THE PRAYER OF DANIEL: FOR FLUTE (WITH ALTO FLUTE), CLARINET (WITH BASS

CLARINET), VIOLIN, CELLO, DOUMBEK, PERCUSSION, PIANO, BASS BARITONE

VOICE, AND MEN’S CHORUS

Jason Gutierrez , B.M.

Thesis Prepared for the Degree of

MASTER OF MUSIC

UNIVERSITY OF NORTH TEXAS

August 2003

APPROVED:

Joseph Butch Rovan, Major Professor Cindy McTee, Major Professor Paris Rutherford, Minor Professor James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse

School of Graduate Studies

Gutierrez, Jason, The Prayer of Daniel: for flute (with alto flute), clarinet

(with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone

voice, and men’s chorus, Master of Music (Composition), August 2003, 45 pp.,

30 illustrations, 30 references.

The Prayer of Daniel is a chamber piece in the style of an oratorio for

vocal bass-baritone soloist, flute doubling on alto flute, B flat clarinet doubling on

bass clarinet, violin, cello, piano, percussion on vibraphone and marimba,

doumbek (a middle eastern drum), and men’s chorus (TTBB). The approximate

duration is thirty minutes.

The text comes from the Old Testament book of Daniel, Chapter 9 verses

4 through 19. In these passages the prophet Daniel rends from his heart a prayer

of repentance, mercy and forgiveness on the behalf of a fallen nation. The

harmonic language of the composition combines both classical contemporary and

jazz sonorities. The rhythmic language is drawn from the meter of the text, and is

used to underscore the emotion of the prayer. These elements combine to form a

rich music experience that conveys the penitent heart of the prophet Daniel.

TABLE OF CONTENTS

PageList of Illustrations ………………………………………………………………. iii Chapter

1. Introduction The Prayer of Daniel ………………………………………………………. 1Motivation …………………………………………………………………. 3

2. Materials

Text…………………………………………………………………………. 6Ensemble…………………………………………………………………… 9

Bass-baritone……………………………………………………….. 9Piano………………………………………………………………... 12Doumbec…………………………………………………………… 16Flute………………………………………………………………… 20Clarinet……………………………………………………………... 21Violin……………………………………………………………….. 22Cello………………………………………………………………... 23Percussion ………………………………………………………… 25Men's Chorus……………………………………………………….. 27

3. Musical Identities

Pitch Material ……………………………………………………………. 30Rhythmic Identities ……………………………………………………... 34

4. Conclusion …………………………………………………………………. 40

Appendix 1 .……………………………………………………………………….. 41

Appendix 2 ………………………………………………………………………... 43

Bibliography ……………………………………………………………………….. 44

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LIST OF ILLUSTRATIONS

Figure Page

1. Bass-baritone, mm. 419-426……………………………………………… 11

2. Bass-baritone, mm. 366-370……………………………………………… 11

3. Bass-baritone, mm. 452-456……………………………………………… 12

4. Grieg Piano Concerto in A minor, second theme, mm. 23-26…………… 13

5. Piano and Bass-baritone, mm. 42-46……………………………………... 13

6. Sweeping ensemble passage, mm. 98-100……………………………….. 14

7. Piano and Bass-baritone, mm. 102-106…………………………………... 14

8. Piano, mm. 25-28………………………………………………………… 15

9. Piano bravura, mm. 68-69………………………………………………... 15

10. Doumbec, Flute, and Piano. Opening figure, mm. 1-3…………………… 17

11. Doumbec, Bass-baritone, and Piano, mm. 91-94………………………… 18

12. Doumbec with ensemble. Tutti passage, mm. 134-136…………………... 19

13. Alto-flute. Opening line, mm. 1-3………………………………………... 20

14. Clarinet, mm. 23-25………………………………………………………. 21

15. Bass-clarinet, mm. 35-40…………………………………………………. 22

16. Violin duet with cello, mm. 313-318……………………………………... 23

17. Cello and Bass-baritone, mm. 43-46…………………………………….. 23

18. Cello and Bass-baritone, mm. 52-58……………………………………... 24

19. Solo Cello, mm. 8………………………………………………………… 24

20. Solo Vibraphone, mm. 71-78…………………………………………….. 25

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21. Vibraphone and Bass-baritone, mm. 273-278……………………………. 25

22. Marimba and Doumbec, mm. 326-328…………………………………… 26

23. Marimba and Piano, mm. 61-62………………………………………….. 27

24. Bass-baritone and Men’s Chorus, mm. 329-331…………………………. 28

25. Bass-baritone and Piano, mm. 18-24……………………………………... 30

26. The octatonic mode used as the basis for melodic material……………… 31

27. Interval set derived from the exploitation of a second…………………… 32

28. Solo flute figure, mm. 32-35……………………………………………... 32

29. Bass-baritone and Piano, mm. 28-32……………………………………... 33

30. Alto-flute. Opening line, mm. 1-3 ..……………………………………… 35

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1. INTRODUCTION

The Prayer of Daniel

The Prayer of Daniel is a chamber piece in the style of an oratorio for vocal

baritone soloist, C flute with alto flute doubling, B-flat clarinet with bass clarinet

doubling, violin, cello, piano, percussion on both vibraphone and marimba, doumbec, and

men’s chorus. The approximate performance time is 30 minutes. The text for The Prayer

of Daniel is found in the Old Testament book of Daniel, Chapter 9:4-19. The prayer was

written during the exilic period in Israel’s history at the time of the Babylonian captivity,

approximately 538 B.C. It is estimated1 that Daniel wrote this prayer when he was

approximately 90 years old, after being in captivity nearly all his life. Daniel recalls the

words of the prophet Jeremiah2 in chapter 9:2, hopeful that Israel would be nearing the

end of a 70-year exile.

The baritone soloist appears as Daniel, a prophet to captive Israel, who rends from

his heart a prayer of repentance, forgiveness and mercy on the behalf of a fallen nation.

This prayer comes as a reaction to the vision he was given in chapter 83 of a “little horn”

that would cause the desolation of many. The vision Daniel recorded in chapter 8 was so

powerful that Daniel wrote; “I, Daniel, was exhausted and lay ill for several days… I was

appalled by the vision; it was beyond understanding.”4 Shortly after having this vision,

Daniel witnessed the overthrowing of Babylon by the Medes. Although the ability of God

to return Israel back to their land was not in question, Daniel may have had questions as

1 McGee, Vernon J. Daniel. Through the Bible Commentary Series. 26 vols. Nashville, Tennessee: Thomas Nelson, 1975. pp.145. 2 Jeremiah 25:11 NIV, This whole country will become a desolate wasteland, and these nations will serve the king of Babylon seventy years. 3 Daniel 8, verses 23-25. 4 Ibid. verse 27.

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to the intent of the new regime toward his people. Aside from this question, Daniel’s

prayer is inspired by God’s faithfulness to his word. In the same way that God had

delivered Israel from the Egyptians, Daniel had faith God would certainly deliver them

home.5

The prayer recorded in the book of Daniel is a prayer that recognizes the holiness

of God, the sinfulness of a nation, the acceptance of punishment, the need for repentance

and the reconciliation of “the people who are called by his name.”6 My goal in

composing The Prayer of Daniel was to create a piece of music that conveyed the

spiritual aspect of Daniel, and to imply that the idea of repentance and turning to God is

the beginning of healing. Upon the completion of the temple in Jerusalem, the Lord

appeared to Solomon and said:

… if my people, who are called by my name, will humble themselves and pray and seek my face and turn from their wicked ways, then will I hear from heaven and will forgive their sin and will heal their land. (2 Chronicles, 7:14 NIV)

This paper will focus on the process I used to create the composition. I do not

discuss the measure-by-measure details of the composition, though I will refer to certain

passages to illustrate key points. I begin the first chapter of this document by discussing

my motivation for writing this piece. Next, I explore the materials that I used in the

composition itself. In addition to a discussion of the text, I discuss the makeup of the

ensemble, and key elements that make this piece unique. Finally, in the third chapter by

discussing the rhythmic elements of this project, I demonstrate how these elements are

brought together to achieve my goal.

5 Jeremiah 30:3. 6 Daniel 9:19

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Motivation

During the fall of 1999, as we approached the turn of the millennium, I was

involved in a study of the Old Testament book of Daniel. Familiar to me were the stories

of Daniel in the Lion’s den and of the handwriting on the wall, but I knew little of the

eschatological content within the last five chapters of this book. It was these chapters that

inspired me to compose a piece which I felt related to aspects of our current geo-political

climate.

During the last months of 1999, rumors of disaster circulated concerning the

Y2K7 bug as panic-gripped people stocked their shelves with tuna and water. In October

of 1999, the New York Times Magazine posted a story on its website titled “Israel’s Y2K

Problem”8. The first paragraph of this story clearly outlined the spiritual significance of

the Temple Mount for Jews, Christians, and Muslims as writer Jeffrey Goldberg posits:

“Will the peace process be stalled by the apocalypse?” The myriad of news stories and

various speculative reports appeared to indicate within the global community (as we

approached this event in history) that concerns surrounding peace were at a fevered pitch.

As we looked forward to this millennial milestone with hope that a new century

would usher in an era of peace on earth, so did Daniel in his day look forward to the end

of exile and a renewing of God’s people to the land of their forefathers. The very same

night that Daniel revealed the meaning of the handwriting on the wall to Belshazzar,

7 Year 2000 8 Goldberg, Jeffrey. Israel's Y2K Problem. 3 Oct. 1999. The New York Times Magazine. 20 Apr. 2003 <http://www.library.cornell.edu/colldev/mideast/isry2k.htm>.

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King of Babylon, Darius the Mede slew Belshazzar, beginning a new regime in Babylon.9

It was then that Daniel made his passionate plea for mercy and deliverance. Although

Israel returned to their land from exile, Daniel did not. Shortly after Daniel’s death, a

decree went out in the first year of the reign of Cyrus. It read:

This is what Cyrus king of Persia says: “The LORD, the God of heaven, has given me all the kingdoms of the earth and he has appointed me to build a temple for him at Jerusalem in Judah. Anyone of his people among you-may the LORD his God be with him, and let him go up.” (2 Chronicles 36:23)

The “millennium”, or event, that Daniel looked forward to had come to a new

generation of people who had never worshipped in the land of his forefathers. As this was

Daniel’s hope, it was also Daniel’s distress to know that one day the “little horn”10—

known to history as Antiochus Epiphanes of Syria—would desecrate the temple and seek

to exterminate the Jews.11 During the biblical period known as the tribulation12, a

person—identified as the Anti-Christ—will attempt to do the same as he sets himself up

as a god in the temple.

As I read Daniel’s prayer, I am amazed how relevant this 2700-year-old prophecy

is, and how I share some of the feelings that Daniel may have had. Daniel was sensitive

to the holiness of God that produced in him genuine feelings of remorse as he reflected

on the sins of his nation. Daniel also had the promise of God that the time would come

when they would return to the land. God had delivered Israel in the past, and there was

every confidence that he would keep his word to bring an end to this exile. In this prayer,

9 Daniel 5:30 NIV. 10 Daniel 7:11 11 McGee, Vernon J. Daniel 12 Revelation 13:6-8

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Daniel’s heart was not focused on his own desires; instead, he desired that God would be

glorified in the restoration and reconciliation of the people and city that bear his name.

I believe that Daniel’s prayer is a model for nationalistic prayer. Daniel affirms

his relationship to God by acknowledging God’s sovereignty, by confessing the sins of

his nation, accepting God’s just punishment, and asking for forgiveness and

reconciliation. Daniel prayed for mercy not for the sake of Israel, but for the sake of the

name of God. For, if it appeared that God mercilessly punished his own people, how

would he regard the nations of the world?

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2. MATERIALS

The Text

The text was the first element I took into consideration as I formed my concept of

this piece. Earlier, I showed the historical context in which Daniel prayed. In this section,

I will illustrate the emotional drive of Daniel’s prayer by examining the prior verse and

its relation to the prayer itself. My intention is to show how Daniel’s emotional drive

contributed to the overall inspiration of this composition.

The book of Daniel 9:3, gives us an indication of the passion Daniel had for

prayer. Describing the manner in which he prayed, Daniel wrote:

So I turned to the Lord God and pleaded with him in prayer and petition, in fasting, and in sackcloth and ashes.13 Pleading and turning to God demonstrates Daniel’s recognition of God’s

omnipotence, his sovereignty over Israel, as well as his own life. Daniel’s faith gave him

the assurance that God’s providence extended beyond that of his Medo-Persian captors.

Daniel’s faith was demonstrated during the same historical period as his prayer, when he

was thrown into the lion’s den14. This event was one of many events in Daniel’s life

where God had proved his faithfulness by delivering him from certain disaster. Daniel

wrote:

When he (Darius) came near the den, he called to Daniel in an anguished voice, "Daniel, servant of the living God, has your God, whom you serve continually, been able to rescue you from the lions?" Daniel answered, "O king, live forever! My God sent his angel, and he shut the mouths of the lions. They have not hurt

13 Daniel 9:3 14 We learn from Daniel 9:1 that this prayer historically took place in the first year of the reign of Darius, who was deceived into putting Daniel into the lion’s den, as read in the book of Daniel 6.

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me, because I was found innocent in his sight. Nor have I ever done any wrong before you, O king." 15 The fruit of Daniel’s devotion and faithfulness to God were demonstrated in his

deliverance from certain death. In this same way, Daniel’s prayer also demonstrates his

assurance, based not only on a lifetime of events, but also on historical events such as the

exodus from Egypt. Daniel recalls this event in his prayer, verse 15:

“Now, O Lord our God, who brought your people out of Egypt with a mighty hand and who made for yourself a name that endures to this day.”

Daniel lived in the assurance that God’s sovereignty and providence extended over Israel,

beyond their captors. Daniel knew that God would end the captivity of Israel and allow

them to return to their land.

The fervency of Daniel’s prayer is displayed in the words “… in fasting,

sackcloth, and ashes.”16 Fasting in sackcloth and ashes was not unheard of during times

of intense prayer and petition. Throughout the Old Testament, there are numerous

accounts of this type of concentrated prayer.

Sackcloth and ashes are used in the Bible as a means to outwardly symbolize an

inward state of repentance and mourning. The traditional use of ashes signifies the

sinfulness of mankind in contrast with the holiness of God. Easton's Bible Dictionary

describes the meaning of covering ones head with ashes as a token of self-abhorrence and

humiliation.17

In addition to ashes, sackcloth was worn as a means to intensify mourning. The

Smith's Bible Dictionary defines sackcloth and its use as:

15 Daniel 6:20 - 22 16 Daniel 9:3 17 Easton, Matthew George. Entry for 'Ashes'. Easton's Bible Dictionary. 28 Apr. 2003 <http://www.studylight.org/dic/ebd/view.cgi?number=T338>.

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Cloth used in making sacks or bags, a coarse fabric, of a dark color, made of goat’s hair, (Isaiah 50:3; Revelation 6:12) and resembling the eilicium of the Romans. It was used also for making the rough garments used by mourners, which were in extreme cases worn next to the skin. (1 Kings 21:27; 2 Kings 6:30; Job 16:15; Isaiah 32:11)18

By wearing this coarse uncomfortable material, Daniel demonstrated that the

circumstances of Israel and the glory of God concerned him more than his physical

needs. Daniel makes his plea for mercy because he is concerned about the name of God,

as seen in the last line of the prayer:

For your sake, O my God, do not delay, because your city and your people bear your Name.19

Daniel suggests that the continuing captivity of God’s covenant people, past its prophetic

end, would be seen by other nations as the unfaithfulness of their deity. Daniel knew that

God acts not mercifully because men claim righteousness, rather that God is wholly

righteous and merciful. In other words, God’s mercy is not dependent upon the good

deeds of people, but of his nature. Likewise regarding the exodus, Moses wrote:

God heard their groaning and he remembered his covenant with Abraham, with Isaac and with Jacob. So God looked on the Israelites and was concerned about them.20

The third verse of chapter 9 adds depth to the emotional content of this prayer,

revealing several key elements I portray in the setting of this text; Daniel’s remorse over

sin, the holiness of God, acceptance of guilt and punishment, and the assurance of God’s

promises to reconcile with his people. The affection embedded in the third verse adds

18 Smith, Dr. William. Entry for Sackcloth. Smiths Bible Dictionary. 28 Apr. 2003 <http://www.studylight.org/dic/sbd/view.cgi?number=T3700>. 19 Dan. 9:19 20 Exodus 2:24-25

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depth to the character and piety of Daniel, seen not only in this prayer, but also in the

entirety of his life. It was only after analyzing the verse preceding this prayer that I could

appreciate the emotionally charged atmosphere of the prayer itself. It was my

appreciation of Daniel’s penitence that became the cornerstone for my overall conception

of this piece.

Ensemble

In this section I will briefly discuss each member of the ensemble and their

musical roles. I will present these members in three hierarchical groups, each member in

order of musical and overall conceptual involvement. I have grouped these into core

group members (Bass-baritone, Piano, and Doumbec), essential ensemble (Flute,

Clarinet, Violin, Cello, and Percussion), and the added element of men’s chorus. I made

it a point to feature each instrumentalist, in some way, during the course of this

composition.

Core Group: Baritone-bass

Given the nature and author of this text, I felt that the vocal role of Daniel would

best be cast as a Bass-baritone. As I researched the text in the early phases of composing

melodic material, I imagined a vocal line with a solid lower range, a warm round tone,

with the ability to project in the upper range at full volume. My conception of the

baritone part required the lyric ability and sensitivity to express sorrowful prayer in the

upper range, mezza-voce. My interpretation of the text and analysis of Daniel’s writing,

aided me in visualizing the vocal color that I needed to portray wisdom in prayer.

9

In the nineteenth-century composition by George Fredrick Bristow, The Oratorio

of Daniel21, the part of Daniel was also cast as a baritone. A brief analysis of the tessitura

assigned to the baritone reveals a melody that floats in the upper vocal range in many of

the solo parts throughout this work. However, in the ninth section titled “Aria”, Bristow

explores a wider vocal range, as Daniel sings a song of praise to the Lord. The aria begins

with a simple chant-like melody, on the text “Blessed be the name of God forever.” The

melody begins on middle c’22 and expands down a fifth to f. The secondary melody uses a

wider range from B to d’, in contrast to the opening theme’s f to c’ range, singing of

God’s wisdom and might. This secondary theme culminates in a heroic crescendo

returning to the upper baritone range on c’. Bristow paints the next portion of text, “... of

deep and secret things” by dropping the range from f’ down to G. Once again there is a

gravitational return to the original melody on c’. Finally at the end of this aria, the

baritone leaps an octave to a high f’, double forte, making its way downward by way of

an F major arpeggio. Although Bristow does visit the baritone’s lower range, his

interpretation of Daniel focuses the baritone in the upper range. This is in contrast to The

Prayer of Daniel, where I center the tessitura on the staff in the baritone’s strong middle

range, between A and a’, for much of the setting. I attribute the differences in the center

of melodic gravity to Bristow’s Daniel being much younger than my Daniel. Bristow’s

21 Bristow, George Fredrick. The Oratorio of Daniel. Ed. David Griggs-Janower. Madison, WI: A-R Editions, Inc., 1999. 22 I will be using the Helmholtz nomenclature system to indicate pitch and octave. LLoyd, LLewelyn S, and Richard Rastall. Pitch Nomenclature. The New Grove Dictionary of Music Online ed. L. Macy. 1 May. 2003 <www.grovemusic.com>. See Appendix 2, pg. 43.

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Daniel was set in the beginning of the Babylonian exile, whereas my Daniel is portrayed

near the end of his life and exile.

The vocal tessitura in The Prayer of Daniel is in the lower baritone range [A – a],

where the voice starts quietly and somberly flowing from section to section in arching

lines. These lines continue to ebb and flow, building to the climactic end in the upper

vocal range. This differs from Bristow’s Daniel as the distribution of pitches is weighted

lower in comparison.

Fig. 1. Bass-baritone, mm. 419-426.

This example shows that while the range rises above the staff, it then descends into the

resonant and comfortable baritone range. Although the majority of the baritone’s pitches

are in the mid to low range, the upper range is called upon to portray areas of sensitivity

and strength.

Fig. 2. Bass-baritone, mm. 366-370

In the above passage, Daniel pleads for God to turn away his anger and wrath. The

melodic line compliments this sentiment with gentle melodic phrasing in the upper range

of the baritone. This combination of range and dynamic exemplified in figure 2

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demonstrates the expressive use of the upper baritone range used in The Prayer of

Daniel.

Another application of the upper range is seen in the climactic ending, where the

baritone melody peaks on an f’ double forte as Daniel articulates the height of his

emotional plea: “For your sake, O my God, do not delay, because your city and your

people bear your Name.”23

Fig. 3. Bass-baritone, mm. 452-456.

This example, beginning on f, builds towards the climactic ending in a series of arching

phrases, finishing with a large heroic leap into the upper range that ends an octave above

on f’. This use of the upper range is less prevalent, but as we see both this example (fig. 3)

and the previous example (fig. 2), appropriately reflect the emphatic nature of the text

they portray.

Piano

My first instrumental consideration in scoring this piece naturally led me to the

piano. Without stating the obvious virtues of the piano to accompany the voice, the piano

has a tremendous capacity for expression and support in virtually all areas of a chamber

ensemble. My own experience as a pianist contributed to the overall style in which I

composed its ensemble, solo, and accompanying roles.

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23 Daniel 9:19

The accompanying role of the piano focused on supporting the baritone part, from

washes of sound in the pedal, to flowing arpeggiated voicings of the melodic line. Rarely

does the piano depart from supporting the baritone while he is singing. The performance

style in which I wrote the piano part combines elements of nineteenth-century romantic

figurations with elements of twentieth-century contemporary tonal structures. I will

discuss the harmonic identities used in this composition later in section three.

I found inspiration for a large part of the romantic accompaniment writing in the

romantic “Concerto for Piano in A Minor” by Edvard Grieg.

Fig. 4. Grieg Piano Concerto in A minor, second theme, mm. 23-26.

Fig. 5. Piano and Bass-baritone, mm. 42-46.

Looking at these two excerpts, we see the similarity in the singing cantabile playing

style, the fundamental movement in the bottom voice, and the flowing arpeggiated chord

movement in the inner voices. The result is an accompaniment that is rich in sonority,

making it easier for the vocalist to sing against the contemporary harmonic structures.

13

The secondary role of the piano is that of an ensemble player. Invariably the piano

oscillates between these two roles, accompanying the baritone and interacting with the

rest of the ensemble. In this example, the piano acts in concert with the ensemble,

completing a sweeping figure initiated by the winds and strings.

Fig. 6. Sweeping ensemble passage, mm. 98-100.

Immediately upon finishing this gesture, the piano returns to its supportive role.

Fig. 7. Piano and Bass-baritone, mm. 102-106

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An example of the pianist’s function in the ensemble comes in the second section

of the piece, beginning on measure 132. This section begins with a rhythmic cue from the

doumbec and the vocal line. Here, the piano abandons the baritone to play with the

ensemble. This departure lasts for 20 measures before the piano returns to accompany the

baritone in measure 152. Eight measures later, in measure 160, there is a downward shift

in tempo by means of metric modulation as the piano accompaniment drops out

altogether, favoring melodic support from the flute.

In addition to the ensemble duties of the piano, there are moments of brilliance

where the piano performs sweeping virtuosic passages. For example, in measure 25 – 28,

a dark wash of sound begins in the piano’s lower register that turns into a high sweeping

figuration ending in the piano’s upper range (fig. 8).

Fig. 8. Piano, mm. 25-28.

Fig. 9. Piano bravura, mm. 68-69.

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Beginning in measure 68, we see another example of piano bravura. This gesture

builds upon the climax of baritone and chorus by means of a rapid arpeggiation, ending in

a chromatic run that explodes in a release of sound from three successive cluster chords.

My conception of the piano is shown in these examples to serve several functions

in this composition. The pianist serves in the primary role of accompanist, and also

interacts in concert with the ensemble. We have seen that the piano will perform with the

ensemble apart from the vocalist, but that this departure is short-lived as the piano

quickly returns to its primary role. Lastly, the piano writing is marked with deep washes

of sound, brilliant sweeping bravura, and virtuosic passages.

Doumbec

The unique timbre of the doumbec was critically important to my conception of

this composition. Named after the three primary sounds it produces, doum – ka – tek24,

this middle-eastern hand drum’s character adds a dimension of location to this piece that

helps transport the listener to ancient Babylon. The doumbec also provides a musical

structure that assists the composition by heightening suspense in ensemble passages, by

providing rhythmic focus, and by providing rhythmic reinforcement to the ensemble. In

general, the doumbec stands as a symbol of the passionate heart of Daniel, as unique in

this ensemble as Daniel was unique amongst his people.

24 About the doumbek drum. Full Circle Drums. Full Circle Drums. 3 May. 2003 <http://www.fullcircledrums.com/about3.htm>.

16

Fig. 10. Doumbec, Flute, and Piano. Opening figure, mm. 1-3.

The doumbec is the first and last instrument to be heard in The Prayer of Daniel.

The sudden attack of the doumbec, followed by the pensive flute line, serves to initiate a

perceptual shift to the Middle East where this drama occurs.

In this example (fig. 10) we see the sudden attack of the doumbec followed by a

tremolo. The piano adds a thrust of sound to this opening gesture as the alto flute plays an

arching line comprised of sweeping figurations and driving rhythm. As this gesture is

played a second and third time, the doumbec forms a backdrop to the introspective mood

created by the ensemble.

The doumbec also fulfills a supportive role by providing rhythmic stability under

sparse ensemble writing. This type of support first occurs beginning in measure 79, and

continues to measure 120. We see an example of this in measure 91 where the baritone

enters accompanied by piano and doumbec.

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Fig. 11. Doumbec, Bass-baritone, and Piano, mm. 91-94.

In this example, the doumbec provides a steady rhythmic pattern as the voice

executes its own rhythmically simple line. As with the voice, the piano offers little

rhythmic stability to this passage. The role of the doumbec here is to provide contrast,

rhythmic interest and metric stability, as the other parts float in the foreground with the

melody.

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Fig. 12. Doumbec with ensemble. Tutti passage, mm. 134-136.

The doumbec is also used to reinforce the ensemble by accenting tutti passages.

This type of reinforcement can be seen beginning in measure 134. In this example we see

the doumbec playing in rhythmic unison with the ensemble, resulting in added “punch” to

the accented structures. This also has the effect of increased contrast between ensemble

passages and the solo figures occurring in measures 135, 139, 142, and 148.

The three forms of writing I have described––suspenseful and contemplative,

rhythmic stabilizing, and supportive of ensemble passages––serve as constructs that

support the dramatic goals of the ensemble.

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Essential Ensemble

The essential ensemble is comprised of the remaining instruments, namely the

flute, clarinet, violin, cello, and percussion. In this section I will briefly discuss the nature

of each part.

Flute

The flutist in this piece doubles on alto flute. The primary role of the flute is

identified by the harmonic support it provides to the ensemble. Naturally, I have also

engaged the flutist’s ability to play complex passages on both C and alto flutes. As such,

the warm round tone produced by the alto flute inspired me to write the opening gesture.

Fig. 13. Alto-flute. Opening line, mm. 1-3.

This excerpt opens with a sudden burst of energy in the form of a downward

thirty-second quintuplet, ending in a leap upward of a minor ninth. The line continues

building intensity by accelerating and decelerating on a repeated a’’25. This continues

until the next measure where the intensity spills over into another thirty-second quintuplet

burst, followed by a downward decelerating line that finishes on a low d’, deep in the

resonant part of the instrument.

20

25 Written pitch.

The opening figure of a composition is the most important statement of the entire

piece, because the moment in which the initial impression of the piece was created cannot

be recaptured. Jazz composer Maria Schneider commented on introductions, stating:

“Be cautious with introductions, there is no such thing to an audience. They are snuggled in with your music right from the beginning.”26

While introductions may not be remembered several minutes into the piece, the effect

they have on the rest of the composition is enormous. The opening gesture of the alto

flute, in The Prayer of Daniel, is a musical reflection of the penitent state of mind Daniel

may have had moments before he began praying.

Clarinet

The role of the clarinet is very similar to that of the flute: to add harmonic support

to the ensemble as well as the performance of solo passages. Similar to the flutist’s ability

mentioned previously, the clarinetist’s ability to play complex solo passages is well

documented. In addition to the clarinetist’s supportive ensemble role, I have also made

use of its solo and melodic potential to play long sweeping arpeggiated gestures.

Fig. 14. Clarinet, mm. 23-25.

This example is similar to the opening line seen in the alto flute. Whereas the alto

flute began with a burst of thirty-second notes, the clarinet begins more cautiously on a

21

26 Schneider, Maria. "The Business of Music." Kenton Hall, University of North Texas. Denton, TX, 27 Feb. 2003.

single pitch, building volume as it reaches it peak more than two octaves higher. After

reaching the apex of this line, there is a sixteenth note quintuplet burst downward as it

ends a minor-ninth above where it began. The clarinet here serves to rhapsodically

reinforce the thematic idea initiated in the opening by the alto flute.

In addition to the B flat clarinet, I also call for the bass clarinet to perform in a

similar role. As I composed this piece, I felt attracted to the bass clarinet’s deep, rich,

chalumeau register. There are two ways that I call for this instrument as a solo

instrument, and to support root movement.

Fig. 15. Bass-clarinet, mm. 35-40.

In this passage the bass-clarinet evolves from the bottom of its register, barely

audible, and as it moves into the foreground it sweeps upward through the throat of its

midrange before making its way gently downward to its lower range. The haunting low

register contributes to the contemplative demeanor required to set the subject matter.

Violin

The violinist is used primarily as an ensemble member, rather than as a soloist.

Nevertheless, the violin is a featured soloist in several key spots. Long singing lines soar

above the accompaniment. The most pronounced use of the violin appears in its duet with

the cello. Here in measure 312, the violin pairs with the cello in rhapsodic counterpoint.

22

Fig. 16. Violin duet with cello, mm. 313-318.

Cello

The cello is perhaps the most important instrument in the essential ensemble. This

instrument fulfills several roles, most important of which is the support of the bass-

baritone. The cello fulfills this role two ways, first by supporting the vocal line (mm 44-

51), and second by countering the vocal line (mm. 52-58).

Fig. 17. Cello and Bass-baritone, mm. 43-46.

This passage clearly shows the nearly identical relationship between the voice and cello

parts. As this phrase nears completion, the cello moves from directly supporting the voice

in the foreground to supporting the root movement of the piano in the background. As the

passage continues, the cello assumes a supportive role by intensifying the vocal melody

with a counter melody. Ultimately, at the end of this passage, the cello returns to more

direct melodic support.

23

Fig. 18. Cello and Bass-baritone, mm. 52-58

Earlier I explained the supportive relationship the piano has to the voice, and I

would like to make clear that the cello by no means replaces that relationship; rather, as

this passage demonstrates, it reinforces and augments that relationship as the instrumental

counterpart to Daniel.

In addition to the aforementioned role, the cellist is also called upon to perform as

a soloist, most notably in its duet with the violinist as well as in the passage concluding

the work. Other ensemble passages include areas where the cellist has shorter expressive

moments, such as in the opening measures where the cellist continues the melodic

thought of the opening section.

Fig. 19. Solo Cello, mm. 8.

This passage demonstrates my approach to the expressive solo character of the

cello as it introduces thematic material (explained later) in the strong vibrant range of the

instrument. This passage, along with the previous passages I mentioned, provides a

glimpse into the nature of the musical role that the cello plays in this piece.

24

Percussion

The percussionist performs on both the vibraphone and the marimba. As with the

other instruments, the percussionist contributes to the ensemble by performing as a

soloist. At the beginning of the piece, the percussionist joins in the opening gesture by

echoing the alto flute’s passage on the vibraphone. Later, the percussionist is called upon

to support the pianist by reinforcing the harmonic structure with interspersed melodic

gestures. The opening section of the piece concludes with a vibraphone solo.

ig. 20. Solo Vibraphone, mm. 71-78.

his section makes use of intervallic structures and thematic material seen in the opening

1) shows the vibraphone in a rhapsodic pseudo-melody with

the voi

F

T

measure of the vibraphone. This solo is indicative of my approach in writing for

percussion, as The Prayer of Daniel is replete with rhapsodic passages for both

vibraphone and marimba.

This passage (fig. 2

ce. Notice that the vibraphone travels along the same path as the voice, offset by

melodic embellishments.

Fig. 21. Vibraphone and Bass-baritone, mm. 273-278.

25

26

The deep resonant and woody tone of the marimba called for a different

treatment. I made use of the marimba’s deep resonant range to support the harmonic

breadth of certain sections.

bec, mm. 326-328.

In this passage, the marim a by providing long sustained

tremolos on dissonant

ble is primarily

supportive, there is a small expressive line in the first section of the piece (fig. 23). A

closer look at this line shows that although it is embellished, the marimba closely follows

the melody set forth in the piano and voice parts. Here we see the b''-flat to g'' movement

in the piano in measure 61. The percussionist embellishes the piano's melodic outline

with tuplet figurations using the octatonic mode. The result of this passage expresses and

supports the Bass-baritone as he sings "… with those who love him."

Fig. 22. Marimba and Doum

ba contributes to the dram

chord structures.

Although my vision for the role of the marimba in this ensem

Fig. 23. Marimba and Piano, mm. 61-62.

I rely on the flexibility of the percussionist, in The Prayer of Daniel, to fulfill

several functions – as a soloist, as reinforcement to the background elements, and to

embellish various areas of melodic material. The contribution of this instrumental

presence rounds out the harmonic support within the ensemble and vocals parts, making

it a vital element in this group.

Added Element: Men’s Chorus

The final element of the ensemble I will discuss is the men’s chorus. The addition

of men’s chorus gives this ensemble the size and scope I felt it needed to meaningfully

portray the nature of the text. My conception of its musical function within the context of

Daniel’s prayer, is that of the nation of Israel echoing the sentiments of Daniel. Musically

it functions to give orchestral size to the overall outcome of the piece through

reinforcement and elaboration of the text. As with my treatment of the instrumentalists,

the chorus is featured in two prominent sections, both crucial to advancing the drama of

the text.

27

Fig. 24. Bass-baritone and Men’s Chorus, mm. 329-331.

An example of how the men’s chorus reinforces the text occurs in measures 329 –

331. In this excerpt we see the basses used in tandem with the solo bass-baritone voice.

This relationship is broken in measure 330 as the basses move to the octave.

Subsequently, the basses move to support root movement in an ascending line that

terminates in measure 332. The entrance of the tenors in measure 331, on the text “God is

righteous”, extends the musical phrase of the soloist as it starts the musical sequence on

the same pitch. This musical sequence is carried through to completion by the soloist in

measure 332. The overall technique of this section weaves the chorus into the fabric of

the ensemble in an unobtrusive and supportive manner.

Regarding the instrumentalists, featured solos have been written to enhance the

presence of the instrument in the ensemble. In my approach to the chorus in the setting of

this text, I felt it necessary to feature the chorus, elevating its status from background

ensemble to foreground participant. This makes the additional element of the men’s

chorus an absolute necessity in the overall expression of The Prayer of Daniel.

The first featured chorus event occurs a cappella, beginning in measure 168 and

continuing to 176. The style of this section is uncomplicated and penitent, as the text

28

reflects upon the mercies of God and the nation’s admission of guilt. The rich sonorous

virtues of the chorus, brought out by the slow movement of long weaving phrases, makes

the transition from the expressiveness of the previous section, ending in measures 160-

167, to a reflective mood beginning in measure 177.

The chorus plays another role of central importance as it carries the text through

the ensemble passages beginning in measure 381 and lasting to measure 406. Here Daniel

reappears to make his impassioned plea to God for mercy on Israel. During this last

section the basses play a fundamental drone as the tenors interact melodically with the

ensemble members. This final section places the chorus in both the background and

foreground, advancing the text and its meaning toward the finale.

29

3. MUSICAL IDENTITIES

In this section I will discuss the melodic language used in this piece. I will point

out areas where intervallic structures are developed in both melodic and harmonic

contexts. I will also explain the harmonic language used to support the linear features

found within this oratorio. Finally, I will bring these two areas into focus as I discuss the

rhythmic identities that were engaged to bind the music together.

Pitch Material

The first step I took in musically interpreting the text material was to imagine

myself as Daniel as I improvised a sung melody on the text of his prayer. During this

creative phase, I also began to formulate the basis of a pitch language as I explored

supportive harmonic structures that would reinforce the intent of the text. As I

contemplated Daniel praying in sackcloth and ashes, a solemn and reflective melodic

form began to take shape. At this time I also began to contemplate harmonic identities in

which to frame this emerging melodic expression. The first musical relationship to

solidify is seen in the opening baritone line.

Fig. 25. Bass-baritone and Piano, mm. 18-24.

30

Here in measure 18 (fig. 25), we see the relationship of a minor ninth between the E-flat

bass in the piano and the e-natural in the voice. The effect of the minor ninth

relationship in the opening baritone line serves to express, through hollow dissonance, the

anguish Daniel may have felt as he contemplated the nation’s separation from God

resulting from their sin. The juxtaposition of intervals of a second, between the melodic

line and fundamental, is a melodic identity seen throughout the piece.

After identifying the opening interval relationship, I began to experiment with

lines that weaved in and out of dissonance with the pedal E-flat. As my ideas began to

form, I identified the octatonic mode I felt had the greatest potential for harmonic and

melodic discovery.

Fig. 26. The octatonic mode used as the basis for melodic material.

I broke with the traditional octatonic formula by exchanging the last two intervals in

order to create a half step relationship between the d-sharp and e (fig. 26). Using this

mode, and the interval of a second, I was able to create melodic material I felt could help

portray Daniel’s ethnicity and geographical location.

In addition to the pitch environment present in this mode, the octatonic mode also

provided me with the basis to form a set of vertical structures. Given that the octatonic

scale is based on alternating major and minor seconds, I chose to exploit this interval

relationship – the second – in an effort to create added harmonic and melodic interest. As

I explored this interval and its inversions – including qualities (major and minor) and

31

Fig. 27. Interval set derived from the exploitation of a second.

augmentations (ninths and augmented seconds) – I was able to derive a set of interval

relationships that express a subset of the initial mode. This example (Fig. 27) shows the

interval classes I derived from the interval of a second. The primary set shows the

original group of seconds in their minor, major, and augmented forms. Added to the

primary set are inversions to the original group. (The inversion to the augmented second

appears later in the tertiary category because of its function as a consonant interval.)

The secondary set is an expression of the original primary set, extended beyond

the octave. Because these intervals possess a milder degree of dissonance than the

primary class, I focused on their potential to create wide sweeping lines of bravura in solo

passages, and to maintain tension in extended hollow voicings.

Fig. 28. Solo flute figure, mm. 32-35.

An examination of this line (fig. 28) reveals that the sweeping figure begins with two

overlapping ninths followed by two overlapping sevenths. The flute continues to sweep

through the upper range, ending on a final leap from f’’ up a minor ninth to f’’’-sharp by

32

way of appoggiatura. The ninths in the secondary interval set and the sevenths in the

primary inverted set provided me with the means to cover a wide harmonic range using

dramatic and expressive gestures.

The tertiary set is created from the relationship between the second and seventh

intervals (above the root) in the primary set. This permutation introduces consonant

structures into the into the interval matrix, providing relief to the predominantly dissonant

sonorities. The second interval of this set appears earlier as the minor seventh in the

primary inversion, listed here to show the relationship that exists in the voices above the

fundamental e'. The last set labeled “tertiary inversion”, shows the last two remaining

tertiary relationships that have not been expressed in their original or inverted form.

Fig. 29. Bass-baritone and Piano, mm. 28-32.

An example of this approach to melodic form and harmonic support can be seen

in the baritone passage beginning in measure 28. In this example (fig. 29), the baritone's

melodic line floats over an E-flat bass27, weaving in and out of a ninth relationship to the

fundamental. Here, this melody is restricted to the octatonic mode, apart from the end

where the melody cadences on A-natural. I felt that this deviation from the A-flat

(present in the octatonic mode) was necessary to complete the melodic phrase. Though

33

27 The fundamental E-flat is implied by the piano in measure 25, not shown in this figure.

this phrase resolves on a non-modal tone, the tension is maintained by the downward

minor second resolution into a sweeping piano figure. The piano begins a fifth below on a

D, and by way of the minor ninth, drives its way upward to an e'-flat based chord on beat

three. This approach to experimentation and exploration of the basic intervallic structure

of the octatonic scale led me to create a foundation for the harmonic and melodic

relationships in this piece.

Overall, the melodic material in The Prayer of Daniel has the appearance of a

through-composed melody, although recurring melodic identities can be heard

throughout. The reason for this is that the melodic gestures rely more on intervallic

relationships rather than traditional melodic development. The melodic development

within The Prayer of Daniel focuses on the development of tension and release between

the melodic line and its supporting harmony, as expressed by primary, secondary and

tertiary identities. It was through this approach that this ensemble illuminates the

sensitive character of Daniel’s prayer.

Rhythmic Identities

Thus far I have discussed my approach to creating melodic material and how I

drew pitch structures from the interval of a second. Earlier I gave general examples on

how I used the instruments to create gestures based on these linear and supportive

structures. In this last section I will discuss my approach to creating some of the rhythmic

identities that were used to bring these two aspects of the music together.

34

The Prayer of Daniel is divided into five sections, each of which carries an

overriding theme in the text. Starting with the first section, Daniel acknowledges the

holiness of God and the sinfulness of the nation. The function of the opening measures is

to establish a mindset of concentration and focus as Daniel begins to address God.

Fig. 30. Alto-flute. Opening line, mm 1-3.

The opening figure (fig. 30) begins with sharp attack and a crisp burst of notes, as if

Daniel were dropping to his knees in sorrowful contemplation while he began to pray.

One of the most identifiable rhythmic features (seen here in the opening) is that of the

repeated feathered beamed notes. This rhythmic identity is prevalent throughout much of

the whole composition as a figure to help establish a sense of contemplation.

In addition to the opening, we see the figure of the repeating feathered beamed

notes in the recitative section beginning in measure 29028. The context here calls for a

timeless sense of reflection as Daniel contemplates the extent of the chastisement that

Israel has been suffering. Musically, this is reflected by a deep sonorous open chord in

the piano followed by a reinforcement of Daniel’s statement by way of a light open-

voiced figure to a feathered beamed and repeated e’’’. The feathered beam and repeated

note figure continues in the violin as the recitative transitions to the next section, a tempo.

35

28 Refer to the score for the remainder of this section.

The baritone also uses this repeated figure in each of the recitative areas. An example of

this may be seen in measure 298-303 at the conclusion of the second recitative. This use

of the repeated note motif adds a chant-like ambiance to the contemplative nature of the

text. We see an adaptation of this rhythmic motif in the piano part beginning in measure

307, where the inner voice of the piano repeats a note until measure 312. In various

forms, the repeated note figuration that is present in the opening measures of this piece is

present throughout.

Looking at the second section of this piece, from measure 132 to 159, we see

another way in which the use of rhythm helps to augment the meaning of the text. In this

section, as Daniel make his confession of guilt, he also recognizes that the consequences

of Israel’s transgression is seen in the scattering of the nation. Reflecting the scattering of

Israel, the piano abandons the baritone to join the ensemble. Staccato tutti chords add

weight to the musical representation of the gravity of Israel’s situation, as seen in the text.

In addition, the meter is unsettled and changing, until at the end it shifts by way of metric

modulation to a slower tempo. Ultimately this peak of emotion winds down to a hushed

choral section, restating the merciful attributes of God and the recognition of the nation’s

sin. Throughout this section, staccato rhythms and shifting meter are used to emphasize

the displacement of Israel.

A shift from agitation, seen in the text as the scattering of Judah, to the

contemplative, seen in the text as Daniel’s confession of guilt, plays out musically in the

change from unsettled rhythmic patterns to homophonic movement by all voices. The

drama continues to unfold as Daniel drops out altogether leaving only the choir, in

measure 168, to reflect on God’s merciful nature. The shift to homophony begins in

36

measure 151, as the piano rejoins to directly support the baritone. The relief of tension

sets in at measure 160, after a brief metric modulation down a degree in tempo as the

meter begins to even out. In measures 166 and 167, a full stop is achieved as the

ensemble holds two final chords while the men’s chorus sets up the next section with a

pyramid-style cadence, the text of which ends the baritone’s thought and simultaneously

begins the text of the next thought29. Finally, the second section completes in an a

cappella setting that uses simple meter and rhythm in long flowing lines to create feelings

of contemplation and sincerity over the sorrow of Israel’s sin that carries all the way to

the conclusion of this section in measure 192.

In the second section of The Prayer of Daniel, we see a shift from unsettled to

settled meter in both the music and the text. This is accomplished rhythmically by means

of shifting meter coupled with accented passages on off beats and accentuated by fleeting

solo passages. The action begins to slow as the ensemble rejoins in support of the

baritone, accentuated by a downshift in tempo to a simpler meter by means of metric

modulation. Ultimately, the transformation to a contemplative mood is completed as the

men’s chorus executes long slow legato phrases, a cappella, in a simplified meter that is

carried through until this sections end. Overall, it is shown that the rhythm plays a

primary role in the expression of melody and harmony, adding and subtracting weight

from the music to fit the textual overtone of the prayer. On the whole, metric changes

serve to direct the flow of the music as musical points are made.

The third section of The Prayer of Daniel, measures 193 through 336, exhibits the

same attributes that we have seen in the first two sections: shifting meter, fleeting

29 Daniel 9: 9-10.

37

passages, and feathered beams on repeated notes. A major point of interest occurs at

measure 245 with a flute solo. Appearing at the end of a rhythmically active section, this

solo contrasts the previous section by acting to remove the sense of time that it created.

The flute solo is performed in a free non-conducted expressive style that emphasizes the

flute’s tonal qualities and agility. The secondary purpose of this solo is to act as a

transition between the previous agitated section into the cantabile section beginning on

measure 254. Many of the rhythmic features already mentioned above in regards to the

first two sections comprise the remainder of the third section.

The rhythmic textures that end the second section, measures 185 – 192, are seen

again in section three at measure 381. While the third section’s use of rhythm follows

similar lines, it also recapitulates some of the rhythmic motifs and arching solo figures

from the opening measures of the piece. As this section increases in intensity, the

doumbec assumes the feathered beam tuplet motif, and mingles it in its own steady

rhythm. Throughout this last section, beginning in measure 381, the doumbec serves to

provide a steady pulse as other layers of the texture come together.

In my analysis of the text, I felt that the development of the music called for

rhythms that could express feelings of remorse, anticipation, and momentary bursts of

emotion. Rather than approaching rhythmic identities as a basis for identification of

melodic themes, I approached the use of meter and rhythm as a way to frame the

contextual mood of the piece and to control the flow of music. Within the list of rhythmic

identities I have mentioned, I employed what I felt was the appropriate rhythmic

compliment to the harmonic language, with the goal of supporting the emotive

framework of Daniel’s prayer.

38

CONCLUSION

The Prayer of Daniel is an emotionally dynamic work based on the penitent heart

of Daniel as he sought the mercies of God in the midst of distress. As Daniel’s prayer is a

model for repentant prayer, so my challenge was to express this model in musical terms

that accentuated Daniel’s passion. Each player in the ensemble plays a vital role in

expressing Daniel’s passion by fulfilling both ensemble and solo roles. The Bass-baritone

carries the emotional weight of the piece through the dramatic use of the baritone range.

The drama created in the melodic line is supported by the piano through a combination of

romantic figuration and contemporary tonal structures.

The ensemble supports the efforts of the vocalist by reinforcing and echoing the

melodic sentiment of Daniel, by way of rhapsodic passages and supportive rhythmic

structures. Harmonically the ensemble augments the intervallic interplay as control over

tension is maintained through primary, secondary, and tertiary structures. These

structures, coupled with rhythmic interplay, serve as tools that I used to respond to the

intensity of Daniel’s petition. And just as the doumbec was used to translate location and

character, in the end it stands as the final expression of Daniel’s beating heart.

The challenge of setting this text was a unique compositional experience for me.

Upon completing The Prayer of Daniel, I could see that a transformation toward maturity

had occurred in my writing. This piece exhibits a greater depth of sensitivity and

character than pieces I have composed before and during this process. Personally, my

study of this biblical figure has enhanced my spiritual life, as it helped me to more clearly

understand the immutable attributes of God.

39

APPENDIX 1

The Prayer of Daniel Daniel 9:4-19

4 I prayed to the LORD my God and confessed30:

The Prayer

"O Lord, the great and awesome God, who keeps his covenant of love with all who

love him and obey his commands, 5 we have sinned and done wrong. We have been

wicked and have rebelled; we have turned away from your commands and laws. 6 We

have not listened to your servants the prophets, who spoke in your name to our kings, our

princes and our fathers, and to all the people of the land.

7 "Lord, you are righteous, but this day we are covered with shame-the men of

Judah and people of Jerusalem and all Israel, both near and far, in all the countries where

you have scattered us because of our unfaithfulness to you. 8 O LORD, we and our kings,

our princes and our fathers are covered with shame because we have sinned against you. 9

The Lord our God is merciful and forgiving, even though we have rebelled against him;

10 we have not obeyed the LORD our God or kept the laws he gave us through his

servants the prophets. 11 All Israel has transgressed your law and turned away, refusing to

obey you.

"Therefore the curses and sworn judgments written in the Law of Moses, the

servant of God, have been poured out on us, because we have sinned against you. 12 You

have fulfilled the words spoken against us and against our rulers by bringing upon us

great disaster. Under the whole heaven nothing has ever been done like what has been

30 Verse numbers are in superscript, preceding the verse. The first half of verse four is not set in this composition.

40

done to Jerusalem. 13 Just as it is written in the Law of Moses, all this disaster has come

upon us, yet we have not sought the favor of the LORD our God by turning from our sins

and giving attention to your truth. 14 The LORD did not hesitate to bring the disaster upon

us, for the LORD our God is righteous in everything he does; yet we have not obeyed

him.

15 "Now, O Lord our God, who brought your people out of Egypt with a mighty

hand and who made for yourself a name that endures to this day, we have sinned, we

have done wrong. 16 O Lord, in keeping with all your righteous acts, turn away your

anger and your wrath from Jerusalem, your city, your holy hill. Our sins and the iniquities

of our fathers have made Jerusalem and your people an object of scorn to all those around

us.

17 "Now, our God, hear the prayers and petitions of your servant. For your sake, O

Lord, look with favor on your desolate sanctuary. 18 Give ear, O God, and hear; open

your eyes and see the desolation of the city that bears your Name. We do not make

requests of you because we are righteous, but because of your great mercy. 19 O Lord,

listen! O Lord, forgive! O Lord, hear and act! For your sake, O my God, do not delay,

because your city and your people bear your Name."

41

APPENDIX 2

HELMHOLTZ NOMENCLATURE SYSTEM

!

"

#$

$

C'' B''

$$

C' B'

$$

C B

$$

c b

$

$

c' b'

$$

c'' b''

$$

c''' b'''

Helmholtz Nomenclature System

The Helmholtz system identifies the “c” below middle-c in lower case type.

Octaves above c are indicated with a tick mark next to the letter in accordance with their

relationship to the primary c. Octaves below c are in upper case type. The first octave

below c does not bear a tick mark, while the following octaves do attach a tick mark to

the letter.

I chose to use this nomenclature system to reference exact pitches as I discuss

them in this document, and because this system is widely used and accepted. In this

document, I use Arial font to indicate pitches based on this system. In the case that a pitch

is referred to and the font remains in Times, no specific pitch is referenced; rather a

general pitch class is implied.

42

BIBLIOGRAPHY

. The Cloisters. Compact Disc. Henry Herford, Robin Bowman. New World Records, 80327-2, 1997. About the doumbek drum. Full Circle Drums. 3 May. 2003 <http://www.fullcircledrums.com/about3.htm>. Adler, Samuel. The Study of Orchestration. 2nd ed. New York, NY: W. W. Norton and Company, 1989. Bible Gateway. Gospel Communications International. Gospel Communications. 20 Apr. 2003 <http://bible.gospelcom.net>. Bristow, George Fredrick. The Oratorio of Daniel. Ed. David Griggs-Janower. Madison, WI: A-R Editions, Inc., 1999. Coroniti, Josepf. Poetry as Text In Twentieth-Century Vocal Music: From Stravinsky to Reich. Studies in the History and Interpretation of Music. 35 vols. Lampeter,, Dyfed, Wales, UK.: The Edwin Mellen Press, 1992. Crumb, George. "Frederico's little songs for children: for soprano, flute (also piccolo, alto flute, and bass flute), and harp." Quest. Compact Disc. Bridge, 9069 Bridge, 1996. ______. Frederico's little songs for children: for soprano, flute (also piccolo, alto flute, and bass flute), and harp. New York, NY: C. F. Peters, 1987. ______. Quest, Premiere Recordings. Compact Disc. Speculum Musicae. Bridge Records, #9069, 1996. ______. Quest: for Soprano Saxaphone, Harp, Contrabass and Percussion (Two Players). New York, NY: C.F. Peters Corp., 1996. Druckman, Jacob. "Dark Upon the Harp." Windows. Compact Disc. Composers Recordings Inc., CD 781 CRI, 1998. ______. Dark Upon the Harp. SCORE. Bryn Mawr, Pennssylvania: Theodore Presser Company, 1968. Easton, Matthew George. Entry for 'Ashes'. Easton's Bible Dictionary. 28 Apr. 2003 <http://www.studylight.org/dic/ebd/view.cgi?number=T338>. G. Schirmer Publications Department. The G. Schirmer Manual of Style and Usage. New York, NY: G. Schirmer, 1990.

43

Goldberg, Jeffrey. Israel's Y2K Problem. 3 Oct. 1999. The New York Times Magazine. 20 Apr. 2003 <http://www.library.cornell.edu/colldev/mideast/isry2k.htm>. Greig, Edvard. Piano Concerto in A-Minor. NewYork, NY: C. F. Peters, 9999. Heussenstamm, George. The Norton Manual of Music Notation. New York, NY: W. W. Norton and Company, 1987. Historical Estimates of World Population. U.S. Census Bureau. U.S. Census Bureau. 20 Apr. 2003 <http://landview.census.gov/ipc/www/worldhis.html>. Jr., Irvin Baxter. Endtime Ministries. Endtime Ministries. 20 Apr. 2003 <http://www.endtime.com/html/past_article.asp?ID=76>. Lahaye, Tim. Revelation Unveiled. Grand Rapids, Michigan: Zondervan Publishing House, 1999. LLoyd, LLewelyn S, and Richard Rastall. Pitch Nomenclature. The New Grove Dictionary of Music Online ed. L. Macy. 1 May. 2003 <www.grovemusic.com>. McCalla, James. Twentieth-Century Chamber Music. New York, NY: Schirmer Books, 1996. McGee, Vernon J. Daniel. Through the Bible Commentary Series. 26 vols. Nashville, Tennessee: Thomas Nelson, 1975. Mender, Mona. Music Manuscript Preparation. Metuchen, N.J., & London: The Scarecrow Press, Inc., 1991. Messiaen, Olivier. Quartet For the End of Time. Compact Disc. The Vox Music Group, CDX5083, 1993. Musgrave, Thea. "Orfeo III." Music of Our Time. Compact Disc. 2001 Orchestra. Compsers Recordings Inc., CD 723 CRI, 1996. Nelson, Thomas. Daniel 9: Keyhole of Biblical Prophecy. Audiotape. Denton Bible Church, #861, 1999. Penderecki, Krzysztof. Dies Irae; Oratorio Dedicated To The Memory Of Those Murdered At Auschwitz. Krakow, Poland: Polkie Wydawnictwo Muzyczne, 1967. Penderecki, Krzysztov. "Oratorio Dedicated to the Memory of Those Murdered at Auschwitz, for solo voices (soprano, tenor, bass), mixed choir and orchestra." Krzysztov Penderecki, Volume 5. Compact Disc. Polskie Nagrania, PNCD 021A+B, 1989.

44

Pinkham, Daniel. The Passion of Judas. Boston, MS: E. C. Schirmer Music Company, 1976. Ross, Ted. The art of music engraving and processing; a complete manual, reference and text book on preparing music for reproduction and print.. Miami, FL: Hansen Books, 1970. Saint-Saëns, Camille. "Duo: Soprano - Baritone." Oratorio de Noël, op. 12. Compact Disc. Le Madrigal de Lyon, Orchestre de Chambre de Lyon. Arion, ARN 68059, 1989. Schneider, Maria. "The Business of Music." Kenton Hall, University of North Texas. Denton, TX, 27 Feb. 2003. Schwanter, Joseph. "Distant Runes and Incantations." Music of Our Time. Compact Disc. 2001 Orchestra. Compsers Recordings Inc., CD 723 CRI, 1996. Smith, Dr. William. Entry for Sackcloth. Smiths Bible Dictionary. 28 Apr. 2003 <http://www.studylight.org/dic/sbd/view.cgi?number=T3700>. Smoldon, W. L. The Play of Daniel. Ed. David Wulstan. Sutton, Surrey. England: The Plainsong and Mediaeval Music Society, 1976. Stone, Kurt. Music Notation in the Twentieth Century, A Practical Guidebook. New York, NY: W. W. Norton and Company, 1980. Thompson, Frank Charles, ed. The Thompson Chain Referenced Bible NIV. Grand Rapids, Michigan: Zondervan Publishing House, 1983.

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