A PERFORMANCE ANALYSIS OF WHIRLWIND AND SHADOW RITUALS, TICHELI COMPOSITION CONTEST AWARD WINNING WORKS IN 2007 Christopher M. Baumgartner A Thesis Submitted to the Graduate College o Bowling Green State University in partial ulillment o the requirements or the degree o MASTER OF MUSIC MAY 2009 Committee: Kenneth W. Thoson, Advisor Joyce Eastlund Gromko
2009 Christopher M. Baumgartner All Rights Reserved
iii ABSTRACT Dr. Kenneth Thoson, Advisor The purpose o this thesis was to describe the historical and educational ilications o coosition contests or wind bands and to analyze the two award winning works rom the 2007 Ticheli Coosition Contest: Whirlwind by Jodie Blackshaw and Shadow Rituals by Michael Markowski. A detailed perormance analysis o each work included: a) program notes, b) historical/programmatic background material, c) a ormal analysis, d) technical considerations or rehearsal, and e) conducting challenges. I concluded that dierent methods o structure were used in the coosition o these two new works or beginning and intermediate wind band. The Ticheli Coosition Contest was ound to be the only one o ive contests that awards coosers or works written or beginning and intermediate ensembles. Whirlwind was ound to be structured around meter, shiting rom ree time to structured 3/4 time and back to ree time. The entirety o the work is based on a our-note melody that is presented in solo, duet, and round orm. Expression, style, and tone color were the primary oci o this work. Shadow Rituals was structured around key relationships. Markowski shits key areas by both consonance and dissonance. This relationship is set up by the altering consonant and dissonant dyads created by the melodic line and accoanimental igure o the opening theme. The minor third is prevalent throughout the work, appearing intervallically in melodic material, as well as harmonically in tonal shits. Both works were ound to have well-conceived ormal structures e.g., rhythmically, melodically, and harmonically cohesive); and to be technically challenging and appropriate or use with beginning and intermediate ensembles.
iv ACKNOWLEDGEMENTS This project proved to be an extremely useul and applicable undertaking. The detailed score analysis o each work helped me to reine my skills in score preparation. The in-depth processes required to learn wind band coositions can now be applied to any work I learn in the uture. Dr. Kenneth Thoson was instrumental in guiding me through these processes. With his help I was able to uncover the links that tie Markowski s work together. I am truly grateul or his help with choosing this project, as well as his continued guidance over the past two years. Dr. Joyce Eastlund Gromko has been a major inluence on my teaching, rom my time as an undergraduate to present day. Throughout my graduate work, Dr. Gromko has been paramount in teaching me to write more clearly and concisely. Her proessional skills, both in and out o the classroom, have been a model or me since my irst years as a public school educator. As both a teacher and riend, Dr. Gromko has been there or me every step o the way. She has taught me to care about my students as people, as well as to care about the quality o their work. Thank you, Miss Joyce. Chris
v TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION... 1 Purpose o the Study... 2 Deinition o Terms... 3 CHAPTER II. REVIEW OF COMPOSITION CONTESTS... 4 Ostwald Award... 4 William D. Revelli Coosition Contest... 5 Beeler Memorial Prize... 6 Merrill Jones Memorial Contest... 7 Ticheli Coosition Contest... 8 Frank Ticheli Biography... 9 Ticheli s Coositional Style... 9 Texture... 10 Color... 12 Multiple-Simultaneous Lines... 12 CHAPTER III. PROCEDURES... 16 Selection o Works... 16 Process o Analysis... 17 CHAPTER IV. PERFORMANCE ANALYSES... 18 Analysis o Whirlwind... 18 Program Notes... 18 Historical/Programmatic Inluence... 19
vi Theoretical Analysis... 19 Texture... 20 Color... 21 Multiple-simultaneous lines... 21 Technical Considerations or Rehearsal and Perormance... 24 Conducting Issues... 26 Analysis o Shadow Rituals... 27 Program Notes... 27 Historical/Programmatic Inluence... 27 Theoretical Analysis... 29 Texture... 30 Color... 33 Multiple-simultaneous lines... 34 Technical Considerations or Rehearsal and Perormance... 37 Conducting Issues... 42 CHAPTER V. DISCUSSION... 48 A Coarison o Coositional Techniques... 48 Contrasts o Texture and Color... 48 Multiple-Simultaneous Musical Lines... 48 Palindrome... 49 Ilications or Music Education... 50 Ticheli Contest Iortance... 50 Whirlwind as a Teaching Tool... 51
vii Form... 51 Texture... 51 Timbre... 51 Shadow Rituals as a Teaching Tool... 52 Tonality... 52 Tonality and harmony... 52 Rhythm... 52 Score Analysis as a Director Resource... 53 Suggestions or Future Research... 53 REFERENCES...... 54 APPENDIX A. ANALYSIS CHART FOR WHIRLWIND... 56 APPENDIX B. ANALYSIS CHART FOR SHADOW RITUALS... 57
viii LIST OF FIGURES Figure Page 1 Measure 41 o Syhony No. 2, Mvt. II by Frank Ticheli... 10 2 Measures 41-45 o Shenandoah by Frank Ticheli... 11 3 Measures 1-16 o Cajun Folk Songs by Frank Ticheli... 12 4 Measures 31-34 o Postcard by Frank Ticheli... 13 5 Measures 81-82 o Syhony No. 2, Mvt. III by Frank Ticheli... 14 6 Measures 1-9 o Postcard by Frank Ticheli... 15 7 Measure 2 o Whirlwind by Jodie Blackshaw... 20 8 Measure 3 o Whirlwind by Jodie Blackshaw... 20 9 Measures 9-16 o Whirlwind by Jodie Blackshaw... 21 10 Measures 24-29 o Whirlwind by Jodie Blackshaw... 22 11 Measures 52-53 o Whirlwind by Jodie Blackshaw... 22 12 Measures 56-61 o Whirlwind by Jodie Blackshaw... 23 13 Measure 93 o Whirlwind by Jodie Blackshaw... 26 14 Measures 5-8 o Shadow Rituals by Michael Markowski... 29 15 Measures 34-35 o Shadow Rituals by Michael Markowski... 30 16 Measures 67-71 o Shadow Rituals by Michael Markowski... 31 17 Measures 82-86 o Shadow Rituals by Michael Markowski... 32 18 Measures 172-175 o Shadow Rituals by Michael Markowski... 32 19 Measures 18-21 o Shadow Rituals by Michael Markowski... 33 20 Measures 41-45 o Shadow Rituals by Michael Markowski... 34 21 Measures 94-100 o Shadow Rituals by Michael Markowski... 34
ix 22 Measures 116-119 o Shadow Rituals by Michael Markowski... 35 23 Measures 152-155 o Shadow Rituals by Michael Markowski... 36 24 Measures 5-6 o Shadow Rituals by Michael Markowski... 37 25 Measures 17-18 o Shadow Rituals by Michael Markowski... 38 26 Measures 27-28 o Shadow Rituals by Michael Markowski... 39 27 Measures 45-48 o Shadow Rituals by Michael Markowski... 40 28 Measures 69-70 o Shadow Rituals by Michael Markowski... 41 29 Measures 101-108 o Shadow Rituals by Michael Markowski... 41 30 Measures 172-175 o Shadow Rituals by Michael Markowski... 42 31 Measures 18-21 o Shadow Rituals by Michael Markowski... 43 32 Measures 53-56 o Shadow Rituals by Michael Markowski... 43 33 Measures 63-70 o Shadow Rituals by Michael Markowski... 44 34 Measures 82-86 o Shadow Rituals by Michael Markowski... 45 35 Measures 101-108 o Shadow Rituals by Michael Markowski... 45 36 Measures 152-155 o Shadow Rituals by Michael Markowski... 46 37 Measures 172-175 o Shadow Rituals by Michael Markowski... 47 38 Measures 24-29 o Whirlwind by Jodie Blackshaw... 49 39 Measures 116-117 o Shadow Rituals by Michael Markowski... 49 40 Measures 1-9 o Postcard by Frank Ticheli... 50 41 Measures 94-100 o Shadow Rituals by Michael Markowski... 50
1 CHAPTER I. INTRODUCTION Selecting quality literature or a wind band is one o the most iortant tasks that directors at all levels o education ace. With myriad works available, directors must ind appropriate coositions that promote a challenging, aesthetic, and educational experience or their ensemble members. Ray Cramer, co-author o Teaching Music Through Perormance in Band, addresses this issue by asking the question What corises music o artistic merit? Selections analyzed in the text are evaluated using the ollowing telate: Does music have 1. a well-conceived ormal structure? 2. creative melodies and counterlines? 3. harmonic vitality? 4. rhythmic vitality? 5. contrast in all musical elements? 6. scoring which best represents the ull potential or beautiul tone and timbre? 7. an emotional iact? Cramer, 1997, p. 8) A proliic cooser o band works, Norman Dello Joio, stated, music that is good is that music which in any orm or style ulills its purpose well and realizes to a high degree the potential o an original idea Dello Joio, 1962, p. 35). More recently, in 2000, Diane Persellin o Trinity University discussed the iortance o choosing high-quality literature or perorming ensembles. One iortant actor in determining quality music is that the work is appropriate or the ensemble members ages and abilities Persellin, 2000). H. Robert Reynolds, in an article discussing wind band repertoire, states that although technique is iortant in developing young musicians skills, the musical aspects [o the work] must be given the highest priority Reynolds, 2000, p. 32) when choosing quality literature. In 2007, cooser Frank Ticheli b. 1958) initiated a coosition contest or wind band coosers. The Ticheli contest is unique in that it is the irst and, currently, only contest that
2 accepts works or both beginning and intermediate level ensembles. From an educator s standpoint, this is very iortant to the addition o works to the repertoire or beginning and intermediate bands. Encouraging quality coositions or the musically and technically inexperienced ensemble ensures a greater production o works suitable or beginning ensembles. Spearheaded by the cooser himsel, this contest awards coosers o instrumental music who write works at grade levels I-II Category 1) and grade levels III-IV Category 2). Works must be original and unpublished to be entered into the contest. Coosers may submit one piece to each category, encouraging prominent works or both levels o diiculty. In 2007, Jodie Blackshaw won the Category 1 prize or Whirlwind and Michael Markowski won the Category 2 prize or Shadow Rituals Manhattan Beach Music, 1998). Purpose o the Study The purpose o this study was to describe the historical and educational ilications o coosition contests or wind bands and to analyze the two award winning works rom the 2007 Ticheli Coosition Contest: Whirlwind and Shadow Rituals. A detailed perormance analysis o these two pieces corised the majority o this project. Technical and musical challenges were discussed and revealed through a detailed ormal analysis o the works. Conducting issues related to the works were identiied. Coositional styles and methods o each cooser were determined, resulting in an explanation o how these styles aect the educational merit o the works. This study examined the historical background o coosition contests in America rom the mid-1900s to the present. Focusing on the Ticheli Coosition Contest, an argument was made supporting the goals and outcomes o this contest and its current ilications or music education. Promoting quality literature or beginning and intermediate bands, the contest makes
3 available new music through publication each year, which public school directors can use to add to their curriculum and repertoire o literature. Deinition o Terms For the purpose o this study, a coosition contest o band works was deined as any international coetition, sponsored by an organization, memorial und, publishing coany, institution, or other oundation that awards winning prizes to coosers or original quality works produced or the wind band. Prizes may include, but are not limited to a) monetary rewards, b) publication o the work, and/or c) public perormance o the work. The wind band was deined as an instrumental group o winds and percussion, consisting o standard instrumentation. Scored parts or the winning works o the 2007 Ticheli Coosition Contest determined standard instrumentation. The parts were as ollows: piccolo, lute, oboe, bassoon, clarinet, bass clarinet, alto saxophone, tenor saxophone, baritone saxophone, truet, horn, trombone, euphonium bass and treble cle), tuba, tiani, and percussion. Numerous coosers, teachers, directors, and perormers have deined the term quality music. The deinition or this study was a coilation o those personal descriptions: music that is technically and aesthetically challenging or the perormer; music that is age and ability appropriate or the perormer; music that has a well-conceived ormal structure, including rhythmic, harmonic and melodic cohesiveness.
4 CHAPTER II. REVIEW OF CURRENT COMPOSITION CONTESTS FOR WIND BAND One way in which music education has aided the process o selecting quality literature or beginning and intermediate wind bands has been through the use o coosition contests. Universities, proessional organizations, and memorial sponsors have contributed to the unding o such projects or over 50 years. A number o these contests oer monetary prizes to winning coosers, a premier perormance, and/or publication o the work. Each contest maintains a unique set o rules and regulations or coositions submitted, as well as a prescribed method or choosing a winner. The ocus o this chapter was an examination o dierent coosition contests along with the iact each contest had on music education. An argument was made in support o the Ticheli Coosition Contest and its superiority in contributions, which could inluence instrumental music education and wind band repertoire. Ostwald Award The American Bandmasters Association ABA) has ocused on promoting new works or band since its inception in 1929. In the early years o the organization s existence, the ABA promoted new coositions, written originally or wind band, by hosting premier perormances at national conventions. In Milwaukee, Wisconsin at the 1937 annual convention, Percy Grainger premiered three movements o his Lincolnshire Posy, arguably one o the greatest works ever written or band. The ocus on promoting quality music or the wind band continued during the ABA s post-war era with the ounding o the Ostwald Award in 1956. Originally sponsored by its ounders, Ernest and Adolph Ostwald, and their coany, Uniorms by Ostwald, the ABA took over the sponsorship in 1985. Encouraged by Edwin Franko Goldman, this was the irst coetition or band coositions held in the United States. Dr. Goldman stated that it is
5 diicult or a young cooser to be recognized, and this award would establish him Davis, 1987, p. 72). Due to its continuous selection o quality works, the Ostwald Award has produced more music or concert bands than any other coosition contest. Works submitted to the coetition are to be playable by musicians o university, proessional, and high school ability levels. The contest currently oers a 10,000 cash prize to the winner, and a perormance o the work at the annual ABA convention. A committee o ABA members selects the winning work. I no entry merits the award, a three-ourths vote o the committee may withhold the award, as was done in 1979 and 2001. Coosers may enter the contest multiple times, but may only win twice, thus negating any uture submissions to the contest and encouraging the participation o new/younger coosers. There are no time limits on entries or number o movements per work. Onemovement works are given a suggested time rame o 8-10 minutes, although this is not a requirement. There is also no diiculty level set or the contest, allowing coosers to write works or ensembles o varying ability American Bandmasters Association, 2008b). Thirty-ive coosers have been awarded the Ostwald Award in the last 51 years, with eleven coosers winning twice. The most recent Ostwald recipient was Michael Daugherty, or his work, Raise the Roo American Bandmasters Association, 2008a). William D. Revelli Coosition Contest The National Band Association NBA) ounded the Revelli Coosition Contest in 1977 in memory o the late William D. Revelli, NBA member and director o bands at the University o Michigan rom 1935-1971. The NBA states that the goal o the contest is not only to promote wind band coositions that are o signiicant structural, analytical and technical quality, but also o such nature that will allow bands to program them as part o their standard repertoire
6 National Band Association, n.d.b). The NBA s mission o urthering the cause o quality literature or the wind band is the ocus when choosing a winner. The only restriction on coositional style is that the work be written or concert band or wind ensemble; there is no required diiculty level or coositions. Throughout the lie o the contest, submissions have ranged in scope and quality rom middle school level marches to lengthy and sophisticated syhonies National Band Association, n.d.b). A committee o graduate students and band directors choose six to eight works rom an average submission pool o 50 to 70 coositions. The works selected are then reviewed by a panel o public school, university, and military band directors at the annual Midwest International Band and Orchestra Clinic in Chicago. Currently, the winner is awarded a cash prize o 4,000. The contest has had a number o sponsors since 1977, presently the Louisiana State University Alumni Association. Steven Bryant won the Revelli Contest in 2008 or Suite Dreams. Beeler Memorial Prize Known as Mr. Band, Walter Beeler was a strong advocate or music education while serving as conductor o the Ithaca College Concert Band. His tenure, rom 1935 until his death in 1973, sparked the groundwork or a memorial oundation in Beeler s name Pugh, 1988). The Walter Beeler Memorial Commission Series lasted rom 1975 to 1984. Three years later the memorial und began awarding prizes or original wind band coositions. Currently, the Beeler Memorial Prize is dedicated to encouraging the coosition o quality literature or wind bands, as was the earlier commissioning project. Since its inception in 1987, the Beeler und has awarded nine coosers. The monetary award is currently 2,500. Submissions or the coetition must be or standard wind band instrumentation, 7-15 minutes in length and must be playable by proessional, university and high school bands alike Walter Beeler Memorial
7 Coosition Prize, 2008). This contest is one o the irst to address technical ability level, speciically that o intermediate bands. The works must be unpublished, but the winner retains all uture publication rights. Only Ithaca aculty, previous winners, and those awarded a commission rom the oundation are exet rom entering the coetition. These regulations on submission encourage new and emerging coosers to submit works to the Beeler Memorial contest. The coetition s most recent recipient was John Mackey or Redline Tango. Merrill Jones Memorial Contest The second o two coosition contests sponsored by the National Band Association, the Merrill Jones Memorial Contest is aimed at promoting new coositions or intermediate bands. Established in 1991 by Jones wie Priscilla, the coetition has awarded the winning prize to eight coosers. Overseen by the NBA, the contest supports its mission to urther the cause o quality literature or bands in America National Band Association, n.d.a). With a qualiication level o Grade III-IV, submitted coositions are expected to all within the technical ability o intermediate level instrumentalists. Submissions must be under eight minutes in length and not under contract with any publishing coany. The contest sets an age limit at 40 years in an attet to promote the works o younger coosers. Each year at the Midwest International Band and Orchestra Clinic, a committee chooses the winner, similar in ashion to that o the Revelli Award. The committee is currently chaired by NBA past-president Frank Wickes o Louisiana State University, and corised o high school and college band directors rom around the United States. The winning piece may or may not be published, decidedly by Wingert-Jones Publishing, Inc. A current cash prize o 2,000 is also awarded. Ryan Main won the Merrill Jones contest in 2007 or The Clash National Band Association, n.d.a).
8 Ticheli Coosition Contest Most recently, and as the ocus o this study, cooser Frank Ticheli has initiated a coosition contest or wind band coosers aimed at generating works or beginning and intermediate bands. The Frank Ticheli Coosition Contest began in 2007 and is divided into two categories, as stated in the coetition guidelines: a) Category 1 works or bands with beginning players Grade I-II), and b) Category 2 works or bands with more experienced players Grade III-IV). A winner is chosen annually in each category and awarded a cash prize currently 6,500) as well as publication o their work through Manhattan Beach Music. Second prize 500) and third prize 250) winners, inalists, and those receiving honorable mention may be oered publication as well, but this is not guaranteed. As with each contest previously examined, works must be original and unpublished. Applicants may submit one piece to each category, but must have not been a previously published cooser through Manhattan Beach Music. The Ticheli Coosition Contest is the irst o its kind to oer two categories o submission or beginning and intermediate bands. Spearheaded by the cooser himsel, this coetition provides quality instrumental music or developing ensembles o varying levels. With the breakdown o two categories Grade I-II and Grade III-IV), works or beginning and intermediate ensembles will be made available to public school educators through publication o a major commercial publisher o wind band music. In 2007, Jodie Blackshaw won the Category 1 prize or Whirlwind and Michael Markowski the Category 2 prize or Shadow Rituals www.manhattanbeachmusic.com, 2008).
9 Frank Ticheli Biography Frank Ticheli was born in Monroe, Louisiana on January 21, 1958. He attended a number o middle and high schools during his childhood as his amily moved rom one town to the next throughout the southern United States. Ticheli began playing truet at the age o nine. Following high school, he attended Southern Methodist University in Dallas, Texas where he majored in both music education and coosition. He then served one semester as an assistant band director at Lakeview Centennial High School Garland, Texas) beore beginning work on his master s degree at the University o Michigan 1981-83). Ticheli remained at the University o Michigan, coleting his doctorate in coosition in 1987. While at Michigan, he studied with coosers Leslie Bassett, William Bolcom, William Albright and George Wilson. In 1988, Ticheli began his college teaching career in San Antonio, Texas at Trinity University. He would teach at Trinity until 1991, at which time he took a position at the University o Southern Caliornia Los Angeles). It was during this time that Ticheli also held a seven-year cooser-in-residence position with the Paciic Syhony Orchestra. Currently, Ticheli serves as a proessor o coosition at USC Moorhouse, 2006) where he continues to be an active cooser. Ticheli s Coositional Style Frank Ticheli s coositional style is sel-described as having a three-point ocus: a) texture, b) color, and c) the simultaneous use o multiple musical ideas Ticheli, 2002). There are a number o coositional techniques that Ticheli uses to illustrate his ocus o these three points.
10 Texture One o his coositional thumbprints involves the reinorcement o a sustained pitch by adding a punctuated note in another voice at the point o attack. Oten using a pizzicato string or muted truet, the eect is created by the player dropping out ater the attack, while the primary voice sustains Ticheli, 2002). An exale o this punctuation is ound at measure 41 in the second movement o Ticheli s Syhony No. 2. Muted truet and trombone, along with second alto saxophone and second lute, play two sixteenth notes underneath a sixteenth-dotted eighth note igure tied to a hal note. This reinorces the attack o the sustained pitch in the piccolo, lute, clarinet, bassoon, and tenor and baritone saxophones see Figure 1). Figure 1. M. 41 o Syhony No. 2, Mvt. I by Frank Ticheli. Excerpt printed with permission by Manhattan Beach Music. Ticheli also experiments with extreme registers and register changes to alter texture, usually within an instrument amily or section o instruments. The cooser states that he loves the sensuality o the lute in its lower octave Ticheli, 2002). He explores this color and register change in Shenandoah 1999), using a lute trio to carry the melody. Each voice enters one beat apart on F4, and then reaches B-lat 5 within two bars. With only the low clarinets playing the harmony throughout the phrase, the quick change in register speaks clearly above the other voices see Figure 2). Picc., Flute I Oboes, Clarinets Bassoons Tenor Bari. Sax Cb. Bass Clarinet Truets Trombones # # # # # # # # st. mute) # # # # # ## # st. mute) # p p ) * ) *
11 Flute I Flute I Flute I Clarinet I, II, III Bass Clarinet 41 # Solo Ethereal, loating q = c. 50) # ) p Solo * # # ) ) p * + # Solo ) # ) * p,,, pp,,, p *,,,, pp, Figure 2. Mm. 41-45 o Shenandoah by Frank Ticheli. Excerpt printed with permission by Manhattan Beach Music. Also concerning texture, Ticheli makes sparing use o tutti sections, only scoring or ull ensemble when the eect is needed Moorhouse, 2006). This is apparent in Shenandoah 1999) in which the entire ensemble is scored only at the point o climax in the work. Individual sections, parts o sections, or soloists carry the melodic and harmonic lines the remainder o the time. Included is the introduction, in which the melody is scored only or the horn and euphonium. Similarly, Amazing Grace opens with solo alto saxophone introducing the melody, ollowed by the upper woodwinds at the irst restatement o the theme. Ticheli had the ollowing to say about scoring and texture in A Cooser s Insight: Tutti scoring is, o course, more eective when used sparingly. I try to hold onto this principle, even when I coose or young musicians. To be certain, careully written color combinations can produce unique and beautiul results, and well-mixed colors are usually a necessity during a strong climax. But constant doubling weighs down a piece and reduces its expressive potential. Moorhouse, 2006, p. 208) Ticheli goes on to state that many music educators look or thick-textured works to encourage conidence in their players. Conversely, the scoring technique has the opposite eect on beginning musicians, creating a dependence on others in the ensemble. Ticheli is convinced that
12 through perormance o soloistic lines, players will gain more conidence in their playing Moorhouse, 2006). Color Along with New Orleans jazz, Cajun, Creole, and Southern olk music inluence Ticheli s coositional style. Blue Shades is Ticheli s tribute to the jazz ensembles o the Big Band era. He points out that the extended clarinet solo played near the end recalls Benny Goodman s hot playing style, and the ensuing wailing brass chords call to mind the train whistle eects commonly used during that era Moorhouse, 2006, p. 208). American olk tunes are prominent in Ticheli s coositions. Their inluence is attributed to his childhood in the southern United States Ticheli, 2002). Two o his most notable works or intermediate wind band, Cajun Folk Songs and Cajun Folk Songs II, are based on Louisiana Cajun melodies that were transcribed rom recordings on archival LPs dated 1934. Cajun Folk Songs opens with solo alto saxophone introducing the theme to La Belle et le Capitaine see Figure 3). Alto Sax. 1-2 1. Solo ) ) m # ) # # Figure 3. Mm. 1-16 o Cajun Folk Songs by Frank Ticheli. Excerpt printed with permission by Manhattan Beach Music. Multiple-Simultaneous Lines The layering o multiple-simultaneous lines is another coositional characteristic ound in Ticheli s works. The cooser states that too much going on at one time creates an amalgam, and one must be strategic in layering thematic material. His technique to correct this issue is the
13 addition o rests throughout the moving lines, so that ehasis can be given to the entering voices. This technique can be ound in Postcard 1991) at measure 31 Ticheli, 2002). Ticheli scores staccato eighth notes or the bassoons and bass clarinet opposite that o the horns. The second and third clarinets then enter on a rest in the staccato line with a legato passage, and change pitches on subsequent rests that ollow. This allows each line s entrance and melodic motion to be heard see Figure 4). Clarinet 2-3 Bass Clarinet Bassoon 1-2 Horn 1-2 Horn 3-4 # #. #, - - + /, + + ) mute - m) /,, - + + ** / + + mute # - m) Figure 4. Mm. 31-34 o Postcard by Frank Ticheli. Excerpt printed with permission by Manhattan Beach Music. Another exale o Ticheli s use o multiple-simultaneous lines can be ound in the third movement o Syhony No. 2 2004) in which he layers contrasting rhythmic patterns that create a poly-rhythmic schema see Figure 5)., - - + / ) - -, + + +, +, - /, - * -, + 0,, + - + + + / / / - 0 # ) * + + + +, + + + ) - -, +, - -, / / + + + * + +
14 Picc., Flute 1-2 Oboe 1-2 Clarinet 1, 2, 3 Bassoon, Bari. Sax. Alto Sax. 1-2 Truet 2-3 Horn 1-3 Tenor Sax. Horn 2-4 Euphonium Figure 5. Mm. 81-82 o Syhony No. 2, Mvt. III by Frank Ticheli. Excerpt printed with permission by Manhattan Beach Music. Careul placement o accents helps to reinorce the hemiola that creates a two-against-three eel. The same juxtaposition o material, in melodic orm, can also be ound in this movement o his second syhony. In the coda, Ticheli scores material rom the irst movement, the third movement, and the reoccurring perect ourth interval simultaneously, each in a separate instrument Darling, 2006). Creating a phrase to represent a palindrome is another technique used by Ticheli. Midway through the phrase, the musical line mirrors itsel, resulting in the line sounding the same backwards as it does orwards. The opening duet o lute and clarinet in Postcard is coosed in this ashion see Figure 6). Each pitch is mirrored exactly rom the opening through measure 4. Ticheli slightly alters the meter and note durations in the second hal o the phrase, ending as the piece began in 2/4. # # # # # ## # # # ## )# # # )# # # # # # * # ) ) # # + # + # ) # # # # # )#,# # # # ) # # # # # # + a2) # a2) -. -. *
15 Flute 1 Clarinet 1 ) ) ) ) * ) # ) + ) )# ) ) ) ) ) p ) ) ) p # + ) ) * ) ) + )# ) ) ) ) ) ) ) ) -) ) * ) ) + ), ) ) + ) ) ) + ) ). * + ) + ) ) * ) ), -) * ) ) ) + ) ) + ) ). * ) * ) ) ) ) ) ) ) * )# )-) ) * ) ) /) ) ) ) ) ) + ) )# -) ) * ) /) * ) + ) ) ) Figure 6. Mm. 1-9 o Postcard by Frank Ticheli. Excerpt printed with permission by Manhattan Beach Music. Mirrored-image themes may be repeated and scored in multiple voices, beginning at dierent times in a canonic orm. The result is the creation o multiple-simultaneous musical lines.
16 CHAPTER III. PROCEDURES This project ocused on the construction o a perormance analysis o Whirlwind and Shadow Rituals. Perormance notes, historical/programmatic inluences, detailed theoretical analyses, coositional techniques, technical considerations or rehearsal, conducting issues, and educational ilications were determined through the overall analysis o each work. The works were chosen based on the results o the 2007 Ticheli Coosition Contest. Both were irst place winners in their divisions, Grade I-II and Grade III-IV respectively. Selection o Works The purpose o this study was to describe the historical and educational ilications o coosition contests or wind bands and to analyze the two award winning works rom the 2007 Ticheli Coosition Contest: Whirlwind and Shadow Rituals. The works chosen were based on the results rom the irst annual coetition. The winning works o this contest were chosen because o their educational value and coositional quality. These two characteristics are directly related to the contest itsel, which promotes works o new coosers and makes them available to beginning and intermediate ensemble directors through publication. Manhattan Beach Music is one o the country s largest publishers o wind band music, making the works easily accessible by ensemble directors. The contest awards winning works in both the beginning and intermediate diiculty categories, commonly known as Grade I-II and Grade III-IV respectively. The division o diiculty levels sets the Ticheli Coosition Contest apart rom other wind band coosition contests. Frank Ticheli s success o coosing or wind band at various ability levels gives his selection o winning works merit.
17 Perormance Analysis The irst step in preparing the perormance analysis was to create perormance notes or each work. I then researched any historic and/or programmatic inluence on the works. With only a short conductor s note included in Markowski s score, urther inormation regarding the works origins and inluence was concluded rom related articles, personal correspondence, and historical acts pertaining to each cooser s cultural background. This research aided in the theoretical analysis, revealing any thematic material that had extra-musical inluence. Common themes, motives, and key relationships within each work were determined. Any coositional techniques or cooser thumbprints were discovered through this process. The next step was to determine technical issues or individual players, as well as ensemble rehearsal issues through the examination o each instrument s part, then recognize diiculties idiomatic o that instrument. Any conducting challenges or the director to consider were explained e.g. teo changes, meter changes, grouping within meters, transitions). Finally, it was determined how these indings aect the educational merit o the works, creating coositions o substantial quality or beginning and intermediate bands. The perormance analysis o each piece included the ollowing: a) colete program notes: b) historical/programmatic background material; c) a detailed ormal analysis, including key relationships and coarison o thematic material; d) technical consideration or rehearsal and perormance; and e) conducting challenges.
18 CHAPTER IV. PERFORMANCE ANALYSES The procedures outlined in Chapter III were applied to the analysis each work, Whirlwind and Shadow Rituals. Full program notes were created, ollowed by any historical or programmatic inluence. The theoretical analysis o each work was derived rom the creation o analysis charts, which can be ound in the appendices o this project. Coositional techniques are explained with the assistance o score exales throughout the chapter. Each analysis includes both rehearsal and conducting issues, with suggestions or perormance. Analysis o Whirlwind Program Notes Jodie Blackshaw takes a non-traditional approach to structure in Whirlwind by ocusing on orm and tone color, as opposed to tonality. The work acilitates the teaching o orm by moving rom ree time to structured meter, then back to ree time. Whirlwind also uses nontraditional Western instruments including pitched waterglasses, homemade rattles, whirling tubes whirlies ), and a didgeridoo. These instruments add both a novel and Australian inluence to tone color in the beginning ensemble. Whirlwind begins with a soundscape section in ree time. Percussionists begin spinning the whirlies by staggering their entrances to replicate the cued entrances o the rattles and pitched waterglasses, played by the wind sections o the ensemble. An A drone is played by a didgeridoo electronic keyboard, string bass, or bass brass instrument may be substituted). Following is an introduction o the our-note theme, which uses the pitches A, C, D, and E. Any melodic instrument may play the solo. Each section then enters on cue playing the inal phrase o the theme. The piece becomes more metrically structured during a percussion eature coosed in 3/4 time. A two-part round o the theme in lute, oboe, alto and tenor saxophone, truet, horn,
19 trombone, and euphonium ollows. The drone ends as another percussion soli unctions as a transition into a tutti our-part round in which the theme is stated twice. A staggered duet in clarinet and muted truet play the theme in ree time, creating an echo eect. The piece ends as it began with a soundscape o rattles, waterglasses, and whirlies. Historical/Programmatic Inluence Jodie Blackshaw, a native o Australia, uses instruments indigenous to her country and representative o its culture, providing educators with the opportunity to explore characteristics o world music with beginning wind bands. The history o the instruments, as well as their use in music native to Australia, can be a topic o discussion in the classroom. The cooser also uses homemade instruments waterglasses, rattles, and whirling tubes) to help create a whirlwind eect throughout the work Blackshaw, 2006). Wind players are given the chance to play these percussive instruments, an opportunity unavailable in most works or beginning bands. Theoretical Analysis Whirlwind is constructed as a palindrome. It opens in ree time, moves to a slightly more structured section that is cued, then to strict 3/4 time beore mirroring the orm through a staggered duet in ree time and a closing soundscape section. The work uses structure and orm to delineate sections, as opposed to the usual ocus on tonal shits. Works in sonata-allegro orm begin with a statement o a theme, ollowed by a development o that theme, and end with a recapitulation o the opening. The sections are usually characterized by tonal shits, rom the tonic to the dominant at the development, and then back to the tonic at the recapitulation. Whirlwind does not change tonal centers, but uses the shit rom ree time to structured time, then back to ree time to ehasize a change in structure. This structure is apparent in the analysis chart created though a detailed analysis o the work see Appendix A).
20 Texture. Blackshaw labels the opening o Whirlwind as a soundscape. The irst measure is in ree time, and should last no longer than 40 seconds. The conductor must cue wind sections as they play rattles and waterglasses pitched C, D, E, F, and G), while percussionists enter individually playing whirlies tuned to our separate pitches. A drone in the didgeridoo is cued and continues throughout the ree time section. Whirlies continue into measure 2 where any melodic instrument may be chosen to introduce the our-note theme as a solo see Figure 7). The theme, using only the concert pitches A, C, D, and E, has our distinct phrases in an A-A-A -B ormal design. # # # # # # # Figure 7. M. 2 o Whirlwind by Jodie Blackshaw. Excerpt printed with permission by Manhattan Beach Music. The theme is presented in its entirety, instructing the soloist to play slow-ast-slow throughout like a whirlwind Blackshaw, 2006, p. 2). Each section is cued separately at measure 3, stating the inal phrase o the theme see Figure 8). # # Figure 8. M. 3 o Whirlwind by Jodie Blackshaw. Excerpt printed with permission by Manhattan Beach Music. As each section ends the phrase, they sustain the concert A, which carries into measure 4 Andante con moto). Here the cooser introduces structured meter or the irst time in the work marked quarter = 96). The glockenspiel irst enters with an open ith A and E) in a repeated two-bar pattern. The tiani enters eight measures later, playing an alternating pattern between
21 A and E. Four measures later the snare drum begins a repeated two-bar pattern. The bass drum provides a drone in this section by playing a continuous roll that ades in and out see Figure 9). Glockenspiel Snare Drum Bass Drum Tiani # med. hard yarn mallets Snares o # # m Figure 9. Mm. 16-19 o Whirlwind by Jodie Blackshaw. Excerpt printed with permission by Manhattan Beach Music. Color. The scoring o whirlies, rattles, and waterglasses adds non-traditional tone colors to Whirlwind. While rattles and waterglasses are only part o the opening and closing soundscape sections, the whirlies are used as a drone throughout a majority o the work. At measure 93, the theme is played by solo clarinet and muted truet. To create an echo eect, the truet enters ater the clarinet plays the irst three pitches. One measure encoasses the entire theme, illustrating the shit back to ree time. The truet must match the changing teo o the clarinet to hold true to the intended echo eect. The tianist rolls lightly, pedaling rom A to E and back to A repeatedly. Another whirly enters halway through the phrase and continues into the inal section o the work. Multiple-Simultaneous Lines. A percussion interlude precedes the two-part round based on the theme. Entrances in the round are oset by two ull measures. Group 1 lute, oboe, and truet) begins the theme at a mezzo-orte dynamic, ollowed by the saxophone and brass entrance at a mezzo-piano dynamic see Figure 10). # m # # # m
22 Flute Oboe Alto Tenor Sax. Horn Truet Trombone Euphonium # E # # Group 1 m m Two-part round Group 1 ) Group 2 Group 2 Figure 10. Mm. 24-29 o Whirlwind by Jodie Blackshaw. Excerpt printed with permission by Manhattan Beach Music. Through scoring and dynamic contrast Blackshaw is able to create an echo eect in the two-part round. This is consistent with the structure o the piece, mimicking the soundscape section at measure 3 and oreshadowing the clarinet/muted truet duet at measure 93. Following the two-part round is another percussion soli section. This time, both the open ith in the glockenspiel and the perect ith interval in the tiani are mixed with the snare rhythm rom the previous percussion interlude to create a new moti. Percussionists alternate playing either the irst or second measure o the two-bar moti, which subsequently creates another echo eect see Figure 11). The moti repeats or 12 measures with slight variation. Glockenspiel Snare Drum Medium Tom Bass Drum Sus. Cymbal Tiani # # Figure 11. Mm. 52-53 o Whirlwind by Jodie Blackshaw. Excerpt printed with permission by Manhattan Beach Music.
23 A our-part round o the theme begins at measure 56 see Figure 12). This time, the theme is presented in two ull statements. Entrances are staggered by only one measure, and all sections o winds are scored as part o one o the our groups. Glockenspiel and tiani are the only percussion voices that accoany the winds throughout this section, reinorcing the theme with the open ith introduced in the irst interlude at measure 12. Nearing the end o the second statement, two percussionists are instructed to creep in playing whirlies Blackshaw, 2006, p. 13). A bass drum roll is also scored preceding the duet at measure 93. Flute Oboe Bassoon Clarinet in Bb Alto Tenor Sax. Horn Baritone Saxophone Truet Trombone Euphonium Tuba Double Bass Keyboard Drone # G # ) Group 2 ) # # ) ) ) Group 3 # # ) ) ) # ) ) Group 1 Four-part round Group 1 # Group 2 # Group 4 # Group 3 Figure 12. Mm. 56-61 o Whirlwind by Jodie Blackshaw. Excerpt printed with permission by Manhattan Beach Music. # # Group 4 # Group 4 # Group 4 #
24 The piece ends in ree time. The inal soundscape section requires each section to enter on cue with pitched waterglasses or rattles. The double bass sounds the only E waterglass and the keyboard the only A waterglass; all others sound a concert F. Each section is cued twice beore ading out with whirlies. Technical Considerations or Rehearsal and Perormance With only our notes in the repeated theme, Whirlwind poses ew technical problems or players. Any mechanical issues may be worked out through individual practice and mastery o the theme. Throughout the work, the theme is either presented in part or its entirety. No other melodic material is used, allowing perormers to ocus on tone, dynamic contrast, and phrasing. The theme is divided into our distinct phrases by the placement o rests or breath marks. When in 3/4 time, each phrase is our measures in length. Wind players should strive or proper breath control to sustain through each phrase o the theme. Whirlwind requires the use o numerous non-traditional instruments. Waterglasses and homemade rattles are both used in the opening and closing soundscape sections o the work. Scored here or wind players, Blackshaw gives these perormers the opportunity to perorm on instruments usually intended or the percussion section. Waterglasses are played in one o two ways: a) tapped gently with a teaspoon, or b) a large, smooth pebble may be dropped into the water Blackshaw, 2006). Either method creates an eect that resembles wind chimes. Blackshaw also gives recommendations or the construction o homemade rattles: a) ive old cassette tapes tied together with a string; b) a set o keys on a large, round key ring; or c) an aluminum oil tray illed with a handul o rice, split peas, or lentils. The tapes and keys should be shaken by the string or key ring, respectively, high above the head. Aluminum oil trays are to be swirled by holding the corner o the tray Blackshaw, 2006). With a beginning ensemble,
25 tapes or keys may be more conducive or rehearsal and perormance, eliminating the possibility o spilled rice rom the trays. Blackshaw does not speciy whether or not to mix the dierent types o rattles. Timbre o the rattles is then dependent upon the choice o the conductor. The use o whirlies adds an unearthly sound to the work. Blackshaw suggests using 2 ½- inch corrugated irrigation hose, cut to varying lengths between 5 and 7 eet. Hoses should be swung horizontally above the head) or vertically at the side). With a beginning ensemble, a ive-seven oot hose may be diicult to hold and swing. Suicient space will be needed or whirly players. The solo section measure 2) requires the presence o a strong soloist. The solo may be played on any melodic instrument. Ater the conductor cues the our-note phrase, no other visual guidance is given. The soloist must increase the teo through the irst hal o the theme beore slowing to the original teo. Crescendo and diminuendo is required on sustained pitches. The solo introduces the phrasing that is ilied in the remainder o the work. To perorm Whirlwind, ensemble members must become accustomed to playing music written in ree time. The soundscape section at measure 3 indicates to the conductor that each section should be cued to play the inal phrase o the theme at multiple points throughout the bar. The entrances are not staggered by bar lines or speciic points in the phrase. Cues must be given by the conductor to gage the timing o each entrance. Entrance points listed in the score are approximate, according to the cooser, and should be let to the discretion o the conductor. This section creates a multiple-echo sound with each section entering at dierent times. The two-part round is created by two groups o instruments entering two measures apart. In the our-part round, the theme is oset by only one measure. This may prove to be more diicult or players because each entrance begins at a dierent point in irst phrase. The our-
26 part round also creates a thicker texture. Careul counting will be essential o all members in the ensemble to ensure that each entrance is precise. At measure 93, the duet between clarinet and muted truet presents some challenges. The clarinet is instructed to change teo starting slow getting aster slowly again). The truet player must echo the clarinet in both time and timbre. Because the measure is in ree time, the truet solo must enter on their own, roughly three pitches ater the clarinet begins see Figure 13). Clarinet Truet H # Like a whirlwind: slowly - getting aster - then slowly again Solo m Solo with echo # # # # # # # # # # # # # # # Solo straight mute # # # # # # # # # # # # # # # # echo Solo Clar. and match its Teo changes Figure 13. M. 93 o Whirlwind by Jodie Blackshaw. Excerpt printed with permission by Manhattan Beach Music. Following the teo changes o the clarinet will require practice between the two soloists to ensure that each phrase begins and ends appropriately with no break in the sound. The truet is marked one dynamic level lower ) and is muted to aid in creating the echo. Conducting Issues The most diicult task or the conductor is the coordination o both the opening and closing sections. Blackshaw notates a rough outline detailing when sections should enter on waterglasses and rattles. Some sections enter on their own, others as a part o a group. I the cues were given as written, the conductor would have 14 separate cues ollowing the initial downbeat o the piece. It is assumed that the conductor will alter the map, creating a soundscape o her
27 own. The conductor is given 40 seconds to colete the irst bar, and the same applies or the closing soundscape section at measure 94. Measure 3 poses yet another issue or the conductor. Although this soundscape is cued, similar to the opening and closing sections, individual perormers should begin the phrase at dierent times. With an ensemble o 50 or more members, perormers may be paired, or placed in groups o up to 3-5 players. Each group should then enter as one unit. The conductor must again decide how to cue the ensemble and assign perormers to groups. The work moves to structured meter at measure 4 and stays in 3/4 time until the inal ree time sections measure 93). Throughout the middle o the work, the most iortant task or the conductor is to appropriately cue each group entrance during the rounds. The our-part round will be more diicult or beginning players, as the theme enters only one measure apart in each group. It may be to the ensemble s advantage i the conductor cues each group again as they begin the second statement o the theme measures 72-75). Analysis o Shadow Rituals Program Notes Shadow Rituals was written speciically or the 2007 Ticheli Coosition Contest. Ticheli s inluences on Michael Markowski, as both a perormer and cooser, lead to the coletion o this work. He uses a number o coositional techniques ound in Ticheli s writing: a) experimenting with texture, b) changing tone color, c) scoring extreme instrument ranges, d) solo versus tutti scoring, e) layering multiple-simultaneous lines, and ) creating palindromes. Shadow Rituals primary tonal center is E-lat Phrygian, with periods o B-lat major and minor) and C minor. The work ends in A-lat and D-lat Phrygian with a short restatement o