STEEL CITY SKETCHES: AN ORIGINAL COMPOSITION

FOR PERCUSSION ORCHESTRA

A Thesis Submitted in Partial Fulfillment of the

Requirements for the Degree of

Master of Arts

By

Vincent Algert Wallace

Dr. Warren Gooch, Thesis Advisor

Music

2011

Truman State University

KIRKSVILLE, MISSOURI

DEDICATION

This thesis is dedicated to the memory of the late Mr. Robert N. Moyer, a great friend and

mentor, and my earliest music theory teacher. I credit Bob as the first person to ever encourage me to

write music. This project could not have been completed without the profound personal and musical

influence this fine educator had on me, and for that I am extremely grateful.

ACKNOWLEDGEMENTS

I would like the first thank my thesis committee, Dr. Charles Gran and Dr. Robert Martin for their

mentorship and support throughout this project. Further, my pursuit of a master’s degree in

composition would not have been possible if not for the guidance and mentorship of Dr. Warren Gooch

and his willingness to admit me to the program at Truman. For this I am extremely grateful. I would like

to thank Dr. Michael Bump for his support as a teacher and mentor. I also thank the Truman State

Percussion and Composition studios for their support and friendship throughout this project, as well as

my fellow graduate composition majors for their willingness to lend their eyes, ears, and opinions. A

special thanks goes to Justin Gunther and the Western Pennsylvania Conservancy for their assistance in

the “Fallingwater” portion of the composition, and to Chris Sakowski and Gateway Indoor Drumline for

being a constant source of musical inspiration during the composition of this thesis. Thanks also to

Robert Petrocelli for his beautiful photography included in the title page of the score.

I send my heartfelt thanks to my teachers from my high school and undergraduate studies: Mr.

John V. Kulik, Mr. Robert Read, Chris Hestin, Chad Heiny, Mark Surovchak, Zach Larimer, Dr. Michael

Kingan, Dr. Ronald Horner, Dr. David Martynuik, and Dr. Jack Stamp. Without their guidance and model

of outstanding personal work ethic, I would not have the foundation needed to complete this project.

My gratitude also goes to the Indiana University of Pennsylvania Percussion studio, past and present, for

shaping me into the person, musician, and teacher I am today.

Finally, I send my thanks to all of my family and friends in Pittsburgh, PA. If not for all of your

love, support, and encouragement, I would have none of the great memories which inspired the

majority of this composition. This piece, above all, is a celebration of our roots and the history, people,

and places that make up our home.

TABLE OF CONTENTS

Page

DEDICATION

ACKNOWLEDGEMENTS

ABSTRACT

INTRODUCTION

ANALYSIS: MOVEMENT I

ANALYSIS: MOVEMENT II.

ANALYSIS: MOVEMENT III.

APPENDIX A

APPENDIX B

SCORE/PERFORMANCE NOTES

STEEL CITY SKETCHES

An Abstract of the Thesis by

Vincent Algert Wallace

Steel City Sketches is a multi-movement work for percussion orchestra, a genre of percussion

ensemble in which keyboard percussion instruments are the primary instruments used throughout the

piece. Each of the composition’s three movements portrays a different location or event in the

Pittsburgh, Pennsylvania area and each is programmatic in nature. Harmonic material in the piece is

influenced primarily by triadic structures, and thematic material is developed through manipulation of

short melodic, rhythmic, and textural motives. Furthermore, tonal centers change frequently and often

abruptly throughout the work. Motivic development, shifting tonal centers, and the relationships

shared by motives and tonal centers define the overall structure of the piece.

INTRODUCTION

Steel City Sketches is a three movement work for percussion orchestra. Percussion orchestra is

loosely defined as a percussion ensemble piece, with conductor, in which keyboard percussion

instruments are the predominant musical voices. The score contains parts for twelve players, and each

movement uses the same battery of pitched instruments, although auxiliary percussion varies from

movement to movement. The instrumentation is as follows:

Crotales

Orchestral Bells (Glockenspiel)

Chimes

Xylophone

2 Vibraphones

4 Marimbas (One 4.3 Octave, three 4.5 Octave)

Timpani (5 Drums: 32”, 29”, 26”, 23”, and 20”)

3 Percussionists playing a large variety of non-pitched instruments

Each movement is roughly five to seven minutes in length. Each movement could easily stand

on its own as a separate work, and relatively little material is shared between movements. Structurally,

each movement is essentially in four large sections (see movement analysis chapters), which are defined

by their use of traditional triadic harmony, motivic development, and frequently shifting tonal centers.

Critical analysis will show that motives and tonal centers play a substantial role in establishing the

overall form of each movement.

As the work is programmatic in nature, it is appropriate here to include a detailed description of

the program for each movement. As the title suggests, Steel City Sketches was inspired by Pittsburgh,

Pennsylvania, and each movement of the work focuses on a different time and/or location associated

with the city. Note that the following description is provided to enhance the listener’s overall aesthetic

experience with the piece and is not required in order to appreciate the work.

Programmatic Description of Movement I: “The Mon Valley”

Movement I., “The Mon Valley”, is a series of musical “snapshots” illustrating episodes in the

day in the life of an early twentieth century steel mill worker in Pittsburgh, Pennsylvania. The title is

drawn from the geographical region, The Mon Valley, a name used to identify the city’s southeastern

communities near and along the Monagahela River. This area was heavily industrialized throughout the

majority of the twentieth century with many mills and factories, and was a popular destination for

eastern European immigrants at the turn of the century. Residents still continue to maintain this strong

ethnic identity.

The program for the movement begins early in the morning. A variety of cymbals, a train

whistle, and other metallic percussion simulate the sounds of factories and industry to which the city

awakens. Soon, a haunting, dreamlike theme is presented as the residents slowly rouse from their

slumber, followed by a statement of the traditional Lithuanian folk song, Jau Saulelė Teka (The Sun is

Just Rising), representing the start of yet another day of work in the steel mills of Pittsburgh. The work

bell sounds, signaling the beginning of the morning shift. A syncopated, driving groove is presented as

the workday continues on. While sometimes the workday is exciting and lively and other times tense

and agitated, it is all in a day’s work in the life of a mill worker. As the day draws to a close, a festive

mood takes over. A traditional Italian tarantella is heard as the city celebrates the end of another day.

Soon enough, however, the party draws to a close with the return of Jau Saulelė Teka. This, as well as

the haunting, dreamlike theme from the initial phrase lulls the city back to sleep. The final note,

reminiscent of the sounds of the mills, reminds everyone that tomorrow will be yet another day of hard

labor.

Programmatic Description of Movement II: “Fallingwater”

Movement II., “Fallingwater”, is a musical depiction of Frank Lloyd Wright’s architectural

masterpiece, Fallingwater. Originally owned by the Kaufmann family (owners of Kaufmann’s

department stores) and located roughly fifty miles southwest of downtown Pittsburgh in Mill Run,

Pennsylvania, Fallingwater is now open to public and one of the area’s most popular tourist destinations

(Falliningwater.org). A visit to Fallingwater in August 2010 brought forth the inspiration to include it in

Steel City Sketches.

The movement begins with a simple, pastoral melody. Further material grows outward from

this initial theme, and these additional colors and sonorities allow the musical landscape to grow, just as

Fallingwater seems to grow out of nature. The predominately descending ostinato lines throughout

represent the narrow, descending path through the woods that visitors must traverse to arrive at

Fallingwater. The middle of the piece features a melody inspired by Bourrée II from J.S. Bach’s English

Suite No. II. An framed engraving of this musical score is displayed on a wall in one of the bedrooms at

Fallingwater. According to Justin Gunther, the curator at Fallingwater, the engraving was a gift

“to the Kaufmanns from Paul Koch, son of renowned punchcutter and calligrapher Rudolph

Koch. Paul Koch was a member of an artist workshop in Florence, Stamperia del Stantuccio,

organized by Victor Hammer. Edgar Kaufmann Jr... apprenticed under Hammer at the Stamperia

del Stantuccio and became a close friend of Paul Koch through this association. These works of

music are displayed in Fallingwater because their production utilized experimental methods of

printing music” (Gunter, Personal Interview).

The second half and conclusion of the movement feature rapid, lush, moving lines representing

the water from the stream that runs under the floor and through the walls of Fallingwater. Sonically,

the sound of rushing water is heard no matter where one stands in Fallingwater, but the sound differs

depending on its location in the house. This aesthetic is recreated musically through the gradual

layering and fading of various voices throughout the second half of the movement. As the movement

draws to an end, the tempo slows and a return to the serene, tranquil material from the initial measures

takes place. As the material gradually fades out, an ascending ostinato can be heard, depicting the climb

back up the pathway, leaving Fallingwater.

Programmatic Description of Movement III: “Gameday on the North Shore”

The rousing finale of Steel City Sketches is “Gameday on the North Shore”. This movement

represents the sights and sounds of a Pittsburgh Steeler football game. The movement begins with a

walk through the city to the north shore of the Allegheny River, home of Heinz Field. A variety of quirky,

jarring short musical ideas depict the excitement, hustle, and bustle of a busy city as game time

approaches. Many of these ideas are derived from or inspired by traditional polka music, specifically

The Beer Barrel Polka, and The Pennsylvania Polka, as much of the music traditionally associated with

Steeler football contains polka music or a polka influence. The middle section of the movement, with

crunching dissonances and wobbling glissandos in the Timpani, represents dizzying hangovers

experienced by tailgaters as they stumble inside Heinz Field as the game begins. As the conclusion

draws near, tension builds at the end of a close game. Aggressive impacts and loud dissonances depict

the hard hits and intense action as the clock ticks down to zero. In the end, the Steelers are again

victorious. The return of the Lithuanian folk song from the first movement and an earlier theme from

this movement-- in sweeping chorale-- signifies the Steel City’s triumph once again.

MOVEMENT I.

Movement 1, “The Mon Valley” contains four primary sections. The first section (mm. 1-54),

begins with the appearance of Motive I.a (see Appendix A with this and all subsequent motives). This

motive, unlike any other motive in this work, is defined by a specific timbre rather than a collection of

pitches. In particular, the combination of a sizzle cymbal, tam tam, and bass drum with sleigh bell jingles

attached. From a programmatic standpoint, this motive is used to emulate the sound of a blast furnace

in a steel mill. Motive I.a is developed through rhythmic and dynamic variation in the first ten bars and

appears frequently throughout the movement. Along with Motive 1.b, Motive I.a and its recurrence

throughout create continuity and the two motives are frequently used to signal musical transitions from

one section or phrase to another as the movement progresses.

In mm. 11-16 additional metallic percussion, written in the keyboard parts, is introduced. The

rhythm written for each player is extremely different, allowing this material to serve more as a texture

than as a rhythmic idea. By m.15, an ostinato scored for resonant metals is presented in the Percussion

1 and 2 parts. This ostinato is maintained until m. 30 and functions as a textural bed upon which the

initial entrance of melodic and harmonic material sits. The first keyboard percussion parts enter at m.

16. Centered on the pitch B, this initial phrase proceeds until m. 30, and contains the first appearance of

Motive I.b. This motive, derived from a whole tone scale, is developed through fragmentation, registral

expansion, orchestration, and varying pitch level until m. 32. The primary harmony used in this passage

contains the pitches B, F, and F#. This harmony is typically orchestrated with B and F# in the lower

register with B and F in the upper register, resulting in two “stacked” fifths; one a perfect fifth, the other

diminished (see Figure 1). In addition to the development of Motive I.b, appearances of Motive 1.a

continue, further establishing its role as a source of continuity throughout the movement.

Figure 1

The second phrase of the first section begins in m. 33 and continues until measure 48. A new

melodic idea is presented, which divides into two motives or phrases: Motive I.c (Antecedent) and

Motive I.c (Consequent). These two motives or phrases constitute the melodic material from the

Lithuanian folk song Jau Saulelė Teka, which translates to “the sun is just rising”. As the title of the folk

song would indicate, this melody is appropriately employed to depict an early morning in a Western

Pennsylvania mill town. The antecedent phrase is presented in its entirety centered around the pitch Eb

(See Appendix B for this and all subsequent tonal center shifts). In m. 40, the consequent phrase

appears and the tonal center modulates in canon to the pitch C. By m. 49, the presentation of both

phrases of the folk melody give way to the reappearance of Motive I.a with a tonal center of G. This

motive is once again developed and eventually fades out, resolving the phrase and concluding the first

primary section of Movement I at m. 54. As was stated earlier, throughout the movement, the

appearance of Motive I.a often signifies the end of a large section, as is the case at the end of Section

One.

Section Two begins in m. 55 and continues until m. 117. The majority of material presented in

this section is derived from a blues scale. Ostinato parts in the Timpani and Percussion 1, 2, and 3 parts

appear throughout the section. The hi hat part in Percussion 2 is of particular importance, as the steady

quarter note pulse it provides serves as the primary pulse for this section, which is very rhythmically

driven.

The initial tonal center in Section Two is Gb, and the first motive, Motive I.d, is presented in m.

63. One of the shorter melodic ideas of the work, this motive is four sixteenth notes long and contains

the first three pitches of a blues scale (the first pitch is played twice). In addition, Motive I.e, also

derived from a blues scale, first appears in m. 64. While based on the same scale, this motive is very

different, as it is both longer in duration and contains a wider pitch range.

The tonal center once again shifts at m. 70 (to Bb) and is accompanied by a change in motivic

material via Motive I.c (Antecedent). Staying in character with this section, melodic material presented

features lowered 3rd

and 7th

scale degrees, giving what was originally a diatonic melody a blues feel. The

hi hat part in Percussion 2 is also further developed in this phrase. While its role as a “timekeeping”

device continues, the addition of eighth notes as well as featuring both “open” and “closed” timbres

creates some needed variation (Figure 2).

Figure 2

The tonal center shifts to F at m. 80, and is accompanied by a change in motivic material.

Motive I.e is the primary motive used in this phrase, and material derived from Motive I.d is used as

harmonic/rhythmic support. At measure 92, the orchestration thins to just Timpani playing a variation

of Motive I.d. More instruments are gradually added, with each instrument also playing Motive I.d, but

at pitch levels of a perfect fifth and major sixth above the tonal center. This creates a greater sense of

tonal instability and “unraveling” as the phrase nears the end.

The pitch G becomes the tonal center at m. 101, at which point occurs the most extreme

variation to Motive I.e anywhere in the movement. While the rhythm and melodic contour make the

melody easily recognizable as Motive I.e, some obvious differences are present. In most instances,

Motive I.e features a descent of a perfect fourth followed by three pitches moving upwards

chromatically. At m. 101, the “reverse” is true. Smaller intervals occur at the beginning of the theme

and the motive concludes with the distinctive perfect fourth. This variation gives the motive a much

different character. Furthermore, the chromaticism present in the marimba voices creates a much more

agitated quality.

Signaling the end of the section, Motive I.b returns at m. 110. The tonal center shifts to the

pitch F. Motive I.d is inserted sporadically throughout this phrase, however the majority of the melodic

language is derived from Motive I.d. In addition, the earlier harmony containing two “stacked” fifths

returns (see Figure 1).

Section Three of the four sections in “The Mon Valley” begins at m. 118 and goes to m.213. The

treatment of motives in this section differs greatly from that of the previous two sections because only

one primary motive is used, Motive I.f. While other melodic ideas from prior sections do reappear, their

role is much less significant.

Motive I.f is introduced in m. 118. This six-bar figure is inspired by the traditional southern

Italian folk dance, the tarantella. In addition to the use of a tarantella-inspired melody, a recurring

rhythmic idea is developed throughout the section in the tambourine part, a key instrument in

traditional tarantella (Moorehead). This rhythm is drawn from the primary rhythmic motive (Figure 3)

traditionally used in this dance (Blatter, 28). This driving, 6/8 feel is maintained throughout the entirely

of the section.

Motive I.f is developed first in tonal center A and shifts to Db at mm. 129. At measure 149, a

passage in tonal center Ab appears. This phrase develops fragments of motive I.f homophonically with

strong rhythmic accompaniment by the Percussion 1, 2, and 3 parts and punctuated accents in the

keyboard percussion voices. This is in contrast to the previous phrases in this section, where a

polyphonic texture is present and dynamic levels are frequently much softer.

Figure 3

By m. 157, motive I.f reappears, still on tonal center Ab. Restatements of past motives begin to occur

starting in m. 159 with Motive I.d. At m. 166, Motive I.b and I.f occur simultaneously, with I.b appearing

in the Crotale and Vibraphone parts and I.f in the Marimba 1, 2, and Belll parts (see Figure 4).

Figure 4

The tonal center shifts to Bb at m. 174 and features a “call and response” pattern between

Motives I.f and I.c. Motive I.f appears in mm. 174-175, written in the Vibraphones and Bells, followed by

a “response” containing the first two measures of Motive I.c (Consequent) in mm. 176-177. The same

idea occurs in the next four bars. At m. 179, a fragment from Motive I.f is presented, followed by three

more measures from Motive I.c (Consequent). Development of motive I.f continues through mm. 191,

where the tonal center shifts to Db.

The new tonal center of D# (Eb) features primarily material from motive I.b, signaling the end

the Section Three. Also, the harmony of two stacked fifths (figure 1) is the primary harmony used in this

final phrase of Section Three and is almost always associated with the presence of Motive I.b. The

orchestration slowly thins and the dynamic level softens, leading to the conclusion of the section at m.

213.

No new material is presented in Section Four. It is the shortest section of the movement and

runs from mm. 214-237, serving as a recapitulation of other motives used throughout the movement.

Tonal center D appears at m. 214 and the initial motive used is Motive I.c (Antecedent). In addition, the

rhythmic ostinato played on resonant metals first presented at mm. 15 in Percussion 1 and 2 reappears

at m. 222 as a textural bed on which harmonic and melodic material sit. This motive is developed until

m. 222 where it is replaced by Motive I.c (Consequent). Much like its first appearance in m. 40, Motive

I.c (Consequent) is presented as a canon, this time with a tonal center of Ab. By m. 226 the tonal center

shifts to Bb and Motive Ic. (Consequent) is repeated, this time in unison. The metallic percussion

ostinato in Percussion 1 and 2 continues, however the rhythms of each part change with the tonal

center shift.

The final passage of the movement begins at m. 231 with the appearance of Motive I.b., which

had been used as connective material earlier in the movement. Here, this motivic appearance signals

the end of the movement as a whole. Centered on the pitch B, just like its first appearance at m. 16,

fragments of Motive I.b continue throughout the remaining bars of the piece, accompanied frequently

by the “stacked fifth” harmony (see figure 1). The movement resolves with an Eb flat chord

accompanied by the reappearance of motive I.a, ending the movement with the same textural motive

and quality with which it began.

General Observations

There are several important elements to the construction of this movement that are necessary

to discuss further. Most important is the relationship between tonal center shift and motive. With little

exception, almost every phrase in the movement focuses on one or two primary motives. These

motives are developed and then replaced by different ones at the conclusion of each phrase.

Particularly in Sections One, Two, and Four, each shift in motive is almost always accompanied by a shift

in tonal center. Therefore, there is a direct relationship between shifting of tonal centers and motivic

material presented. There is one instance where this relationship does not exist. In Section Three, the

primary motive used, Motive I.f, is developed over the course of the section. It shifts between tonal

centers A, Db, Ab, and Bb throughout the movement while the primary motive used is always I.f. It is

this characteristic, however, that helps to define Section Three as a section unto itself.

While all motives appear frequently throughout the entire piece, each section has one or two

“primary” motives that are used predominately in that section and help to define it harmonically and

melodically. Evidence supporting this can be seen in Appendix B. In Section One, Motive I.c is the

primary musical idea used. In Section Two, Motives I.d and I.e are most prominent. In Section Three

Motive I.f is the primary figure, and Section Four focuses on Motive I.c once again. As a result, the

prominence of specific motives further reinforces the individual character of each of the four large

sections that are defined above (and also referenced in Appendix B).

Motive I.b plays a unique role in helping to establish closure throughout the movement. The

final motivic idea presented in each of the four sections is always Motive I.b, which is the only motive to

occur in all four sections of the movement. Thus, the motive further reinforces the overall structure of

the movement.

MOVEMENT II.

Movement II., “Fallingwater”, is consists of four sections. Its slower tempo, softer

dynamics, and frequent use of widely-spaced harmonies make it a stark contrast to Movements I and

III.. In addition, “Fallingwater” contains fewer themes and motives than the other movements in the

work (see Appendix A). The movement begins with the introduction of the primary Motive, II.a in the

Vibraphone I part. The intervals of a perfect fifth and perfect fourth play a critical role throughout the

movement at many different levels (Figure 5). Structurally, II.a contains a great number of these two

intervals. This gives the motive a characteristic sound that is recognizable throughout the rest of the

movement.

Figure 5

The first tonal area is B, and it is established with the first statement of Motive II.a in m. 1. This

motive is developed throughout the first ten measures by varying rhythm, orchestration, and pitch level.

In addition, the percussion parts feature ocean drum and rainstick parts. This texture creates a bed of

sound on which harmonic and melodic material sit. The texture changes at m. 11 when the ocean drum

part ends and a descending 16th note pattern, based on a Lydian scale, begins in the Marimba 1 and 2

parts. Despite this change, the initial tonal center remains rooted in B and motivic material presented is

still derived from Motive II.a. Similar texture and material continues at mm. 15, however the tonal

center shifts to Bb. From a harmonic standpoint the chords presented between m. 11 and 18 are also

derived from the interval of a perfect fifth. In fact, every harmony in this passage contains a root pitch,

a pitch a perfect fifth above the root, and a pitch a perfect fifth above this second note (the ninth). The

16th

note patterns in the Marimba 1 and 2 parts are also written a perfect fifth apart. This reinforces the

importance of the perfect fifth at multiple levels.

Motive II.b is first stated at m. 19 and is accompanied by a shift to tonal center Ab. Motive II.b

contrasts greatly from Motive II.a, as II.b is derived from a Dorian scale whereas II.a is a series of widely

spaced intervals. This motive is developed primarily through fragmentation in mm. 19-22. In m. 23, the

tonal center shifts to D and motivic material is a combination of Motive II.a and II.b. In addition, a

pentatonic scale, used frequently throughout the movement, makes its first appearance in the Marimba

4 part at m. 23, providing the harmonic foundation for this five-measure passage.

In m. 28, the beginning of the second section of the movement, the texture changes completely.

While the tempo remains the same, the pulse feels “twice as fast” with the introduction of a thirty-

second note ostinato figure split between the Marimba 1 and 2 voices (Figure 6). This is accompanied

by two perfect fifths, the lower rooted on F (which is the new tonal center), the higher on G, in the

Marimba 3 and 4 part. This texture is maintained until m. 33, and features motivic material derived

from both II.a and II.b.

Figure 6

A change in tonal center occurs at m. 34 and is accompanied by a slight change in texture.

While the marimba ostinato is maintained, the gestural contour changes. Instead of ascending on the

downbeats and descending on the upbeats (Figure 6), both parts of the beat feature descending groups

of four thirty-second notes. The new tonal center, Eb, is established in the Marimba 3 and 4 voices, and

fragmented sections of Motives II.a and II.b appear as the primary thematic material. At m. 48,

however, a new motive is introduced, II.c. This motive, influenced once again by the perfect fifth, is split

between the Vibraphone, Bell, and Crotales (see Appendix A). The sounding pitches continuously rise in

fifths, creating an extremely resonant, metallic texture.

By m. 40, the thirty-second note ostinato figure is no longer split between multiple voices, but

rather is presented as a continuous pattern executed by one player. The ostinato is, however, heard in

multiple voices through layering at varying pitch levels. The contour is slightly different, as well. The

figure starts on a root pitch, ascends a fourth, then a whole step, then another fourth (Figure 7). Thus,

the intervals of the perfect fourth and fifth once again play a critical role in the construction of this

passage. Additionally, the ostinato is harmonized at a perfect fifth with the Marimba 4 voice starting on

Ab and the Marimba 1 voice playing the same pattern on Eb. The rhythm is also colored by the log drum

part in Percussion 3 and this instrument continues to do so sporadically throughout the rest of the

section.

The tonal center shifts to Ab at m. 42. Also, in m. 43, motivic material derived from Motive II.d.,

the final new motive to be introduced, appears in the Bell and Vibraphone parts. The texture gradually

begins to change starting at m. 44 with the instruction “with shaft of mallet” appearing in the marimba

part. This designation means that the player plays with the wooden shaft, just below the mallet head,

rather than the normal playing area and on the edge of the bar, creating a thin, staccato texture. While

the tonal center remains firmly rooted in Ab, all of the marimba voices gradually begin playing with the

shafts of the mallets as all other voices fade out. By m. 48, the four marimbas are the only instruments

playing, all with shafts, creating a completely contrasting texture to the dense, fully orchestrated texture

present just a few bars prior. After an extreme decrescendo, the marimba parts gradually return to

normal playing areas, accompanied by a crescendo/ritardando. This, as well as a restatement of II.c

brings a sense of finality to the second section of the movement.

Figure 7

The third section of the movement beings in m.54. A metric modulation occurs, as the eighth

note now becomes the quarter note (quarter note = 128). Now in tonal center A, the primary melodic

material, Motive II.d, first appears in the Vibraphone 1 and Marimba 1 and 2, and 4 voices and is

harmonized in fifths. This motive, based on a Dorian scale, is repeated and again further developed at

m. 62, this time at tonal center Ab. By m. 70, the tonal center moves to E and the ostinato pattern (now

written as sixteenth notes) reappears in the Marimba 3 and 4 parts. Like other appearances of this

ostinato, it is harmonized at the fifth. Slight variation is present however, as the ostinato descends for a

full measure rather than a single quarter note (or eighth note) as it had in previous sections (Figure 8).

The variation, once again, contains substantial use of the perfect fourth and fifth. Material derived from

Motive II.d is layered contrapuntally above this texture and Motive II.c appears at m. 80, signaling the

end of the phrase. By m. 83, the tonal center shifts to G, and the ostinato switches from descending to

ascending. Melodic material derived from Motive II.a reappears in the Marimba 1 and 2 parts, as well as

II.b in the Crotale and Glockenspiel parts at m. 86 and 89-90, where Section Three ends.

Figure 8

The arrival of the final section of Movement II., a recapitulation of the opening material, is

signified by a metric modulation to ½ the tempo of Section Three (quarter note = 64), the reappearance

of the ocean drum (mm. 97), and the return of the ostinato pattern in Lydian mode in the Vibraphone.

The only other appearance of this mode is at m. 11 in the Marimba 1 and 2 parts. In this final section,

material derived from all four motives used in the movement is presented in tonal center Bb. The

marimba is played with the shaft of the mallet starting at mm. 101, restating the idea first seen in

section 2. Starting at m. 106 Motive II.a is presented for the final four bars, ending the movement with

the same material as that with which it began.

Additional Observations

There are multiple compositional aspects extant in this work that give it unity. One of these is

the use of modal and pentatonic scales. Much of the material presented throughout “Fallingwater” is

based on scale forms other than Major or Minor. For example, Motives II.b and II.d both outline a

Dorian scale. Material presented in the Marimba 1 and 2 voices at m. 11 and the Vibraphone 1 voice at

mm. 91 both imply Lydian mode through the use of a raised 4th

scale degree. Also, the Marimba 4 part

at m. 23 and the Marimba 3 and 4 parts at mm. 97-103 feature a Pentatonic scales.

As previously noted, the use of the perfect fourth and fifth plays a critical role in both the

harmonic and melodic construction of Fallingwater. As discussed above, Motives II.a and II.c both use

these intervals extensively. In addition, many of the sixteenth and thirty-second note ostinato figures

are harmonized in fifths. The vertical harmonies are frequently constructed with a root note, fifth, and

the ninth (fifth above the fifth), as well. This can be seen in mm. 11-18, 29-33. Further, many of the

more traditional, “major” sounding chords omit a third scale degree, purposely playing an increased

emphasis on the interval of a fifth. The intervallic construction of the ostinato patterns, as mentioned

above, also employ perfect fourths and fifths (Figure 7).

Similar to Movement I., the fragmentation of motives is the most frequently used method of

presenting and developing melodic material. While all four motives are used at great length throughout

the movement, the complete forms of Motives II.a, II.b, and II.d, rarely appear. In fact, Motive II.a is

seen in its entirety only in mm. 1-4, Motive II.b at mm. 19-22, and Motive II.d only at mm. 54-61.

Therefore, the continuous presentation of short portions of each of these motives gives continuity to

the style of melodic material presented throughout.

MOVEMENT III.

Movement III., “Gameday on the North Shore” is written in four primary sections. It stands

apart from the two previous movements because of its faster tempos, greater variety of motivic

material, and more rapid shifts in tonal center (See Appendix B). The movement begins with Section

One (mm. 1-85) and the presentation/ development of Motive III.a in the first four bars. No clear tonal

center is established in this passage, as the harmony features multiple major chords shifting quickly in

augmented fourths, whole steps, and half steps. This passage resolves to Bb in m. 5, where a variety of

short, chromatic motives and colorful auxiliary percussion sounds such as slapstick and police whistle

are introduced. At m. 9, Motive III.a returns in Ab and by m. 11, Motive III.b makes its initial

appearance. This is followed by chromatic material similar to that seen in mm. 5-8 in mm. 13-14.

Essentially, mm. 1-14 is the initial introduction to the movement.

M. 15 represents a new phrase and a shift to tonal center E. Material presented between mm.

15-63 is intended to have a fast, syncopated polka feel, as implied by the rhythmic figure presented

frequently in the Marimba 3 and 4 parts (figure 9).

Figure 9

Motive III.a continues to be developed through m. 22. At m. 23, the tonal center shifts to B and Motive

III.c is introduced and developed until m. 30, at which point the tonal center shifts to Bb. Accompanying

this shift in tonal center is the presentation of Motive III.d at m. 32. Development of this motive

continues until m. 42, where Motive III.e is introduced.

The first appearance of Motive III.e demonstrates a unique timbral/textural feature. The first

two bars of the motive, seen in mm. 42-45, are almost exclusively in metallic percussion voices. The

melody, harmony, and rhythmic accompaniment in the auxiliary percussion parts are played on Bells,

Vibes, Crotales, Suspended Cymbal, and Triangle. The next part of the motive, seen in mm. 46-50, is

scored almost exclusively for wooden percussion instruments, including Xylophone, Marimba, Timpani,

Woodblock. These stark timbral contrasts lead to the return of Motive III.a, featuring both metallic and

wooden instruments, in m. 50 at tonal center C. The thin but texturally diverse scoring leading up to the

arrival of Motive III.a makes the next phrase more dramatic and impactful. Motive III.a continues

development until m. 58, where material derived from Motive III.d appears in eighth notes, leading into

the next phrase at m. 60.

Shifting to tonal center Eb, this phrase features a reprise of material presented in mm. 1-4

(Motive III.a) with slight changes in melodic contour and pitch level. By m. 63, the phrase begins to thin

out, as indicated by the softer dynamics and sparser scoring in the auxiliary percussion parts. By m. 69,

the tonal center shifts and the feel of the music changes drastically for the first time. While previous

sections featured a driving rhythmic quality with extensive use of ostinato in the bass lines, material

starting at m.69 features less aggressive, pulse-oriented material. This is indicated by the increased

presence of long sustained rolls, as seen in the Marimba 1, Marimba 4, and Timpani parts. Motive III.d is

developed throughout this new tonal area, primarily in mm. 69-78. In mm. 79-85, material derived from

motive III.f begins to appear in the Bell and Crotale voices, foreshadowing the entrance of the primary

theme of Section Two.

Section Two begins in m. 86, indicated primarily by the change in tempo to 72 beats per minute.

The marking “slower, somber”, is also a drastic contrast to the opening marking of Section One, “Bright,

Lively”. The starting tonal center of this section is C, and is accompanied by the presentation of Motive

III.f, fully realized for the first time in mm. 86-89. Development of III.f continues in mm. 90-93. By m.

94, a passage without a clear tonal center begins. A variety of harmonic and rhythmic dissonances

occur, particularly, the minor 6th

/tritone blocked dyads presented in the Marimba 3 and 4 parts, the

glissando in the Timpani part, and the quarter note triplets over sixteenth notes in the Bell, Xylophone,

Vibraphone 1, 2 and Marimba 1, 2 parts. Motivic material in this passage is derived loosely from Motive

III.a.

At m. 98, a passage with a bitonal center appears, clearly indicated in the Marimba 3 and 4

voices (Figure 10).

Figure 10

This is accompanied by material derived from Motive III.e in the Marimba 1 and 2 parts. Much like

material in the preceding phrases of Section Two, motivic material is frequently derived from motives

first seen in Section One, and often presented in a quarter note triplet rhythm. Additionally, the steady

eighth notes in the high hat part create a clear textural contrast to any other material in Section Two.

While prior phrases featured extensive use of sustained rolls in the supporting harmonic voice/textural

voices, the presence of this high hat part, as well as the lack of any long roll figures in the keyboard

parts, represents a new, very staccato texture. By m. 103, material derived from III.f takes over and the

tonal center shifts clearly to Ab with the beginning of a new phrase at m. 106. An interesting note

concerning mm. 94-105 is the gradual “shift” from tonal ambiguity to a very clear Ab tonal center. At

m.94, there is no tonal center, by 98, a bitonal center appears, and by 106, a more traditional tonal

center appears.

The phrase starting at m.106 features extensive sixteenth note ostinatos in the Marimba 2 and 3

voices, and a hemiola pattern (four dotted eighth notes in a 3/4 meaure) in the Marimba 4 part, creating

variation in the rhythmic feel of the phrase. Further, a textural bed of metallic percussion sounds is

presented in the Percussion 1, 2, and 3 parts. A variety of fragmented motives, including III.a, III.d, III.e,

and III.f are presented throughout this phrase. By m. 115, the orchestration thins as the end of the

section draws near. The sixteenth note ostinato in the Marimba 2 and 3 parts continues, accompanied

by soft and subtle entrances of Motive III.d and III.f in the Bell, Vibraphone, Timpani, and Percussion 1

parts. Section Two concludes with a fermata over a measure of silence at m. 127.

Section Three begins at m. 128 with an increase in tempo to 172 beats per minute, as well as the

marking “Forward Moving, Agitated”. The primary motivic material used in this section is Motive III.g,

which is first seen in m. 128. Though it is a pitch-based motive, it is not derived from a melody, as most

of the other motives in the piece are. Essentially, the motive is derived from a series of repeating eighth

notes at fixed pitched levels and is manipulated by using accents, syncopation, varied dynamics, and

rhythmic changes. See the transcription of this motive in Appendix A for more information on its

structure.

The starting tonal center of Section Three is Eb. Motive III.g is repeated and developed in Eb

until m. 132. At m. 133, though still in Eb, the scoring thins suddenly and the dynamic drops from

fortissimo to piano. Motive III.h, the first three pitches of a minor scale, is first seen in m. 136. By m.

138, the fortissimo interjections of Motive III.g begin to appear within the thinned orchestration/softer

dynamics. At 139, the first tonal center shift of the section occurs, moving up a half step to E at which

point similar development continues.

By 144, Motive III.g returns and at m. 145, the tonal center shifts to G. The frequently shifting

meters of the last few phrases give way to a steady duple meter in m. 144. Extensive rhythmic

dissonance, particularly eighth note triplets over eighth notes, can be seen frequently throughout this

phrase, most notably at mm. 145-146, 154, and 156 (Figure 11).

Figure 11

Material derived from Motive III.g appears throughout this phrase, typically indicated by an

abrupt change in dynamic to fortissimo. By m. 154, Motive III.g returns and is developed until m. 159.

At m. 160, Motive III.b, not seen since m. 11, reappears, leading into the fourth and final section of the

movement.

Section Four is clearly indicated by the drop in tempo to halftime, as well as the return of

multiple motives. This final section is a reprise, derived entirely from material developed earlier in the

movement, as well as material from past movements. Centered on B, m. 162-169 features material

derived from Motive III.d presented in various metallic keyboard voices. Rhythmic/harmonic support is

provided by an arpeggiated sixteenth note ostinato in the Marimba 1 and 2 voices. Extensive

cymbal/tam tam sounds in the Percussion 1, 2, and 3 parts also add additional colorful textures to this

passage. The tonal center shifts to A at m. 168 and the dynamic softens. By m.170, the orchestration

thins, only to crescendo into m. 174, where the tonal center shifts to D and a reprise of Motive I.c

(Consequent) appears. This motive is developed until m. 177, where the tonal center shifts to A. At

m.177, Motive I.c (Consequent) continues, accompanied by additional melodic counterpoint in the Bell

and Vibraphone 2 parts (Figure 12).

Figure 12

The final statement of the movement/piece occurs at m. 183. A reprise of the opening

statement at mm. 1-4 occurs in D between mm. 183 and 186. At m.187, the tonal center shifts to G and

material in the “polka” feel established in Section One (Figure 9), returns. The final six measures of the

piece feature a prolongation of the G tonal center, and a final statement of the initial motive of the

movement, Motive III.a, is seen in m. 191 in the Timpani part. At m.192, the movement ends strongly

on the final downbeat. In the Percussion 2 and 3 parts, Motive I.a returns as the final sound heard in the

piece, ending the entire work with the same texture with which it began. Programmatically, the work

begins and ends with this sound. It represents steel mills, labor, and industry, which symbolically,

represents Pittsburgh’s past, as well as the foundation to which the city credits its future.

Additional Observations

There are a multiple concepts that make this movement compositionally unique when

compared to the other two movements in this work. The most obvious is the frequent use of

modulation. Within the 192 measures of the movement, twenty –seven shifts in tonal center occur.

This averages out to a change in tonal center ever seven measures. This is far greater a rate of

modulation than Movement I., which averages a change every 12.5 measures, and noticeably greater

than the shorter Movement II., which shifts on average every 9 measures. This frequency in rate of key

change in part helps the listener visualize the mood of the movement’s program. This movement

displays a busy, lively, vibrant atmosphere with multiple, diverse actions happening quickly and

sometimes simultaneously. The listener should feel like their attention is constantly being pushed in

different directions.

This idea (i.e.: a great deal of material presented in a short amount of time) is further reinforced

when examining the use and rate of changes in motivic material. Movement III. contains eight unique

motives, as well as three motives drawn from other movements. In total, that equals eleven separate

motivic ideas, within the 192 measures, or a new motive every seventeen measures. This is far quicker a

rate than Movement I., which averages one motive per forty measures, and Movement II., which

averages a motive every twenty-seven measures.

As was found in Movement I., in this movement, changes in motivic material (whether the initial

appearance of a motive or reappearance) are almost always accompanied by a shift in tonal center. This

further adds to the affective quality of the music, creating a very jarring, unsettling feel. Similar to both

Movement I. and Movement II., each of the first three large sections of Movement III. features a

primary motive. Section One features mainly Motive III.a, Section Two features III.f, and Section Three

features III.g. As previously noted, Section Four involves the recapitulation of a number of prior

motives. Further examination of Appendix B will provide support for this.

Finally, much like Motive I.b in Movement I., Motive III.a frequently returns in its entirety as a

transitional phrase (mm. 1-4, 60-63, 183-186). While the beginning and ending of each large section is

not defined by the presence a specific motive (as is the case with I.b in Movement I.), the use of this

technique in both movements is significant.

CONCLUSION

Steel City Sketches is a musical representation of three distinct aspects of Pittsburgh using

percussion orchestra as the vehicle of creative expression. While characteristics such as extensive

motivic development and rapidly shifting tonal centers are commonplace throughout all three

movements, each could potentially stand alone as an individual work.

Certain elements of each movement contain aspects that are unique to alone. The

development of traditional folk melodies, as well as the use of specific motives to clearly establish the

overall form are the defining characteristics of Movement I.. Additionally, the frequent use of the

intervals of a perfect fourth and perfect fifth, as well as influence of modal and pentatonic scales

distinguishes Movement II. from the rest of the work. Finally, the extremely fast shifts in tonal center

and saturation of motivic material clearly make Movement III. unique.

Steel City Sketches is an eclectic mix of musical landscapes that when put together, create a

musically stimulating and programmatically interesting whole. It is the goal that, when performed or

heard in its entirety, the listener gets a sense of the interesting sights, sounds, and history of this great

American city.

BIBLIOGRAPHY

Blatter, Alfred. Revisiting Music Theory: A Guide to the Practice. New York: Routeledge, Taylor,

and Francis Group, 2007.

Gunther, Justin. Personal Interview. Email correspondence. January 20 2011.

Moorehead, P.D. Bloombury Dictionary of Music. London 1992.

www.fallingwater.org. "History". Accessed February 12 2011.

Appendix A.-

Themes and Motives- Movement I.

I.a

I.b

I.c (antecedent)

*Derived from the traditional Lithuanian Folk Song, Jau Saulelė Teka

I.c (consequent)

*Derived from the traditional Lithuanian Folk Song, Jau Saulelė Teka

I.d

I.e

I.f

Themes and Motives- Movement II.

II.a

II.b

II.c

II.d

*Derived from “Bourrée II” from English Suite No. II, by J.S. Bach

Themes and Motives- Movement III.

III.a

*Derived from The Pennsylvania Polka

III.b

III.c

III.d

*Derived from The Beer Barrel Polka

III.e

III.f

III.g

III.h

Appendix B.

Tonal Center/Motive Relationships

Movement I.

Section Measures Tonal Center Themes/Motives Used

1 (1-55) 1-17 Non-pitched I.a

18-32 B I.b

36-39 Eb I.c (ant.)

40-48 C I.d (cons.)

49-55 G I.b

2 (56-117) 56-69 Gb I.d, I.e

70-79 Bb I.c, I.d

80-100 F I.d, I.e

101-109 G I.e

110-117 F I.b, I.d

3 (118-213) 118-129 A I.f

130-148 Db I.f

149-174 Ab I.b, I.d, I.f

174-191 Bb I.c (cons.), I.f

192-213 D# (Eb) I.b,

4 (214-237) 214-221 D I.c (ant.)

222-225 Ab I.c (cons.)

226-230 Bb I.c (cons.)

231-237 B I.b

237 Eb I.a

Movement II.

Section Measures Tonal Center Themes/Motives Used

1 (1-27) 1-14 B II.a

15-18 Bb II.a

19-22 Ab II.b

23-27 D II.a, II.b

2 (28-53) 28-33 F II.a, II.b

34-41 Eb II.b, II.c, II.d

42-53 Ab II.c, II.d

3 (54-90) 54-62 A II.d

63-69 Ab II.d

70-82 E II.d

83-90 G II.a, II.b

4 (91-109) 91-109 Bb II.a, II.b, II.c, II.d

Movement III.

Section Measures Tonal Center Themes/Motives Used

1 (1-85) 1-4 Rapid Tonal Shifts III.a

5-8 Bb No motives present

9-14 Ab III.a, III.b

15-22 E III.a

23-29 B III.a, III.c

30-41 Bb III.d

42-45 E III.e

46-49 D III.e

50-59 C III.a, III.d

60-63 Eb III.a

64-68 A III.a

69-85 D III.d, III.f

2 (86-127) 86-93 C III.f

94-97 Rapid Tonal Shifts III.a, III.f

98-105 E/F# (Bitonal) III.e, III.f

106-114 Ab III.a, III.e, III.f

115-121 Bb III.d, III.f

122-127 A III.d

3 (128-161) 128-139 Eb III.g, III.h,

140-144 E III.g

145-161 G III.g, III.h

4 (162-192) 162-167 B III.d

168-173 A III.d

174-177 D I.c (cons.)

178-182 A I.c (cons.)

183-186 D III.a

187-192 G I.a, II.c, III.a