IMAGES OF REMEMBERED EARTH - Digital Library/67531/metadc2534/m2/... · · 2018-03-20Images of Remembered Earth is a musical composition scored for full orchestra. The composition

IMAGES OF REMEMBERED EARTH

James Michael Floyd, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

May 2000

APPROVED:

Thomas Clark, Major ProfessorPaul Dworak, Minor ProfessorCindy McTee, Committee MemberWilliam May, Dean of the College of MusicC. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies

Floyd, James Michael, Images of Remembered Earth. Doctor of Musical

Arts (Composition), May 2000. Essay, lxvii pp., Score, 72 pp., 53 musical examples,

references, 2 titles, appendix.

Images of Remembered Earth is a musical composition scored for full

orchestra. The composition was inspired by Georgia O'Keeffe's painting, Light Coming

on the Plains I (1917), which depicts a sunrise over a flat and empty landscape. In the

painting, the expanse of the sun's rays is expressed through an even-blended

transformation of color from goldish-blue at the light's source to progressively darker

shades of blue near the edges of the canvas. The progression of color is interrupted by

thin gold bands which sectionalize the sunrise into seven concentric arches. The

construction of the musical composition derives musical materials directly from

elements found within O'Keeffe's painting, specifically the shaping of structure,

expansion, and color in arch patterns.

Arch patterns, an integral element in O'Keeffe's painting, govern elements in

the musical composition, including pitch selection, the overall tempo scheme, rhythmic

activity, and formal shape. Pitch materials are expansive by design; this expansive

quality is exhibited through the employment of wedge-shaped musical ideas and through

the utilization of higher and lower registers. O'Keeffe's use of color in the painting

influenced the orchestration of the music and is manifested in two ways: 1) gradual

transformation of timbral colors and 2) the juxtaposition of contrasting instrumental

groupings.

ii

ACKNOWLEDGMENTS

I am greatly indebted to Stephen Heyde, Julliette Buchanan, and Darryl Stuhr

who served as advisors in regard to notation and orchestration issues.

iii

TABLE OF CONTENTS

I. ESSAY UPON COMPOSING IMAGES OF REMEMBERED EARTH

Introduction.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv

Preliminary Materials. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v

Pitch and Interval Structures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xii

Arch-Shaped Musical Ideas.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xxxv

Tempo... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xxxix

Rhythmic and Metric Structures.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xli

Orchestration .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . li

Formal Shape.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lxiii

Summary... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lxiii

Appendix: Selected Bibliography of Art Reproductions ofGeorgia O'Keeffe's Light Coming on the Plains Series .. . . . . . . . . . . . . . . . . . . . . . . . . . . lxv

Bibliography... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lxvii

II. IMAGES OF REMEMBERED EARTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

iv

ESSAY UPON COMPOSING IMAGES OF REMEMBERED EARTH

INTRODUCTION

Georgia O'Keeffe painted a series of watercolor paintings in 1917 depicting

a memorable sunrise over the flat and empty Texas landscape.1 In Light Coming on the

Plains I, Light Coming on the Plains II, and Light Coming on the Plains III, the expanse

of the sun's rays is expressed through an even-blended transformation of color from

goldish-blue at the light's source to progressively darker shades of blue near the edges of

the canvas. Light Coming on the Plains I, however, displays an aspect not found in other

paintings within the series; thin gold bands sectionalize the sunrise into seven concentric

arches.2 The primary focus of this project is to derive musical materials directly from

O'Keeffe's painting Light Coming on the Plains I. The arches play a vital role in the

construction of the music in regard to structure, expansion, and color.

While composing the music inspired by O'Keeffe's painting, I discovered the

following passage written by N. Scott Momaday:

Once in his life, a man ought to concentrate his mind upon the rememberedearth, I believe. He ought to give himself up to a particular landscape in hisexperience, to look at it from as many angles as he can, to wonder about it,to dwell upon it. He ought to imagine that he touches it with his hands atevery season and listen to the sounds that are made upon it. He ought to

1Charles C. Eldredge, Georgia O'Keeffe (New York: Harry N. Abrams,1991), p. 28.

2As an appendix, a list of sources is provided to aid the reader locate artreproductions of O'Keeffe's Light Coming on the Plains I, Light Coming on the Plains II,and Light Coming on the Plains III.

v

imagine the creatures there and all the faintest motions of the wind. Heought to recollect the glare of noon and all the colors of the dawn and dusk.3

In the excerpt above, Momaday expresses the shape, sound, feel, life, and

color of the landscape. This eloquent passage reflects the concept of my musical

composition. At first glance, O'Keeffe's painting Light Coming on the Plains I appears to

be devoid of landscape, consisting merely of a horizon and arcs of light emitted from a

single light source; on the contrary, the light itself--the arch shapes, the thin gold bands,

the transformation of color from goldish-blue to darker shades of blue--is the landscape.

Momaday's descriptive language nicely compliments the art of O'Keeffe,

and it is for that reason that I sought a title for my composition among his writings. The

title, Images of Remembered Earth, refers to my conception of the work as a series of

images depicting various perspectives of the landscape.

PRELIMINARY MATERIALS

Distribution of Pitches

I began by composing seven progressions representing each of the seven

concentric arches (Example 1). The distribution of pitches in each progression is

symmetrical. Sonorities 1 and 7 are single pitches; sonorities 2 and 6 consist of three

pitches; sonorities 3 and 5 consist of five pitches; and sonority 4 contains seven pitches.

The upper pitches of each progression form an arch shape; likewise, the lower pitches of

each progression form an inverted arch shape.

3Momaday, N. Scott. "The Man Made of Words" in Indian Voices: The FirstConvocation of American Indian Scholars, ed. Rupert Costo. San Francisco: IndianHistorian Press, 1970.

vi

Example 1. Seven progressions.

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1

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2

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3

ww

w

4

w

ww

w#

5

w

ww

6

wwb

7

w

wb ww

b ww

wn

ww

wb

Arch 1

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w ww

ww

ww

w

ww

w

wwb

w

w

w

wb ww

nw

ww

ww

bw

Arch 2

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?

w ww

w

ww

w

w

ww

b

bw

w

w

b

w

w

w

www

w

ww

b

b

w

wnw

Arch 3

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w ww

w

wwb

w

w

w

w

b

b

w

w

w

w

w

w

w ww

bw

w

ww

wb

w

Arch 4

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w wwb

w

w

w

b

w

w

w

w

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w

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wb

w

wbw

w

w

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wb

bw

w wb

Arch 5

vii

Example 1 continued.

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w

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wb

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wb

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wbw

Arch 6

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w w

w

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w

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w

b

b

w

w

w

w

wb

w

w

w

w

w

w

w

b

b

w

w w

Arch 7

Intervallic Structure of Sonorities

The intervallic structures of individual sonorities, specifically sonorities 2

through 6, are also symmetrical. In the first progression, hereafter known as Arch 1,

sonorities 2 through 4 are constructed with intervals of major and minor seconds,

pivoting around the pitch C; sonorities 5 and 6 are constructed with intervals of major

and minor thirds, also pivoting around C (Example 2).

Example 2. Intervallic structure of sonorities in Arch 1.

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1

w

2

ww

3

ww

w

4

w

ww

w#

5

w

ww

6

wwb

7

w

^

wb

^

ww

b

^

ww

wn

^

ww

^

wb

2nds 2nds 2nds 3rds 3rdsIntervals:

Arch 1

The patterns of major and minor seconds used in sonorities 2 through 4 are

intuitively constructed, avoiding chord structures that are identifiable as wholetone,

viii

chromatic, and octatonic; instead, each contains pitches that may be found in major and

minor tonal scales. Sonorities 5 and 6 are constructed with patterns of alternating major

and minor thirds. Two chords can be constructed with alternating major and minor thirds

pivoting around the pitch C. Sonority 5 is constructed with a minor third below and a

major third above pitch C; sonority 6 is constructed with a major third below and a

minor third above pitch C. The tonal language chosen for the composition is pandiatonic

with predominant use of melodic and harmonic structures that may be found in major

and minor scales; the preliminary materials were designed to reflect this tonal language.

The second through seventh progressions, hereafter respectively known as

Arch 2, Arch 3, etc., also contain symmetrical sonorities centered around pitch C

(Example 3). Intervals other than major and minor seconds and thirds are employed,

including sonorities constructed with perfect fourths, perfect fifths, major and minor

sixths, and major and minor sevenths. As was the case in Arch 1, the patterns of major

and minor sevenths used to construct sonorities in Arches 6 and 7 are intuitively

constructed. Sonorities constructed with intervals of sixths employ the same pattern as

sonorities constructed with intervals of thirds, namely the alternation of major and minor

intervals.

Example 3. Intervallic structure of sonorities in Arches 2-7.

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1

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2

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3

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4

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5

w

wwb

6

w

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7

w

^

wb

^

ww

n

^

w

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^

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b

^

w

Intervals: 2nds 2nds 3rds 3rds 4ths

Arch 2

ix


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b

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^

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^

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^

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b

b

^

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wn

^

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2nds 3rds

Arch 3

3rds 4ths 5ths

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w

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w

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w

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b

b

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^

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b

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^

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3rds

Arch 4

3rds 4ths 5ths 6ths

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b

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3rds 6ths

Arch 5

4ths 5ths 6ths

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6ths6ths

Arch 6

4ths 5ths 6ths

x


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b

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6ths5ths 6ths 7ths 7ths

Arch 7

Intervallic Expansion

As is evident from examining sonorities 2 through 6 in each arch, sonorities

or groupings of sonorities progress from those constructed with smaller to those

constructed with larger intervals. The arch-shaped progressions are structured in this

manner to reflect the expansive quality of the arches in O'Keeffe's painting. On a broader

level, each arch is an expansion of the previous in regard to intervallic makeup of

successive sonorities and in regard to the registral span of each arch.

Relationship Between Successive Progressions

Pitches chosen for Arch 2 were derived from Arch 1 (Example 4). The

central pitch of Arch 1, sonority 2 was extracted to create Arch 2, sonority 1. In a similar

manner, Arch 2, sonority 2 derives its pitches from the three central pitches of Arch 1,

sonority 3. Arch 2, sonority 3 consists of the five central pitches of Arch 1, sonority 4.

Arch 2, sonority 4 draws its pitches from the five pitches of Arch 1, sonority 5; so that

the sonority will consist of seven pitches, pitch D was added below and pitch B was

added above, continuing the pattern of alternating major and minor thirds. Arch 2,

sonority 5 takes its pitches from the three pitches of Arch 1, sonority 6; so that the

sonority will consist of five pitches, pitch F was added below and pitch G was added

above, continuing the pattern of alternating major and minor thirds. Arch 2, sonority 6

builds upon the pitch C of Arch 1, sonority 7; so that the sonority will consist of three

xi

pitches, pitch G was added below and pitch F was added above to create a sonority

constructed out of intervals of perfect fourths.

Example 4. Pitch relationship between Arches 1 and 2.

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1

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2

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3

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4

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w#

5

w

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6

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7

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b ww

wn

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wb

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nww

wb

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1

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2

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3

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w

4

w

w

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5

w

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6

w

w

7

w

wb ww

nw

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bw

Common pitches between Arch 1 and 2

Arch 1

Arch 2

Arch 1 and Arch 2 are closely related with many common tones and similar

chord structures; however, Arch 2 is more expansive in regard to registral span of

pitches and the intervals used to construct sonorities. The remaining five arches are

constructed in like manner. Arch 3 is derived from Arch 2, Arch 4 is derived from Arch

3, and so forth.

The seven arches serve as a beginning point for creativity and also as a

means for structuring the composition. Materials are freely drawn from the progressions

to create musical ideas. Imagery expressed through arch-shaped musical materials and

through expansion in regard to register and interval structure plays a significant role in

the composition.

xii

Throughout this essay reference is made to the use of selected musical

materials drawn from the seven preliminary progressions. It is necessary for clarity and

convenience to devise a method for identifying the source of the materials. For example,

music derived from a transposition two semitones higher of Arch 1, sonority 5 would be

labeled Arch 1 / 5 / D (Example 5). The first portion of the label identifies the progression

from which musical materials are derived. The second portion identifies the sonority or

sonorities, each being numbered 1 through 7. The third portion indicates the transposition

level by identifying the central pitch of the sonority or sonorities. Since the central pitch is

shared among all sonorities in a single progression, it is therefore useful for identifying

transposition levels.

Example 5. Method for identifying musical ideas.

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1

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2

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3

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4

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5

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6

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Arch 1 / 1-7 / C

Arch 1 / 5 / D

PITCH AND INTERVAL STRUCTURES

It is not the intention within this essay to list and categorize every musical idea

that is employed in the composition. The following discussion serves to demonstrate how

the seven preliminary chord progressions are used to generate various musical ideas. The

techniques discussed below are employed throughout the composition.

xiii

Measures 1-25

For the beginning of the composition, I chose to derive musical materials

exclusively from Arch 1; materials derived from Arch 2, Arch 3, etc., follow in succession

later in the composition. Measures 1-25 comprise a section with all musical materials

derived from Arch 1. There are five musical ideas that may be briefly described as follows:

1) a chord scored for strings with piano and bells articulating entrances of pitches; 2) a

recurring melody of five pitches, sometimes abbreviated, scored for woodwinds; 3) a

succession of harmonic dyads scored for woodwinds, brass, and piano; 4) an arpeggio;

and 5) a musical idea consisting of the alternation of two pitches a minor second or major

second apart, much like a notated trill.

The composition opens with an arpeggiated chord consisting of wide intervals

scored for strings with piano and bells articulating entrances of pitches, hereafter referred

to as A1 (Example 6). Activity within this static sonority is created by means of tremolos

and independent, rapidly-changing crescendo and decrescendo dynamics among the

strings. In contrast, the oboe presents a five-note melodic line, hereafter referred to as B1,

which emerges from the arpeggiated chord and slowly unfolds over several measures

(Example 7).

The two musical ideas contrast and compliment one another. Whereas A1

exhibits wide intervals, B1 is stepwise with a skip of a major third near its conclusion.

Both musical ideas share a common source; pitches are derived from a transposition of the

upper pitches of the first five sonorities of Arch 1 (Example 8).

xiv

Example 6. Musical idea A1, measures 1-5.

Orchestra Bells

Piano

Violin I

Violin II

Viola

&

&

&

&

&

B

4

4

4

4

4

4

4

4

4

4

4

4

1

Œ

f

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œ

f

œ#œ

.

.

.

.˙

˙

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sul ponticello

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‰ J

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æ

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æ

sul ponticello

∏

div. r

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æ

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≈.

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w

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æ

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æ

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æ

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æ

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æ

˙

Ó

˙

˙

˙

˙

Ó

Ó

w#æ

w#

æ

w

æ

w

æ

w

æ

Example 7. Musical idea B1, measures 1-11.

Oboe 1& 4

4

1

≈

p

.

j

œ .˙ w .œ

j

œ# ˙ œ

P

œ# .˙ ˙

Ó

&

6

∑

P

.œ

j

œ# ˙ œœ# .˙ œ

œ œ˙ w ˙

Ó

xv

Example 8. Source for musical ideas A1 and B1.

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2

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3

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w

4

w

ww

w#

5

w

ww

6

wwb

7

w

wb ww

b ww

wn

ww

wb

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ww

w#w#

w

Arch 1 / 1-7 / C

Arch 1 / 1-5, upper pitches / D

A third musical idea is introduced in measure 5, hereafter referred to as C1

(Example 9). This idea consists of a succession of harmonic dyads derived from a

combination of the upper and lower pitches of sonorities 2 through 5 of Arch 1 (Example

10). The dyads expand outwardly from a major third to a major ninth, reflecting the

expansive quality of O'Keeffe's painting. Octave displacement is freely used in the

orchestration.

The three musical ideas--A1, B1, and C1--are intuitively combined. As one

idea emerges, rising to the forefront, the other two ideas withdraw into the background,

giving emphasis to only one idea at a given moment. Choices were intuitively made

whether to repeat or develop a musical idea or whether to create new ideas.

Musical idea A1 is repeated beginning in measure 6. In measure 11, however,

variation was desired. Retaining the same rhythm and orchestration of A1, pitches derived

from a transposition of the lower pitches of the first five sonorities of Arch 1 were

substituted for the original pitches to create a transformation of A1, hereafter referred to as

A2 (Examples 11 and 12). As was true of A1, distribution of pitches within the chord A2

xvi

purposely exhibits wide intervals. The specific size of interval is not a concern, only that

the intervals are wide.

Example 9. Musical idea C1, measures 5-11.

Flute 2

English Horn in F

Clarinet 1 in Bb

Clarinet 2 in Bb

Bassoon 1

Horns 1-2 in F

Piano

Violoncello

&

&

&

&

?

&

&

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?

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

5

∑

Ó

π

J

œ

-

‰œ#

∑

∑

Ó

π

J

œ-

‰

œ

∑

Ó .

π

œ#

Ó Œ

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Ó Œ

pizz.

π

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≈

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1.

.

j

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∑

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∑

∑

∑

xvii

Example 10. Source for musical idea C1.

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1

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2

ww

3

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w

4

w

ww

w#

5

w

ww

6

wwb

7

w

wb ww

b ww

wn

ww

wb

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?

ww#

w#w

ww

ww

Arch 1 / 1-7 / C

Arch 1 / 2-5, upper and lower pitches / D

Example 11. Musical idea A2, measures 11-15.

Glockenspiel

Piano

Violin I

Violin II

Viola

&

&

&

&

&

B

4

4

4

4

4

4

4

4

4

4

4

4

11

Ó

f

˙

Œ

œ

œ

f

œ

œ

˙

˙

˙

˙

Œ

˙

æ

Œ ‰ J

œn

æ

˙

æ

Œ

r

œ

æ

˙

æ

Œ ≈.

J

œ

æ

˙

æ

Œ.˙

æ

w

w

w

w

w

w

æ

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æ

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æ

w

æ

w

æ

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w

w

æ

w

æ

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æ

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æ

w

æ

˙

Ó

˙

˙

˙

˙Ó

Ó

w

æ

w

æ

w

æ

w

æ

w

æ

∑

∑

∑

w

æ

w

æ

w

æ

w

æ

w

æ

xviii

Example 12. Source for musical idea A2.

&

?

1

w

2

ww

3

ww

w

4

w

ww

w#

5

w

ww

6

wwb

7

w

wb ww

b ww

wn

ww

wb

&

?

ww

ww

w

Arch 1 / 1-7 / C

Arch 1 / 1-5, lower pitches / D

A fourth musical idea is presented beginning in measure 15, hereafter referred

to as D1 (Example 13). This idea is an arpeggio that advances by intervals of major and

minor thirds. Pitches are freely derived from a transposition of the first five sonorities of

Arch 1 (Example 14). All nine pitch classes (C - C# - D - E - F# - G - G# - A - B) from

Arch 1 / 1-5 / D are present; however, this is not characteristic of every occurrence of D1

found in the composition. D1 is influenced by sonorities 5 and 6 of Arch 1 which are

constructed with major and minor thirds.

Example 13. Musical idea D1, measures 15-16. Score in C.

Clarinet 1 & 4

4

15

Ó Œ

F

3

œœ#

œ

3

œœ

œ

3

œ#œ

œ

3

œ#œ

œ

Œ

xix

Example 14. Source for musical idea D1.

&

?

1

w

2

ww

3

ww

w#

4

w

ww

w#

#

5

w

ww#

w ww

ww

w#

ww

Arch 1 / 1-5/ D

A fifth musical idea is presented in measure 22 found among the strings,

hereafter referred to as E1 (Example 15). This musical idea is a notated trill exploiting the

interval of a minor or major second, though more often a major second. E1 reflects

sonorities 2 through 4 of Arch 1 which are constructed with major and minor seconds.

Example 15. Musical idea E1, measure 22.

Violin I

Violin II

Viola

&

&

B

4

4

4

4

4

4

22 3

œ#œ

œ

3

œœ

œ

Ó

œœ#

œœ

œœ

œœ

œœ

œ

≈ Œ

˙ œœ#

œ

≈ Œ

To summarize, measures 1-25 consist of musical materials derived from Arch

1. Only sonorities 1-5 were used because these sonorities reflect expansion, whereas

sonorities 6 and 7 reflect contraction. With few exceptions, most all musical ideas are

derived from a single transposition of Arch 1, specifically the transposition with D as the

central pitch. My goal was to establish a "flat and empty horizon"4 upon which I could

further expand musical materials; it is for this reason materials are derived from a single

4Eldredge, Georgia O'Keeffe, p. 28.

xx

transposition of Arch 1. The five musical ideas are freely developed and are intuitively

combined.

Measures 26-65

Measures 26-65 comprise a section in which recurring musical ideas from the

previous section are freely developed and intuitively combined with four new musical

ideas. The new ideas may be briefly described as follows: 1) an arpeggiated chord

modeled after A1 and A2; 2) a melodic idea derived from the new arpeggiated chord; 3)

sustained pitches spanning a major second, a development of the E1 idea; and 4) a

complex ostinato texture scored for strings.

The section begins with an arpeggiated chord consisting of wide intervals,

hereafter referred to as A3 (Example 16). The arpeggiated chord is reminiscent of the

opening measures of the composition, specifically musical ideas A1 and A2; however, in

this passage, the chord is presented with augmented rhythmic values and pitches are

derived from Arch 2, rather than Arch 1. Also, notable is the orchestration which varies

from the A1 and A2 ideas heard previously in the composition; the passage is scored for

vibraphone and orchestral bells with selective pitches sustained by woodwinds, brass, and

strings (Example 17).

Musical idea E1 is developed further in this section. E1 may be described as

an alternation of two pitches a minor or major second apart, much like a notated trill. The

interval of a major second is most often characteristic of E1. In measures 26-40, rather

than the alternation of two pitches, the interval of a major second is presented as two

sustained pitches, hereafter referred to as E2 (Example 16). In Example 16, selected

pitches of A3, specifically pitches E and F#, are isolated and sustained by woodwinds,

brass, and strings.

xxi

Example 16. Musical ideas A3 and E2, measures 26-31.

Flute 1

Flute 2

Clarinet 1 in Bb

Clarinet 2 in Bb

Horn 1 in F

Trombone 1

Glockenspiel

Vibraphone

Violin II

Violoncello

&

&

&

&

&

?

&

&

&

?

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

26

∑

∑

w#

∑

∑

∑

Ó

P

˙#

P

œ

˙

œ#

Ó Œ

p

œ#

p

w

∑

∑

w

∑

∑

∑

˙#Ó

œ

Œ Ó

w

w

∑

Ó Œ

p

œ

3

œœ#

œ#

3

œœ

œ

3

œœ

œ

3

j

œœ

Ó Œ

p

œ#

Ó Œ

π

œ

Ó Œ

open

π

œ

∑

∑

˙ ˙#

w

∑

w

3

œ#

j

œ#

3j

œœ

˙

w

w

w

∑

∑

w

w

Ó Œ

p

œ#

.˙

Œ

∑

w

.˙œ

+

.˙

Œ

Ó

P

˙#

P

œ

˙

œ#

w

w

w

∑

∑

œŒ Ó

w

∑

˙#Œ

œ

œ

Œ Ó

.˙

P

œ#

˙

Ó

Example 17. Source for musical idea A3.

&

?

1

w

2w#

3w#

4w#

5w

Arch 2 / 1-5, upper pitches / E

xxii

Example 18. Comparison between the upper notes of the first five sonoritiesof Arches 1 and 2.

&

?

1

w

2w#

3w#

4w#

5w


&

?

1

w

2w#

3w#

4w#

5w


Further expansion of the E1 idea, hereafter referred to as E3, occurs in

measures 38-41 when two instruments present the E1 idea simultaneously at different

pitch levels (Example 19). Violin II alternates pitches F# - G# and the violas alternate E -

F#. Together, the pitches span the interval of a third (E - F# - G#), which is an expansion

of the interval of a second.

Example 19. Musical idea E3, measures 38-41.

Violin II

Viola

&

B

4

4

4

4

38

˙#

3

œ

j

œ#

3

œœ

œ

Œ

P

.˙

3

œ#œ#

œ

3

j

œœ

3

‰

œœ

3

œœ

œ

œ œœ#

œœ

œœ

œœ

œœ

œœ

3

œ#œ#

œ

3

œ‰

œ

3

œ‰

3

œœ

œ

œœ#

œœ

œœ

œœ

œœ

œœ

R

œ‰ .

3

œ#œ#

œŒ Ó

∑

In following measures, specifically measures 45-114, the E3 idea is extended

and transformed into a texture consisting of as many as four simultaneous E1 musical

ideas (Example 20). Scored for upper strings, the combination of various transpositions of

the E1 musical ideas creates an intervallic span between the highest and lowest sounding

xxiii

pitches that fluctuates from a major second to a major tenth in measure 52, to a major sixth

in measure 54, to a major seventh in measure 55, and so forth. Overall, the idea expands

from the original interval of a second to a variety of intervals spans (Example 21).

Example 20. Musical idea E3, measures 46-57.

Violin I

Violin II

Viola

Violoncello

&

&

B

?

4

4

4

4

4

4

4

4

46

.˙#

3

œœ

œ

∑

∑

∑

3

œ#œ

œ œ

J

œ‰ œ

Ó Œ

p

ord.

3

œœ#

œ

∑

∑

.˙

3

œœ#

œ

œ#‰

J

œ ˙

∑

∑

3

œ#œ

œ˙ Œ

˙

3

œœ

œ#

3

œœ

œ

∑

∑

&

&

B

?

50

Ó

"

Œ

3

œ#œ

œ

J

œ#‰ .˙

∑

∑

w

œ

3

œœ

œ#

3

œœ

œ

3

œœ

œ

Ó

p

˙

∑

œ ‰

J

œ#

J

œ‰ œ

‰

J

œ# .˙

3

œœ

œ

3

œœ

œ˙

Ó

˙

.˙

3

œœ#

œ

˙

3

œœ

œ#

3

œœ

œ

w

3

œœ

œ

3

œœ

œ˙

&

&

B

?

54

3

œ#

"

œœ

˙ Œ

J

œ#‰ .˙

3

œœ

œ

3

œœ

œ˙

.˙

3

œ#œ

œ

Ó Œ

3

œ#œ#

œ

œ

3

œœ

œ#

3

œœ

œ

3

œœ

œ

w

w

w#

‰

J

œ# .˙

3

œœ

œ

3

œœ

œ˙

œ

3

‰

œœ#

3

œœ

œ

3

œœ

œ

œ‰

J

œ#

J

œ‰

œ#

˙

3

œœ

œ#

3

œœ

œ

w

w

xxiv

Example 21. Registral spans of musical idea E3, measures 45-114.

&

B

w# w# w#w# w# w# w# w# w#

w

w

w w

w

w#w

w#

w

To summarize, a sense of expansion is created in the selection and

combination of musical materials and use of transposition levels. Materials presented in the

second section, measures 26-65, are derived from both Arches 1 and 2. Also,

transposition levels other than the transposition with D as the central pitch are employed.

Expansion is a result, not only because materials from two arch sources are utilized, but

also because Arch 2 is in itself an expansion of Arch 1.

Concentric Arches

The seven preliminary progressions served as a pallet from which I could

derive musical ideas. My goal was to create interesting musical ideas which related to one

another with a consistency of sound. I found some sonorities and pitch combinations more

fruitful than others for composing.

The painting, Light Coming on the Plains I, exhibits thin gold bands which

are arranged in seven concentric arches. The concentric arches directly influence pitch

selection and employment in the composition. As previous discussed, in the first section

of the composition, measures 1-25, musical materials are derived exclusively from Arch 1;

whereas, in the second section, measures 26-65, materials are derived from both Arches 1

and 2. As the composition progresses, materials derived from Arch 3, Arch 4, etc., are

introduced and combined with musical ideas previously presented in the work.

An example of a musical idea with pitches selected from Arch 3 occurs in

measures 184-188 (Example 22). Scored for woodwinds, this brief chord progression is

formed by combining selected sonorities from Arch 3 (Example 23). The first chord

xxv

derives its pitches from Arch 3 / 5 / D; the second chord derives its pitches from Arch 3 /

6 / D; the third chord derives its pitches from Arch 3 / 3 / D; and the fourth chord derives

its pitches from Arch 3 / 5 / D. Not shown in example 22 is that the progression is

combined texturally with musical ideas derived from Arches 1 and 2 through means of

juxtaposition and superposition.

Example 22. Chord progression derived from Arch 3, measures 184-188.

Flute 1

Flute 2

Oboe 1

Oboe 2

Clarinet 1 in Bb

Clarinet 2 in Bb

&

&

&

&

&

&

2

2

2

2

2

2

2

2

2

2

2

2

184

Œ

F

Arch 3 / 5 / D

.˙

Œ

F

.˙

Œ

F

.˙

Œ

F

.˙

Œ

F

.˙

Œ

F

.˙#

˙

Arch 3 / 6 / D

˙

˙

˙

˙ ˙

˙˙

˙˙

˙˙

Arch 3 / 3 / Dw

w#

w

w

w

w

˙

Arch 3 / 5 / D

˙

˙˙

˙ ˙

˙˙

˙˙

˙˙#

.˙

Œ

.˙

Œ

.˙Œ

.˙Œ

.˙

Œ

.˙

Œ

Example 23. Source for chord progression derived from Arch 3, measures84-88.

&

?

3

w

ww#

5

w

w

w

6

w

w

ww

w

ww

Arch 3 / 3, 5-6 / D

I used the mapping technique in various ways throughout the composition,

and example 22 is a suitable illustration of this technique. A few measures earlier in the

xxvi

composition, measures 172-176, a similar chord progression is presented orchestrated for

brass (Examples 24 and 25). A comparison of the two progressions, examples 22 and 24,

demonstrates the mapping technique.

Example 24. Chord progression derived from Arch 2, measures 172-176.

Horns 1-2 in F

Horns 3-4 in F

Trumpet 1 in C

Trumpet 2-3 in C

&

&

&

&

2

2

2

2

2

2

2

2

172

Œ ‰

ƒ

Arch 2 / 5 / Gj

œ ˙

Œ ‰

J

œb ˙

Œ ‰

ƒ

j

œ ˙Œ ‰

J

œ ˙

Œ ‰

ƒ

J

œ ˙

Œ ‰

ƒ

j

œ ˙Œ ‰

J

œb ˙

.˙

Arch 2 / 6 / G

œ

.˙

œ

.˙ œ

.˙

œ

.˙œ

.˙ œ

.˙

œ

œ

Arch 2 / 3 / G.˙#

œ.˙#

œ .˙

œ .˙

œ .˙

œ .˙

œ .˙

œ

Arch 2 / 5 / G

.˙n

œ.

˙b

œ .˙œ

.˙

œ

.˙

œ .˙œ

.˙b

w

w

w

w

w

ww

Example 25. Source for chord progression derived from Arch 2, measures172-176.

&

?

3

ww

w

5w

wwb

6

w

w

ww

#ww

bw

Arch 2 / 3, 5-6 / G

In both chord progressions, the pitches are selected from sonorities 5, 6, 3,

and 5, in that order, from two different arches--Arch 2 for the progression scored for

brass and Arch 3 for the following progression scored for woodwinds. Initially, the order

of sonorities was an intuitive choice, but it was a deliberate choice to have the chord

progression scored for woodwinds mirror the progression scored for brass. Rhythm in

both progressions is similar with the pattern of long-short-long-long durations. The

xxvii

mapping technique and orchestration are used to create variety; rhythm and relative

adjacency of the progressions preserves an audible relationship between the two

progressions.

The method used for mapping of pitch material is as follows: I created a

sketch derived from measures 172-176 using the mapping technique (Example 26). I

replaced each pitch derived from Arch 2 / 3, 5-6 / G with the corresponding pitch of Arch

3 / 3, 5-6 / D. For example, the pitches of trumpet 1 (D - C - B - D), which are the upper

pitches of Arch 2 / 3, 5-6 / G, were replaced with the pitches (C - A - A - C), which are

the upper pitches of Arch 3 / 3, 5-6 / D; this may be observed in staff 5 of example 26. I

continued this process for each of the melodic lines.

Example 26. Sketch created using mapping technique.

Staff 1

Staff 2

Staff 3

Staff 4

Staff 5

Staff 6

Staff 7

&

&

&

&

&

&

&

2

2

2

2

2

2

2

2

2

2

2

2

2

2

5

Œ ‰

j

œ ˙

Œ ‰

j

œ ˙

Œ ‰ j

œ ˙

Œ ‰j

œ ˙

Œ ‰

J

œ ˙

Œ ‰ j

œ ˙

Œ ‰

j

œ ˙

.˙

œ

.˙œ

.˙ œ

.˙œ

.˙œ

.˙ œ

.˙œ

œ

.˙

œ

.˙

œ.˙#

œ .˙

œ .˙

œ.˙#

œ .˙

œ .˙

œ.˙

œ.˙

œ.˙

œ.˙

œ.˙

œ .˙

w

w

w

w

w

w

w

Once the sketch was created, I used the sketch to compose measures 184-188.

In some cases, pitches are redistributed in the score in comparison to the sketch. Rhythm

xxviii

is also altered. The technique of using mapping to create a sketch and then to make

alteration to the sketch to produce the final version found in the score is commonly

employed throughout the composition.

An example of a musical idea with pitches selected from Arch 4 occurs in

measures 256-263 (Example 27). In example 27, music derived from Arch 1, Arch 2,

Arch 3, and Arch 4 are presented in succession. The pitches in measures 238-242 are

derived from Arch 1 / 1-6, upper pitches / Bb for the violins and viola and from Arch 1 /

4-6, lower pitches / Bb for the tuba, violoncello, and contrabass. Employing the mapping

technique, the following measures, measures 243-247, are derived from Arch 2 / 1-6,

upper pitches / C for the violins and viola and from Arch 2 / 4-6, lower pitches / C for the

tuba, violoncello, and contrabass. Employing the mapping technique again in measures

248-256, the music is derived from Arch 3 / 1-6, upper pitches / C for the violins and

viola and from Arch 3 / 4-6, lower pitches / C for the trombone, tuba, violoncello, and

contrabass. The mapping technique is employed again in measures 256-264; here, the

music is derived from Arch 4 / 2-6, upper pitches / D for the violins and viola and from

Arch 4 / 2-6, lower pitches / D for the trombone, tuba, violoncello, and contrabass.

The choice of transposition levels is intuitive. The choice to juxtapose short

progressions, each derived from a successive arch, was planned with the intention of

creating a passage which is expansive. Since each successive arch is an expansion of the

previous arch in regard to registral span, the music progressively utilizes higher and lower

registers and grows more intense.

xxix

Example 27. Music derived from Arch 1, Arch 2, Arch 3, and Arch 4 insuccession, measures 238-263.

Trombone 3

Tuba

Violin I

Violin II

Viola

Violoncello

Contrabass

?

?

&

&

B

?

?

2

2

2

2

2

2

2

2

2

2

2

2

2

2

238

∑

Ó .

f

œ

Ó

F

œbœ

œœ

œœ

œœ

Ó

F

œbœ

œœ

œœ

œœ

Ó

F

œbœ

œœ

œœ

œœ

Ó Œ

f

œ

Ó Œ

f

œ

∑

.˙œb

œœ

œœ

œœb

œœ

f

œœ

œœ

œœ

œœb

œœ

f

œœ

œœ

œœ

œœb

œœ

f

œœ

.˙œb

.˙œb

∑

w

w

w

w

w

w

∑

wb

wb

wb

wb

wb

wb

∑

œ

Œ Ó

œŒ Ó

œŒ Ó

œŒ Ó

œ

Œ Ó

œ

Œ Ó

Arch 1 / 4-6, lower pitches / Bb

Arch 1 / 1-6, upper pitches / Bb

Arch 1 / 4-6, lower pitches / Bb

xxx


Tbn. 3

Tb.

Vln. I

Vln. II

Vla.

Vcl.

Cb.

?

?

&

&

B

?

?

243

∑

∑

F

œœ

œœ

œœ

œœ

œœ

œœ

œ

>

œ>

F

œœ

œœ

œœ

œœ

œœ

œœ

œ

>

œ>

F

œœ

œœ

œœ

œœ

œœ

œœ

œ

>

œ>

∑

∑

∑

∑

œ>

œ>

f

.˙

œ>

œ>

f

.˙

œ

>

œ>

f

.˙

Œ

f

.˙

Œ

f

.˙

∑

∑

œ.˙

œ.˙

œ.˙

œ

.˙

œ

.˙

∑

∑

.˙œ

.˙œ

.˙œ

.˙œ

.˙œ

∑

∑

œ

Œ Ó

œ

Œ Ó

œ

Œ Ó

œ

Œ Ó

œ

Œ Ó

Arch 2 / 4-6, lower pitches / C

Arch 2 / 1-6, upper pitches / C

xxxi


Tbn. 3

Tb.

Vln. I

Vln. II

Vla.

Vcl.

Cb.

?

?

&

&

B

?

?

248

∑

∑

Ó

f

œœ

œœ

œœ

œœ

Ó

f

œœ

œœ

œœ

œœ

Ó

f

œœ

œœ

œœ

œœ

∑

∑

∑

∑

œœ

œœ

œœ

œœ

œœ

œœ

œ>

œ>

œœ

œœ

œœ

œœ

œœ

œœ

œ>

œ>

œœ

œœ

œœ

œœ

œœ

œœ

œ>

œ>

∑

∑

Œ

ƒ

.˙#

Œ

ƒ

.˙#

œ>

œ>

√

ƒ

.˙b

œ>

œ>

√

ƒ

.˙b

œ>

œ>

√

ƒ

.˙b

Œ

ƒ

.˙#

Œ

ƒ

.˙#

w

w

w

w

w

w

w

œ.˙

œ .˙

œ .˙b

œ .˙b

œ .˙b

œ.˙

œ.˙




xxxii


Tbn. 3

Tb.

Vln. I

Vln. II

Vla.

Vcl.

Cb.

?

?

&

&

B

?

?

253

w

w

w

w

w

w

w

œ

.˙

œ

.˙

œ.˙

œ.˙

œ.˙

œ

.˙

œ

.˙

w

w

w

w

w

w

w

.˙

œ

.˙

œ

.˙œ

.˙œ

.˙œ

.˙

œ

.˙

œ

.˙œ

.˙œ

.˙œ

.˙œ

.˙œ

.˙œ

.˙œ

w

w

w

w

w

w

w

w

w

wb

locowb

locowb

w

w

.˙ œ#

.˙ œ#

.˙œ

.˙œ

.˙œ

.˙ œ#

.˙ œ#


Arch 4 / 2-6, upper pitches / D


xxxiii


Tbn. 3

Tb.

Vln. I

Vln. II

Vla.

Vcl.

Cb.

?

?

&

&

B

?

?

4

5

4

5

4

5

4

5

4

5

4

5

4

5

261

w

w

w

w

w

w

w

.˙

œ

.˙

œ

.˙

œ

.˙

œ

.˙

œ

.˙

œ

.˙

œ

w

w

w

w

w

w

w

wŒ

w

Œ

w

Œ

w

Œ

w

Œ

wŒ

w

Œ

The concept of concentric arches is expressed two ways within the

composition. The first, as discussed above, is by introducing musical ideas derived from

arches in succession--Arch 1, Arch 2, Arch 3, etc.--and combining these musical ideas

with musical ideas derived from other arches. A second way is through the layering of

arches. This may be observed in measures 480-503. I began by layering Arches 1 through

4, sonorities 1-5, offsetting each successive arch progression by one sonority (Example

28). As discussed earlier in this essay, there is a close relationship between pitches of

successive arches; therefore, there are many common tones between each. By layering the

four arches, a composite progression of pitches results (Example 29). This composite

xxxiv

progression was used to compose measures 480-487 of the composition (Example 30). In

like manner, I layered Arches 2 through 5 and used the composite progression to compose

measures 487-494. For the conclusion of the composition, I layered the first five

sonorities of all seven arches. The composite progression was used to compose measures

494-503.

Example 28. Layering of Arches 1 through 4.

Arch 1 / 1-5 / A

Arch 2 / 1-5 / A

Arch 3 / 1-5 / A

Arch 4 / 1-5 / A

&

&

&

&

&

&

&

&

5 1w

2ww

3ww

w#

4w

www

##

5w

ww#

www

#www

##

ww#

1

w

2

ww

3ww

w#

4w

w

ww

#

#

5w

wwn

www#

#

w

ww

#wwn

1w

2ww

3w

ww#

4w

w

wwn

5w

w

w

w#

ww#

w

ww

n

b w

w

n

1

w

2

ww

#

3w

wwn

4w

w

w

w

5w

w

w

w#wwn

w

w

w

#w

w

Example 29. Composite progression of Arches 1 through 4.

&

5

wwww

w

w

ww

w#

#w

w

w

w

www

#

#

#

#

w

w

w

w

w

ww

#

#

#

w

w

w

w

w

ww

n

n

n

b

w

w

w

w

w

w

w

n

n

#w

w

w

w

w

xxxv

Example 30. Realization of composite progression, measures 480-487.

Piano

Violin I

Violin II

Viola

Violoncello

Contrabass

&

&

&

&

B

?

?

2

2

2

2

2

2

2

2

2

2

2

2

2

2

480

π

w

∑

π

ww

π

ww

π

ww

π

ww

π

w

o

w

w

ww

ww

ww

ww

w

w#

w#

w#w

ww

ww

ww#

w

w#

w

w#w

w#w

ww#

w#w

w

w#

w

ww#

w#w

w#

w

ww

w

wn

w#

w

wn

wwn

wn

w#

ww

w

w

∑

w

w

w

w

w

w

w

w#

w

w

∑

ww

w

w

w

w

w

w

w

ARCH-SHAPED MUSICAL IDEAS

There are many arch-shaped musical ideas found in the composition. In some

respects, it is a natural course to compose arch-shaped musical ideas when the source of

the ideas originate from arch-shaped preliminary progressions. The numerous occurrences

of the arch shape were deliberate, for the arch is an integral part of O'Keeffe's painting,

and therefore became an integral structure, on both a small-scale and large-scale level, in

the composition. The arch-shape musical ideas can be classified into three categories: 1)

upward slope of the arch shape; 2) downward slope of the arch shape; and 3) full arch

shape. The following are a few selected examples (Examples 31-37).

xxxvi

Example 31. Upward slope of the arch shape, measures 18-20.

Flutes 1-2

Oboes 1-2

English Horn in F

Clarinets 1-2 in Bb

Bass Clarinet in Bb

Horn 1 in F

Orchestra Bells

Vibraphone

Harp

&

&

&

&

&

&

&

&

&

?

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

18

∑

∑

Ó Œ

3

Œ

π

J

œ

∑

Œ

P

3

œœ#

œ#

3

œœ#

œ œ

Œ

P

3

œœ#

œ

3

œœ#

œ œ

∑

Ó Œ

3

Œ

π

j

œ

Ó Œ

3

Œ

j

œ

Œ

P 3

œœ#

œ

3

œœ

œ œ

Œ

π

3

œœ

œ# ˙

J

œœ ˙

3

‰

œœ .˙

π

w#

w

.˙#

π

3

J

œ#œ#

.˙

w

w

Œ

3

Œj

œ# ˙

3

œ#œ

œ

3

J

œœ ˙

3

œ#œ

œ

3

œœ

œ# ˙

∑

ww

w

w

w

w

w

œ

Œ Ó

œŒ Ó

w

w

w

∑

xxxvii

Example 32. Upward slope of the arch shape, measures 1-5.

Orchestra Bells

Piano

&

&

&

4

4

4

4

4

4

1

Œ

f

.˙#

œ

œ

f

œ#œ

.

.

.

.˙

˙

˙

˙

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

˙

Ó

˙

˙

˙

˙

Ó

Ó

Example 33. Downward slope of the arch shape, measures 181-184.

Orchestra Bells

Vibes.

Harp

Piano

&

&

&

&

&

&

2

2

2

2

2

2

2

2

2

2

2

2

4

5

4

5

4

5

4

5

4

5

4

5

2

2

2

2

2

2

2

2

2

2

2

2

181»••

f

h

œœ#

œ Œ

∑

∑

∑

√

f

œ.

œ#.

Œ

œ.

∑

Ó . Œ

œ#

f

.

.

˙

˙

#

#

˙

˙

f

œ#.

Ó

œ.

œ#.

œ#

.

Œ Œ Ó

Œ œ

.

œ

.

√

œ.

œ#.

œ#

.

œ.

œ.

œ.

œ#.

?

&

œ#œ

œ#Œ

œ

œ

Œ

˙

˙#

#

œ#.

œ.

Œ

œ.

∑

œ#.

œ.

Œ

œ.

œ#.

œ

.

Œ

œ.

Ó œ Œ

˙

˙

˙

˙

œ.

œ#.

Œ œ

.

∑

√

œ.

œ#.

Œ

œ.

œ.

œ#.

Œ œ

.

xxxviii

Example 34. Downward slope of the arch shape, measures 291-308.

Violin I

Violin II

&

&

2

2

2

2

291

f

.˙#œ#

∑

.˙# œœ#

∑

w

∑

w#

f

œ#˙#

œ#

w

˙˙#

œ .˙#

˙˙

&

&

297.

˙

"

div.œ#

œ#

.˙

f

œ#

Œ

div.

œ#

˙#˙#

w

˙#˙#

w

œ .˙#

˙˙#

œ .˙#œ

.˙#

œ.˙

w

œ.˙

w

˙˙#

˙˙#

˙˙#

w#

w

w

ww

&

&

303w#

"

.˙œ#

w#w#

.˙œ#

w

.˙

œ#

w

ww

˙#˙#

œ.

˙#

.˙œ#

œ.˙#

œ .˙#

w

ww

œ.˙

.˙

œ#

ww

˙˙#

w

Example 35. Full arch shape, measures 15-16.

Clarinet 1 in Bb & 4

4

15

Ó Œ

P

3

œœ#

œ#

3

œœ#

œ

3

œ#œ

œ

3

œ#œ#

œ

Œ


Viola B2

2

4

5

2

2

181

f

œ---

œ#

---

œ---

œ

---œ#--- œ

---œ#---

œ---

sim.œ

œbœ

œœ

œ œbœ

œbœ

œœ#

œœ

œœ

œœ

xxxix


Piccolo

Flute 2

&

&

2

2

2

2

194

Ó ‰

f

œ#œ œ#

œœ œ#

Ó ‰

f

œ#œ œ#

œœ œ#

œ œ#œ

œ œ# œnœ

œ œnœ# œn

œœ# œn

œ#

œ œ#œ

œ œ# œnœ

œ œnœ# œn

œœ# œn

œ#

TEMPO

The composition begins with a moderate tempo of q = 108. In measure 119,

the tempo changes to q = 162. I used metric modulation, a technique often associated with

the music of Elliott Carter, to increase the tempo. The use of metric modulation can best

be demonstrated in the flute 2, harp, and viola parts, measures 117-120 (Example 38).

Example 38. Metric modulation, measures 117-120.

Flute 2

Harp

Viola

&

&

&

B

4

4

4

4

4

4

4

4

4

5

4

5

4

5

4

5

117

∑

©»¡º•

3

œbœ

œbŒ

3

œbœb

œŒ

Œ

3

œbœ

œbŒ

3

œbœb

œb

∑

∑

3

œœb

œb Œ Œ

3

œbœ

œb

Œ

3

œœb

œ

3

œbœb

œb

Œ

∑

xl

&

&

&

B

4

5

4

5

4

5

4

5

4

4

4

4

4

4

4

4

119

Œ

p

œ#œ

œœ

œœ

œœ

Ó . Ó

©»¡§™

œœb

Œ Œ Ó

Œ

π

unis.œ#

œœ

œœ

œœ

œ

œ#œ

œœ

œœ

œœ

∑

∑

œ#œ

œœ

œœ

œœ

In measures 117-118, the quarter-note beat is subdivided into triplet eighth

notes, evident in the harp's arpeggios. In measures 119-120, the tempo changes to q =

162, and the quarter-note beat is divided into two eighth notes. There is a relationship

between the two tempos, q = 108 and q = 162; a triplet eighth note within the tempo q = 108

is equal in time value to an eighth note within the tempo q = 162. Therefore, all of the notes

in example 38 are equal in time value. The beat, however, is redefined; the beat, equal to

three pulsations within the tempo q = 108, is redefined to be equal to two pulsations within

the tempo q = 162. This results in an increase in tempo.

In measure 181, the tempo changes to h = 88 as the music grows with

intensity. The change of tempo is approached with an accellerando to facilitate a smooth

transition. Beginning in measure 315, although the tempo remains the same as in previous

measures, q = 176, the music introduces longer and longer notes values, thus providing

the effect of slowing the music down. By measure 386, the beat, formerly a quarter note,

is aurally redefined as a half note. In measure 480, as a matter of convenience, the tempo

marking is halved, q = 88, and the music progresses with broad rhythms.

xli

Overall, the tempo scheme is arch shaped. The music progresses from q = 108

to a faster, more rhythmically active h = 88, then back to a slower tempo q = 88 near the

end of the composition.

RHYTHMIC AND METRIC STRUCTURES

Rhythmic and metric structures are intuitively constructed for the most part

throughout the composition. I adjusted rhythms, making selected notes longer or shorter

as I desired. This resulted in melodies and melodic fragments that are composites of

durations, resulting in rhythms free if rigid metric association (Example 39). As may be

observed in the following example, I was continually aware of the beat as I composed,

however, meter was often merely a convenient framework on which I could drape diverse

musical materials.

Example 39. Solo violin, measures 289-312.

Solo Violin & 2

2

289

p

w w ˙

F

˙# .˙

‰J

œw#

J

œ

‰ œ œ

f

œ# œ w .˙

J

œ

‰

&

2973

œœ#

œ ˙ œ œœ# œ

œ# œ .˙Œ ‰

J

œ

˙ œ

œ#

J

œœ#

J

œ ˙ w

&

Ÿ~~~~~~~~~~~~~

303 œ

œ# œ œœ# œ w w

J

œ‰ Œ ‰

p

J

œ

#

œ# w ˙

F

˙# w w w w

Ostinato

The use of ostinato is prevalent throughout the composition. In measures 66-

105, the harp unfolds a twelve-and-a-half-beat ostinato that is constructed with five pitch

classes (C# - D# - E - F#- G#) (Example 40). The pitch set is derived from Arch 2 / 3 / E

xlii

(Example 41). The beginning of the ostinato marks the beginning of the second section of

the composition. Since musical materials in the previous section are derived exclusively

from Arch 1, the harp ostinato is fashioned out of material derived from Arch 2.

Intuitively, I found sonority 3 within Arch 2 fruitful for composing.

Example 40. Harp ostinato, measures 66-69.

Harp

&

&

4

4

4

4

66

p

œœ#

œ#

œ

œ#

œ#

œ#œ

œ#

œ#

œ#œ

œ#

œœ

œ

œ#

œ#

œ#

œ#

œ

œœ#

œ#

œ#

J

œ#

Example 41. Arch 2 / 3 / E.

&

?

3

ww

w#

#

ww

##

Arch 2

The harp ostinato moves with uniform eighth-note rhythm. To create variety

within this passage, I transposed sections of the ostinato down the interval of a perfect

fifth, which may be expressed as Arch 2 / 3 / A. This occurs in measures 78-80, 86-87,

89-90 (Example 42).

The ostinato, because of registral groupings of pitches, is a composite of

varying melodies and melodic fragments. One particular melody, utilizing the lower notes

of the ostinato, is given more significance through means of orchestration. In measures

75-90, selected lower notes of the ostinato are doubled by the violoncellos (Example 43).

xliii

Example 42. Harp ostinato, measures 78-92, showing transposition shiftsbetween Arch 2 / 3 / E and Arch 2 / 3 / A.

Harp

&

&

4

4

4

4

78

Arch 2 / 3 / E

œ#œ#

œ#

œœ

Arch 2 / 3 / A

œ#œ#

œ

œ#

œ#

œœ

œ#

œ#

œ#œ

œ

œœ#

œ#

œ#

Arch 2 / 3 / E

œ#

œ#

œ#

œ

œœ#

œ#

œ#

œœ

œœ

&

&

82

œ

œ#

"

œ#

œ#œ

œ#

œ#

œ#œ#

œ#

œœ

œ#

œ#

œ#

œ#

œ#

œ

œœ#

œ#

œ#

œœ

œœ#

œ

œ#

œ#

œ#œ

œ#

œ#

&

&

86

Arch 2 / 3 / A

œ#

"

œ#

œ

œœ

œ

œ

œ#

œ#

œ

œ

œ

#

œ#

œ#

œ

Arch 2 / 3 / E

œœ

œ#œ#

œ

œ#

œ#

œ#œ

œ

œ#

œ#œ#

œ#

Arch 2 / 3 / A

œœ#

œ

œ#

&

&

90

œ#

"

œ#

œ

œ

œœ#

œ#

œ

œ

Arch 2 / 3 / E

œœ#

œ#

œ

œ#

œ#

œ#œ

œ#

œ#

œ#œ

œ#

œœ

œ

xliv

Example 43. Harp ostinato with violoncello doubling of selected pitches,measures 75-90.

Harp

Violoncello

&

&

?

4

4

4

4

4

4

75

œ#

œ#

œ#œ

œœ

œ

œ#

Ó Œ

pizz.

p

J

œ

‰

œ#

œ#œ

œ#

œ#

œ#œ

œ#

J

œ#

‰ Œ Œ ‰

arco

J

œ#

œœ#

œ#

œ#

œ#

œ#

œ#

œ

œ

˙

Ó

&

&

?

78

œ#

"

œ#

œ#

œœ

œ#œ

œ

Ó Œ ‰

pizz.

J

œ

œ#

œ#

œœ

œ#

œ#

œ#œ

‰

J

œ#Œ ‰

J

œ#

Œ

œ

œœ#

œ#

œ#

œ#

œ#

œ#

arco˙

Œ

pizz.

J

œ#

‰

œ

œœ#

œ#

œ#

œœ

œœ

J

œ

‰ Œ Ó

&

&

?

4

4

4

4

4

4

82

œ

œ#

"

œ#

œ#œ

œ#

œ#

œ#

cresc. poco e poco

J

œ

‰J

œ#

‰ ŒJ

œ#

‰

œ#

œ#

œœ

œ#

œ#

œ#

œ#

‰J

œ#

Œ ‰J

œ#

‰J

œ#

œ#

œ

œœ#

œ#

œ#

œœ

œ

‰J

œ

Œ Ó

œ#

œ

œ#

œ#

œ#œ

œ#

œ#

Œ ‰J

œ#

Ó

xlv


&

&

?

86

œ#œ#

œ

œœ

œ

œ

œ#

Ó ŒJ

œ

‰

œ#

œ

œ

œ

#

œ#

œ#

œ

œœ

J

œ#

‰

J

œ#‰ ‰ J

œ

Œ

œ#œ#

œ

œ#

œ#

œ#œ

œ

ŒJ

œ

‰J

œ#

‰ Œ

œ#

œ#œ#

œ#

œœ#

œ

œ#

J

œ#

‰ ‰J

œ#

Œ ‰

P

J

œ#

&

&

?

90

œ#

"

œ#

œ

œ

œœ#

œ#

œ

œ

‰J

œ#

‰J

œ

Ó

The ostinato returns in measures 181-193 scored for orchestra bells,

vibraphone, harp, and piano (Example 44). As was the case in its previous presentation,

the rhythm is uniform, progressing in quarter-notes. The ostinato is not presented by any

one instrument; instead, single pitches or small groups of pitches are scored for changing

combinations of timbres. The first two pitches are scored for orchestra bells and piano; the

third pitch is scored for orchestra bells alone; the fourth pitch is scored for piano alone; the

fifth pitch is scored for vibraphone and harp in octaves and for piano; the sixth and

seventh pitches are scored for piano in octaves; and so forth. In this passage, octave

displacement is used to create downward sweeping lines, representing musically the

descending latter half of an arch shape. The ostinato is percussive with the intention of

creating excitement and propelling the music forward.

xlvi

Example 44. Ostinato scored for percussion, harp, and piano, measures 181-184.

Orchestra Bells

Vibes.

Harp

Piano

&

&

&

&

&

&

2

2

2

2

2

2

2

2

2

2

2

2

4

5

4

5

4

5

4

5

4

5

4

5

2

2

2

2

2

2

2

2

2

2

2

2

181»••

f

h

œœ#

œ Œ

∑

∑

∑

√

f

œ.

œ#.

Œ

œ.

∑

Ó . Œ

œ#

f

.

.

˙

˙

#

#

˙

˙

f

œ#.

Ó

œ.

œ#.

œ#

.

Ó Ó

Œ œ

.

œ

.

√

œ.

œ#.

œ#

.

œ.

œ.

œ.

œ#.

?

&

œ#œ

œ#Œ

œ

œ

Œ

˙

˙#

#

œ#.

œ.

Œ

œ.

∑

œ#.

œ.

Œ

œ.

œ#.

œ

.

Œ

œ.

Ó œ Œ

˙

˙

˙

˙

œ.

œ#.

Œ œ

.

∑

√

œ.

œ#.

Œ

œ.

œ.

œ#.

Œ œ

.

Near the end of the composition, measures 362-415, the ostinato returns

scored for piano with strings doubling selected pitches (Example 45). Once again, the

rhythms are uniform with quarter-note movement for the most part; however, in this

passage, the ostinato is interrupted by pauses--intervals of rests in the piano part and

sustained notes in the string parts. A comparison between this passage and a transposed

example of the harp ostinato reveals the source of the pitches. The piano ostinato is drawn

from selected sections of the harp ostinato (Example 46).

xlvii

Example 45. Ostinato scored for piano and strings, measures 362-380.

Piano

Violin I

Violin II

&

&

&

&

2

2

2

2

2

2

2

2

362

Œ

√

œb

Œ

œb

p

œb

Œ

œ

Œ

p

˙#˙#

w

p

w

˙˙#

œbœ

œb

Œ

œb

Œ Œ

œb

.˙#œ#

˙˙#

w

w

∑

∑

w

w

w

w

∑

∑

w

w

w

w

Œ

œb

Œ

œb

Ó

œb

Œ

w

w

w

w

œb

Œ Ó

Œ

œ

Ó

w

∑

wœ#

.˙#

&

&

&

&

368

∑

∑

w

"

∑

ww

∑

∑

.˙Œ

∑

ww

∑

Ó Œ

œb

Ó Œ

unis.

œ#

ww

√

œb

Œ

œbœb

Œ

œ

Œ

œb

œ˙#

œ#

ww

œœb

Ó

Ó

œb

Œ

˙˙#

ww

∑

∑

w

w.˙

Œ

œb

œb

œbœb

∑

w

˙#˙#

Ó Œ

œ#

&

&

&

&

375œ

"

Œ

œbœ

Œ

œ

Ó

w

ww#

Œ

œbœ

Œ

œbŒ Ó

˙˙#

ww

∑

∑

w

˙Ó

w

∑

∑

w

∑w

Ó

œb

Œ

Ó Œ

œb

˙˙#

Ó

Œ

unis.

œ#

˙

œ

Œ

œb

Œ

Œ

œbœb

œ

˙#˙#

œ .˙#

xlviii

Example 46. Harp ostinato, transposed.

Harp

&

&

4

4

4

4

66

p

Arch 2 / 3 / Gbœb

œœb

œb

œb

œb

œbœ

œ

œ

œbœ

œb

œbœ

œ

œb

œb

œ

œb

œ

œb

b

œœb

œb

J

œ

The harp ostinato is used to generate other musical materials found within the

composition. In measures 133-135, a melodic idea is presented scored for bassoon and

violins I (Example 47). The pitches are derived from the harp ostinato; the rhythms are

intuitive. I composed this melody in four steps. First, I notated the harp ostinato. Second,

I added a staff beneath the harp ostinato in the same manner as the example below and

selected pitches from the ostinato for the melody, retaining the same durations found in the

ostinato. Third, I intuitively altered the rhythm of the newly composed melody. Fourth, I

removed the harp ostinato, leaving only the new melody.

Example 47. Violin I melody derived from harp ostinato, measures 133-136.

Harp

Violin I

&

&

&

4

4

4

4

4

4

132Arch 2 / 3 / B

œœ#

œ#

œ

œ#

œ#

œ#œ

132

∑

œ#

œ#

œ#œ

œ#

œœ

œ

Œ ‰

F

j

œ#

˙#

xlix


&

&

&

4

4

4

4

4

4

134

œ#

œ#

œ#

œ#

œ

œœ#

œ#

œ#

134

œ#.œ#

œ œ

œ# œ

.œ#

œ#œ

œœ#

œ

œ#

œ#

œ#

œ#

r

œ

‰ . Ó

Seven-Voice Canon

In measures 315-361, a canon of seven independent voices unfolds,

representing each of the seven concentric arches. The canon uses a descending F# major

scale spanning approximately three octaves. Durations for the canon are additive; each

successive duration is a quarter note longer than the previous duration (Example 48). One

exception to the additive durations can be observed in the first voice scored for violin I,

measures 291-293, where the rhythm is intuitively changed.

Example 48. Pitch and duration of the canon theme.

&

5œ#

˙#.˙#

w#w œ

w# ˙w# .˙

w# ww# w œ

w# w ˙w# w .˙

w w w

&

6

w#

"

w w œw# w w ˙

w# w w .˙w# w w w

w# w w w œw# w w w ˙

&

7

w

"

w w w .˙w# w w w w

w# w w w w œw# w w w w ˙

There is a pattern for the entrances of voices: the entrance of the second voice

coincides with the fourth note of the first voice; the entrance of the third voice coincides

l

with the sixth note of the second voice; the entrance of the fourth voice coincides with the

eighth note of the third voice; the entrance of the fifth voice coincides with the tenth note of

the fourth voice; the entrance of the sixth voice coincides with the twelfth note of the fifth

voice; the entrance of the seventh voice coincides with the fourteenth note of the sixth

voice. Because of this plan for the entrances of voices, the interval of time between

successive entrances becomes greater as the canon progresses.

Embedded within the canon is the melody presented by the oboe in the

opening measures of the composition (Example 49). The following musical example

demonstrates the relationship between the oboe melody, measures 1-11, and the beginning

of the canon, measures 291-296.

Example 49. The pitch relationship between oboe 1, measures 1-11(transposed) and violin I and II of the canon, measures 291-296.

Oboe 1

Violin I

Violin II

Ob. I

&

&

&

&

2

2

2

2

2

2

2

2

291

≈

.

J

œ# .˙

291

f

.˙#œ#

∑

.œ#

J

œ# ˙

w

.˙# œœ#

∑

œœ# .˙

.œ

J

œ# ˙

w

∑

œœ œ

˙#

œœ# .˙

w#

f

œ#˙#

œ#

w

˙Ó

w

˙˙#

˙Ó

∑

œ .˙#

˙

1

7

This passage represents a specific scene to me. I imagine the ascent of a bird

in flight in relationship to clouds and mountains and the sun. The progression of additive

li

durations and descent of the canon's melodic line represents a widening distance between

the bird and the landscape that surrounds it.

The placement and purpose of the canon is significant: the canon is the climax

of the work. It is the first music that I wrote for the composition, and I planned the rest of

the composition around this passage. The descending lines of the canon reflect the descent

of the latter half of an arch structure which mirrors previous musical ideas depicting the

upward slope of the arch structure. The additive rhythms aid in slowing down the

momentum created in preceding passages, leading to broader rhythms and eventually to a

slower tempo for the conclusion of the work.

ORCHESTRATION

Images of Remember Earth is scored for full orchestra: piccolo, two flutes,

two oboes, English horn in F, two clarinets in Bb, bass clarinet in Bb, two bassoons,

contrabassoon, four horns in F, three trumpets in C, three trombones, tuba, percussion

(orchestra bells, vibraphone, crotales, suspended cymbals, chimes, xylophone, tam-tam,

and wind chimes), timpani, harp, piano, and strings (violin I, violin II, viola, violoncello,

and contrabass). A full orchestra provides a pallet of timbral colors through the

combination of instruments, use of solo instruments, and timbral effects.

Timbral Effects

Common orchestration effects, such as pizzicato in string writing, string

harmonics, and mutes for brass, are used in the composition to create timbral variety. A

few other timbral effects are employed and are described below.

In the opening measures, measures 1-15, the violins and viola play tremolos

with the marking sul ponticello which instructs the players to bow at or near the bridge of

the instrument. This produces a glassy effect which I felt appropriate for the opening of

the composition and which represents to me the first appearance of light over the horizon.

lii

The marking is used elsewhere in the composition when the music is reminiscent of the

beginning.

In measures 265-303, the violins play tremolos with the marking sul tasto

which instructs the players to bow over the fingerboard. This results in a softer, less

resonant sound, occurring in a section that is relatively soft, yet building with tension in

preparation for the climax in measure 291.

There are two passages where solo string instruments are used. In measures

75-91, a solo viola is employed, and in measures 289-311, a solo violin emerges from the

texture. In each case, variety in timbre was desired.

Klangfarbenmelodie

Klangfarbenmelodie, a pointillistic orchestration technique where each pitch

of a melody is scored with different timbres or timbral combinations, is employed in

several passages of Images of Remember Earth. In measures 39-43, for example, the

first two pitches of the melody are introduced by the horns and violins; the third pitch is

scored for English horn and violins; the fourth pitch is scored for English horn; the fifth

and sixth pitches are scored for clarinet, harp, and violins; the remainder are scored for

flute and clarinet (Example 50).

In measures 125-141, the orchestration is inspired by Arnold Schoenberg's

use of another Klangfarbenmelodie technique in the third movement of Fünf

Orchesterstücke, op. 16 [Five Orchestra Pieces]. The third movement of Schoenberg's

work, originally named "Farben" [Colors] and later renamed "Summer Morning by a

Lake", is characterized by a gradual succession of chords animated by alternating changes

of instrumental timbre. In Images of Remembered Earth, through the progression of

changing timbres and through the rearticulation of individual pitches, a harmonically static

structure becomes more active (Example 51).

liii

Example 50. Klangfarbenmelodie technique, measures 39-43.

Flute 2

Oboe 1

English Horn in F

Clarinet 1 in Bb

Horn 1 in F

Horn 3 in F

Harp

Violin I

&

&

&

&

&

&

&

?

&

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

39

∑

∑

Œ ‰ .

P

R

œ#

˙#

∑

‰ .

P

r

œ#

>

œ

Œ

‰ .

P

r

œ#

>

œ

Œ

∑

∑

‰ .

P

r

œ œ

≈

œ#

˙#

∑

∑

œ

Œ Ó

Œ

P

˙b œœ

∑

∑

Œ

P

˙ œœ#

∑

œ˙ œ

œ#

Œ ‰

P

J

œ ˙

Œ ‰

P

J

œ ˙

∑

.˙

Œ

∑

∑

.˙Œ

∑

.˙Œ

œœ .˙

œœ# œ

˙

∑

∑

∑

∑

∑

∑

∑

œŒ Ó

œŒ Ó

∑

∑

∑

∑

∑

∑

∑

liv

Example 51. Klangfarbenmelodie technique, measures 125-141.

Flute 1

Flute 2

Oboe 2

English Horn in F

Clarinet 1 in Bb

Clarinet 2 in Bb

Bass Clarinet in Bb

Bassoon 1

Horn 1 in F

Trumpet 1 in C

Trumpet 3 in C

Trombone 1

Violin I

Violoncello

Contrabass

&

&

&

&

&

&

&

?

&

&

&

?

&

?

?

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

125

Ó ≈

π

.

J

œ# œ

∑

∑

∑

∑

∑

Ó ≈

π

.

j

œ# œ

∑

∑

Ó ≈

mute

π

.

J

œ# œ

∑

Ó ≈

mute

π

.

J

œ# œ

Ó ≈ .

J

œ# œ

w

w

œ œ# ˙

∑

∑

∑

∑

∑

.œ

j

œ# œ œ œ

∑

∑

.˙ œ œ#

∑

˙ œ œ# œ

œ œ# œ œ œ œ

w

w

˙#

J

œ‰ Œ

Ó ≈

π

.

j

œ# œ

Ó ≈

π

.

J

œ# œ

∑

Ó ≈

π

.

J

œ# œ œ

Ó ≈

π

.

j

œ# œ

˙

j

œ

‰ Œ

Ó ≈

π

.

J

œ# œ

∑

˙

J

œ‰ Œ

∑

˙

J

œ

‰ Œ

˙

J

œ‰ Œ

w

w

∑

œ œ# œ œ œ œ

.œ

J

œ# .œ

J

œ

∑

œ# œ .˙

˙ œ œ# œ

∑

.œ

J

œ# ˙

∑

∑

∑

∑

∑

w

w

lv


Fl. 1

Fl. 2

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Hn. 1

Tpt. 1

Tpt. 3

Tbn. 1

Vln. I

Vcl.

Cb.

&

&

&

&

&

&

&

?

&

&

&

?

&

?

?

129

∑

.œ#

j

œ ˙

w

∑

œ œ# œ œ œ œ

˙ ˙#

∑

œ .˙#

∑

∑

∑

∑

∑

w

w

Œ ‰ .

π

R

œ# ˙

˙

Ó

œ œ# œÓ

∑

˙Ó

˙

Ó

Œ ‰ .

π

r

œ# ˙

˙

Ó

∑

Œ ‰ .

π

R

œ# .œ

J

œ

∑

Œ ‰ .

π

R

œ# ˙

∑

w

w

œ œ# œ œ œ

∑

∑

∑

∑

∑

.œ

j

œ# œ œ œ

∑

∑

.œ#

J

œ .œ

J

œ

∑

œ œ# ˙ œ

∑

w

w

œ œ# ˙

J

œ‰

Ó Œ ≈

π

.

j

œ#

Ó Œ ≈

π

.

J

œ#

Ó . ≈

π

.

j

œ#

Ó Œ ≈

π

.

J

œ#

Ó Œ ≈

π

.

j

œ#

œ ˙#

j

œ

‰

∑

∑

.˙

J

œ‰

∑

.˙

J

œ

‰

∑

w

w

lvi


Fl. 1

Fl. 2

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Hn. 1

Tpt. 1

Tpt. 3

Tbn. 1

Vln. I

Vcl.

Cb.

&

&

&

&

&

&

&

?

&

&

&

?

&

?

?

133

∑

œ œ# œ .œ

j

œ

œ œ# œ ˙

˙ œ# œ œ

.˙ œ œ#

˙ œ œ# œ

∑

∑

∑

∑

∑

∑

∑

w

w

∑

œ œ# œ ˙

.œ#

J

œ ˙

˙ œ œ# œ

œ .˙#

.œ

j

œ# ˙

∑

∑

∑

∑

∑

∑

∑

w

w

∑

.˙

Œ

.˙Œ

.˙

Œ

œ œ# ˙Œ

.œ

j

œ# œ

Œ

Ó ≈

F

.

j

œ# œ

∑

Ó ≈

F

.

j

œ#

+

œ

∑

Ó ≈

F

.

j

œ œ

∑

∑

w

w

∑

∑

∑

∑

∑

∑

w

∑

.˙ œ œ#

+

∑

w

∑

∑

˙ ˙

˙ ˙

∑

∑

∑

∑

∑

∑

˙ œ œ# œ

∑

w

∑

.œ

j

œ ˙

∑

∑

w

w

lvii


Fl. 1

Fl. 2

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Hn. 1

Tpt. 1

Tpt. 3

Tbn. 1

Vln. I

Vcl.

Cb.

&

&

&

&

&

&

&

?

&

&

&

?

&

?

?

138

Ó Œ ≈

F

.

J

œ#

∑

Ó Œ ≈

F

.

J

œ#

Ó Œ ≈

.

j

œ#

∑

∑

w

∑

.œ

j

œ#

+

˙

∑

˙ œ œ œ

∑

∑

œ .˙b

œ .˙b

.œ

J

œ# œ œ œ

∑

œ œ# œ œ œ

œ œ# ˙ œ œ

∑

∑

œ œ# œ ˙

∑

.œ

j

œ#

+

˙

∑

œ œ œ

j

œ œ

j

œ

∑

∑

˙

.œ

J

œ

w

.œ

J

œ# œ œ

∑

œ œ# ˙

˙ œ œ# œ œ

∑

∑

w#

∑

œ œ#

+

.˙

∑

˙ œ œ œ

∑

∑

œ ˙ œ œ

w

( ≤ )

.œ

J

œ# .œ‰

∑

œ œ# ˙ œ œ

.˙ œ œ#

∑

∑

w#

∑

œ œ#

+

˙

j

œ‰

∑

.˙

j

œ

‰

∑

∑

˙

˙b

w

lviii

Beginning in measure 125, a dyad (D# - C#) is scored for flute, bass clarinet,

muted trumpet and trombone, and violins. This timbral combination is answered in

measure 127 by a chord (B - D# - C#) scored for flute, oboe, two clarinets, and bassoon.

Both sonorities are supported by the pitch B played by violoncello and contrabass. The

pitch content, including the B pedal in the lower strings, is the same for both sonorities;

the orchestration of the two sonorities differs. The flute is a member of both sonorities;

however, the flute is scored in its mid register in the first sonority and in its low register in

the second. Bass clarinet is utilized in the first sonority; a pair of clarinets are members of

the second sonority. Violoncello and contrabass are common to both groups. The timbral

groups contrast and compliment one another.

In measure 130, the dyad (D# - C#) is reiterated with its original

orchestration. The sonority is answered in measure 132 by a chord (B - D# - C#) with its

original orchestration and the addition of English horn. The sonority to follow in measure

135 contrasts with previous sonorities in regard to pitch and orchestration. The dyad (D# -

E#/F) is scored for bass clarinet, stopped horn, and open trumpet. All the while, the lower

strings continue to sustain pitch B as a pedal.

In measure 138, the sonority (B - D# - E#/F - C#) is scored for flute, oboe,

English horn, stopped horn, and trumpet, supported by the pitch Bb among the lower

strings. With enharmonic respellings, the pitches (A# - B - C# - D# - E#) are derived from

the upper pitches of Arch 1 / 1-5 in which the pitches are presented in retrograde-inversion

(Example 52). Each of the three pitch sets (D# - C#), (B - D# - C#), and (A# - B - C# - D#

- E#) are derived from a single source. Pitch C, played by violoncello in measures 139-

141, is an intuitive addition in relationship to the pitch set.

lix

Example 52. Source for pitches, measures 125-141.

&

ww

ww#

w

&w#

ww#

w#w#


Arch 1 / 1-5, upper pitches / retrogradeinversion, transposed

The passage, measures 125-141, is expansive in pitch content, progressing

from pitch sets (B - D# - C#) to (B - D# - E#/F) to (A#/Bb - B - D# - E#/F - [C] - C#).

Likewise, the passage is expansive in regard to timbral color, beginning with the

alternation between two small timbral groups and progressively introducing new colors.

Near the conclusion of the passage, measures 138-141, eight instruments and six different

pitch classes sound simultaneously as compared to the beginning of the passage, measures

125-127, where only five instruments and three pitch classes sound simultaneously.

Adding to the color, individual pitches within the sonorities are rearticulated in

succession at irregular intervals. There is no pattern for the rhythm except that I

deliberately sought to limit the simultaneous occurrence of rearticulations among the

different instruments. The purpose of the irregular rhythms is to create an overall

composite of rhythmic activity. The expansive qualities of the passage and the successive

rearticulation of pitches creates movement and propels the music toward a point of arrival

in measure 144.

Color

O'Keeffe did not use great variety of color in the painting Light Coming on

the Plains I; however, color is an integral part of its structure. There are two aspects of

color in the painting: 1) transformation of color from goldish-blue at the light's source to

progressively darker shades of blue near the edges of the canvas and 2) thin gold bands

lx

that interrupt and sectionalize the transformation of blue. Within the composition, I felt that

a colorful orchestration was needed to convey various perspectives of the landscape.

Despite the economy of color in O'Keeffe's painting, her use of color influenced the

orchestration of the music.

One influence of O'Keeffe's use of color is expressed in the music through a

gradual transformation of timbral colors. Recurring ostinatos in the composition often

exhibit this characteristic, realized through variant orchestration of recurring musical ideas.

Examples discussed previously in this essay display transformation of timbral colors

(Examples 43, 44, and 45). In example 43, the ostinato is scored for harp and violoncello

playing pizzicato. In example 44, the ostinato is scored for percussion, harp, and piano.

The harp is common to both examples, and all sounds are percussive, created by means of

striking a percussion instrument or striking or plucking a string. In example 45, the

ostinato is scored for piano and strings. The piano is common to both examples 44 and 45;

however, the strings sustain pitches and are, therefore, not percussive in nature. The

variant orchestrations of these three passages create timbral transformation.

A second influence of O'Keeffe's use of color is expressed in the music

through the juxtaposition of contrasting instrumental groupings. An example of this occurs

in measures 224-233 (Example 53). In example 53, a brief progression orchestrated for

woodwinds is juxtaposed against a progression orchestrated for brass; the brass

progression, in turn, is juxtaposed against another progression orchestrated for

woodwinds. The alternation of contrasting instrumental groupings expresses the thin gold

bands that sectionalize the transformation of color in the painting.

lxi

Example 53. Juxtaposition of contrasting instrumental groupings, measures224-233.

Flute 2

Oboe 1

Oboe 2

English Horn

Clarinet 1 in Bb

Clarinet 2 in Bb

Bass Clarinet in Bb

Bassoon 2

Horns 1-2 in F

Horns 3-4 in F

Trumpets 1-2 in C

Trombones 1-2

Trombone 3

&

&

&

&

&

&

&

?

&

&

&

?

?

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

224

Ó Œ

p

œb

Ó Œ

p

œb

Ó Œ

p

œ#

∑

∑

Ó Œ

p

œ#

∑

∑

∑

∑

∑

∑

∑

˙˙b

˙˙b

˙ ˙#

∑

Ó

p

˙#

˙ ˙#

Ó

p

˙#

∑

∑

∑

∑

∑

∑

œ˙ œ

œ˙ œ

œ ˙# œ

Œ

p

˙# œ

œ

˙ œ

œ

˙# œ

œ

˙# œ

Œ

p

˙ œ

∑

∑

∑

∑

∑

.˙#Œ

.˙#Œ

.˙#

Œ

.˙#Œ

.˙#Œ

.˙# Œ

.˙#Œ

.˙

Œ

Ó Œ

f

œ

Ó Œ œb

Ó Œ

f

œ#Ó Œ

œ#

Ó Œ

f

œ#Ó Œ

œ#

Ó Œ

f

œ#Ó Œœ

Ó Œ

f

œ

∑

∑

∑

∑

∑

∑

∑

∑

˙˙

˙˙

˙ ˙#

˙ ˙#

˙˙

˙ ˙#

˙ ˙n˙ ˙

˙˙

lxii


Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bn. 2

Hns. 1-2

Hns. 3-4

Tpts. 1-2

Tbns. 1-2

Tbn. 3

&

&

&

&

&

&

&

?

&

&

&

?

?

229

∑

∑

∑

∑

∑

∑

∑

∑

˙˙#

˙˙#

˙ ˙#

˙˙#

˙ ˙˙

˙

˙˙#

˙˙#

˙ ˙#

∑

∑

∑

∑

∑

∑

∑

∑

œ .˙#

œ.˙#

œ .˙#

œ.˙#

œ.˙#

œ .˙#

œ .˙#

œ.

˙

œ

.˙

Ó

p

˙b

Ó

p

˙b

Ó

p

˙#

∑

∑

Ó

p

˙b

∑

∑

˙Ó

˙

Ó

˙Ó

˙

Ó

˙

Ó˙

Ó

˙Ó

˙Ó

˙Ó

˙b

˙

˙b

˙

œ# .˙

Ó Œ

p

œb

p

œb

.˙b

œ

.˙

p

œ .˙

Œ

p

.˙#

∑

∑

∑

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lxiii

FORMAL SHAPE

The overall shape of the composition is an arch, reflecting the shape of

O'Keeffe's painting. The music is divided into several sections and the sections can be

grouped into larger units:

Section 1 Section 2 Section 3

mm. 1-25 mm. 26-65 mm. 66-118

Section 4 Section 5 Section 6 Section 7

mm. 119-180 mm. 181-205 mm. 206-237 mm. 237-264

Section 8 Section 9

mm. 265-314 mm. 315-385

Section 10 Section 11

mm. 386-479 mm. 480-510

The first three sections, measures 1-25, 26-65, and 66-118 respectively, are

introductory. Musical ideas are introduced and freely developed and combined. Sections 4

through 7, measures 119-180, 181-205, 206-237, and 237-264 respectively, are

characterized by an increase in rhythmic activity, dynamic levels, density of orchestration

and greater use of brass instruments. Sections 8 and 9, measures 265-314 and 315-385

respectively, prepare for the climax and includes the climax itself. Sections 10 and 11,

measures 386-479 and 480-510 respectively, are relatively slower in tempo, softer in

dynamic levels, thinner in orchestration, and bring the composition to a conclusion.

SUMMARY

It was not my intention simply to write music representational of a sunrise,

although I believe the music does convey the shape, sound, feel, life, and color of a

lxiv

sunrise landscape. My goal, while composing Images of Remembered Earth, was to

derive musical materials drawn from elements found within O'Keeffe's painting.

Structure

I began by constructing seven arch-shaped preliminary chord progressions

from which I derived much of the pitch material used in the composition. I deliberately

fashioned some of the musical ideas into arch shapes as well. I used the arch shape to

govern elements of the composition, including the overall tempo scheme, rhythmic

activity, and formal shape of the composition.

Expansion

The seven preliminary progressions are expansive by design. This

characteristic is also an important element in the composition. Expansion is evident in a

variety of ways, such as employing wedge-shaped musical ideas, progressively utilizing

higher and lower registers, and juxtaposing musical ideas derived from successive arches

where the expansive nature of the progressions is exhibited.

Color

Although O'Keeffe's painting, Light Coming on the Plains I, does not

exhibit great variety of color, her use of color influenced the orchestration of the music.

This is manifested in two ways: 1) gradual transformation of timbral colors and 2) the

juxtaposition of contrasting instrumental groupings.

lxv

APPENDIX

SELECTED BIBLIOGRAPHY OF ART REPRODUCTIONS

OF GEORGIA O'KEEFFE'S

LIGHT COMING ON THE PLAINS SERIES

LIGHT COMING ON THE PLAINS I

Ayers, Linda. American Paintings: Selections from the Amon Carter Museum.Birmingham: Oxmoor House, 1986. (color)

Baker, Kenneth. "What Went Wrong?: A Reappraisal of Georgia O'Keeffe". Connoisseur(Nov. 1987) p. 170-175. (color, p. 175)

Castro, Jan Garden. The Art & Life of Georgia O'Keeffe. New York: Crown, 1985.(color, p. 165)

Finch, Christopher. American Watercolors. New York: Abberville Press, 1986. (color,p. 200)

Lynes, Barbara Buhler. Georgia O'Keeffe: Catalogue Raisonné. New Haven: YaleUniversity Press, 1999. (color, p. 119)

LIGHT COMING ON THE PLAINS II


Castro, Jan Garden. The Art & Life of Georgia O'Keeffe. New York: Crown, 1985.(b&w, p. 166)

Gibson, Eric. "Georgia O'Keeffe: Attitudes to Nature". Studio International v. 201(Apr. 1988) p. 3-7. (b&w, p. 7)

Goetzmann, William H., and William N. Goetzmann The West of the Imagination. NewYork: W. W. Norton, 1986. (color, p. 425)

Hoffman, Katherine. An Enduring Spirit: The Art of Georgia O'Keeffe. Metuchen, NewJersey: Scarecrow Press, 1984. (b&w, p. L)

lxvi

Goodrich, Lloyd, and Doris Bry. Georgia O'Keeffe. New York: Whitney Museum ofAmerican Art, 1970. (b&w, plate 18)


O'Keeffe, Georgia. Georgia O'Keeffe. New York: Penguin Books, 1976. (color, [plate11])

O'Keeffe, Georgia. Georgia O'Keeffe: Art and Letters. Washington: National Gallery ofArt; Boston: New York Graphic Society Books, 1987. Contributions by JackCowart, Juan Hamilton; letters selected and annotated by Sarah Greenough.(color, catalogue 16)

Selz, Peter Howard. Art in Our Times: A Pictorial History, 1890-1980. New York:Harry N. Abrams, 1981. (color, p. 165)

Sills, Leslie. Inspirations: Stories about Women Artists: Georgia O'Keeffe, FridaKahlo, Alice Neel, Faith Ringgold. Niles, Illinois: Albert Whitman, 1989.(color, p. 13)

Young, Mahonri Sharp. Early American Moderns: Painters of the Stieglitz Group.New York: Watson-Guptill Publications, 1974. (color, p. 135)

LIGHT COMING ON THE PLAINS III


Castro, Jan Garden. The Art & Life of Georgia O'Keeffe. New York: Crown, 1985.(b&w, p. 167)

Hunter, Sam. American Art of the 20th Centry. New York: Harry N. Abrams, 1973.(color, 112)


O'Keeffe, Georgia. Georgia O'Keeffe: Art and Letters. Washington: National Gallery ofArt; Boston: New York Graphic Society Books, 1987. Contributions by JackCowart, Juan Hamilton; letters selected and annotated by Sarah Greenough.(color, catalogue 17)

lxvii

BIBLIOGRAPHY

BOOKS

Momaday, N. Scott. "The Man Made of Words", Indian Voices: The First Convocationof American Indian Scholars. Edited by Rupert Costo. San Francisco: IndianHistorian Press, 1970.

Eldredge, Charles C. Georgia O'Keeffe. New York: Harry N. Abrams, 1991.

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Picc.

Fl. 1

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Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

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Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

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Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

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Picc.

Fl. 1

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Cl. 1

Cl. 2

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Hns. 1-2

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Tbn. 3

Tb.

Perc.

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Harp

Piano

Vln. I

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Vla.

Vcl.

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Perc.

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Solo Va.

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Fl. 1

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Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

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Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Solo Va.

Vla.

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Cb.

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Solo Va.

Vla.

Vcl.

Cb.

84

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Hns. 1-2

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Timp.

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Piano

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Hns. 1-2

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Fl. 1

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Ob. 1

Ob. 2

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Cl. 1

Cl. 2

B. Cl.

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Bsn. 2

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Hns. 1-2

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Harp

Piano

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Ob. 1

Ob. 2

E. Hn.

Cl. 1

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Perc.

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Harp

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j

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J

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j

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≤

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j

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J

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œ

w

(≥

)

w

(≥

)

∑

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π

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21

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B

?

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

135

∑

∑

.˙

Œ

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œœ

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.˙Œ

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Œ

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j

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.

j

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1.

.

j

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+

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.

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∑

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w

w

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Œ

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j

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j

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w

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+

3.

P

.œb

J

œ ˙

∑

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j

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P

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Ó ‰

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J

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∑?

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Œ

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≤

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w

w

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.

J

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.

J

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‰ Œ Œ ≈

.

j

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‰

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j

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j

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w

∑

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‰ Œ Ó

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‰ Œ Ó

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j

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+

˙

w

Œ ‰

F

mute

J

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>

w˙ œ œ œ

Œ ‰

1.

F

J

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>

∑

∑

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∑

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∑

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22

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?

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2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

139

∑

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J

œ# œ œ œ

Ó ‰

F

J

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∑

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∑

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∑

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j

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+

˙

J

œ

‰ Œ ‰

F

J

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∑

j

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‰ ŒÓ

œ œ œ

J

œ œ

J

œ

∑

∑

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∑

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J

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w

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J

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w

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+

.˙

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w

( ≤ )

∑

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J

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.˙

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w

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+

˙

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‰

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cresc.

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j

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div.

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Œ

∑

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f

.˙b

Œ

f

.˙b

Ó

Œ

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f

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Œ

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f

˙b

f

open

w

Ó

˙b

Œ

f

.˙

Œ

f

open.˙b

Ó Œ

œb

Œ

f

.˙b

Œ

f

.˙b

∑

∑

∑

Œ

f

.˙b

æ

∑

∑

∑

∑

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div.

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f

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≥

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f

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≥

23

&

&

&

&

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&

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&

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B

?

?

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

143

∑

œ#œ#

œœ

œœ

œœ

œœ

œœ

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œ#œ

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œœ

œœ

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œœ

œœ

F

.wb

wb œ œœ

œbœb

.w

Ó ‰

F

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œœ

œœ

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F

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œbœ

œœ

œœ

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œœ

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w

œœb

œbœ

œœb

œœ

∑

.w

.w

.w

.w

.w

.w

.w

.w

.w

.wb

.w

.w

.w

∑

∑

∑

.w

æ

∑

∑

∑

∑

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œœ

œœ

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œ

.w

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f

wb

f

wb

f

wb

f

wb

f

wb

f

wb

f

wb

f

w

f

wb

f

wb

f

wb

f

wb

f

wb

wb

f

wb

wb

f

wb

f

w

wb

f

wb

wb

f

wb

f

wb

∑

∑

∑

f

wb

æ

∑

∑

∑

∑

f

unis.œb.

œ.

œb.

œb.

œb.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œ.

œb

.

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.

f

unis.

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.

œ.

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œ.

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. œ. œb

.

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œ.

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f

unis.œb.

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.

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.

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. œ. œ

. œ.

œ.

œ.

œ.

œ.

œ.

p cresc.

wb

≤

p cresc.

wb

w

w

w

w

w

w

w

w

w

˙

p

˙b

˙

p

˙b

˙

p

˙b

˙

p

˙b

˙ ˙b

˙

p

˙b

˙ ˙b

˙

p

˙b

˙

p

˙

˙ ˙b

˙

p

˙b

˙ ˙b

˙

p

˙b

˙

p

˙b

∑

∑

∑

˙

æ

p

˙

æ

∑

∑

∑

∑

œb.

œb

.œ.

œ

.œ.

œ

.œ.

œ

.œ.

œ

.œ.

œ

.œ.

œb

.œ

.œb

.

œb.

œb.

œ.

œ.

œ.

œ.

œb

.

œb

.

œb.

œ

.œ.

œ

. œb

.

œ

.œ

.

œ

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œb.

œ.

œ.

œ.

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œ.

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.

œ.

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œ.

œ

.

œ.

w

( ≥ )

w

( ≥ )

24

&

&

&

&

&

&

&

&

&

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?

&

&

&

&

?

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&

&

&

?

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?

&

&

&

&

B

?

?

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

146

π

w

π

w

π

w

π

w

π

w

π

w

π

w

π

w

π

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

∑

∑

∑

w

æ

∑

∑

∑

∑

F

œb

≥

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ

F

œb

≥

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œœ

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œ

F

œb

≥

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œœ

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œ

w

( ≤ )

w

( ≤ )

∑

∑

∑

∑

∑

∑

∑

∑

∑

ƒ

w

ƒ

w

ƒ

w

ƒ

w

w

ƒ

w

w

ƒ

w

ƒ

w

w

ƒ

w

w

ƒ

w

ƒ

w

∑

∑

∑

ƒ

w

æ

∑

∑

∑

∑

sim.

œbœ

œœ

œœ

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œœ

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sim.

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sim.

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w

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w

∑

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∑

∑

∑

∑

∑

∑

∑

∑

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∑

∑

∑

∑

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∑

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∑

∑

∑

∑

Œ

F

.˙b

∑

∑

∑

∑

∑

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w

Ó Œ ‰

Ç

j

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J

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j

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Ç

j

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J

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Ó Œ ‰

Ç

J

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∑

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∑

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w

w

25

148

148

148

148

&

&

&

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&

&

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&

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&

&

&

B

?

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

151

∑

∑

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26

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2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

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4

4

4

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4

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4

4

4

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpt. 2

Tpt. 3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

156

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sim.

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div.

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sim.

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27

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?

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpt. 2

Tpt. 3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

160

∑

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3

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∑

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3

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j

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3

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∑

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∑

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∑

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w

w

28

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&

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&

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B

?

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

165

∑

∑

∑

.˙œb

œ

.˙œb

.˙œb

165

Œ

3

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3

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3

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3

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j

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j

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‰

wb

wb

∑

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∑

w

∑

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∑

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∑

∑

∑

∑

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∑

∑

∑

‰

unis.

f

J

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≥

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w

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w

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3

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3

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unis.

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unis.

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f cresc.

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≥

29

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2

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

170

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Fl. 1

Fl. 2

Ob. 1

Ob. 2

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Cl. 1

Cl. 2

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Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

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Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

175

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

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Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

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Vla.

Vcl.

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E. Hn.

Cl. 1

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Harp

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Vln. II

Vla.

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Harp

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B. Cl.

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C. Bn.

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Picc.

Fl. 1

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Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpt. 2

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Tbn. 1

Tbn. 2

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Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

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Fl. 1

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Ob. 2

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Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

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Hns. 1-2

Hns. 3-4

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Tpt. 2

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Tb.

Perc.

Timp.

Harp

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Vln. II

Vla.

Vcl.

Cb.

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Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

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Harp

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Vln. I

Vln. II

Vla.

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Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

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Perc.

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Harp

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Vln. II

Vla.

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Cb.

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Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

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Bsn. 2

C. Bn.

Hns. 1-2

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Tb.

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Vla.

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Ob. 2

E. Hn.

Cl. 1

Cl. 2

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Hns. 1-2

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Tbn. 3

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Harp

Piano

Solo Violin

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Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

341

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Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

352

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Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

363

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E. Hn.

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B. Cl.

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C. Bn.

Hns. 1-2

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Tpt. 1

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Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

374

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

385

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Picc.

Fl. 1

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Ob. 1

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E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

Tpts. 2-3

Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

396

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

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Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

407

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Fl. 1

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Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

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C. Bn.

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Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

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Fl. 1

Fl. 2

Ob. 1

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E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

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C. Bn.

Hns. 1-2

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Tpt. 1

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Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

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Fl. 1

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Ob. 1

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E. Hn.

Cl. 1

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Bsn. 1

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C. Bn.

Hns. 1-2

Hns. 3-4

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Tb.

Perc.

Timp.

Harp

Piano

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div.

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Vla.

div.

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div.

Cb.

440

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Fl. 1

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Ob. 1

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E. Hn.

Cl. 1

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B. Cl.

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Hns. 1-2

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Tb.

Perc.

Timp.

Harp

Piano

Vln. I

div.

Vln. IIdiv.

Vla.

div.

Vcl.

div.

Cb.

451

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Ob. 1

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Cl. 1

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B. Cl.

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C. Bn.

Hns. 1-2

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Tpt. 1

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Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

div.

Vln. IIdiv.

Vla.

div.

Vcl.

div.

Cb.

462

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Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

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C. Bn.

Hns. 1-2

Hns. 3-4

Tpt. 1

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Tbns. 1-2

Tbn. 3

Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

Vcl.

Cb.

473

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Fl. 1

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Hns. 1-2

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Tb.

Perc.

Timp.

Harp

Piano

Vln. I

Vln. II

Vla.

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Timp.

Harp

Piano

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495

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div.

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72

Documents

IMAGES OF REMEMBERED EARTH - Digital Library/67531/metadc2534/m2/... · · 2018-03-20Images of Remembered Earth is a musical composition scored for full orchestra. The composition