There Arises Light: A Work for Orchestra in One Movement

Transcription

1 University o Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School There Arises Light: A Work or Orchestra in One Movement Michael S Taylor University o Tennessee - Knoxville Recommended Citation Taylor, Michael S, "There Arises Light: A Work or Orchestra in One Movement " Master's Thesis, University o Tennessee, 2002 htt://tracetennesseeedu/utk_gradthes/2186 This Thesis is brought to you or ree and oen access by the Graduate School at Trace: Tennessee Research and Creative Exchange It has been acceted or inclusion in Masters Theses by an authorized administrator o Trace: Tennessee Research and Creative Exchange or more inormation, lease contact trace@utkedu

2 To the Graduate Council: I am submitting hereith a thesis ritten by Michael S Taylor entitled "There Arises Light: A Work or Orchestra in One Movement" I have examined the inal electronic coy o this thesis or orm and content and recommend that it be acceted in artial ulillment o the requirements or the degree o Master o Music, ith a maor in Music We have read this thesis and recommend its accetance: Barbara Murhy, Walter W Hathorne (Original signatures are on ile ith oicial student records) Kenneth A Jacobs, Maor roessor Acceted or the Council: Dixie L Thomson Vice rovost and Dean o the Graduate School

3 To the Graduate Council: I am submitting hereith a thesis ritten by Michael S Taylor entitled There Arises Light: A Work or Orchestra in One Movement I have examined the inal electronic coy o this thesis or orm and content and recommend that it be acceted in artial ulillment o the requirements or the degree o Master o Music, ith a maor in Music Dr Kenneth A Jacobs Kenneth A Jacobs, Maor roessor We have read this thesis and recommend its accetance: Dr Barbara Murhy Dr Walter W Hathorne Acceted or the Council: Dr Anne Mayhe Vice rovost and Dean o Graduate Studies (Original signatures are on ile in the Graduate Student Services Oice)

4 There Arises Light: A Work or Orchestra In One Movement A Thesis resented or the Master o Music Degree The University o Tennessee, Knoxville Michael S Taylor May, 2002

5 Coyright Michael S Taylor, 2002 All rights reserved ii

6 DEDICATION This thesis is dedicated to my ie, Cindy, ho illingly urooted her established lie and career in suort o my decision to return to school or graduate study iii

7 ACKNOWLEGEMENTS I honor the LORD in this ork and all o my eorts ith great reverence and a sirit o thankulness I am also grateul or the emotional suort o my ie, riends, and amily, ho have truly shared ith me and oered me strength in this exerience I oer secial thanks to all o my music teachers over the years, ho have encouraged me and instilled ithin me a love o music I am esecially indebted to the invaluable assistance o my committee, Kenneth Jacobs, Barbara Murhy, and Walter Hathorne, ho have suorted and challenged me during my graduate studies I ill continue to carry ith me their individual contributions to my musical and ersonal groth as a comoser and teacher iv

8 ABSTRACT There Arises Light is a ork or orchestra in one movement It as ritten in art to ulill the requirements or the Master s degree in music comosition, and is the rimary subect o this thesis Insiration or the ork as dran rom the comoser 's on exeriences as ell as rom salm 112 The comosition as comleted in ebruary, 2001 by Michael S Taylor, using a KORG N26 Music Workstation, an imac G comuter, and Mark o the Unicorn s Digital erormer version 2 The orchestration and notation o the score ere comleted in March 2002, using Coda 's inale, version 2002 It is aroximately telve minutes in duration and is scored or a conventional orchestra The urose o this study is to lace the comosition in historical ersective, examine its structural elements ithin the context o similar genres, and exlain the comositional rocedures used Seciically, the study o There Arises Light ill involve a discussion o elements such as orm, melody, harmony, rhythm, and texture in the ork and the similar use o these elements in orks by rominent comosers o the tentieth century The comositions to be examined are: Third Symhony in One Movement by Roy Harris, Symhony No 2 by Hoard Hanson, Symhony No by aul Creston, Symhony No 5 in D Maor by Ralh Vaughan Williams, Dance Suite by Béla Bartók, Symhony in Three Movements by Igor Stravinsky, and Gloria by rancis oulenc v

9 TABLE O CONTENTS CHATER I: Introduction 1 CHATER II: orm 2 CHATER III: Melody 6 CHATER IV: Harmony 1 CHATER V: Rhythm 22 CHATER VI: Texture 2 CHATER VII: Other Stylistic Concerns 2 BIBLIOGRAHY AENDICES Aendix A: salm Aendix B: There Arises Light Audio Recording and Technical Notes 9 Aendix C: There Arises Light by Michael S Taylor 0 VITA 6 vi

10 LIST O IGURES IGURES AGE 1 There Arises Light: Skeed arch design 2 There Arises Light: Theme I, irst hrase, mm 2-9 Melodic lyricism in Vaughan Williams Symhony No 5, mvmt I, mm There Arises Light: English horn theme II, irst hrase, mm English horn solo and melodic ourths in Vaughan Williams Symhony No5, mvmt III, mm There Arises Light: Ascending melodic iths, violins, m 1 10 There Arises Light: Horn motive, mm Horn motive in Hanson s Symhony No 2, mvmt I, mm Horn motive in Hanson s Symhony No 2, mvmt I, mm There Arises Light: izzicato bass motive, mm 1, There Arises Light: Harmonic structure There Arises Light: Dissonant tone clusters, mm Wrong-note dissonance in oulenc s Gloria, mvmt VI, m, and mvmt II, m Quartal harmony in Bartók s Dance Suite There Arises Light: Quartal harmony, mm Shiting meters in Bartók s Dance Suite, mvmt III, mm Shiting ercussive accents in Stravinsky s Symhony in Three Movements, mvmt III, mm Shiting meter and accent in There Arises Light, mm vii

11 19 Cross-rhythms in Creston s Symhony No 2, mvmt I, mm There Arises Light: Rhythmic overlaing, string arts in normal score order, mm Rhythmic overlaing in Creston s Symhony No2, mvmt II, mm Multi-layering in oulenc s Gloria, mvmt I, mm There Arises Light: Multi-layering, mm Stretto eects in Vaughan Williams Symhony No 5, mvmt I, mm viii

12 CHATER I Introduction There Arises Light is a ork or orchestra in one movement by Michael S Taylor The title o the ork is taken rom salm 112 (see Aendix A) The author o the salm describes the blessed state o the righteous man and the ultimate hoe that he has in the midst o dark and earul surroundings Vs, "Unto the uright there arises light in the darkness," contains articular relevance to the comosition, as ell as vs 11, hich triumhantly claims: "His horn ill be exalted ith honor" There Arises Light is not only an exression o the comoser's on dee inard struggles ith ear and darkness, but a claim on the ultimate victory over these struggles The comositional elements that ill be examined include: orm, melody, harmony, rhythm, and texture The comositions beteen hich comarisons ill be made are: Third Symhony in One Movement by Roy Harris, Symhony No 2 by Hoard Hanson, Symhony No by aul Creston, Symhony No 5 in D Maor by Ralh Vaughan Williams, Dance Suite by B éla Bart ók, Symhony in Three Movements by Igor Stravinsky, and Gloria by rancis oulenc These comositions and comosers, historically inluential in the early to mid art o the century, contribute a solid oundation o comositional techniques used in There Arises Light Thereore, it is imortant to note their individual contributions to the context o the ork and examine any similarities The connections that may be dran are many Hoever, a limited ocus on the seciic elements used by these comosers ill reveal their kinshi to There Arises Light 1

13 CHATER II orm or the ast several centuries, the symhony has been the subect o continual exerimentation Today, in the tenty-irst century, it may be said that a "symhony" can be anything a comoser ants it to be Stravinsky took the term sinonia in its original orm, meaning, "sounding together," and occasionally discarded the hole idea o the classical our-movement latorm 1 His Symhony in Three Movements is an examle, though three movement orms are not uncommon Jean Sibelius, in his Seventh Symhony, uses a single movement structure that as, in essence, a condensation o the our-movement scheme 2 The maority o symhonic orks examined in this aer also digress rom the classical norm o our movements Symhony No2 by Hoard Hanson and Symhony No by aul Creston also have three movements The symhonic Dance Suite by B éla Bartók has six movements, and Gloria by rancis oulenc (a choral symhony, or erhas a symhonic oratorio), has six movements Symhony No 5 in D Maor by Ralh Vaughan Williams is the only symhonic ork under consideration that holds to the our-movement model Third Symhony in One Movement by Roy Harris also discards the our-movement latorm olloing this recedent, the one-movement ormat used in There Arises Light is designed as a tye o condensation o a multiart design Harris' general treatment o the symhony is similar by comarison His most consistent vie aears to have been the symhony as a ork o greater seriousness, emotional variety, intensity o exression, and 8 1 Dan Stehman, Roy Harris: An American Musical ioneer (Boston: Tayne ublishers, 198) 2 Ibid 2

14 length than as the norm or him The materials o the symhonies are sometimes greater in number, richer in comlexity, and accorded a more elaborate develoment, ith esecially rominent use o the various tyes o motivic orking out Occasionally ideas recur in a thematic sense ithin a symhony thus roviding more o a sense o large scale unity There Arises Light consists o three maor sections similar to the older sonata orms, ith an exosition, develoment, and recaitulation Unlike the traditional sonata orm, the comoser has aid virtually no mind to the older harmonic structures or key relationshis This modiied sonata orm involves, in the author s concetion, an exosition o to congruent themes, an extended develoment o gradual intensiication (in to contrasting arts), and a recurrence o exository themes (ith urther develoment and abbreviation) There is a closing grou and transition beteen the exosition and the develoment, and a climactic lateau beteen the develoment and the recaitulation The overall shae o the ork is a skeed arch, culminating in an elorescent version o the irst theme (m 12) The recaitulation eases in intensity, returns to the lyrical treatment o both themes rom the exosition, and comes to rest in the coda igure 1 diagrams the overall shae o the ork Theme 1 Theme 2 Closing Trans Sect1 Sect 2 Climax (lateau) Theme 1 Theme 2 Coda m Exosition Develoment Recaitulation igure 1 There Arises Light: Skeed arch design Ibid, 9

15 The orm o the ork ithin the larger ternary concet, including transitions and variations o themes, can be broken don as ollos: I Exosition (mm 1-29) A Introduction (m 1) areggiated motive in 5ths B Theme I (mm 2-1) Tenderly--lutes, har, and strings C Theme II (mm 18-25) English horn melody ith strings and inds D Closing grou (mm 26-29) A little more motion--areggiated bass II Develoment (mm 0-189) A Transition (mm 0-8) Resolutely--horn motive 1 (mm 0-0) Variant o Theme II and develoment o exository themes 2 (mm 1-) Deliberately--izzicato bass motive (variant o Theme I) (mm 5-8) Lightly--introduction (variant o areggiated motive in 5ths) B Section I (mm 9-98) Develoment and variations o thematic materials, slo temo 1 (mm 9-6) Variant o theme I, tremolo string edal 2 (mm 65-2) With conidence--monohonic strings (mm -85) Contemlative--monohonic violins, bare and exosed (mm 86-95) Boldly marcato--climax o Section I, monohonic strings, then homohonic, measured silence 5 (mm 96-98) transition--ensive C Section II (mm ) Develoment and variations o motives and thematic materials, ast temo 1 (mm ) With increasing intensity--introduction, izzicato bass motive/horn relies 2 (mm 10-10) Short ugal section, brass, timani, strings (mm ) Tutti, overlaing melody in close-imitation, ith unctuation (mm ) Transition, quartal build 5 (mm 122-1) ragmented themes and motives, multile modulations, tremolo edal, running sixteenth-notes, izzicato bass, multi-layered texture 6 (mm 15-18) Brie olyrhythmic interlude (mm ) Countermelody, modulations 8 (mm ) Overlaing melody in close imitation, lo instruments resent thematic material ith augmentation 9 (mm ) Gradual accelerando, build to climax D Climax (mm 16-11) Bold tutti statement o bass motive, timani, measured silence 1 lateau (mm ) Delay o the recaitulation, multi-textured

16 a (mm 12-1) Elorescent--thick mass o sound ith ianistic accomaniment b (mm 18-18) Lessening in intensity--brass continuation c (mm ) English horn, bassoon, strings III Recaitulation (mm ) A Theme 1 (mm ) Tenderly--second statement, abbreviated B Theme 2 (mm ) Second statement, abbreviated C Coda (mm ) High strings, oodinds, rising to inal cadence The descritive outline is a detailed account o the orm and character o the comosition It also resents imortant thematic relationshis and some instrument grouings The Third Symhony in One Movement by Roy Harris ( ) as remiered in 199 by Serge Koussevitzy It ollos a structure closely related to There Arises Light in that it also uses the arch design and has a recaitulation-like return to the "tragic" character o the oening Harris divides his symhony into ive sections and ollos the dramatic character develoment outlined belo: Section I Tragic lo string sonorities Section II Lyric strings, horn, oodinds Section III astoral oodinds, ith a olytonal string background Section IV ugue dramatic A Brass and ercussion redominating B Canonic develoment o materials rom Section II constituting background or urther develoment o the ugue C Brass climax, rhythmic motive derived rom ugue subect Section V Dramatic tragic A Restatement o violin theme o Section I; tutti strings in canon ith tutti oodinds against brass and ercussion develoing rhythmic ideas rom climax o Section IV B Coda develoment o materials rom Sections I and II over edal timani Harris' outline resents a concise exlanation o events in the ork By comarison, the orm, shae, content, and character o the comosition are similar to There Arises Light Ibid, 6, 65 5

17 CHATER III Melody Messiaen once stated, "Suremacy to the melody! The noblest element o music, may melody be the rincial aim o our investigation" 1 The imortance laced on melodic treatment is evident in the in the orks o oulenc, Harris, Hanson, Creston, and Vaughan Williams, among others According to Virgil Thomson, oulenc as "incontestably the greatest riter o melodies" o his time 2 One o Harris' rimary obectives as to strive or "organic develoment o the melodic line in avoidance o symmetrical and sequential attern(s)" Hanson believed that music is a "maniestation o the emotions" and created his "Romantic " symhony in eort to comose a ork that as "young in sirit, lyrical and romantic in temerament, and simle and direct in exression" Creston's ork "contain(s) a richness o melodic riting (ith an) ingenious use o rhythmic schemes" 5 Coell noted that Creston s melodic style exhibited a "certain simlicity and delicacy o eect sustained lines (and) armth and geniality" 6 Vaughan Williams rites his melodic lines in his Symhony No5 underscored ith "modal harmony entatonic lavor serene lyricism (and) tranquillity" 1 Oliver Messiaen, The Technique o My Musical Language (aris: Alonse Leduc, 1956), 1 2 Keith W Daniel, rancis oulenc: His Artistic Develoment and Musical Style (Ann Arbor, MI: UMI Research ress, 1982) 62 Robert Bagar and Louis Biancolli, The Concert Comanion: A Comrehensive Guide to Symhonic Music (Ne York: Whittlesy House), 22 Ibid, 19 5 David Een, The Comlete Book o 20 th Century Music (Engleood Clis, NJ: rentice-hall, Inc Ibid, Robert Bagar and Louis Biancolli, The Concert Comanion, 86, 8 6

18 Melodic lyricism is the single most resounding element in the oreground o There Arises Light The hole comosition, in its very essence, gros out o the simly stated irst theme (mm 2-1, see igure 2) In general, Theme I is resented in Brahms ashion, harmonized at the octave and the third, ith a ianistic accomaniment The theme gros organically rom the irst hrase, hich is a gentle descending areggiation receded by a loer neighbor (m 2) The irst hal-note (m ) is an aoggiatura that is anticiated in the receding measure and resolves by ste donards, only to be roelled into the resolution and next hrase by register transer Because o the conlict beteen the eighth-note trilets and the quarter-note trilets, the melody seems to ebb and lo like ocean aves The irst theme in the reludio rom Vaughan Williams' Symhony No 5 oers some similarities to the irst theme in There Arises Light (see igure ) The dottedquarter note olloed by a air o sixteenth notes, the descending igure in measure 1, and the descending trilet igure are all strikingly similar to melodic elements in Theme I o There Arises Light The melody is olloed in close imitation by the violas and irst cellos Similarly, this "stretto" eect is used in There Arises Light at a ast temo in Section II o the develoment (mm , 19-11, and ) J igure 2 There Arises Light: Theme I, irst hrase, mm 2-9

19 igure Melodic lyricism in Vaughan Williams' Symhony No 5, mvmt I, mm12-21 Theme II (m 18) o There Arises Light (igure ) is a olk-like melody in the aeolian mode on e (concert key), resented in the English horn and strings It begins ith an uard lea o a ith, then continues ith a steise quarter-note descent It is olloed by a series o "arched" eighth-note trilets (m 19) that settles on the ith scale degree The theme rises by ste, leas a sixth in an oscillating igure, and auses on the second scale degree (m 20) beore resenting the theme a second time ith variations Again, similar melodic technique can be seen in Vaughan Williams' Third Movement Vaughan Williams uses the English horn, resenting a lyrical theme that introduces a section including melodic ourths Vaughan Williams' rising and alling modal melodies are similar in style to the themes used in There Arises Light (see igure 5) Throughout There Arises Light there is a tendency to use ascending melodic ourths and iths motivically The irst measure o introduction is the best examle 8

20 English Horn in J igure There Arises Light: English horn theme II, irst hrase, mm (igure 6) here the violins ascend in an areggiation o iths Variations o this idea occur in mm 5-8 (transition to Section I) and mm (inverted to ourths) The horn motive, irst resented in measure 0, is simly a anare-like dottedeighth igure (see igure ) This motive is gradually extended and develoed throughout the comosition by combining the dotted-eighth igure ith other motives (ie, izzicato bass motive and theme I material) Develoment o this kind also occurs in mm 6, 10, , , and12-1 Symhony No 2 by Hoard Hanson can rovide examles o similar motivic elements The dotted-eighth igures unction in an introductory assage to the Allegro moderato o the Hanson's irst movement (see igure 8) Hanson develos this horn introduction into an energetic theme (see igure 9) By comarison, the horn motive in There Arises Light is also the subect o thematic develoment and variation (eg, mm ) The izzicato bass motive (There Arises Light, m 1) (igure 10) is a variant that evolves rom a combination o irst theme elements and horn motive variants (eg, m 6) The irst uer-neighbor (m 1) is an inversion o the loer-neighbor in Theme I The sixteenth notes that ollo stem rom the horn motive variant 9

21 (Eng Hrn in ) igure 5 English horn solo and melodic ourths in Vaughan Williams' Symhony No5, mvmt III, mm -2 - igure 6 There Arises Light: Ascending melodic iths, violins, m 1 10

22 (Hrn in ) igure There Arises Light: Horn motive, mm 0- igure 8 Horn motive in Hanson's Symhony No 2, mvmt I, mm igure 9 Horn motive in Hanson's Symhony No 2, mvmt I, mm izz igure 10 There Arises Light: izzicato bass motive, mm 1, 2 11

23 In general, it can be noted that there is a great degree o melodic unity, organic groth, and develoment, consisting o the basic elements mentioned, ith a heavy reliance on melodic lyricism, intervals o the diatonic scales and modes, and variants that combine the trilet and dotted-eighth igures 12

24 CHATER IV Harmony Some o the harmonic elements in There Arises Light have already been alluded to, or instance: reliance on diatonic intervals, harmonization o melodies in octaves and thirds (Theme I), ascending areggiations o melodic iths (mm 1), quartal harmonies (mm ), and use o the aeolian mode (Theme II) A urther examination o imortant harmonic elements and key structures ill be the subect o study in this section Additionally, a comarison o the harmonic elements in There Arises Light ith similar comositions o the tentieth century is resented, including Dance Suite by Bela Bartók, Gloria by rancis oulenc, and Symhony No 5 by Ralh Vaughan Williams There Arises Light is, or the most art, tonal The harmonic rogressions used are based rimarily on modal harmony, hich relies less on the conventional dominant-totonic relationshi, but still has a deinite tonal center This eakening o the traditional use o the dominant and tonic relationshi has been oten exlored by comosers o the tentieth century Bartók oten uses modal harmonic relationshis in this manner: Modal considerations also ere o some moment in the eakening o the tonic-dominant relation, since the scale-ith is o less consequence in modal scales than in maor and minor Nevertheless Bart ók's music o hatever eriod has a homing instinct, hich relates it to deinitely established key centers notithstanding its avoidance o traditional unctions 1 Vaughan Williams' harmonic technique is described as a "masterly blend o tonal and modal atterns," hich laces "old devices ( 'dominant rearation ') into a ne and 1 Malcolm Gillies, The Bartók Comanion (ortland, OR: Amadeus ress, 199), 9 1

25 arresting context" 2 Vaughan Williams' Symhony No 5 uses several modes, including mixolydian, dorian, and hrygian oulenc 's harmonic technique is erhas more unctional than that o Bartók and Vaughan Williams, though he sometimes used accidentals instead o key signatures due to his luid and requent modulations Also, oulenc colors his comositions ith extended tertian harmonies (including the th, 9 th, and 1 th ) and other added dissonances At this oint, it is helul to note the overall harmonic scheme o There Arises Light igure 11 shos the tonal relationshis in the comosition As indicated in igure 11, it is clear that There Arises Light asses through several modal key areas It begins and ends in D maor, much like traditional sonata orm ould begin and end in the same key Hoever, the harmonic treatment o secondary themes, the develoment, and the recaitulation are somehat dierent than the conventional sonata orm In articular, the second theme occurs in the aeolian mode on e in the exosition (mm 18) and in the aeolian mode on b in the recaitulation (mm 198) The sequence o these key areas does not all in line ith the traditional "tonic modulating to the dominant or relative key area" concet The develoment section briely visits a variety o key areas The harmonic and rhythmic dissonance increases as sudden shiting "modulations" aroach the climax o the ork Ater the climax in c aeolian, the elorescent variant o the irst theme (lateau) is eected by ay o a dissonant aeolian mode on A and is alternated ith maor (mm12-189) This reetitive alternation o key areas at the lateau gradually disels the rhythmic and harmonic dissonance o the climax, and eventually makes ay 2 James Day, Vaughan Williams (Ne York: Oxord University ress, 1998) 20 1

26 Exosition: D: I ii D e (aeolian) Theme 1 Theme 2 Closing m Develoment: (D): ii vi I / i (iv) (g mi): i v (Q) e (aeolian) b (dorian)/b mi D / d (aeolian) g mi/ (aeolian) d (hrygian) d (quartal) Transition (Intro) Section I (mono) Section II (Tutti) (Transition) m Develoment (continued): (): i iii iv bvii vii A: v I IV c: v vii :VI-V : i { (dorian) ab (dorian) b b (dorian) e b (aeolian) e (dorian)} A (lydian) D C g (hrygian) (aeolian) / mi) (Modulations) (Interlude) (Countermelody and Modulations) m Develoment (continued): c: i a: i / VI c (aeolian) {a (aeolian) / } oscillating Climax (lateau) m16 12 igure 11 There Arises Light: Harmonic structure Keith W Daniel, rancis oulenc: His Artistic Develoment and Musical Style (Ann Arbor, MI: UMI Research ress, 1982) Ibid, 6, 15

27 Recaitulation: (a): I ii IV D: I A b (aeolian) D Theme 1 Theme 2 Coda m igure 11 Continued or the return o the serene lyricism o the recaitulation in measure 190 The return o the irst theme in the recaitulation (mm 190) is neither in the traditional tonic key area, nor does it stay in the tonic or the second theme (mm198) Instead, it is a real transosition (at the ith) o the themes rom the exosition (A maor, then b aeolian) Root-ositioned diatonicism in the comosition is oten adorned ith colorul extended harmonies (ie, the th, 9 th, 1 th ), susensions, aoggiaturas, added notes, tone clusters, chromatic alterations, modal mixture, and melodic embellishments igure 12 is an examle o tone clusters used as unctuation in the develoment section Adding dissonant non-chord tones to simle root osition triads is a technique that oulenc uses oten in his comositions This is sometimes termed as "added notes" or "rong-note" dissonance (igure 1) 5 In There Arises Light, measure 8 is an examle o a horn motive ragment colored ith added maor seconds The tremolo strings in measure 58 contain a dissonant A, hich "stings" momentarily Other examles occur in mm 100, 102 (in the horns) and in mm (in the brass) Throughout Section II 5 Ibid, 16

28 Hn b J J ^ ^ ^ J ^ J ^ R ^ J ^ Hn - Tt 1-2 Tbn 1-2 B Tbn Tba b b b b b b b J ^ ^ ^ J ^ J J - ^ ^ ^ J v v v ^ ^ ^ ^ J J v v v v ^ ^ ^ ^ J J v v v v J J ^ ^ J v ^ J v ^ J v R ^ J ^ ^r ^ R J v v ^r ^ R J v^ v r ^ R J v v (C D E b G) (B b C D G) (C D E b G A) (C D G B b ) igure 12 There Arises Light: Dissonant tone clusters, mm o the develoment, adding maor sixths to root osition minor chords roduces a susended eect ith the lavor o the dorian mode Another technique o harmonic interest that oulenc uses is a requently modulating style, oten suddenly in unexected directions In the develoment section o There Arises Light, this tye o "slash modulation," as Keith W Daniel terms it, is used 6 Returning to the harmonic key structure diagram (igure 11), there are excursions in the develoment section into several distant key areas such as (dorian), a b (dorian), b b (dorian), e b (aeolian), e (dorian), A (lydian), D, C, g (hrygian), and (aeolian-minor) Most o the excursions briely reerence the given key areas and not comlete modulations here there is rearation and conirmation They are simly tonicizations 6 Ibid, 8 1

29 5 igure 1 Wrong-note dissonance in oulenc's Gloria, mvmt VI, m, and mvmt II, m 5 The raid rate o this harmonic shiting creates a great deal o tension and roulsion by root movements o minor thirds, seconds, or iths This constant shiting o gears oers relie rom otherise reetitive motivic igures by resenting them in various key areas ith mutations Another harmonic technique used in There Arises Light is the use o quartal harmonies Similar examles are ound in Bartók's Dance Suite, here he uses quartal 18

30 harmony in a cycle beginning on C: (C,, Bb, D, G, C,, B, E, A) (igure 1) 6 Hoard Hanson also uses a similar "quartal build" in this manner in his Symhony No 2 In measures o There Arises Light (igure 15), a cycle o ourths motive on D (D, G, C,, Bb, Eb) builds in yramid ashion, unctioning as a transition to Section II o the develoment Using quartal harmony as transitory material is suitable because its tonal center is elusive and is intended to create susenseul exectation in the listener 6 Malcolm Gillies, The Bartók Comanion 19

31 igure 1 Quartal harmony in Bartók's Dance Suite 20

32 Vln I Vln II Vla Vc DB 115 b b b b B b b b b b b b div b b b b b b b 2 b b b div b b b b b 2 b b div b b b b 2 b b l div b 2 b l 2 b b n n b b 5 n n b b 5 n n b b 5 n n b b 5 n n b b 5 igure 15 There Arises Light: Quartal harmony, mm

33 CHATER V Rhythm The rominent rhythmic elements used in There Arises Light include: raidly shiting meters, cross-rhythms (or hemiola), trilet igures, and rhythmic overlaing (rhythmic dislacement in deiance o barlines) Comarisons can be dran to the orks o Bartók, Creston, and Stravinsky Bartók requently used raidly shiting meters in order to accommodate the dance-like Hungarian olk songs that he oten reerenced In his Dance Suite (see igure 16), Bartók uses asymmetrical bars o 5/8 and /8 among 2/ and / The Dance Suite contains sudden shits in the rhythmic ulse common in the Hungarian olk-music and dance that insired Bartók The belie that rhythm and symhonic orms are linked ith dancing is also held by Stravinsky: A static obect cannot be described or ainted in sounds: but hen that obect is set in motion, music can by analogy reroduce the character o that movement its temo (a measurement o ace), its rhythm (a mode o eriodicity), its amlitude (a degree o intensity) and so orth In this ay a visual is transormed into a musical image Hence it is not ith the illustration o an obect as such that Stravinsky is concerned in his music but ith the nature (temo, rhythm, dynamic amlitude) o that obect s igure 16 Shiting meters in Bartók's Dance Suite, mvmt III, mm

34 movement It is thereore easy to understand hy dierent orms o motoric energy and articularly the clearest maniestations o these, namely the dance occuy such a signiicant lace in determining Stravinsky's musical orms The origin o every ritual lay, as he believed, in the dance, hich as also the origin o the symhony All ritual, as e kno, is based on the same rincile as 'lay,' and this element is oerully exressed in dancing Thus in Stravinsky s music the visualelement and the lay-element orm an indivisible unity In the same ay e can understand ho essential he elt it to be to catch exactly the character o musical movement, the deinition o hich corresonds most recisely to that o the rench ord mouvement This he emhasized in the titles o to o his later orks: Symhony in Three Movements (a sense lost in English) and Movements or iano and orchestra That is hy he never tires o insisting that the relation beteen a musical idea and its temo are or him a rimary roblem o musical order, and that he cannot comose until he has ound the right temo or his ideas 'Any musical comosition must necessarily ossess its unique temo (ulsation) A iece o mine can survive almost anything but rong or uncertain temo' 1 Stravinsky 's ercussive style o comosition, ith dance-like movement, rhythmic asymmetry, and shiting accents can be seen in his Symhony in Three Movements (igure 1) Stravinsky could have ritten the examle in a succession o meters to match the rhythmic accents (eg, 6/8, /8, 5/8, /8, 5/8, 6/8 + 2/8); hoever, the viola art ould have robably suered It is sometimes best to comromise in the notation o meter or the sake o erormance A similar examle in There Arises Light shos shiting meter and accent here the double bass art articulates its on accented attern (contrary to the barline), hile the irst violins are notated according to the meter o their assage (igure 18) The music o aul Creston exhibits a strong rhythmic element as ell He is articularly adet at using cross-rhythms, or hemiola, in his music An examle o 1 Mikhail Druskin, Igor Stravinsky: His Lie, Works, and Vies (Ne York: Cambridge University 2

35 igure 1 Shiting ercussive accents in Stravinsky's Symhony in Three Movements, mvmt III, mm-6 Vln I 12 b b 5 b b b b 5 b b 5 b b b b b b b b 8 5 b b b b 5 n b b n b b Vln II b b 5 nb a b b Vla B b b 5 b bb b Vc DB B b b 5 b b 5 b n b b n b n b r n b b n b b b b r b b b 5 b b 5 igure 18 Shiting meter and accent in There Arises Light, mm12-11 ress, 198)118 2

36 igure 19 Cross-rhythms in Creston 's Symhony No 2, mvmt I, mm hemiola is ound in the irst movement o his Symhony No 2 (see igure 19) The resence o to dotted eighth-notes in the sace o three eighth-notes (in 12/8 meter) creates a hemiola eect Creston's treatise, rinciles o Rhythm (1961), exlains the concet o rhythmic overlaing as the "non-imortance o the bar-line as regards accentuation" 2 Rhythmic overlaing can be seen in There Arises Light as the ugal motive in Section II o the develoment occurs in close imitation ith the other subects (mm ) (see igure 12) Another examle occurs in the interlude o the same section as hal-note trilets in the uer strings and inds cross the bar line (mm 15-18) (igure 20) In this same assage, the comoser mixes various trilet and motivic elements in a "multimetric" caacity The bass, in articular, has a "stretched-out" dule eel that sitches to the obeat and is unctuated ith the violas By comarison, Creston uses rhythmic overlaing as shiting accents suggest various meters contrary to the bar (igure 21) 2 aul Creston, rinciles o Rhythm (Ne York: Belin Mills, 196), 10 25

37 Violin I Violin II Viola a B J J J J J J Violoncello Double Bass J igure 20 There Arises Light: Rhythmic overlaing, string arts in normal score order, mm igure 21 Rhythmic overlaing in Creston's Symhony No2, mvmt II, mm

38 CHATER VI Texture Using a variety o textural rocedures in the orchestration o There Arises Light, several elements emerge as imortant to this study, namely: the use o monohonic and multi-layered textures, "ianistic" accomanimental styles in the orchestra, and contrauntal techniques such as stretto and imitation Roy Harris, in his Third Symhony in One Movement, oens ith a chant-like melody that is largely monohonic in texture Similarly, There Arises Light has a monohonic section early in the develoment In this section, the strings are reduced to a single melodic line in unison/octaves (mm 65-81) This austere, contemlative section rovides textural relie rom the redominating melody and chordal accomaniment o the exosition The climax o There Arises Light (mm 16, 168) uses this monohonic texture as the strings in unison and octaves contrast ith the multi-layered mass o sound receding it The monohonic orchestration allos or greater dynamic orce at the climax In the exosition, the accomaniment is sometimes ianistic in character ith rising and alling areggiated igures The use o izzicato in the strings in this areggiated ashion hels create an interesting multi-layered textural technique in the develoment o the comosition (mm , , and ) by blending rhythmic motivic elements, running sixteenth-notes, izzicato unctuations, sustained harmonic edals o tremolo strings, and cascading igures in the inds (mm 11, 12) Symhony in Three Movements by Igor Stravinsky rovides a similar examle o this multi-layered aroach to texture 2

39 In general the Symhony is a ork here melodic continuities are oten relinquished in avor o imulse and layered textures, through hich Stravinsky is tyically able to make a virtue o his somehat disarate material 1 Stravinsky sometimes connects his musical ideas ith underlying ostinato atterns, motor-like igures, and unching rhythmic igures When these and other elements are combined, the result is a multi-layered textural abric In oulenc's Gloria, there are similar uses o multi-layered textures using running sixteenth-notes, izzicato basses, and motivic ragments (igure 22) Another examle o textural layering is seen in the elorescent statement at the end o the develoment in There Arises Light (igure 2) The theme is stated homohonically in a thick mass o dissonant sound, hile the ianistic, areggiated notes in the har, izzicato cellos, and lo inds accomany Because o the textural treatment in this section and thick scoring or the orchestra, the music retains a ortion o intensity rom the develoment, hile diusing the remainder in rearation or (or erhas delaying) the lyrical recaitulation 1 Stehen Walsh, The Music o Stravinsky (Ne York: Routledge, 1988),

40 igure 22 Multi-layering in oulenc's Gloria, mvmt I, mm

41 lute 1 lute 2 (iccolo) Oboe English Horn Clarinet in Bb 1 Bass Clarinet in Bb Bassoon Contrabassoon Horn in 1-2 Horn in - Trumet in C 1-2 Trombone 1-2 Bass Trombone Tuba Timani ercussion Har Elorescent 5 6 J J J Y Y z Y Y Y Violin I 5 6 J 5 Violin II Viola B J J 5 5 Violoncello Double Bass n n igure 2 There Arises Light: Multi-layering, mm

42 Another imortant textural device used in There Arises Light is the use o contrauntal imitation and stretto Rhythmic and textural intensity is the result hen a subect or motive is begun and then echoed or chased in close imitation by its anser oset by one or to counts This dovetailing or overlaing o imitative subect and anser results in hat is normally called "stretto" 2 Stretto can be ound in several sections in the develoment section or examle, mm is a short ugato section, begun by the brass and strings This is also the same section ith rhythmic overlaing as mentioned earlier (see igure 20 in the chater on rhythm) By comarison, Vaughan Williams uses this kind o "stretto" in a non-ugal sense to create a "lurry" o modal activity underneath melodic elements, and also in echo-like assages that result in crossrhythm (igure 2) The textural abric o There Arises Light is ashioned by the use o a variety o scoring combinations and idiomatic techniques (ie, tremolo, izzicato, etc ) Monohonic, multi-layered textures, contrauntal techniques such as stretto and imitation, and "ianistic" accomanimental styles in the orchestra all contribute to the variety in texture igure 2 Stretto eects in Vaughan Williams' Symhony No 5, mvmt I, mm Willi Ael, Harvard Dictionary o Music, 2 nd ed (Cambridge, MA: Belkna / Harvard ress, 1

43 CHATER VII Other Stylistic Concerns While the themes used in There Arises Light are not rogrammatic, they do evoke, in general, a romantic mysticism or sense o siritual intent or the comoser It is or this reason that, ater the symhony as comleted, the author assigned a siritually associated title taken rom salm 112, vs The verse reads, "Unto the uright there arises light in the darkness" This title best described the melodic lyricism that is in contrast ith the rhythmic motives o the develoment and retained the siritual intent o the ork In addition to the comosers examined in this study, it is necessary to note the exressive nature o the ork o other tentieth century comosers sometimes identiied ith the concet o neoromanticism Regarding a grou recently termed as the Ne Romanticists, one author rote: The Ne Romanticists exlicitly return to a reserialist ast [and] ork ithin the convenient categories o mainstream classical music, riting concertos and ieces or conventional orchestra The Ne Romanticists have returned to a nineteenth-century manner o volatile emotional exression, based on climaxes and a ide and ever-changing dynamic range 1 Most o the aard-inning comosers in the latter ortion o the tentieth century have incororated neoromantic techniques into their music Christoher Rouse, William Bolcom, Ellen Zilich, Stehen Albert, John Harbison, Joseh Schantner, Joan Toer, and John Adams all dislay a neoromantic aesthetic, to some degree 2 Each o these 192), Kyle Gann, American Music in the Tentieth Century (Ne York: Schirmer Books, 199), 26 2 Ibid, 222 2

44 comosers has his or her on unique style in using these neoromantic concets, some more harshly atonal than others Generally seaking, in most cases, the exressive content in the music o these comosers ollos trends o atonality and minimalism, unlike There Arises Light It is evident in There Arises Light that the neoromantic ideal o music as a rimarily exressive vehicle is an inluential aesthetic on the comoser 's ork The music o earlier tentieth century comosers examined in this aer (Harris, Hanson, Vaughan Williams, oulenc, Bartók, Creston, and Stravinsky) has made signiicant contributions stylistically to context o There Arises Light urther inluences o oular music, movie soundtracks, olk-insired music, music rom the band and choir literature, and the textually-emhasized hymns and sacred music o the church have all contributed to the comoser's aesthetic o music as a rimarily exressive vehicle Through a comarison o similar musical elements used by tentieth century comosers, a solid oundation or the comositional rocedures used in There Arises Light is ashioned and the ork is laced in historical ersective

45 BIBLIOGRAHY

46 BIBLIOGRAHY Ael,Willi Harvard Dictionary o Music, 2 nd ed Cambridge, MA: Belkna/Harvard ress, 192 Bagar, Robert and Louis Biancolli The Concert Comanion: A Comrehensive Guide to Symhonic Music Ne York: Whittlesy House Bartók, Béla Dance Suite London: hilharmonia artituren, 1951 Creston, aul rinciles o Rhythm Ne York: Belin Mills, 196 Creston, aul Symhony No, O 5 Ne York: G Schirmer, Inc, 195 Daniel, Keith W rancis oulenc: His Artistic Develoment and Musical Style Ann Arbor, MI: UMI Research ress, 1982 Day, James Vaughan Williams Ne York: Oxord University ress, 1998 Druskin, Mikhail Igor Stravinsky: His Lie, Works, and Vies Ne York: Cambridge University ress, 198 Een, David The Comlete Book o 20 th Century Music Engleood Clis, NJ: rentice- Hall, Inc 1959 Gann, Kyle American Music in the Tentieth Century Ne York: Schirmer Books, 199 Gillies, Malcolm The Bartók Comanion ortland, OR: Amadeus ress, 199 Hanson, Hoard Symhony No 2, O 0 Rochester, NY: Eastman School o Music, 192 Harris, Roy Third Symhony in One Movement Ne York: G Schirmer, 190 Messiaen, Oliver The Technique o My Musical Language aris: Alonse Leduc, 1956 oulenc, rancis Gloria: or Sorano Solo, Choeur mixte et Orchestre aris: Editions Salabert 1960 Stehman, Dan Roy Harris: An American Musical ioneer Boston: Tayne ublishers, 198 5

47 Stravinsky, Igor Symhony in Three Movements or Orchestra Ne York: Associated Music ublishers, Inc, 196 Vaughan Williams, R Symhony No 5 in D Maor London: Oxord University ress, 19 Walsh, Stehen The Music o Stravinsky Ne York: Routledge,

48 AENDICES

49 AENDIX A salm 112 The Blessed State o the Righteous rom the Ne King James Version o The Bible 1 raise the LORD! Blessed is the man ho ears the LORD, Who delights greatly in His commandments 2 His descendants ill be mighty on earth; The generation o the uright ill be blessed Wealth and riches ill be in his house, And his righteousness endures orever Unto the uright there arises light in the darkness; He is gracious, and ull o comassion, and righteous 5 A good man deals graciously and lends; He ill guide his aairs ith discretion 6 Surely he ill never be shaken; The righteous ill be in everlasting remembrance He ill not be araid o evil tidings; His heart is steadast, trusting in the LORD 8 His heart is established; He ill not be araid, Until he sees his desire uon his enemies 9 He has disersed abroad, He has given to the oor; His righteousness endures orever; His horn ill be exalted ith honor 10 The icked ill see it and be grieved; He ill gnash his teeth and melt aay; The desire o the icked shall erish 8

50 AENDIX B There Arises Light Audio Recording and Technical Notes A CD-R recording o There Arises Light is available on ile at the University o Tennessee It is ossible to listen to a MIDI version o the comosition online by clicking the audio ile link belo (button) The MIDI version as comosed beore the actual orchestration o the score At the time o submission, a MIDI recording o the ully orchestrated version o score as not available The ile is comatible cross-latorm and can be oened by the comuter s deault audio layer (ie, Quicktime, or other multimedia alication) There Arises Lightav 9

51 AENDIX C There Arises Light or Orchestra in One Movement MICHAEL S TAYLOR INSTRUMENTATION 2 lutes (iccolo) Oboe English Horn in Clarinet in Bb Bass Clarinet in Bb Bassoon Contrabassoon Horns in 2 Trumets in C 2 Trombones Bass Trombone Tuba Timani ercussion Har Violins 1 and 2 Violas Violoncellos Double Basses 0

52 lute 1 Tenderly q» There Arises Light J MICHAEL S TAYLOR lute 2 (iccolo) J Oboe English Horn in n Clarinet in Bb Bass Clarinet in Bb n Bassoon n n n Contrabassoon n Horn in n n n Horn in - n n Trumet in C Trombone 1-2 div Bass Trombone Tuba a2 Timani ercussion sus cym non-areggiated C C n n C C n n Har Violin I - π div J n n Violin II Viola Violoncello Double Bass B div - π div - π - div - - π - π n n n n n n ẇ n J 2001 Michael S Taylor 1

53 l 1 10 J cresc J n n l 2 (icc) J cresc J n n Ob cresc n n E Hn cresc n n n n Cl n cresc n n n n n BCl n n cresc n n n n n Bsn n n n cresc n n C Bn cresc n n n Hn n n div cresc n n J n n n Hn - Tt 1-2 n n div cresc div cresc n n n n J n n n n Tbn 1-2 div cresc n n n n B Tbn Tba Tim 10 div cresc Ÿ~~~~~~~~ Ÿ~~~~~~~~~ cresc n n J n n n n n erc 10 cresc z 10 C C n n cresc C n n D n n H Vln I Vln II 10 J n cresc cresc cresc n n n n n n J n n n Vla Vc B n n n n cresc cresc n n n J n n n n DB n cresc n n n 2

54 l l 2 (icc) Ob E Hn Cl BCl 5 J 2 J 5 Bsn B 5 J 2 J 5 C Bn Hn a2 5 J 2 5 Hn - a2 5 J 2 div 5 Tt Tbn B Tbn Tba Tim Ÿ~~~~~~~~~ 5 erc z H Vln I Vln II Vla 19 B J J 5 J J J J J J Vc B 5 J 2 B J 5 J DB 5 2 5

55 l 1 26 q» A little more motion dim 2 q» º Resolutely 6 l 2 (icc) dim 2 6 Ob dim 2 6 E Hn dim 2 6 Cl J dim 2 6 BCl not too short dim 2 6 Bsn dim 2 6 C Bn dim 2 6 Hn a2 dim 2 6 Hn - a2 dim 2 6 Tt a2 6 Tbn 1-2 dim 2 div 6 B Tbn Tba Tim 26 a2 dim dim Ÿ~~~ 2 2 div 6 6 erc 26 Y gong bd Y dim Y 2 sus cym (scrae) z+ z+ z H dim 2 6 Vln I 26 dim 2 6 Vln II Vla B J dim dim unis 2 unis 2 izz 6 6 Vc izz arco dim unis 2 izz 6 DB dim izz 2 6

56 l Deliberately q» 6 l 2 (icc) Ob E Hn Cl marcato BCl Bsn C Bn Hn marcato div Hn - marcato Tt 1-2 div Tbn B Tbn Tba Tim erc 6 z z H Vln I Vln II 6 unis marcato div unis Vla B arco Vc arco 6 5 izz arco 6 DB arco 6 5 izz 6 5

57 l 1 6 Lightly q»ªº l 2 (icc) 6 Ob 6 E Hn 6 Cl 6 BCl 6 Bsn 6 J C Bn 6 Hn Hn - 6 Tt Tbn B Tbn Tba 6 Tim 6 erc 6! triangle! H 6 6 Vln I 6 div unis J J Vln II 6 div unis Vla Vc B 6, 6, div izz arco div div DB 6 izz 6

58 l 1 56 With conidence q» 2 l 2 (icc) 2 Ob n n 2 E Hn n n n 2 Cl 2 BCl n n 2 Bsn n n n n 2 C Bn 2 Hn Hn - 2 Tt Tbn B Tbn Tba 2 Tim 56 2 erc H 2 Vln I 56 J J J 2 J Vln II J n J J n 2 Vla B div a unis 2 J Vc n n n n n unis B 2 J J DB arco B 2 J J

59 l 1 68 Contemlative l 2 (icc) Ob E Hn Cl BCl Bsn C Bn Hn Hn - Tt 1-2 Tbn 1-2 B Tbn Tba Tim 68 erc H Vln I 68 n b n n J n J J J J Vln II n b n n n J J J J Vla B n b n n J n Vc B n b n n J n DB B n b n n J n 8

60 l 1 82 n nb 5 q» º l 2 (icc) n nb 5 Ob n nb 5 E Hn n n n 5 Cl n n n 5 BCl n n n 5 Bsn n nb 5 C Bn n nb 5 Hn n n n 5 Hn - n n n 5 Tt 1-2 n nb 5 Tbn 1-2 n nb 5 B Tbn Tba n nb 5 Tim 82 n nb 5 erc n nb 5 H n nb 5 Vln I 82 n n n boldy n nb marcato ƒ 5 div ƒ Vln II n n n boldy n nb marcato ƒ 5 div ƒ Vla B boldy n nb marcato ƒ 5 div ƒ Vc boldy n nb marcato ƒ 5 div ƒ DB B n nb boldy marcato ƒ 5 ƒ 9

61 l 1 95 b 5 q» º With b b increasing intensity 6 l 2 (icc) b 5 b b to iccolo 6 Ob b 5 b b 6 E Hn 5 b 6 Cl 5 n 6 BCl 5 n 6 Bsn b 5 b b not too short 6 C Bn Hn 1-2 b b b b not too short 6 div r 6 R J J a2 J Hn - 5 b div r 6 R J J J Tt 1-2 b 5 b b 6 Tbn 1-2 b 5 b b div r R J 6 J J B Tbn Tba b 5 b b a2 R J 6 J J Tim 95 b 5 b b R J 6 J erc 95 5 sus cym (scrae) z+ 6 z+ 95 b 5 b b 6 H b 5 b b 6 Vln I 95 b π 5 b b 6 Vln II b π J 5 b b 6 Vla B b π J 5 b b 6 Vc b π J 5 b b izz 6 DB b J π 5 b b izz 6 50

62 l 1 l 2 (icc) 105 b b b b ^ ^ ^ ^ tutti J J ƒ tutti ^ J ƒ ^ ^ ^ J ^ J ^ J ^ ^ R J ^ ^ R J R R R R Ob b b tutti R J R E Hn b tutti R J R Cl tutti ƒ J ^ ^ ^ ^ J ^ J ^ ^ R J R BCl tutti r r R Bsn b b tutti r r C Bn b b tutti r r Hn b J J J J tutti J ^ ^ ^ J ^ J ^ R ^ J ^ R Hn - Tt 1-2 Tbn 1-2 B Tbn Tba b a2 b b a2 b b b b a2 (B Tromb) J div J tutti tutti J ^ ^ ^ J ^ ^ J tutti div J - ^ ^ J v v v tutti div ^ ^ ^ J J v v v v ^ ^ ^ ^ J v J v v v J ^ ^ J v ^ J v ^ J v R ^ J ^ ^r ^ R J v v ^r ^ R J v v ^r ^ R J v v R r r R R r R r R r Tim 105 b b hard mallet ƒ tutti ^ ^ ^ ^ ^ r ^ ^ R erc b b sd tutti ƒ J J v v v v tutti bd ^ J ^ J J v ^ J r R J v v ^ ^ R J r R R R H b b D C Bb Eb G A tutti ^ J ^ J ^ J ^ ^ R J r Vln I 105 b b J tutti J R J J R Vln II b b tutti r R Vla B b b J J J J tutti R R R Vc b b arco J J tutti r R R DB b b arco tutti R R 51

63 l b b 5 l 2 (icc) b b 5 Ob b b R 5 b b E Hn b R 5 Cl R 5 b BCl R 5 Bsn b b R 5 C Bn b b R 5 Hn b R 5 Hn - b r 5 Tt 1-2 b b a2 5 Tbn 1-2 b b R a2 5 B Tbn Tba r b b R J r R J a2 5 Tim 112 b b R R 5 erc 112 r R J r R J 5 b b H Vln I b b R 112 b b r R 5 5 Vln II Vla Vc b b B b b b b R R R b b b DB b b R 5 52

64 l b b b b b b b b 2 b b b n n b b 5 ƒ- l 2 (icc) Ob E Hn b b b b b b b b b b 2 2 b b 2 b b n n b b 5 n n b b 5 nb 5 ƒ- ƒ- ƒ- to lute b Cl b b 2 b 5 ƒ- BCl b 2 b 5 ƒ- Bsn b b b 2 b n n b b 5 ƒ- C Bn b b 2 b b n n b b 5 ƒ- Hn b b b b b b b 2 b b b nb 5 ƒ- Hn - Tt 1-2 Tbn 1-2 b b b b 2 b b b div b b b b b b 2 b b div b b b b 2 b b nb 5 n n b b 5 n n b b 5 ƒ- ƒ- b ƒ- B Tbn Tba Tim b b 119 b b div 2 b b b b 2 n n b b 5 n n b b 5 ƒ- ƒ- erc sus cym (stick) 5 ƒ- H 119 b b 2 n n b b 5 gliss ƒ- G Vln I Vln II Vla Vc b b 119 b b b b b 2 b b b b 2 b b b div b b b b b b 2 b b div B b b b b 2 b b b l div b b b 2 b l n n b b 5 n n b b 5 n n b b 5 n n b b 5 b J b ƒ- J ƒ- b b b J ƒ- n n b b 5 B ƒ- b b DB b b 2 b b n n b b 5 izz ƒ- 5