' ' ' ' '

+ 2,( 3'( 3'( 2,( $$%% ,,

3'( 3'(13'( ' '

86

classes are colored to highlight their concentration in a specific area and show the progression

from one concentration of pitch classes to another.

The aggregate collection of all the above pitches from Example 60 in order of their

occurrence is B, C, E, F, A, and B-flat. Table VI diagrams the four contiguous [015] trichords

that are contained within this collection. To create these trichords, two common tones are

retained between each set of three pitches.

Table VI: Aggregate Pitch Class Set and Sub-sets, mm. 37-42

Set Class [0158]

One byproduct of using interval class 5 and [015] simultaneously is set class [0158].

While this tetrachord is seen in nearly every section, it is often an unintentional result of the

combination of these other two harmonic elements. However, several moments within the piece

do focus on this harmony specifically. Set class [0158] is found within the “Chorale,” “Fast,”

“Dance,” and “Water” sections, and within the first “Avant-Garde” section.

In the “Fast” section, the opening melodic ostinato, measures 198-210, in bassoon, horn,

trombone, and piano is composed exclusively of [0158] using pitch classes G-sharp, E, D-sharp,

and B. The same tetrachord is reinforced harmonically in the right hand of the pianist. When this

section returns in measure 278, seen in Example 61, notes from the melodic ostinato align with

aggregate pitch class set = (B, C, E, F, A, Bb)

B C E F A Bb

sub-sets: (B,C,E) (C,E,F) (E,F,A) (F,A,Bb)

I4

T5

I 9

T5

I2

87

chords in the accompaniment to generate two transpositions of [0158]. This is in addition to the

[0158] set class of the melodic ostinato itself. Thus, in this section is contained both vertical and

horizontal statements of [0158].

Example 61: Set Class [0158] in the Second “Fast” Section, mm. 278-83

In the “Dance” section, the [0158] tetrachord is featured prominently in the introduction,

measures 234-7 and 300-3, the accompaniment to the vibraphone and piano duet, measures 260-

7, and the interlude, measures 256-9. Frequent C-sharp’s in the melody of the “Water” section

are aligned with D Major triads in the accompanying rhythmic ostinato, which results in set class

[0158].

Example 62 reveals a concentration of [0158] in successive harmonic and melodic

repetitions from measures 46 to 53 in the “Avant-Garde” section. In measures 46-9, B-flat, A, D,

and F, which are later intermingled with other pitch classes, are outlined in the cello. This [0158]

melody is followed by three different consecutive [0158] tetrachords in the vibraphone. The

brass, sopranos, and strings, in measures 50-1, are used to build yet another permutation of [0158]

with pitch classes B-flat, B, E-flat, and F-sharp. Then pitch classes C-sharp, E, G-sharp, and A

are outlined in a melodic ostinato in the viola and cello. These same pitch classes are paralleled

harmonically in the vibraphone and melodically in soprano 2. In the following measure, measure

53, the harmony of the viola and cello ostinato is transposed to pitch classes E, G, B, and C at T3.

278

!!

!!

"!

"!

!!

!!

"!

"!

! [0158]G#, E, D#, B

"

A, C#, E, G#

[0158]

G#, B, D#, E

[0158]

#$ #% & #%$' & #%' & #( #%

# #$ #$ #% & #%$' & #%' & #( #%

# #$ #$ #% & #%$' & #%' & #( #%# #$

###%$ ###% &###%'###% ###% &

###%'###%$ ###% &

###%'###%$ ###% &

###%'###%$$ ###% & ###

%'

###%$$ ###% & ###%'

###%$$ ###% & ###%'###% ###% ###)$ ###%$ ###% &

###%'

88

Within this small cross section are seven unique [0158] pitch class sets. As their pitch mapping

revealed no significant transformational processes or patterning, this information is not included.

Example 62: Excerpt from the “Avant-Garde” Section containing set class [0158],

mm. 46-53

!

"

!

"

!

"

!

"

Brass

Vibraphone

Soprano 1

Soprano 2

Strings

f

46

f

Then I saw a

mf

great white throne

f

and Him

ff

who was seat ed- on

mp

Then I saw

mf

a great white throne

f

and Him

ff

who was seat ed- on

mp f

mp mf f

Br.

Vib.

S.

S.

Str.

Str.

ff

51

f

it earth

f

and sky

ff

fled from His pres ence- and there was no place for

it earth

f

and sky

ff

fled from His pres ence- and there was no place for

ffsub. p

!!

"!

!!

"!

!!

"!

!!

"!

!!

"!

!!

"!

!!

"!

"!

!!

"!

!!

"!

!!

"!

!!

"!

!!

"!

!!

"!

!!

! " " " "Bb, B, Eb, F#

# # # # # #

$ " " " " # # # # # #

! " " " Db, Gb, Bb, F

C, F, A, EEb, Ab, C, G

! " " " % % % % % %

! " " % % % % % %

! " " viola viola/violin

&&&&&&&&&&&&&&&&&&&&&&&&&& violin

' cello

Bb, A, D, F

violla/cello

3 3 3 3 3 3

!

#

% % %

$%

% %

!% %

C#, E, G#, A

% % % %())% % % %

! %% 3 (in a loud whisper)3

3

!% % 33 3 3

!C#, E, G#, A

(violin) "

'(viola/cello)

!% %

C#, E, G#, A

% % % % % %$

% %% %

C, B, G, E

% % % % % %6 6 6 6 6

6 6 6 6

* ++) ++ ++ ++ ++ ++

* +, + + + + +

* - ++++,,, +++

+ ++++,,$$$

++++

- . / . . . +, + + % +0 + + + + + +

* +, % +0 1 + + +, +, + + % +2 +) + + + + +

3 $$$11

$$$++

- *11)

+, + + + + + + + + + + + +, + + + +, % +2 + % +,2 +, + + + +, + + + + + 1 * 11,,

++) - 11 11 ++) - *

+, - 1 1 + - *- ++)) ++ ++)) ++ ++ ++ ++ ++ ++ ++ 1111

+ - + + + + + + + +0 + +0 4 / . . . . . % .

+) - + +) +) + + + +) +) +( 0 + +0 4 / . . . . . % .++ - *

11

++ +) + +) + + + +) + +) + + + + + + + + + + + + + + + + + + + + ++( + + + + + + + + + + + +( + + + + + + + + + + +

89

!

"

Woodwind

Brass

Strings

Strings

p

527

mp

n p

mf

!!

"!

!!

"!

!!

"!

!!

"!

! "

! " "

!

# " "

" $ % &'

()

%%* % (

(((

'$ (( ## $ + ((%, #* (

% & % &&% (((

' ) +%* % (%, #* (

The Diatonic Collection

The diatonic collection serves as a superset for the fundamental harmonies used in this

composition. It contains six [05] dyads, four [015] trichords, five [027] trichords, two [0158]

tetrachords, and two [024579] hexachords. Beyond this function, however, the entire diatonic

collection is featured harmonically several times within the composition.

These diatonic collections are used to frame the composition, to provide accompanying

texture, and to highlight specific moments of grandeur or impact. Examples 63a and 63b show

two different diatonic collections, DIA+2 and DIA-1, that amassed at the end of the first

“Conversation” section and just before the beginning of the Coda, measures 24-7 and 527-30

respectively.

Example 63a: Diatonic Collection, DIA+2 Example 63b: Diatonic Collection, DIA-1

Both collections are constructed around a central pitch. In the second collection, the

pitches are organized to reflect outward from D5 in a wedge pattern as each pitch is sustained

until the entire diatonic collection is amassed harmonically. Example 64 shows a reduction of the

second collection and the order in which the pitches are realized in the composition. The pitch

!

"

Woodwind

Brass

Sopranos 1 & 2

Strings

Strings

f sub. p

24

fpsub. p

fp

when peaceWhen peace flows

sub. p

p sub. p

p

!!

!!

!!

!!

!!

!!

! " "

! "#

$

% " $

! & & $

!$

% $

'( ) **& *** ))) ))))' +#+ *, )*&- * * ) #) # ** ). )

' ) # ) # * .

)* * *) #) ) #) # ** ) #. *& * ..&/

( ' * .. ))& ## ** ..

' ) # ...

..

....

90

intervals in ascending order from D5 are +5, +5, +5. The pitch intervals in descending order are -

5, -5, -6.

Example 64: Second Diatonic Collection

The pitch classes in the first collection are centered on B3, from which are reflected the

pitch intervals are +2, +1, +9, +7 and -2, -2, -8, -7. Again, the collection is not quite symmetrical.

Unlike the second collection, the pitches are not alternated in a wedge progression. Rather, each

of the pitches was arranged to better harmonize with the harmonic interval sustained by the two

sopranos in the given measure.

Example 65: First Diatonic Collection

Three times within the piece, in measures 34-9, 415-7, and 426-9, violins I and II, and

viola are used to play the entire diatonic collection in harmonics that lie well above the register

of the remaining ensemble. Example 65 shows one instance of these from measure 34 to 35.

Individual pitches of the diatonic collection may be difficult to distinguish due to the register in

which the collection is performed, the density of the collection (all pitches are contained within a

!

near symmetrical distribution around D5

DIA-1

"+5

-5

" +5

order and arrangment of pitches in composition

""

-5

+5

"-6

"

#""""""""#

!DIA+2

" " #"#"

! " "

$near symmetrical distribution around B3

" "order and arrangment of pitches in composition

" """"""##

""""

91

Minor tenth or less), and the dynamic level of pianississimo. Based on these factors, the

collections will likely be perceived as a sound mass.

Example 65: Diatonic Collection Harmony in the Strings (DIA+1)

Despite this probability, the collections were chosen specifically to accommodate the

tonality or centricity of the sections in which they occur. This is also the case for the rest of the

diatonic collections, of which there are seven, including the two that frame the composition as

discussed above and two more that appear in measures 43 and 60-3. The diatonic collections in

order are DIA+2, DIA+1, DIA-1, DIA+4, DIA+3, DIA0, and DIA-1.

Set Class [024579]

Set class [024579] is generated nine times within the work. Each time it is the result of

the combined collection of pitches within a given selection. Further, [024579] is seen in long-

term harmonic construction.

The 10/16 portion of the first “Dance” section, measures 238-53, is clearly delineated

from the surrounding section by its meter, melodic contour, and instrumentation. It contains only

two three-note motives that outline pitch classes G-sharp, A-sharp, and D-sharp and G-flat, F,

and D-flat, which have a prime form of [027] and [015] respectively. The combination of the two

yields set class [024579].

!

"

Violin I

Violin II

Viola

34

ppp

ppp

ppp

!

!

!

" "

" "

" "

## $$

###% $$$

## $$

92

Seven measures after this occurrence, at measure 260, the “Sixteenth Note” motive, seen

here as a vibraphone and piano duet, is accompanied by a rhythmic ostinato that alternates every

two measures between B Major seven and B-flat minor seventh chords in the woodwinds and

brass. In this duet, shown in Example 66, two different sixteenth note runs are also alternated

every two measures. Combining the first two measures with the accompanying ostinato chords

yields pitch classes F-sharp, G-sharp, A-sharp, B, C-sharp, and D-sharp, which together have a

prime form of [024579]. Combining the second two measures in the same way yields pitch

classes D-flat, E-flat, F, G-flat, A-flat, and B-flat, which is also [024579] in prime form. The first

hexachord maps onto the second by inversion at I4 and by transposition at T7, and five common

tones are retained in both. This greatly increases smoothness when transitioning from one sub-

phrase to the next.

Example 66: Set Class [024579] in the Vibraphone and Piano Duet, mm. 260-3


All of the pitch classes that make up the beginning of the “Fast” section, measures 198-

208, can be combined to generate another permutation of [024579] using pitch classes B, C-

sharp, D-sharp, E, F-sharp, and G-sharp. Likewise, [024579] is created by the combination of the

pitches of the MMO and its original descending bass line, scale degrees 1-7-6-5.

Example 67 shows a harmonic iteration of the [024579] hexachord occurring in the

second “Conversation” section, measures 325-38. In measures 328-9, soprano 1 sings the words

260

!"

!"

""

""

!"

!"

""

""

! " " " " " " " "

!" " "

F#, G#, A#, B, C#, D#

" " " " "

T

I4

7

" " "Db, Eb, F, Gb, Ab, Bb

" " " " "

#$ #$ # #$ #$ # # # # # #$ #$ # #$ #$ # # # # # # # # # #% # #% #% #% # # # # # #% # #% #% #% # # # # # # # # #

&####$$$' (

#### #### ( ####'

####$$$' ( ( ####

' ( ####'####' ( ####%%%

' ( #### #### ( ####'

####%%%' ( ( ####

' ( ####'####' (

93

“the waters of life.” The combination of pitches that make up this statement and its

accompaniment, E, F-sharp, G-sharp, A, B, and C-sharp, results in set class [024579]. Although

the hexachord is unfolded melodically from measures 327-9, each of the pitches is sustained in

the instrument in which it is played until they are all sounded simultaneously in measure 329.

Example 67: Linear and Vertical Iteration of [024579], mm. 27-9

Set class [024579] was also considered when forming long-term harmonic strategies in

the composition. For instance, the combined structural pitches of the three different MMS’ yield

[024579], as do all of the pitches in the MMS and its bass-line accompaniment. Rather than

arbitrarily choosing the diatonic collections discussed above, the tonic pitches of each collection,

if they are considered in a Major or Minor mode, can be combined to form [024579].

In any work that uses a significant amount of diatonic material, set class [024579] will be

present. However, the significance of its use in this work is based on the frequency of its

occurrence in concurrent sections without the addition of the final pitch necessary to create the

diatonic collection.

The harmony of When Peace Flows is shaped by seven elements: symmetry, set classes

[015], [027], [0158], [024579], and the diatonic collection. Symmetry is frequently seen in the

!

"

327

Vibraphone

Soprano

Strings

Strings

!!

!!

!!

!!

"!

"!

"!

"!

! "# "p

!mp

the wat ers- of life

!pp

3

$pp

melodic unfolding ofset class [024579]

sustained [024579]

%& %& %%% ''' ###

( )# * %+, % # %+ ' % %+ '+ ' )

%- %+ %+ '## . ' ' )

./+%+ '## .

.''

'' )

94

construction of each of the fundamental harmonies, whose specific role is varied from

transitional to thematic to structural. The integration of these seven elements into both tonal and

atonal mediums results in a cohesive harmonic structure.

95

CHAPTER 9

HARMONY – PART II

In this second part of the discussion on harmony, the tonal aspects of the harmony, which

include phrase structure, cadence, harmonic progression, and the overall key scheme, are

analyzed. While it is beyond the scope of this chapter to detail the harmonic structure of every

section, the selected sections were chosen to highlight important moments based on their

structural significance and unique harmonic processes. The sections analyzed within this chapter

are the three statements of the MMO and MMS, the “Chorale” and “MMO Melodies,” and the

“Dance,” “Water,” and “Lake of Fire” sections. The chapter concludes with a chart in which is

outlined the harmonic relationships of the individual sections contained within When Peace

Flows.

The MMO

The MMO consists of two parts: a melody that oscillates between set class [015] and set

class [05] and a four-note descending bass line that progresses from tonic to dominant in a given

key. Example 69 uses the first MMO in B Major as a model. The two melodic components, [015]

and [05], function differently depending on the bass note with which they are aligned. For

instance, in the first phrase of Example 69, pitches D-sharp, B, and A-sharp, the [015] portion,

are accompanied by a B in the bass, and the result is tonic harmony. When the same [015]

trichord is accompanied by a G-sharp in the bass, as in measure 115, the result is submediant

harmony. In both instances, the A-sharp in the [015] melody is considered a non-harmonic,

lower neighbor note.

96

Example 69: Harmonic Analysis of the first MMO Statement, mm. 113-31


113

117

121

125

129

!!

!!

!Phrase 1

HC

"B: I V6 vi V

!Phrase 2 IAC

"Isus9 V6 Isus9 V6 linear chord V6

!MTO Melody

3

!Phrase 3

DC

"I V6 vi V IV

!3

!Phrase 4

"I V6 vi7 V7

!

Cadential Extension

!PAC

"I

#$ # #$ # # # # # # # # # # # # # #$ #$ # # # # # # # # # # # # # # #$ # #$ # #$ # # # # # # # # # # # #$ #$ #$ # # # # # # # # # # # # #

% %$ %$ %$

#$ #$ # # # # # # # # # # # # # # #$ #$ # # # # # # # # # # # # # # #$ #$ # # # # # # # # # # # # # # #$ #$ # # # # # # # # # # # # # #

& ! # ! #$ & ! # ! # # !! #$' & &$ ! # #$

#$ # #$ # & ! #$ #$ ! & # #$ #$ & &$ %

#$ # #$ # # # # # # # # # # # # # #$ #$ # # # # # # # # # # # #$ # #$ #( #$ #$ #$ #( # # # #($ # # #$ #( # # # #( #$ # #( # # #( # # #( # # #( # # #$

% %$ &$ &$ %

#$ # #$ # & ! #$ #$ ! & # #$ #$ & &$ %

#$ # #$ # # # # # # # # # # # # # #$ #$ # # # # # # # # # # # #$ # #$ # #$ #$ # # # # # #")# # # # # # # # #$ #$ # # # # # # # # # # # # # #

% %$ %$ %$

#$ # ! & !

#$ # ! & ! #$ # ! & !

# #$ # # # # # # # # # # # # # # # #$ # # # # # # # # # # # # # # ##$$## !

! && !

!

% % %

97

In measures 114 and 116, the harmony for the two [05] statements, which are composed

of pitches C-sharp and F-sharp, is similarly derived. Combined first with an A-sharp and then an

F-sharp in the bass, the [05] melodies are analyzed respectively as a first inversion dominant

triad and a root position dominant triad.

This process results in the harmonic progression I-V6-vi-V. In other MMO statements,

the bass progression, and, therefore, the harmonic progression, may be varied. In these instances,

the diatonic function of the [015] and [05] portions is still heavily influenced by the

corresponding notes in the bass and other surrounding pitches.

The first full statement of the MMO, measures 113-31, is constructed of four, four-

measure phrases with a cadential extension, as can be seen in Example 69. The pitch, rhythm,

and harmony of the four-note descending progression are slightly modified in the second phrase,

as the [05] portion of the melody is continued without returning to the [015] portion.

The [015] portion resumes in phrase three as accompaniment for the “MMO Melody.” In

this phrase, the harmonic rhythm is advanced, and the MMO itself is altered. The third and

fourth notes of the descending bass line are diminished by two beats each, and an additional

descending scalar step is added to the progression, which now progresses along scale degrees 1-

7-6-5-4. This shift in the bass line is paralleled in the harmonic progression, which moves more

quickly through I-V6-vi-V and adds a IV chord to the end of the progression.

In the final phrase, the “MMO Melody” is repeated, but the harmonic progression is

returned to its original state with sevenths added to the vi and V chords. Thus the final phrase is

concluded with a perfect authentic cadence in B Major. This section, shown in Example 70, is

organized in a double periodic phrase structure, which is unique to the first MMO section.

98

Example 70: Double Period Construction of First MMO from measures 113 to 131

The second MMO section is more extensive than the first at 49 measures long, and it can

be divided into two parts, measures 474-510 and 511-8. This segmentation is based on a key

change at measure 511, from A Major to G Major, and a substantial interlude in measures 498-

510. No periodic phrasing exists within these two parts, though four-measure phrasing is

generally retained, and a series of authentic cadences are used to establish structure.

The Chorale and MMO Melodies

The “Chorale Melody” closes both the A and A" sections. The contour of the melody is

essentially an ascending Major scale. This is coupled with the same Major scale descending in

the bass. The combination forms the wedge progression shown in Example 71. The “Chorale

Melody” itself is composed of two asymmetrical phrases. The first is three measures long, and

the second is seven measures long.

As stated, the contour of the “MMO Melody” is also an ascending scalar line, though it is

only four measures long. The final three measures of the “MMO Melody” are identical to the

first three measures of the “Chorale Melody.” Example 71 provides a comparison of the two

using the initial “Chorale Melody” in D-flat Major, measures 188-96, and a generic “MMO

Melody” transposed to the same key.

113 117 121 125

!

B: I vi V

HC

- I V6 II

IAC

V IV

DC

- I V7 I

PAC

-

" #$ %$ " #$ " #$ %" #$ %

99

Example 71: Comparison of “Chorale Melody” and “MMO Melody,” mm. 188-96


While the “MMO Melody” is generally followed by resolution to the tonic, this

resolution is delayed in the second phrase of the “Chorale Melody.” Instead, the melody and bass

line are continued in the scalar wedge progression until both culminate in measure 194 with a

fortississimo D-flat that is separated by four octaves. The combined pitch classes used in the

melody are those from the diatonic collection DIA-5. This, in combination with the final

authentic cadence in D-flat, points to D-flat Major as the likely key center. The opening three

measures are identical to the “MMO Melody” as seen in Example 69 on page 96 and as such, are

analyzed similarly. The individual chords that occur between measure 191 and 194 are merely a

byproduct of the wedge progression and are not intended to impart a harmonic progression.

Therefore, the analysis of these chords has been omitted from the above example.

The “Chorale Melody” returns in the key of G Major at the end of the A" section in

measure 516, shown in Example 72. Leading up to this return is a slightly varied statement of the

“MMO Melody,” measures 511-9, the final three measures of which are overlapped with the

entrance of the “Chorale Melody.” This occurs when the sopranos sing the words “and above the

f fff f mp

188

Db: V6 vi V IV V64 I

1

Db: I V6 vi V IV

!!

!!

!

Chorale Melody

3

"

!

!MMO Melody

3

"

#$ #$ % #$ # %$ %$ &$ #' #'$ #'$ % " #' #'$ %'$ #' %'$ %'$ ####($$$$ ####

($$ %%%%$ #$ #$ #($ #( % # #$ &$

&& %%$$ %%$$ &&$$ &&$$ %%' ""

##'$$ %%'

$$ %%'$$ &&$$ &&$$ %% "

")

# #$ # # % " #$ #$ " % # #$ # %$ %$ &$

&$ & %$ %$ &$

100

earth” in the anacrusis to measure 517 and measure 518. Three variations differentiate this

statement of the “Chorale Melody” from the original. First, text is added. Second, the timbre and

texture differ, as a majority of the orchestra is used in this final statement. Third, the sixteenth

notes from the MMO are continued throughout the “Chorale Melody.” This section, from

measure 511 to 524, marks an important moment in the work as the “Chorale Melody,” the

“MMO Melody,” and the MMO are overlapped.

Example 72: Conclusion of the A" section - the MMO, “MMO Melody,” and “Chorale

Melody,” mm. 511-8 (orchestral reduction)

511

Sopranos 1 & 2

515

S.

!!

!!

!!

!!

! "MMO Melody, ctd.

like a ri ver- flows

3

!MMO Melody

!MMO

#G: I V6 vi V

!through

f

out the earth

mf

and

Overlapping MMO melosy and Chorale Melody

a bove- the earth

!MMO, ctd

(V7)linear chord

#I V6 IV6 IV

$ % & ' ''( )) ))( )) )' ' ' '

'' '( ') ! '' ! ) !

'*'* '*( '*) ' ' ' ! ) !

'' '( ''''''''''''' ''''''''''''''' '( '' '( ' '''''''''''' ' '''''''''''''''

++* ++*(( ++* +

+*(

''( '' )) '' )) !

! ' ''( )) ))( ++

' ' '( ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '( ' ''*' ' '

*

' ' ' '' ' '

*'' ' ' '' '*' ' ' ' ' '

'*' ' ' ' ' ' '

'*' ' '

*

' ' ' '' ' '

*'' ' ' '' '*' ' '

*' ' '' ' ' '

+++ +++((+++ +++

101

Example 72 cont: Conclusion of the A" section, mm. 519-24 (orchestral reduction)

The distinctive wedge progression created in the first “Chorale Melody” is not as present

in the second statement. While the ascending scalar portion is still prevalent, the descending

portion is intermingled with the bass accompaniment for the MMO, and as such, a clear, scalar

descent is difficult to discern. This additional material does however allow for a much clearer

harmonic progression. The final authentic cadence is followed by a harmonically ambiguous

transitional section marked by quintal harmony in the piano ostinato. Example 73 charts the

harmonic progression of the three phrases that make up the MMO, “MMO Melody,” and

“Chorale Melody” conglomerate from measures 511 to 523.

Sopranos 1 & 2

5

S.

!!

!!

!!

!!

! "in

ff

the hea vens- in

f

the

!MMO, ctd

!Chorale Melody, ctd

(doubled one octave lower)

I

fff f3

#linearchord ii64 V IV V

!hea vens in

mf

the

"

!mp f

6 6 6 6

#

$ % & &&' (( ((' $ % && &&'

&&&&&&&&&&&&&&&& && &' &&&&&&&&&&&&&&) &' &&)&&&)&&&)&&&)&&& &) && &) &&&) &&&) &&&) &&&

&) &) &) ( ! &) &) () &)' () () &&&&* &&&&

*+ ((((+ &+ &

,,,'' ( !

,)& (

,)( ,

,

&& && (( &&' &&

&* &* ( &' && & & & & & & & & & & & & & & & & & & & & & & &

,,

,,

102

Example 73: Phrase and Harmonic Analysis of measures 511-523

The MMS

The previous chapter discussed the quintal harmonic construction of the MMS based on

structural pitches used in both the accompaniment and melody. In each of the MMS sections,

however, certain instruments, double bass in the first MMS, and viola and double bass in the

second, are used to emphasize notes outside of the three structural pitches. These outlying

pitches imply diatonic harmony when considered alongside the structural pitches of the MMS

accompaniment and the MMS itself.

The specific key of these sections is based on the pitches of the sopranos’ melodies, the

harmony outlined by these pitches in combination with the pitches of the outlying instruments,

and the authentic cadence at the close of the first and third sections. The accompaniment pitches

in the remaining ensemble are used to reinforce the quintal structure of the soprano melody and

to support whichever harmony the soprano and outlying instruments imply.

In the first MMS in F-sharp Minor, the outlying instrument is the double bass. The

structural pitches are F-sharp, C-sharp, and G-sharp. When the underlying harmonic framework

of the melody and double bass is a tonic triad, then the F-sharp and C-sharp seem to support that

harmony, and the G-sharp appears to function as a non-harmonic tone. When a dominant triad is

outlined, the C-sharp and G-sharp are raised in prominence, and the F-sharp seems less important.

Throughout this section, it is possible to discern a harmonic progression because of the contrast

103

between the sustained harmony of the accompaniment and the outlying notes of the sopranos and

double bass.

Example 74 analyzes the harmonic progression through the four phrases of the first MMS.

The double bass moves through scale degrees 1-7-1-6-7-1, which is harmonized as i-bVII-i-

linear chord-i42-v6-I. An authentic cadence closes both phrases two and four.

Example 74: Harmonic Analysis of the First MMS, mm. 132-46

A similar construction is recalled in the third MMS despite a much thinner texture in

which only the cello, vibraphone, and piano sustain quintal harmony, this time on pitches A, E,

and B. The harmony in this statement is more dynamic than the first, as the viola adds a counter

!

"

!

"

132

Soprano 1

Soprano 2

Double Bass

140

S1.

S2.

Db.

!!

!!

!!

!!

"!

"!

"!

"!

!!

!!

!!

!!

#!

#!

#!

#!

!!

!!

!!

!!

"!

"!

"!

"!

"!

"!

"!

"!

$!

$!

$!

$!

!!

!!

!!

!!

"!

"!

"!

"!

!!

!!

!!

!!

"!

"!

"!

"!

!!

!!

!!

!!

!When

mf

peace like a ri ver- flows a

Phrase 1

bove- the earth

Phrase 2

AC "

! " " " " "mf


! "These pitch classes are dispered severalregisters and throughout the orchestra

#F#m: i

" "bVII i

!then peace like a

Phrase 3

ri ver- flows

3

un to- the hearts

Phrase 4

of

AC

men

! " mf

then peace like a ri ver- flows3

(i42)linear chord

un to- the hearts of men3

! "#

linearchord

v6 i

$% &% $ # $' $%( $ $( & # $% & # $ )% & & #

* + , $%($% # $( $ # $( $ $% # )%

))%% && )) )) ))&&&% &&& ##

# )))

$% ) & ) & & # )%

+ , $% ' $% # $ $' $ $% $% & & , $% ' $ $ & $ $% )%

, $%( $ $ $ $ $% $ $ & & , $% ' $ $ &% $ $ )%

&&&&&& ### )))

&&&)))

&&&& & # ) & ) & )%

104

melody to the double bass. The combination of the two provides a more stable harmonic

structure than in the first MMS and further defines the diatonic progression.

Example 75 provides a harmonic analysis of the three phrases of this MMS statement.

The second and third phrases both close with an authentic cadence.

Example 75: Harmonic Analysis of the Second MMS, mm. 456-65

!

"

!

"

!

"

!

"

Soprano 1

Soprano 2

Viola

Violoncello

Double Bass

When

mp

peace like a ri ver flows a bove- the earth

456

and

f

Am: i

456

S1.

S2.

Vla.

Vc.

Db.

then peace like a ri ver- flows

461


p

v6 i VI7 v i

461

!!

!!

!!

!!

!!

!3

Phrase 1

! " " " "

! " " "# " $

###

#3

$ "

! "Phrase 2

AC

Phrase 3

AC

"

! " " "3

! " "piano/vibraphone

doubled at the octave

3 3 3 3 3

! " #

# $###

#3

3

$

%& % $ %' % % % % $% % % $ ( %'% % % ( % % )

* + , %'( $ % )

% % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % %% %

% %

) ) ) )

* + % % % $ %' % $ % % % ( $% $ %' % % % % )

% % % % % % % % % % % % % % % % % % % ( $" ) ) )% % % % % % % % % % % % % % % % % %

%%%% % % % % % % % % % % % % % % % % % % % % %

) ) ) ) )

105

The Dance Sections

The “Dance” sections are harmonically ambiguous. Composed of simultaneous Major

and Minor harmonies that are separated by the interval of a third, it is difficult to discern the

predominant quality. Often, context seems to relegate one sonority to prominence over another.

However, these distinctions are circumspect to personal interpretation and are not clearly

distinguishable by the music itself.

Example 76 shows two such instances within the first “Dance” section. In measures 238-

41, the combined harmony is that of a G-sharp Minor seventh chord. The left hand of the pianist

plays a B Major triad, while the right hand adds notes that seem to imply G-sharp Minor.

Measures 242-5 reveal a similar analysis of a G-flat Major seventh chord created from a B-flat

Minor chord in the left hand and notes in the right hand that imply G-flat Major. In measures

260-1, the melody and accompaniment outline harmonies that could be G-sharp Minor, B Major,

or D-sharp Minor, and measures 262-3 could be analyzed as G-flat Major, B-flat Minor, or D-flat

Major. These possibilities have been indicated in Example 76.

Example 76: Harmonic Analysis of Excerpts from the “Dance” Section,

mm. 238-45 and 260-3

Piano

238

260

!"!#

!"!#

$%

%%

$%

%%

$%

%%

$%

%%

!doubled at the octave in vibraphone

" # #" #"#"

" # #"

BM/G#m

#"#"

" # #" #"#"

" # #" #"#" " # #" #" #"

Bbm/GbM

" # #" #" #" " # #" #" #" " # #" #" #"

!!

$#

$#

$#$#

$#

$#

$#$#

$#

$#

$#$#

$#

$#

$#$#

$#

$#

$#$#

$#

$#

$#$#

$#

$#

$#$#

$#

$#

$#$#

!vibraphone/piano

#G#m/BM/D#m

# # # #GbM/Bbm/DbM

# # #

!woodwinds/brass/piano

# # ## # # # # # # # # # # #

%& %& %& % %' %( %& %& %& % %' %( %& %& %& % %' %( %& %& %& % %' %(%) % %) % %( %(

%) % %) % %( %(%) % %) % %( %(

%) % %) % %( %(

%%%&&' * %%%

' * %%%'%%%'

%%%&&' * %%%

' * %%%'%%%'

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%%%))' * %%%

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%%%))' * %%%

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%%%))' * %%%

' * %%%'%%%'

%& %& % %& %& % % % % % %& %& % %& %& % % % % % % % % % %) % %) %) %) % % % % % %) % %) %) %) % % % % % % % % %

+%%%%&&&' ,

%%%% %%%% , %%%%'

%%%%&&&' , , %%%%

' , %%%%'%%%%' , %%%%)))

' , %%%% %%%% , %%%%'

%%%%)))' , , %%%%

' , %%%%'%%%%' ,

106

The Water Section

The “Water” section is structurally similar to the “Dance” sections in phrasing, melody,

and the alteration between two different harmonies. It begins with a four-measure introduction in

measure 371. This is followed by the main melody, the reiteration of the words “the water” by

the sopranos, in measures 374-82, that groups two four-measure phrases divided into two

measure sub-phrases based on harmony. A variation on the sixteenth note runs from the “Dance”

section occurs in measures 383-90 and the same phrasing model is applied, two four-measure

phrases divided into two measure sub-phrases. After an interlude, these runs are returned in

measure 403. An excerpt of this progression is shown in Example 77.

Example 77: Harmonic Analysis of Excerpts from the “Water” Section, mm. 371-8 and

383-6

The “Water” section is supported entirely by rhythmic motive C, as can be seen in

Example 77. This motive is used to repeat two chords, D Major and C-sharp Minor, which are

alternated every two measures. These two chords are representative of the harmony for this

section.

!

"

371

Brass

Soprano

Soprano

383

Vibraphone

Piano

!!

!!

!!

"!

"!

!!

!!

"!

"!

!!

!!

!rhythmic motive C

DM

#

C#m

#

DM

#

C#m

#

! " " "the wa ter-

"the

! " " " " "the wa ter-

!

$DM C#m

!rhythmic motive C

###$% ###$ & ###$'###$ ###$ & ###$

'###$%% ###$

& ###$'###$ ###$

& ###$'

###$% ###$ & ###$'###$ ###$ & ###$

'###$%% ###$

& ###$'###$ ###$

& ###$'

( ) #% # % #%* + + % ) ( ) #%

( ) #% # % #%* + + % )

#, #% #% # #% #, # # # # #, #% #% # #% #, # # # # #, # # # #,% #% # #% # #, # # # # #,% #% # #% # #, # # # # #, # # #

###$% ###$ & ###$'

###$ ###$ ###$% ###$ & ###$'

###$ ###$ & ###$'

###$%% ###$& ###$

'###$ ###$ ###$%% ###$

& ###$'

###$ ###$ ###$ ###$

107

The Lake of Fire Section

The “Lake of Fire” section is divided into two parts, measures 85-94 and 95-105, shown

in Example 78. This segmentation is based on a shift in harmony and instrumentation that occurs

in measure 95. The harmony of the first part is alternated between E-flat Minor and E Major

triads every two measures. In this section, the use of contrasting triads is meant to demonstrate

the conflict between good and evil detailed in the preceding text, which describes the lake of fire

judgment. The anticipated E-flat Minor triad in measure 93 is replaced with E-flat Major. This is

intended to symbolize the possibility of change from evil into good and the ultimate triumph of

good over evil.

Example 78: Harmonic Analysis of the “Lake of Fire” Section, mm. 85-105


85

95

100

!!

!!

!ff

piano, violin, viola

Ebm

! "

EM

!

Ebm

! "

EM

!

EbM

!3

3

3

3

3

3

3

3 3

3

3

3

#bassoon, trombone,piano, cello, bass

! ! ! ! ! !

!

"piano

! !mf

flute, oboe,violin

3 3 3 3 3 3 3 3 3 3 3 3

!B: I6

sub. p piano

!vi64

!IV

piano

!

"

!

cresc.

!

ff

piano and violin

3 3 3 3 3 3 3 3 3 3 3 3

! !viiº/V

!V

woodwinds, brass,vibraphone, piano

$% $% $% $% $$$$$$$$ $% $% $% $% $$$$$$$$ $% $% $& $% $$$$ $& $$$

$% $ $ $ $ $ $ $ $$'& $$ $$ $$ $$ $$ $$ $$ $% $ $ $ $ $ $ $ $$'& $$ $$ $$ $$ $$ $$ $$ $$&% $$ $$ $$ $$ $$ $$ $$

$& $' $' $' $ $ $' $ $' $ $ $ $ $' $' $' $ $ $ $ $ $ $ $ $ $' $ $ $ $ $ $ $ $ $ $

$$$'' $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$'' $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$' $$$ $$$ $$$ $$$ $$$ $$$ $$$

$' $' $ $& $ $ $ $ $ $ $ $ $' $' $' $' $ $ $ $ $ $ $ $ $' $' $' $' $ $ $ $ $ $ $ $ (((()'''

$$$'' $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$''' $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$''' $$$ $$$ $$$ $$$ $$$ $$$ $$$ ((()

108

The second part follows a cadential progression in the key of B Major, I6-vi64-IV-viiº/V-

V. Dominant harmony, which ends the progression in measure 105, is subsequently resolved

with the entrance of the flute, violin, cello, and double bass in measure 109 on a tonic triad in B

Major. This temporary suspension of harmony occurs while the voices speak the words of God,

“It is finished. I am the Alpha and the Omega, the beginning and the end.”

The Fast Sections

Like the “Dance” sections, the harmony of the “Fast” sections are tonally ambiguous,

characterized by simultaneous Major and Minor triads. During the opening of the first “Fast”

section, which occurs in measures 198-208 and is displayed in Example 79, the melodic ostinato

in the bassoon, horn, trombone, and the left-hand of the piano part outlines a G-sharp Minor triad

with E as an upper neighbor. This is contrasted with an ostinato in the flute and oboe that

outlines the first five notes of a C-sharp Minor scale. The right-hand of the piano part highlights

these different harmonies. The four pitches from the ostinato are first reconfigured to form an E

Major seventh chord and then a G-sharp Minor triad. These are alternated with C-sharp Minor

triads as that harmony becomes more prominent in the flute and oboe. Thus E Major, G-sharp

Minor, and C-sharp Minor harmonies figure prominently in the opening and subsequent sections.

In other parts of the section, layered Major and relative Minor harmonies occur.

Measures 216-23 could support G Major or E Minor harmonies. Likewise, measures 224-33

show equal preference for C Major or A Minor harmonies. Though the whole of the “Fast”

section lacks the functional harmonic progressions necessary to be considered in a particular key,

the labels used reflect the prominent sonorities in the portions mentioned.

109

Example 79: Harmonic Analysis of an Excerpt from the “Fast” Section, mm. 198-208

Juxtaposition of Major and Minor Triads

A commonality among the “Dance,” “Water,” “Lake of Fire,” and “Fast” sections is the

juxtaposition and layering of Major and Minor harmonies. This occurs in one of three ways. In

the first way, Major and Minor harmonies, which have root pitches generally a half step apart,

are regularly alternated in contiguous measures to create a static harmony that does not generally

progress to an anticipated end. The only expectation is a return to one or the other of the two

harmonies. This method is typified in the “Water” and “Lake of Fire” sections. In these sections,

variety is achieved by delaying the return of an expected sonority or altering the expected

sonority in some way, as occurs at the end of the second “Dance” section and at the end of the

first part of the “Lake of Fire” section.

In the second way, relative Major and Minor harmonies and third-related harmonies are

layered simultaneously to create a Major-Major seventh chord or Minor-Minor seventh chord

p p

198

sfz sfz sempre

cresc . poco a pocof

204

!!

"!

!!

"!

!!

"!

!!

!!

"!

!!

"!

!!

"!

!!

!!

"!

!!

"!

!!

"!

!!

!!

"!

!!

"!

!!

!!

"!

!!

"!

!!

!!

"!

!!

"!

!!

! " " "flute, oboe,trumpet

C#m

#

! " " piano

EM7

$

G#m

#$$

"

%bassoon, horn, trombone, piano,

G#m

# # # # # # # # # # # #

! # # # # # # $

!C#m # #$

$" # # #

#%

# # # # # # # # # # # #

& ' () () ( () () & * & ' () ()

(((()) & * & ' ((()) + (((()) & *

() (' ()+ ' (+ ' (+ ( ( () () (

' ()+ ' (+ ' (+ ( ( () () (' ()+ ' (+ ' (+ ( ( ()

( () () & ' () () ( (( & () () ( () () () () ( () ( (( ( (( ( ( ( () () () () ( ( () & *

((()) & (((+ ' (((() & ' ((()) + (((()) & * () ( ' ()+ ' (+ ' (,

( (' ()+ ' (+ ' ()+ ( ( () ( () ' ()+ ' ()+ ' ()+ ( () ( () (

' ()+ ' (+ ' (+

110

(i.e., C-sharp Minor + E Major = C-sharp Minor seven). Examples of this technique occur in the

“Fast” section. Because of the simultaneity of both harmonies and the lack of support for one

over another, these sections, or at least the portions that exude this property, are labeled as

tonally ambiguous.

The third way in which Major and Minor harmonies are juxtaposed and layered is a

combination of the first two methods described above. This is best represented by the “Dance”

sections as Major and Minor harmonies are not only layered simultaneously, creating tonal

ambiguity, but two contrasting layers of combined Major and Minor harmonies are alternated in

two measure patterns. Table VIII summarizes the relationships between Major and Minor triads

in the “Lake of Fire,” “Fast,” “Dance,” and “Water” sections, as discussed above.

Table VIII: Major and Minor Harmony in the “Lake of Fire,” “Fast,”

“Dance,” and “Water” Sections

“Lake of Fire” sect.: Ebm - EM - - - BM “Fast” section: C#m/EM/G#m Em/GM Am/CM “Dance” section: BM/G#m Bbm/GbM G#m/BM/D#m GbM/Bbm/DbM “Water” section: C#m-DM

1. Alternation of Major and Minor harmony separated by a half step

‐ “Water” section: C#m-DM

‐ “Lake of Fire” section: Ebm-EM

2. Simultaneous Major and relative Minor harmony

‐ “Fast” section: C#m/EM/G#m Em/GM Am/CM

3. Juxtaposition and layering of Major and Minor harmonies

- “Dance” section: BM/G#m Bbm/GbM G#m/BM/D#m GbM/Bbm/DbM

111

Macro-Level Harmonic Relationships

Example 80 displays a chart that outlines the harmonic relationships of the entire

composition based on the key, keys, or predominant harmony of individual sections for those

sections in which a functional harmonic progression is not present. An example of the latter

would be the opening “Pitch-Centric” and “Conversation” sections, which have no functional

cadences to define the key of E Major/Minor, but whose harmony is centralized around that

particular pitch class. Labels for the “Avant-Garde” sections are based on the amassed diatonic

collections and the implied harmony of the “Seven-Note” motive present in both.

The tonally ambiguous “Fast” and “Dance” sections are labeled with a question mark in

place of a key area. Individual sections are grouped into the five larger sections outlined in

Chapter 3, ABA'B'A" with an Introduction and Coda. Sections with several possible key or

harmonic areas (i.e., the “Lake of Fire” and “Water” sections) are labeled with a forward slash

between the two keys. Dashes between keys indicate a modulation within the section. The

caesuras indicate pauses in the music that follow the “Lake of Fire” section and the second

“Dance” section. All sections are labeled, and the physical distance between sections is an

approximation of their length relative to other sections. The actual length in number of measures

is indicated above the section label. Measure numbers above each section line indicate the

beginning measure of the following section and do not reflect the distance between sections.

Table IX details the harmonic relationships of recurring sections. Of the six repeating

sections, the MMS and the “Pitch-Centric” sections have a transpositional relationship of T3

between successive recurrences.

112

Example 80: Diatonic Key Relationships of Individual Sections

Table IX: Transpositional Relationships Between Repeated Sections

RepeatedSection PrevalentHarmony Transposition

PitchCentric E,G T3

“Conversation” E,F#,C T2,T6

MMO B,A,G T10

MMS F#,F#,A T3

“ChoraleMelody” Db,G T6

“Fast” ??

113

Table X examines the ways in which those sections related by T3 are structurally

positioned in the composition. The MMS is positioned between and on either side of the B and

B' sections. These are framed by the “Pitch-Centric” sections. Thus, some of the same

numerological strategies found at a micro level within the piece are seen at a macro level in the

relationship of repeated sections. Further, these relationships are evidence of the symmetrical

construction and arch form of the composition.

Table X: Structural Placement of T3 Related Sections

These charts show the integration of balance and symmetry into diatonic key

relationships between individual sections. The selected sections within this chapter highlight

important key relationships and harmonic structures. While some areas of the composition can be

considered atonal, as a whole the compositional language of When Peace Flows is tonal. At

times, it functions in a diatonic framework, as evidenced by the use of hierarchal chord

progressions, key relationships, and modulations. At other times, traditional diatonicism is

abandoned, as seen in the tonal ambiguity created by juxtaposed Major and Minor harmonies.

Pitch-Centric

Introduction

MMS

A

T

B

3

MMS

A'

T3

B'

T3

MMS

A"

Pitch-Centric

Coda

114

CHAPTER 10

SUMMARY AND CONCLUSION

This chapter provides a summary of the analysis put forth in the previous chapters and a

conclusion as to how the music and text coalesce around the central theme of the work.

Analytic Summary

The harmony, melody, structure, and tone of the work are heavily impacted by the

biblical and poetic texts. The conversational nature of the biblical text is recreated in the text

setting through a dialogue between the sopranos, who both sing and speak the text narrated by

John, and the orchestra, whose musicians speak the text spoken by God and the angel. The

influence of biblical numerology is seen in the construction of motives, ensembles, and numbers

of repetition of certain sections. Examples of this are the three ensembles of seven solo

instruments, the three recurrences of the MMS and MMO, the “Seven-Note” motive, and the

seven fundamental harmonic elements.

Cyclic and evolutionary elements in the poem are reflected in the cyclic form of the work

and in the progression from the chaotic setting of the biblical text to the more stable setting of the

poetic text. The form of the work is largely dictated by this structure. Seven major sections,

Introduction ABA'B'A" Coda, make up the form of When Peace Flows. Contained within each of

these are numerous sub-sections that are distinguishable by texture, rhythm, instrumentation, and

harmony. The delineation of the larger sections is based on the recurrence of these sub-sections,

which vary slightly with each repetition.

115

Variances of texture, instrumentation density, and rhythmic intensity are characteristic of

adjacent sub-sections. By devising five texture categories, applying these to each section, and

charting their fluctuation throughout, the composition patterns are revealed that mirror the

structure of the composition and reinforce the sectional articulation of the form.

The progression of the composition from the character of the biblical text setting to the

character of the poetic text setting is paralleled by the move toward more consistent meter and

stabilized tempo in the latter sections of the composition. Despite this, brief moments of

indeterminate rhythm and rhythmic text painting are continued, which enhance the biblical and

poetic texts and musical motives. The function of rhythm in the composition is culminated in the

use of three rhythmic motives. Their exclusivity to the B and B' sections supports the form of the

work.

The addition of two sopranos to the orchestral genre availed many opportunities in tone

color and instrumentation, and led to the combination of like-quality instruments in featured

duets. Examples of these duets include piano and vibraphone, alto flute and viola, flute and

violin, and clarinet and trumpet. Other combinations of instruments are used to achieve tone-

color variation for specific melodies or pitch classes, highlight specific harmonies, alter the

resonance and prolongation of certain pitch classes, blur the boundaries of meter and phrasing,

and create timbral hybrids. Further, extended techniques and special effects are used to augment

the implications of the text as in the “Wind” section and storm-like portion of the first “Avant-

Garde” section.

Eight distinctive motives in When Peace Flows are used to provide broad scale

connectivity, define structure and sub-sections, reintroduce concepts and harmonies, and aid in

recall of particular sections. Two types of motives are introduced: those that are returned

116

essentially unchanged each time, and those that are adapted to suit the current section in which

they occur. Of these motives, the Main motive Soprano (MMS) and the Main motive Orchestra

(MMO) are the most prominent and impactful.

It is from these motives that the basic harmonic structure of the composition was derived.

This structure is based on seven fundamental harmonies that include: symmetry; set classes [05],

[015], [027], [0158], [024579]; and the diatonic collection. Of these harmonies, set classes [027],

[0158], [024579], and [013568t] (the diatonic collection) are inversionally symmetric, and all but

set class [0158] can be generated by interval cycling at interval class 5. Further, each set class

contains one or more instances of set class [05], and as such, [05] is considered the building

blocks of the fundamental harmonies. The diatonic collection functions as the superset for the

composition as all of the fundamental harmonies are contained within it.

Of particular interest is set class [024579], which is integrated into major components in

the work on both a micro and macro level. On the surface, [024579] is the cumulative harmony

for the 15/16 portion of the first Dance section, the vibraphone and piano duet during the first

Dance section, the opening of the Fast section, the entire MMO with accompaniment, and

several other less significant moments. In terms of long-range harmonic strategy, various

transpositions of set class [024579] were considered when choosing the specific key areas

represented by the diatonic collection and when composing the structural pitches of the three

statements of the MMS.

The diatonic collection is perhaps the most influential in determining the harmonic

structure of the individual sub-sections. Both functional and non-functional diatonic harmony is

prevalent throughout the work. Traditional phrase structures and cadences characterize the MMS

and MMO, while tonal ambiguity and juxtaposed Major and Minor triads typify the “Lake of

117

Fire,” “Fast,” “Dance,” and “Water” sections. Several sections of the composition recur within

the piece. Comparing the key relationships of those sections reveals a pattern of transposition at

T3 in two of the sections. These sections, the “Pitch-Centric” and MMS sections, are structurally

situated in each of the larger sections of the composition in a symmetrical and balanced pattern.

The MMS is located in the A, A', and A" sections. The “Pitch-Centric” sections are placed at

opposing ends of the composition in the Introduction and Coda.

Goals Revisited

The following discussion assesses the success of the work in meeting the compositional

goals outlined in Chapter 1.

Goal 1: To compose a work that draws people closer to Jesus Christ and is accessible to

those in all levels of music appreciation and Christian understanding.

To make the Christianity both appealing and accessible, the texts chosen for the

composition outline basic tenets of the Christian faith. Heaven is discussed in a peaceful,

beautiful setting. God is portrayed both as one to be revered and as a benevolent God, who is the

giver of the water of life, His Son, Jesus Christ. Hell is addressed briefly but severely. To make

the work musically appealing to all audiences, the harmonic language is generally tonal and cast

in a diatonic framework and makes use of regular phrasing, straightforward rhythms, and

melodic and rhythmic repetition. The key point of both texts, “the water of life,” is always set

clearly and distinctively, and it is stated frequently throughout the composition.

Goal 2: To exploit the two sopranos and orchestra idiom.

The two sopranos are frequently featured in conversation-like duets that use their similar

range and tone-color within dovetailed entrances, as is seen in the “Conversation,” “Water,” and

MMS sections. In a like fashion, instruments of similar timbral quality are paired in duets

118

throughout the composition. Additionally, various combinations of instruments from within the

orchestra are used to explore tone-color opportunities and create depictions of wind, lightning,

thunder, rain, and flowing water.

Goal 3: To develop distinctive harmonic languages and compositional styles for each text

source in order to distinguish concepts and sections.

The majority of the biblical text is found in the “Avant-Garde” sections, which are

characterized by atonal harmony, angular melodies, disjunctive polyrhythm, and moment-to-

moment fluctuations in instrumentation and texture. The poetic text tends to be set in tonal

harmony, which is most often diatonic, but can be functional or non-functional. The melodies for

the poetic text are usually lyrical, and the sections in which they occur are more rhythmically

stable and metrically consistent than the areas that set biblical text.

Goal 4: To develop motives that enhance the message of the text and to emphasize

important moments in the text through the use of text painting.

The peaceful sentiment of the poetic text is characterized by the smooth, lyrical melody

and quintal harmony of the MMS. During the “Water” section, the Sixteenth note and “Water”

motives are designed to imitate the undulation of water. Text painting is found throughout the

composition. For instance, when John uses a metaphor of wind as representative the Spirit of

God, the orchestra is used to create the sounds of wind. When he describes the throne of God, the

orchestra is used to depict the elements of thunder and lightning. The orchestra is also used to

create the cyclic flow of water and the lake of fire alongside the description of these concepts in

the text.

119

Goal 5: To integrate symmetry and balance into form, harmonies, and motives.

Symmetry is integrated into the composition through the use of arch form, specifically

Introduction ABA'B'A" Coda. Further, balance is achieved through the Introduction and Coda, as

the “Wind” and “Pitch-Centric” sections from the Introduction are returned in the Coda, only in

reverse. The fundamental harmonies at use in the composition likewise exhibit symmetry. Set

classes [027], [0158], [024579], and the diatonic collection are all inversionally symmetric.

Conclusion

When Peace Flows was written to bring glory and honor to Jesus Christ, who is our Lord

and Savior. It is intended to be inviting and accessible through its overwhelmingly tonal

harmonic language, predictable cadences and phrasing, and basic Christian message. The chosen

biblical texts reveal a God who is to be revered and a God who loves so much that He would

give His only Son Jesus, the water of life, as a sacrifice for our sins. The compositional structure

mirrors that of the Bible in its progressive, yet restorative nature. As the “Wind” section, which

sets the text of John 3:8, is returned at the close of the composition being preceded by the “Pitch-

Centric” section that has been transposed up three half steps, so God’s relationship with mankind

will one day be restored to those who believe.

The author believes that the stated compositional goals have been achieved. In particular,

the accessibility of the work both musically and conceptually has been widely successful thus far

based on positive comments by students, friends, family members, church members, and fellow

musicians.

120

REFERENCES

"arch form." In The Oxford Companion to Music, edited by Alison Latham. Oxford Music Online. http://www.oxfordmusiconline.com.proxy- remote.galib.uga.edu/subscriber/article/opr/t114/e365 (accessed June 4, 2010).

Childs, Adrian P. “The Diatonic Collection,” from an unpublished manuscript entitled “Notes on Scalar Referential Collections.” University of Georgia, Athens.

Slick, Matthew J. “What is Biblical Numerology?” Christian Apologetics and Research Ministry. Accessed on 14 March 2010 <http://www.carm.org/what-biblical-numerology>

The Holy Bible. New King James Version. Nashville: Thomas Nelson, Inc., 1982.

The Holy Bible. King James Version.

The Holy Bible. New International Version. Colorado Springs: Biblica, 1984.

The Holy Bible. English Standard Version. Wheaton, Illinois: Good News / Crossway, 2001.

The Holy Bible. New Living Translation. Wheaton, Illinois: Tyndale House Publishers, Inc., 2004.

Wigoder, Geoffrey and Benedict T. Viviano, O.P., eds. Illustrated Dictionary and Concordance of the Bible. Jerusalem: G.G. The Jerusalem Publishing House Ltd., 1986.

121

APPENDIX A

INSTRUMENTATION

2 flutes (1. doubling piccolo, 2. doubling alto flute) 2 oboes 2 Bb clarinets (1. doubling Eb clarinet) 1 bassoon 2 horns 2 trumpets 1 trombone

3 Percussionists: Percussion 1. timpani I, III, and V, bass drum, suspended cymbal, crash cymbal, triangle Percussion 2. snare drum, field drum, four toms, bass drum, suspended cymbal, crash

cymbal, gong, triangle, wind chimes, wood block Percussion 3. vibraphone, glockenspiel, bass drum, gong, field drum)

piano 2 soprano voices

16 first violins 14 second violins 12 violas 10 cellos 8 basses

122

APPENDIX B

PERFORMANCE NOTES

General:

• Score is transposed

• All time indications are approximate

• Wedge dynamics, a crescendo followed immediately by a diminuendo, indicate a swell in

volume. Following this figure, the performer should return to the original dynamic marking.

• During the “Free” section at rehearsal mark O, all entrances are event driven. That is to say

the entrance of an individual instrument is dependent upon the completion of the previous

event or a specific moment in that event. While all entrances will be conducted, utmost care

should be taken to listen and adapt to the players whose events immediately precede and

follow your own.

• During the performance, orchestral members are often directed to speak parts of the text.

This is indicated in the line marked “voice.” When this line of music is present, all orchestra

members, who are not currently playing, should speak the lines as indicated.

• All “x” noteheads over text are used to designate spoken text.

o Variation in pitch height throughout these sections is used to direct the raising or

lowering of the spoken voice in the direction given. These inflections are not an

indication of Sprechstimme.

o Rhythms should be followed as closely as possible to maintain the clarity of the text.

• - indicates a longer fermata than the traditional curved fermata

123

Vocalists:

• Please see above regarding all uses of “x” noteheads.

• Curved lines that precede or follow a note call for the note to be bent in the direction

indicated. If these are attached to “x” noteheads, then this indicates vocal inflection of the

spoken text respective to the given direction.

o During the opening and closing wind sections, the text should be spoken as normally

as possible, but it must be spoken loudly enough to be heard over the ensemble. This

can preferably be achieved through amplification, but may be achieved acoustically

as well.

Strings:

• All bowings are suggestions only. Please adjust as necessary.

• During the opening and closing wind sections, noteheads with slashes through them are used

to indicate a non-pitched, whisper-like sound that is created by bowing the directly on the

bridge of the instrument and thus avoiding the vibration of any string. Alternatively, the

tailpiece may be bowed for a similar effect.

• At bar 56, the “x” noteheads imply only an erratic choice of pitches in a variety of registers,

not specific pitches. The desired effect is a sound similar to raindrops. Performers may

choose to play open strings or any selection of pitches. Variety and independence is

encouraged.

• Any line that ascends or descends from a notehead indicates a glissando. If no ending pitch is

given, then players should attempt to glissando the length of the string or as far as possible in

the allotted time.

124

Piano:

• The indication to “rub hand over low bass strings,” during the opening and closing wind

sections, should be executed as follows. The palm should be placed flat on the bass strings. It

should then be slid up and down the length of the string to create a “whooshing” sound. This

should not create any strumming or definite pitch. The pedal must be depressed. If necessary,

an additional player may be required to depress the pedal.

• A black cluster of notes with an adjacent natural and sharp sign references chromatic tone

clusters. The player may use any combination of black and white keys.

o Wavy lines that reflect in different directions from such a tone cluster indicate that the

player should drum their fingers through a combination of white and black keys in the

direction given. Notes should be played as fast as possible.

Brass:

• All mutes should be straight mutes.

• During the opening and closing wind sections, the instruments should be blown through

without creating a pitched sound. This may involve removing mouthpieces or placing lips in

such a way that no buzz can occur. Various finger combinations should be used throughout

this section. Valve changed should be made quietly.

• For horn:

o A stopped sign (+) followed by an arrow that leads to an open sign (º) suggests that

the player remove their hand slowly from the bell while bending the pitch in the

desired direction.

125

Woodwinds:

• During the opening and closing wind sections, the instruments should be blown through

without creating a pitched sound. This may involve removing mouthpieces, etc. Various

finger combinations should be used throughout this section.

126

APPENDIX C

WHEN PEACE FLOWS, MUSICAL SCORE

All Rights Reserved by Zac Weaver 2010

1Flutes

2

1Oboes

2

1Clarinets in Bb

2

Bassoon

1Horns in F

2

1Trumpets in Bb

2

Trombone

Timpani

Percussion

Vibraphone

Piano

Soprano 1

Soprano 2

Violin I

Violin II

Viola

Violoncello

Contrabass

f

Peacefully q = 40

f

f

f

f

f

Peacefully q = 40

ff

ff

ff

ff pp

[sound of wind]

7" 8"

Liturgical/Zac Weaver Zac Weaver 2008revised 2010

When Peace Flows


ad lib. surges of wind

7"

f

8"

wind chime

rub hand over low bass strings

l.v.

simile

spoken

S1: "The wind blows where it wishes. // You hear the sound of it/ but cannot tell / S2: where it comes from// or where it goes. / a2: So is with everyone / who born of the Spirit."

ff

7" 8"

Strings bow the bridgeor tailpiece

solo

127

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

fp mf fp mp

pp mp

mp

p mp

sfzsfz mp sfz

1.

1.

triangle

sus. cymbal l.v.

(leave down)

l.v.

(solo)

128

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p fp f

10

p mp mf

sfz p mp sfz mp mf

1.

1.

(solo)

129

Fl.

Fl. 2

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

n pp

Più mosso q = 50A

p

pp ff pp ff

mp

pp ff pp ff

mp

mf

Like a prayer…

When

mp

peace

When

mp

peace When peace flows

ppp

Più mosso q = 50A

ppp

ppp

ppp

1

alto fl.

3

3

3

3

2.

1.

div.

triangle

scrape cymbal with metal rod

3

3

3

(solo)

130

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p fp

20

p fp

f sub. p

p

fp sub. p f

p fp sub. p f

fp sub. p f

pp pp

p sfz p

mf mp mf sub. p

When peace flows When peace flows when peace When peace flows

When

mp

peace flows

f

flows

mf

peace

mp mf

When peace

sub. p

flows

p mf sub. p

p mf sub. p

p mf sub. p

p

p

C flute1.

a2

a2

2.

a2

1.

a2

a2

solo

a2

sus. cymbal l.v.

sus. cymbal

3

3

sul tasto

sul tasto

sul tasto

(solo)

tutti

131

Fl.

Fl. 2

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

< q = q. >

q.=5030

p

p pp

mp

mp

p

p

q.=50

mp cresc. poco a poco mf

mp cresc. poco a poco mf f

1

alto flute

1.

triangle

132

Fl.

Fl. 2

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

< q. = q >

rit. Misterioso q = 50

ff

ff

p

fff sfz

ppp

rit. Misterioso q = 50

ppp

ppp

mp

p

1

alto fl.

1.

toms gong

3 5

remaining ensemble,excluding soloist

div.


div.


div.

133

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. I

Vln. II

Vln. II

Vla.

Vla.

Vc.

Cb.

mf

40

p n f

p f

f

p sfz mf

mf

pp mp

mf

mp pp mf f

mf f

mf

1.

mp

non-metered

1.

3

wind chimes

snare drum

3

Spoken:

I looked and be fore me

3

was a door stan ding- op en- in hea ven-

3

and the

3 3

i

mp

e3

o o e ä

mf

and the3

3

solo

solo pizz.

gli altri

solo

solo

gli altri

solo

solo

3

3

3 3

gli altri

solo

solo

134

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp dim. poco a poco

With Anticipation q = 56

mp ff mp

ff mp

ff mp

ff

ff

Come

f

up here! and I will show you things which

voice

cresc. molto

Iheard was like a trum pet- say ing-

spoken boldly

voice

cresc. molto


mf mp fff mp p

With Anticipation q = 56

mp

ff p

fff ff p

1. a2

1. div.

div.

3

OrchestraVoice

3

3

arcosolo

solo

solo

3

3

3 3 3(solo)

3

135

Fl.

Fl. 2

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

Orch.Voice

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

B

p

mf

must take place af ter- this

with great awe mp

Then I

mf p

B

mf p mp

mf mp

espressivo

mf

mp

1

1.

airy and weak

mp

alto fl.

mp

airy and weak

gong

(solo)

(solo)

(solo)

3 3 3 3

(solo)

136

Fl.

Fl. 2

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

50

f

f

f

pp ff

f

f

sung: f ff

mf ff

pmolto

ff f

pmolto

ff f ff

f ff

f f

1

3

alto fl.

3

1.

1.

sus. cym

Then I saw a great white throne and Him who was seat

ed- on it

saw a great white throne

f

and Him who was seat

ed- on it

(solo)

(solo)

with intensity

6

(solo)with intensity

3 3 6

(solo)

137

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff

ff

ff

earth

f

and sky fled

ff

from His pres ence- and there was no place for

earth

f

and sky fled

ff

from His pres ence- and there was no place for

sub. p

sub. p

sub. p

1.

1.

3 (in a loud whisper)33

3 (in a loud whisper)

3 3 3

(solo)

(solo)

6 6 6 6

6 6 6 6

(solo)

6 6 6 6

6 6 6 6

(solo)

138

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. I

Vln. II

Vla.

Vc.

Cb.


mf f

f

f

f

mf ff

fshouted

ff

them From the throne came flash es- of light ning- and

them Ah

mf

flash

ff

es- of light ning- and


ff

ff

ff

ff

ff

1.

3

1.

3

3

bass drum

6 6

6 6 6 6 6

ff

6

6

3

3

gliss.3

solo

solo sul D

mf ff

gliss.

3 players ad. lib overlapping, descending glissandi independent of meter and each other

sfz

sfz sfz sfz3

gli altri

col legno battuto

ad lib. rhythms & pitchesindependent of meter and each other

tutti

tutticol legno battuto

col legno battutotutti

col legno battuto

tutti

139

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf f

f ff mf f mf

rumb lings- and peals ofthun der- from the throne flash es- of

rumb

f

lings- and peals

ff

ofthun der- flash es- of light ning-

mf

light ning- and rumb lings-

1.

1.

3

f sempremotor on - fast

l.v.

3 3

3

3 3

solo simile

gli altri

140

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

60

mp f mp

ff mp f mp

f mp

ff

light ning-

f

and

mp

peals and peals and peals

f

of thun der- earth

mp

and sky

and

mp

peals and peals and peals

f

of thun der- earth

mp

and sky

1.

3

1.

3

3

pp

l.v.

3

3

141

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Meno mosso

ff

fled from His pres ence-

mp

and there was no place for them

fled

ff

from His pres ence-

mp

and there was no place for them

Meno mosso

1.

1.

l.v.

mp

3 (in a loud whisper) 3

3 (in a loud whisper)

142

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

C 70

f

f

f

f

f

sfz

very solemn mf

and I saw the dead great and small

C

2.

33

2.

3 3

3 3

field drum

bass drum

OrchestraVoice

3

143

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

Orch.Voice

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp mp

mp mp

mp mp

p ff

mf

stand be fore- God

f ff

mp cresc. ff

2.

2.

gong

trill down to B

3

solo ord.

solo ord.

144

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

Orch.Voice

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Più mosso q = c. 65D

f p

f p

f mf

f

f

mf

and all were judged a ccord- ing- to what they had done

espressivo

mf

Più mosso q = c. 65D

f mf

f mf

2.

2.

l.v.

3

(solo)

(solo)

solo ord.

145

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

Orch.Voice

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

80

f sub. p mf

fp f fp f fp

sub. p mf

ff

simile

mf

f

and

f

an y- one- whose

with growing intensity

name was not found re cord- ed- in the Book of Life was

f mf f

f f

2.

2.

wood block snare

3 3

33

3

(solo)

(solo)

(solo)

146

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

Orch.Voice

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f sfz sfz

Alla Breve h = 60

f

f

sfz f

f f

f f

mp f

ffsimile

thrown in to- the lake of fire!

f ff

Alla Breve h = 60

f

ff

f

f

a2

E

div.

f

a2

or simulate a gliss.

gliss.gliss. gliss.

gliss. gliss.gliss. gliss.

2. a2

2. a2

sus. cymbal l.v.

wood block

3 3 3

3

3

3

3

3

3

3

3

(solo)tutti 3

3

3

3

3

3

3

3

E

ord.

ord.

gliss.gliss. gliss.


tutti 3

3

3

3

3

3

3

3(solo)

tutti

(solo)tutti

147

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f sfz sfz

90

mf f

mf f

mf f

Ah

mf f mf

Ah

mf f mf

gliss.gliss. gliss.


(vibes) l.v.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

gliss.gliss. gliss.


3

3

3

3

3

3

3

3

148

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f ff

f ff

f ff

f

mf f

Ah

f mf

Ah

f mf

ff

ff

ff

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

149

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

sub. p

Ah

mp

Ah

mp

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

150

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf cresc.

100

mf cresc.

mp cresc.

f cresc.

mf cresc.

mf cresc.

mf cresc.

mf f cresc.

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

151

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

f ff

f

ff

ff

ff

ff

ff

f ff

f ff

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3

sus. cymbal

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

152

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

Orch.Voice

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p

Meno mosso q = 50F

with finality

mf

It is fin ished- I am Al pha- and O me- ga- the be ginn- ing- and the end gently

mp

to those who are thir sty- I will

pp

Meno mosso q = 50F

mp

p

2.

33 3 3 3

solo

solo sul tasto

solo

153

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

Orch.Voice

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

110

mf

mf

mf

f

f

f

f

sfz

give to drink with out- cost from the spring of the wat er- of life

f

mf

mf

f

2. a2

crash cymbal

3 3

(solo) tutti

(solo) tutti

(solo) tutti

154

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f ff

Più mosso q = 60

mf

mf

mf mf

mf f

mp ff

mf

Ah

mf f

Ah

mf f

mf cresc.

Più mosso q = 60

mf cresc.

mf cresc.

mf cresc.

mf cresc.

sus. cymbal

155

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

120

f

f

mf

mf p

Ah Ah

mff

fmf

Ah

crash cymbal

156

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf mp

mp

mp

mp

mf

mf

ee

p

ee

p

f

f

f

f

f

3

3

157

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f mf

f mf

ff mf

f mf

ff mf

f mf

ff mf

ff mf

ff f

ff f

ff f

ff mf

ff mf

3

3

3

158

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

sub. p fff

130

sub. p fff

sub. p fff

sub. p ff

sub. p fff

sub. p opt.fff

sub. p ff

ff

fff

sub. p fff

sub. p fff

sub. p fff

sub. p fff

sub. p fff

sub. p ff

sub. p ff

crash cymbal

159

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

G

n p sempre

n p sempre

mp n p sempre

mf p

p

p

`

mf p

very free and expressive

When

mf

peace like a ri ver- flows a bove- the

mf p n p sempre

G

mf p n p

mf p n p sempre

p n p sempre

mf p

3 3 3 3 3 3 3

breath attack

breath attack

breath attack

scrape cymbal with metal rod

l.v.

3 3 3 3 3 3 3

160

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

140

mp

earth then peace like a

mf

and on a cloud

f

de scends-

mp

then

mf

peace like a

sempre

mp

3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3

3

161

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

dim. poco a poco p

poco rall. A tempo q = 60

mp

ri ver- flows un to- the hearts of men

ri ver- flows un

mp

to- the hearts of men

poco rall. A tempo q = 60

mf

p

p

3 3 3 3 3 3

3 3 3 3 3

3

3

162

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

150

mp

p

mp

con espressivo

p

p

3

3

163

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

A tempo (q = 60) H

f p mp

f p mp

mp

f p mp

p mf p

fff

mf

mf

Be hold- a new day

Be

mf

hold- a new dayA tempo (q = 60) H

f p

f p

molto rall.

1.

div.

toms gong

3 5

molto rall.

164

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p f

160

p f

p f

mf p f

mf p f mf

mf p f mf

mf p f mf

p sfz

f

dawns and new light as an e ter- nal- sun glis tens- glis stens- glis tens-

dawns

mp

new light as an e ter- nal- sun

f

glis tens- glisglis stens- glis tens-

mf f

mf f

f

f

f

unis.

gong

3

3 3

3 3

165

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p mp

dolce170

p

p

p

p mp

p

p

p sfz

p

mp

bril liant- ly-

mp

through out- the land Be hold- a new day

bril liant- ly-

mp

through out- the land Be

mp

hold- a new day

p

p

p

p

p

1.

2.

sus. cymbal

p

3

3

3

3

3

3

166

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf f ff

mf f ff

mf f ff

f ff

mf f ff

f f ff

f ff

p sfz

ff

dawns and

mf

new light new light as an e ter

f

- nal- sun glis

ff

tens-

dawns and

mfmf

new light new light as an e ter

f

- nal- sun glis

ff

tens-

mf f ff

mf f ff

mf f ff

mf f ff

mf f ff

a2

3

a2 bring out

3

sus. cymbal

3

3

bring out

3

3

3

3

3

167

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp fff

molto rall. Largo q = 60180

mp fff

mp fff

mp fff

mp fff

mp fff

mp fff

sfz p sfz

mf

mp fff

mffreely

mpfff

mp pp mpmolto

fff

molto rall. Largo q = 60

mp mpmolto

fff

mp p fff

mp p ffff

p fff mf

sus. cymbal

molto

glis tens- glis tens- bril

liant- ly- land

through out- the land

3

glis tens- glis

mf

tens-

through

p

out- the land

through out

molto

- the land

fff

168

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

190

mp f ff

mf f ff

f ff

mp f ff

p

f ff

ff

mf f ff

mf f ff

mf f ff

f ff

3

3

3

gong

3

169

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

pp molto fff

pp molto fff

pp molto fff

fff mf

fff f mp

pp molto fff p

pp molto fff mp

pp molto fff

fff mp dim. poco a poco

fff mp dim. poco a poco

170

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p p

Allegro Energico q = 140I 200

p p

mp

mp

mp

mp

sfz sfz sempre

mp

Allegro Energico q = 140I

pp

pp

rim shots on snare

171

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.



f

f

mfcresc . poco a poco

f

Eb clarinet

2

Bb clarinet

172

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p p

210

p p

mf cresc.

mf cresc.

p p

mf

p

Eb cl.

2

rimshot to snare

173

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

cresc. f cresc. ff

cresc. f cresc. ff

fp f

fp f

cresc.f

cresc.ff

mf cresc . poco a poco ff

mf cresc . poco a poco f


mp cresc. ff

mf cresc . poco a poco

ff


f

f

Eb cl.

2

rimshot to snare doubled on field drum

174

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

220

cresc . poco a poco ff

cresc . poco a poco ff

f



f

f

Eb cl.

3 3 3 3

2

3 3 3 3

175

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

230

mf f mf

mf f mf

mf

mp

mp

mp

mp

mp

mp

Eb cl.

2

div. con sord.

con sord.

con sord.

3 3

176

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

< e = e >

fp mp sfz

fp mp sfz

mf

p mp f

Ah

Ah

p mp f

< e = e >

Eb cl.

2

(con sord.)

(con sord.)

(con sord.)

177

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Glock.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Like a Dance e. = 168J 240

mf

mf

p

p

Like a Dance e. = 168J

p

2

glockenspiel

178

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Glock.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

250

mf

p

2

open

179

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Glock.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p

q = 140

p

p

p

p

p

q = 140

2

div. (con sord.)

con sord.

(con sord.)

triangle

180

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

< e = e >q = 140260

mp

mp

mp

mp

mp

mf

mf

mp

< e = e > q = 140

2

(con sord.)

unis.

(con sord.)

(con sord.)

181

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

2

(con sord.)

(con sord.)

(con sord.)

182

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

270

mf mf f

p

p

2

(con sord.)

open

(con sord.)

183

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f ff

mf cresc ff

mf cresc ff

cresc. ff

mpf ff

Ah Ah

mf

Ah

Ah

mp

Ah

mf f ff

mp cresc. f ff

mp cresc. f ff

mp cresc. f ff

mp cresc. f ff

mp cresc. f ff

2

(open)

rimshot to snare drum

rimshot to field drum

184

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p p

K 280

p p

mf

mp

mp

mp

mf

mp

K

p p

p p

mf

mf

2

(con sord.)

con sord.

(con sord.)

185

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

cresc. poco a pocof

cresc. poco a pocof

f

f

cresc. poco a pocof

cresc. poco a pocof

cresc. poco a pocof

Eb clarinet

2

Bb clarinet

(con sord.)

(con sord.)

(con sord.)

186

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

290

mp

mf

mp cresc. f

mp cresc. f

Eb cl.

2

(con sord.)

rimshot to snare drum

rimshot to field drum

187

Fl.

Ob.

Cl. 1

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

300

f mf fp

f mf fp

mp

mp

mp

mp

Eb cl.

2

div.(con sord.)

(con sord.)

(con sord.)

188

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

p pcresc. poco a poco


cresc. poco a poco


cresc. poco a poco


cresc. poco a poco

mp

mp

mp

mp

mp

a2

(con sord.)

(con sord.)

(con sord.)

pizz.

pizz.

pizz.

pizz.

pizz.

189

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Glock.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff p

Like a Dance e. = 168

310

ffff p

ffff p

ffff p

ffff p

ffff p mf

ffff p

mf

mf

p

Like a Dance e. = 168

p

p

p

p

(con sord.)

(con sord.)

open

(con sord.)

pizz.

pizz.

pizz.

pizz.

pizz.

190

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Glock.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf cresc. poco a poco





cresc. poco a poco f mf cresc. poco a poco


cresc. poco a poco

cresc. poco a poco

mf

Ah Ah

Ah

mf

Ah

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

open

(open)

open

pizz.

pizz.

pizz.

pizz.

pizz.

191

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Glock.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff fff

320

ff fff

ff fff

fff

fff

fff

fff

ff

ff fff

ff fff

f

Ah

Ah

f

ff

ff

ff

ff

ff

(open)

(open)

(open)

rim shot on snare

pizz.

pizz.

pizz.

pizz.

pizz.

192

Fl.

Fl. 2

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Slowly, with great longing q = 50L 330

mp

p mp

mp

the wat ers- of life

Slowly, with great longing q = 50L

ppcantabile

mp p

p

pp

1

alto flutesolo

solo arco

3 3

solo arco

solo arco

193

Fl.

Fl. 2

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

rall.

mf mp p

rall.

n p mp p

1

alto fl.

(solo)

194

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

A tempo q = 50 rall. Adagio q = 60340

sfz mf mp

pp

mp p ppmp

A tempo q = 50 rall. Adagio q = 60

1. 1.

2.

3 3 3 3 3 3 3

195

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf f mp

mp mp

mf mp

div.

1. solo 3

3

33 3

3 3

soloarco

3 3

3

196

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf p

350

mf

mp cresc. poco a poco mf

p

p p cresc. poco a poco mf

(1. solo)

3

3

(solo)

3

3 3

197

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f ff sub. mp

poco rall.

mp

f sub. mp p

poco rall.

f sub. p

(1. solo)

3 3 3

3 3

(solo)

198

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp mf

A tempo (q = 60)M360

mp mf

mp mf

p mp mf

p f mf

p mp mf

p mp mf

pp

mp cresc. f

mpsempre legato

cresc.f

mf f mf

when milk and ho ney- flow like a ri ver the

like a ri ver the

mf

f mp

A tempo (q = 60)

p mf mf f mp

p mf p

p mp mf mp

p mp mf

a2

div. unis.

3

sus. cymbal sus. cymbal

3

f

tutti

3 3

arco

3 3 3

tutti

3

199

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf cresc. f

mp

mp

mp

mp

wa ter-

wa ter- the

mf

wa ter- - of

mp

mp

(unis.)

3 3 3

6 6 6 6 6 6 63

200

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Doppo Movimento q = 130370

mp

mp

mp

the

f

wa ter-

mf

life the

f

wa ter-

mf

Doppo Movimento q = 130

p

p

3

3

201

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

the

mf

wa ter- the wa ter-

the

mf

wa ter-

mp

mp

mp

mp

202

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

stagger breathing380

p

mf

mp

the wa ter-

mp

mp

1.

203

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

1.

204

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

390

f

mf

mf

f

1.

205

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf mf

f

f

mf

mf mf

mf mf

206

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f f

400

mf

mf

mf

mf f

mf f

mf f

f

f

f

f

mf

mf

mf

pizz.

pizz.

pizz.

207

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f

f

mf

mf

mf

f

f

mf

the

f

ff

ff

208

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

mp

mp

mp

ff

ff

wa ter-

the

f

wa ter-

209

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

molto rit. 410

the wa ter- of life

the wa ter- of lifemolto rit.

mf p

mf p

mf

3

pizz.3

pizz. 3

210

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. I

Vln. II

Vln. II

Vla.

Vla.

Vc.

Cb.

p

Tranquillo (q = 50)N

mp

ah

mp

ee

Then

mf

the an gel- showed me a ri ver- with the wa ter- of life clear as cry stal-

Tranquillo (q = 50)N

pp

pp

pp

pp

pp

2. solo

3

triangle

3

3 players

gliss. freely up and down the dedicated stringindependent of one another

3 players*

sul D p

gli altri

div.*

3 players


2 players

sul Gp

gli altri

div.

3 players


2 players

sul C

arco

p

gli altri

div.

arco

arco

*If not enough players are available to accomodate this division, then at least one player should play each pitch.

211

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. I

Vln. II

Vln. II

Vla.

Vla.

Vc.

Cb.

pp ff

pp ff

pp ff

ah oh a ah

flow ing- from the throne of God and of the Lamb down the mid dle- of the great street of the ci ty-

(2. solo)

3

3

3 3

3 players

gli altri

3 players

gli altri

3 players

gli altri

212

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf

420

mf

mf

f ff f ff

f ff f ff

f ff f ff

fff

f

Come!

ff

Come!

Let

f

an y- one- who hears say who

mf

ev- - - -

Let

f

an y- one- who hears say who ev- er- an y- one- who

f

is

a2

Bass Drum

snare

Orch.Voice

like a declaration 3

like a declaration 3 3 3

213

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

Orch.Voice

S.

S.

Vln. I

Vln. I

Vln. II

Vln. II

Vla.

Vla.

Vc.

Cb.

f ff f ff f ff

f ff f ff f ff

f ff f ff f ff

mp

Let them come!ff p

er- who

f

ev- er wish es-

thir sty- who

f

ev- er

ff

wish

p

es- and

mp

p

pp

p

pp

p

pp

p

p

div. unis.

div.

div.

triangle

solo

solo

gli altri

solo

solo

gli altri

solo

solo

gli altri

214

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. I

Vln. II

Vln. II

Vla.

Vla.

Vc.

Cb.

p p pp

O 430

ppp

p pp

oo shh

f

A

mf

ee ahh I

who ev- er- wish es- let them take the free gift of the wa ter- of life

pp

O

pp

pp

div.

sus. cymbal

3

solo

gli altri

solo

gli altri

solo

gli altri

solo

215

Fl.

Perc.

Vib.

Pno.

S.

S.

Vla.

440

Fl.

Vib.

Pno.

S.

S.

Event driven:All entrances are cues to other performers.Duration and repetition are therefore improvised

2.

mp

alto flute

mp

mp

l.v. 6"

(leave down)

l.v.

mp

- insert random pitches from F Major into contuning arpeggio- ad lib. rhythm and interaction independent of piano- avoid steady beat, rhythm, or scalar pattern

mp

10"

(leave down)

- insert random pitches from F Major into contuning arpeggio- ad lib. rhythm and interaction independent of vibes- avoid steady beat, rhythm, or scalar pattern

6"

spoken slowly and serenely

The waters of life

6" simile

g i v i n g

the

p

wa ters

-

ppp

4" freely, with expression

mf

l.v.

2" 6"

their cycle / of peace // and harmony

4"

2"

never ceasing

6"

216

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

senza dim.

Peaceful and Flowing q = 50450

…flow

…flow

Peaceful and Flowing q = 50

p

pdolce

pp

2.Alto fl.

P

l.v.

l.v.

spoken

S1: Then…S2: only then 'a2: does peace ' like a river '

P

tutti

tutti sul tasto

3

217

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

460

mp molto espressivo mf dim.

When peace like a ri ver- flows a bove- the earth

mp

and

f

mf

3

3

218

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

molto rall.

p

p

mp

then peace like a ri ver- flows


mp

molto rall.

p

mf mp mf p

3 3 3 3 3

3 3 3 3 3

3

3

3

3

3

219

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Glock.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf fp mf

Più mosso q = 70470

mf

mp

p

mfsfz p mf

p

mf

Più mosso q = 70

p

p

p

p

1. solodiv.

triangle

3

3

tutti

3

tutti

ord.

220

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Glock.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f mp

f mp

f

f

ff mf p mf p simile

f mp

f mp

f

f

mf f

unis.

3

221

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f sub. p

f sub. p

f sub. p

f

sfz

p

mf

f

f

(timpani)

crash cymbal

222

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

480

223

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf mf

Q

mp mf

mp mf

mf

mp f

ff

mf f

f

sfz

mf

mf p mf p mf p mf p

mf p mf p mf p mf p

Q

mf p mf p mf p mf p

mf p mf p mf p mf p

mf ff

f ff

3

3

crash cymbal

224

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf mp

mf mp

mf mp

mp

simile

mff

when peace like a ri ver- - flows a bove- the earth

simile

simile

simile

mf

mf

33

225

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

490

mp

mp

f mf f

mf f

mp f

f

when peace

f

when peace flows

sus. cymbal

226

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f

dim. poco a poco mp

mf f

f

f

flows a bove-

ff

peace flows a bove-

ff

f

3

3 3

3

3

227

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf p

p

p

mf p

mf

mp

mp

mp

mf p mf p

mf mf p

p

p

p

228

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf mp

500

mf p

mp

When

mp

p

p

2.1.

solo

solo

solo

229

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

pp

pp

mf

peace flowsmp

When peace flows

pp

p

1.

1.

solo

(solo)

230

Fl.

Fl. 2

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

510

mp

mp mf

mf pmf

when

mf

peace flowsp

when

mf

peace flows

1

alto flute

231

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mp

R

mp

mp

mf p mf p mf p

mf p mf p mf p

mf

like a ri ver- -mf

like a ri ver- -

mf f

R

mf f

mf f mf

mf

mf

a2

a2

3

3

tutti

tutti

tutti

tutti

232

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

mf f

mf

f mp

f mf

f mp

f mp

f mp

sfz

mf p f

mf p mf f

flows through

f

out- the earth and

mf

a bove- the

flows through

f

out- the earth and

mf

a bove- the

f

f

f

f

f

crash cymbal

sus. cymbal

opt.

233

Fl. 1

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

ff

S 520

ff

mf p mf

f ff

f ff

f ff

f ff

f ff

sfz

mf p mf p mf

mf p mf p mf p mf

earth in

ff

the hea vens-

earth in

ff

the hea vens-

f ff

S

f ff

f ff

f ff

f ff

piccolo

2

C flute

3

3

3

3

sus. cymbal

234

Fl. 1

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

fff f mf

ff mf p

ff mf p

fff f mf

fff f

fff f mf

fff f mf

fff f

sfz

ff mf p

fff ff

f mf

in the hea vens- in the

in

f

the hea vens-

mf

in the

fff f mf

fff f mf

fff f mf

fff f

fff f

picc.

2

f

6 6 6 6

235

Fl. 1

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

pp

rit. molto rit.molto rit.

sub. pp

subito p

rit. molto rit.

picc.

6 6 6 6 6 6 6 6

236

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

f fff pp

Peacefully q = 40530

mf fff

p fff

mf fff

mp fff

mp fff

ff fff

mp

mp

n

f fff

Peacefully q = 40

p fff

n p fff

ppp mf fff ppp

ff fff

a21.

triangle

spoken

Peace…………

Goodwill to men

solo

tutti

solo

237

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

fp mp fp

T

pp p mp

p

mp

sfz sfz mp sfz sfz p mp sfz mp mf

p

T

p n

pp

1.

1.

1.

triangle

(leave down)

solo

ad lib rhythm

(solo)

solo

238

Fl.

Ob.

Cl.

Bsn.

Hn.

Tpt.

Tbn.

Timp.

Perc.

Vib.

Pno.

S.

S.

Vln. I

Vln. II

Vla.

Vc.

Cb.

n

540

n

n

n

n

n

n

n

ff n

ff n

ff n

ff n

1.

[sound of wind]

7"

a2

8"

f

a2


f

ad lib. surges of wind

7"

f

8"

f

a2

f

wind chime

rub hand over low bass strings

simile

spoken

S1: "The wind blows where it wishes. // You hear the sound of it/ but cannot tell / S2: where it comes from// or where it goes. / a2: So is with everyone / who born of the Spirit."

tutti ff

7" 8"

Strings bow the bridgeor tailpiece

tutti

(solo) tutti

239

AN ANALYSIS OF WHEN PEACE FLOWS, AN ORIGINAL …

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Transcript of AN ANALYSIS OF WHEN PEACE FLOWS, AN ORIGINAL …