QUINTET FOR WOODWINDS

THE$IS

Presented to the Graduate Council of the

North Texas State College in Partial

Fulfillment of the Requirements

For the Degree of

FASTER OF MUSIC

By

David Warner Hutchison, B. Si t1.

Denton, Texas-

January, 1956

%,e' J

TABLE OF CONTENTS

TA BLS1 Page

I LEUSTRATION$ . . ., .. .~ .~ .. . . . . , , , . , , y

PURPOSE AND OBSERVATIONS . . * . . . .. . .

ANALYSIS OF THE UINTET FOR WOODWINDS . .

I

3

First MovementSecond MovementThird movementFourth Movement

REDUCED ANALYSIS . . a a . . a . . a . a . a 19

THE QUINTET FOR WOODWINDS . .. . . a a a . a

iii

LIST OF

LIST OF

Chapter

I.

II.,

III.

I1.

LIST OF TABLES

Table Page

I., The Form and Thematic Development of the FirstMovement of the 4uintet for Woodwinds . . . . 19

II. The Form and Thematic Development of the SecondMovement of the 5uintet f or Woodwinds.. . . . 21

III. -The Form and Thematic, Development of the ThirdMovement of the quintet for Woodwinds . . . . 22

IV. The Form of the Fourth Movement of the Quintetfor Woodwinds; - . . . . . . . . . . . . . 22

iv

LIST OF ILLUSTRATIONS

Figure

1.

2.

3.

4.

5.,

6.

7.

8.

9.

10.

11.

12.

13.

14.

15. Counter- elody (mm. 16-33)*..

16. Chord Scheme in ( Minor (mm. 25

Page

. 9.. . . 9 . . 9 15

. .-. 9 . 9 9 9 . 4

. . 9. 9 9 . . 9 . S

. 9 9 9 9 . . . . 6

. . . 9 9 . 9 . * 7

9 9 9 9 . . 9 9 . 8

9 . . 9 . 9 9 . 9 9

9 9 9 . . * . 0

. 9 . . . 9 ... . 10

. 9 9 9 . 9 . . . 11

... 9 9 .9 9 .9 . 11

. . 9 9 . . . . . 12

. 9 9 9 . . . 9 9 115

. 9 9 9 . 9 . . . 115

9 9 9 . . 9 . . . 115

~-153) . . . . . . 14

17. Passacaglia Theme Outlined in Sixth Variation(mm. 59-61) . . .9 9 .9 9 9 9 9 9 9 9 4

18. Passacaglia Theme in Augmentation as CanonicAccompaniment (mm. 46-53) . . . . . . . .

19. Passacaglia Theme Outlined in the EighthVariation (mm. 84-85) . * . . . . * . . .1

20. Passacaglia Theme in Augmentation as a Canon(mm. 84-93. # . . . . . . . . . . .*

v

Principal Theme (mm. 1-1) .

Subordinate Theme (mm. 35-41)

Ground Bass (mm. 29-31ff.) ..

Fourth Chords . . ..

Ground (mm. 1-4ff.) .. . . .

Theme (mm. 8-41) . .. . . . .

Chorale (mm.73- 125) .. . .

Theme in Diminution (guM. 76-79)

Thematic Motif (mm. 3-10) .

Principal Theme (mm. 10-18)

Subordinate Theme (mm. 21-25)

Trio Theme (mm. 41-44) . . .

Passacaglia Theme (mm. 1-8)

Chord Scheme (mm, 9-515) . .

15

16

17

CHAPTER I

PURPOSE AND OBSERVATIONS

The purpose of writing the juntet for Woodwinds is to

produce composition for woodwind ensemble containing ele-

ments of significant musical form. Much of the quintet music.

by composers such as, Reicha and Taffanel is characterized by

pure virtuosity of style and lack of significant musical form..

Twentieth century chamber music has been influenced to

a great extent by the devices of composition used in the ever

increasing amount of orchestral works. Irregular rhythmic

patterns and startling chromatic effects such as those found

in the works of Darius Milhaud display, to some extent, this

influence.

Much of the recent woodwind ensemble music has been

confined to short movements;; these are often pieces or trun-

cated sonata-forms. A need exists for woodwind ensemble

music which possesses stable musical ideas

An effort has been made in the writing of the quintet

for Woodwinds to exploit the individual characteristics of

the instruments involved and at the same time produce musi-

cal ideas which embody significant form, clarity of tonality,

harmonic style and melodic style. The tonality is basically

diatonic. Polytonal chords and fourth chords such as those

2

found in the First Movement, measures sixteen through nine-

teen (the six measures following rehearsal number r), areconstructed by deliberately combining melodic figures and

their variants vertically to form chords. The polytonal

chords present in the First Movement, measures twenty-seven

to forty-two (rehearsal number 9 and the measures follow-

ing) result from placing one melodic line over the other.

The melodic style of the Quintet for Woodwinds clearly

shows a predominance of melodic line over harmony. The

melodies present in some of the variations in the Fourth

Movement (Passacaglia) are reminiscent of sixteenth century

choral works or of an even earlier influence, that of the

French motet or plainsong.

The work is characterized by a consistent reiteration

of the principal ideas; figures in a melodic line recur as

polyphonic accompaniment; the components of a melodic line

often recur in inverted or variated form.

The Quintet for Woodwinds utilizes the conventional

instrumentation for a woodwind quintet, that is, flute,

oboe, clarinet (Bb), Horn in F,, and bassoon. In the Third

Movement (Playfully) the piccolo is to be used as an alter-

nate instrument with the flute.

CHAPTER II

ANALYSIS OF THE QUINTET FOR WOODWINDS

The quintet for Woodwinds consists of four movements:

the First iMovement (Fast) is a sonata-allegro; the Second

Movement (Legato, but moving) is a three-part song; the

Third Movement (Playfully) is a scherzo; the Fourth Movement

(Legato) is a passacaglia with canon.

First Movement

The First Movement of the Quintet for Woodwinds is in

sonata-allegro form. It is in quick 6/8 meter.

The principal theme is a. forceful melody utilizing

intervals of the fourth.

Fr( .)

Fig. N1-Principal theme (mm,. N1l)

3

The principal theme is composed of four distinct motifs.

In Figure 1 the first three motifs are labeled A, B, and C.,

The fourth motif is a diatonic scale figure; it is labeled

with an X. Throughout this analysis the four motifs in the

principal theme will be referred to by the terms motif A,

motif B, motif C and motif X.

The principal theme is introduced in the flute with

homophonic accompaniment. A codetta passage extends from

measure 12 (rehearsal number fl) to measure 15.

Motif A of the principal theme announces the restate-

ment of the theme in part extended by a codetta from measure

twenty to measure twenty-nine (rehearsal number 0).The introduction which has subtly entered in the bas-

soon extends for six measures from rehearsal number 0'tothe entrance of the subordinate theme in the seventh measure

after rehearsal number

Fig. 2--Subordinate theme (mm. 35-41)

The head-motif of the subordinate theme is a variated

inversion of motif A in the principal theme (Figure 1).

The subordinate theme is very martial in character.

5

march-like ground bass is iterated as accompaniment

to the subordinate theme.

Fig. 3--Ground bass (mm. 29-31ff.)

The ground bass is stated by the bassoon; it grew out of

the bassoon notes in the introduction to the subordinate

theme.

At rehearsal number the melody is taken over by

the flute and clarinet in octaves. The oboe and Horn comto

bine to provide a polyphonic accompaniment utilizing motifs

B and C of the principal theme.

The subito at rehearsal numberJ. marks the beginning

of a sixteen-measure developmental interlude. This inter-

lude is a conversation between motif A (Figure 1) and motif

X. At rehearsal number further development of ideas from

the principal theme involves a treatment of motif B (Figure

1).

A twenty-measure development of the subordinate theme

ensues at rehearsal number . Eleven measures of a re-

transition interlude prepare the recapitulation. In the

recapitulation of the subordinate theme (rehearsal number

j) the original minor theme is altered to sound in major.

6

An eight-measure coda at rehearsal number 111completes

the movement.

The F major tonality of the principal theme moves to

an F minor tonality in the subordinate theme. The develop-

ment section (rehearsal number fl to rehearsal number U)

treats the thematic material in various related tonalities,

The inversion of motif A of the principal theme pro-

vides what might be termed the harmonic basis of the First

Movement,, that is, a fourth chord. Measures one to four

contain a fourth chord built on D; measures five to seven

contain a fourth chord built on E.

Fig. 4--Fourth chords

Second Movement

The Second Movement of the Quintet for Woodwinds is in

three-part song form. It is multimetric with alternate 3/4

and 2/4 meter changing to 3/2 and 4/2 meter.A 4/4 measure

occurs once one measure before rehearsal number 02 as a

definition for a free solo passage.

Measure signature is indicated only at the beginning

of each multimetric section in the score. Thereafter,,

7

measures contain either two or three beats without meter

signature.

The A portion of the Second Movement features a

homophonic ground as accompaniment.

8sft

Fig. 5--Ground (mm. 1-4ff.)

The ground (Figure 5) is presented in the clarinet,

Horn and bassoon as an eight measure introduction to the

theme. The theme is characterized by the same type of

intervals present in the principal and subordinate theme

of the First movement.

Flo I

Civ' o~av[-t

-----E g

Fig. 6--Theme (mm. 8-41)

The theme is stated in measures eight through forty-

one by the flute and oboe in octaves. An eleven-measure

codetta ensues at measure forty-one (eight measures before

rehearsal number 1) in which Horn and oboe echo the

thematic fourth interval.

A change of meter signature from the 2/4 3/4 pattern

to almost consistent 2/4 measures occurs two measures after

rehearsal number 1J. Here begins a twenty-one-measure

episodic interlude in which the bassoon and flute offer

free solo passages. A stopped note on the Horn one measure

before rehearsal number 10 announces the end of the tran-

sition and the beginning of the long B portion of the

movement. This section encompasses the fifty-six measures

9

from rehearsal number E to rehearsal number . The

first twenty-eight measures Is a chorale fragmented by the

theme in diminution. The chorale melody is illustrated in

Figure 7. The phrases of the melody are separated by

double bars.

WIe

Fig. 7--Chorale (mm. 73-125)

An additional twenty-eight measures of repetition follows

(rehearsal number and ensuing twenty-eight measures).

Fig. 8--Theme in diminution (mm. 76-79)

The theme is featured in the Horn and bassoon. The

chorale is stated by the flute, oboe and clarinet in very

10

tense chords. The chorale phrases are interspersed with the

theme in diminution. The tense chords in the first twenty-

eight measures of the B portion (rehearsal number Q to

rehearsal number 9) are made even more tense by the addi-

tion of an interval of the fourth in the flute during the

second twenty-eight measures (rehearsal number f to re-

hearsal number

A retransition section ensues at rehearsal number

The multimetric 2/4 3/4 pattern returns, The length of the

retransition is almost one-half the original transition

which occurred in measures forty-nine to seventy-two (re-

hearsal number 9 to rehearsal number 9]),A codetta passage occurring thirteen measures before

rehearsal number E prepares the recapitulation of the

A portion. A final twelve-measure coda completes the

movement.

Third Movement

The Third Movement of the quintet for Woodwinds .is a

scherzo. .A nine measure introduction announces the motif

upon which the movement is based thematically.

Fig. 9--Thematic motif (mm. 3-10)

11

The principal theme ensues at measures ten through

eighteen (rehearsal number M to rehearsal number

4U

Fig. 10--Principal theme (mm. 10-18)

The subordinate theme ensues at measures twenty-one

through twenty-nine (two measures after rehearsal number Qto rehearsal number 3. The subordinate theme is in the

relative minor key,,E minor. The principal theme returns

at rehearsal number.

Fig. ll--Subordinate theme (mm. 21-25)

The melodic style of the principal theme (Figure 10)

and the subordinate theme (Figure 11) resembles that of the

principal and subordinate themes in the First Movement

(Figures 1 and 2) and in the theme of the Second Movement

(Figure 6).

12

The trio occupies measures thirty-seven to sixty-eight

(rehearsal number 9 to one measure before rehearsal. number

[9 ). The contrasting trio theme features the piccolo

(Figure 12)o

Fig. 12--Trio theme (mm. 41-44)

Recapitulation occurs at rehearsal number Q to the

measure before rehearsal number [. A very short codetta

at rehearsal number 8 echoes material used in the intro-

duction (measures one to eight). This concludes the Third

Movement.

Fourth Movement

The Fourth Movement of the Quintet for Woodwinds is a

passacaglia with canon. The passacaglia theme, which is in

3/4 meter, is announced in the bassoon in measures one to

eight (Figure 13),

13

Fig. 13--Passacaglia theme (mm. 1-8)

The first variation consists of two parts. In part one

(measures nine through sixteen) a simple harmonization in

the oboe and clarinet presents a chord scheme utilized in

variations one, two and seven (Figure 14).

Fig. 14--Chord scheme (mm. 9-33)

In part two of the first variation (rehearsal number Wto rehearsal number 9) the chord scheme is inverted in the

flute and oboe over a counter-melody in the clarinet (Figure

15) and the passacaglia theme in the bassoon (Figure 13).

- rnspoe& -eIL_ _

OW_ 4

Fig. 15--Counter-melody (mm. 16-33)

14

In the second variation the flute repeats the counter-

melody presented in the clarinet in part two of the first

variation (Figure 15) an octave higher with added notes.

The passacaglia theme appears in the Horn (rehearsal number

0 to ).

The third variation (rehearsal number to rehearsal

number 49) features a variated version of the passacaglia

theme in the flute. The intervals between the eighth notes

in the oboe and clarinet accompaniment figures describe the

chord scheme (Figure 14) transposed into a new key, .G minor

(Figure 16).

Fig .16--Chord scheme in G minor (mm. 25-33)

The fourth and fifth variations (rehearsal numbers 9to 1j) feature a staccato accompaniment to a solo statement

of the passacaglia theme. In both of these variations the

accompaniment is harmonically free.

In the sixth variation (rehearsal numbers to7)

the passacaglia theme is outlined by a staccato note in a

different voice on each of the strong beats within the passa-

cagliae elody. This is illustrated in Figure 17.

15

Fig. 17--asacaglia theme outlined in sixth, variation(m. 59**61).

In Figure 17 the passacaglia theme is outlined In the whole-"

notes. The whole-notes are merely symbol and do not appear

in -the score

In the seventh variation the 3/4 meter changes to 9/8

meter. A melodic embellishment of the passacaglia theme

appears in the oboe from rehearsal number " to rehearsal

number 8. Two augmented variations of the passacaglia

thene in the flute and clarinet provide canonic accompani-

ment to the oboe melody (Figure 18).

16

LS ri. -1

rzzrf_

Fig. l8-Passacaglia theme in augmentation as canonicoccompanimnent (mm. 46-53).

At rehear sal number Qthe embellished theme in the

oboe is doubled with the bassoon at an octave. The chord

scheme used in the first and second variations (Figure 14)

reappears in the flute, oboe and Horn as accompaniment.

In the eighth variation (rehearsal number 9 ) the.

3/4 meter returns. In this variation the passacaglia theme

is outlined by various instruments (Figure 19) in much the

same manner as the sixth variation (Figure 17).

17

Fig. 19 Passacaglia theme outlined in the eighthvariation (mm. 84*085).

In Figure 19 the notes of the theme have been enclosed by

aQ.

The canon begins at rehearsal number R101. This ais a

double canon in which the counter-melody in the first and

second variations (Figure 15) is treated as a two-voice canon

in octaves by the flute, oboe and clarinet. The passacaglia

theme appears as a canon at an octave in the Horn with the

two-voice counter-melodic canon. The bassoon enters canon-

ically, treating the passacaglia theme in augmentation

(Figure 20).

Fig. 20--Passacaglia theme in augmentation as a canon(mm. 84-93).

18

At rehearsal number the embellished melody of the

seventh variation returns as a canon. The counter-melody

returns five measures after rehearsal number . A 'false

entrance of the counter-melodic canon occurs in the Horn

seven measures after rehearsal number 111. A triumphant

six measure tutti passage- close the movement.

The over-all texture of the Fourth Movement is thick

with the exception of the third variation and part one of

the seventh variation (rehearsal number , to El).The tonality of the Fourth Movement centers around

D minor with the exception of the third variation (rehearsal

number 9 to ) which is in G minor.

CHAPTER III

REDUCED ANALYSIS

The following tables illustrate the form and thematic

development within each of the four movements of the

Quintet for Woodwinds. The figure numbers in parentheses

refer to the illustrations in Chapter II.

TABLE I

THE FORM AND THEMATIC DEVELOPMENT OFTHE FIRST MOVEMENT OF THE

QUINTETT FOR WOODWINDS

Portion

Expositionof

principaltheme

Expositionof

subordinatetheme

Material

Motif A (Fig. 1)Notif B (Fig. 1)Motif C (Fig. 1)imotif X (Fig . 1)Codetta--nmotifs -C

(Fig. 1)Potif A (Fig. 1)Codetta--motifs A

(Fig, 1).

and X

Introduction-ground bass(Fig. 3)

Subordinate theme (Fig, 2)Subordinate theme (Fig. 2)4th chord (Fig..4)Subordinate theme (Fig. 2)Codetta

19

Measi-ures

Extend-ing to

- --- -- -

432I

54

9

6672

125

479.

10

1519

28

344047496166

20

TBLE. I--Continued

Portion Material Meas- jExtend-ures ing to

Developmentof

principaltheme

Developmentof

subordinatetheme

Recapitula-tion of

principaltheme

Recapi tula-tion of

subordinatetheme

Coda

Total

Interlude--nmotifs A and X(Fig. 1)

Motifs B and X (Fig. 1)

Subordinate theme material(Fig. 2)

Subordinate theme (Fig. 2)Interlude-.-motif X (Fig. 1)

Motif A (Fig. 1)Motif B (Fig. 1)Motif C (Fig. 1)Motif X (Fig., 1)Codettaw-motifs C and X

(Fig. I)Motif A (Fig, 1)otif s B and C (Fig. 1)

Motif K (Fig. 1)

Subordinate theme and groundbass- (Figs. 2 and 3)

Motif A, B and K (Fig. 1)

1610

919

3

4321

5433

17

8

I173

8292

101120123

127130132133

138142145148

165

173

173-t ________________________________ .1

. .a .a .a .a .a .a ." ,a .a .a .a ." .a ,a

21

TABLE II

THE FORu AND THEMATIC DEVELOPMENT OFTHE SECOND MOVEMENT OF THE

QUINTET FOR WOODWINDS

Portion Material Meas- Extend-uresm ing to

A portion

Transition

B portion

Retransition

Recapi tula-tion of

A portion

Total

Ground (Fig. 5)Theme (Fig. 6)Codettaa

Interlude

Chorale (Fig. 7)Theme in diminution (Fig. 8)Chorale (Fig. 7)Theme in diminution (Fig. 8)Chorale (Fig. 7)Theme in diminution (Fig. 8)Chorale (Fig.,7)Theme in diminution (Fig. 8)Chorale (Fig. 7)-Theme in diminution (Fig. 8)Chorale (Fig. 7)Theme in diminution (Fig. 8)Chorale (Fig. 7)Theme in diminution (Fig. 8)Chorale (Fig. 7)Theme in diminution (Fig. 8)

InterludeCodetta passage

Ground (Fig. 5)Theme (Fig. 6)Coda

IN

73410

21

3525342434343323

1413

73412

205

74151

72

75808287909496

100103107110114117120122125

139152

159193205

205- -0 -0 -0 -0 -0 -0 -0 -0 -0 .0 .0 .0 .0 .0

22

TABLE III

THE FORM AND THEMATIC DEVELOPMENT OFTHE THIRD iiOVEENT OF THE

QUINTET FOR WOODWINDS

Portion Material Meas- Extend-ures ing to

Introduction Thematic motif (Fig. 9) 9 9

Scherzo--A Principal theme (Fig. 10) 9 18portion Introductory material 2 20

Subordinate theme (Fig. 11) 8 28Principal theme (Fig. 10) 9 37

Trio Introductory material 2 39B portion Trio theme (Fig. 12) 29 68

Recapitula- Principal theme (Fig. 10) 9 77tion Introductory material 2 79

A portion Subordinate theme (Fig, 11) 8 87Principal theme (Fig. 10) 9 96Godetta--thematic motif

(Fig. 9) 2 98

Total . . . . . . . . . . . . . . . 98 98

TABLE IV

THE FORM OF THE FOURTH MOVEMENTOF THE QUINTEhT FOR WOODWINDS

Portion I material Iveas-IExtend-

ures ing to

Statementof

passacagliatheme

Theme (Fig. 13) 8 8

23

TABLE IV-Continued

Portion Material Meas- Extend-

ures ing to

First varia-tion--part

one

part two.

Secondvariation

Thirdvariation

Fourth andfifth vari-

ations

Sixthvariation

Seventh vari-ation--part

one

part two

Eighthvariation

Canon

Theme with chord scheme(Figs.. 13 and 14)

Theme with inverted chordscheme (Figs. 13 and 14)with counter-melody(Fig. 15)

Theme with counter-melody(Figs; 13 and 15)

Theme transposed with 0 minorchord scheme (Figs. 13 and16)

Theme with harmonically freeaccompaniment (Fig, 13)

Theme outlined in staccatonotes, (Fig.. 17)

Theme as embellished melodywith theme in augmentationas canonic accompaniment(Fig. 18)

Theme as embellished melodywith chord scheme (Figs, 18and 14)

Theme outlined in sixteenthnotes (Fig. 19)

Counter-melodic canon withthematic canon, theme inaugmentation (Figs. 15 and20)

8

8

9.

8

17

9

8

8

10

16

24

33

41

58

67

75

83

93

11320

24

TABLE IV-MContinued

Portion .Material Meas- Extendl-ures ing to

Embellished melody as canon(Fig, 18) 10 123

Closing tutti passage 6 129

Total -0.I- - -0 - - -0 - -0 .0.0. 129 129

GHAPTER IV

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