AI(lvg to9

SYMPHONIC PORTRAIT: THE PATRIARCH

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

William R. Brusick, B.S.

Denton, Texas

August, 1984

Copyright by

William R. Brusick

1984

PLEASE NOTE:

Original composition has not beenfilmed. It is available for con-sultation in the author's universitylibrary.

UNIVERSITY MICROFILMS INTERNATIONAL

Brusick, William R., Symphonic Portrait: The Patriarch. Master

of Music (Composition), August, 1984, 51 pp., 3 tables, 24 illustrations.

This work, the first in a trilogy of works each depicting one of

the Deities in the Holy Trinity, is scored for symphonic band consisting

of pi ccolo, two flutes,, two oboes, clarinet, three Bb clarinets,

alto clarinet, bass clarinet, contrabass clarinet, two alto saxes,

tenor sax, baritone sax, two bassoons, three Bb cornets, two Bb trumpets,

four F horns, three trombones, euphoniums (div.), tubas (div.), string

bass, timpani, eight percussionists playing bells, chimes, vibraphone,

xylophone, marimba, snare drum, bass drum, three tom-toms (high,

medium, low), suspended cymbal, crash cymbals, two tam-tams (large and

medium), triangle, tambourine, vibra slap, steel plate, finger cymbals,

bell tree, piano, harp, and organ.

The music consists of two major parts; the scenario and the main

body. Each part lasts six minutes, giving the work a total duration

time of about twelve minutes.

TABLE OF CONTENTS

Page

- v

- Vi

LIST OF TABLES . . .. . .

LIST OF ILLUSTRATIONS. . . . . . .

ANALYSIS AND DISCUSSION

Introduction . . . . .

Story and Sections. . . . ..

Hymn and Derived Motifs . . .

Scenario: Motifs. . . . . .

Scenario: Analysis . . . . .

Main Body: Motifs. . .. . .

Main Body: Analysis.. . .

Conclusion. . . . . . ....

SYMPHONIC PORTRAIT: THE PATRIARCH

. . xi

xv

. . . xx i ii

..xxv

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LIST OF TABLES

Table Page

I. Sectional Overview...... . . . .x

II. Musical Elements in the Scenarid...................xx

III. Musical Elements in the Main Body . . . . . . . . .....xxxii

V

LIST OF ILLUSTRATIONS

Figure

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22. Sustained pattern in measures 182-225

vi

..... .......xxix

Page

Hymn "God of Our Fathers" . . . . . . . .. . . . . .. . . xi

B motif . . . . ......" .r. . .f ..xii

"Let there be light!" (measures 56-59)..... . . . . . . xii

Hymn's final phrase quote (measures 60-63) ..0...-..6.. xiii

Organ at measures 69-72.......... . . . . . . . . .xiii

Hymn's third phrase reference (measure 139-141) . . . . . . xiv

A motif (measures 3-4)...f... . . . . . . . . xv

B motif - theme derivation (measures 12-14) . . . . . . . . xv

B motif in opening duet (measures 10-11). . . . . . . . . . xvi

Solo line at measures 19-28 . . . . . . . . . . . . . . . .xvii

A motif alteration (measures 42-43) . . . . . . .. . . . xviii

Organ and off stage trumpets (measures 50-51) . . . . . . xviii

Brass line fragment "light" section (measure 63). . . . . . xix

Final A motif reference (measures 69-71). . . . . . . . . . xix

Cadence motif . . . . . . . . . . ..... .. .. .. .. xxiii

FATHER motif . . . . . . . . . . . . xxiii

Fanfare motif variations . . . ... "...... . . . .xxiv

Patriarch theme.......... ................ xxiv

Woodwind triads in Section 11.................. .. xxvi

Polyrhythmic woodwind setting in Section 11......... . x.xxvi

Polyrhythmic background (measures 182-185)...........xxviii

LIST OF ILLUSTRATIONS, continued

Figure Page

23. Pedal line reduction (measures 186-229)....... . . ..

24. Final sonority (measure :262)........ ......... ..

vii

ANALYSIS AND DISCUSSION

Introduction

Symphonic Portrait: The Patriarch is the first of a trilogy of

works, each depicting one of the Deities in the Holy Trinity. The work

is scored for symphonic band consisting of piccolo, two flutes, two

oboes, Eb clarinet, three Bb clarinets, alto clarinet, bass clarinet,

Bb contrabass clarinet, two alto saxes, tenor sax, baritone sax, two

bassoons, three Bb cornets, two Bb trumpets, four F horns, three

trombones, euphoniums (div.), tuba (div.), string bass, timpani; eight

percussionists playing bells, chimes, vibraphone, xylophone, marimba,

snare drum, bass drum, three tom-toms (high, medium, low), suspended

cymbal, crash cymbals, two tam-tams (large and medium), triangle,

tambourine, vibra slap, steel plate, finger cymbals, bell tree, piano,

harp, and organ. The music is divided into two major parts; the

scenario and the main body. Each part lasts six minutes, giving the

work a total duration of about twelve minutes.

Story and Sectioning

The title, "Symphonic Portrait," immediately suggests a work of a

programmatic nature; in this case, a piece of music depicting the

character of, and familiar scenes connected with the Father. Each of

the following two symphonic portraits will be constructed in the same

manner; a scenario followed by a main body or character sketch.

In The Patriarch, the scenario is of the Creation. The majority

of this part is devoted to the depiction of the vast swirling solitude

viii

of space and the solemn peacefulness of a newborn world. Suddenly,

without warning, "Let there be light!" shatters the silence, and in a

matter of seconds, the earth is showered in its first light.

The allegro section, or main body, attempts to describe the

character of the Father as depicted in the Old Testament writings; the

Leader of great legions, the inspiring Voice of prophecy, the Institutor

of the Law. To those who believed in Him, He gave great strength and

victory, yet He brought down catastrophic forces, disease and death,

to those who opposed Him. The music in this portion is driving and

harsh for the most part, in direct contrast to the scenario, which

combines tranquility with overwhelming joy.

Both the scenario and the main body can be divided into smaller

sections; the scenario has seven, the main body has fourteen. Sectional

divisions were determined largely by timbral and textural changes.

Changes in the tempo frequently demark section in the scenario; however,

this is not the case in the main body, where only two tempo changes

exist. Each of the two main parts has the individual motifs; fragments

taken from a certain hymn, however, occur briefly in both parts, and in

fact will recur throughout the entire trilogy.

The following Table I gives a visual display of the sectional

breakdown in each part and the measure numbers where each section is

located. Numbers labeling each section are used throughout the paper

as reference points. Following each analysis chapter are tables showing

the musical elements of tempo, timbre, texture, rhythm and meter, pitch

and interval, dynamics, and motifs used as they appear in each section.

Note the two larger sections labeled "darkness" and "light" in the

scenario. Unlike the other twenty-one sections in this music that were

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derived from timbral, textural and tempo changes, these two are noted

solely for their programmatic content. The music in measures 1 through

55 depicts the earth in darkness, while that in measures 56-72 depicts

the earth in light.

Hymn and Derived Motifs

The majestic music to the hymn "God of Our Fathers" composed by

George William Warren (1828-1902) is used sparingly throughout this

work as well as the entire trilogy. Figure 1 shows the entire hymn in

its original four part setting, including the traditional trumpet

fanfares.

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Fig. 1 - Hymn "God of Our Fathers"

In The Patriarch, the use

Only one of the many motifs in

of hymn fragments is very recognizable.

this music has been created from a

xi

melodic transformation of a hymn fragment. This small figure (Figure 2)

is derived from the first four notes of the hymn tune. In later

analysis, it will be labeled as the B motif.

Fig. 2 - B motif

This extremely flexible motif is varied rhythmically and interval'

lically throughout the scenario.

The extremely programmatic "Let there be light!" phrase (the

opening phrase of Section 5), again utilizes the first four notes of

the hymn as a pattern, but this time in a melodic and rhythmic setting

that is nearly a duplicate of the original. Figure 3 shows this

dramatic phrase.

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Fig. 3 - "Let there be light!" (measures 56-59)

Immediately following this is another near-direct quote, this time

from the hymn's final phrase. Upper woodwinds play the descending

phrase line while low brass and woodwinds begin a long ascending scale,

all leading into a deceptive cadence (Figure 4).

xii

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Fig. 4 - Hymn's final phrase quote (measures 60-63)

Over the shimmering tremolos in the final three bars of the

scenario, the full organ plays a short chorale-like line, again showing

the melodic and rhythmic derivation of the hymn s first four notes

(Figure 5).

Fig. 5 - Organ at measures 69-72

In the entire main body portion of the music, there is only one

reminder of the hymn tune. Again, though the reference is extremely

brief, it is very recognizable to anyone familiar with the hymn.

xiii

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Measures 139-141 make direct reference to the harmonically unusual

third phrase, which uses the Bb unison moving to a G major chord.

Figure 6 shows a reduction of the score, which is a major second higher

than the original but retains the harmonic relationship between the two

chords.

Fig. 6 -Hymn's third phrase reference (measures 139-141)

These are the only direct references to the hymn, "God of Our

Fathers," that appear in this work. As stated earlier, the two works

which will follow will contain similar references, in this way using

the hymn as the sole unifying factor in the entire trilogy.

Scenario: Motifs

Other than the passages borrowed directly from the hymn tune

mentioned earlier, there are only two motifs in the scenario portion.

The first one, labeled A, is announced in the third and fourth bar by

the muted first trombone (Figure 7).

xiv

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Fig. 7 - A motif (measures 3-4)

The B motif, which was mentioned earlier as deriving from the hymns

opening statement, appears initially in measures 10-11 (see Figure 2).

At measure 12, the motif is transformed into a full theme. This theme,

however, only occurs once. Figure 8 illustrates this theme derived

from the B motif, played, by bason and piccolo together.

Fig. 8 - B motif - theme derivation (measures 12-14)

These motifs go through many harmonic, rhythmic, and timbral

changes, and are presented both separately and simultaneously.

Scenario: Analysis

The scenario opens with a low, pianissimo, F# pedal in the piano,

string bass, and 16 foot organ pedal, over which chimes and harp sound

an occasional F#. The A motif is introduced in the muted trombone.

Instruments are added in the upper register, the pedal shifts downward

to Fb! , all climaxing in c minor at measure 10. At this point, the B

xv

motif is introduced by an oboe/clarinet duet, the oboe having the more

important role (Figure 9).

Fig. 9 - B motif in opening duet (measures 10-11)

At measure 12 (beginning of Section 2), a full theme develops from

the small B motif (see Figure 2) and is presented in the piccolo and

bassoon while the harp and flute play the A motif as accompaniment.

Measures 14-19 display an array of solo instruments playing variations

of both A and B motifs over long chord progressions. At measure 19, a

single line grows out of the sustained chords in the clarinets and

organ.

Section 3 begins when the accompaniment stops, leaving a solo

high woodwind line. The line passes from alto sax to Oboe to flute and

finally to piccolo, covering a range of two octaves and a major third

(Figure 10). Note the reference to the A motif as well as the many

meter changes which create a cadenza-like character to the line.

xvi

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Fig. 10 - Solo line at measures 19-28

The high G#, marking the beginning of Section 4, triggers an over-

all downward motion in the piano arpeggios and harp glissandi. The

descent runs into a section of rapid piano and woodwind arpeggios and

sustained chords in the horns and saxes, all serving to provide back-

ground for the A motif, now presented in the low register of the ensemble

(organ pedal, tuba, string bass, contrabass clarinet, piano left hand).

As the instrumentation increases, the B motif is heard in the trumpets.

Measure 37 marks the climax of this section and the entire "darkness"

section (measures 1-55). A slow decrescendo takes place; organ chords

from the foundation while arpeggio and tremolo patterns rhythmically

retard. As in measures 14-19, both A and B motifs appear and fade

away in many varied forms. A solo clarinet line then appears while all the

other instruments, except the organ, fade away. The clarinet brings

this section and the long, decrescendo passage to an end at measure 42,

with a deceptive resolution to C Major.

Section 5 (measures 42-55), starting with the C major chord, opens

with a full range homophonic setting of the A motif. Figure 11 shows

a reduction of this setting as well as the inverted direction and

xvii

intervallic alteration between the third and fourth pitches in the

motif (originally down a perfect fifth).

Of

Fig. 11 - A motif alteration (measures 42-43)

Echoes of this pattern recur twice, each time decreasing in dynamic

level and in numbers of instruments. Finally, the low register organ

manual is left, eventually ending with a sonority, consisting of an

augmented fourth, C and F#. Over this enters a faint echo of the B motif,

played by off stage trumpets or trumpets playing into their stands

(Figure 12).

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Fig. 12 - Organ and off stage trumpets (measures 50-51)

The opening F# returns in measures 52-55, now modified by C. Harp

and chime notes return, reminiscent of bars 1 through 6. This section

At measure 56 (Section 6), the low rumbling timbre of the organ

and the bass drum is shattered by the "Let there be light!" motive.

(see Figure 3). Measure 63 hails the first appearance of the light.

Here, descending and sustaining scales in the woodwinds and horns, and

bell and chime glissandi, form a glittering background to the principle

line, in the cornets and trombones. Figure 13 shows this brass line.

Fig. 13 - Brass line fragment in "light" section (measure 63)

A molto rallantando at measure 68 brings the music to a grandiose

tempo ( .1 = 66) at measure 69 (Section 7). Shimmering tremolos accompany

a final reference to the A motif in the horns (Figure 14) and a pre-

viously heard full organ chorale (see Figure 5).

Fig. 14 - Final A motif reference (measures 69-71)

Another rallantando occurs, and with the full ensemble sounding an

Eb minor triad, the music moves into the main body, allegro furioso

portion. The following Table II outlines the use of musical materials

throughout the scenario.

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Main Body: Motifs

The main body consists of three motifs and one full theme, of

which fragments are used as motifs. The first motif is a purely

rhythmic one, presented at the outset by the snare drum (Figure 15). It

is labeled the cadence motif.

Ill="T I - -=1- -, W1

Fig. 15 - Cadence motif

The most prominent motif in this section is the FATHER motif,

derived from the word "Father." The derivation of the theme combines

the use of both pitch names and solfegg labels. Figure 16 shows the

motif with the corresponding labels under each note.

FA T H E Re

Fig. 16 - "FATHER" motif

This motif, although transposed later on, and rhythmically altered,

maintains its strict intervallic relationship.

The fanfare motif is first introduced in the trombones in measures

123 and following. Although this motif is probably one which is most

varied upon, its use of parallel triads, both major and minor, and of the

initial root movement of a perfect fourth down, makes it instantly

recognizable. Figure 17 shows two opening statements of the fanfare;

xxiii

the first being the trombones starting at measure 123, and the second--

being the trumpets' variation, starting at measure 133.

Tr~s.ut

'L~7rPI PI foam.,

e~r~t 5 I Ar

Fig. 17 - Fanfare motif variations

The only full theme presented in this portion of music is the

Patriarch theme. This theme is presented in its entirety in only two

sections of the entire work, both times in a fugal setting (Figure 18).

Cl (%r.

T4 -%-.o+

w

Fig. 18 - Patriarch theme

xxiv

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w-..:,

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I I

The brackets indicate areas of internal motive fragments which are used

frequently; especially prominent is the opening minor ninth leap. The

following discussion relates the role of this theme and the previously

discussed motifs in the main body portion.

Main Body: Analysis

Section 8 opens the main body with the percussion playing the

Cadence motif (see Figure 15) in a canonic setting; snare alone at first,

then tom-toms, then timpani. Timpani pitches F, Bb, Bk , Eb, and D

correspond to the FATHER motif and serve as an introduction

to the upcoming unison statement. The percussion material grows

dynamically to measure 86 (Section 9), where a four measure chromatic

ascent dramatically intrdduces the first full statement of the FATHER

motif (see Figure 16).

At measure 90 (Section 10), the first formal announcement of the

FATHER motif occurs; at first displayed in bell-tone effects in the

brass and percussion and, four measures later, in a homophonic and

articulate setting. Section 11 begins at measure 97, where the upper

and middle register woodwinds are divided into three rhythmic groups:

Group I (flute, oboe, piccolo Clater)

Group II (Eb clarinet, clarinets I and II)

Group III (clarinet III, alto clarinet, alto saxes I and II,

tenor sax)

Each group plays the same series of triads, however, the rhythm with

which each series is played is different with each group. The triads

were constructed from the last four notes of the FATHER motif. Figure 19

shows the series of triads each group executes.

xxv

Fig. 19 - Woodwind triads in Section 11

Figure 20 illustrates triadic groups and the rhythm pattern assigned to

each group. Group I completes its pattern in two beats, group II in

three and one half beats, and group III in five beats.

r4-i 5 S1L fr n7 3

Fig. 20 - Polyrhythmic woodwind setting in Section 11

This swirling texture provides the backdrop for the first appearance of

the Patriarch theme.- Beginning in the bass trombone, tuba, and contra-

bass clarinet, the theme provides the basis for an intense fugal interplay.

The fugue contains no real counter subject but, instead, uses fragments

from the theme itself. As the intensity grows, the harmonic environment

shifts from a G minor area to a C minor area at measure 115, finally

cadencing at measure 123.

Here (Section 12), the three trombones introduce the Fanfare motif,

with forte low timbre accents. The motif is then taken up by the trumpets

at measure 133 with a much wider range and fortissimo ensemble providing

xxvi

6n3T- e

the accents. The instrumentation continues to build towards a sustained,

fortissimo, Bb-Eb-F sonority, over which a short fugato of brass fanfares

occur, reaching a final climax in C major. It is at this point that

the only hymn reference in the main body, coupled with an accented

strain of the FATHER motif, occurs (see Figure 6). A rallantando occurs,

but the allegro tempo resumes quickly at measure 141 (Section 13).

Measure 141 displays a melodic and dynamic descent. The snare drum

enters quietly with the Cadence motif, but becomes more noticeable as the

instrumentation reduces and, finally, leaving only the snare drum and

the organ.

Measures 149-173 (Section 14) display both a rhythmic augmentation

and a melodic development of the FATHER motif. This line initially

played alone (aside from the relentlesssnare drum material) and in

simple rhythm, soon grows into a two part contrapuntal texture (beginning

at measure 158), each time getting more rhythmically complex. Fragments

of the Fanfare motif and the minor ninth interval from the Patriarch

theme are featured at the cadence points.

In contrast, a rhythmic dimunition of the FATHER motif is stated

by the brass in a close rhythmic canonic texture in measures 174-182

(Section 15). Percussion accents occur (snare drum, marimba, timpani,

steel plate), and a near-literal return of the FATHER motif occurs, as

it was presented in measures 94-97.

Measure 182 (Section 16) begins a long building section. It begins

with the bassoon making reference to the triplet pattern in the woodwind

polyrhythm section in measure 97. This becomes the subject for a short

contrapuntal section (measures 182-190). At measure 190, the lower

woodwinds and the organ initiate relentless up-and-down scale patterns.

xxvii

Again, a polyrhythmic environment is established as was the case

in measures 97-123. Both the organ and the woodwinds utilize the same

pitches; however the tonal pattern, the rhythms, and the duration in

which to complete the pattern differs. (The woodwind pattern takes ten

beats to ascend and descend, while the organ takes only four beats.)

Also, the rhythm in the woodwinds is a combination of sixteenths and

triplet eighths. Figure 21 shows this textural backdrop as it begins

in measure 182.

Sa CiS

- 4 M M --4 14J1 liliIIUAh Uil 11 oUI I o im~t- imiom ou ig m.Wp EW IMAti -

Fig. 21 - Polyrhythmic background (measures 182-185)

xxviii

4The organ remains in 4 while the rest of the ensemble changes meters to

accomodate the principle line. The oboe and the Eb clarinet begin

playing a fragment of the Patriarch theme (measure 189). As the section

grows dynamically, the stopped horn and muted cornet are added to the

development of this thematic fragment. The Patriarch theme is then

stated in its entirety for the second time (measure 204), again in a

fugal setting.

All instruments end on the downbeat at measure 212 (Section 17),

except for the organ, which is continuing its rapid arpeggios at a

fortissimo level. The cadence motif appears in the snare drum and tom-

toms:. The timpani, although not playing the cadence motif, utilizes the

FATHER pitches in an off-beat rhythmic pattern. Over this rapid texture

and driving percussion, the rest of the ensemble play sustained pitches

G and Ab, in reference to the initial interval in the Patriarch theme.

Figure 22 shows this pattern which continues to build in octaves.

Fig. 22 - Sustained pattern in measures 182-225

The music builds to a great intensity, resulting in the climax

at measure 229 in C minor. The rhythmically sustained pedal line,

beginning at measure 186 on the pitch Gb in the contrabass clarinet and

string bass, continues on a steady downward course until its arrival at

measure 229 on the pitch C. Figure 23 plots this underlying and

unifying pedal line.

xxix

ITT 1.29 zqi IlU-.--1 1 1 1iRIM

y.-- F i L

U Lr n +.w wuww~1w/ 1

Fig. 23 - Pedal line reduction (measures 186-229)

The most dramatic climax in the music occurs at measure 229, which

resolves to the Fanfare motif, alternating phrase by phrase between the

high and low brass. Again, the sustained winds sound against the small

fanfare figure in fugato, which cadences in D major at measure 235

(Section 19).

Out of this fortississimo tutti sound begins a chromatic ascent,

starting softly and building throughout to a downbeat at measure 246 and

a grand pause at measure 247. The first major tempo change occurs at

measure 248 (Section 20) from ) = 144 to d = 63. The FATHER motif is

played in fortissimo octaves, each phrase ending with glissandi on the

piano, bells, and vibes, and coin slides of the suspended cymbal and

tam-tam. Bell-tone effects are utilized at measure 255, producing theb

polychord of G major/E minor.

As this sonority is softly sustained, the tempo resumes its original

allegro and the percussion and string bass softly begin their canonic

xxx

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treatment of the Cadence motif (measure 256 - Section 21). The entire

ensemble builds to a final fortississimo downbeat at measure 262. Figure

24 shows the final sonority--a combination of the sustained G major/Eb

minor polychord and a C pedal.

Fig. 24 - Final sonority (measures 262)

The following Table III outlines the use of musical material throughout

the main body.

xxxi

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xxxvi

I I I

Conclusion

In composing Symphonic Portrait: The Patriarch, I have attempted

to achieve four things; first, to create a piece of music that

accurately depicts my thoughts and feelings for the Father; secondly,

to test my orchestrating skills by scoring efficiently, yet effectively

for a very large ensemble; third, to use the organ as an integral part

of the ensemble and not as an extra; and finally, to contribute a

substantial piece of music to the symphonic band literature. It is my

ongoing goal with works like this (The Patriarch and the two following

portraits as one set) to help demonstrate the infinite array of

emotions that this wonderful ensemble can convey.

xxxvii