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PIANO QUARTET #3
by
JAMES M. EDMONDS, B.A.
A THESIS
IN
COMPOSITION
Submitted to the Graduate Faculty of Texas Tech University in
Partial Fulfillment of the Requirements for
the Degree of
MASTER OF MUSIC
Approved
Mary Jeanne Van Appledorn Chairperson of the Committee
Michael Francis Berry
Wayne Clanton Hobbs
Accepted
John Borrelli Dean of the Graduate School
May, 2006
ACKNOWLEGMENTS
First and foremost, I would like to thank Dr. Mary Jeanne van Appledorn for her
dedication and expertise. Without her persistence, wisdom and motivation this project
would never have reached fruition. I owe a tremendous debt of gratitude to my family
for their interest, assistance and support during my pursuit of a graduate degree. I wish to
thank Dr. Michael Berry and Dr. Peter Fischer for their unique insight into the current
state of American new music and for continuing to elucidate my eclectic thoughts and
inquiries. I would like to thank my friends for constantly keeping me sane. Finally, I
would like to thank God for making His presence known whenever I am humbled enough
to search. This project is dedicated to David R. Jones, a man whose memory will be with
me always.
ii
TABLE OF CONTENTS
ACKNOWLEDGMENTS…………………………………………………………...ii
LIST OF MUSICAL EXAMPLES………………………………………………….iv
CHAPTERS
I. INTRODUCTION………………………………………………......1
II. FORM………………………………………...…………………......3
III. MODES, SCALES AND VERTICAL STRUCTURES.…………...27
IV. INSTRUCTIONS TO THE PERFORMERS………………...…….41
V. SCORE OF PIANO QUARTET #3……...………………………….46
VI. SUMMARY AND CONCLUSIONS……………………………….64
BIBLIOGRAPHY……………………………………...……………………………65
APPENDICES
A. FORM CHART…………………………..…………………………….66
B. MODES AND SCALES…………………………………...…………..68
C. PRINCIPAL THEMES, FIGURES AND MOTIVES…………………74
D. CONCERT PROGRAM………………………………….……………77
iii
LIST OF MUSICAL EXAMPLES
2.1. Main Vertical Structures………………………………………………………3
2.2. Opening Figures, mm.1-3……………………………………………………..4
2.3. First Occurrence of the First Theme, mm. 4-7………………………………...5
2.4. First Theme (reduced score), mm. 13-16……………………………………...5
2.5. Quintal and Diatonic Combination, mm. 8-10………………………………..6
2.6. Final Statement of First Theme, mm. 17-24….……………………………….7
2.7. Synthetic Scale in the Cello Transition, mm.25-27…………………………...8
2.8. Second Theme (reduced score), mm. 28-34… ……………………………….9
2.9. Second Theme, mm. 28-34……………………………………………………9
2.10. Conclusion of the Exposition, mm. 49-54…………………………………...11
2.11. Beginning of the Development, mm. 55-57. . ……………………………….12
2.12. First Development Climax, mm. 58-60……………………………………...14
2.13. Second Cello Transition, mm. 61-65... ……………………………………...15
2.14. Violin and Cello Motivic Development, mm. 66-67………………………...15
2.15. Recurring Motivic Development, mm. 68-70………………………………..16
2.16. Motivic and Figural Dialogue, mm.71-76………………………………...…17
2.17. First Occurrence of the Complete Main Vertical Structure, mm. 77-78…….18
2.18. Whole-tone Constructions, mm.79-83………………………………………19
2.19. Recapitulation, mm. 84-87…………………………………………………..20
2.20. Further Development, mm. 88-91... …………………………………………21
iv
2.21. Recurring Main Vertical Structure, mm. 92-98……………………………...22
2.22. Simultaneous Occurence of Themes, mm. 101-109…………………………24
2.23. Final Appearances of the Main Vertical Structure, mm. 110-113…………...25
2.24. Extension, mm. 114-119……………………………………………………..26
3.1. Main Vertical Structures……………………………………………………..27
3.2. Beginning of Exposition, mm. 1-5…………………………………………...28
3.3. Quintal and Whole-Tone Constructions, mm. 8-10………………………….29
3.4. Dialogue of First Theme, mm. 13-16………………………………………..30
3.5. Climax of First Theme, mm. 21-24………………………………………….31
3.6. Second Theme (reduced score), mm. 28-34 ………………………………...32
3.7. Conclusion of the Exposition, mm. 50-54…………………………………...32
3.8. First Development Climax, mm. 58-60……………………………………...33
3.9. Cello Figural Development, mm. 61-65……………………………………..33
3.10. Violin and Cello Figural Development, mm. 66-67…………………………34
3.11. Recurring Developmental Motive, mm. 68-70………………………………34
3.12. Main Vertical Structure, mm. 76-78…………………………………………35
3.13. Ab Whole-Tone Construction, mm.79-83……………………………………36
3.14. Beginning of Recapitulation, mm. 84-87…………………………………….36
3.15 Synthetic Scales, mm. 88-91…………………………………………………37
3.16. Repetition of the Main Vertical Structures, mm. 93-96……………………...38
3.17. Mode Mixture in the Recapitulation, mm. 101-109………………………....39
3.18. Main Vertical Structures in Diminshed Dynamics, mm 110-113……………40
3.19. Tritone Root Cadence, mm. 114-119………………………………………...40
v
4.1. Beginning of Exposition, mm. 1-5…………………………………………...42
4.2. Second Theme, mm. 29-34…………………………………………………..43
4.3. Interjections in the Recapitulation, mm. 92-96………………………………45
vi
CHAPTER 1
INTRODUCTION
Piano Quartet #3 for Bb clarinet, violin, cello and piano was composed during the
2005 fall semester in the studio of Dr. Mary Jeanne van Appledorn. This work features a
single movement in large Sonata Allegro form with Extension. Although many of the
characteristics of Sonata Allegro form are traditionally tied to tonality, this work adapts
certain aspects of the form in untraditional ways. The inspiration for the project was
driven by an interest in the juxtaposition of contrasting harmonic languages, quintal,
whole-tone and diatonic structures.
The instrumentation for Piano Quartet #3 is inspired by the ensemble of Olivier
Messiaen’s Quartet pour le fin du temps, which employs a vast array of acoustical and
timbral combinations. Throughout the work, each instrument becomes the featured solo,
accompanied by the other instruments. Messiaen’s composition also begins with a slow,
lyrical first movement.
Piano Quartet #3 begins with a forceful interruption of the silence by the piano
marked at a fortissimo dynamic. The work immediately unfolds the primary structural
element, a succession of chords inspired by Béla Bartók’s Mikrokosmos for Piano,
volume 5, no. 122: Chords together and in opposition. The first theme of the Exposition
of Piano Quartet #3 is introduced by the instruments before settling upon a dialogue
exchange between the violin and clarinet. The second theme brings the character of the
work to a much more intimate setting, predominated by soft dynamic markings. The
Development features a figure (set class - 0145) derived from the latter portion of the
1
secondary theme (see Example 2.8, Chapter II – Form). The Recapitulation features the
first theme and then both themes simultaneously, emphasizing the juxtaposition of
contrasting vertical constructions.
The compositional process for Piano Quartet #3 focused on finding unique
vertical sonorities and smooth linear melodic lines rather than exploring new rhythms and
metrical combinations. All of the creative writing was done with paper and pencil at the
piano which added a unique element to a process that had previously been tied to the
computer.
The premiere of Piano Quartet #3 will occur May 2, 2006 during the Composers
Concert in Hemmle Recital Hall at Texas Tech University. The program is included in
Appendix D.
2
CHAPTER II
FORM
Piano Quartet #3 for Bb clarinet, violin, cello and piano is a single movement
work in large-scale Sonata Allegro form with Extension. The work demonstrates the
juxtaposition of three unique harmonic languages: quintal, whole-tone and diatonic
structures. The main vertical structure is based on a chordal sequence from Bartók’s
Mikrokosmos for Piano, vol. 5, no. 122: Chords together and in opposition and contains
elements of the harmonic languages being used in Piano Quartet #3.
Example 2.1. Main Vertical Structures.
In this example, G is considered the central pitch due to the occurrence of the
entire G major scale. This structure appears at various transpositions throughout the
score, and will always be considered to revolve around its central pitch. Depending on
context, the figure can also be viewed in the Lydian mode. This analysis will examine
the form: the Exposition, the Development and the Recapitulation.
The Exposition, marked “Dramatic, stately” is paced in a slow tempo (quarter
note = 60). Piano Quartet #3 begins with a forceful statement by the piano. The opening
figure contains the set-class (02468T) and is also known as the whole-tone scale. The
triplet rhythm in the right hand foreshadows a distinct hint of the figure used in the
first theme.
3
Example 2.2. Opening Figures, mm.1-3.
Retrograde variant of the Bartók figure (reduction)
As if in reaction to the interruption, the other instruments swell in a diatonic
sonority that is a retrograde variant of the main vertical structure in measures 2-3. This
statement is countered by a variant of the first theme in parallel thirds in the clarinet and
violin, followed by the full version carried by the violin and piano.
4
Example 2.3. First Occurrence of the First Theme, mm. 4-7.
The first theme features a triplet figure that occurs throughout Piano Quartet #3. It also
implies the whole-tone scale.
Example 2.4. First Theme (reduced score), mm. 13-16.
Measures 6 and 7 display the first theme accompanied by a D-centered, whole-
tone scale. The harmonic spectrum shifts suddenly by the combination of quintal
structures in the piano and another retrograde variant of the diatonic, main vertical
structure in measure 8. Throughout the Exposition, the first theme is often stated in
parallel thirds or sixths as it appears in measures 4-5 (in the clarinet and violin) and 9-10
(in the violin and cello).
5
Example 2.5. Quintal and Diatonic Combination, mm. 8-10.
Retrograde variant of the Bartók figure (reduction)
Beginning in measure 11, the text “Glassy, distant” appears in the score,
indicating a shift to a more lyrical style. This portion of the Exposition features the
whole-tone theme in dialogue between the violin and clarinet in measure 13,
accompanied by quintal sonorities in the cello and piano. These contrasting harmonic
languages are both centered around the pitch C. At measure 17, the theme is repeated in
parallel sixths and thirds while the cello releases the ostinato and rises in a D - Dorian
scale (measure 21).
6
Example 2.6. Final Statement of First Theme, mm. 17-24.
Following this musical climax in measure 24, the cello then explores a 10 -note
synthetic scale while acting as a transition between the first and second themes. Due to
the reduction in texture and shift to unfamiliar harmony, measures 25-27 act as a
sufficient transition from the whole-tone based first theme to the diatonic second theme.
7
Example 2.7. Synthetic Scale in the Cello Transition, mm.25-27.
The second theme of Piano Quartet #3 appears three times in the Exposition and
contrasts the first theme in a number of ways (see Example 2.8). The second theme is
based on a diatonic structure, featuring variations of the Aeolian mode, instead of the
preceding whole-tone dominated sonorities. It features elements of the Bb Aeolian mode
but contains altered tones. The Db becomes D natural in the fifth measure of the theme
but the sixth scale degree remains lowered, shifting briefly to an Ionian/Aeolian hybrid
mode (see Chapter III – Modes, Scales and Vertical Structures). The theme concludes
with a synthetic scale accompanied by falling perfect fifths in the baseline. This theme is
also more lyrical, marked by “Introspective, peaceful” in the score. It is written in two-
voice polyphony, employing a melody against a bass line.
8
Example 2.8. Second Theme (reduced score), mm. 28-34.
Due to the more lyrical nature of the second theme, it appears to be interwoven in
the ensemble with each instrument constantly shifting roles. The orchestration of this
music also focused more on the linear character of each instrument.
9
Example 2.9. Second Theme, mm. 28-34.
In measure 28, the second theme begins in the violin accompanied by an
espressivo marking. The clarinet carries the theme briefly in measure 31 until the piano
steals it away. To conclude the theme, the cello outlines the first occurrence of the
(0145) pitch collection in measures 33-34 (see Example 2.9) which later dominates the
Development. The second theme is repeated in measures 35 through 43 in the original
center (Bb) before transposing down one whole step to Ab in measure 44. The third
10
repetition of the second theme occurs in measures 44 through 54 and concludes with
quintal structures in the piano.
Example 2.10. Conclusion of the Exposition, mm. 49-54.
As the dynamic levels diminish, the upper voices use the (0145) pitch collection
to explore the yielding point of the Exposition on a Gb9 chord in preparation for the
Development (see Example 2.10).
The two themes presented in the Exposition of Piano Quartet #3 are balanced in
terms of metric pulses (beats). The first theme spans measures 1 through 24 and is
comprised of 96 metric pulses. The transition between the themes spans 10 metric pulses
and, as previously mentioned, provides the necessary transition between harmonic
languages. The second theme spans measures 28 through 54 and also contains 96 metric
pulses (see Appendix A – Form Chart). This balance of musical material and temporal
equality indicates a foreshadowing of the Recapitulation, where both themes eventually
appear simultaneously.
11
The Development of Piano Quartet #3 begins in measure 55 with the words
“Agitated, forceful” in the score. The mood is drastically different than the Exposition,
focusing more on small rhythmic figures of the principal themes and the set class (0145)
rather than the complete themes. Also, many alternative timbres are achieved through the
use of pizzicato technique, glissandi and trills. The developmental process features a
segmented and interjectory style of composition for contrast to the earlier material. This
large Development (measures 55-83) can be divided into three smaller operations, each
with its own unique characteristics.
To open the first operation, a variant of the main vertical structure appears in
retrograde in the violin and clarinet in measure 55 (see Example 2.11). This distorted
version of the main vertical structure is meant to contrast the earlier version that appears
at the beginning of the Exposition in the upper voices of measures 2-3.
Example 2.11. Beginning of the Development, mm. 55-57.
12
Retrograde variants of the Bartók figure (reduction)
The cello employs pizzicato to sound the first occurrence of the (0145) pitch
collection. As previously mentioned, this collection is derived from the last four notes in
the upper voice of the second theme (Example 2.8) and will be referred to in prime form.
The clarinet demonstrates this motive in measure 56, followed by another distorted
variant of the main structural figure related to the first at transposition level 7 in violin
and cello in measure 57. Also in this measure, the piano and clarinet combine to form the
large quintal structure, Eb - Bb - F - C - G.
The next three measures feature dialoging between the voices based on two
subsets of the (0145) collection, (015) and (014) as well as the original version.
Beginning in measure 58, the clarinet, cello and violin all in succession share these
subsets and the (0145) figure is supported by quintal constructions in the piano
accompaniment.
13
Example 2.12. First Development Climax, mm. 58-60.
Measure 60 features a descending whole-tone scale in the clarinet and an
ascending chromatic scale in the piano. These sounds combine in a growing dynamic to
voice the first climax and conclusion of the first operation of the Development.
The second operation begins in measure 61 with material reflective of the cello
transition in measures 25-27 of the Exposition (see Example 2.7). The (0145) figure
appears in measures 63-64 and concludes with a glissando effect in the cello, followed by
a (0137) collection in the clarinet.
14
Example 2.13. Second Cello Transition, mm. 61-65.
As the cello and clarinet explore various shapes of the (0145) figure, the violin
quickly descends in measure 66 with a complete whole-tone scale. The final two tones of
the scale were altered so that the violin could join with the cello on another recurrence of
the (0145) figure, followed by two complete versions of the whole-tone scale, in parallel
tenths, in measure 67.
Example 2.14. Violin and Cello Motivic Development, mm. 66-67.
15
The piano enters the Development in measure 68, after a brief respite, propelling
the music forward with the introduction of a new recurring developmental motive. This
motive begins in the left hand with the (0145) figure, followed by a (026) sonority in the
right hand. The (026) sonority is reminiscent of the whole-tone scale and continues to
grow in dynamics over the next eight measures. Measure 70 features an ascending
whole-tone construction in the clarinet that combines with the piano in the triplet figure
from the first theme.
Example 2.15. Recurring Motivic Development, mm. 68-70.
Angry trills beginning in measure 71 in the violin, cello and clarinet successively
express the growing level of agitation and dynamics in preparation for the Recapitulation.
Also beginning in measure 71, the (0145) figure or the closely related (0147) figure
appears in rapid succession throughout the ensemble. The recurring developmental
motive also is heard in the piano in measures 74-76 (see Example 2.16).
16
Example 2.16. Motivic and Figural Dialogue, mm.71-76.
In combination with whole-tone based figures in the upper instruments, the
recurring developmental motive builds tension that culminates in measure 77 with the
first occurrence of the entire main vertical structure centered around Ab and performed at
a forte dynamic level (see Example 2.17). This vertical structure has been foreshadowed
in various ways during the composition, but arrives with a sense of completion and
release of tension acting like a false start of the Recapitulation.
17
Example 2.17. First Occurrence of the Complete Main Vertical Structure, mm. 77-78.
Main Vertical Structure (reduction)
The arrival of the main vertical structure also marks the beginning of the third
operation of the Development. Also beginning in measure 77, the right hand of the
pianist initiates a sixteenth-note motor rhythm that drives the ensemble into the beginning
of the Recapitulation.
Following this structural climax, the ensemble recedes in dynamic level and
begins to rebuild tension using the whole-tone scale centered around Ab in measure 79.
Parallel augmented triads in the upper voices are accompanied by repeating Ab octaves
(see Example 2.18).
18
Example 2.18. Whole-tone Constructions, mm.79-83.
Interjected by whole-tone scales and figures from the first theme, these parallel
augmented triads build upward in tension and dynamics until the return of the first theme
in measure 84, marking the beginning of the Recapitulation. It is also the end of the third
operation of the Development.
The three operations of the Development exhibit the inverse of metric distribution
that occurred in the Exposition, meaning two smaller components book-end the central,
main Development. The first process spans measures 55-61 and contains 24 metric
pulses. The second process is comprised of dense motivic development and encompasses
measures 61-77 (58 metric pulses). The third process spans measure 77-83 and also
contains 24 metric pulses (see Appendix A – Form Chart). Again, the first and third
components demonstrate metric balance and temporal equality.
19
The Recapitulation of Piano Quartet #3 begins amidst ongoing developmental
ideas. The primary theme returns in three octaves at a forte dynamic in the upper voices
in measure 84, soaring above the piano ostinato.
Example 2.19. Recapitulation, mm. 84-87.
The first theme is centered on Ab and implies the linear whole-tone scale while
the left hand of the pianist is undulating between Ab and Eb, suggesting a tonic-dominant
relationship in the Ab Lydian mode (see Chapter III – Modes, Scales, and Vertical
Structures). The theme (measures 84-87) is completely stated once in full form before
the idea is immediately retracted. Measure 88 features further developmental ideas
centered around the pitch A. The clarinet and violin combine in the distorted retrograde
version of the main vertical structure, just as they did at the beginnings of the
Development and Exposition.
20
Example 2.20. Further Development, mm. 88-91.
Distorted retrograde variant of the Bartók figure (reduction)
This figure is accompanied by the piano with oscillating sixteenth-note dyads
implying a whole-tone structure. The cello doubles the left hand of the pianist solidifying
the A pitch center by the use of upper and lower semitones (G# and Bb) in measure 89
(see Example 2.20).
21
The sixteenth-note motor rhythm in the piano comes to a halt in measure 92 when
it is interrupted by the upper voices in octave A’s marked at a fortissimo dynamic. This
interjection separates the previous developmental ideas from the upcoming main vertical
structure and indicates another shift of playing style. Marked “glassy” in the score,
measure 93 features the main vertical structure carried by the entire ensemble and
centered on the pitch A.
Example 2.21. Recurring Main Vertical Structure, mm. 92-98.
22
Set at a lowered dynamic (measure 93), the musical character changes from the
forceful, agitated and developmental style to a reverent and ethereal treatment of the main
vertical structure. It appears again in measures 95-96 in the left hand of the pianist
centered on the pitch D and accompanied by a foreshadowing of the upcoming B Aeolian
mode center in the violin. The vertical structure is repeated a third time by the entire
ensemble, but carries a triplet figure from the first theme in the clarinet in measure 97.
Each repetition of this figure is accompanied by a gradually reducing dynamic level in
the score.
Beginning in measure 101, both the first and second themes occur simultaneously
in the clarinet and violin, however, the musical themes are reinterpreted in the
Recapitulation, with slight variations, rather than a direct repetition (see Example 2.22).
The second theme occurs in the clarinet and the left hand of the pianist and establishes a
B Aeolian/Ionian mode in which the first theme occurs in an augmentation rhythm in the
violin.
23
Example 2.22. Simultaneous Occurrence of Themes, mm. 101-109.
Although the initial pitch was lowered by a semitone and the triplet figure
removed, the theme retains much of its former quality including a descending tritone leap
on beats 3 and 4 of measure 105. The first theme occurs again in quarter notes in the
clarinet in measure 106. This second repetition displays an augmentation of the rhythm
in the falling fifth idea that concludes the second theme.
24
The next musical event of the Recapitulation occurs in measure 110 with the
combination of the main vertical structure (appearing in the violin and cello) and the bass
line from the second theme (in the piano). The pitch A is alternated with A# between the
piano and strings. This displays the seventh scale degree of both the B Mixolydian and
Ionian modes.
Example 2.23. Final Appearances of the Main Vertical Structure, mm. 110-113.
This musical thought combination happens once more with the main vertical
structure moving to the clarinet and violin in measure 112.
Concluding Piano Quartet #3 is an Extension that spans measures 114 through
119. Marked “Delicate” in the score, these final sonorities contain two repetitions of the
tertian chord sequence B major, D major and G# major. The upper pitches of these
chords always appear in the sequence B - A - G#, and reflect upon the upper line of the
main vertical structure.
25
Example 2.24. Extension, mm. 114-119.
Bartók figure featuring B - A - G# sequence.
A form chart is included in Appendix A as well as principal themes, figures and
motives in Appendix C.
26
CHAPTER III
MODES, SCALES AND VERTICAL STRUCTURES
As previously mentioned in Chapter II - Form, Piano Quartet #3 demonstrates the
juxtaposition of three unique harmonic languages producing the following vertical
structures: quintal, whole-tone and diatonic, as well as various modes and scales
throughout the score. Although fundamentally different, elements of these languages are
combined in both linear and vertical contexts. This work also contains many recurring
structural elements that unify the piece. Chapter III will focus on analysis of some of the
scales, modes and vertical structures appearing in Piano Quartet #3.
The main vertical structure of Piano Quartet #3 is based on Béla Bartók’s
Mikrokosmos for Piano, vol. 5, no. 122: Chords together and in opposition.
Example 3.1. Main Vertical Structures.
The beginning sonority is based on a quintal structure. The figure also demonstrates
quartal, tertian and secondal structures. The lower voice moves up by four whole steps
(C, D, E, F#), implying the partial whole-tone scale. The upper voice descends in a
familiar diatonic pattern (D, C, B, A). This Bartók figure appears as written or in
retrograde form throughout Piano Quartet #3 and may be seen in the Development (mm.
77-78) and the Recapitulation (mm. 93-100).
27
Piano Quartet #3 begins with a C whole-tone structure in the piano. This
sustained fundamental is the pitch center of the first theme. Measures 2-3 shift
immediately to a diatonic collection based on a retrograde variant of the main vertical
structure that implies the C Ionian mode.
Example 3.2. Beginning of Exposition, mm. 1-5.
Bartók figure in retrograde variant (reduction), mm. 2-3.
28
The first theme of the Exposition appears in measures 4-5 centered around C, but
moves up to a D whole-tone center in measures 6-7. Then, in measure 8, the piano
imposes quintal chords to accompany the other instruments voicing another diatonic
construction based on a retrograde variant of the main vertical structure centered on D.
The strings revert to the original whole-tone collection in measures 9-10 (see Example
3.3).
Example 3.3. Quintal and Whole-Tone Construction, mm. 8-10.
Bartók figure in retrograde variant (reduction), measure 8.
Beginning in measure 11, the cello establishes a quintal pattern centered around C
while the violin and clarinet dialogue the first theme in a C whole-tone structure
(measures 13-20). The piano accompaniment features quintal structures in the right hand.
29
Example 3.4. Dialogue of First Theme, mm. 13-16.
In measures 21-22, the piano part employs the quintal structures from measure 8,
followed by a tertian variety of the same chords in measures 23-24 (see Example 3.5).
These sonorities support an ascending D Dorian scale in the upper instruments.
Example 3.5. Climax of First Theme, mm. 21-24.
The cello forms a bridge between the first and second themes in measures 25-26
continued by the violin in measure 27 using a 10-tone synthetic scale centered around C
30
(see Appendix B – Modes and Scales). This synthetic scale combines pentachords from
the chromatic scale (C,C#,D,D#,E) and the octatonic scale (F,G,Ab, Bb,B). It also serves
to clear the air and provide contrast to the whole-tone scale employed in the first theme.
The second theme, marked “Introspective, peaceful” in the score, begins in
measure 28 centered around Bb (see Example 3.6). Measures 28-29 feature a hybrid
mode composed of tetrachords from the Phrygian mode (Bb,Cb,Db,Eb) and the Aeolian
mode (F,Gb,Ab, Bb). Measures 30-31 contain the tones of the Bb Aeolian mode. The Db
(measures 28-31) becomes D natural (measures 32-34) but the sixth scale degree remains
lowered, shifting briefly to another hybrid mode in measure 32. The first tetrachord of
the scale implies the Ionian mode (Bb,C,D,Eb) while the second tetrachord remains in the
Aeolian mode (F,Gb,Ab,Bb).
Example 3.6. Second Theme (reduced score), mm. 28-34.
The second theme concludes in measures 33-34 with an 8-tone synthetic scale
(Gb,G,Ab,Bb,B,C,D,Eb) accented by falling perfect fifths in the bass line. The theme is
repeated once in the Bb mode before shifting down to an Ab pitch center in measure 44.
This third repetition of the theme concludes the Exposition on a Gb9 chord in measure 54.
31
Example 3.7. Conclusion of the Exposition, mm. 49-54.
The predominant figure of the Development is the (0145) pitch collection.
Throughout the Development, whole-tone, figural and diatonic structures often fail to
imply a specific pitch center. Measure 60 features a complete, descending C whole-tone
scale in the clarinet, countered by an ascending chromatic scale in the piano.
Example 3.8. First Development Climax, mm. 58-60.
32
One measure later, the cello employs elements of the 10-note synthetic scale from
the Exposition (measures 25-26) combined with variants of the (0145) figure.
Example 3.9. Second Cello Transition, mm. 61-65.
In measure 66, the violin descends with a complete whole-tone scale followed by
an ascending whole-tone scale in parallel tenths with the cello in measure 67.
Example 3.10. Violin and Cello Figural Development, mm. 66-67.
33
In measures 68-70, the piano combines the (0145) collection in the left hand with
a (026) trichord in the right hand to form a recurring developmental motive that implies a
D whole-tone center.
Example 3.11. Recurring Developmental Motive, mm. 68-70.
This recurring developmental motive is accented by an ascending D whole-tone
scale construction in the clarinet. The piano sonorities in measure 70 are reminiscent of
the first structures of the Exposition of Piano Quartet #3.
The D whole-tone scale in measure 76 in the cello next shifts down a semitone to
a partial Db whole-tone scale. This partial scale is part of the first occurrence of the main
vertical structure centered around Ab, however the Db in the piano imposes the Db Lydian
mode.
34
Example 3.12. Main Vertical Structure, mm. 76-78.
The cello then reverts to the original D whole-tone scale during measures 79-83,
joined by the clarinet and violin. The piano moves to establish an Ab whole-tone center.
Example 3.13. Ab Whole-Tone Construction, mm.79-83.
The Recapitulation begins in measure 84 with the return of the first theme in an
Ab whole-tone center. The piano features a tonic-dominant relationship, shifting between
Ab and Eb in the Lydian mode. Here, the linear whole-tone scale and Lydian mode
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combine to form the vertical Ab hybrid mode composed of tetrachords from the Lydian
(Ab,Bb,C,D) and Aeolian (Eb,Fb,Gb,Ab) modes.
Example 3.14. Beginning of Recapitulation, mm. 84-87.
In measure 88, the music features an abrupt shift from the whole-tone scale to an
A Dorian scale, followed by a hybrid mode in the next measure. The hybrid mode in
measure 89 features the tetrachord of the Phrygian mode (A,Bb,C,D) followed by the
second tetrachord from the Ionian mode (E,F#,G#A). Measures 90-91 demonstrate an 8-
note synthetic scale composed of the pentachord from the Locrian mode (A,Bb, C,D,Eb)
followed by the tetrachord of the Ionian mode (E,F#,G#A). These scales are composed of
various combinations of set class (0135) and are listed in Appendix B.
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Example 3.15 Synthetic Scales, mm. 88-91.
The main vertical structure (the Bartók figure) occurs again in measure 93
centered around the pitch A in the D Lydian mode, followed by another repetition
centered around the pitch D in the G Lydian mode. This exchange occurs once more in
measures 97-100.
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Example 3.16. Repetition of the Main Vertical Structures, mm. 93-96.
The first and second themes occur simultaneously in measures 101-105 in the
clarinet and violin (see Example 3.17). The musical material features the B Aeolian
mode in the first four measures, shifting to a hybrid version in measure 105. Here, the
music displays the tetrachord of the Ionian mode (B,C#,D#,E) combined with the
tetrachord from the Aeolian mode (F#,G,A,B).
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Example 3.17. Mode Mixture in the Recapitulation, mm. 101-109.
The mode shifts again in measures 106-109 to B Ionian for a final repetition of
the first and second themes. Measures 110-113 feature two repetitions of the main
vertical structure centered around the pitch B, implying the E Lydian mode.
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Example 3.18. Main Vertical Structures in Diminished Dynamics, mm 110-113.
The Extension following the Recapitulation spans measures 114-119 and features
two statements of the tertian chord sequence B major, D major and G# major. A tritone
root cadence concludes Piano Quartet #3.
Example 3.19. Tritone Root Cadence, mm. 114-119.
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CHAPTER IV
INSTRUCTIONS TO THE PERFORMERS
Piano Quartet #3 utilizes many English language terms (“Dramatic, stately”)
throughout the score as well as a vast array of standard notational practices such as
dynamics and articulations to indicate various performance styles. Just as dynamics and
articulations indicate a specific power and means of tone production, these terms are
meant to direct the performer to a specific state of mind. As Carl Seashore states, “The
psychological problem here is to convert the objective record of the physical aspects of
music as performed into terms of psychological experiences and responses which have
musical meaning” (26). The purpose of language as a supplement to notation is to utilize
the performer’s preconceived mental imagery as context for the musical expression
indicated in the score; because ultimately, the transition from notation to audible sound is
a reflection of the performer. “While the musical medium in mental imagery is the
auditory image, imagery through each and all of the other senses may function in a very
prominent way in music” (Seashore 168). This chapter will discuss and elaborate the
meanings of these score indications.
The terms “Dramatic, stately” appear above the first measure in the score, and
characterize the opening of the Exposition. All of the terms employed here are in the
positive spectrum of emotion. The Exposition of Piano Quartet #3 is meant to set the
immediate tone, tempo and style accompanied by extra-musical ideas in the minds of the
musicians. Just as conductors on the podium take time to compose themselves before
beginning to conduct a work, the same care and poise should be given to the performance
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of the Exposition of Piano Quartet #3. Here, “Dramatic” implies a general exaggeration
of the articulations, over-emphasizing the dynamic swells in measures 2-3 in the violin
and measures 4-5 in the cello.
Example 4.1. Beginning of Exposition, mm. 1-5.
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Beginning at measure 11, the words “Glassy, distant” appear in the score. These
terms indicate a smooth texture of sound in the ensemble, contrasting the dramatic feel of
the previous ten measures. As they present the first theme, each voice in the ensemble
should focus on blending the sounds together. This can be achieved with use of the soft
pedal on the piano and sul tasto techniques in the strings. Although these are not
indicated specifically in the score, they are implied by the terms “Glassy, distant” in
measure 11 and are contained in a performer’s technical arsenal, employed at their
discretion.
The second theme begins in measure 28 with the words “Introspective, peaceful”
in the score. These terms are intended to shift the focus of each performer away from the
blended ideas of the first theme, to a more independent, lyrical style. The frequent
occurrence of slurs and legato markings indicate a smooth texture.
Example 4.2. Second Theme, mm. 29-34.
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Example 4.2 (continued)
As stated in Chapter II - Form, the composition of this music focused on creating
a smooth and soloistic linear line within each instrument. The two thematic groups
presented in the Exposition both feature positive spectrum terms to fit the character of the
music, and to provide a contrast to the negative spectrum terms employed in the
Development.
Beginning in measure 55, the Development presents a complete change of
character with the terms “Agitated, forceful” appearing above the score. The
Development is characterized by a shift from theme-based musical material, to a smaller
motivic and figural based focus. These terms are intended to bring the performers to a
more argumentative and interjectory playing style, fighting for attention. Each motivic or
figural interruption should demonstrate an increase in aggression.
These extra-musical ideas continue through the beginning of the Recapitulation,
which features further interjectory ideas. An example of this occurs in measure 92 with
accented octave A’s in the upper voices.
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Example 4.3. Interjections in the Recapitulation, mm. 92-96.
This final interruption in measure 92 separates the previous material from the succession
of main structural figures that follows. Marked “glassy” in the score, this style is
reminiscent of the first theme of the Exposition.
The final six measures of Piano Quartet #3 are accompanied by pianissimo
dynamic markings and the term “Delicate” in the score. This term implies a return to the
sensitive and careful playing style characteristic of the Exposition. The final thoughts of
Piano Quartet #3 should be treated gently as the sound fades to silence.
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CHAPTER V
SCORE OF PIANO QUARTET #3
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
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CHAPTER VI
SUMMARY AND CONCLUSIONS
Music composition in the 20th Century has featured countless styles and
influences, intertwined with technological advances. The evolution of the computer has
given previously unfathomable amounts of control over sound production, performance
and composition. New methods of notation have been adapted to satisfy the modern
composer’s interest in control. Piano Quartet #3 demonstrates a reaction from this
hyper-control, by deferring many of the specific sound production indications to the
performer through the use of articulations in the score.
Piano Quartet #3 also avoids any use of functional harmony, but exhibits similar patterns
of tension and release through the combination and juxtaposition of contrasting harmonic
vertical structures within a specific center. This project has been a tremendous learning
process and it has fulfilled and exceeded all of the composer’s previous expectations.
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BIBLIOGRAPHY
Adés, Thomas. “Catch, op. 4.” Life Story. EMI Records, 1991. Adler, Samuel. The Study of Orchestration. 3rd ed. New York: W. W. Norton &
Company, 1982.
Bartók, Béla. Mikrokosmos for Piano, volume 5. London: Hawkes and Son, 1940.
Busoni, Ferruccio. The Essence of Music and Other Papers. New York: Rockliff
Publishing, 1957.
Godwin, Jocelyn, ed. The Harmony of the Spheres. Rochester, Vermont: Inner Traditions
International, 1993.
Meyer, Leonard B. Music, The Arts, and Ideas: Patterns and Predictions in Twentieth-
Century Culture. Chicago: University of Chicago Press, 1967.
Randel, Don Michael, ed. New Harvard Dictionary of Music. London: Belknap Press,
1986.
Read, Gardner. Music Notation: a Manual of Modern Practice. New York: Crescendo
Publishing Company, 1969.
Seashore, Carl E. Psychology of Music. New York: Dover Publications, 1967.
Stone, Kurt. Music Notation in the Twentieth Century. New York: W. W. Norton &
Company, 1980.
Storr, Anthony. Music and the Mind. New York: Ballantine Books, 1992.
Wingell, Richard. Writing About Music. Upper Saddle River, New Jersey: Prentice Hall,
1990.
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APPENDIX A
FORM CHART
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APPENDIX B
MODES AND SCALES
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MODES and SCALES in Piano Quartet #3
1. C Whole-tone Scale: C,D,E,Gb,Ab,Bb, mm. 1-2,4-5,9-20.
2. C Ionian Mode: C,D,E,F,G,A,B, mm. 2-3.
3. D Whole-tone Scale: D,E,F#,G#,Bb,C, mm. 6-7.
4. D Ionian Mode: D,E,F#,G,A,B,C#, m. 8.
5. D Dorian Mode: D,E,F,G,A,B,C, mm. 21-24.
6. 10-note Synthetic Scale: C,C#,D,D#,E,F,G,Ab,Bb,B, mm. 25-27.
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7. Bb Phrygian/Aeolian Hybrid Scale: Bb,Cb,Db,Eb,F,Gb,Ab, mm. 28-29, 35-36.
8. Bb Aeolian Mode: Bb,C,Db,Eb,F,Gb,Ab, mm. 30-31, 37-38.
9. Bb Ionian/Aeolian Hybrid Scale: Bb,C,D,Eb,F,Gb,Ab, mm. 32 and 39.
10. 8-note Synthetic Scale: Gb,G,Ab,Bb,B,C,D,Eb, mm. 33-34, 40-41.
11. Ab Phrygian/Aeolian Hybrid Scale: Ab,Bbb,Cb,Db,Eb,Fb,Gb, mm 44-45.
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12. Ab Aeolian Mode: Ab,Bb,Cb,Db,Eb,Fb,Gb, mm. 46-47.
13. Db Lydian Mode: Db,Eb,F,G,Ab,Bb,C, mm. 77-78.
14. Ab Whole-tone Scale: Ab,Bb,C,D,E,F#, mm. 79-83
15. A Dorian Mode: A,B,C,D,E,F#,G, m. 88.
16. A Phrygian/Ionian Hybrid Scale: A,Bb,C,D,E,F#,G#, m. 89.
17. A Locrian/Ionian Synthetic Scale: A,Bb,C,D,Eb,E,F#,G#, mm. 90-91.
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18. D Lydian Mode: D,E,F#,G#,A,B,C#, mm. 93-94, 97-98.
19. G Lydian Mode: G,A,B,C#,D,E,F#, mm. 95-96, 99-100.
20. B Aeolian Mode: B,C#,D,E,F#,G,A, mm. 101-104.
21. B Ionian/Aeolian Hybrid Scale: B,C#,D#,E,F#,G,A, m. 105.
22. B Ionian Scale: B,C#,D#,E,F#,G#,A#, mm. 106-109.
23. E Lydian Scale: E,F#,G#,A#,B,C#,D#, mm. 110-113.
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Scales 1, 3 and 14 are members of set class 6-35 (02468T).
Scales 2, 4, 5, 7, 8, 11, 12, 13, 15, 18, 19, 20, 21, 22 and 23 are members of set class 7-35
(013568T).
Scale 6 is a member of set class 10-3 (012345679T).
Scale 9 is a member of set class 7-34 (013468T).
Scale 16 is a member of set class 7-33 (012468T).
Scale 17 is a member of set class 8-25 (0124678T).
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APPENDIX C
PRINCIPAL THEMES, FIGURES AND MOTIVES
74
PRINCIPAL THEMES, FIGURES AND MOTIVES
from PIANO QUARTET #3
Main Vertical Structure from Béla Bartók’s Mikrokosmos for Piano, vol. 5, no. 122:
Chords together and in opposition
First Theme
Second Theme
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Main Developmental Figure
Recurring Developmental Motive
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APPENDIX D
CONCERT PROGRAM
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