1 7~

KIDRISH FIELDS

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Lynn R. Job, B.M.

Denton, Texas

August, 1988

Job, Lynn R., Kidrish Fields. Master of Music (Composi-

tion), August, 1988, 97 pp., 27 illustrations.

Kidrish Fields, a pastoral fantasy, is scored for seven

flutes, vibraphone, and cello. The duration of the work is

eighteen minutes. The 62 pages which precede the musical

score present a discussion and an analysis of the composition.

The purpose of this project was to provide the composer

an opportunity to apply polyphonic writing techniques within

a score orchestrated for an ensemble of like instruments.

TABLE OF CONTENTS

PageLIST OF ILLUSTRATIONS . . . . . . . . . . . . . . . . . . iv

Discussion

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . vi

NON-TRADITIONAL ELEMENTS - SYMBOLS ANDMETRICAL STRUCTURE. . . . . . . . . . . . . . . vii

Symbols for Primary and SecondaryMaterial . . . . . . . . . . . . . . . . . vii

Mixed Meters ......... *.......... . . . . . viii

PERFORMANCE PROBLEMS . . . . . . . . . . . . . . . . . x

Use of Rubato . . . . . . . . . . . . . . . . . . xExpressive Markings . . . . . . . . . . . . . xiArticulation and Dynamics . . ... . . . . . . . xii

ANALYSIS . . . . . . . . . . . . . . . . . . . . . . xiv

Form . . . . . . . . . . . . ... . . . . . . . xiv

Themes . . . . . . ......... . . . . . xviiii

Introduction . . . . . . . . . . . . . . xviiiiThe A Theme . . . . . . . . . . .. .. xxiThe B Theme . . . . . . . . . . . . . . xxiiThe C Theme - "Pastorale"...... . 0. .. xxvThe C Theme - "Rocket " . . . . . . . . . xxviiThe C Theme - "Sostenuto". . . . . . . . xxviiiiThe C Theme - "Goin' Home".-.....-.. xxxviii

Development Within Roman Numeral One . . . . . xxxx

Use of Free and Derived Motives ..... xxxxUse of Melodic Layering and Augmentation . ilA Method of Deriving Transposed,

Retrograde Inversion . . . . . . . . . liThe Double Duet . . . . . . . . . . . . .liii

COPYRIGHT NOTICE

PERFORMANCE NOTES . . . . . . . . . . . . . . . . . . . . lxi

KIDRISH FIELDS ..-. . . . . . . . . . . . . . . . . . .. 1

iii

LIST OF ILLUSTRATIONS

Figure Page1. Symbol index . . . . . . . . . . . . . . . . vii

2. A flow chart of the order oflinear events . . . . . . . . . . . . . . . xv

3. A diagram of Kidrish Fields showing a two-part form with eight subsections . . . . . xvii

4. Chart of placement, name, function, andscheme of key centers . . . . . . . . . . . xvi

5. A listener's guide - twelve importantpoints of structure . . . . . . . . . . xviiii

6. The A Theme . . . . . . . . . . . . . . . . . . xxii

7. Phrases 1, 2, and 3 of the B Theme . . . . . . xxiii

8. The occurrence of Phrase 3 of the B Themewithin Roman Numeral One . . . . . . . . . . xxv

9. The "Pastorale" Treatment of the C Theme . . . . xxvi

10. A partial rondo event . . . . . . . . . . xxvi

11. Occurrences of sections of, or whole statementsof, the C Theme - "Pastorale" . . . . . . xxviii

12. C Theme - "Rocket," in C Major, measures55-77, second flute part . . . . . . . . . xxvii

13. Placement of entrances of primary two-notecells within the "Sostenuto" . . . . ... xxxi

14. Staging of Flutes 1 - 7 . . . . . . . . . . . . xxxii

15. Flute 2, measures 105-112 . . . . . . . . . . xxxiii

16. Placement of secondary material againstprimary two-note events in the"Sostenuto". . . . . . . . . . . . . . . . xxxiv

17. Key relationships, starting pitches, andprimary and secondary material in the"Sostenuto". . . . . . . . . . . . . . . xxxviii

iv

Figure Page18. The attrition of voices - theme

versus decoration........ ......... xxxviiii

19. Canonic entries on. D-flat, C Theme -"Goin' Home" . . . . . . . . ....... xxxx

20. The twelve motives, A - L . ........... xxxxi

21. A chart of free motives, derived motives,and differences from any parenttheme or motive......... ...........xxxxiii

22. Occurrence of motives A - L inRoman Numeral One....... ...... .... xxxxv

23. The Blanket Motive ......... . ......... xxxxviii

24. A six-note phrase undergoing transposed,retrograde inversion .*. ....... 4.).. iii

25. Pitch rotation functioning in ahypothetical measure ..40.... ... . .... liv

26. Comparison graph of the original pitchsequence versus the rotatedpitch sequence ...... . ........ lv

27. Graphic display of the result of the pitchrotation function applied to theA Theme, Introduction . . . . . .... . . .. lvii

v

INTRODUCTION

Kidrish Fields is a pastoral fantasy - an eighteen-

minute chamber work for cello, vibraphone, and seven flutes.

It is not strictly programmatic, as the formal description

might suggest, but there are some expressionistic elements

based upon private inspirations. The work is divided into

two main sections, Roman Numeral One and Two, and eight

subsections. Roman Numeral One displays mostly complex

developmental events. As one moves through the piece, the

complexity of the textures diminishes. Roman Numeral Two

contains primarily thematic expositions.

The purpose of the project was to provide the composer

with an opportunity to write polyphonic textures for an

ensemble of like instruments. The flute ensemble is asked

to spotlight primary and secondary polyphonic events with

timbral and dynamic shadings via extended performance

techniques.

The paper presents a discussion of non-traditional

elements of the score design, performance problems, and

an analysis of the composition. The form, the themes, and

the developmental areas of the piece are topics within the

scope of the analysis section. The score begins on page 1.

vi

impowswow

NON-TRADITIONAL ELEMENTS - SYMBOLS AND METRICAL STRUCTURE

Symbols for Primary and Secondary Material

Graphic symbols are used in the score for Kidrish Fields.

Triangular symbols (see index below) are placed above passages

that are written in standard notation to show each player the

importance of his or her line in relation to the ensemble at

any one moment. The symbols direct antiphonal exchange and

highlight primary and secondary motives. This manner of pro-

jecting primary and secondary material ensures that the

melodic structure of the composition can be heard above other

simultaneous textures. This is critical in places where a

solo primary motive must be heard over a thickly textured,

polyphonic substructure.

= primary motive or theme(soloistic)

A= end of primary motive or theme(pianissimo subito)

7 = secondary or countermotive

(countermelody)

=end of secondary or countermotive

(pianissimo subito)

Figure 1. Symbol index.

vii

Mixed Meters

The topic of mixed meters is introduced to highlight a

few non-traditional, or even seemingly illogical, areas of

metrical organization of musical material that occur in

Kidrish Fields. These areas of unusual metrical structure

explore the idea of shaping a musical thought within a metrical

framework purposely incongruent with expectations set up by

the harmonic or melodic pulse. A certain measure of clarity

within the metrical parameter of the work is thus abandoned.

Two novel approaches to the use of meter in this work

produce what can be theoretically construed as a musical joke.

The purpose of the musical joke is not one of levity, but its

purpose is to create an environment of tension and irony. This

irony is directed toward the two groups of people present in

the music hall - the performance group and the audience. Each

group is affected differently by two aspects of the metrical

notation not handled in a traditional manner: one aspect

affects the performance group due to the organization of the

music on the page; the other aspect affects the audience by

the way in which the metrical structure of the music is

aurally perceived.

The non-traditional approach toward the notation of

metrical structure which affects the appearance of the music

on the page is as follows: the use of themes and phrases

which contain an inherent duple beat pattern are notated in

viii

incompatible metrical divisions such as seven-four or five-

four time. This surprises the performers and complicates their

performance task in order to achieve a desired effect. For an

example of music which contains meter designations applied

outside of traditional practice, look at measures 315-320, pages

32-33 of the score. In this section, a seven-four time signa-

ture is imposed over common time phrase structures.

The aspect of the non-traditional metrical structure

which is aurally evident is the approach taken toward the

notation of the phrasing of individual motives. The articu-

lation of phrases is governed by the interpretation of primary

and secondary symbols which appear above the individual lines.

During lengthy passages within a single meter, the assigned

phrasing is often independent from, and outside of, the strong

and weak beat patterns established within the measure divisions.

These superimposed phrase structures, which disregard the

established beat patterns, disrupt the perception of forward

motion on a consistent metrical continuum established within

the less exploratory sections of the piece (i.e., the Intro-

duction and Roman Numeral Two.) One example of such a passage

is found in measures 34-50 where the primary and secondary

symbols delineate phrase structure within the seven flute parts.

viiii

PERFORMANCE PROBLEMS

Use of Rubato

The performance of tempi in this work is highly roman-

ticized. Fermatas, metronome markings, and accelerando and

ritardando markings are frequently encountered in the score.

The metronome markings are present at every point of immediate

change of quarter-note value. They also occur within any

long passages marked accelerando in order to guide the rate

of change. This produces a "controlled rubato" which combines

the intentions of the composer with the aleatoric interpreta-

tion of the performance group.

Fermatas are quite numerous in two areas of the work.

Fermatas first appear within the vibraphone solo in the

Introduction. Later, fermatas are performed by the whole

ensemble in the complex texture of measures 129-132, page

16 of the score. In this section, the flutes are engaged in

the delivery of a modification of the A Theme which occurs

above an exact restatement of the same theme by the vibra-

phone. Fermatas are used to break the flow of the flutes'

developmental material to coincide with those fermatas used in

the vibraphone part. The fermatas in the vibraphone music

exist to add liberty and elasticity to the solo passages.

x

Expressive Markings

Various expressive markings are used to indicate timbral

changes and programmatic changes in the character of the four

treatments of the C Theme. All four treatments are assigned

to the seven C flutes. Because there is no practical external

mute nor tone-altering accessory equipment in existance for

use by flutists, the desired tone modifications must be pro-

duced by extended performance techniques. Skilled performers

can modify their embouchures to create the desired effects

through extended performance techniques such as those demon-

strated by Robert Dick.'

The descriptive words which are used as expressive

markings (i.e., bright, wooden, hazy, vague, et al) are open

to subjective interpretation. Any extended performance

technique applied to project the moods and colors described

by these adjectives produces various timbres. The range of

the assortment of timbres produced depends upon the ability

and the individual interpretation of each performer. The

result of any applied technique should be considered an agree-

able solution by both the performer(s) and the conductor in

rehearsal. Note that, in the tutti sections, it is more

important for all the flutists to attempt to blend their tones

1. Robert Dick, The Other Flute (London: Oxford UniversityPress, 1975), 154. -(This is a hands-on workbook for theflutist interested in experimenting with Twentieth-century techniques and sonorities. A recording of-sonorities is included.)

xi

together than to adhere to individual tone colors.

Articulation and Dynamics

The importance of highlighting primary and secondary

events above less important surrounding material has been

discussed. The success or failure of the work in performance

rests upon the understanding of this concept. Attention to

the attacks and decays, the dynamic levels, the status

assigned to the material as reflected in the symbols, and the

interpretation of the expressive markings all add to the

relief of the structure of the piece. The approach to attack

and articulation that should be noted by the flute players is

briefly recorded below.

All areas of heightened articulation should be carefully

anticipated because of the nature of the flute instrument.

The soft breathiness and naturally delayed attacks of the

flute instrument must be overcome by extra force so that the

primary entrances can be punctuated for the listener. Clari-

fication between the simultaneous entrances of primary, second-

ary, and background material rests critically upon the inter-

pretation of the dynamic levels and accented tones in per-

formance. Conversely, there is a great necessity for diminished

accentuation after the primary and secondary entrances have

been accomplished - sometimes immediately. It is crucial to

know when a phrase or motive defers its soloistic status to

xii

the next primary motivic statement rising elsewhere in the

group. This clarifies the melodic ideas, and, in live per-

formance, manifests the antiphonal scheme.2

The dynamic markings in this work are presented in the

following two ways: (1) an overall dynamic, which is found

on a line of its own above each system, governs the level of

the entire ensemble in order to contrast one section of the

work with another section; and, (2) individual dynamics appear

within each line to guide the shaping of the foreground, middle,

and background textures.

2. Mention of the antiphonal presentation of motivic fragmentsis given in the section on the C Theme - "Sostenuto. "Antiphony is also an element of the design of the place-ment of primary and secondary motives within the fluteensemble during the development sections of Roman NumeralOne. Specific examples of motivic activity in RomanNumeral One are discussed in the section of this papertitled "Use of Free and Derived Motives."

xiii

ANALYSIS

Form

The composer uses the phrase "rounded, through-composed"

to describe the form of the work. A broad definition of

through-composed form is that there exists no exact repeti-

tion of sections of music within a composition for the purpose

of defining formal structure. Kidrish Fields exhibits through-

composed writing. However, after the Coda,3 there is a return

to a partial repetition of the first musical idea that opened

the work. This return functions as a cadential gesture to

bring the entire work to a close. It is proposed that the

term "rounded, through-composed" is a sensible solution to

describing this situation.

Kidrish Fields was composed by intuitive, spontaneous

choices. There was no outline of the form structured prior

to the start of the orchestration of the score. The two

following diagrams were both drafted after Kidrish Fields was

completed. Each diagram illustrates a valid, but different,

perception of the form. Figure 2, which is shown on the

following page, is a flow chart of the order of linear events.

3. The Coda is more like a bridge than it is like a traditionalcoda. Fragments of various motives and themes are recycled

before the end of the piece.

xiv

323

A ThemeGooo

31 18 331

Pastorale B Theme A'

35 260

Development

Bridge

46

Bridge

Grand Pause

54

277

Rocket

Go in' Home

61 315

Trans. Rocket

32096

LDevelopment Bridge

115

Sostenuto

165

IDouble Duet

Figure 2. A flow chart of the

order of linear events.

xv

This flow chart gives a detailed breakdown of the smaller

elements within the larger A B C Coda A' structure. Figure

3, page xvii, divides the piece into the two parts following:

(1) Introduction through all of Roman Numeral One; and, (2)

Roman Numeral Two through the end of the work. The material

can be further divided into eight subsections.

Abundant use is made of the tonal center of D-flat

major. Related key centers only occur for brief periods.

The placement of these keys follows a palindromic scheme.

The chart below shows the positioning of all key centers

within Kidrish Fields.

Measure Key Function Schemenumber center

1 D-flat I Tonic37 trans41 G-flat IV49 A-flat V52 B-flat VI54 C vii63 F III91 B-flat VI96 A.-flat V

112 G-flat IV127 D-flat I Tonicto

end

Figure 4. Chart of placement, name, function,and scheme of key centers.

The order of the musical ideas in Kidrish Fields is

presented according to a sense of dramatic timing for the flow

xvi

04-

ar)

00 d

00

cii

co00

C C

0

4-4

0

o) 4-)

C

00

0-Ott)

C) HW

.HWt

- Q

0 0) 0

P4-

4-H

0~

4-)H

E-44

xvii

of events which contain thematic statement and development.

Harmonic progressions are of little concern. A most unusual

facet of the order of events is that the idea of presenting

development before exposition occurs throughout the score.

Complexity precedes direct, simple statements. This scheme,

which functions on many levels, is represented first by the

events of the two main sections of the work: Roman Numeral

One is predominately comprised of complex, developmental events

and embellished expositions; Roman Numeral Two presents two

direct expositions with only minor embellishment techniques

added. Within the substructures of the work, decoration again

precedes simplicity. Themes often emerge from the end of

developmental areas in a brief moment of focused clarity.

The orchestration is often arranged according to this same

idea of complexity preceding simplicity. For example, the

scoring of the most simple of textures is the monophonic

entrance of the tutti flutes in measure 276; it is withheld

until near to the end of the piece. The most complex scoring

within Kidrish Fields occurs 240 measures earlier at the

beginning of Roman Numeral One.

A third diagram, Figure 5 on page xix, visually plots

the flow of aurally perceptible events in a manner more

accessible to a listener than the first two diagrams presented

at the start of this section. This flow chart in Figure 5

shows twelve climactic, cadential, or structurally significant

xviii

points of arrival in the work.

31 ( vapiue, 01 En, d4 an

46 339

Higher, new melodicgtre .-less Vibraphone's high

(waaim/ul/ tensine D-flat signals theend of the work Ending

flut --- p p........

96 (ausain Ed/ 54 326 (we U 323

<inle Bsst inn cutepit

S t e st Rocket theme - 16th Cello hits lowest Ha11 of forwardfutse olloeb note pulse, simple note in the piece motion for 4 beatsentrances-Sostenuto ltroy(Ionic) sod hold. on the tonic

D~~~fl at-F/utea "F/tea & Ceilo F/atea & Ce//uAfl0t-flat

31385 -6 277 (/saa 315 (bstsAU

r th e flutes. Start of fresh, new mood. Climax of the piece

tortheme by-thee Unison flutes On th Rocket theme again

F/ taCe/, t6 Fese//u, . ls a s > e/a ~ /ue

-nte tn Climactic point for lthe

C-flat/ t D-flat

f L P-

96 f igure 5. A listen r's guideimprtatpits of stru

A-flat from t e Ist ocket the re1thurn o ithe o e t H lt o o w r

successive 2 -not I* -- Pharmony (o ni) nd h ld thhe to i

Intoduction

Kidrish fieldsmakes Fuseo threeVmain.themes"- AB,

A-G-faat/D-Elat

Retrn f ntrduc RIntrofpa dag uAtGrnPue

and C. One of these three themes, the C Theme, is expressed

in four treatments: "Pastorale," "Rocket, " "Sostenuto," and

"Goin' Home." Of these four treatments, "Gain' Home" is

xviiii

considered the original version of the C Theme.4

Each instrument is given its own thematic material:

the vibraphone - A Theme, the cello - B Theme, and the

flute(s) - C Theme. The concept of theme sharing can be

discussed as existing within this piece if the following

definition is applied: theme sharing occurs when an instru-

ment other than the assigned instrument plays a given theme.

The cello and vibraphone avoid stating each other's

thematic material, and, they avoid any reference to the C Theme,

which belongs to the flutes. An exception to this statement

occurs in measure 156 where the cello is heard answering the

vibraphone's last complete exposition of the A Theme. The

flutes are freer to share material. Several exceptions

to the design of "one instrument - one theme" result from the

variety of uses imposed upon the flute voice.

The flute voice functions in a number of ways. The

primary purpose of the flute voice is to present the four

variations of the C Theme. The flutes are also used to pro-

vide an atmospheric sound environment with the use of the

Blanket Motive. (This motive is described in the section "Use

of Free and Derived Motives.") Sometimes, the flutes are used

to just provide a simple background pulse - as at the start of

4. Although the "Pastorale," "Rocket," and "Sostenuto" eventsoccur before the exposition of the B Theme, they are allvariations of the C Theme. The original version of theC Theme, "Goin' Home," does not have its exposition untilclose to the end of the work.

xx

Roman Numeral Two - in order to establish a harmonic setting

for another theme. A most unique exception to the theme

assignment design occurs in the Double Duet section where

the flutes develop and embellish A Theme material which

belongs to the vibraphone. The flutes avoid quoting any

portion of the B Theme. There is a relationship between the

A and C Themes that is not shared by the B Theme.

A discussion of each of the three main themes follows.

Special attention is given to the four treatments of the

C Theme.

The A Theme

Kidrish Fields begins with a solo statement of the

vibraphone's extensive A Theme. The entire Introduction

serves as an exposition. The vibraphone repeats this theme

completely in only one other place in the score, measures

127-156. In these measures, the A Theme is placed beneath

developmental material from the C Theme - "Pastorale" stated

by the flutes. After the Coda in measures 331-340, the

vibraphone is again solo; a modified, short excerpt from the

A Theme is given, which ends on a high D-flat to close the work.

Figure 6, which follows on page xxii, is an excerpt from

the score showing the A Theme as it is written in the

Introduction.

xxi

I

J-92 solo free-N 5

m vib .medium hard mallots

03

a tempo

V t 3

r-

A ' I I,

> 3

mf mp

V C2Ij IIlkI

Figure 6. The A Theme.

The B Theme

In Roman Numeral Two, the cello enters with the first

and only complete exposition of the B Theme. The thematic

content is not developed further, and, the inherent tension

is neither addressed nor resolved. When the exposition is

finished, the idea of the B Theme is abandoned.

This broad theme has three phrases first stated

successively in the order shown in Figure 7, page xxiii.

The last of these three phrases is followed by a descending

xxii

line on D-flat. The three phrases of the B Theme are played

in the cello's high register. The upward gestures at the end

of each phrase intensify the motion forward. The high

tessitura combined with the upward motion and breadth of the

B Theme lends intensity to its character.

Phrase :

__D- L -v- - Leoo -I~.I

PrAseI2I

Phrase 2

Phrase

Figure 7. Phrases 1, 2, and 3of the B Theme.

The three phrases follow one after another for one

complete statement of the entire B Theme before the bridge in

measures 216-220. After this bridge, each phrase becomes

independent of its original position in the B Theme. The

phrases begin to occur in an unpredictable order. The order

of each recurrence of the three phrases is described below.

The first phrase to recur is Phrase 3; it returns on

C-flat - a fifth lower than than its previous statement.

xxiii

I

Next, a G-flat repetition of Phrase 1 occurs. An altered

restatement of Phrase 2 and a return of Phrase 3, again on

A-flat, follows. This leads to a restatement of the second

phrase in measure 252. Material from the previously stated

bridge dissipates into a transition that ends with a fermata

and a Grand Pause in measure 276.

The Grand Pause happens only once in the work. The

effect is dramatic. It enhances the importance of the preced-

ing and the subsequent material and provides a point of

punctuation., This rest marks the end of the exposition of

the longest theme in the piece - the B Theme. The only

exposition of the C Theme - "Goin' Home" follows it.

With the above description of the three phrases of the

B Theme in mind, the occurence of two portions of the B Theme

can be identified within the cello's part in Roman Numeral

One. The two statements occur prior to the proper exposition

of the B Theme which is given in Roman Numeral Two. The first

statement is a short excerpt stating Phrase 3 of the B Theme.

This appears beginning in measure 115 as shown in Figure 8

on the following page. The second reference to the B Theme

prior to the exposition happens in measure 141-145. The

cello's music is presented underneath the second half of the

C Theme - "Sostenuto" event delivered by the flutes. A

discussion of the C Theme - "Sostenuto" is given on pages

xxviiii-xxxvii.

xxiv

S=100

_ pA

mf P PPf

mf PPPP

m f ~PP IP

mp PP

V. E I44orAp A iUd vOr d

I X H I T

-r -rcresc.

Figure 8. The occurrence of Phrase 3of the B Theme withinRoman Numeral One.

The C Theme - "Pastorale"

The C Theme - "Pastorale" is the first treatment of the

C Theme to be presented. This treatment is exposed and

developed only in Roman Numeral One. There is but one

occurrence of the "Pastorale" in Roman Numeral Two. In

measure 225, the solo first flute states the first phrase of

the "Pastorale" high above the cello's B Theme.

The first entrance of the flute ensemble in measure 31

is on the tonic first note of the C Theme - "Pastorale. "

The "Pastorale" has broad, arched phrases and it is often

doubled in octaves. Usually scored for pairs of flutes, the

xxv

I ~crese..

I

"Pastorale," in whole or in part, is almost continuously

repeated until the start of the C Theme - "Sostentuo" section

in measure 96. The music of the C Theme - "Pastorale" is

shown below in Figure 9.

84

..... ETC....

Figure 9. The "Pastorale" Treatmentof the C Theme.

A partial rondo event, shown below in Figure 10, is

created by the alternating of thematic treatments of the

C Theme in Roman Numeral One. The "Pastorale" alternates

with two of the other treatments. One statement of the

"Pastorale" on G-flat, which occurs in measures 112-114, is

used to set apart the two halves of the "Sostenuto" event.

A B A C A CPastorale/Rocket/Pastorale/Sostenuto/Pastorale/Sostenuto(m.31) (m.54) (m.63) (m.96) (m.112) (m.115)

Figure 10. A partial rondo event.

Each entrance of the C Theme - "Pastorale" in the

individual flute parts is marked with a primary triangle

designation. The symbols visually signal its importance

xxvi

amidst the surrounding polyphony of motives which have

secondary or even less priority. In the absence of a

"Pastorale" statement, a secondary motive takes a primary

marking. The complex, polyphonic texture surrounding state-

ments of the C Theme - "Pastorale" is discussed in the section

of this paper titled "Use of Free and Derived Motives" with

attention given to identifying the motives and their fre-

quency of occurrence throughout the work.

Figure 11 on page xxviii graphically plots the occurrence

of sections of, or whole statements of, the "Pastorale" Theme

by measure number (above the line), starting pitch (below the

line), and flute assignment (left column).

The C Theme - "Rocket"

The C Major exposition of the "Rocket" treatment of the

C Theme occurs in Roman Numeral One between episodes of C

Theme - "Pastorale" development. The "Rocket" Theme is

shown below in Figure 12.

Figure 12. The C Theme - "Rocket, " in C Major,measures 55-57, second flute part.

xxvi i

Lr)

0 l-4

r4 - r-4 -

4-) (N 0 IC r-q

ON N

4-

00 0000 0 )

|0 Q

LO V) 4-)00 00 (0

000 ,~ 0

00

00u 0

H

U Ln

00-rd

LLC

Lrr

00

ON u

o H

0002

0) ) s-

00 0)

C-) 0

<n ) a U *

1 m \, rUcy\)

-rC )

S aT 0q 00LU >

xxvi i i

The driving, homophonic music of the "Rocket" Theme is unique

to the work in that it employs sixteenth notes. The energetic

pulse moves the melodic line forward into large leaps at the

end of the phrases reminiscent of the Mannheim "rocket"

themes.

Only the second phrase of the "Rocket" Theme returns

again. The restatement of this phrase which begins in measure

315 is the climax of the entire work. At this point, the

theme is in the tonic key of D-flat, and it is given a slightly

longer, more elaborate setting at greater dynamic levels.

The C Theme - "Sostenuto"

The C Theme - "Sostenuto," as with the other treatments

of the C Theme, is written for the flute ensemble. The

"Sostenuto" consists of two sections. The first section,

measures 96-109, is separated from the second section,

measures 115-126, by a bridge which contains a reference to

the "Pastorale" treatment of the C Theme in G-flat. The first

of the two sections, scored for only the flute ensemble, most

clearly displays the sustained and pointillistic character of

this treatment of the C Theme. In the second section, the

entire transposed restatement of the "Sostenuto" event is

layered over a return of the A Theme stated by the vibraphone.

Both of the two sections of the "Sostenuto" exhibit a technique

of sequentially layering one voice over another to build the

theme and to produce a composite timbre in the flutes that

xxvi i i i

is similar to the sustained quality of the vibraphone played

with pedal. The pointillism of the "Sostenuto" treatment of

the C Theme exists in the thematic parameter of the event as

described below. The pitch content and the sequence of

pitches in the theme is the same as that of the C Theme -

"Goin' Home"; however, the durational values are modified.

The pointillistic design of the C Theme - "Sostenuto"

allows only two notes from the thematic pitch string to un-

fold in sequence at one time. Each pair of notes is delivered

from a different player. The formula used to build the

"Sostenuto" texture is explained as follows: first, Flute 1

plays the first two pitches of the C Theme - "Goin' Home."

The second note of the two-note cell is then softly sustained

under the entrance of the next player's two-note cell. In

this manner, a new player enters with the next sequential two

notes of the theme. This continues until all seven flutes

are engaged in the texture. The formula proceeds to be ex-

pressed further as more two-note cells are assigned to the

various individual ensemble members. Assignments are made

according to the placement of primary entrances on stage

designed by the composer. Primary symbols mark the entrance

of each new two-note cell until the end of this idea in

measure 126.

Figure 13 shows the placement of entrances of the primary

two-note cells within the complete "Sostenuto" section,

xxx

measures 96-126. The aural presentation of the "Sostenuto,"

as heard on stage, is antiphonal. The antiphony is repre-

sented in this graph: the plotted entrances which are

physically adjacent are shown connected by lines; the two-

note cells which occur at staggered intervals within the

ensemble are not connected by lines.

MeterBridge

%,A

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IAk AkL I -- I

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9697 98 9 1 101102103 104 106107 1081091 111 112 113 114 116 117 118119 j 121 122123124 126

100 105 110 115 120 125

Measures

Figure 13. Placement of entrances of primarytwo-note cells within the "Sostenuto. "

A comparison of the score, Figure 13, and Figure 14

(presented on page xxxii) reveals a schism between entrances

which appear adjacent in the score, and the actual antiphonal

presentation on stage. The diagonally sequential entrances

which appear on a page of the score materialize on stage in

either a staggered pattern, or, opposite the expected direc-

tion of travel. This occurs because the flutes are

xxxi

positioned on stage out of the proper numerical sequence of

their part-name designation. A drawing of the positioning

of the flutes on stage, as shown in Figure 14 below, is

given at the top left-hand corner of the first page of the

score.

3 4

1 2 o 6FLUTES 0

96 - 97

TIWO - NOTEENTRANCES 9A 9 7 9 9

Figure 14. Staging of Flutes 1 - 7.

During the pointillistic unfolding of the "Sostenuto"

treatment, secondary events are presented within the Flute

1 and Flute 2 parts. Secondary motives are more pronounced

than sustained tones, yet they are less accentuated than the

entrances of the primary two-note cells. Inverted triangles

mark these motives which are also derived from, or are

sections of, the C Theme. The expression of secondary material

is not divided among several players as with the expression of

the C Theme - "Sostenuto." The secondary material is solo-

istic in nature and occurs in only the first and second

flute parts.

The statement of a secondary event in the "Sostenuto"

is governed by one rule: preserving an unbroken line of

xxxi i

adjacent, successive, two-note cells within the flutes is

paramount. This rule, which protects the integrity of the

directional pattern of the flow of primary entrances, makes

it sometimes necessary to cut into the middle of a secondary

motive and insert a particular two-note cell from the

"Sostenuto.r" Once primary material has been inserted, the

player returns to his or her secondary line at exactly the

point it was left. For example, this happens in the second

flute part, measures 105-112, as shown below.

-a- -M -I- -.

mf WPp

mf mp

Figure 15. Flute 2, measures 105-112.

Figure 16, found on page xxxiv, is a chart that shows

where the secondary material occurs in the "Sostenuto"

section. The primary events are also charted to illustrate

the points of interaction between the two types of material.

In both of the two sections of the C Theme - "Sostenuto,"

incidental harmonies are created as every second tone of the

melody is sustained under the entrance of another two-note

xxxiii

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cell. Additional incidental harmonies are created each time

secondary material is repeated and transposed. Each progres-

sive entrance of transposed material produces increasingly

dissonant harmonies. A few statements of secondary material

are in an independent but related key. Those secondary state-

ments which are in a related key immediately create a bitonal

event in the harmonic texture. For examples, look at the

flute parts 1 and 2 in measures 105-110, and, the cello's

statement of part of the B Theme in A-flat set against the

flutes' exposition in G-flat, measures 115-125. Figure 17

shows where the bitonal key relationships occur. Starting

pitches, the location, and the duration of the two-note cells

of the "Sostenuto" are also charted. The legend denotes how

the primary two-note events and the secondary material are

represented. The start of Figure 17 is on page xxxvi.

This illustration comprises two and one-half pages.

xxxv

LegendtA

= Primary two-note entrances

+ = Secondary material

= Starting pitch

= Connects parts of secondary melodiesdisplaced by primary two-note inserts

3

4

5

6

7

Measures

96 97 98 99 100

(A

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Measures

10 3101 10210

1

2

3 -

4w-

7

104

4

105

xxxvi

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Measures

106106107 108 109 1101 Ab

2 + D

3

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5

6

7.

To Bridge, G-flat,Measures 111-114

Measures

115 116 117 118 119 120

(G- (DO) + GO

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6

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Cello L (>>

xxxvii

Measures

1

2

3

4

5

6

7

121 122 123 124 125 126

+---GO

WAN=

J

cello IAO

Figure 17. Key relationships, starting pitches, andprimary and secondary material

in the "Sostenuto."

The C Theme - "Goin' Home"

"Goin' Home" is the original treatment of the C Theme.

Its importance is highlighted by setting the unison flutes

in monophony just after a Grand Pause in measure 276. The

mood is carefree and the tempo is lively.

This area comes the closest of any section of the work

to involving the entire ensemble in the same melodic idea.

The cello and vibraphone do not play in unison with each other,

but each joins in with the flutes. The cello doubles the

flutes in measures 285-292, and the vibraphone doubles the

flutes in measures 309-315.

In the C Theme - "Goin' Home," the flutes take the center

xxxvi ii

4-)

HT

of attention with their fast-moving, florid passages. The

theme repeats over and over, gradually losing strength of

force by the attrition of players, while the intensity of

the embellishment grows. Figure 18 charts the attrition of

the number of voices assigned to the theme throughout its

many repetitions.

Measures

277 282 285 293 301 303

I -

Decoration2 2

3 -3

Unison on C Theme

44 - 5

6 -6

7 -7

Cello

Figure 18. The attrition of voices -theme versus decoration.

Measure 303 is the start of the canonic reentries of the

C Theme - "Goin' Home." Each entrance has a primary triangle

marking; and, each entrance is on D-flat. After the third

canonic entry, the successive entrances are rhythmically

augmented. The position of these events can be seen in Figure

19 on the following page. The eighth-notes become quarter-

xxxviiii

notes or triplet figures, while quarter-notes become half-

notes. The original half-note values remain constant or

diminish by 20 to 33 per cent.

01= original rhythm = augmented rhythm

1

- 2

7

_I2

Measure 303 305 309 311 313

Figure 19. Canonic entries on D-flat,C Theme - "Goin' Home."

Development Within Roman Numeral One

Use of Free and Derived Motives

Roman Numeral One is more developmentaJ and much more

decorated with polyphonic events than Roman Numeral Two. The

polyphonic texture is comprised of free and derived motives.

The motives are layered one over another which creates a

dense counterpoint within the flute ensemble; sometimes,

all seven flutes play different, simultaneous motivic state-

ments. Twelve motives are inserted into Roman Numeral One

expressly for the purpose of embellishing statements of the

C Theme - "Pastorale. " These twelve motives are secondary

in importance to any occurrence of the "Pastorale. "

The twelve motives, called "A" through "L," are illustrated

in Figure 20 on pages xxxxi and xxxxii.

xxxx

The A Motive

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2. The B Motive

3. The C Motive

4. The D Motive

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5. The E Motive

6, The F Motive000-m"N /01*0

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xxxxi

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7. The G Motive

8. The H Motive

9. The I Motive-3

10. The J Motive

3 3-.

11. The K Motive

3 -.--- 3~

12. The L Motive

Figure 20. The twelve motives, A - L.

xxxxi i

Five of the twelve motives are derived from some version

of the C Theme or from another independent motive. Figure 21,

shown below, names the derived and the free motives and lists

the source themes, if applicable, and the differences.

THE TWELVE MOTIVES

The Parent Theme Differences in theor Motive Derived Motives

A free

B free

C free

second phrase of theD C Theme - "Goin' Home" diminution and augmentation

E D Motive octave transposition on thesecond and fourth notes

F first phrase of the original first note missing,C Theme - "Pastorale" a descending line appended

G free

shortened and the notesH G Motive jxaoeJuxtaposed

I free

first phrase of the original first note missing,

C Theme - "Goin' Home" the lower neighbor flourish ofthe sixth note eliminated

K free

L free

Figure 21. A chart of free motives, derived motives,and differences from any parent

theme or motive.

xxxxiii

The five derived motives and the seven independent motives

are used in counterpoint against each other and against the

"Pastorale" treatment of the C Theme. Primary and secondary

events move antiphonally from point to point within the

ensemble. The antiphony is manifested through dynamic shading.

The dynamics are carefully placed in each line to help commun-

icate the foreground, middle, and background ideas to the

players.

The occurrence of the twelve motives is charted in

Figure 22, on the following two and one-half pages, by the

name of the motive, flute part, and measure numbers. The

absence of a motivic statement designation at a given point

in this chart does not necessarily correspond to a rest in

the flute part. In many cases, the music within the flute

part is continuous: incidental pitches often occur between

episodes of motivic activity. Examples of continuous part

writing exist in measures 34-53 and measures 66-95.

An important motive separate from the twelve motives of

Roman Numeral One is the Blanket Motive. The purpose for the

existance of the Blanket Motive is to provide a simple, slow

background pulse and a sense of vague, ethereal mystery.

Three or more flutes are needed to express the musical idea

of this motive. There is an alternating-fifths, parallel-

fourths idea which occupies two flutes. Concurrently,

there must be at least one other flute which is assigned

xxxxiv

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93-95 123-125(Bb) (Bb)

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93-95(Bb)

93-95(Bb)

D A C

127-128 142-143

94 IDb) i (Ab)IBj

6 142-1431 (Ab)

1B142-143S(Ab)

Figure 22. Occurrence of motives A - Lin Roman Numeral One.

a conjunct line; any leaps are few in number and they con-

tain an interval of a perfect fourth or smaller.

The Blanket Motive occurs in both of the two sections

of Kidrish Fields. This motive does not contribute toward

the overall polyphonic scheme, but it modifies the textural

and emotional setting of thematic material: the Blanket

Motive contrasts the dense, polyphonic textures of Roman

Numeral One which occur on either side of it. This motive

is quickly recognized within the score because it exhibits

xxxxvi i

E-4

consistent, even durational values from one beat to the next.

The motive is always expressed in successive half-notes.

The half-notes slow down the pace of the music and break the

flow of motivic embellishments. The cello voice adds to the

texture of consecutive half-notes at two points in the work:

(1) measures 60-62, and (2) measures 319-322. An example of

the Blanket Motive idea is shown below in Figure 23.

FLUTES 3

Figure 23. The Blanket Motive.

The Blanket Motive is the slowest, calmest musical entity

of the work; its presence suggests tranquility. The first

presentation of the Blanket Motive in measures 56-67 dove-

tails from the last half of the C Theme - "Rocket.t " This

statement of the Blanket Motive continues until the vibraphone

begins a solo statement of the K Motive. The last statement

of the Blanket Motive appears at the end of Roman Numeral Two.

It is used to help slow the pace and to drain away the energy

established by the exposition of the C Theme - "Goin' Home."

The motive functions, at this point, as a bridge between the

xxxxvi i i

C Theme - "Goin' Home" and the Coda.

Three of the twelve motives of Roman Numeral One also

recur near the end of Roman Numeral Two, or, in the Coda;

they are the B, C, and D Motives. The C and D motives link

together to make a countermelody. This countermelody plays

against the "Goin' Home" event at the end of its exposition

where the canonic statements occur. The vibraphone doubles

with Flute 7 on the countermelody in measures 309-314. The

B Motive appears in measures 309, 311, and 313. The descending

idea of this motive is stated in retrograde in measure 267.

The ascending idea of the retrograde of the B Theme inspired

the music contained in measures 267-274, Flutes 4 and 5.

Use of Melodic Layering and Augmentation

The technique of melodic layering is defined as follows:

material from one main theme, either in the original or a

modified form, is layered over the simultaneous presentation

of another main theme - or material related to that theme.

This is a developmental technique which embellishes and

enriches the setting of thematic quotations by an abstract

form of free counterpoint. The following passage is selected

to represent this technique.

An example of melodic layering appears within measures

127-140. This area contains not only the beginning of the

complete restatement of the vibraphone's A Theme, but there

also exists some developmental ideas based on the C Theme -

il

"Pastorale" within the flute parts. These independent lines

of C Theme "Pastorale" material in the flutes, which merge

with the vibraphone's A Theme, produce unpredictable har-

monic events in the absence of a functional bass.

In addition to the layering of two main themes, another

modifier is at work enriching the texture. Augmentation of

durational values exists in some parts. Incidental counter-

point occurs as the result of different augmentation values

simultaneously functioning within two or more independent

lines. The values of the augmentation factors are given below.

On the first beat of measure 127, Flute 2 begins to

play the theme in D-flat as taken from the first flute part

of measure 31. Each durational value becomes augmented 150

per cent. Simultaneously, Flute 3 begins a 200 per cent

augmentation of the music which starts in the fourth flute's

part of measure 31 (the first note is transposed down an

octave). At this point, Flute 5 also begins to play. Flute

5 introduces a restatement of the A Motive from measure 31

which was originally scored for Flute 7.

In measure 130, Flute 4.(on D-flat) answers the phrase

begun by the second flute and then continues on to complete

one modified statement of the C Theme - "Pastorale" with a

150 per cent rhythmic augmentation factor applied to it.

Flute 6 enters at measure 134, augmenting the durational

values by 300 per cent and transposing down a perfect fifth

1

each note of the theme except the first note. Simultaneously,

the fifth flute player starts his or her transposed state-

ment of the first phrase of the "Pastorale" Theme at a 150

per cent augmentation factor.

A Method of Deriving Transposed Retrograde Inversion

The method of deriving a transposed, retrograde inversion

described below is applied only within areas of development

which begin in measures 49, 64, and 69. A description of the

method follows.

One stave, or a group of staves, is supinated (turned

upside down) by applying a 180 degree rotation from an imagin-

ary axis point which is placed at the end of a predetermined

passage. This method produces an inverted retrograde passage

which is automatically transposed. The integrity of the

transposition throughout the newly derived material is then

left to the discretion of the composer who adds, deletes, or

alters accidentals as desired. An example which show the

results of this technique upon a sample six-note phrase is

given in Figure 24, page lii.

Measures 64 to 69 highlight the appearance of inverted

treatments of the C Theme - "Pastorale. " The inverted

modification of the C Theme - "Pastorale" is an important

part of the development section of Roman Numeral One. In

measures 64-69, the inverted statements of the "Pastorale"

are scored with thin, soloistic orchestration to emphasize

Ii

Figure 24. A six-note phrase undergoingtransposed, retrograde inversion.

their importance.

A transposed, retrograde inversion of material from

measures 35-40 appears in measures 49-53. The combination of

the former passage with the latter passages provides the basis

for the long, developed section of music contained in

measures 69--88. These nineteen measures present the most

complex section of development found in the entire work.

Material which has been produced purely by the method of

transposed, retrograde inversion is merged with other musical

elements stated for the first time. For example, the listener

will immediately identify a new ostinato figure presented by

the vibraphone and the cello. The cello also states syncopated,

lii

pizzicato rhythms and long bass tones for the first time.

Within the music assigned to the flutes, small motivic cells

derived from the main themes are woven into the sections of

inverted retrograde.

The Double Duet

The Double Duet section, which begins in measure 156,

is written for two pairs of flutes playing with a secco,

wooden timbre. Both pairs of flutes use thematic material

taken from the vibraphone's A Theme. The first duo, Flutes

1 and 2, plays the A Theme just as it is stated in its expo-

sition (measures 8-30). The second duo, Flutes 5 and 6,

simultaneously plays a modified version of the A Theme that

is derived by applying a pitch rotation formula measure by

measure. The A Theme and the modified theme render a stereo-

scopic impression when played simultaneously. The rotated

pitches of the.variation echo the original theme with a delay

of one to three beats dependent upon the beat in the measure.

This causes the two duos to be out of synchronization with

each other.

Flute parts 1 and 5 represent the melodic notes usually

carried by one hand in the vibraphone. Flute parts 2 and 6

are applied to the odd-hand parts, or, they are used to sus-

tain tones in imitation of the vibraphone's pedal effect.

The melody assignments are spacially separated - as in the

tradition of orchestral horn writing. The parts interlock

liii

vertically on the scored page. A phenomenon within the Double

Duet is that the combination of the overtones from the four

instruments, played with the specified timbres described in

the expressive markings, produce a pseudo horn timbre when the

flutes are in their low register.

The formula for rotating the pitches within each measure

of the A Theme is simple. It is best explained by setting up

a hypothetical measure as an example in which conditions are

most ideal for the application of this formula without modifi-

cations. Consider a measure expressed in common time - both

in its original form and in its derived form. Using randomly

selected pitches as examples, the formula works as shown in

Figure 25.

1 measure of Vibraphone part = 1 measure of Flute part

BEATS: 1st 2nd 3rd 4th 1st 2nd 3rd 4thIIII I I I

A Ft C D= D A F C

Figure 25. Pitch rotation functioning ina hypothetical measure.

Figure 26, presented on the next page, depicts the same

formula in a comparison graph which shows the original pitch

sequence versus the rotated pitch sequence.

In the example measure just considered, all the elements

on both sides of the equation are equal. This is not the

liv

case when comparing the original vibraphone's theme with the

new music of the fifth and sixth flute parts, measures 165-

179. The existence of different meters within the Double Duet

makes the recognition of the product of the applied formula

more complicated than in the example provided. The change of

meter is of no consequence to the string of pitches: however,

the measure delineation changes and definite terms, such as

"the first note" or "the last note" of a measure, lose

applicability.

= originalpitches

1st

0

-P 2ndCd

4-10 3rd

-r

o 4th

order of = new order of pitchesby rotation

A F C D(selected pitches)

Figure 26. Comparison graph of the originalpitch sequence versus therotated pitch sequence.

lv

A

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The rotation formula is applied in the following manner.

Rotate the last pitch or last grouping of pitches (such as a

triplet figure ), which constitutes a quarter-note value, forward

to the first place in each measure of the A Theme. The order

of the pitches in the rest of the measure remains fixed in

sequence and rotates as one entity behind the repositioned

pitch or pitches. The different placement of bar lines does

not disrupt this rule because the alterations of metrical

division occur after the formula has been applied. Figure 27,

pages lvii and lviii, summarizes in detail the results of the

pitch rotation formula in the flute parts 5 and 6 of the

Double Duet as compared to their original pitch order in

the original meters of the Introduction.

The pitch rotation formula is applied to every measure

from 8 to 30 of the A Theme exposition to produce measures

166 to 184 of the Double Duet; but, there are two areas within

this first measure group that are not used as a part of the

scheme. These two areas are measures 13-15 and measure 26.

There occurs, at these measures, a departure from exact repe-

tition in order to allow measures 170-171 and measure 181 of

the Double Duet to be set apart for free composition.

The purpose of applying the pitch rotation formula is to

create incidental harmonies by simultaneously playing the

rotated measures against the original pitch order. However,

in situations where the vertical sonorities need modifications

lvi

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to suit the composer, there can be found some augmented and

diminished mensuration and altered pitches. Also, octave

transpositions occur where needed to accommodate the flute

range.

The Double Duet epitomizes the fantasial quality of

Kidrish Fields. The incidental harmonies that are created,

the simultaneous layering of two versions of the same theme,

and the rise and fall of unsynchronized phrases produce the

sensation of surrealism. The last time the A Theme occurs

before the end of the piece is in this subsection of Roman

Numeral One. The next section of the score, Roman Numeral

Two, displays other moods and utilizes other techniques

which are less abstract and are presented in a more

familiar manner.

lviiii

[FLLRF IOlL LbS

LYNN JOB

1985

Copyright, 1985

Lynn R. Job

RPM"

PERFORMANCE NOTES

1. Staging: See staging indications on page 1 of the score,

upper left.

2. Dynamics: The individual parts are marked with tradi-

tional pp-ff indications; but, they are inter-

preted with regard for the overall dynamics.

The overall dynamics are found notated on a

single line above each system.

3. Symbols (see the Symbol Index below): These clue each

player as to the importance of his or her line

at any one moment. As each player finishes a

motive marked with a primary or secondary

symbol, he or she drops the volume considerably

to allow for another line to come out elsewhere

in the ensemble.

Symbol Index

primary motive(bring out soloistically)

end of primary motive marking

V = a secondary or countermotive(bring out as countermelody or figure)

V - end of secondary or countermotive marking

4. Tone colors: The expressive markings often demand a

lxi

variety of tone colors difficult to produce

on the modern C flute (i.e., wooden, thin,

brassy.) Extended tone production techniques

are needed from all seven flutes.

Conductor's Note

The primary and secondary motives must be highlighted

as indicated in order for the melodic texture to be displayed.

Without careful dynamic shading and the proper articulation

to bring these events forward, the surrounding polyphony -especially in Roman Numeral One - will confuse the listener

and pervert the composer's original conception.

lxii

U BDKL9F ICLDGv 4 76

(BY GOD'S GRACE)C7 c" L-LYNN JOB

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