The Cave You Fear (2014) Michael Markowski ( )

Transcription

1 The Cave Yu ear (2014) Michael Markwski ( ) Matt Temple New Trier High Schl templem@newtrier.k12.il.us The cave yu ear t enter hlds the treasure yu seek. Jseph Campbell Analysis Brad Descriptin: A prgrammatic verture that depicts each individual s struggle t ind their wn path, what is ten identiied as the her s jurney in ilm-making Type/Genre: Prgrammatic verture Backgrund Inrmatin: Michael Markwski is a yung cmpser with a very unique and sphisticated musical vice. His apprach t music cmpsitin is whlly inluenced by his undergraduate training in ilm. Mr. Markwski s cmpsitins emply a cntemprary harmnic vcabulary blended with a Ne-Rmantic style. Each cmpsitin creates a singular snic landscape, making it diicult t categrize his cmpsitinal style. The Cave Yu ear draws its title rm Jseph Campbell s qutatin, The cave yu ear t enter hlds the treasure yu seek. The cmpser was inspired by Mr. Campbell s discussin The Her s Jurney the series events and cnlicts that arise alng a character s path as he r she ights their way t sme ultimate gal. Jseph Campbell ( ) was a widely respected American mythlgist. Campbell s magnum pus was his bk, The Her with a Thusand aces, in which he deines his thery the mnmyth: that all mythic narratives are variatins a single great stry. Unique Cnsideratins: The piece calls r six percussinists. Superball mallets are required r the timpani and gng parts in the middle sectin. The alt saxphnes use an alternate ingering t prduce a multiphnic in the middle sectin. The cmpser calls r the use an ampliied lin s rar with ample vibrat at the end the piece. Markwski said, It s imprtant t ampliy the Lin s Rar because it gives the musical eect a magical larger-than-lie quality, like sund design in a mvie. Elements Music rm: On a glbal level, The Cave Yu ear llws a ast slw ast structure similar t an verture. In many ways, hwever, the cmpsitin is thrugh cmpsed, relying upn Markwski s skillul manipulatin a minr third mtive and quick, harmnic lashes. ur measure phrases pre-dminate mst the wrk, but it is the cmpser s strategically placed 3 and 5 measure phrases that keep the listener n their tes. Mst phrases cnsist a tw measure sub-phrase that is repeated t create the 4 measure phrase. At measures 45-52, Markwski shrtens the distance between these sub-phrases t merely tw beats and repeats them. This creates a heightened sense urgency as it leads int the center sectin the wrk.

2 Meldy: The irst three ascending ntes a minr scale rm the basis the primary mtive, which irst appears in measure 21: Markwski passes this mtive arund the ensemble ten, like randm shadws appearing and reappearing in dierent lcatins. He transpses the mtive multiple times, smetimes literally (mm and 30-31) and ther times diatnically (mm ). In all its rms, it is almst entirely cnjunct mtin. At varius times, Markwski creates a cnsequent phrase that answers this primary mtive with a hal step mtive. This cnsequent phrase prvides the basis r harmnic lashes as described in the next sectin. The center sectin the wrk replaces the use the minr third with rather sparse meldic igures based n a tritne and minr sixth. It is the nly part the wrk that uses leaps wider than a third as part the meldy, giving it a mre expansive, eerie eeling. Harmny: The Cave Yu ear eludes t several tnal centers, including minr, Bb minr, and C minr, but is purpseully ambiguus verall. In act, the piece never remains in the same tnal center r mre than eight measures until the very end, which inally creates a sense arrival. The piece ends n an pen 5 th, hwever, which seems t suggest that the her s jurney is nt ver. Given the large number harmnic shits, Markwski rges the use a key signature, instead writing in all the required accidentals thrughut. Chrmatic mediant relatinships are used requently (ex. C majr t Ab majr) t prvide harmnic lashes. (ex. 1) Nrmally, they appear at the distance ne measure, but smetimes, at the distance tw beats. (ex. 2) This creates a cntinual sense urgency and unexpectedness; it is akin t the sleight hand used t perrm magic tricks. Markwski s requent use hal steps in bth the meldy and harmny als suggest the Phrygian mde. He uses this hal-step eect in the lw winds several times t prduce a dissnant crunch, like a mnster chmping its victim (ex. mm ). Rhythm: The cmpser is ecnmical and purpseul in his use a ew basic rhythms that drive the piece. Legat straight 8 th ntes set the stage in the intrductin and are used r varius transitins (mm and 67-70). By changing the articulatin t staccat, this same stream 8 th ntes creates a sense urgency and nervus energy, particularly in the clsing sectin (mm ). The primary meldic mtive is simply tw 8 th ntes and a quarter nte that are repeated bere arriving n a lnger hal nte. (ex.1) And r the harmnic lashes, Markwski uses hal ntes that stp abruptly n marcat quarter ntes. (ex. 2) The center, slwer sectin the piece utilizes lnger rhythmic values that elicit a shrud mystery and uncertainty. (ex. 3) 2

3 Rhythmic patterns: Texture: The texture is exclusively hmphnic thrughut, but it is the requency with which Markwski uses call and respnse that creates extrardinary interest. He uses a variety instrument pairings and smaller chirs that alternate back and rth, which places mre respnsibility n individual sectins t be independent and play with gd, characteristic sunds. The texture is unusually thin r a cmpsitin at this grade level. Markwski uses the ull ensemble judiciusly, nly using tutti textures at the very beginning and end the piece, and ne shrt sectin in the middle. These changing textures reinrce the eeling being n a cntinual adventure, ten alne, with cnstantly shiting landscapes. Timbre: As a result Markwski s unique scring in chirs and pairings, the timbre shits cnstantly ater the intrductin. Every instrument has interesting parts, but unlike many easier pieces, it never eels like an arbitrary attempt t d s. One pairing that is really unique is a ne measure bass clarinet and baritne sax link in measure 28. Literally n ther instruments in the band play there except r thse tw instruments! The center sectin the wrk intrduces ethereal sunds thrugh the use superball mallets n timpani and gng, as well as a multiphnic nte in the alt saxphnes. A well-placed wdblck hit with dissipating eches at measure 59 prduces a spine-chilling eect. In the last sectin the wrk, Markwski calls r ampliied Lin s Rar and a hal-valve eect in trumpets like sme kind mnster. The use such unique timbres all in ne piece wuld be cnsidered trite i it weren t r Markwski s thughtul and highly eective placement each sund. Markwksi cnsistently uses the middle t lwer ranges every instrument present. And while this wuld be expected in an easier grade level cmpsitin, he scres the piece s eectively that it creates the needed eect: many dark, minus clrs. Markwski achieves a singular snic experience that successully represents the Cave Yu ear, while sunding like n ther cmpsitin. Dynamics: Markwski creates many dramatic eects thrugh his use srzandi, rte-pian, and ast ne-measure crescends. These dynamic changes are reinrced by matching articulatins. This creates a lt suspense and mments surprise. And while there are many pian mments, cnductrs must ensure that their players d nt verplay them, s that the wide range dynamics that Markwski calls r are hnred. Heart Statement: The heart The Cave Yu ear is the ever-changing timbre which evkes a sense intrigue and exhilarating adventure, similar t when ne expands their cmrt zne. 3

4 Hw t intrduce the piece: Students will view a tw minute clip rm the mvie, Indiana Jnes and the Raiders the Lst Ark: Bere watching the scene, ask students t pay clse attentin t the music. Hw des the music add t the mvie r stryline? Watch the beginning the scene again with n music whatsever. Why d yu suppse I picked this mvie r tday? We are ging t read a piece tday that was written by a cmpser that riginally studied ilmmaking in cllege. Is there anything abut this piece that reminds yu a mvie sundtrack? What speciic mments? The prcess by which cmpsers chse the instruments they want t use r their music is called rchestratin r scring technique. That s a prcess that I want t explre thrugh ur study this piece. inal thught: The title this piece is actually rm a lnger qute that was riginally written by Jseph Campbell, a amus mythlgist. Take ut the piece: 1. The title is rm a qute 2. Written by a cmpser wh studied ilm-making 3. Pays hmage t the mythlgist, Jseph Campbell 4. Uses harmnic lashes 5. Changes timbre requently 6. Eludes t the Phrygian mde (thrugh its abundance hal steps) 7. Uses Chrmatic mediant relatinships 8. Uses extended techniques t create uncmmn sunds 9. The superball mallet piece! 10. The Lin s Rar piece! Outcmes and Strategies Skill Outcme: Students will perrm meldic mtives with nuanced dynamics and phrasing that creates eective musical gestures. Skill Strategies: T, rm, At: All music is ging t, rm, r at a given musical mment. Oten times, simply playing the cntur the line will create this directin: crescend when the line ges up and decrescend when the line ges dwn. It als helps t identiy the target nte in a given phrase. Students will apply this principle t the primary meldy in mm using a unisn meldy sheet. They will als explre hw this principle can be applied t a sequence in mm , by steadily increasing the dynamic intensity n each subsequent leg. Physical Gestures: As a cnductr, I use gestures with my hands and bdy t cnvey the meaning the music. As peple, we use physical gestures t cnvey hw we eel at any particular mment, which we cmmnly call ur bdy language. What kinds eelings can we shw simply thrugh bdy language? Have students shw sme the llwing: happy, surprised, disappinted, sad, angry, etc. Balancing Act: In rder t hear the nuance meldic expressin, all ther vices must supprt the meldy apprpriately. Oten times, this means yielding t the meldic part by adjusting yur dynamic lwer as needed. Have vlunteers cme t the rnt the rm t determine whether the meldy can be heard in speciic phrases the piece. 4

5 Articulatins and Dynamics: Hw des Mr. Markwski s use articulatins and dynamics heighten particular musical gestures? Using the intrductin, explre his use p, cresc./decresc., staccat, marcat, and verall dynamic shaping. Hw des the intrductin reshadw the rest the piece? (in terms articulatin and dynamics) The Springbard: Putting a tenut n the irst nte a slur gruping is a cmmn expressive device. In the center sectin the wrk (mm and 70-71), Markwski utilizes slur markings r larger meldic intervals. Students shuld use the lwer nte like a spring bard t get t the upper nte. This can be accmplished by stressing the lwer nte dynamically and by widening its rhythmic value slightly. What abut this gesture seems t cntradict the T, rm, At principle? Where are there ther mments in the piece where the springbard ccurs? (m. 14, 39-40, 43-44, etc.) Marked Accents: The essence musical expressin is determining which ntes t stress dynamically. Smetimes cmpsers use written accents t help us with this. Students will perrm the ending sectin the wrk (mm. 79-end), being sure t bring ut the accents. What is dierent abut the cmpser s use accents in the clsing measures? (every nte is accented) Hw is this dierent? The p eects in mm d nt have accents shuld they? Assessments: As part a shrt quiz n Ensemble Cncepts, students will write a shrt essay respnse 5-8 sentences describing the T-rm-At Principle. Students will apply the T-rm-At principle and springbard eect t ther pieces n the same cncert cycle and beynd. They will demnstrate the ability t respnd t let hand gestures rm the cnductr reminding them t play the cntur the line. Knwledge Outcme: Students will identiy and discuss the many ways in which rchestratin can be used t prduce unique timbres. Outcme Strategies: Indiana Jnes and the Raiders the Lst Ark: See Hw t Intrduce the Piece abve Instrument amilies: Review the amilies (Wdwinds, Brass, Strings, and Percussin) as a class and take a quick Kaht as well. Which amily is basically nn-existent in band? r the uture: Which amily des Mr. Markwski maximize his use in this piece? Scring techniques: Using a unisn meldy sheet, have everybdy review the T, rm, At principle. Intrduce the terms texture and timbre as musical elements and identiy the distinguishing characteristics between the tw. (density vs. clr) Prject an image the primary clr wheel and draw similarity t instrumental tne clr. Deine and demnstrate the llwing types scring with the unisn meldy sheet: dubling, tutti, chirs, and chamber. Have varius students create grups. Scring detective: Using a dcument camera, have the students identiy varius examples scring in The Cave Yu ear. (mm , 24-29, etc.) What type scring wuld this be cnsidered? (duet, tri, chamber-like) What instrument amilies are utilized? Investigate the intrductin the piece aurally instead visually. What types scring are used here? (chirs, tutti, lw winds) Elements Music: Review the seven elements music. Which element r elements has Mr. Markwski priritized as the mst imprtant in The Cave Yu ear? Harmny als plays a signiicant rle, due t Markwski s use chrmatic mediant relatinships 5

6 thrughut. (ex. C majr t Ab majr in mm. 1-2) Have students learn the music thery behind this relatinship and then identiy it in the piece. Timbre and harmny wrk hand in hand t prduce the mvie-like quality the piece. Explre the unknwn: In the middle sectin the wrk, Markwski utilizes tnal ambiguity t the greatest extent (harmny) in additin t unusual sunds (timbre). Demnstrate the extended techniques needed t prduce sunds with the superball mallets, alternate ingering n saxphne, the wdblck, and spky whisper. Re-visit the questin rm abve: Which instrument amily des Markwski maximize in this piece? Bring it Hme: In the clsing sectin the wrk rm measures 79-end, Markwski eschews tnal ambiguity, landing clearly in Bb minr t help drive the piece hme. He replaces the excitement unclear tnality with heightened rchestratin: brake drum (pg. 14), ampliied Lin s Rar, and the hal-valve mnster eect in trumpets (bth n pg. 17). Have students identiy these eects aurally again and then use the dcument camera t shw them the scre. Assessments: Students will create r ind anther interesting way t prduce a musical sund, whether it be an extended technique n their instrument r creating a musical sund (r sund eect) with a new device/instrument. Students will be given a shrt musical excerpt rm a scre and identiy hw the cmpser manipulates the timbre, including the instrument amilies used, the crrespnding scring technique used, and the intended clr sund (warm, dark, bright, etc.). Students will ind a piece nline that manipulates the rchestratin in an interesting r unusual way. All students will enter their cmpsitin in a ggle rm and write a shrt descriptin abut what makes their selectin unique. Students may vlunteer t play a recrded prtin their piece r the class. Aective Outcme: Students will understand and explre the value ging beynd their cmrt zne r the sake helping thers. Aective Strategies: The Back Stry: Read the prgram nte written by Michael Markwski t The Cave Yu ear. Discuss the questins that Markwski pses, including: What is ur wn stry? What are we ighting r? What des it mean t be a her and hw can we be mre heric urselves? Read the uter sectins the piece, skipping the middle sectin r nw. Then ask students, hw has the cmpser written the music t create a sense being n an adventure? New Trier s Mtt: T cmmit minds t inquiry, hearts t cmpassin, and lives t the service humanity. Which these three strands d we likely spend the mst time pursuing? The least? Why? Thrugh ur study this piece, we hpe t develp the hearts t cmpassin strand in bld and brave ways. I want t push the limits yur cmrt zne in the service helping thers. Marks r Bravery: Share a persnal anecdte with the students. What is the bravest thing yu have dne in yur lie? Is it smething that brught yu praise and attentin, r was it a private act curage? Are yu the kind persn that wuld rather play it 6

7 sae r seek ut new pprtunities? On a ggle rm, I want yu t describe yur brave mment. I will be the nly persn that reads it, s it will be ur secret. llw yur bliss : Jseph Campbell s mst amus qute was llw yur bliss, which has ten been misunderstd: llw yur bliss... I yu d llw yur bliss, yu put yursel n a kind track that has been there all the while, waiting r yu, and the lie that yu ught t be living is the ne yu are living. When yu can see that, yu begin t meet peple wh are in yur ield bliss, and they pen drs t yu. I say, llw yur bliss and dn t be araid, and drs will pen where yu didn t knw they were ging t be. What d yu think he meant? Cnnectins: Thrughut ur lives, we are always meeting new peple. This week, challenge yursel t begin a cnversatin with smene that has been n the periphery yur scial circle wh yu wish t get t knw better. Or better yet, intrduce yursel t a student that yu dn t knw, but wuld like t meet. Randm Acts Kindness: Cnsciusly be kind t a stranger utside schl r hme. This requires mre bravery as the element amiliarity is remved. Develp a list as a class in ggle drive randm acts yu culd d r a stranger. Once cmplete, share the list with the class s that students can select rm the list utside schl time and then reprt back hw it went. Scial Service Prject: Students are required t participate in varius scial service prjects thrugh their advisry class. What are sme scial service prjects that yu can get invlved in utside schl? (Pads, eed My Starving Children, etc.) Assessments: Students will write tw shrt relectins n: 1. Hw their cnversatin went with a student that they didn t knw very well, but wanted t get t knw better. 2. Their randm act kindness. Musical Selectin There are many excellent pieces at the grade 2 level r cncert bands, typically in histrical styles and/r traditinal rms. It is diicult t ind newer, cntemprary wrks that are nt cliché, but instead are well-cnstructed and wrthwhile r ur students study and subsequent perrmance. The Cave Yu ear is a very welcme additin t the grade 2 catalg. In particular, it evkes the eeling a mvie sundtrack thrugh catchy rhythmic igures, thughtully manipulated mtives, and highly unique and alternating timbres. Markwski eectively incrprates a wide array uncmmn sunds thrugh his peculiar rchestratin that help create a piece that sunds like n ther. 7

8 Scre Unisn Meldy Sheet The Cave Yu ear Michael Markwski M. Temple C Treble Bb Eb & & & 4 Π4 Π4 ΠΠΠΠΠΠΠC Bass &? 4 Π4 Πb 1 2 ΠΠb b b 7 ΠΠ8