1I-

EXPLORATIONS: A COMPOSITION FOR

EIGHTEEN-PIECE JAZZ ENSEMBLE

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Isidore L. Rudnick, B.M.

Denton, Texas

May, 1992

Rudnick, Isidore L., Explorations: A Composition for Eighteen-Piece Jazz

Ensemble. Master of Music (Composition), May, 1992, 79 pp., 13 figures, appendix.

Explorations is a three-movement experimental work for eighteen-piece jazz

ensemble consisting of the following instruments: soprano saxophone, alto

saxophone, two tenor saxophones, baritone saxophone, two trumpets, two

flugelhorns, three trombones, bass trombone, electric guitar, vibraphone, contrabass,

drums and piano. The duration of the work will approximate twelve minutes.

The first movement features geometric configurations of spatially notated

sound which emphasize percussive qualities of the ensemble (i.e. key clicks, tongue

slaps, mouthpiece pops, etc.). Tone clusters of various pitch, texture and dynamics

derived from blues scales provide the source material for the second movement.

A slowly developing dynamic counterpoint creates the sound mass texture and

delineates the form. Movement Three features a contrapuntal poly-metric collage

of variations on a four-note theme. The collage provides the background fabric for

an exchange of periodic and aperiodic events.

TABLE OF CONTENTS

LIST OF FIGURES......................................v

Discussion

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

MOVEMENT ONE.....................................viiTextural Organization..... . . . .. . . . . . . .9.0.*. . . . ..1.0. .0. .0. .aviiDynamic Scheme.. . .. .. . . . . .. . .......... 0.0...........x

MOVEMENT TWO. ........ ... . . . . . . . ... . . . . . ...a........iiForm............................................xiiDynamic and Textural Procedures... ............. *.......xiiiPitch Organization..0..a.. . .. .. . . . . . .. .. . . ......... ... xv

MOVEMENT THREE. ..... .. ... . ....... ................. xxPitch Organization. ... .. .. .. .. . . . . . . . . . . . . . . . . . .0. .a..xxRhythmic Organization. .#.. .. . .. . .. .0. ... .*. .......... xxivDynamic Scheme.9.0.a. .0...0. . 0.. . . . . . ... .. . . . . . . ...... xxvii

Appendix

MOVEMENT ONE DIAGRAM... . ....................... *.=xxx

MOVEMENT TWO DIAGRAM.. ... 0... .. .a.... .. . .. .... .. .. xxxi

MOVEMENT THREE PITCH ORGANIZATION CHART......a..xxxii

iii

EXPLORATIONS

ACKNOWLEDGEMENT.... . 2

NOTATION.........................................43

EXPLORATIONS.. .. ... a. . . .. . . .. . . . . . . . . . . .. . . . .a.f. . . .. 7

iv

LIST OF FIGURES

Figure page

1. Attack weights, brass and saxophones.........................viii

2. Textural Densities. .0.4. ... 0. .. 0.... . .. .. . .4.1.. . . . . . . .. . .. .0.... - ix

3. Attack weights, rhythm section. . ... . .0. . .. .................... x

4. Dynamic Counterpoint.. .... . . . a. . 0. . 0. . . ...... .0. .. .. ........ -xii

5. 32-Note series. ...... . . . . .. .. .. . . . . .. . . . . . . .0.0.0. .0. . . .. . ... xv

6. Dyadic pitch ranges. ... .. .... .a. .a. .. . . . . . . . . . . . . . .*.4.a.*. .. . . xvi

7. Triadic pitch ranges. .0.. . . . . . .*.a.8.. . . . . . ...... .. . . . . . . ..... xvii

8. Tetrachordal pitch ranges in measures 29-34.................... xviii

9. Tetrachordal pitch ranges in measures 36-43............ . . . . . . xix

10. Four-note motive........................................xx

11. Pulsed glissando, trombones and tenor saxophone................xxii

12. Atonal question, trumpets and soprano saxophone.... . . . . . . . . . xxiv

13. Rhythmic accent pattern, "Au Privave". . .... .*. .. .. .... .. .. . .. . .0.xxv

V

INTRODUCTION

Explorations for eighteen-piece jazz ensemble attempts to fuse selected

elements of jazz instrumentation, style and phrasing with selected compositional

procedures found in the music of twentieth-century composers such as Witold

Lutoslawski, Krzysztof Penderecki and George Crumb. Each of the three

movements in the work focuses on various rhythmic, dynamic, melodic, harmonic

or textural procedures. Characteristic of the entire work is an elaborate

investigation of non-conventional methods of sound production, an area that has

been often neglected in modem jazz ensemble literature.

vi

MOVEMENT ONE

The first movement of Explorations investigates the percussive qualities of

the jazz ensemble through the use of pointillistic techniques and non-conventional

methods of sound production. Geometric configurations of spacially notated sound

provide the structure which allows for limited elements of chance to occur.

Elaborate textural and dynamic procedures create a constantly evolving sound fabric

throughout the movement.

Textural Organization

Textural organization for the first movement centers around geometric

configurations of highly percussive sound (see page 7). Six circular configurations

in the brass and saxophone sections and four rectangular configurations in the

rhythm section make up the entire movement. All the configurations feature

percussive sound events of indefinite pitch (i.e. valve clicks, tongued air, knocking

and tapping, squeaks, etc.) and definite pitch produced in an unconventional manner

(i.e. tongue slaps, mouthpiece pops, key slaps, etc.). Placement of these events in

a circular configuration allows for limited chance operations such as simultaneous

random selection of events by several players, and simultaneous selection of event

durations by several players.

All percussive sound in the first movement is organized according to the

amount of orchestral attack weight (power that the attack of the sound produces).

vii

Numerical values, one through six, represent the smallest to largest amount of

attack weight for each of the sounds in the brass and saxophone sections.

Figure 1. First movement attack weights.

Saxophone Trumpet/Fluglehorns Trombones

I tongued air 1 tongued air 1 tongued air2 key slaps 2 valve clicks 2 fingernails on bell3 pencil on bell 3 pencil on bell 3 slide bumps4 tongue smack 4 mouthpiece pops 4 mouthpiece pops5 tongue slap 5 valve click (loosen cap) 5 slide bumps (loosen bolt)6 squeak 6 tongue slap 6 tongue slap

The first circular configuration in each section contains sounds with the three

smallest attack weights: tongued air, valve clicks, key slaps, slide bumps and

fingernail or pencil on bell of instrument. As the saxophone and brass sections

move through the first four circular configurations, lighter attacks are gradually

deleted from the texture and replaced with heavier attacks. Only three different

types of percussive sound are used per configuration throughout most of the first

movement, providing each one with an identifiable texture. In the fifth and sixth

circular configurations, lighter attacks of sound present in the beginning of the

movement are added to the heavier attacks resulting in more textural variety. The

gradual movement from lighter percussive attacks to heavier ones and the eventual

inclusion of both types of sound creates a subtle but steady textural crescendo

throughout the movement.

viii

In addition to changes in orchestral attack weight, various textural densities

are present in the first movement and are divided into two basic categories: close,

rapid, reiterations of sound separated by short periods of silence (i.e. thick textural

density) and periods of silence penetrated by isolated attacks of sound (i.e. sparse

textural density).

Figure 2. First movement textural densities.

The first and second circular configurations contain events which feature a thick

textural density and, in combination with small amounts of orchestral attack weight,

create an active but highly transparent exchange of sound. The third and fourth

configurations, by contrast, contain events which feature a sparse textural density

coupled with moderate amounts of orchestral attack weight. This combination

produces a more powerful sound exchange transparent in nature because of the

increased presence of silence. Finally, in the fifth and sixth circular configurations,

thick textural density as well as large amounts of orchestral attack weight combine

to create the textural and rhythmic peak of the first movement.

Set against these texturally evolving, constantly spinning circular

configurations of percussive sound, the rhythms section presents a different, more

controlled textural procedure. Four rectangular arrangements of sound lasting

twenty-five to thirty-five seconds and separated by fifteen to twenty seconds of

silence make up the first movement. Both placement and duration of these highly

ix

percussive arrangements are precisely determined by the conductor. As with the

circular configurations of sound, events in the rectangular configurations are

categorized according to orchestral attack weight. The first rhythm section

configuration contains piano, guitar, vibraphone, bass, and delicate drum sounds

such as light tapping and plucking. Each subsequent rectangular configuration

produces a heavier sound attack culminating with the slapping and striking of

strings, bars and drum equipment in the fourth configuration.

Figure 3. First movement attack weights, rhythm section.

1 2 3 4light tapping moderate tapping heavy tapping heavy slappingplucking light striking heavy knocking heavy strikingknocking moderate striking slapping

As the above figure indicates, rhythm section activity in the movement forms a

steady textural crescendo of tapping, plucking, knocking, striking and slapping

interspersed with durations of silence that parallel the textural crescendo found in

the circular configurations.

Dynamic Scheme

In addition to orchestral weight and density changes which create subtle textural

dynamics in the first movement of Explorations, an elaborate dynamic scheme is

present. As shown in the diagram on page xxix, the brass and saxophone sections

follow an independent progression of five dynamic markings ranging from piano to

x

fortissimo with no repetitions. One dynamic marking is used per circular

configuration and applies to all sound events in that arrangement. The progression

which begins in the trombone section (marked piano) in the opening of the

movement is repeated three times with a different instrument section beginning and

ending the process each time. This ensures a non-repetitive dynamic environment

because no two adjacent circular configurations contain the same markings. The

sixth and final circular configuration in the brass and saxophone sections contains

abrupt dynamic changes from pianissimo to fortissimo.

The dynamic scheme in the rhythm section produces a similar but simpler

progression. The first three dynamic markings are mezzo piano, mezzo forte, and

forte and parallel the increase in orchestral attack weight that occurs in all

instrumental sections in the first movement. By using this parallel dynamic growth,

the rectangular configurations of sound become momentary textural windows

transparent enough to veil but not hide the sound fabric created by the circular

configurations. In the fourth rectangular configuration, the rhythm section joins the

other instruments in outbursts of abrupt dynamic changes which bring the movement

to a close.

xi

MOVEMENT TWO

The second movement of Explorations presents a variety of timbral and

textural sound masses which feature muting, muffling, scraping and bowing. A

predominance of slowly developing dynamic counterpoint delineates the form and

emphasizes the horizontal aspects of the music. Eight series of four-note tone

clusters derived from blues scales provide the pitch material for the movement.

Form

The form of the second movement consists of an introduction, three sections

approximately forty to sixty seconds in duration and a coda, all representing an

elaborate investigation of dynamic counterpoint. Dynamic counterpoint is defined

as a simultaneous occurrence of differing dynamic shapes such as crescendi and

decrescendi.

Figure 4. Dynamic counterpoint.

All dynamic procedures in the three main sections of the movement occur within

a larger crescendo which is created gradually through systematic addition of timbral

xii

and textural events, pitch density and harmonic dissonance (refer to diagram on

page xxx).

Dynamic and Textural Procedures

The four-measure introduction of the second movement features a multi-

layered dynamic scheme of crescendi and decrescendi three or six seconds in

duration. The scheme, determined by serial procedures, produces twelve different

dynamic patterns, each four measures in length. The absence of any pitch

articulation and the presence of simultaneously occurring dynamic movement create

waves of sound which foreshadow the activity in the third section of the movement.

Textural events, presented by all instruments later in the movement, occur only in

the rhythm section where scraping sounds predominate (e.g. coin on cymbals and

vibraphone bars, pick scrapes on guitar, piano and bass strings).

The first section of Movement Two features dynamic counterpoint involving

only crescendi. After an initial tutti crescendo, a series of dyadic crescendi (i.e. two

different instruments simultaneously increasing volume on two different pitches),

weave their way through the ensemble in seven to ten second durations. The

crescendi are horizontally spaced in decreasing time increments from five seconds

to one second (see measure 7 in the score). This process reinforces the larger

structural crescendo by releasing a greater proportion of pitches as the section

unfolds.

Textural events increase in the first section to include limited muting effects

in the brass as well as continued scraping sounds in the rhythm section. Textural

xiii

muted and non-muted crescendi.

By contrast, the second section of Movement Two features triadic

decrescendi of seven to ten seconds in duration which unfold in expanding time

increments of one to five seconds. This procedure represents the dynamic

retrograde of the one in the first section of the movement (see measure 16 in the

score). The dynamic procedure is then repeated, expanding the duration of the

section and allowing for elaborate textural exploration.

Textural exploration in the second section of the movement occurs through

alteration of virtually every instrument's sound in the ensemble. The following

conventional and non-conventional methods of altering sound are employed:

muting, muffling, bowing, brushing and altering sound through electronic effects.

The muted and muffled textures of the brass and saxophone sections (i.e. cup mute,

straight mute, plunger, harmon mute, in stand, paper over bell) compliment the

resonant textures in the rhythm section (i.e. bowed cymbal and vibraphone, wire

brush glissandi inside the piano and guitar flanging effects). The slowly developing

decrescendi in the second section provide the necessary environment in which both

the muted and resonant textures can coexist.

In the third section of Movement Two, eight dynamic patterns from the

introduction return in a slightly altered format. Instead of occurring simultaneously,

dynamic activity horizontally unfolds in staggered intervals of two seconds.

Recurring tetrachordal crescendi and decrescendi of four and five second durations

swell and retreat creating sound waves of subtle attacks and releases (see measure

29 in the score). Textural events in this section focus on the piano, drum set and

xiv

vibraphone where tremolo effects and sweeping glissandi predominate. This activity

leads to the dynamic climax of the second movement in measure 63 where

staggered decrescendi resolve to a tutti piano and then escalate to fortissimo at the

close of the third section.

Finally, the coda of the second movement features two dynamic patterns

from. the introduction dispersed throughout the ensemble in four-second crescendi

or decrescendi. This mixed dynamic activity, highlighted by muted and muffled

textures identical to those in the second section, yields to one final crescendo of

paper rustling which segues into the third movement.

Pitch Organization

All pitches in the second movement are extracted from a 32-note series

consisting of eight four-note clusters. Each cluster contains the first four pitches of

a specific blues scale and is constructed so that the roots of each, when stacked

vertically, form an altered dominant chord.

Figure 5. 32-Note series at measure five.

This chord, hidden among other pitches in the series, first appears in the key of

F and later in the movement is transposed to the key of Bb and C. The entire 32-

note series functions as a dissonant replacement for the traditional dominant

xv

seventh chord thereby creating an alternate harmonic variation of the blues

progression.

The first section of Movement Two features dyads extracted from each of

the four-note clusters and spaced a minor third apart. The minor third interval is

significant because it represents the first interval in the blues scale. Horizontal

placement of the dyads is determined by pitch range which is numbered from lowest

(1) to highest (8). Each one of the four-note clusters, from which the dyads are

derived, represents a different pitch range. The numerical succession of pitch

ranges for the first section is illustrated in the following graph:

Figure 6. Dyadic pitch ranges in measures 7-13.

.7

.5

middle C ----------------------------------------- 3---------------.-------

The above pitch ranges are selected so that no two are repeated and that no

adjacent ones occur successively. This in combination with the varied instrument

selection within and between each dyad creates timbral variety in the first section

of Movement Two.

The entire 32-note series is transposed down to the key of Bb in the second

section of Movement Two and triadic clusters spanning the interval of a perfect

xvi

fourth are presented. Horizontal placement of the triadic clusters represents a

reverse of the numerical order in the first section (i.e. 2, 6, 8, 3, 5, 1, 4, 7). The

overall pitch range of the triads in the second section ventures lower because of the

transposition down by a fifth.

Figure 7. Triadic pitch ranges in measures 16-28.

7

middle C ------------------------------------------------------4

3

.21

The close of the second section repeats the above process transposed to the original

key of F while the triadic clusters increase in interval span to that of a tritone.

The third and final section of Movement Two transposes the 32-note series

up a fifth to the key of C and then down a ninth to the key of Bb. All pitch

activity in this section is placed above a constant or recurring harmonic pedal that

represents the root of each series. The section features open tetrachords which for

the first time in the movement contain intervals greater than an octave. For the

series built on C, all four pitches within the tetrachord are selected from two

adjacent or nearby pitch ranges (i.e. 1 and 2, 3 and 5, etc.) and span the interval

of a perfect fifth. Horizontal placement of these tetrachords is organized so that

xvil

no exact pitch range is repeated and only limited adjacent pitch range between

tetrachords is allowed.

Figure 8. Tetrachoral pitch ranges in measures 29-34.

8 37 7 7

b 6 6 65* C-S5 5

middle C ------ ---------------------------- ------- i--------..-.-.---.--.------....3 3 3 3

1 1

The result is a great amount of timbral variety both within and between tetrachords.

For the series built on Bb in the latter part of the third section, all pitches

within the tetrachord are selected from four adjacent (i.e. 2, 3, 4, 5, etc.) or two

adjacent and one or two nearby pitch ranges (i.e. 2, 3, 5, 6 ; 2, 3, 4, 6, etc.) and

span octave transpositions of the minor seventh. Because of their large vertical

range, horizontal placement of these tetrachords is structured so that two exact pitch

ranges from the previous tetrachord are repeated and any adjacent pitch range

between tetrachords is allowed.

Figure 9. Tetrachordal pitch ranges in measures 36-43.

xviii

72 e 87 7 7 77 7 76 6 6 6 6 6 6 66

middle C 5 5 5 55 U 5 a5 5~ etc.

4 4+ 444 44 44+443 33 333 3 33

2 Iz 2 a a

This process creates the greatest amount of timbral variety within a chord

structure (i.e. four different instruments, four different pitch ranges) and represents

the rhythmic climax of the movement.

The coda of the second movement, in addition to the introduction, features

unison and octave transpositions of the pitch F. When placed at the beginning and

end of a series which represents the other interval spans in the movement, the

unison/octave transpositions complete an exact intervallic outline of the blues scale

(refer to diagram on page xxx). These steadily increasing vertical ranges, together

with the gradual acceleration of pitch density and harmonic dissonance, produce

the structural crescendo of the movement.

xix

MOVEMENT THREE

The third movement of Explorations features a contrapuntal polymetric

collage of variations on a single four-note motive. The collage is formed by the

gradual increasing of pitch and rhythmic density as well as an elaboration of

harmonic and dynamic procedures. The combination of these elements provides the

background fabric for an exchange of melodic, periodic questions and dissonant

aperiodic answers.

Pitch Organization

All harmonic and melodic pitch material in Movement Three is derived from

a four-note motive consisting of two consecutive major third intervals followed by

a perfect fourth.

Figure 10. Four-note motive.

With the exception of the major sixth, all intervals in the four-note motive (i.e.

major third, augmented fifth, minor ninth) play important structural roles throughout

the movement.

The melodic foundation of the contrapuntal collage begins in the bass and

later occurs in the baritone saxophone and places the four-note motive over a

xx

period of seven measures. The placement occurs such that the first, third, fifth and

seventh notes of the phrase spell the four-note motive, while the second, fourth,

sixth and eighth notes represent a slight variation of the motive (i.e. two major

thirds followed by an augmented fourth). At the end of measure 8, the phrase is

repeated in retrograde form while also syncopated and transposed down one

semitone. The entire fifteen-measure procedure is then repeated one semitone

above the original, producing the following pitch roots of each phrase: C#, C, D

and C#. Continuation of this procedure results in a gradual ascension of pitch

range based on repetition and provides a stable foundation for the collage (see

pitch organization chart on page xxxi).

The vibraphone entrance in measure 2, beginning a major second above the

bass entrance, produces the first harmonic material in the movement. Dyads,

spaced a minor ninth apart, are layered over the bass line in four-measure durations

separated by half, dotted quarter and quarter rests in alternating fashion. The roots

of each successive group of three dyads outline an augmented triad, first by leaping

an augmented fifth and then by filling in a major third. The root movement

between each group of three dyads represents the inversion of the root movement

of each bass phrase (i.e. Eb, E, D, Eb), but in contrast to the base line, octave

transpositions are employed for registral contrast. In measure 32 and 61, minor

ninth dyads spaced a major third above the previous dyads are added to the

vibraphone texture, forming two augmented triads a minor ninth apart. This results

in an identical interval formation to that of the four-note motive.

Coinciding with the increased pitch density in the vibraphone is the entrance

xxi

of trombones 1-3 and tenor saxophone 2 which features four-note pulsed glissandi.

Each glissando contains two minor second and one major second interval and

descends or ascends the distance of a whole tone over four beats.

Figure 11. Pulsed glissando measure 32.

The roots of each successive group of four glissandi outline the four-note motive

while the first root of every four glissandi outlines transpositions of the root

movement of each bass phrase, determining the key of the four-note motive (refer

to pitch organization chart on page xxxi).

The piano entrance in measure 46 articulates the first note values of short

duration in the movement. Syncopated eighth note and quarter note clusters

consisting of eight pitches punctuate the legato background provided by the bass,

vibraphone, cymbals, trombones, and tenor saxophone. Each piano cluster consists

of four pitches a whole tone apart in the left hand and an identical formation a

minor ninth higher in the right hand. The result is a dissonant whole tone chord

occurring in two keys simultaneously. Paralleling the root movement in the

vibraphone, the roots of every two piano clusters in both hands represent the

inversion of the root movement pattern in the bass. Paralleling the interval distance

within each cluster, the root movement of every two cluster group is that of a whole

tone (refer to pitch organization chart on page xxxi). After outlining the whole tone

xxii

scale in descending fashion, the six roots are transposed down a minor second and

repeated. As in the vibraphone figure, octave transpositions of pitch roots are

prevalent.

Measure 61 represents the first entrance of the four-note motive in its

original rhythmic form and is introduced by alto saxophone, muted trumpet and bass

trombone. The motive unfolds in groups of four melodic variations on the original:

transposed retrograde (i.e. A, E, C, Ab), transposed retrograde (i.e. D, A, F, Db),

transposed retrograde with octave displacement (i.e. G, D, Bb, Gb) and transposed

original with fourth pitch of series occurring second (i.e. C, Db, E, G#). The roots

of each motive are spaced a perfect fourth apart and continue the cycle of fourths

until all keys have been completed. After completion of the cycle, the process is

transposed up a minor second from the last pitch root of the previous cycle.

All the aforementioned contrapuntal procedures provide the background

fabric for an exchange of melodic events which begins in measure 89 with first and

third trumpet and soprano saxophone. The first melodic event takes the form of

a fourteen-note atonal question in a jazz style (i.e. swing eighth notes and triplets,

pitch slides, plunger sounds) that concludes with the descending major third interval.

Pitch selection for the atonal question is determined by random procedures which

allow for repetitions of notes and the presence of an ascending and descending

augmented triad.

xxifi

Figure 12. Atonal question in first and third trumpet, measure 89.+ 0 +

The question is immediately followed by a dissonant answer in the guitar, fourth

trumpet, and first tenor saxophone which features melodic combinations of the

minor second and major third intervals (refer to measure 94 in the score). This

initial exchange sets off a series of related confrontations between periodic questions

of increasing duration and aperiodic answers of increasing pitch density, range and

duration. Pitch material for all aperiodic answers in the movement is either derived

from the four-note motive or the root movement pattern in the bass. Aperiodic

answers that occur first, third, fifth, etc. in the series derive their pitch material from

the four-note motive, while answers that occur second, fourth, sixth, etc. derive their

material from the root movement pattern in the bass. The confrontations which

escalate in volume and increase in dissonance over ninety measures lead to the

climax of the movement in measure 182.

Pitch operations for the climax of the movement feature the following three

events: repetitions of fragments from earlier aperiodic activity, repetitions and

octave transpositions of the major third interval, and improvised pitch flurries. The

above events occur in three intermittent bursts before a final unison major third,

identical to the first interval of the movement, closes the work.

Rhythmic Organization

Rhythmic organization in Movement Three is based on an accent pattern

xxiv

extracted from the first nine measures of a Charlie Parker composition entitled, "Au

Privave". Characteristic of this pattern is a shifting metric emphasis between triple

and duple time.

Figure 13. Rhythmic accent pattern from first nine measures of "Au Privave".

Accordingly, all periodic metric procedures in the movement incorporate 3/4 or 4/4

subdivisions.

The rhythmic foundation of the contrapuntal collage occurs in the bass

through alteration and repetition of the first measure of the accent pattern.

Alteration occurs by expanding the quarter note to a dotted quarter and the eighth

note to a dotted quarter tied to a dotted half note. After three such repetitions of

the figure, a 4/4 measure is inserted for rhythmic displacement and the process is

repeated. This results in a very rhythmically repetitive and stable foundation for the

collage.

The next important rhythmic structure occurs in the drums in measure 16

and divides the accent pattern into several short fragments dispersing them over

approximately thirty measures. No fragment contains less than two or more than

four notes. This process leads to the original accent pattern in measure 76 and

coincides with the introduction of an atonal quarter note walking pattern in the

bass. The original accent pattern is performed using the entire drum set (i.e. rims,

xxv

shells, cymbals and heads) and concludes with a short improvised aperiodic fill

which increases one beat in duration every repetition. This glimpse of aperiodic

activity foreshadows the sweeping aperiodic gestures later in the movement and

creates a more interesting rhythmic counterpoint by placing the accent pattern in

different rhythmic locations within the collage.

Isolated eighth and quarter note attacks interspersed between two and three

measures of silence characterize the rhythmic structure of the piano entrance in

measure 46. Each syncopated or non-syncopated attack either coincides with an

identical rhythmic value in the drums or occurs when no drum activity is present.

This results in a traditional written out comping pattern for piano which reinforces

the accent pattern of the drums and fills out the collage texture.

The next rhythmic structure of importance occurs in measure 61 and

represents repetitions of the rhythm found in the first measure of the accent

pattern. Alto saxophone, muted trumpet and bass trombone subdivide the dotted

quarter note into three eighths, creating four even eighth notes that make up the

rhythm of the four-note motive previously discussed. These four, even eighth notes

are separated by four quarter note rests, except when preceeded by a 4/4 measure

in which case the rest is three counts in length. The result of this procedure is a

one-beat rhythmic displacement occurring every sixteen measures.

The last periodic rhythmic structure of the movement occurs in measure 89

and borrows three syncopated eighth notes from the second measure of the accent

pattern. The three eighth notes begin the trumpet and soprano saxophone phrase

which recurs a total of five times, thereby acting as a unifying rhythmic motive

xxvi

throughout the middle part of the movement.

Aperiodic rhythmic structure in the latter half of Movement Three is

organized according to patterns of rhythmic density. Each instrument in the

ensemble is assigned a number between one and six representing the number

pitches to be performed in close succession followed by a short period of silence.

Each successive occurrence of every aperiodic rhythmic pattern increases in duration

producing a diverse rhythmic texture which continues through the climax of the

movement.

The rhythmic climax of Movement Three features intermittent fragments of

earlier aperiodic activity separated by repetitions of the first two and one half

measures of the accent pattern (see measure 182 in the score). This symbolizes the

last rhythmic conflict between periodic and aperiodic events and leads to the final

crescendo of rhythmic activity in the movement.

Dynamic Scheme

The dynamic scheme of Movement Three features several different recurring

patterns of adjacent dynamic levels (e.g. piano, mezzo piano, mezzo forte or mezzo

piano, mezzo forte, forte, etc.). These patterns occurring in the vibraphone, drums,

trombones/tenor saxophone, piano, trumpet/alto saxophone/bass trombone, and

trumpets/soprano saxophone unfold within a larger structural crescendo that is

created through the gradual addition of pitch and rhythmic density throughout the

movement. Each of the above instrumental groups continues this dynamic pattern,

increasing one level in volume before the climax of the movement. This results in

xxvii

a varied dynamic texture which highlights different instrumental groups within the

collage and parallels the rhythmic diversity of the movement. The final dynamic

gesture of the Movement Three features an enormous crescendo of aperiodic

activity that escalates from pianissimo to fortissimo bringing the entire work to a

close.

xxviii

APPENDIX

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EXPLORATIONSFOR EIGHTEEN-PIECE JAZZ ENSEMBLE

IsI RUDNICK

1991

2

ACKNOWLEDGEMENT

The author greatly acknowledges the invaluable assistance of Mr. Lawrence M.

Srubas in the computer formatting and printing of text, musical examples, illustrations and

score instructions for Explorations.

NOTATION

0 Spatial notation; no meter.

Spatial notation, regular beats

3Spatial notation, irregular beats (dotted lines indicate subdivisions).

Tongue air through instrument, use tuht syllable.

Key slap, valve click.

Valve click, loosen valve cap to produce louder clicking sound.

O~ Slide bump.

Slide bump, loosen connector bolt to produce loud rattling sound.

Tongue slap.

Tongue smack.

Mouthpiece pop.

Highest note possible on instrument (e.g. saxophone squeak, playingt above nut on guitar, etc.).

Fingernails on bell.

Pencil on bell rim.

On pegs inside piano.

On felt hammers inside piano

Behind bass bridge.

On bass bridge.

On bass tailpiece.

On drum shells.

On cymbal stands.

Rim shot.

Knock on body of instrument.

Slap strings with palm of hand and immediately dampen (forvibraphone, slap bars with drumsticks perpendicular to bars, no stickrebound.)

Depress piano key silently.

Produces harmonics (e.g. bow on cymbal rim or vibraphone bar,slapping piano pedal while silently depressing keys, etc.).

Fast coin or guitar pick scrape across cymbal, string or vibraphone bar(let vibrate).

Continued coin scraping in circular motion on cymbal.

Continued guitar pick scraping in back and forth motion across string.Number in circle indicates the string used (1 is highest).

Inside the piano glissando; arrow indicates range of glissando (letvibrate).

Pulsed glissando.

Rustle music paper on stand.

AL4

Rapid aperiodic flurries of pitches as indicated by contour line.

Pitches to be performed in rapid staccato manner. Accidentals applyonly to the pitch they precede.

Indeterminate pitch.

Repeat in order for duration of extender.

Slurred chromatic fall.

Pitch slide up to indicated note.

Closed, open

Soft yarn mallet.

rF

Hard yarn mallet.

Use mallet handles.

/L Wire brush.

D Coin.

Guitar pick.

Drum sticks.

2A Rub sticks against cymbal rim.

Conductor cue.

Two-handed conductor cue.

Conductor cut off.

IEXPLORATIONS

Sv btongued airV

Saxophones k"y"sla

key slap

Y~" "X ~ 'AAL q

Isi Rudnick

penclon bell~*~**

tongued air

Uoncue coase und au

cOWIMue inceockwWse fAh nundi aW

- - -- - L--. L-- 7%0events have been ,per rme. JIzen

tongued airarrangement (no cue) and repeat Trumpets/Flugeihorns tnue i

continue clockwise movement until tongued air pncil on bell

is determined by the player, but should -valve click vatve click

dbppencilonbell

Trombones ____________onbell

tongued air

slide bumpI fingernaila on bell _________________

tongued air6W U

playabovenu

Electric Guitar(distortion)

Vibraphone

Contrabass

Drum Set

Piano

play above nut

tap on frame

tap behind bridge with bow tip

on shells

inside the piano

tap on felt hammer LZ77%fl 7'I

A vv-q-ir Irtl%

mp nn nbl

- /

Saxes

smack

____________________mouthpiece pop

mouthpiece pop-

Tbns. mouthpiece pop

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strike tub

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