PEREGRINATION: A MUSICAL SKETCH OF EUROPE IN FOUR MOVEMENTS. Daniel H. Schellhas. A Thesis

Transcription

1 PEREGRINATION: A MUSICAL SKETCH OF EUROPE IN FOUR MOVEMENTS Daniel H. Schellhas A Thesis Submitted to the Graduate College o Bowling Green State University in artial ulillment o the requirements or the degree o MASTER OF MUSIC May 2007 Committee: Elainie Lillios, Advisor Marilyn Shrude

2 ABSTRACT ii Elainie Lillios, Advisor Peregrination: a Musical Sketch o Euroe in Four Movements or alto saxohone, cello, iano, and ercussion is a thirteen-minute musical deiction and interretation o my travels in Euroe during the summer o I traveled to Paris, Tours, Brussels, Rotterdam, Munich, Venice, Vienna, Zurich, Gimmelwald, and Salzburg between May 25 and August 20. The rimary cities that orm the our movements o this iece are Tours (I), Rotterdam (II), Gimmelwald (III), and Salzburg (IV). A detailed ma o my travels in each city rovided the seed data or the iece s chance oerational asects. Each movement reresents a single city and as such has a single tonal ocus. However, dierent golden-section-related systems are used to organize time and tonal arrivals. The structural harmonic content o each movement is generated by a Neo-Riemannian Tonnetz overlaid uon the ma o my journey within that city. Elaborative techniques include Neo- Riemannian binary-generated cycles, serial techniques, traditional unctional harmony, Indonesian interlocking ornamentation, and bounded-entroic indeterminacy. The overall harmonic structure o the iece is also generated by overlaying a Tonnetz on the ma o my whole tri through Euroe. Each movement also exhibits a sel-contained evolution o rhythmic develoment. A articular rhythmic idiom is established at the beginning o each movement. This idiom transorms and destabilizes as the movement builds to necessitate the return o the original material. Various vocal and extended instrumental techniques contribute to these rhythmic idioms. For exale, in II. Rotterdam, the rhythmic content is derived rom Balinese gamelan and involves interlocking atterns in the instrumental arts. With this consistency o harmony and orm, any movement can be erormed in isolation or the whole work can be layed without interrution.

3 iii INSTRUMENTATION Metal Alto Saxohone in Eb Cello Piano Percussion (1 layer): Vibrahone, Crystal Glasses (C,E,G#,B), & Sizzle Cymbal Bongo (Low) Bongo (High) Hi-hat

4 4 iv INSTRUCTIONS General: The score is transosed. Accidentals carry through the measure and are cancelled at the barline. All eighth notes are straight. Any jazz or seudogroove style is accolished through trilet igures and accentuation, not deorming eighth note airs. indicates absence o meter. This indicates a oint o teoral alignment. In movement III, Gimmelwald, time is luid and indeendent, but it is iortant that the layers align at the arrows.

5 2 v 98 Alto Saxohone in Eb Tours: quick scoo quick, dirty, ingered smears jazz li This movement is your eature and is cast in a jazz style, so eel ree to bend the music to your will. Begin Section D with a light and clear tone that becomes increasingly more harsh until section G. Rotterdam: Begin in the letmost box. Play each column the indicated number o times, then ollow one o the two arrows to the next column. Be a ercussion instrument. Every note value is layed as a sixteenth-note with a little resonance. Gimmelwald: This movement is a cello eature, so never overshadow it. This is a ingered smear that comes rom nothing. It starts slowly, then quickly aroaches to the downbeat. Salzburg: This movement is cast in a sooky mood, so always lay with a ghostly tone and add vibrato on long tones. Cello Tours: You are eectively a string bass or this movement. Only six notes at section G are arco, everything else is izzicato. When given the 'daed' instruction, sto the vibration o the strings during the rests. Rotterdam: Begin in the letmost box. Play each column the indicated number o times, then ollow one o the two arrows to the next column. Be a ercussion instrument. Each note value is to be layed as a sixteenth-note with a shar attack and a quick decay. The bow must stay on the string whenever ossible to revent extra resonance. Mimic the articulation o the saxohone. Gimmelwald: This movement is your eature, so make the cello sing or scream when aroriate. gliss. with articulation inger a smooth and even glissando while bowing the notated rhythm Salzburg: This movement is cast in a sooky mood, so always lay with a ghostly tone and add vibrato on long tones.

6 179 vi Piano Tours: jazz li Rotterdam: All 'Traveling Music' eatures solo iano in a ree, cocktail lounge style. In the interlocking gamelanesque sections such as measure 27, do not use edal. Anywhere else, the edal can be used or tone i desired. Begin in the letmost box. Play each column the indicated number o times, then ollow one o the two arrows to the next column. I erorming all our movements, continue rom the inal column to the 'Traveling Music' at the bottom o the age, then roceed attacca to Gimmelwald. Be a ercussion instrument. Every note value is layed as a sixteenth-note. Gimmelwald: Let the sound die on its own. This line is to be layed as without internal syncoation. Salzburg: This is the iano eature, so take the lead. Percussion All Movements: : a 2x4 or other solid wooden object that, when struck with a drumstick, has a shar attack and body to the sound. Metal: any iece o metal that rings when struck with wood. (e.g. an anvil or metal sotball bat) Tours: Everything is layed with drumsticks in a slightly jazzy style. Rotterdam:, metal, vibrahone, and hi-hat are layed with a Balinese onggul or similar wooden hammer. Crystal glass is layed with the handle o the onggul. Sizzle cymbal and bongos are layed with ingers while holding the onggul with thumb. Begin in the irst column and lay ive atterns (reetitions allowed). Move to the second column and lay ten. Continue in this ashion ollowing the number o reetitions marked. Gimmelwald: Play everything with sot yarn mallets excet the board at the end o the irst system, which should be struck with the shat o a drumstick. Crystal glasses are to be layed with the shat o the mallet. q = is merely a mathematical necessity. Let the sound die on its own. Salzburg: Everything is layed with drumsticks in a slightly sooky mood.

7 Alto Saxohone Peregrination: a Musical Sketch o Euroe in Four Movements Traveling music q = ca. 110 I. Tours Dan Schellhas Cello Piano In a slightly ree cocktail style ad lib. Percussion sub. 4 accel. align with cello enter without regard or iano always izzicato A Agitated q=144 ignore cello 8 accel. Sizzle

8 2 2 1 m 18 B At ease and ushing orward q = 180 Sizzle 24 cresc. daed cresc. accel. cresc. ord. Sizzle

9 1 C 7 cresc. daed cresc. cresc. m 4 D Cool jazz becoming increasingly acidic q = 220 cresc. oco a oco to 87 ord. cresc. oco a oco to 87 cresc. oco a oco to 87 Hi-hat cresc. oco a oco to 87

10 E 55 Hi-hat m 62 F m

11 rit. 76 rit. 82 Hi-hat

12 6 87 G At ease and ulling back q = 192 decresc. arco decresc. decresc. izzicato 6 decresc. 95 cresc. oco a oco to 111 daed cresc. oco a oco to 111 cresc. oco a oco to 111 ord. cresc. oco a oco to H daed

13 rit. ord. I Agitated q= m m Sizzle m rit. 119

14 8 8 Traveling music q = ca J In a slightly ree cocktail style m 126 rit. m

15

16 16 10 Alto Saxohone A Increasing Diiculties n. m III. Gimmelwald B n. q = 90 Cello Pleasantly q = c.66 gliss. + q = 144 rit. arco gliss. IV-III m gliss. q = 96 q = 90 cresc. Piano q = 90 Percussion Bass Drum Vibrahone Metronomically q = 60 m q = 90 *Wood (sot mallet) Sizzle Cymbal * Strike a wooden block or board with the wide end o a drum stick. A. Sax. C Delighted q = 60 m n. D Setting Out m cresc. Turned Back decresc. Vc. m III gliss. gliss. II m sz cresc. decresc. Pno. m Cyclically cresc. decresc. Perc. Crystal Glasses q = 60 outside o time Crystal Glasses Vibrahone Cyclically q = m m Play notated itches sarsely at random and out o time. m

17 A. Sax. E Deeated but hoeul n. m n. F Agressive Vc. gliss. with articulation m cresc. with determination I gliss. Pno. m cresc. Crystal Glasses m Perc. rubato q = 60 cresc. A. Sax. G Victorious H Everything Sliing Away I Vc. II gliss. m m Freely m n. Pno. m Perc. Crystal Glasses Play notated itches at random on the notated rhythm. q = 60 lay with random rhythm o decreasing density 2:25 q = 68.57

18 12 This age intentionally let blank to acilitate age turns

19 Alto Saxohone Traveling music q = ca.100 IV. Salzburg 1 Cello Piano In a slightly ree cocktail style Percussion sub. 4 A Mysterious 9 accel. m Sizzle m

20 B Disoriented q = 110 izzicato Sizzle 25 accel. m m Sizzle 2 C m

21 15 8 m m D 4 Pseudogroove q = 120 Hi-hat 49 m

22 E arco m Hi-hat 62 m m 69 F quasi izzicato rit. izzicato

23 Disoriented q = 110 G arco m Hi-hat m 89 m m m

24 m H m 102 m 107 m m m m

25 I Mysterious rit. m Sizzle 120 m J Traveling music q = 92 Freely m izzicato m In a slightly ree cocktail style m 125 arrive at end with iano rit. Freely arrive at end with iano arco m m