trio for clarinet, violoncello and piano: an …
TRANSCRIPT
TRIO FOR CLARINET, VIOLONCELLO AND PIANO:
AN ORIGINAL WORK
by
WALLACE D. L. TURNER, M.S., B.S.
A THESIS
IN
MUSIC THEORY AND COMPOSITION
Submitted to the Graduate Faculty
of Texas Tech University in Partial Fulfillment of the Requirements for
the Degree of
MASTER OF MUSIC
Approved
Chairperson of the Committee
Accepted
Dean of the Graduate School
December, 2004
ACKNOWLEDGEMENTS
I would like to thank God for this opportunity to do a Masters in music theory and
composition. I would also like to thank my mother and family for their unwavering
support and encouragement in my musical achievements. My mother has always been a
source of inspiration and spiritual comfort.
Second, enough cannot be said about Dr. van Appledom. She has been a tme
inspu-ation both on this project and in my professional growth. Her insight,
imderstanding, and musical depth have afforded me the ability to accomplish the work
required to complete this musical degree, and this thesis. Her motivation has been
relentless and attitude just perfect, and for that I am very grateful. She is just lovely. To
Dr. van Appledom, thank you very much.
Finally, I would like to express my gratitude to Dr. Shea, and Dr. Ezerman for
their support in this effort and for providing their expertise on the production of the work
and their recommendations on each instrument capability, and strength. I have leamt a
lot fi-om this experience and it has always been a great enjoyment.
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ii
LIST OF EXAMPLES iv
CHAPTER
I. INTRODUCTION 1
II. FORM 4
First Movement 4
Second Movement 8
Third Movement 12
Fourth Movement 16
m. VERTICAL STRUCTURES AND SCALES 20
First Movement 20
Second Movement 23
Third Movement 25
Fourth Movement 27
IV. RHYTHM AND METER 32
V. NOTES TO PERFORMERS 35
VI. AN ORIGINAL SCORE: TRIO FOR CLARINET, CELLO,
AND PIANO 36
VII. SUMMARY AND CONCLUSIONS 57
BIBLIOGRAPHY 59
APPENDIX: PARTS FOR CLARINET AND CELLO 60
111
LIST OF EXAMPLES
2.1. Melodic Phrases of the A Section, piano 5
2.2. Distinctive Interval of Descending Seconds (Figure 1 and Figure 2) of
the A'section, piano right-hand 6
2.3. The Opening Measures of the B Section 7
2.4. Playful Clarinet Figures 7
2.5. Phrase 1 of the A'Section, piano 8
2.6. Hammer-Stroke Staccato Chords in the B Section, piano part 9
2.7. Tetrachord, Figure 4 9
2.8. Figural Treatment in the B Section, clarinet 9
2.9. First Bridge of the Second Movement 10
2.10. First Phrase ofthe C Section, piano (RH) 10
2.11. Complete Representation of a Melodic Phrase Repeated, C Section 11
2.12. Similar Phrase Patterns in Section C, piano 11
2.13. Bridgmg the Return ofthe A ' Section 12
2.14. Opening Measures of Movement III 13
2.15. Alberti Bass Accompaniment 14
2.16. Embellishing 16* - Note Figure 14
2.17. Triplet Figures and Broken Chords 15
2.18. Similarities in Melodic Figure 15
2.19. Rhythmic 16"' - Tetrachordal Note Figures in Sequential Pattern 16
2.20. Fugue Exposition I 17
2.21. Inversion of the Subject, left-hand piano 18
2.22. Exposition IV - Retrograde ofthe Subject and Answer 19
3.1. Whole-Tone, and Whole Step-Half Step Scales 20
3.2. Opening Measures of Movement I 21
3.3. Beginning Measures of the B Section 22
3.4. Hammer-Stroke Chords 23
3.5. Bridge 24
3.6. 11-Tone Construction, measures 1 to 4 26
IV
3.7. Broken-Chord Pattern in the Piano Part 27
3.8. Beginning ofthe Fugue 28
3.9. Exposition II 30
3.10. First Three Measures of Exposition III 31
CHAPTER I
INTRODUCTION
Trio for Clarinet, Cello and Piano is written in four movements. The first three
movements reflect Neo-Classicism and the fourth is a Neo-Baroque fligue in five voices.
Neo-Classicism is advanced by such composers as Stravinsky, Hmdemith, Bart6k, Satie,
et. al. Neo-Classicism refers to 20"' Century use of classical century musical processes
such as Sonata Allegro form, Alberti bass accompaniment patterns (bottom-top-middle-
top), broken chords, two-voice textures, melody and dyad accompaniment. During the
Baroque era, specifically the lifetime of Johann Sebastian Bach (1685 - 1750), much is
learnt and reflected back on today. In his works, J.S. Bach's fiigues provide a rich history
of fiigal techniques and organ music. Paul Hindemith, (20* century), another composer
of fugues, left behind a clear picture ofthe genre. Trio for Clarinet, Cello and Piano
celebrates Neo-Classicism and Neo-Baroque fiigue, but is not based on key, scale
stability, or the functional root movement of tonality.
The first movement is in a slow tempo, written in modified ternary form A ' B A ^
where the A^ material returns slightly modified. Compared to binary forms, AB, or
baroque binary, ||:A:||:B:||, there is no A ' material nor A . The rounded bmary form,
||:A:||:BA:||, displays music in which the A material is repeated and, after the B, the A
returns in the tonic key. The standard ternary form, ABA which is the usual form ofthe
Menuetto, Trio, Menuetto da Capo, the third movement of classical symphonies and
chamber music, represents a closed form with the exact return ofthe A part. Ternary
form is typical of Classicism ofthe late 17* century and the early Romantic period in the
18* century.
The second movement ofthe Trio is written in a fast modified Second Rondo
pattern, A ' B A ^ C A ' form. Other Neo-Classical rondo forms include the first Rondo:
ABABA, the Second Rondo: ABACA, the Third Rondo: ABACABA, and the Old
French Rondeau: ABAC AD A. The character of a rondo is usually fast and lively. The
rondo was commonly used in the Classical period, especially as the form ofthe last
movement of a symphony, concerto, sonata, or chamber music.
The formal parts ofthe sectional movements ofthe Trio for Clarinet, Cello and
Piano are marked on the score in brackets at the points in which the sections begin.
The third movement ofthe Trio, marked Andante, is a little more expressive than
the previous two movements and with a cantabile feel to the voices of both the piano and
clarinet. The third movement is through-composed, and not written in any formal
pattern. This suggests a non-return of any material that had been previously presented;
however, a hint ofthe measures 4 to 8 ofthe Andante returns to conclude the movement.
The third movement incorporates figures of Neo-Classical texture such as broken chords
in the piano part, (for instance in measures 13-21), and Alberti bass accompaniments
also in the piano part, (as in measures 4 - 5).
The fourth movement, moderately fast, is a Neo-Baroque fiigue, and suggestive of
the works of J.S. Bach; however, emphasis ofthe structure ofthe fourth movement also
looks back to Hindemith and the formal structure including Exposition, Development,
and Recapitulation established by both composers. Bach is famous for his Well-tempered
Clavier and his organ fugues with subjects and answers occurring even in the organ
pedals. Such works as Die Kunst Der Fuge (The Art ofthe Fugue) and Complete
Preludes and Fugues for Organ show the mastery Bach commanded for fiigal
compositions. Hindemith's Ludus Tonalis for piano (1943) sets the stage for fiigal works
in the 20* century with distinctive subjects and answers, and based on modal harmony, or
chromatic, or 12-tone constmctions. The fourth movement of Trio for Clarinet, Cello,
and Piano, implements the characteristic fiigue stmctures akeady established in the
Baroque period such as expositions, developments and recapitulation; however, the music
is composed not in functional tonality, but rather in modal construction.
Scale centers change throughout all the movements, especially evident in the
fiigue. The characteristic of a fiigue establishes an exposition with subjects on the tonic
and answers in the dominant, or subdominant. However, modes can be incorporated to
establish the subject or the answer. Also, chord movements may not be flinctional.
Functional tonality suggests a chordal progression beginning fi-om a distant chord in the
key such as iii in C Major moving through chords the root a fifth apart (for example, the
progression: vi, ii, V, I). Functional chord progression is established already in the
Baroque period. Functional patterns such as these are not specifically followed in the
chord connections throughout the whole score ofthe Trio for Clarinet, Cello, and Piano.
Rather, chord connections are often modal, and even non-functional. The reader may
find a detailed description of modal, synthetic scale constructions, and a non-functional
tonal area in Chapter III: Scales and Vertical Structures.
CHAPTER II
FORM
A musical form describes the connection of figural and motivic structures that are
consistent in the themes until a change occurs that indicates the end of one theme or
section and the beginning of another. Further, a form such as AB (binary), describes the
characteristics ofthe A section followed by the B section with different pitches, rhythms,
dynamics and timbres. Finally, a form is indicative ofthe content and character of a set
of musical ideas contained therein. The forms which describe the layout of The Trio for
Clarinet, Cello, and Piano are Modified Ternary (A 'BA^) in the first movement.
Modified Second Rondo ( A ' B A ^ C A ' ) in the second movement, and through-composed
(no form) in the third movement. The fourth movement, a Fugue is an integral form,
which contains, in this Trio, Exposition I, Development, Exposition II, Development,
Exposition III, and Exposition IV (Recapitulation).
First Movement
The A BA modified temary form ofthe first movement is characterized by
figures and motifs that occur relative to each section. An important characteristic ofthe
first movement is the chromatic treatment in producing a synthetic scale, or modulating
to another key. Another important characteristic is that the voice layers represent a Neo-
Classical texture that implements a clear picture ofthe figures uncluttered by continual
dense harmonic treatment as may be seen in Example 2.1.
A motif contains musical figures that become important in describing a distinctive
feature ofthe sections of musical form. The A ' section begins with its first embellishing
figures as shown in Example 2.1 below. Figure I is stated tv^ce as shown in measure 1
and 3 in the right-hand piano part. Measure 1 shows Figure 1 repeated starting on E-flat
to D with half-steps, while Measure 3 shows Figure 1 sequenced starting on F with
whole-steps to E-flat. The second figure. Figure 2 shown in the example is across
measures 1 and 2, and again across measures 3 and 4. Also, Figure 2 appears in Example
2.2. Figure 2 is important because a rhythmic figure is imbedded in Figure 2 that
connects the entire movement. This rhythmic figure constructed fi-om three 16* - notes
followed by an 8* - note, is denoted as Rhythmic Figure 1 (R-Figure 1) in Example 2.1.
This rhythmic figure is essentially responsible for the playful elements that will be
described in the B section in Example 2.4.
Clarinet in C
Cello
Piano '
, , IA']
^m Motif 1 Motif 2
Figure 1 , ^'^'^ Figure 1 / ' g ^ ^ ^
R-Figure 1 R-Figure 2 R-Figure 2
I 1 '
R-Figure 1
Example 2.1. Melodic Phrases ofthe A ' Section, piano.
Actually, Figure 1, and Figure 2, together in the first two measures, creates the first motif
as seen in Example 2.1. Motif 2 describes the next two bars. Motif 1 and Motif 2
construct the first melodic phrase for A \ Perhaps the most distinctive features of Section
A ' are the thematic constructions from Figures 1, and 2, and the hint of Rhythmic Figure
Overall, Figure 1 becomes the primary basis on which this movement is built.
Figure 1 expands into developing other figures that follow a pattern described by
stepwise motion or by leaps in the movement. An example of this is the pattern that
spells the end ofthe A ' section in measure 9. The characteristic of stepping down a tone
or a semi-tone followed by a leap as shown in Example 2.2, suggests a derivative ofthe
first two 16*-notes of Figure 1. With the crescendo from measures 9 and 10, the end of
section A ' comes to its climax.
^ ^ 1 * b I 1
Figure 2
Example 2.2. Distinctive Interval of Descending Seconds (Figure I and Figure 2) ofthe
A'section, piano right-hand.
The B section beginning at measure 11, first hints at Figure 1 m the clarinet, and
simultaneously introduces a new figure. Figure 3 in the piano part, which becomes very
important m this section as shown in Example 2.3 below.
Figure 3
mi &^'^
^^^^^m
Example 2.3. The Opening Measures ofthe B Section.
Figure 3 is significant because it is a principal figure occurring until measure 14. The
rest ofthe B section is typical ofthe rhythmic figure, R-Figure 2 from measures 16 to 20,
playful in nature in the clarinet part described by a derivative of R-Figure 1. This
derivative of R-Figure 1 in measures 16 to 21, together, melodically create a playful
sound in the B section. The rhythmic figure, R-Figure 2 is important in the B section as it
dominates the second half of the B section.
i(5 A Tempo
i : ' .%j! i^Ldir i i i^ i R-Figure 2
Example 2.4. Playful Clarinet Figures
Finally, a modified A^ section occurs in which the piano part has octave
accompaniment. The clarinet part and the cello part are different from the A' section.
Besides the octave treatment in the left-hand ofthe piano, and the ending 5 measures, the
piano part in A is exactly the same as in A . The first movement is written in the A BA* i n A2
modified temary form.
Second Movement
The character of this movement, written in Allegro tempo, is the repetitive two-
bar phrase established in the piano ofthe A section ofthe modified Rondo, A ' B A ^ C A '
form. Because the movement is particularly swift, there is an advantage to phrase
repetitions, which also speak to the Neo-Classical nature ofthe movement. Another
feature expressing Neo-Classicism is a clear melodic theme doubled at the octave,
typically Mozartian. Each section points to phrases expressing their own melodic theme.
The first 2-measure phrase in the piano is characteristic throughout each ofthe A '
sections, shown in Example 2.5 below.
^ £ i ^ ^
/
V' '-'1. c ¥=0-3 t
t=4 m ^ ^ ?
Example 2.5. Phrase 1 ofthe A ' Section, piano.
This phrase is repeated continuously until measure 9 in which the B section begins. The
B section presents hammer-stroke staccato chords throughout in the piano part as shown
in Example 2.6.
10
^ ^ r ^m m
Staccato Sim
Example 2.6. Hammer-Stroke Staccato Chords in the B Section, piano part.
Above these chords, the melody ofthe B section is heard in the movement. In the
clarinet part, a tetrachord construction, Figure 4 recurs and becomes an ingredient of
energy in the movement. An example of Figure 4 is shown in Example 2.7.
Figure 4 n
- m.
W- ^m Example 2.7. Tetrachord, Figure 4.
Figure 5 is written in both the clarinet and the cello part. This figure creates a
syncopation that sets the mood ofthe B part. See Example 2.8. This rhythmic figure is
also created in the cello.
r Figure 5
12
m ^m & i Example 2.8. Figure 5 Treatment in the B Section, clarinet.
The B section ends with triplets in the piano right-hand part, and then connects with a
bridge in measures 20 to 23. The bridge advances through several harmonic variances,
and settles eventually on D Aeolian. See Example 2.9.
Bridge 1 Rit. [A^ 20 ipo
20
^ . I i • '•• r I r
ATempo
te=r •^ c, r t s 20
^ ^ I
A Tempo
^ S «s^ " . / •
r^tpr
S e « - h ^ i Example 2.9. First Bridge ofthe Second Movement.
The bridge ends with a transition to the modified A^ section. The modifications mamly
occur in the cello part with significant changes, including an Alberti bass accompaniment
(cello, measure 28) with slight melodic changes in the clarinet part. Also, the center of
the A ' part has changed from C Aeolian to D Aeolian in the A^ material. See measure 24.
The C section beginning at measure 32 can be determined by the piano phrases
that are distinctive, and repeated. The clarinet compliments the piano throughout. The
first phrase ofthe C section is given in the right-hand ofthe piano in measures 32 and 33
as shown in Example 2.10 below.
32
^ # - * ^ ^ m
mp = "?/'
Example 2.10. First Phrase ofthe C Section, piano (RH).
As expressed earlier, the use of tetrachords have given a sense of energy. The mam
phrase given above is also composed of tefrachordal motion, ascending and descending.
This phrase is also repeated m measures 34 and 35, as well as measures 36 and 37, shown
below in Example 2.11.
10
Imitalion InvernoD
Example 2.11. Complete Representation of a Melodic Phrase Repeated, C Section.
There is also an imitation ofthe start of phrase 1 seen in the clarinet part in measure 34,
then an inversion ofthe first part ofthe phrase in measure 36. Similar phrase patterns
derived from the phrase above are summarized in Example 2.12 below.
39
u -TO.rni ^
measures 39 and 40, and measures 41 and 42
measures 46 to 50
Example 2.12. Similar Phrase Patterns in Section C, piano.
The next phrase is shown in Example 2.13 below. A short bridge is also shown
with the A ' material returned in measure 56.
11
Fhraie Modified Bri<lge 2 A MatetulRetunis
S3 RU. A Tempo ir
m ^ ^ w
m s Rit. A Tempo
m >i' J \'\ r r ^ F=^ F F i * : E ^
5i ftt -^Z'
^ ^ i
A Tempo
^ ^ ^S ^ J ^ K f T
"!/ / •
^ ^ ^ ^ ^ »I. ^ »i ^ J r 1 T
Example 2.13. Bridging the Return ofthe A* Section.
The purpose ofthe phrase before the bridge is that it modulates from D Aeolian back to C
Aeolian. The bridge connects section C to Al, and gives a smooth transition by
reintroducing the staccato hammer-stroke chords. The movement reintroduces A
material, and closes with a strong climax, and a short cadence.
Third Movement
The third movement, written in free form, reflects back to Neo-Classicism with its
many broken chords, the Alberti bass accompaniment, and figural treatments that exist
between instruments. The third movement derives its beginning from the phrase
construction in measures 52 and 53 ofthe second movement, although expanded by one
beat. See the figural tetrachordal treatment in the phrase construction at the beginning of
Example 2.14.
12
ni Andante Jr:50
; fe ga
jti
^ ^ ^
» / • ;
^^m Derived from Mov. 2 '»/'
^ ^ J ''j -J Jj[iJ»i i 1
ga ^ ^ g
^
Example 2.14. Opening Measures of Movement III.
The movement quickly advances into its classical features with mainly four voices. The
piano has two main voices, while the clarinet and cello have the other two voices. The
cello can be described as the baritone voice. The piano delivers an accompaniment with
stability and the clarinet occupies the upper voice, for the most part.
The third movement begins in four-four time, creates several modulations, and
quickly establishes a singing voice in the clarinet and cello parts. The piano, which also
produces another melodic voice, acts as an accompaniment. The third movement is
through-composed; so, there is no particular form to refer to. However, for analysis
purposes, several figures will be referenced to.
Besides the opening figures, an important accompaniment figure is the Alberti
bass accompaniment pattern that is established in measures 4, 5 and 6, ofthe 3"*
movement, as shown in Example 2.15.
13
Alberti Alberti Alberti bass bass bass
Alberti bass
Example 2.15. Alberti Bass Accompaniment.
The Alberti bass acts to provide a relatively wide leap, but stability, which gives the
melody or countermelody line freedom to explore. The Alberti bass accompaniment was
first introduced by Domenico Alberti who used them frequently, and also used by Mozart
in his Sonata in C Major.
A sk-eight time change, in measure 9, spells another feature change in the third
movement, until reverting back to the four-four time in measure 22. The new time
change in measure 9 brings broken chords, embellishing figures (Example 2.16) and
triplets. Broken chords in the left-hand piano accompany the melody in the top voices
and embellishing figures give this section ofthe movement motion. See Example 2.17.
An example of these figures include the 16* - note figures in the clarinet seen below in
Example 2.16, and the triplets seen mainly in the piano right-hand, but also in the clarinet
shown in Example 2.17.
Example 2.16. Embellishing 16* - Note Figure, clarinet.
14
Embellishing Figure
^
r—-\
i ^ ^
1 I — I
m —3 I 3—
/ =
m ^
r^ m i z : m Broken Chord
J L I I I I
Example 2.17. Triplet Figures and Broken Chords.
After the four-four time change in measure 22, the melodic figure is shown again
from measures 24 through 26, although in 8* - note constmction, and emphasized on the
second half of beats 1 and 3 as shown in Example 2.18.
1 r 1 r 1 r 1 r 1 24
i=h^ ^
m • /
m Z P m Example 2.18. Similarities in Melodic Figure.
The next feature change in measure 30 is really a sequence that is representative of
Figure 1, now in inversion. This figure of 16* - notes is complimentary between the
piano right-hand and the clarinet, ascending and descending. The clarinet especially
represents Figure 1 well in treatment. The rhythmic 16* - note figures in the piano right-
hand and clarinet establish a percussive feel with a cantabile melody in measures 30, 32,
15
34, 36, and 37. This rhythmic figure also carries a melodic component that is produced
from a tetrachordal pattern sequenced in succession. See Example 2.19.
Tetrachord
Figure 2.19. Rhythmic 16* - Tetrachordal Note Figures in Sequential Pattern.
Fourth Movement
The fourth movement is composed in the form of a five-voice fugue, which
contains four expositions (three complete and one partial), with two developments. A
developmental process is also characteristic after the first two expositions with a change
in center, establishing free material and transitions between the expositions. In the
exposition, when a subject is presented, usually an answer is formulated on the dominant
ofthe subject or the subdominant ofthe subject. Later in the movement, measures 28 and
29 (see Example 2.21), a complete retrograde of subject and answer in the fourth
exposition brings a "breath of fresh air." The recapitulation, beginning in measure 34,
closes this movement in the original mode center, and completes the work.
Each exposition contains two statements ofthe subjects and three statements of
the answers. Example 2.20 shows Exposition I. This exposition shows each statement
extended by a countermelody. The countermelody is an accompaniment to the subject
that is a distinct part ofthe melodic structure with subordinate interest. It also acts as an
16
accompaniment to the fiigal subject or answer. Please see the subject, answer and
coimtermelody in Example 2.20.
IV Allegretto, Lively J=72 +
^
Answer
'»/'
Subject Counter Subject
S
Countersubject
. .1 .n j ? ^
;% r C Y P i aJJ " [ ^
p • ^ ^ ./'
^ ^
^ j J J JH j i
^
Example 2.20. Fugue Exposition I.
The Development I in measures 6-12, displays some unitation ofthe subject expressed
in several keys (measures 6 - 9,) along with free material in all ofthe instruments from
measures 10 to 12. An inverted subject (see Example 2.21) in the developmental process
brings a change in expression. The inversion ofthe subject begins at the end of measure
7 until measure 8 as shown next in Example 2.21.
17
I'- rfrr ^ ' ^ P Non-Itnrcrsion
P 5 i ^ Liri[Ji;-^U ^
.0'
^ ste
S5g ^ » It ^
7/ > > tff^ ^
l it a ^ S s ^
Subject Inversion
Example 2.21. Inversion ofthe Subject, left-hand piano.
The inverted theme occurs on D Aeolian. Following Development I, Exposition II
occurs, beginning on the second half of the fourth beat, measure 12.
Exposition II is created on C Ionian with the first subject in the piano right-hand.
This is answered on the dominant of C Ionian, at the end of measure 13 in the cello, and
answered again in the subdominant of C Ionian at the end of measure 14 in the piano left-
hand. The subject then recurs in C Ionian, end of measure 15 in the clarmet, then
answered in the subdominant of C, in the voice ofthe piano right-hand. Therefore,
Exposition II, centered on C Ionian is obviously centered on the dominant of F Ionian,
the center of Exposition I. A countermelody is consistently heard after each subject and
answer. The countennelody is important because it becomes attached as a characteristic
melodic figure ofthe exposition. Following exposition II, another development occurs
from measures 18 to 21. A partial exposition occurs in measure 21, but only consists of a
single subject and a single answer, then, a bridge appears in measures 23 through 27.
Measure 28 marks the start ofthe fourth exposition. The fourth exposition is
marked throughout by a retrograde ofthe theme. See Example 2.22.
18
Subject in Retrograde
31
i m
SI It-
m ifvr r f Answer in Retrograde
SI
^ ^ m F=? f'r'rriL^fi
^ ^ s Subject in Retrograde
•>-'^ r j CTJ^ ffl JtF tt i:a ^p ^ ^ I t ^
Example 2.22. Exposition IV - Retrograde ofthe Subject and Answer
The third exposition is centered on D Ionian. Therefore, the first subject is created on D
Ionian with the first answer in A Mixolydian in the piano right-hand, measure 29 and
beginnmg of 30, and a second answer on G Ionian in the cello, measures 30 and
beginning of 31. Another subject recurs in measure 31 until the beginning of 32, and
answers in A Ionian beginning in measure 32 until the beginning of measure 33. A short
bridge, beginning in measure 34, connects a recapitulation of exposition I. The
recapitulation of exposition I, pickup to measure 35 occurs to end the movement, short 6
bars of closing material.
19
CHAPTER 111
SCALES AND VERTICAL STRUCTURES
The scales and vertical structures that are interwoven into this work are mostly
defined by the melodic patterns expressed, for the most part. The first movement is
explorative of several scales from a whole-step scale to a whole-step, half-step scale and
chromatic implementation. The second movement begins on C Aeolian but changes
centers several times, and establishes several non-functional chord changes. The third
movement begms with an 11-tone scale centered on D and after several other centers, it
also ends on a D. The fourth movement's use of centers is representative of fiigue
expositions and developments.
First Movement
A look at the first movement suggests several mode changes. The first motif
occurs as a piano solo, beginning with a whole-tone scale (measures 1 and 2) in the left-
hand piano, and then motif 2 built on a partial whole-step half-step scale (measures 3 and
4) succeeds in the left-hand piano part. See Example 3.1. Above both motifs, a C
Aeolian scale is produced in the right-hand which forms a bi-scalar constmction (see
Example 3.2).
n, r ' r 'T i|^ r \r\ rj i j i ni Wholc-Tonc Scedc Construction "Whole-Step, Half-Step Scale Construction
(measures 1 & 2) (measures 3 & 4)
Example 3.1. Whole-Tone, and Whole Step - Half Step Scales.
A split third also appears in measures 2 and 4 with E-flat and E-natural. See example 3.2
C Aeolian also continues into measure 5, in all instruments, and quickly
disappears in measure 6 with a chromatic treatment where an 11-tone C scale is evident
until the end of measure 7. See example 3.2. C Dorian takes over in measure 8, and
continues until the second beat of measure 9. Beginning on beat 2 of measure 9, a 9-tone
20
C synthetic scale constmction, C, D, E-flat, F, G, A-flat, A-natural, B-flat, and B-natural,
climaxes the end ofthe A section ofthe temary form.
Trio For Clarinet, Cello, and Piano
I. Lento J :40 Wallace Tninei
(2004)
[A'
Clarinet in C
CeUo
Piano
^
^m
Split Thirds Split Thirds
m./' . / •
" ! / •
^ m "/
^m 5
^
Mftf'f ^ ' p l T ' g ^ ^ m ^ ^ "!/•
^
Chromatic Pitches
C Aeoli/m 11-Tone Scale: CDll 'El^FFt'GdtA AI'B (measures 6 & 7)
Example 3.2. Opening Measures of Movement I.
The B section ofthe temary form begins in C Dorian in measure 11 with the
piano left-hand in octaves to strengthen the accompaniment as shown in Example 3.3
21
[Bl
// i • ^ # _ 0 i f "?/•
''>-hJZs \^i'^ iLTQicjT'nti i2ji.
Example 3.3. Beginning Measures ofthe B Section.
Measure 13 changes to C Aeolian. See Example 3.3 above. This mode remains until
measure 15 where an 8-tone C synthetic scale constmction, C, D, E-flat, F, G, A-flat, B-
flat and B-natural, is produced. C Aeolian returns at measure 16, then a C Dorian takes
over in measure 17. C Aeolian recurs at measure 18. This clearly marks an alternation
between C Aeolian and C Dorian.
Measure 20 is interesting because two different C modes exist between the piano
and the other two instmments. While the cello and clarinet remain on a C Aeolian in
measure 20 and 21, the piano changes from C Aeolian to C Ionian on the second beat of
measure 20. The C Ionian in the piano remams until measure 21. Also, a split 6 occurs
on the second beat of measure 20 with an A-nattiral and an A-flat. Finally, measure 22
constracts a C harmonic minor scale, and the A section ofthe temary form returns in
measure 23. After the retum ofthe A section, the first movement ends in C Aeolian
with a perfect authentic cadence, followed by a tonic extension.
22
Second Movement
Movement two, written in a modified second rondo form, A'BA^CA', begins with
hammer-stroke chords in the A ' section in the cello part on the l" and 3"" beats. The B
section then fiilly unplements the hammer-stroke chords that are pronounced in the piano
part, (see example 3.4).
n. Allegr « J = , 26+
i [A^l
S 1- t* Hammer Strokes
I detache I
'h\(*} >r ^ J if / f I ./'
-4-,
^.h.!ffrrff|frrrrrff|f r r p i • ^ t t f m f
s nonnal •;/' Sub. p
^ i ^ #—f ' r :* :-f Sub. p
" « •'
funjjjij i ^JJjJJJ ^
I * = » f f § .•;/• Sub.p
^ ^ SS ^ ^
Example 3.4. Hammer-Stroke Chords.
Hammer - Stroke Chords
23
C Aeolian sets the mode for measures 1 to 13. B-flat Dorian then becomes the mode
center in measures 14 to 19. A bridge is next encountered in measure 20 until 23 in the
piano part (see Example 3.5). The bridge connects the two mode centers and connects
the sections. After the modulation to D Aeolian, the modified A^ section ofthe rondo
form returns.
Bridge 1
20 RiL
[Al A Tempo
^ ^ ^
20
'r;\ r i -A Tempo i fe
20
I $
Rjt. Leualo A Tempo
^ ^ ^m im w*m fcSb" ' " . / •
^a m ! ^ S itfr H - g ^ ' ^ J J J J J f ?• bV
Example 3.5. Bridge
The D Aeolian mode continues into the region ofthe C section until measure 33,
but measure 34 initiates other scale constmctions. In measure 34, A-flat and E-flat are
introduced, suggesting an E-flat center for the first two beats. The third and fourth beats
however, retum to D Aeolian. A chromatic inflection occurs in measures 36, with D-flat
to D-natural, and in 37, with G-flat to G-natural in the left-hand ofthe piano. A split
second with E-flat and E-natural occurs m measure 37. With the E-flat, G-flat, and G-
natural in measure 37, the closure ofthe synthetic scale constmction, built on D, takes
place.
Therefore, together, measures 34 through 37 produce an 11-tone synthetic scale
constmction on D. This scale is built on the following notes: D, E-flat, E-natural, F, G-
flat, G-natural, A-flat, A-natural, B-flat, C, and D-flat. Following the chords generated
within bars 34 through 37, the 11-tone scale creates non-fiinctional chord connections.
In the next measure, measure 38, the A major chord prepares the retum of D Aeolian, and
24
this remains until measure 53 where a modulation back to C Aeolian is made. A short
bridge connects and remtroduces the A material and ends the movement.
Third Movement
The third movement begins with an 11-tone scale that is centered on D. See
example 3.6. The 11-tone scale establishes several chords that are of interest. The first
chord established, beat one ofthe second measure is a G major (IV), which on the second
beat goes to a G major 7*" (IV^), and then a C major (VII) on the third beat. Then, the
16*-note descending tetrachord (cello) moves to an A major (V) on the first beat in the
third measure. Next, an A minor 7 (v^) is established on the second beat with a move to a
D minor (i) on the third beat. Then a move is made to an F major (III) on the fourth beat,
on top of which another descending 16*-note tefrachord in the clarinet moves to a G
minor (iv) in measure 4, first beat. Another D minor (i) occurs on the third beat, and on
the fourth beat, first half, to a C-sharp diminished (vii), to a D major on the second half of
the fourth beat. Therefore, non-functional chord connections exist, as chords do not
necessarily move from the root a 5* apart in the direction ofthe tonic.
25
m. Andante J =50 I:
Albert! Bass Alberti Bass
Figure 3.6. 11-Tone Constmction, measures 1 to 4.
Measure 4 establishes a D harmonic minor scale constmction. The D major scale
center is then established in measure 5. See Example 3.6. Also included in measures 4
and 5 is an Alberti bass pattern that holds for a steady rhythmic figure. Another rhythmic
feature begins in measure 13 with a broken chord establishment in the piano left-hand
that becomes an essential accompaniment. See the example 3.7.
26
i>'irrrrirrr ")• 'I ^' r 1^
^ ^
f T If ^
^^.
^ -JO J ^ ^
''•'I'LdLlI i ; i=F ^
Figure 3.7. Broken-Chord Pattem in the Piano Part.
The use of octaves strengthens the piano accompaniment. The use of broken
chords estabUshes a balance, which allows for figural variations in the melody that
produce new material and essentially a Neo-Classical presence. The use of tertian chords
in several places in the piano also adds to the piano accompaniment and serves to
increase the harmonic presence.
Fourth Movement.
The fourth movement. Allegretto, is written as a fiigue with three expositions, two
developments and a recapitulation. The exposition analysis considered first concentrates
on the center ofthe each subject and each answer, and not necessarily the vertical
stmcture in individual portions ofthe movement.
The movement begins with a subject and countermelody on an F Ionian scale
center in the right-hand ofthe piano. See Example 3. 8 below.
27
I EXPI
IV Allegretto, Lively J=72 +
^ ^
^m ^
Answer
Subject
^
"if
^ *«!<_>
Countennelody
r ^ ' ' M j i Answer
' •"&•
Development 1
i ZJC^
^ IT^L-U ^
Subject .If
m Z3£^ — 1 ^ S S^=?
Answer
f J .,nj j ^
yri. r r r r^ -^ i
^ ^ifi •r:J1 IE:
re.^^ ^
Example 3.8. Beginning ofthe Fugue.
The answer to this subject occurs on a B-flat (IV) Ionian center a measure after the
subject is stated, beginning on the second half of beat 4 in measure 2. Another answer is
encountered on a C Aeolian mode, (a iv from the I.) with the second half of beat 4,
measure 3. Another subject recurs in the cello on F Ionian starting in measure 4 and
answered on a G Dorian in the right-hand ofthe piano, measure 5. This spells the first
exposition ofthe movement.
Now, looking at the vertical stmctures, the chord stmctures developed in each
exposition reflect the mode changes made as the subject or answer occurs. The first
exposition establishes chord connections in the right-hand in the piano part during the
second answer. At the beginning ofthe fourth measure, a C minor chord is established
on the first beat and to the first half of the second beat. The progression on the second
28
half of the second beat moves to a B diminished, then back to a C minor chord on beat
three, to an A minor on first half of beat four, to a C major 7 on second half of beat four
and then settles back to an F major chord on beat one of measure 5. So, the chord
connections can be summarized as (v - iV - v - iii - V^ and to I), which is non-
fiinctional.
The first development begins essentially in measure 6 on a C mode to a D mode
and finally to an F mode. Stability in measure 16 to measure 18 is established fairly
quickly compared to the onset ofthe developmental process. The developmental process
does not estabUsh extreme tension, rather a modulation process and a connection to the
second exposition. The second half of the fourth beat of measure 12 initiates the second
exposition.
The second exposition is established on the dominant of F. See Example 3.9
below. The subjects and answers are derived on a similar pattem as established in the
first exposition. That is, subject, answer, answer, subject, and then answer. As stated,
the second exposition begins on a C Ionian, and answered on the dominant of C, G
Ionian, then answered again on the sub-dominant of C, F Ionian. Each section ofthe
music reflects this mode change with accompanying harmonic changes. The next subject
occurs back in C Ionian and then answers on an F Lydian. This pattem of subject and
answer mode relationship is reflective ofthe Neo-Classical nature ofthe development of
the rest ofthe Fugue. Next, another development section begins.
29
Subject
l'>,.^rrrWfc^irLj..r'f r ir -^r '[S^ Answer
J3
(ft J j , l ^ -N Jj'i IJ J J F
^ ^
/"Answer
^ ^ • ^ J JJJJ J-sl
Example 3.9. Exposition II.
30
The second development begins with measure 18 and lasts until measure 27. This
becomes the longest development ofthe fiigue. The development begins with the
subject, inverted, expressed in a D 9-tone synthetic scale. Another inversion ofthe
subject in the piano left-hand, centered on C, occurs in measure 21 into measure 22. Free
material bridges the third exposition until the retrograde ofthe countermelody introduces
a retrograde ofthe first subject.
The subject ofthe third exposition begins on a D center m retrograde. See
measures 28 to 29, Example 3.10. It is answered on the dominant of D, the A center, and
then again answered on a G center.
Expm
Subject in retrograde
I'h trmmittm^^
./ Answer in retrograde
2S
f r ir ^r'rff*^' if »r"ccrr ' B /
2S
i e
Antwer m retrograde
I S if^ "L; BA w^ f
gpH ^ m ^
Figure 3.10. First Three Measures of Exposition III.
The subject recurs again in measure 31 and then answered on the Dominant in measure
32. Measures 33 and 34 agam mtroduce free material and a recapitulation begins in
measure 34 until measure 42, with the next three measures brings closure to the
movement and to the work.
31
CHAPTER IV
RHYTHM AND METER
Rhythm and meter describe the time divisions and duration of notes and the
grouping of notes into segments to coordinate the pulses that are produced from sound
production. Rhythm is directly related to a beat pattem that is produced from the
individual notes, while meter is related to the groupings ofthe notes in a measure. The
tempo is dictated by the melodic interest ofthe intentions of either the composer or
sometimes the performers. Trio for Clarinet, Cello and Piano tempo patterns are
dictated as slow, fast, moderate, and fast, marked Lento, Allegro, Andante, and
Allegretto, respectively.
The first movement is written in a Lento tempo. In this case, the quarter note has
a metronome value of 40. However, the melodic interest is centered on a sixteenth-note
rhythm throughout. So, the movement, while mdicated as slow, deceptively feels
moderate. There are points of retardation that allow for a short restraint on the tempo and
then they resume to the original tempos. These points give a sense of pause and rhythmic
release. Kfermata at the end ofthe movement also relieves the crescendo build up that
occurs on the third measure from the last. The first movement ends with three soft-
measured hammer-note tonic extensions separated by two octaves that suggest a
recurrence ofthe tme rhythm, as they are in quarter-note length. Please refer to the score,
chapter V, page 38, the first movement of this thesis for all rhythmic gestures.
The second movement, written in Allegro tempo is written with a quarter note at a
metronome value of plus or minus 126. The idea is to give the performers a relaxed
rhythmic format, but suggest a tempo that remains fast. The quarter-note hammer chords
in the cello at the start ofthe movement set the pace ofthe movement immediately. The
staccato emphasis at the onset ofthe movement and throughout maintains a rhythmic
presence that continues throughout the A and B sections. Also, the hammer chords in the
piano maintain the rhythmic interest ofthe movement, especially in the B section.
Imbedded in these hammer strokes are sforzandos that put emphasis on the first beat of
32
the measure in the piano part ofthe B section. The C section changes the rhythmic
interest from the quarter note to the eighth note with a legato presence. A ritardando
appears in measure 33 along with a short pause, and connects the retum ofthe A section,
reintroducmg the quarter note as the rhythmic interest. Finally, the movement ends
abmptly on a quarter note chord. See Example 4.1 below.
m ^ ^
^ = =
/ -M
JJ >
S s # I E =?=^ 5 ^ P J-
? ' ' ' i j j J JJ
3 a — r •¥,
^J Sub.p
-' ' I'll ^ ^ •—^
17^- J IJ
T=^
< V - '
Example 4.1 Ending of Movement II.
The third movement is written in Andante, which indicates a walking pace. In
this case, a quarter note is indicated with a metronome value of 50. The movement
begins in a four-four time signature. A ritardando occurs in measure 8, which prepares a
meter change from four-four to six-eight time in measure 9. Therefore, a dotted-quarter
note now equals a metronome value of 50. This change slightly speeds up the tempo and
allows for a more playful rhythmic gesture and embellishments. A time signature
conversion back to four-four time occurs in measure 22 with the original tempo observed.
Then in measure 30, sbcteenth-note patterns in both the piano and clarinet shift the
rhythmic interest to sixteenth notes. These sbcteenth notes accelerate the rhythm in
measures 30, 32, 34, 36, and 37. Another ritardando occurs in measures 39 to measure
40, effectively restraining the rhythm for two measures. An 'a tempo' restores the
original tempo which continues until the end ofthe movement. A three-four time
signature occurs at the second to the last measure ofthe movement. However, this
change is not effective in altering the rhythmic emphasis because a whole note dissolves
33
any rhythmic audio distinction that occurs with the four-four time signature in the last
measure.
The fourth and final movement is written with a quarter note metronome value of
plus or minus 72. A tempo marking of Allegretto, or lively is observed. The rhythm is
relatively straightforward throughout the movement. Actually, except for apoco
ritardando in measure 25, an 'a tempo' in measure 26, another ritardando and an 'a
tempo' at the end ofthe movement, the previous statement is correct.
34
CHAPTER V
NOTES TO PERFORMERS
This work should be played with good balance between the voices. Although the
clarinet is the top voice most ofthe time, the other instmments also have interesting
contributions in all the movements.
The first movement, although written as slow, follows the 16*-notes for rhythmic
interest. At the end ofthe first movement, the pianist may breathe (or break slightly) after
the Fermata C chord, and then play the remaining three hammer-note C double octaves.
The second movement should be kept to a tempo mark above 120 to get the
correct effect ofthe movement. Although, most of section C ofthe Rondo form, that is,
measures 32 to bar 52, can be taken slightly slower, the initial tempo should be resumed
in bar 54 which bridges back to the retum ofthe A ' section.
To the cellist: a challenge in speed execution may present a problem with playing
octaves in Movement II. The cellist does not have to play the octaves as notated, if speed
is compromised. Instead, play the bottom note and the fifth note above the bottom for the
first three measures, then in measure 4 play the higher note ofthe octave. Also in
measure 24, play the higher note ofthe octave. Finally, in measures 57 to 59, again play
the higher note ofthe octave. In the fourth movement, another set of octaves occurs in
measure 35 and 36. If difficulty arises, play the lower note ofthe two notes.
Lastly, please enjoy the Trio.
35
CHAPTER VI
AN ORIGINAL SCORE:
TRIO FOR CLARINET. CELLO AND PIANO
36
Performers
Regina Shea - piano
Dr. David Shea - clarinet
Dr. Alex Ezerman - violoncello
Personal Note: I would like to thank all ofthe performers for producing the
professionally recorded audio CD and artistic performance.
37
Trio For Clarinet, Cello, and Piano I I. Lento J= 40 [A']
Clarinet in C ^ ^
Cello
Piano
^
^m mp
' > = b i ' i , g ^ ^
W^
#
g
Wallace Turner 2004
^
nn * S \_—g-
^ ^
i fe [B] ^ - ^
/
^ ^
^ ^ s r^jtj • ^ . \
f
[X^j^jii /
-^ * "
2004
38
ij'"''^lai-?^-^ RU. A Tempo
^
13
m Rit. A Tempo
^ ^ l E ^ y
B mf
r r ir r i / inp
Rit. A Tempo
18
rrn-rrri^rf-rrri^fffif , Rit.
s / ff
18
S ^
S Rit.
f 'ff 18 s
/?/?.
^ ^ ^ ^ s ^TUTfl /
¥" t_r
^ ^ < ^ ^ V
[A l ^^ ^ A Tempo
S w m —V 0-/— ""
^^ A Tempo
mf
yrL^nr T l /
• ^ • A T e m p o
7 » ^
S ZP=
m
¥^.
tt m t ^
^ ^
39
4 ''i>.n n i i ^ P i ^
^
mf
^ '•,.cV L-Y i f ^ i = / 7»; • /
'):J-| rrrW^Y^'
32
fe S A Tempo
* = = «
/ __= <^
/ — = =
' ^ A Tempo « •
g
^
ff A Tempo
40
II. Allegro J=126+
[A']
i e ^ detache
e g ^ : ^ ^ r i 1 ^ ^ = ^ ^ /
* * « i * * j s ^ ^
' ^ 'I'-to • » ^ ^ s *
rTF1=
^
rffifrTrrr^M ^ « ^ ? ^
/ 5 normal
^ ^ ^ * ^ ^ ^ P
5 < y " —
^ ji 4 i ^ * = * = ^
^ ^ 4V, | , f m ^ ^ ^
[B]
^
;sr a . ^ >
f n- p s/* Sub.
•I'l 11 I Ml r \~rjjj-^
sf Sub. p
1 " V
P sf Sub.p — sf Sub.p
j ''" J j i I s/" Sub. p
^ri!\ J J J
Staccato Sim.
a « «=
^ ^ ^
a « «=
^ t^ia S^ Sub.p
: ^ = « :
0 _~
2004
41
\iAr Pf PIcgrr Pif Tf p i ^ ^
^
?^^^ n V
r^>ji[iu' ^ J' I J i^f J' i
^w • . • I
i I i ^
t-t I i ^m 3 S^ Sub. p sf Sub.p Staccato Sim.
^ * -d * -: ^^ 3: *
• • . •
20
^
20
.'H''i.r ? -
20
m «—F- J *l «l j * : ^
I
/?//.
^
« i p
*
iS fw* Legato
mp
^ ^
^ ^ ^
^
S
¥
42
24 A Tempo
^ ' • 1 ' i r i V \^ \ \\' > r ) A Tempo
24
m m —-—
24 A Tempo
I ^
^ ^
^ ^m ^ ^ ^ ^ ^ ^^f ^
28 rrffiFfr-rcrffif M ^ ^
2«
S
w /
^ y . y
^
2S . -
= / = mf
f ! f f ^m ^ ^
/ = = - ^
i^ ^ ^
52 [C]
52
^
•P7i.n? s "if z = OTp
I - — = ^ ^
'' J J J '1
^ ^
LiirF P I
43
36
&
mf ^ ^ - ^ i . . ^ ^ ^
S /
56
» ^
m^
TO/"
f ^rriir mf
v h J Y V r
40
m 40 . _ .K -g.
^ ^ ^ ^
-X? p ii
^
^ ^
40
s I M
^ i /
^ ^
44
^ # ^ P mp
44
V=J r J ^ ^ ^ i
«ip 44
T»~^Sr * ¥ »
• H J r J
f =^^ ^
r^ in|7
^ ^ ^
»^ p r
^ ^
^
i t i
44
48
: /
P 48
j''j J I ' a 45
^ ^ ^
P m P
^
/
/
W ^
^
i
52 i?ft. [Mod. Bridge]
A Tempo
3a S P m^ 0 m^^
r iLEirrrr 52
^
«//.
mf A Tempo
'n<^AJr r irrr>j ji^''i.r r r #
J?/l
7 1 /
^^hj f - 7 ^
A Tempo
& ^ f «lf
^ !
* • : b''i, j J J
I I I i
^ ^
56 [A']
/ 56
/
l*i
; r Ml i ^ ^
') ,|-i.r J r J IP > [ H f t
^ - • ^ - ^ l i
/
^
• 'i iLij' =P=#=
45
60
^ ^ ^ ^ ^ ^ ^ ^ ^
60
S^ 60 ^
i
'l'""gjJirjj
^ ^
'j j j j ^
^ ^ ^ ^ ^ ^
64 m 64
^
64
&
s s f Sub. p
t
f ^\T J I f ^ ^
>
f—= ^
:' ^ - II
i tip- f
^
= XT
^ S SI
>
46
III. Andante J= 50 J=
^ m s ™/:
^ ^ ca-i^ rV r i* »»/
4'"^- > ' i ^ i ?
^
•J '!< '^
m ^
mf
Eg
^
^
mp P ^ #
5 ^ ^ 3 .
)= ii r r
mf P- -f^P-
y f f ip f r f i^^^^^ mp mf-
Rit.
J J . A Tempo
* ] i r f r J > l l i i ^ ^ i ^ ^
mi
m YiTuiisr f m] » /
j""C-IJJj j
S S
^ ^
7 l /
i P ^
^ ^
P ^
2004
47
p IO f l r rrr r s
BSE? ^ -
^ ^ ^ P I f '•
> i i [ £ ^ n iCfTr Pr I tiff f F /
16
m i ^ i ^
/
76
'Ii J h .J • « - •—- m
J ^ r £ i M > H^ ? ^
/
m ^ m m L-a cu ffi
' ii r r " - ^ ^ i '
/9
S i*
79
s
wip
p if r ^ . ^ ^ : ^ ^m mp
f
m ^ w
nip
^r-" ^—^
ffl M 48
J.=J
^ O r r I-' /
^
-m, »/
^y-h 4 r>r>rrrri(^ fli/
^
4"ui?] iij!*ii
^
^
^
' ^ ^ . - ^
^ ^ =
f /
ffl ^ ^ F
26
Jjlr J r r 1 ^ ^ ^ #
26
^ ^ ^ r (Jir r r
« a
^ ^ T fW *
np
^^m ^m ~r-m
30
r^ J I rmn f mp
30 ^ -m-
e?: p^ fei / mp
49
33
"'Mitfrr
p 0- -0 0- i -f
^S
= /
^
/?/Y. A Tempo 39 ^ ^ ^ \ / ' • ^
A Tempo 39 Rit. rr^ f^€--P:'^jr\ m^ fr\ ^
S ^
^ ^ ft ^p Rit. A Tempo
W^
^
p ft r JJ' 0 x^ it
« / ^
£
•m m-
50
43
'^ \ i -^ ^ 3 2 1 P ^
43
S mf
^ ^
# i^ # • ^2• M
^ ^
s
—»«ss>^
T ^ •[jj^J J J
s ^rm m
47
" ^^^ r ir :s^ Sri:T[s:!n ^f —==if~ p
47
S ^ ^ = ^ m r p g=y=^ ^
- e -
J i / / P
47
^ ^
- O -
=B= i « / / = P
SS ^r?^p. e ^ ^ H E
I
51
IV. Allegretto, Lively J = 72±
'1 • m $
i ^ f\ {ijj^ mf
m ^
• i - g - i 1 ^
mf
^
f^ m ^ = = ^
m ^ ^
trr . if, m ff f
'?h - i ^m i i p-m-p-W-mf-
f
llf' [I'll m 1 Pf ry r if
^MH^ ^ ^ ^ ^
> >
g S P ff
^ ^ = ^
^ W-
2004
52
10
70
^ r r r icrrr f-p mf f m, » /
m mf
i ^ ? ^ ^
/ « /
P ^
75
, .pppprrrr t£^ s s r ^ Jr 'Ti /
75
Yflffi ^
V-^ ^ ^
F F
/
75
^ ^
"y^J i ^
• — y
/
i e ^ i ^
J t ^
^ ; i ] j - i ^ l
76
w=i^ ijrMcj' ^ ^ r r'' ? ^
« /
^ ^ fe^
m/
^ ^ ^
^ ^
^-m £
JlS-
^ ^
m; If
^
53
19
^
' f J iJJi^r j /
/9
* # = * ^m
tt:, «: ^ r
I / '
e fe^
^ WM
^
« ife I I I
^ JJ J ^ * r ^ ^ mf
22
^ S r y t :f| OT; /
22
\> ^ § h g
7 1 /
VHJ^J J ^ ^ - p ^B P ^
Poco Rit.
25
^ ^
A Tempo
Vr J IrW^'^^ ^ ^
/ m'i If 25
. : ,r r ft. rJ ^ ? gap »r iT r ^ ^ ^
/ mf
54
:s r r~MrrMr^f f i^f^rr' 28
m m ^ ^
28
P^-^ P^ f
'Y^ ^ r ^r ^ =«fF P
/
^ W ^^
f
f
30
^ I t
:>• f¥"rvrrf^^i^fry r f 30
a
P W T O ^ ^
* j (
M ^ 25 F
55
3 ^ ^ ^ ^ * * * t ^
^
7 1 /
55 # • ^
^
"J li^.n , ^ 7 f /
m _ — . • ^ —
/ mf
- ^ \ f ^f ' y ^ • —•
^te ^S
55
37
[f=4^ :^ft s i7
- T » » ^ ^ • - ^ ^ 2 ^ ^ ^ ^ ^ ^
/
M ij. ;i
^ ^ r
g i ^ ^
^
s f
^ ^
j i J J i^^^
^ ^
40
M a ; LI II i ' f f 40
•>^ I f^f f f r j J ijj\[^^j^ m jsr
40
^ ^ p^ ^
¥^ 5=»=l*=5 .tf'
LIL; ' ^ S = F ^ =*4l S ^ ^ u
43
£6 m
43
S -J-JJJ^I^ I
mf
i f
^rr r i r r i "
#
i?/7.
P r r i r Jf II -mf
43
^ fe^^
^ ^
/?/?.
7 » /
^ ^
IS:
|=i
^
.» "O
^ ^
a^ jx O
56
CHAPTER VII
SUMMARY AND CONCLUSIONS
Trio for Clarinet, Cello and Piano reflects back to Neo-Classicism in musical
texture and Neo-Baroque fugue. Four movements with slow, fast, slow, and fast tempos
reveal a set of musical ideas that brings to life figures and phrases that are kept
uncluttered by dense harmonic structtires. Although, several modes are established that
are non-functional. The forms imposed in this work include modified temary, modified
second rondo, through-composed, and a fugue.
All the movements bring back the first section ofthe musical form followed on
the tonic center. Even in the third movement with a through-composed structure, part of
the beginning section ofthe movement is hinted on. Bringing back material from the
beginning adds a sense of closure to each movement.
Synthetic scales produce non-fimctionality and therefore, the chord progressions
are not necessarily a fifth apart. Also the use of modes produces non-functional chord
progressions. For example, Movement I produce several modes in C including C Dorian,
C Aeolian, and C Ionian which are all effective in describing the non-functional tonality
ofthe movement. Movement II and Movement II also carries non-flinctional chord
changes because ofthe modes and synthetic chord constructions. Movement IV, with a
Baroque Fugue produces non-fimctionality based on the built-in pattem ofthe fugue
process. Therefore, all ofthe movements, while having their own melodic characteristics
follow no prescribed chord progression; instead the chords are a fimction ofthe melody.
The classical period, 1770 to 1803, developed several techniques of musical
expressions including harmonic textures, the Alberti bass, broken chords, and a
widespread use of dynamics. Trio for Clarinet, Cello, and Piano reflects back on these
techniques incorporating elements of classicism. Specifically, the use ofthe Alberti bass
in movements II and III, broken chords and a scan of all the movements tells the story of
uncluttered harmonic textures.
Going back a little further back to the Baroque period, 1685 - 1750, the fourth
movement incorporates the style ofthe Baroque fiigue. Therefore, Movement IV follows
57
the basic principle ofthe Neo-Baroque fugue in which a subject is stated then an answer
may follow on the fourth or fifth interval. A countermelody also adds another dimension
to the voices. While the fugue reflects back to the 17* century, this fiigue (Movement
IV) incorporates more dynamic expressions that the 21*' century considers important in
enhancing a musical work.
58
BIBLIOGRAPHY
Apel, Willi. Harvard Dictionary of Music and Musicians. Cambridge, MA. Harvard University Press., 1956.
Ed. Randel, Michael D. The New Harvard Dictionary of Music. Cambridge, MA. The Belknap Press of Harvard University Press., 1986.
Eggebrecht, Hans H. J.S. Bach's The Art ofthe Fugue: The Work and Its Interpretation. Ames, lA. Iowa State University Press., 1993.
Kamien, Roger. Music: An Appreciation. New York, NY. McGraw-Hill Companies, Inc., 2000.
van Appledom, Mary. Research Class & Scores: Texas Tech University. Lubbock, TX., 2004
van Appledom, Mary. Passages III. Trio for Clarinet, Cello and Piano: Texas Tech University. Lubbock, TX., 2003
Dover Publications. Johann Sebastian Bach: Complete Preludes and Fugues for Organ. New York, NY. Dover Publications, Inc., 1985.
Ed. Hans Schurich. Johnn Sebastian Bach: Die Kunst Der Fuge, Vol. 1. Suddeutscher Musikverlag, Heidelberg, Germany. Willy MuUer., 1964.
Ed. Hans Schurich. Johnn Sebastian Bach: Die Kunst Der Fuge, Vol. 2. Suddeutscher Musikverlag, Heidelberg, Germany. Willy Muller., 1953.
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modem Europe and America. New York, NY. W.W. Norton & Company., 1991.
Randel, Don, M. The Harvard Concise Dictionary of Music And Musicians. The Belknap Press of Harvard University Press. Cambridge, MA. 1999.
59
APPENDIX A
PARTS FOR:
TRIO FOR CLARINET, CELLO AND PIANO
60
Clarinet in B° IVio For Clarinet, Cello, and Piano
I. Lento J= 40 Wallace Turner
2004
#
[A ] 4
m\ • /
UJJ^^JIjTJj s
74
7I»^
Rit- A Tempo
L;i:crffl'^ ^
= / ™p /
i
57
^ . r ^ ^
A Tempo
Vi/
/ —
61
ii.Auegro ^=126+
rffifrrrrrffifrr pp [B]
u r r r / Sub. p
^ • r r f r i r ff rir pr pi / Sub. p
= j ( f
^ ^ ^
[A'] Rit. A Tempo
^ r , r . i f . f H-1 j I j. ±=f=±=t mp
26
m •. m m ffPiPf f r f=T=f ^
- / :
31
^M [CJ 1 rrn
S J s ^-^
FV rfhrr^ *"-a^
TTC/ mj» « /
57
^f^r^ r> I i^:,^Jr^,r1i'ir7:\ rT^ir7r>g /
Lui' luiilliji^ ^ ^
TOf
42 * ^ S
/
^ ^ r f f ir/rrl'clu'i mp
^ i r r r f r r 7?//. A Tempo
5= mf
^
[A'l
W •0—r—ft
^ ^ ^ ^ ^ #
/
2004
62
III. Andante •'=50
i ii ) rWrl'i^^J mf i i r r==- mp
\i\^ JjJJ^^I ^
Rit. J J.
A Tempo
' l i '^^Egf ^ ir u i I mil I' If i f^ i i mf — = ^ = = I I / r = = - 7B/
*
':j«iiVfrffrr'^ir'^f''iitaarr if f 'f n s ^ r f 77
¥«a^rf">i te^ ^rrpii]j,J^ir.r_rr ii : / /> _mp
J.J 22
* l ff f = ^ ^ \ - If Pr r if ^ p p / = = - « /
2004
63
IV. Allegretto, Lively J=72 +
^^^m
ff ^ ^ . mf
f ^f
j^> ^|n^[Pfff t^ /
20
TiL^ ^ ^ ^ i i j i MM^iimiT"irii / Z=^mf ^^-^
Poco Rit. 25 . ^ ^ H^ .«. ^ u '^ Tempo
*
ia * * ^
ffrrr'ff f|rr~tt.r^£il mf
mf ^=^f _<
59
^r frrr.rrirrrrfiirr^rfir prff s
44 7f;/.
FF|f r r ^ - i r r r n m\ if
2004
64
Cello Trio For Clarinet, Cello, and Piano
J Wallace Turner = 40 2004
^ J m i r ^ r fei mf f=-mf
[B] 10
^
n Jr I r
: / re
i^ i?//. A Tempo
Tf^ mf f '^
17 iX
Rit. A Tempo
^
/
24
m ffi'i^r'T rS'if r i r^^
31
m mf • m. ' /
^
^ A Tempo
^
65
II. Allegro J 126+
[A] '-• detache
V^^i^tp l - ^ ^E3 •m m • "^ normal
P /
[B]
''h\^f f ^ r ^ 1 r r I in r / Sub. p
12 n V ^m n V
. ' ^ r r ' m\Y i \ I J I'T" i « r i f p-^.^jicjxf'^ > / Sub. p
^m ^
* -Rit.
m^ w
24
(A l A Tempo
ff
r r f f i f f f ^ ^
] tS3*= yji ^
mp
30 ff [C]
^ #—*-
OT/
^ ^ r^^^f^
m/" /
iS
^ ^
fiifff r i m ^ r r r ' 1 r ^ t ^ 7n/ /
45 — — _ _ ,
^ l ^ ^ d E ^ ^ # ^ l | II I 'jJjJ JjjJil''''l'' mp J — = = : i l l l •'
±: ]^
[A] A Tempo ^2 ^ ^ ^ 7?r/. Alempo
^ £ ^ i £ B g i 11 llli'il I I mf
f=Uf^ f
57
^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^
65
/
f ^ ^ ^
#
2004
66
III. Andante J =50 J=
^m ' [g j 11 r "r I 1 ' P -==Zmf mp
•iii|,rwrr|frrr|f7,7irr|r HI, I, ,,
J.J
23
^
^ r I If r r ^
7ra/
25
• '"iir J f J1 ^ ^ e Pv- m "f ^ r t J T
mp f mp
33
S frrfrfrf ir r r f if r r rrir^y crir^Mnrri : /
55
«
Rit. ^-^
'iifr r ^ i f^ J
mf
• >.^ A T e m p o
fffrrrfif^r?f / mf
WP
44
=5 •>=Hiirf r f f , p f f . p f f f f r . r =F=#^ i 7 1 / /
49
a i^ i i i iQ ^ ^
i? 2004
67
IV. Allegretto, Lively J=72 +
^ rf^ff f f i /
'>i,r pr s #^ir i-i J i i iu -^ 70
'M il mf
m ^ ^ ^ ? : / If
P
ff ^
/
' f^Qu II ^^^ ^ fr f f I
75
^ ^
mf |JjjJ^,/JlJ. J ^ ^
£4 B
22 Poco Rit.
a w ^ ^ r y ^ Lfif fur ^
26
« /
^(7.
/ :
r if rV f IfV ^ f i r V ^ r f ttt-
a p ^ ^
7 » / = — /
- rrrrfrfffite^^ 55
^ ^ ^ ^
i a ^
« /
40
w^ ^^m 44
^
mf ^
£ «//.
^ ^ ^ i
/ 2004
68
PERMISSION TO COPY
In presenting this thesis in partial fiilfiUment ofthe requirements for a master's
degree at Texas Tech University or Texas Tech University Health Sciences Center, I
agree that the Library and my major department shall make it freely available for
research purposes. Permission to copy this thesis for scholarly purposes may be
granted by the Director of the Library or my major professor. It is understood that any
copying or publication of this thesis for financial gain shall not be allowed without my
further written permission and that any user may be liable for copyright infi-mgement.
Agree (Permission is granted.)
^ Itud nt Signature Date
Disagree (Permission is not granted.)
Student Signattire Date