Clarinet and Voice (Three Vocalises)
October 1, 2022 | Author: Anonymous | Category: N/A
Short Description
Download Clarinet and Voice (Three Vocalises)...
Description
7?
NQ fd ot 6 ^
TWENTIETH-CENTURY WORKS FO R TEXTLESS VOICE A N D VARIOUS WOODWINDS WITH THREE RECITALS OF SELECTED WORKS WORKS O F STAMITZ
ROUSSEL
ALBINONI
WEBER
MILHAUD
A N D OTHERS.
DISSERTATION
Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Nancy M . Gamso Denton December
B.S. Texas
1992
M.M.
7?
NQ fd ot 6 ^
TWENTIETH-CENTURY WORKS FO R TEXTLESS VOICE A N D VARIOUS WOODWINDS WITH THREE RECITALS OF SELECTED WORKS WORKS O F STAMITZ
ROUSSEL
ALBINONI
WEBER
MILHAUD
A N D OTHERS.
DISSERTATION
Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Nancy M . Gamso Denton December
B.S. Texas
1992
M.M.
Gamso, Nancy M . , Twentieth-Century Works f o r Textless Voice a n d Various Woodwinds with Three Recitals of Selected Works of Stamitz. Roussel. Albinoni. Weber. Milhaud. and Others.
Doctor of Musical Arts
Woodwind Woodwinds s Performance),
December 1992, 131 pp., 3 tables, 39 examples, 3 appendices, annotated bibliography of selected works, bibliography, 44 titles. T h e purpose of this study is to explore t h e literature f o r textless voice a n d woodwind instruments. instruments. T h e primary
focus concerns t h e timbral a n d ensemble possibilities possibilities exploited in th three ree twentieth-century twentieth-century works in which the voice is treated as an instrument i.e., without t h e usual preoccupation with textual textual meaning. A n historical overview of vocal works with obbligato woodwinds a n d concerted works f o r textless voice serves as an introductory chapter. The
variables of voice a n d instrument acoustical makeup, vocal vowel formation a n d instrumental voicings, volume, vibrato, resultant tones, range, a n d extended techniques fluttertongue, special vibrato demands, non-vibrato, etc. are the focus of the performance considerations considerations f o r this
study. Over thirty twentieth-century textless works f or voice and at least o n e woodwind instrument were located. The
three, chosen for this study represent represent different p periods eriods in the century, an and d present contrasting styles and musical
merit:
ria
1931) b y Jacques Ibert, Three
Vocalises
1958)
by Ralph Vaughan Vaugh an Williams, Williams, and Duos I 1976) b y Nancy
Chance.
style and performance analysis of these works
with pertinent research research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, Chance, and an d performance notes provided by the composer, concerning Duos I
ACKNOWLEDGMENTS
It is is with sincere sincere graditude graditude that I that I acknowledge acknowledge the the following people for people for their their assistance in assistance in this this endeavor: endeavor: my committee
John Scott
Deanna Bush
Gillespie for and James Gillespie for
their editor editorial ial assistance; assistance; Marilyn Nims
Diana Gale
and
Rose Marie Chisolm Chisolm for for their performance performance assistance; assistance; Nancy Chance for information Chance for information in in the
uos J; J;
and my family my family and and
friends for friends for their their generous generous and lovin loving g support support. .
X
PREFACE
T h e purpose of this study is to explore t he literature fo r textless voice a nd woodwind instruments. instruments. T he primary
focus concerns th e timbral and a nd ensemble possibilities exploited in three twentieth-century twentieth-century works in which the voice is treated as an instrument, i.e.
without t h e usual
preoccupation with textual meaning. In texted compositions (numerou (num erous s works) works ) fo r voice a nd obbligato woodwinds th e text tends to affect th e general character of the work a nd often its it s overall structure. Th e programmatic association of the
clarinet in Schubert s obvious case.
Similarly, Similarly, John Banner s T h e Thrush
German s Bird o f Blue t h e Thrush
e r Hirt a u f d e n Felsen (1828) is
an
Edward
an d Lawrence Willingham s Carol o f
works fo r flute an d voice, make overt overt
programmatic use of the obbligato instrume instrument nt here alluding to the sound of birds.
Such narrow stereotyping stereotyping certainly
does not n ot constitute t he majority of works written for obbligato instruments. instruments. Yet
even in texted works of the
highest merit, th e roles of the singer a nd instrumentalist a re inherently inherently different. In the absence of text, however, th e composer is i s
better able t o concentrate o n matters of blend, timbral
IV
relationships relationships a n d form without being constrained constrained b y of a text. The structural o r programmatic implicat structural implications ions text. variables of voice type variables type a n d instrument acoustical makeup, vocal vowel formation formation a n d instrumental voicings, volume, a n d special vibrato, pitch, resultant tones, loudness, loudness, effects
nonfluttertongu fluttertongue, e, special vibra vibrato to demands, demands,
etc. vibrato, vibrato,
t h e distraction become all-important without without
or aid of a literary focus. o n texted Past studies have focused almost exclusively exclusively for the voice the voice a n d obbligato instrument literature literature instrument and on for the the solo voice concert vocalises vocalises voice. .
has Little research research has
t h e history, analysis, been done concerning concerning analysis, o r performance of music f o r untexted voice a n d woodwinds. practice practice music voice
This
study begins with with a n historical overview overview of texted works works for a n d woodwind obbligato a n d works employing textless voice voice obbligato I n addition, this study brings together knowledge voice. voice. knowledge of t h e special of woodwind instrume special acoustical properties properties instruments nts a n d voice that should a n d teacher alike. should aid the performer performer T h e third chapter features a detailed analysis of the three the three features analysis T h e concluding chapter summarizes works. works. summarizes t h e contributions of the the study.
Appendices include include a n annotated bibliography
of select the medium, a written intervi selected ed works works for the medium, interview ew with Nancy Chance concernin concerning g
uos I
provided provided b y t h e composer. e composer.
a n d program notes notes o n
uos
I
Three works were selected selected from t he bibliography of o f works fo r their special problems encountered with the medium.
ria
1930) by b y Jacques Ibert, Three
I960) by Ralph Vaughan Williams, an d Duos Chance.
vocalises
1976) by b y Nancy
style and a nd performance analysis of o f each complete
work to be performed a nd pertinent research on the composers ar e presented.
Marilyn Nims a nd Diana Gale performed the
vocal roles in these works.
Their observations observations have aided aided
in this research.
VI
TABLE OF CONTENTS
PREFACE
iv
LIST O F TABLES
viii
LIST OF EXAMPLES
ix
PROGRAMS O F RECITALS
xi
Chapter I
II
HISTORICAL PERSPECTIVE Historical Survey of Vocal Music with Woodwind Obbligato The Use of the Voice without Text PERFORMA NCE CONSIDERATIONS PERFORMANCE CONSIDERATIONS Introduction Timbre in Voice, Flute, Clarinet vibrato Pitch Loudness Special Techniques
1
18
III ANALYSES A N D PERFORMANCE CONSIDERATIONS CONSIDERATIONS O F SELECTED WORKS 47 Introduction ria 1931) b y Jacques Ibert Three vocalises 1958) b y Ralph Vaughan Williams Duos Duos I 1976) b y Nancy Chance IV
SUMMARY AN D CONCLUSIONS
90
APPENDIX A : Annotated Bibliography of Selected Works ....95 ....95 APPENDIX B : Written Interview with Nancy Chance
107
APPENDIX C : Program Notes f o r Duos Duos
110
BIBLIOGRAPHY
112
VI1
LIST OF TABLES
1. Cubic a n d simple difference difference tones
39
2. Harmonic Material 3 Reduction t o sounding intervals m m . 18-24 Chance uos
77
3.
84
Form of Chance
uos
Vlll
LIST OF EXAMPLES
1. Glottal
trill,
Rosen Serenade
42
2. Fluttertonguing, Chance Duos
42
3. Syllables, Syllables, McBride Vocalise
43
4. Syllables, Syllables, Weigl Brief
44
Encounters
5. Fluttertonguing,Chance Duos
44
6. Fluttertonguing, Rosen Serenade
45
7. Glissandi, McBride Vocalise
45
8.
45
Key and Tongue Clicks, Rosen Serenade
9. Arrangements, Iber Ibert t
ria
50
10. Differences in editions, Ibert
ria
53
11 11. . Differences in editions, Ibert
ria
54
12. Texture of opening, Ibert
ria
56
13 13. . Dissonance between flute an and d piano, Ibert 14. Thirds, Ibert Ibert
ria
ria
57 59
15. Unisons, Prelude Vaughan Williams Three
Vocalises... 63
16 16. . Final measures, Prelude, Prelude, Vaughan Williams Three Vocalises
64
17. Cross rhythms, rhythms, Scherzo Scherzo, , Vaughan Williams Three Vocalises
65
18. Ending, Ending, Quasi Menuetto, Vaughan Williams Three Vocalises
67
19. Melodic Materials 1
72
Chance Duos
IX
20.
MM 2
Chance
uos 1
73
21.
MM 3
Chance
uos 1
73
22.
MM 4
Chance
uos 1
74
23.
MM 5
Chance
uos 1
74
24.
MM 6
Chance
uos 1
75
25.
MM 7
Chance
uos 1
75
26.
MM 8
Chance
uos 1
76
27 . Harmonic Materials 1 28.
HM 2
Chance
29.
HM 4
Chance
30.
HM 5
Chance
Chance
uos 1
uos 1
uos
77
1
78
uos 1
31 . Rhythmic Materials 1
77
78 Chance
uos 1
79
32.
RM 2
Chance
uos 1
79
33.
RM 3
Chance
uos 1
80
34.
RM 4
Chance
uos 1
80
35. 35 . Principal Cadence
Chance
uos J
81
36. 36 . Transposition of principal cadence b by y a P4th Chance uos 1
81
37. 37 . Principal cadence with special effects and rhythmic rhythmi c augmentations augmentations
38. 38 . Foreshadowing
Chance
39 . Extension of motive
Chance
uos 1
uos 1
Chance
82 83
uos 1
83
pr s nts
Doctoral Solo Recital Nancy Gamso, Woodwinds with Sarah Staton, Piano Joueurs de f l u t e , Op. 27 Pan
Albert Roussel
T i tyr e Krishna Mr de la Pejaudie
Premier Solo f o r Bassoon
E . Bourdeau
Intermission Concerto i n B flat Major f o r Clarinet Allegro moderato Adagio Poco presto
Oohann Stamitz
Sonata f o r Clarinet an d Piano, Op. 129 Alle gro moderato moderato Charle s V. Stanford Caoine - Adag Adgrazioso agio io quasi Fanta sia ) Allegretto Monday, March 6 1989 8:00 p.m. Recital Hall
X
presents
Graduate Recital
NANCY GAMSO, clarinet clarinet a n d oboe assisted by: Judy Fisher, piano Paul Rennick, percussion Monday, June 25, 1990
6:15 p.m.
Concerto in D minor, Concerto minor, Op. 9 No. 2 2
Recital Hall
Tomaso Albinoni
Allegro e non Allegro non presto presto Adagio Allegro
1671-1750)
Solo de Concours, Solo Concours, Op. 10 10 pour Clarinette Clarinette Henri Rabaud b accompanyement de Piano 1901) 1901) in Si avec accompanyement 1873-1949) Moderate - Largo Moderate Largo - Allegro
- INTERMISSION INTERMISSION
Capriccio fo r Solo Clarinet Capriccio Clarinet in A 1946)
-
Heinrich Sutermeister b. 1910)
oiml
t
Xll
for Two Performers Sources an d percussion) 1967) I. i = ca, 60
clarinet clarinet
II . J 132 III. > = 40 IV. = ca. 46 Cadenza I Free Tempo Cadenza II V.
Presented in partial fulfillment ooff the requirements fo r th e degree of Doctorate of Music in Woodwinds
David urge b. 19 1930) 30)
Xlll
presents
A Graduate Recital
NANCY M . GAMSO, flute, clarinet, saxophone assisted by
Philip Wilder, harpsichord Michael Kaprelian, ceilo Rose Marie Chisholm, piano Monday, March March 9 1992
6:15 p.m.
Recital Hall
Sonata No. 2 in d minor, La Vibray
Michel Blavet
Andante Allemande - Allegro Allegro Gavotte (les Caquets) - Tranquillo Sarabande - Largo Largo Finale - Allegro Allegro Philip Wilder, harpsichord Michael Kaprelian, cello
1700-1768)
- short pause -
Concertino, Opus 26
Hillandale Waltzes Temp di Valse - Con garbo I. Valse 4l4gante II. II . Valse passionie III. Valse sombre IV . Valse volante V . Valse triste VI . Valse d e bonne humeur joyeuse VII. Valse brillante et joyeuse VIII. Valse oubliie
Carl Maria Maria v on Weber 1786-1826) Victor Babin 1908-1972)
x
v
short pause
Scaramouche
Darius Milhaud 1892-1974)
if if ModM Mouv
de Samba Rose Marie Chisholm, piano
Presented in partial rtilfiUment of requirements for the degree of Doctor of Musical Arts
x v
the
n o x^lWytv
n ~ l~ Q fi i i ci. VLUdli presents
A Graduate Lecture Recital
NANCY M . GAMSO, flute a n d clarinet assisted by assisted
Marilyn Nims, soprano • Diana Gale, soprano Rose Marie Chisholm, piano
Monday, July 13, 1992
6:15 p.m.
Recital Iiall
TWENTIETH-CENTURY WORKS F O R TEXTLESS VOICE A N D VARIOUS WOODWINDS ria fo r Voice, Flute a n d Piano 1931) Marilyn Nims, soprano
Jacques Ibert 1890-1962)
Three Vocalises fo r Soprano a n d Clarinet 1958) / Prelude Prelude Ralph Vaughan Will iams 11
///
Scherzo
1872-1958)
Quasi Minuetto Diana Gale, soprano
I
Duos fo r Soprano, Flute a nd Finger Cymbals 1976) Nancy Chance b. 1931)
Marilyn Nims, soprano
Presented in partial fulfillment of the requirements for the degree o f Doctor o f Musical Arts
xvi
CHAPTER I CHAPTER I
HISTORICAL PERSPECTIVE 1
Historical Survey o Survey of f Vocal Music with Wood Woodwind wind Obbliaato
The concept concept of of combining combining the the lyrical lyrical qualities o qualities of f the voice with the with the expressive expressive and technical attributes of attributes of wind wind instruments is not a new one. instruments is Since the Medieval period and period and one. Since the songs songs of of the trouveres trouveres and and troubadours, troubadours, singing singing has been accompanied and accompanied and enhanced enhanced by various instruments. instruments. In the the most elaborate accompanying situations situations in in medieval medieval song, song, wind instruments alternate with with the voice in voice in simple simple counterpoint. the Flutes, recorders, and recorders, and shawms shawms were among the among the instrument instruments s 2
employed for employed for these occasions. occasions. Though the Though the designation designation was was specific, the practice of substituting ing available far from specific, the practice of substitut instruments for instruments for vocal vocal parts in parts in ballatas, ballatas, virela virelais, is, frot frottola tolas, s, motets, and motets, and madrigals madrigals is is thought thought to to have been been a common x
ln the context the context of of this this discussion, the discussion, the term Obbligato refers refers to an independent an independent part in part in concerted music, ranking in ranking in importance just below the below the principal principal melody melody an and d not not to be omitted... The omitted... The archetype archetype of obbligato of obbligato part is part is the instrume inst rumental ntal solo which, with a with a basso continuo continuo, , constitute constitutes s the accompaniment of accompaniment of a vast number number of of late Baroque arias. Music (Cambridge, (Cambridge, Don Do n Randall, T h e N e w Harvard ictionary o of f Music MA.: Belknap MA.: Belknap Press o Press of f Harvard University Press, 1986), 1986), 551. 2
Denis Deni s Stevens, Stevens, ed., Norton, 1960), 19. 1960), 19.
History o Song {New York: W.W. York: W.W. of f Song {New
3
occurance during the during the Medieval Medieval and and Renaissance periods. In the Baroque period, this
theory theory o of f availability
in
4
instrumentation instrumentation was wa s less flexible. Titles of Titles of works works typically designated voice an voice and d one or two of several of several obbligato instruments, instruments, depending on depending on the order the order o of f preference. These were inunda inundated ted by such standard standard instructions instructions as: ...per violino o violino o flauto, flauto, hobo),
vorr vorr viol (flu (fluit it, , blokfluit, 5
or pour violon violon ou flute flute allemande. The violin violin was was
instrument for the preferred instrument for obbligato accompaniment; woodwind instrume instruments nts were used less less frequent frequently ly with the with the most popular being the being the flute, recorder, recorder, and and oboe. oboe. increase in obbligato woodwinds woodwinds foll followed owed An increase in the use of of obbligato structural improvements on improvements on these these instruments instruments by a group group of of Parisian craftsmen, namely those o those of f the Hotteterre the Hotteterre family in family in the early part of part of the Baroque the Baroque period. This increase in increase in obbligato obblig ato woodwinds is woodwinds is demonstrated demonstrated in works works by composers in such as such as A. Scarlatti, Telemann, Handel, and Handel, and J.S. Bach Bach who who began using obbligato obbligato flute flute and oboe parts in parts in their their operatic 6
cantata arias. and cantata
late Baroque, Baroque, these arias were In the the late
3
Maria K. Stolba, Maria K. Stolba, T Th h e evelopment o f Western Music M usic History History (Debuque, IA: (Debuque, IA: Wm. C. Brown, C. Brown, 1990), 1990), 148 178. 4
Ibid., 148. Ibid., 148.
5
Ronald Wain, Flute Flute and Voice Ensembles, Instrumentalist, XLV (January Instrumentalist, (January 1991), 13. 1991), 13. 6
Ibid., 9. Ibid., 9.
The
A
standardized standardiz ed into into a da capo form form with the with the obbliga obbligato to instrument instrume nt participating in participating in the openi ng ritornello, the opening interludes, interludes, and postludes anticipating anticipating the the vo vocal cal line, line, imitating imitati ng melodic material, and material, and otherwise otherwise unifying the unifying the structure. The clarinet first appeared during the during the mid-eighteent mid-eighteenth h century, initially in initially in association association with vocal works. works. The clarinet and clarinet predecessor, the chalumeau, chalumeau, are found in and its its predecessor, the are found in a number number of works, of works, including including a a Mass Mass by Antwerp organist, J. organist, J. A. J. Faber Faber in in 1720, 1720, and in a Telemann a Telemann antata f o r Whit Sunday (1721), (172 1), calling for calling for a soprano aria aria to accompanied a to be accompanied by Flauto piccolo, Clarinetto et Clarinetto et Quartett. Quartett.
7
In opera, opera, the the
clarinet clarinet was wa s employed employed in in a growing a growing number number of works, of works, first among them Handel's Tamerlano Handel's Tamerlano (1724) in (1724) in which which an aria calls accompaniment of accompaniment of two cornetti, later replaced by replaced by two for the the clarinets. The clarinets. The clarinet clarinet first appears in appears in French French opera in opera in Rameau1s Zoroastre Zoroastre of of 1749.8 Toward the Toward the midpoint midpoint of of the eighteenth the eighteenth century, century, the standardization of standardization of pairs pairs of of woodwinds woodwinds in in orchestral orchestral works contributed to contributed to an established established use use of these of these instruments instruments in in opera orchestrations.
However, the However, the contrapuntal passages for passages for
woodwind obbligato characteristic characteristic of of the early Baroque Baroque were
7
Oscar Osca r Kroll, Kroll, Co., 1968), 1968), 47. 47. 8
Sumrall, 11. Sumrall, 11.
he
larinet New larinet New York: Taplinger Pub. Taplinger Pub.
9
replaced repl aced with less less elaborate elaborate phrases phrases by pairs pairs of woodwinds. of woodwinds. This followed the followed the fashion fashion in in Italian Italian arias in arias in the 1750s the 1750s and and
1760s 1760s and continued continued throughout the throughout the Classical period. period. In his operatic opera tic works, Mozart followed followed this trend. Within this convention of convention o phrases, his works works demonstrate demonstrate f short obbligato phrases, his the timbral possibilities of possibilities of the woodwinds woodwinds in in an obbligato an obbligato role.
Mozart was Mozart wa s fond fond of of woodwind woodwind timbre timbre and often used
flutes, oboes, clarinets, clarinets, bassoons in homogeneous or homogeneous or and bassoons in heterogeneous heterog eneous pairs.
Numerous Numerous passages passages are found found in in solo
arias arias and duets, duets, and smaller ensembles (tri (trios os, , quartets, quintets, and quintets, and sextets) sextets) in in which the which the woodwinds woodwinds appear in appear in unison with with the voices, in thirds and sixths the voices, in thirds and sixths and occasionally 10
as obbligato instruments instruments against the against the voca vocal l parts. parts. In L a Clemenza d i Tito (1791), Tito (1791), for example, Mozart chose chose to to use the b
clarinet and t horn in horn in F as true obbligato B clarinet and the basse the basset instruments in instruments in two two arias, piu di fiori di fiori
(No. (N o. 23).
Parto, Parto, parto
(No. 9), and ,
Non
The role role o of f the clarinet the clarinet and and basset basset
horn can horn can be described described as as generally generally idiomatic idiomatic for for the instrume inst ruments, nts, using arpeggiate arpeggiated d passages that displ display ay both
9
M. F. Robinson, F. Robinson, The The Aria in Aria in Opera Seria, 1725-1780, 1725-1780, Proceedings o f t h e Royal Music Association 88th Session (London, (Lon don, 1961-62), 1961-62), 38, cited in Sumrall, 9. Sumrall, 9. 38, cited in 10
I n a survey survey study study done done by this author, the author, the majority o majority of f bel canto arias arias in Mozart's Mozart's operas operas from from Idomeneo Idomeneo to to i e Zauberflote used Zauberflote used the instruments in this s capacity. the woodwind instruments in thi
11
instruments' extended range.
The bassoon bassoon was wa s omitted from the from the preceding preceding discussion of discussion of the obbligato woodwind instruments instruments because o because of f its primary its primary role as the bass role as line. there are, the bass line. In the the Baroque period, there are, however, occasional instances instances of more of more active bassoon parts, usually exploiting exploiting the f full ull bass range range. .
Such parts are parts are found
in an aria an aria in in Traetta's Traetta's Olipiade Olipiade and and in works works by Steffani (1655-1729), (16551729), Kapelmeister Kapelmeister at Hanover, Hanover, ca. ca. 1689, where 1689, where they 12
were performed performed by fine French French bassoonists. In Steffani's works, the works, bassoon is used as used as an obbligato instrument with the bassoon is an obbligato instrument voice. interesting occurences of occurences of the use of five the voice. Two interesting of five bassoons and bassoons and continuo continuo in in the accompaniment accompaniment of of soprano soprano arias by Schiitz Schiitz and Reiser Reiser are are to be be noted. Heinrich Schiitz's Schiitz's Psalm
They appear appear in in
4 (Vol. (Vol. XIII, No XIII, No. .
I of his 13
Sammtliche Werke) Werke) and in Reiser's Reiser's Octavia Octavia (1706). In the secular cantata Durc cantata Durchlaucht hlaucht ster Leopold Leopold (? (?17 1718 18), ), Bach used bassoon, violoncello, the bassoon, col col violoncello,
bass aria aria (No. in the the bass (No. 7) . 14
^Mozart wrote many of many of his clarinet his clarinet works for works for his friend and fellow fellow Mason, Anton Stadler, Stadler, an excellent clarinetist clarinetist and and performer o clarinets basset t horns with with a lower the performer of f clarinets and basse extension of extension third. Mozart's inclusion inclusion o of a a major third. of f the two obbligati arias in arias in La Clemenza d i Tito Tito were due were due in in part to part to his friendship with Stadler. 12
Lyndesay G. Langwill, Lyndesay G. Langwill, T h e Bassoon a n d Contra-Bassoon Contra-Bassoo n (Londo (Lo ndon: n: Ernest Benn, 1965), 1965), 75. 13
Ibid., 73-80. 73-80.
14
Ibid., 84. Ibid., 84.
Handel generally scored one or two bassoons in the accepted treatment of the bass line. line. One notable exception is the scene between Saul Saul and the witch of Endor in the oratorio Saul 17 39), in which two bassoons bassoons soli soli accompany the ghostly 15
voice over a sustaine sustained d bass. bass. Mozart's treatment treatment o of f the woodwinds, as noted previously previously, , also extends extends to the bassoon. A rarely performed aria,
Nehmt Nehmt meinen Dank, Dank,
K. 383 383 (1782)
opens with a very lyrical bassoon, flute, and oboe obbligato 16
closes with an extende extended d bassoon solo. solo. and closes
Woodwind Woodwin d obbligato obbligato parts first first appear in solo song literature in a limited capacity in late eighteenth-century Europe. The Breit Breitkopf kopf Thematic Catalog
a recognize recognized d record
of published works o of f the eighteen eighteenth th century, records only
three chamber chamber works for voice and woodwind obbligati; two for oboe an and d one including clarinet, though the clarinet work is 17
not used in a true obbligato obbligato capacity. The genre, however, was wa s most popular in eighteenth-c eighteenth-century entury London where music for
this medium was wa s heard in num numerous erous public performances at the Pleasure Pleas ure Gardens, Gardens, Marylebone Gardens, Gardens, Ranelagh Ranelagh Gardens, Gardens, and Vauxhall Gardens. Gardens.
Although the majority of these these works works have
not survived, the importance of of the immense volume of vocal
15
Ibid., 86.
16
Ibid., 88.
17
Sumrall, 23.
music produced fo r these light entertaining events cannot b e dismissed.
Frank Kidson is quoted a s saying: If we
eliminated from th e published music of the time a ll that had its first public hearing at the public gardens, there would b e very little t o show what English music w a s like in the
eighteenth century.
18
A n example of this type of o f song is
James Hook's 0 whither can my William stray
for fo r soprano,
clarinet, an d piano, dating from t he last quarter of the eighteenth century. T he clarinet doubles th e voice line throughout th e work a nd finishes with an instrumental fe w measures. Tw o additional songs for postlude for the last few an n d accompaniment a re representative of this soprano solo a
genre composed for the Pleasure Gardens.
They exploit the
flute for its birdsong-like associations a nd include Lo, here th e gentle lark bird
b y Henry Bishop and
by Sir Julius Benedict.
The gypsy and the
19
A few surviving surviving American songs dating from this period
have been identified. identified. A work entitled
Sweet Sweet echo
for
voice, German flute, an d violin w a s printed in the American Musical Magazine (1 (17 7 86); reference is made in the same
18
Rosem ary Hughes, Solo Rosemary Solo Song, Song, T h e e w Oxford History o f Music edited b y Egon Wellesz Wellesz a nd Frederick Frederick Sternfeld (London (Lo ndon: : Oxford University U niversity Press, 1973), 1973), VII, 337 as cited in Sumrall, 16. 19
Sumrall, 22.
8
journal to songs accompanied by piano and a nd flute or o r oboe obbligato from 1784.20 In the nineteenth century, the th e increase in the size of th e orchestra and the general interest in orchestral music
contributed to a decline in interest in chamber music.
What
is lacking in volume, however, is compensated for in quality as is evidenced b by y a handful of works including Schubert s
famous D e r Hirt auf dem Felsen for fo r soprano, clarinet, and piano.
Other early early nineteenth-century nineteenth-century songs songs with woodwind
accompaniment include: Weber Weber s E i n Entmutigter Liebende and E i n Begluckter Liebender, Liebender, both songs scored f or voice, flute,
cello, a nd piano; Meyerbeer s D e s Schafers Lied for tenor and obbligato clarinet an d Hirtenlied for fo r clarinet, soprano, and piano; Spohr s Sechs Deutsche Lieder for voice, clarinet, and piano; A . Panseron s J attends Romance for fo r voice, oboe, and piano, A. Ch. Adam s L e Retour a l a Montagne, D i e Riiekkehr i n s Gebirge, Tyrolienne fo for r voice, oboe, and an d piano; and W.R.
Bexfield Song t o Ellen, Op. 4 for voice, bassoon, and an d piano. As this sampling of vocal chamber works works indicate indicates, s, the
bassoon a nd oboe a are re rarely represented in the nineteenth century.
20
After their their enormous enormous popularity in Baroque cantatas
Sonneck, O.G., Early Concert Life i n America (17311800 New York: Musurgia Pub., 1949), p. 415 as cited in Becker, 3.
operas, the double reed instruments are instruments are employ employed ed with and operas, the double some fregency in fregency in the chamber the chamber works o works of f the twentie the twentieth th century. In the opera the opera and and sacred sacred vocal genres o genres of f the the nineteeth century, woodwinds again assumed a assumed a position position of importance of importance in in supporting the supporting voice in an obbligato obbligato manner. the voice in
This is This is
evidenced evidenced in the clarinet the clarinet obbligato obbligato of of Schubert's from the from the opera opera
i e Verschworenen Verschworenen and and
Op. 46; in Spohr's opera
Romance Romance
the Erstes Offertorivm, the Erstes
Geliebten in e r Zweikampf m i t d e r Geliebten
which which an important clarinet obbligato is obbligato is employed; employed; in in Donizetti's Donizetti's L Blisir d Amore, Amore, scoring a scoring a bassoon bassoon obbligato in obbligato in Una furtiva Una furtiva lagrima; lagrima;
in in Gounod's Faust Gounod's Faust in in which two which two
bassoons play play role; in a Serenade an important role; in a Serenade in in Act IV of Verdi's Requiem Verdi's Requiem using using a a bassoon bassoon accompaniment in accompaniment in the the Quid sum miser; sum miser; colpi,
and the flute the flute obbligato obbligato in
the Mad-Scene
II dolce II dolce suono suono mi
Lucia d i in Act Act III of Donizetti's of Donizetti's Lucia
21
Lammermoor.
In the presen the present t century, century, vocal music with woodwind obbligato embraces embraces variety o found in all a variety of f styles found in twentieth-century art twentieth-century art music, music, from the from the most conservative conservative neo neoclassical class ical works, prominent prominent among among English English music for music for voice and voice and clarinet, (A. clarinet, Cooke, Songs o f Innocence, Innocence, A. Bliss, Bliss, Nursery(A. Cooke, Songs Rhymes, Rhymes, and G. Jacob G. Jacob Three Songs a Songs are re only only a a few) to the most
21
Langwill, 97. Langwill, 97.
10
radical experimentation with the with the voice voice in in terms terms o of f the size the size and makeup makeup of of the ensemble, technique, use technique, use or absence absence of text of text and various other modifications. modifications. In the opinion the opinion o of f Ursula Greville, the Greville, the twentieth century marks marks a point point of of no return no return in in the relationship relationship of of the voice with
accompanying accompanying
instruments
chamber music. in chamber in ...never has ...never ha allowed to merge s the voice the voice consciously been allowed to into or into with the texture o sounds ds with which i which it or mix with the texture of f soun t is thus environed, environed, nor has the accompanime accompaniment nt dared, for dared, for a moment, openly to openly to usurp usurp the 'divi 'divine ne right' o right' of f the the voice to dominate. dominate. The exception exception and there there ar are e not a few are the the accidents, for accidents, for not until today, or today, or late late yesterday, have there existed the existed the idea idea of co-operation, of co-operation, the recognition recognition of of the the social, social, democratic, democratic, and communal 22 sympathies o sympathies of f the voice the voice in in the realm realm of of sound. sound. This change change in treatment o from that that of in treatment of f the voice the voice from soloist to soloist to an equal chamber partner partner has been embraced embraced by many twentieth-century composers. composers. In its new role, new role, the the voice functions as functions as a new instrumental timbre and timbre and many many twentiethtwentiethcentury centu ry works demonstrate demonstrate this equality equality. . Among the Among numerous o works for voice and various wind the numerous of f works for voice instruments composed at composed at the the beginning o beginning of f the the century, century, certainly one certainly one of the most the most influential influential is is Schoenberg's Pierrot Schoenberg's Pierrot Lunaire Lunaire (191 (1912) 2). .
This landmark composition composition was wa s immediately
followed by Maurice Ravel's followed Ravel's Trois Po mes
22
e Stephane
Mallarme
Ursula Greville, Voice Ursula Voice an and d the Chamber the Chamber Ensemble, Cobbett's Cyclopedic Survey of Chamber Music, Music, 3 vols. Compiled Compiled and edited edited by Walter Willson Cobbet Cobbet with supplementary material edited edited by Colin Mason. (Londo (London: n: Oxford University Press, 1963), 11:555.
11
(1913) for (1913) for voice, voice, piano, string quartet, two quartet, two flutes, flutes, a and nd two clarinets and Stravinsky clarinets and Stravinsky s Pribaoutki s Pribaoutki (1914) (1914) for voice, flute, flut e, oboe, clarinet, clarinet, bassoon, violin, viola, cello, cello, and and string str ing bass.
These works were succeed succeeded ed by Hans Eisler Eisler s
Palmstom Palmstom (1926) (1926) for speec speech h song, song, flute (als (also o pi piccolo), ccolo), clarinet clarinet in A
violin (als (also o viola), viola), and cello; cello; and Anton and Anton
Webern s Si x Songs (1917-21) Songs (1917-21) for for soprano, soprano, clarinet, clarinet, bass clarinet, viola, and viola, and cello. cello. All are indebted are indebted to to Schoenbe Schoenberg rg s song son g cycle in cycle in their their approach to approach to instrumentat instrumentation, ion, serial 23
techniques, and the use of techniques, and Sprechstiime. Homogeneous of Sprechstiime. groupings of groupings of accompanyin accompanying g instruments instruments also were employed early in early in the century, century, as as in in Berceuse d e Chat (1916) Chat (1916) for voice clarinets by Stravinsky, Milhaud s Cocktail s Cocktail (1921) (1921) and three clarinets for the same the same combination, and combination, and Webern Webern s s Five Canons Canons (1923-4) (1923-4) for voice, clarinet, and clarinet, and bass clarine clarinet. t.
Thirty years lat later, er,
Dallapiccola scored the scored the Goethe Goethe Lieder Lieder (1953) (1953) for three clarinets. The numerous works for works for voice voice and small ensembles of ensembles of various woodwinds demonstrat demonstrate e the willingness willingness on part of on the part of twentieth-century composers to composers to experi experiment ment with different different combinations o combinations of f timbres.
Perhaps the Perhaps the most commo common n
conservative combinations consist consist of of voice voice with flute flute and and piano, as in Arthur Benjamin s Th e Piper piano, as
23
Becker, 8-9. Becker, 8-9.
Delibes
e
2
Rossignol, Rossignol, s Aria (1931); Aria (1931); clarinet, and and Ibert s and voice, clarinet, and piano piano as represented represented by such such works as works as Argento Argento s
o b e Sung
Upon t h e Water and Water and Rorem s Ariel. s Ariel. Other woodwinds are woodwinds are employed only rarely. rarely. double reed In the case the case o of f the the double instruments (obo (oboe, e, bassoon bassoon and their family family members) instrumentation often involves involves an ensemble ensemble of 3 11 instruments, instrumen ts, thus lessening lessening the the impact impact of of these these instruments true obblig obbligato ato role. role. in a a true
William William Richard Richard Bexfiels Bexfiels s s Song Song t o
Ellen, Ellen, Op. 4 for for voice, voice, bassoon, and bassoon, and piano is piano is an exception. Historically, the Historically, the saxophone seems to seems to have been used used the least in least in combination combination with voice, having only been invent invented ed in in century. A few represen representati tative ve works have the mid-nineteenth century. few emerged emer ged which include include Jean Absil s s Nostalgia d Arabella, Arabella, Op. 22 and Phantasme, and Phantasme, Op. 72 for for alto, alto saxopho saxophone, ne, percussion, and percussion, and piano; piano; and jazz inspired inspired compositio compositions ns by Boris Blacher Blacher Jazz-Koloraturen Jazz-Kolora turen (1927) (1927) for sopran soprano, o, alto saxophone, and saxophone, and bassoon bassoon and and the the Jerome Rosen Serenade Rosen Serenade (1964) (1964) 24
soprano for soprano and alto saxophone. The Th e ensemble possibilities promise to promise to be interesting, be interesting, given the given the saxophone saxophone s dual role in role in both jazz and jazz and art music. Vocal works with woodwind obbligat obbligato o have changed changed and and developed throughout throughout the history of music. music. medium has the history of The medium has followed the followed the trends trends o of f each style period, from the from the obbligato obbligato, ,
24
These works works are are reviewed reviewed in in Appendix Appendix A.
3
contrapuntal nature of nature of the Baroque, Baroque, the the restra restraine ined, d, employment in the Classical the Classical period, the period, the programmatic, expressive character of character of the Romantic the Romantic period to period to the equal the equal partnership and partnership and the use of the voice voice and instruments instruments in in new new methods of methods of expression in the expression in the twentieth century.
Because o Because of f the
compatible nature nature o woodwinds, nds, this of f the voice the voice and woodwi partnership continues to continues to be an significant medium in medium in chamber music.
The Use of the Voice the Voice without Text vocalise, a vocal composit composition ion without without text, text, began began as The vocalise, a exercise for the voice. mid-eighteenth h a technical exercise for the voice. In the the mid-eighteent collections of solfeggi and early nineteeth centuries collections of solfeggi and and exercises for the voice exercises for accompanimen iment t were the voice with piano accompan published.
These included included both newlynewly-compo composed sed etudes etudes or or the
melodic content content of previous works, often provided provided with of previous instructions for instructions for solving solving technical problems.
Representative
examples of examples of the former include Th e Singer s Preceptor Pr eceptor (1810) (1810) of Domenico of Domenico Corri, Corri, Traite complet c e l art d u canto canto (1840) (1840) and of the latter, the latter, the the supplement supplement to to L art d u chat chat (1755) (1755) of Jean-Baptiste Berard, with selected selected compositions compositions by Lully, 25
Rameau, and Rameau, and others. others.
25
Owen Ow en Jander, Jander, Vocali Vocalise, se, e w G Grove rove s Dictionary o f Music a n d Musicians, Musicians, 20 20 vols., vols., ed. ed. Stanley Stanley Sadie. Sadie. New New York: Macmillan, 1980), 51. 1980), 51.
4
It was not until th e early twentieth century that
composers began to utilize textless vocal parts in concert works in order to exploit th e timbral potential of the voice. T he following list includes works that a re among th e best
known compositions without text. Gabriel Faure - Vocalise-etude (1907) Maurice Ravel - Vocalise e n forme d habanera (1907) Sergei Rachmaninov - Vocalise, op. 34 34 no. 14 (1912) N. K. Medtner - Sonata-Vocalise, Op. 41 41 No. 1 (71922-3) . - Suite Vocalise, Op. 41 No. 2 (71926) Aaron Copland - Vocalise (1927) Alfredo Casella - Three vocalizzi (1929) Fransesco Cilea - Vocalizzi d a concerto (1932) Ottorino Respighi - Three vocalizzi (1933) Heitor Villa-Lobos - Vocalise-etudes (1929) .
- Bachianas Brazilieras No. 5
Aria
(Cantilena Introduction a nd Conclusion) (1938-45 (1938-45) ) Reinhold Gliere - Concerto fo r Coloratura Soprano a n d Orchestra, Op. 8 (1943) In 1907
A.L. Hettich, a professor of voice a at t the Paris
Conservatoire, commissioned works to be used as vocal etudes for his students in the study of contemporary
etudes.
Faure, Honneger, Ibert, Roussel, an d Ravel responded to the commission an d their respective vocalises were published b y 1 A . Leduc in A.L. Hettich s Repertoire moderne d e vocalises -
Etudes (19 (1907) 07). .
Interestingly, th e Faur£ Vocalise-etude was
first entitled Piece, w a s written fo r oboe solo. In the Villa-Lobos Bachianas Brazilieras N o . 5
movement entitled
Cantilena Cantilena
th e Aria
with text text b y Ruth Correa, is
framed with a vocalise in unison with th e first celli. The Rachmaninoff Vocalise h a s become quite popular in both its
5
vocalise a nd violin version. Th e work w was as dedicated to the coloratura soprano Antonina Nezhdanova w ho expressed disappointment at the absence of text.
Speaking a s a true
Romantic, Rachmaninoff Rachmaninoff is reported to have replied replied with a flattering tone,
What need is there of words, when y you ou will
b e able t o convey everything better a and nd more expressively
than anyone could with words b by y your voice and interpretation?
26
Th e work, originally scored fo for r voice and
piano, w a s later orchestrated by the composer an d premiered b y Koussevitzky in Moscow in January of 1916. This work was th e inspiration for the concerted concerted vocalise works to follow,
namely t he Medtner and the Glid Glidre, re, ambitious attempts in creating creatin g multi-movement works for untexted voice that constitute t the he height of virtuosity in the vocalise application.27 Th e Copland Vocalise is dedicated to Ethyl Luening, wife o of f composer an and d flutist flutist Otto Luening.
This
performing duo has been t he recipient of several dedications fo r vocal, flute works in the twentieth century, century, including including
Robert McBride's Nonsense Syllables (1937) an d Vocalise (1952).
26
Martyn, Barrie, Barrie, Rachmaninoff: Composer Pianist Conductor (Aldershot (Aldershot, , Hants, England. Brookfield, vt.: Gower
Pub. Co., 1990), 240. 27
Ibid., 241. Little historical information information is available concerning Medtner's o r Gli^re's vocalises. The Gliere h has as been recorded recorded b y Joan Sutherland Sutherland and the London Symphony Orchestra (Lon (Londo don n 430006-2 LM .
6
As a timbral color in symphonic works, the th e vocalise
technique ha s been used in a number of works, including Vaughan Williams' Symphony No. 3, Debussy's
Sirenes
The Pastoral,
(1921),
from Nocturnes (1897-9), Hoist's The
Planets (1914-16), an d Ravel's Daphnis an d Chloi (1911-13).
Vaughan Williams' use of the vocalise is of interest to the present discussion. Hi s biographer, Michael Kennedy, Kennedy, describes th e entrance of the vocalise in the finale.
Th e impression is strong throughout the work of Vaughan Vaugha n Williams's Williams 's 'vo 'vocal cal' ' use of instruments, but in his finale he h e calls in the human voice for the startling effect h e achieves when, when, over a drumroll, [a [a] ] cantilena is sung off-stage. The result is unbearably poignant, poignant, like a lament for the flowers of of the forest cut down in the 1914-18 war; yet yet the grief is somehow transcended a nd becomes more cosmic than personal without without losing losing 28 intensity.
It is probable that Vaughan Williams wa s well aware of
Hoist's earlier use of the technique in the Planets. Ralph Vaughan Williams Williams a and nd Gustave Hoist were clos close e collegues and Hoist considered th e Pastorale Symphony among his h is favorite of Vaughan Williams' Williams' works. Hoist, Debussy, an and d Ravel a all ll chose to use the vocalise in ethereal settings.
Hoist used a six-part chorus of female
voices in the last movement of the Suite, 28
Kennedy, 171
Neptune, the
7
Mystic.
The chorus, placed offstage, is offstage, is given given a sustained,
chordal line throughout. throughout. Sir&nes, In Sir&nes, voices to portray voices to portray the spirits. the water spirits.
Debussy uses the uses the
Eight sopranos and sopranos and
eight mezzo-sopranos ad mezzo-sopranos add d to the tonal the tonal texture with sustaine sustained d notes, rhythmic undulating figures figures and occasional imitations of melodic of melodic motives in motives in the the winds and winds and strings. strings. The indicatation, indicatation, a bouche fermee,
is is used on used on occas occasion. ion.
Ravel
employs the employs vocal timbre timbre tenors and the vocal of sopranos, of sopranos, contraltos, tenors and basses basses participate in the stage action in Daphnis wh o participate in the stage action in Chlo6
An
A,
indicating the indicating the syllable syllable ah,
nd
is placed placed at at
the beginning beginning and and alternated alternated with passages passages for for Bouches ouvertes.
For performances without the without the chorus, Ravel has Ravel has
included inclu ded alternate parts, rewritin rewriting g for for winds the winds the choral choral parts for parts comprised of for a large a large ensemble comprised o f woodwinds: piccolo, flute, flute , alto flute, oboe, English English horn, clarinet clarinet, , bass clarinet, clari net, bassoon; bassoon; and muted brass, especial especially ly horns and horns and bass trombone. The Th e technique technique of vocalise of vocalise has has had had a selective application in application in concert concert music for music for voice.
Initially Initially a vehicle
for vocal virtuosity, virtuosity, the the vocalise vocalise has been used incr increasi easingly ngly by twentieth-century composers to composers to explore explore the the timbral timbral possibilities of possibilities o f the the voice.
This new-found new-found use use of the voice
instrument promises to promises to be an inportant avenue for avenue for the as an an instrument future development of development of the twentiethtwentieth-centu century ry chamber chamber music with its with its rich rich and and varied varied tonal palette.
CHAPTER II PERFORMANCE CONSIDERATIONS
Introduction T h e performance considerations considerations noted in this chapter
combine information in the areas of timbre, vibrato, vocal, a n d instrumental technique with observations of the
performers f o r this study/performance. T h e purpose is to aid in the analysis a n d performance of the works selected for
this study. f e w similarities in all the instruments studied can be
noted. T h e voice, flute, a n d clarinet a l l show a n increase in harmonic partials in louder dynamic situations and
subsequently, a weakening in upper harmonics in softer dynamic levels. T h e upper regions of their respective ranges demonstrate a lack of up upper per partials with t h e flute a n d voice both approaching a sine wave (pur (pure e tone). T h e differences in voice type a n d make of instrument
contribute to the timbral blend of the performing instruments.
particular voice type is characterized by the
relative strength of the upper partials of a given tone a s well as the singer s range. T h e same tone sung b y a mezzosoprano, a lyric soprano, a n d coloratura soprano will display
8
9
different variations variations will be of partial of partial intensities that will perceived perceiv ed aurally aurally as being relatively rounder,
with more edge . or with
brighter, brighter,
darker, darker,
Similarl Similarly, y, certain certain makes of makes of
clarinets, mouthpieces, reeds, flutes, and flutes, and flute flute headjoints will elicit elicit the the same perception perceptions. s. Timbre in Timbre in Voice. Voice. Flute, and Flute, and Clarinet Clarinet To achieve achieve a compatible ensemble, a ensemble, a fundamental fundamental understanding o understanding of f the the acoustical acoustical properties o properties of f vocal vocal and and instrumental timbres is timbres is necessary.
Such knowledge knowledge is is
essential in ascer essential in ascertaining taining those those timbral aspects o aspects of f a given composition that that are potentially y problematic. problematic. are potentiall
This study study
does not does not offer offer an indepth scientific explanation o explanation of f the passages under considerat consideration; ion; rather it rather it summarizes summarizes the the most current and current and authoritative research in research in more more general terms and terms and applies the applies the information information to to various performance situation situations s that arise in arise in the works being analyzed. In the three the three works chos chosen, en, the the distin distinct ct combination of combination of instruments, intervals, musical figures, etc. figures, etc.
provides provides a
challenge to challenge to the performers' execution o execution of f the various the various timbres.
Certain situations seem to seem to require require that the that the
instruments approximate approximate others may a similar timbre while others ma y be enhanced enhanced by a distinct difference. difference. For example, example, the the inclusion of inclusion of the piano piano in in the Ibert
ria complicates the complicates the
texture requiring requiring the the vocal line to line to be more distinct from the from the flute. flute. In the Chance the Chance Duos I
however, a however, a similarity similarity o of f timbre
20
emphasizes t he instrumental instrumental quality of the voice a nd enhances th e dissonant character of the work. In the Vaughan Williams Three Vocalises
th e register of the clarinet is a major
determining factor if timbral similarities similarities a r e preferred. Th e relative inflexibility inflexibility of the clarinet tone limits that
ensemble member's range of o f timbral flexibility. flexibility.
Each of the
works requires a different musical character that is partially expressed in the timbral aspects of the ensemble.
Vocal
imbre
Th e vocalise technique emphasizes t he vowels of words
almost exclusively.1 T he most common vowel formations used b y singers of Western European a nd American a art rt music for
sustained tone a r e generally restricted restricted to father; ee ooze o r moon.
as in £ve or each, oh
as in hst or
as in own and
oo
as in
Composers of works fo r textless vocal parts
invariably ask for for an ah
ah
ah
vowel when specified specified at all.
The
syllable is the most resonant vowel syllable fo r most of
th e soprano range.
However, other vowel formation formations s ca n also
enhance th e timbre of the tone in various registers and in conjunction with other instruments. instruments. T h e vocal tract functions somewhat like a cylindrical
tube closed at on e end
(at the larynx). Th e first two, and
J-Melodies set to texts comprised of nonsense are the exception.
syllables
2
to some extend the third, standin standing g wave wave patterns patterns o of f the
spectrum envelope o of f this tube are the most important important in vocal acoustics. acoustics.
These correspo correspond nd to a node-antinode node-antinode pattern
in a tube. The manipulation o of f vowels creates a distinctive
intensification at specific frequencies at these node nodeantinode points in the tube and allow recognition o of f the vowel.
This unique set of frequencies (o (or r pitches) is
referred to as formants. The first formant has a frequencyranging rangi ng over a few hundred hertz on either side of of 500 Hz, the second the same range around 1500 Hz, and the third, 2
around 2500 Hz . The female vocal tract tract is on average 17% shorter shorte r than the m male ale s, thus, thus, the forman formant t pattern pattern of of the same vowel sound sound in females is about three semitone semitones s higher, and the child s formant formant pattern is a semitone semitone higher higher still. still.
recognition process process o The Th e brain s recognition of f the vowel makes an allowance for such variations. The Th e exact set of formants is not fixed.
Each vowel reson resonates ates a at t its own frequency frequency, ,
approximately at a stable set of formants, regardless o of f the pitch being sung. sung. The resona resonant nt frequency frequency will rise under the two conditions: the reduction of the diameter of the tube at
pre ress ssure ure anti antino nofl fle e and with the expansion of the diameter at a p pressure node. In general, the a pressure
2
ah
Murray Campbell, h e Musician York: Schirmer, Schirmer, 1988), 1988), 480.
vowel raises the first
s Guide t o Acoustics {New {New
formant frequency by lowering the jaw and expanding the diameter at the first first formant formant pressure pres sure node. oo
Both ee
and
vowels produce a low frequency first formant. The
second formant is enhanced by the
ee
sound while the
ah
vowel has an overall fall in the second formant frequency. The
ee
vowel's second formant is around 2000 Hz, 500 Hz, or
approximately a perfect fourth higher than the t he cylindrical model. The
oo
vowel results in a further drop in the
second formant frequency of below 700 Hz. In summary, each vowel sound sound has its own timbral
characteristics that that are a result of these combinations of formant forma nt frequencies.
Researchers Researchers concerned concerned with tone color
have borrowed terminology from the th e field of o f phonetics to o r sound color describe t he timbral characteristics characteristics or
of a
given vowel.3 These descriptive terms include: Openness (relative to the size of the oral cavity), Acuteness (brightness), Laxness (the distinction between long and a nd short vowels), an d Smallness
(the dimensions of the acoustic tube
or the overall size of other sorts of resonators).4 The
ah
3
Wayne Slawson, Sound Color (Los Angeles: University of California Press, 1985). Th e author's choice choice of terminology fo for r timbre o or r tone color. 4
Ibid., 57 57. . This aspect has an indirect relation t o
due to the of relatively or o r timbre physical large long objects to resonate at tendency low frequencies and a nd small or short objects t o resonate at high frequencies.
3
vowel exhibits exhibits a high content content of openness throughou throughout t much of much of the middle to middle to high high range o range of f the soprano the soprano voice. Acuteness
r
the brigh bright t quality quality o of f timbre, timbre, is is the result the result of of an increase an increase in in frequency of the second frequency of formant as is the case case the second formant as in the
ee
vowel. vowel. corresponds to the relative The Th e laxness of a vowel corresponds to relaxed state o state of f the the muscles. as in in apple apple and vowels, vowels, ee
ah
and
Short Short vowel sounds sounds such such as
have have a medium laxness
oo
a
while the while the long long
have a have a low laxness. Th The e idea idea o of f
smallness does does not have have any correlation correlation to to features features in in
vowels. It does, vowels. contribute to the overall It does, however, contribute to the overall timbre because of because o tendency objects, as noted. f this tendency of resonating of resonating objects, The vowel vowel oo
has a medium-low smallness meaning a meaning a larger larger
diameter diameter and lower frequency), frequency), ah, quality, quality, and
ee,
a medium smallness
a medium-high smallness, indicating a indicating a
smaller diameter diameter and higher frequenc frequency. y. In preparing preparing the the works in works in this this study, the study, the performers determined the determined the kind of kind of character character of of each each musical phrase through experimentati experimentation. on.
Various sylla syllables bles or or colors colors were
chosen depending depending upon the upon the context. context. For examp example, le, each note could could altered to b e altered to add more openess or more acuteness. A long oh, long
vowel
adding openness) creates creates a darker timbre
while syllables syllables with smallness produced produced a a brighter brighter tone. In addition addition to to affecting affecting timbre, the timbre, the singer singer can can manipulate manipulate the vocal formants formants to intensify intensify the the amplitude amplitude of of pitches. pitches. As an example, an example, the the first formant of formant of the vowels, the vowels,
4
oo
or
ee
resonates at a frequency around that of the
pitch E 4 SO S O that t h e first formant of these vowels matches this pitch as it is vocalized. B y opening h e r mouth progressively wider, t h e soprano ca n keep this first formant
in tune with t h e sounding note up to 932.3 Hz or approximately t h e pitch A # 5 . Similarly t h e vowel ah, resonating at a higher frequency frequency of around 7 00 Hz,
can
resonate with pitches between E 4 and G 4 at their second partials; with a rise in pitch, however, t h e first partials
of tones corresponding to the
ah
first formant frequency --
approximately from t h e pitch F 5 -- are tuned to this formant. This phenomenon of formant tuning tunin g
h a s been
systematically categoriz categorized ed a n d used in vocal training and by
a number of vocal pedagogues, among them Berton Coffin.5 Using t h e International Phonetic Alphabet, he has carefully charted t h e vowel formations corresponding to the tuned formant f o r each syllable in four languages over t h e entire vocal range.
Coffin h a s developed t h e method based on his
understanding of vocal tone development a n d cultivation. Such a thorough application of this technique further demonstrates t h e extent to which acoustical study h a s been applied t o vocal pedagogy.
Although scientific scientific application
does n o t ensure a greater musical product, understanding h o w 5
Berton Coffin, Overtones o f Scarecrow, 1980)
el
anto
(Metuchen, N . J . :
5
a mechanism works is works is beneficial to beneficial to the the performer interested in in applying those acoustical acoustical principles in principles in new performance new performance situations. situations. Th The e voice voice is is an extremely an extremely flexible instrument capable capable much broader palette palette of creating of creating a a much of timbre of timbre than instruments. instruments. The Th e singer singer who is willing is willing to to experiment experiment with timbre can timbre can contribute contribute tremendously to tremendously to the blend and blend and contrast contrast of an ensemble an ensemble setting.
Flute Flut e Timbre In comparison comparison to to the the other orchestral orchestral wind instrumen instruments ts the flute flute is is possibly possibly the the closest closest in in tone quality quality to to the human soprano soprano voice. voice. Its flexibil flexibility, ity, comparable tessitura, contribute to its compatibility as an and vocal-like vibrato contribute to its compatibility as ensemble partner.
Like the Like the voice, voice, the the flute, flute, in in its low and and
middle registers, registers, displays displays strong strong harmonic overtones. overtones. In the third register the register the timbre approaches a approaches a sinusoid sinusoidal al wave pattern, displaying a displaying a nearly nearly pure tone with very little little upper harmonics, similar similar to to the lack the lack o of f upper partials in partials in the extreme range range o voice. flutist can of f the the voice. As in singing, in singing, the the flutist can change change the shape shape of of the formants the formants by manipulating manipulating the the shape shape o of f the airstream airstream in in the flute the flute tone, though to though to a lesser a lesser degree. Many flute teachers teachers profess the profess the merits o merits of f modifying modifying the the oral cavity to cavity to enhance enhance timbral quality quality and variet variety. y. with the with exception o extreme range the exception of f the the
Nevertheless, Nevertheless,
around around 100 1000 0 Hz, C 6 ,
conclusion of acoustical researchers is researchers is tha that t such the general conclusion of acoustical
6
changes in the size changes in size o cavity have very little little of f the oral the oral cavity effect on timbre. effect on timbre. perceived d change in change in tone quality is quality is Any An y perceive 6
attributed to attributed to a change change in in the focusing focusing of of the air jet. air jet. This focusing of focusing of the air jet is is manipulated by manipulated by the flute the flute embouchure embouchure and determines determines the the pitch as pitch as well as well as tone. tone. Variations in Variations in embouchure embouchure shape, the shape, the relative relative relaxation o relaxation of f lips, the direction o amount of the lips, the direction of f the air stream, air stream, and and the the amount of lower lip covering lower lip covering the plate all contribute contribute to the embouchure plate to a wide variety of variety of tone tone color color and pitch flexibility. flexibility. A flutist at the artist the artist level is level is able able to to use these various various tone qualities to qualities to adapt adapt to to many performance performance dema demands. nds. In Kincaidiana, Kincaidiana, John Krell reco recounts unts William Kincaid Kincaid s views views on on flute tone. Flutists should emulate emulate [the [the violinist s] tonal options and options them. For example, and try to approximate them. flute can produce produce a finger-board flautando the flute can (lots (lots across the hole) or a of loose of loose air across the mouth hole) or bristly bridge tone {press {pressure ure of tight of tight air air directed directed more into the into the flute) flute) together together with al with all l the intermediate intensities. intensities. ...Flute ...Flute tone, then, then, is is capable of an extremely complex phenomenon capable o f great variations and variations and modulations. modulations. The flutist should should be able to able to change change the the color color of of his tone his tone to to suggest suggest perfumes, to perfumes, to indicate indicate textures o textures of f light light and and darkness, to darkness, to reflect reflect emotions o emotions of f rage, repose, etc. repose, etc. Tone is Tone is one of the most central central means of means of musical musical communication. Since music music has many different different kinds of kinds of things things to say the flutist the flutist should should b e 7 capable capable of producing of producing a a variety variety o of f tonal qualities.
6
Campbell, 287. Campbell, 287.
7
John Joh n Krell, Krell, Kincadiana; Flute Player s Notebook (Culver (Cul ver City, City, CA: Trio Assoc., 1973), 1973), 9-13. 9-13.
7
Although rather poetic, this statement illustrates the expressive expres sive breadth of timbre demanded o of f the flute. Regardless o of f th e acoustical limitations o of f a fixed tube with which the vocalist is not encumbered, the flute is among the most timbrally timbrally expressive of of the woodwinds. headjoints As alluded to previously, flutes and flute headjoints vary in relative strength of the harmonics displayed displayed throughout the scale. scale.
This is aurally perceived in qualities
expressed by terms as brilliance, lightness/ heaviness,
intensity, intensity,
warmth, etc
edge,
Competitive
manufacturers are developing flute design ar e continually developing variations that will deliver an ideal ideal flute flute tone.
This ideal ideal
is difficult to define, considering considering the variety and abundance of professional flutists in this country country alone.
However, However, in
questioning the application o of f blend with voice, similar perceived qualities qualities are to be considered. While the singer is capable o of f producing remarkably flute-like flute-lik e tones, the flutist is limited in imitating the variety of vocal timbres. timbres.
However, However, the flutist can strive to
adopt the singer's timbral flexibility flexibility and contribute to the timbral timbra l palette of the ensemble in this way
larinet larin et Tim bre
The Th e clarinet performs acoustically as a cylindrical
tube, and with the action o of f the reed, acts as a closed pipe.
8
register of identified by The fundamental register o f the clarinet the clarinet is is identified by a near absence absence partials and an exaggeration of even-numbered of even-numbered partials and an exaggeration of of peaks in the odd-numbered harmonics, displaying five distinct peaks in envelope. third registers the spectrum envelope. In the second the second and and third fewer harmonics are harmonics are present present and and the even partials partials are more significant. Conflicting studies report report the ability o the ability of f the oral the oral cavity to cavity function resonating g chamber chamber in clarinet net tone to function as a resonatin in clari production.
According to According variations in the to some studies, variations in
size and shape size shape o oral cavity proved to proved to effect effect little of f the the oral change in change supported a in the the harmonic spectrum while others supported a 8
significan signi ficant t change. There is There is evidence evidence to to suggest suggest that the that the tongue placement, while changi changing ng oral cavity cavity volume, actually 9
acts to acts to manipulate the manipulate the air pressure air pressure and flow. This affects the tone quality, quality, especially especially in in the the higher registers registers. . Embouchure Embouchur e variations, variations, i.e., i.e., placement placement and and pressure pressure placement of the the lips lips upon the upon the mouthpiece, mouthpiece, create an create an importa important nt variance
8
Charles E. Charles E. Lawson, Lawson, An Investigation An Investigation to Determine if Determine if the Oral Cavity Cavity Acoustically Influences Influences the the Radia Radiated ted Wave Form of Form Arbor: Arbor: University University Microfilms, Microfilms, of the Clarinet the Clarinet (Ann (Ann 1974) . . Geoffrey Rendall, h e Clarinet Some Notes upon i t s History a n d Construction Construction (Lond (London on: : Ernest Benn, 1971). Fredrick Thurston, Clarinet Thurston, Clarinet Technique Technique (Lond (London on: : Oxford University Press, Press, 197 197 3). 9
Lawson, 79. Lawson, 79.
9
upon tone quality. quality.
difference difference of of .00 .0065 65 inches in inches in lip 10
placement can placement can make make a a noticable difference difference in in quality. quality.
The Th e affect affect of of the mouthpiece mouthpiece and reed reed combinatio combination n upon timbre is timbre is also significant. significant.
Considerable research in research in
mouthpiece design design has ha s resulted resulted in in an abundance an abundance of timbral of timbral choices. choic es. barrels
Various makes and makes and models of models of instruments instruments reeds
custom
and ligatures ligatures all make clai claims ms o of f offering
various degrees of degrees of refinement refinement in in tone tone qualities. qualities. flute
s with with the the
careful analysis of analysis of tone tone qualities shoul should d be
considered. The Th e clarinet clarinet is is acoustically acoustically more limited limited than the than the flute in the the variety of variety of timbres possible.
Fortunately
the rich
harmonic spectrum o spectrum of f the clari the clarinet net tone blends with the with the voice without necessitating close similarities o similarities of f tone color. Other attributes attributes of of the the clarinet
such as such as the the expressive
dynamic control and control and the legato playing style style
compensate for compensate for
the lack lack of of timbral timbral variety.
Conclusions Conclusions and Applications Applications of of Timbre Timbre Study Through study study of of the acoustical the acoustical basis for basis for timbre timbre of of these instruments
it must it must b e kept kept in in mind that perception of perception of
timbre timbre and timbre combinatio combinations ns often belies physical fact. The area area of of interest interest in in this study study focuses focuses upon what is what is per eive 10
1
instrument s timbre in timbre in performance in an an instrument
Ibid.
3
situation situ ations. s.
With this in this in mind
a few applications few applications of of this this
knowledge knowledge may ma y support perceived experiences. 1
The timbres of The timbres of the the human voice
flute
and clarinet clarinet can can
vary considerably according to according to individual individual voice and voice and instrument instrume nt type type and technical training.
This allows for allows for
numerous variables in variables in timbral timbral combinations beyond the beyond the gross physical characteristics of characteristics of their timbral timbral acoustical acoustical spectrums. 2
The timbre of The timbre of the voice the voice can can be manipu manipulated lated with more
variety than the than the instruments
but characte characterist ristic ic vocal tone
quality may quality may be sacrificed be sacrificed in in the attempt. the attempt. 3
Adjustments in Adjustments in embouchure shape shape and pressure
direction of direction of the air stream
as well as well as
are possible in possible in wind wind instrume instruments nts
to approach timbral blend with the with the voice. 4
Considerable Consider able unconscious adjustmen adjustment t take takes s place between
artists as artists as a matter matter o of f course course in in ex extended tended ensemble experience. experience. The Th e ability ability o of f the ear to make subtle subtle adjustments in adjustments in timbre timbre cannot cannot be underestimated. 5
Other factors factors that contribu contribute te to to timbre timbre characteristics
in a performance performance setting include: dynamics
vibrato
combination o combination of f instruments instruments and and the texture texture of of the musical the musical context. contex t.
These factors factors all must must b e considered considered in in making tone
color decisions.
3
vibrato vibrato is vibrato is produced produced by several different methods: the methods: the Thoraco-Abdominal Laryngeal two
known known vibrato), the as diaphramatic vibrato), the
thro throat at vibrato), a vibrato), a synergetic synergetic combination o combination of f the
types of vibrato vibrato and the Jaw vibrato. Jaw vibrato. The Th e various types of
generally produce produce fluctuation in both the both the amplitude a fluctuation in loudness) or loudness) frequency or
pitc pitch) h) with with a more signific significant ant a
fluctuation o fluctuation of f amplitude amplitude in in the case the case o of f the diaphramatic the diaphramatic and and of frequency of frequency in in the others. Vocal vibrato is vibrato is expected expected and applied applied in in tra trained ined singers except in except in specified cases such such as early music or music or for specia special l effects. The vast majority of effects. majority of trained trained concert singers use singers use a laryngeal laryn geal vibrato exclus exclusively ively. .
This results results in in a fluctuation a fluctuation
frequency frequency primarily an primarily and extent in in in d to a lesser a lesser extent in amplitude. In flute vibrato, manipulation manipulation o of f the the thoraco-abdominal thoraco-abdominal muscles results results in a fluctuation a fluctuation in in amplitude. amplitude.
Some
variation in variation in frequency also occurs with the with the natural tendency of the flute the flute to to sound sound at at higher frequenci frequencies es with an with an increase increase in amplitude. amplitude. The use of laryngeal vibrato is vibrato is used used less commonly, inspite inspite of arguments of arguments advanced in advanced in support support o of f its relative merit merit and and applications.
Controversy Controversy has ha s arisen over
referred to by the French its misapplication, referred to the French as as the bleating nanny-goat or of a nanny-goat or Chevrotement
because this type type of vibrato of vibrato
3
results in a more significant frequency fluctuation. 11 This is not to imply that these methods of vibrato a r e unrelated
phenomena.
Certainly some sympathetic movement in the larynx
occurs in the application of diaphramatic vibrato. The purpose of this study, however, is to determine t h e aural results of each type of vibrato rather than their physical physical origins. Traditionally, the use of vibrato in clarinet performance h a s been shunned in the United States for two reasons.
First, First, American clarinetists clarinetists have adopted
characteristics of both t h e French a n d German styles of playing, in regard to vibrato, t h e tendency h a s been to favor t h e German consistency of tone over the use of vibrato, characteristic of the French style.
Secondly, the use of
vibrato, which h a s been closely associated with th e jazz idiom, further alienated it s usage on the concert stage. With t h e last generation of professional clarinetists, however, vibrato is gaining acceptance in this country. Clarinet vibrato is usually activated b y movements in t h e tongue and jaw with a small minority of players using the
abdominal o r laryngeal laryngeal methods. In the case of the
jaw
vibrato, t h e fluctuation is more prominent in frequency
i:L
Jochen Gartner, Gartne r,
onsideration
given given
to
h e Vibrato with Situation the of
Particular the Flutist
{Regensburg: Gust Gustav av Bosse Boss e Verlang, 1981 , 76.
rather rathe r than amplitude. amplitude.
Applications Applications of vibrato in clarinet t of vibrato in clarine
playing tend tend to conservative in comparison to flute to be conservative in comparison to flute vibrato, activated activated at notes or d at the ends the ends of held of held notes or in selecte in selected passages. Some opinions regarding instrumental instrumental vibrato not vibrato not necessarily supported supported fact are of value value and by scientific fact are and should should be included because they reflect reflect a a tendency tendency in in aural aural perception.
These include include the the related related statements that the that the
flute needs vibrato because of because of its its pure tone
and relative
lack of lack of upper partials; converse conversely ly the the clari clarinet net does does not not require vibrato because o because of f its rich its rich harmonic harmonic palette. palette. Neither of Neither of these these statements statements are ar e scientifically accountable but do represent do represent widely accepted views among among a a sizable sizable portion o portion of f the professional the professional community community and therefore should should be noted. The fluctuation fluctuation of of frequency frequency has been reported to reported to be greater among singers than instrumentalists by instrumentalists by as much as much as as a difference difference of a quarter tone. tone. The Th e rate rate of pulsations of pulsations per per second for both voice and second for voice and instruments instruments is range o is at a range of f 5.6 5.6 to 12
second. In this author's experience of experience of using using a tuning 8 per per second. a tuning device, singers singers register register averaging 10 a vibrato oscillation averaging 10above the pitch. pitch. perceived depth depth and speed 20 cents above the Th The e same perceived
12
Carl E. Seashore, Carl E. Seashore, ed. ed. University of Iowa Iow a Studies i n th Psychology of Music (Io Music (Iowa wa City: University University of Iowa, of Iowa, 1932), vo 1932), vol. l. 1 Vibrato 164.
4
of vibrato of vibrato by a flutist registers an registers an average average of 5 cents below to 15 cents 15 cents above the above the pitch pitch while the while the clarinetis clarinetist t under under the same conditions registers an registers an oscillation oscillation averaging averaging of 10
20
cents below the pitch center. center. The Th e pitch difference difference between the singer singer and and clarinet clarinetist ist both using a using a wide wide vibrato can vibrato can therefore be therefore much as cents. reason alone, the alone, the be as much as 40 cents. For this reason clarinet vibrato should should b e questioned. use of of clarinet In the case the case o of f the clarinet, the clarinet, players players are ar e divided divided in in their preferences preferences for for a pure tone
or the judicious the judicious use use of
vibrato as vibrato as the situation merits. merits. In light light of of the evidence the evidence stated above, the above, the use of a a very prominent prominent vibrato b vibrato by y the between the between the singer singer and clarinetist would result in result in an unusually large large pitch center. center. a fast, shallow shallow
shimmeri shimmering ng
Some players players are ar e known known to to use
vibrato.
This kind kind of of vibrato vibrato
is not not aurally perceived as perceived as a large fluctuation in fluctuation in pitch and pitch and proven to be effective effective in ensembles les with voice. has ha s been proven to in ensemb Since the use of vibrato Since the clarinet playing is playing is such such of vibrato in in clarinet a highly charged issue, the issue, the judicious judicious use of it is is generally suggested. Some twentieth-centur twentieth-century y composers composers have used vibrato as vibrato as a compositional device. device. In the Duos I
example, , Nancy for example
Chance uses a uses a normal vibrato, vibrato, a smorzato vibrato, an vibrato, and d no vibrato vibrato as structural elements in elements in variations of variations of the recurring the recurring main theme. theme. In other compositions surveyed, the surveyed, the technique technique is is used as used as a melodic enhancement enhancement. . In Stanley Walden's Coronach
5
Kaddish
th e soprano an d English horn parts have recurring
sections in which a quarter tone, non-synchronized alteration in pitch is notated. Th e voice part fluctuates t he pitch in th e manner of a vibrato while t the he English horn is instructed to use a key manipulated pitch alteration ( halfhalf-clos close e B
key ).13 This mechanical type of pitch alteration produces a change in timbre as well as pitch. Th e Vocalise for fo r soprano, flute, a nd piano b by y Henry Cowell realizes a tone color vibrato in a different manner. A series of quarter notes is notated with a n alternating accent and an d harmonic symbol. A note explains t he harmonic symbol as an unaccented tone and th e accents to be stressed b by y sudden thrusts of the
diaphram.
th e effect Since t he t tempo empo marking marking is quite fast, the
is that of a heavy vibrato.
itch
In equal temperament tuning all a ll semitones equal 100
cents, cents , allowing complete freedom freedom in modulation of keys. The major drawback drawback to this system is the mistuned major third which is too large an interval by 14 cents and the minor third, to o small by 16 cents. In performance of instruments in which th the e pitch can be instantly regulated, regulated, this
13
Stanl ey Walden, Stanley Walden, Coronach; Presser Co. 1989), 6.
(Bryn yn Mawr Mawr, , PA: T. Kaddish (Br
6
adjustment can be made to tune to an aurally perceived correct interval. Various studies studies have determined t h e following phenomena in tuning difficulties.14 1)
The greater t h e dynamic contrast, t h e more difficult the
pitch-matching task. 2) Certain tone quality combinations presen present t pitch-matching pitch-matching
difficulties no t found with other combinations. Findings b y A . W . Blatter shed further light on the difficulty t o correct tuning in a performance situation. situation. B y using electronically produced sine waves a n d complex waveforms, Blatter tested both men and women instrumentalists instrumentalists a n d pianists f o r their abilities t o match various
combinations of electronically electronically created timbres. T h e results of Blatter's research pertinent t o this study a r e summarized. 1) When matching harmonically complex timbres t o
harmonically simpler timbres t h e tuning is usually flat. 2 ) When matching harmonically simpler timbres t o
harmonically complex timbres, t h e tuning is usually sharp. 3) Harmonically similar timbres a r e easier t o tune than
dissimilar ones, while more complex timbres a r e more accurately tuned in the majority of situations.
14
Studies, cited in Blatter, T h e Effect of Timbre on Pitch-M atching Judgements Pitch-Matching Judgement s (Doctor (Doctoral al diss., University Univer sity of Illinois, 1974). Murra y Campbell, Campbell, h e Musician s Guide t o Acoustics (New York: Schirmer, 1988).
7
4) Frequencies i in n higher ranges ar e easier to tune, with
females reaching their maximum accuracy at 800 Hz Hz G5) G5) and nearly as accurate above.
Males improved improved up to 18 1800 00 Hz
(A/A#g) and decreased i in n accuracy at 3800 Hz (A#/B7). 5)
The instrument performed by the test subject did not make 15
a significant difference in results.
Although these findings findings only apply to unison pitchpitchmatching, significance to this study is apparent i n a number consideration. In preparing of situations in the works under consideration. th e Duos I
fo r example, unisons between th e voice an and d flute
ar e more accurately accurately tuned when th e voice an and d flute use a
similar timbre.
Conversely, difficulty in i n matc matching hing unisons
between th e voice and clarinet arise when th e timbres differ significantly. Th e timbre of the voice in the low register compared t o that of the flute in the opening of the Ibert ria must b be e carefully
adjusted for the passing unisons to
sound i in n tune. Contrasting dynamics between th the e flute and voice occur in both t the he Ibert
ria and
the Chance Duos I. This causes causes
difficulties i in n tuning intervals. In addition to these tuning problems, t the he phenomenon of
difference differenc e tones plays a significant role in the combination of voice an and d flute or clarinet. 15
When tw o pitches are
Blatter, Alfred, Alfred, w The Effect of Timbre on PitchMatching Judgements (D (Doct octora oral l Thesis, University of Illinois, 1974).
8
simultaneously sounded in intervals of a perfect fifth o r smaller, difference a n d summation tones a r e created.
Simple
difference a n d summation tones are the difference between two frequencies
f2 - f x in which f 2 represents t h e higher
frequency) or the sum of two frequencies
f2 + f j .
The
summation tone has not proved to be aurally significant in musical contexts. T h e difference tone is quite audible between tones of high frequencies and at a loud dynamic because t h e difference of the two frequencies may lie several octaves below. T h e cubic
difference tone is even more
audible and is derived from f x minus f 2 2f x - f 2 ) . 1 6 This results in a different set of difference tones, a s illustrated in table 1 . Cubic difference differen ce tones a r e more audible at quieter dynamic levels than simple difference tones.
16
The name is an historical accident, arising from a mistaken idea about about t h e origin of the cubic difference tone. Campbell, 65, 169.
39
Notes performed:
Cubic difference tones:
< ?
Simple difference tones:
B
g -
C
ZZ3I
r\\
- g-
—
Table 1: Cubic a n d simple difference tones.
T h e difference tones become a n additional voice in situations in which t h e voice a n d instrument fulfill the above abov e criteria. u s
I
Certain composers
including Nancy Chance in
u s e these tones t o enhance t h e dissonant quality of
t h e work. Both Marilyn Nims a n d Diana Gale performance performan ce study study
noted that that in performance situations situations
without a reference instrument
t o place t h e pitch pitc h sharp quality.
t h e singers f o r this
i.e.
piano
t h e tendency is
attempting t o brighten t h e tone
Instrumentalists performing with singers singers shoul should d b e
prepared t o perform 10 - 20 cents sharp a s needed. The ability t o perceive a correct interval is more difficult difficult if
t h e dynamic of the flute o r clarinet is quieter than the voice or the timbre is less rich. In works requiring the vocalist t o attack notes in a more instrumental fashion
40
correctly corre ctly placing plac ing t h e pitch at the attack of the note) pitch accuracy is one of the most difficult challenges.
Singers
tend t o approach a tone with a certain variability in pitch center while instrumen instruments ts tend to be more accurate fro from m the beginning of the tone.
oudness
Although loudness h a s been mentioned previously in the context of fonnant tuning a n d vibrato, a summary of the physical characteristics of loudness loudness perception would b e helpful i n performance situations. situations. 1)
The richness of the timbral harmonic spectrum for the
voice, flute, a n d clarinet are all dependent on the dynamic at which t h e tone is performed. T h e louder t h e tone t h e more
enhanced t h e upper harmonic spectru spectrum. m. 2) Certain vowels a r e perceived louder o r more intense
because of an enhancement of upper formants. The f o r instance, will sound more present than oo
ah
vowel,
at the same
intensity. 3) Certain instrumental equipment, i.e. mouthpieces, head
joints, reeds, will produce a louder intensity level than others. 4)
The use of vibra vibrato to enhances perceived loudness.
5) Although l ow tones have a minimum threshold of audibility
notes, lower notes require a of more decibels than higher notes,
4
relatively smaller change in change in decibels decibels to to affect affect the the full gamut of gamut of musical musical dynamics. dynamics. 6) 6) There is There is a a greater decrease decrease in in loudness loudness o of f low pitches low pitches than high pitches with with an increase in distance from the from the sound an increase in distance source. 7) Difference tones are tones are aurally more noticable noticable at a louder dynamic.
Extended Techniques In several several of of the the works for works for an ensemble an ensemble o of f textless voice and voice and woodwinds, the woodwinds, the fluttertongue flatterzunge) technique is technique is used both the instrument instrument and voice. technique is produced for both the and voice. The technique is rolling by a rolling R
sound in the voice sound in voice flute. and flute. In the reed the reed
instruments, the effect instruments, the effect is more difficult to difficult to execute execute because is more intrusion of into the oral oral cavity. cavity. The of the the intrusion of the the mouthpiece into the same effect effect can reed instruments with a with a throat throat can be produced be produced on on reed growl. growl. In the Finale the Finale of of Jerome Jerome Rosen's Serenade f for or soprano voice voice and alto saxophone, saxophone, a note speci specifies fies: :
Flutter Flutter tongue
for saxophone, analogous sound (tongu (tongue e or glottal glottal for voice,
as illustrated illustrated in in example example 1.
trill trill )
In this In this movement
the fluttertongue technique is technique is alter alternated nated with rapid, rapid, slurred slurred techical techic al passages and passages and key and tongue and tongue clicks.
42
E £
Voice Sax.
Example 1 : Glottal trill. Finale of Rosen Serenade Reprinted b y Permission of American Composers Alliance, Alliance, NY.
Since
uos I w a s intended a s
a study in dissonance, the
fluttertonguing fluttertonguin g adds a n agitated quality to the selected passages. T h e technique is difficult t o execute a t quieter dynamic levels since t h e rolling R the air stream.
motion is facilitated b y
Both t h e voice and the flute a r e required t o
either add the fluttertongue t o a normal tone (a: (a: m. 27, Soprano part) o r move from t h e fluttertongue t o a normal tone without a break (b: (b: m. 42, Flute part), demonstrated in example 2 . •ftifrt. opr
P
T
27 of Soprano part, b.: m. Example 2: Fluttertonguing. a: m. 27 42 of Flute part, Chance uos I Reprinted b y Permission of Seesaw Music Corporation, N e w York, Copyright, 1976. All rights reserved. International copyright secured.
4
T h e fluttertongue technique technique is used as one of the
timbral variations of the main theme and is used frequently throughout th e work. Most of the special techniques in the works surveyed surveyed are recognized instrumental techniques, i.e., fluttertonguing, variations of vibrato, timbre trills, trills, etc.
The Nancy Chance
and the Jerome Rosen Serenade ar e among th e most
Duos
demanding for the singer a nd instrumentalist. The key and tongue clicks in the Rosen work is an unusual technique. Stems without note heads indicate indicate th e technique and the saxophone k e y clicks ar e alternated with vocal clicks ( tch tch or
1' s ) .
17
Surveying Surveyi ng various vocal a nd instrumental techniques used b y twentieth-century composers f or textless voice a n d various
woodwinds, th e following techniques an d notational indications were found and are illustrated in examples 3-8. 1) Various syllables:
t?rVcjf rts ny u V HA-DL£-A-DA
WHA-3N. WHA-3N.6.-A-DA 6.-A-DA
W H A
DA-DA-DA-DAj
Example 3: Syllables. McBride Vocalise Reprinted b y Permission of Amer American ican Composers Alliance, NY
17
for r Soprano Voice an d Alto Jerome Jerom e Rosen, Rosen, Serenade fo Saxophone (New York: American Composers Alliance, 1964).
44
Soprano
Clarinet i
PermLIim oflSrican S p L e r s l l S a n
=
w
R e p r i n t e a
**
2 Fluttertongue:
Permission of S e e s a w ° S i c 9 C o r S r a t i o n U ° H J ' 76.
* 1
rig hts
reserved
.
Reprinte = - — t
Example 8: Rosen Serenade American Composers Alliance
;
L J 1
^
Reprinted b y Permission of the NY.
6
avant garde twentieth-century twentieth-century works In the the
demands are demands are
often ofte n made made on that are considered considered strenuous. strenuous. on the voice that are
There
is a general a general consensus consensus among most singers singers who wh o feel that
in
making the making the conscious decision decision to perform the perform the often often non non idiomatic demands o demands of f many twentieth-century works
one may
sacrifice permanently the permanently the delicate control and control and tonal tonal beauty required for required for works o works of f a more vocal characte character. r. Of the the works chosen for chosen for this this study
the Nancy Chance
uos
treats the treats the
voice in voice in this this manner. manner. In an interview an interview with the with the composer Chance stated stated that although although she has done some singing
she
did not have not have vocal technique technique in in mind when composi composing ng the the work but treated treated the the voice voice as as an instrument. an instrument.
CHAPTER I I I
ANALYSES A M D PERF PERFORMANCE ORMANCE CONSIDERATIONS O F SELECTED WORKS
Introduction
T h e output of twentieth-century
works fo r textless voice
with a woodwind chamber ensemble is small.
However, t h e
works found pose a variety of performance challenges challenges t o singer a n d some o f
t h e instrumentalist
t h e more
alike.
T h e vocal
the
parts of
avant garde works contain contain voice parts with
non-idiomatic melodic lines, rapid technical passages, difficult combinations of intervals, a n d extended articulated o r strongly
accented passages.
These technical technical obstacles a r e to
combined with another challenge t h e interpretative
music.
For
nature o f
the
t h e poetry
t h e instrumentalis instrumentalist, t,
the
singer:
of
absence
found in texted
performing works with a
singer is notably different than with other instrumentalists. Although t h e more experimental experimental works provide technical technical problems prob lems that require requir e special preparatio prepa ration n
(fluttertongui (fluttertonguing, ng,
smorzato vibrato, jazz style, etc.), t h e most difficult challenge i s adjusting t o
t h e singer
s concept of pitch,
vibrato, rhythm, attack, articulation, a n d phrasing.
All
of
7
8
these elements of music a re approached with a noticable difference by singers than instrumentalists a nd both performers must make some compromises. Th e three works chosen f or this study represent a wide
range of styles a and nd techniques that demonstrate some of the traditional a s well a s more experimental experimental uses of this medium in the twentieth century. century.
Each work provides both artistic artistic
an d idiomatic challenges to the performers.
Ibert s
ria for
and d piano allows the th e performers to explore soprano, flute, an and nd ense tone color a ensemble mble within t he stylistic confines of song
form. Th e Vaughan Williams Three
Vocalises for fo r soprano and
clarinet provides a an n opportunity for the performers to find a balance between contrast an d blend of the two diverse tone colors.
Nancy Chance s Duos
for fo r soprano, flute, and
finger cymbals i is s structured around dissonance an d extended techniques. T he challenges to the performers range from the small structural details such as rhythmic a nd pitch accuracy to the larger ideas o of f timbre, interpretation, an d phrasing. Th e three works provide unique settings for the ensemble of
untexted voice with a woodwind instrument.
RI
(1931) BY JACQUES JACQU ES IBERT (1890-1962) (1890-1962)
Although th e place of his birth and a nd death a re both Paris, Paris , Jacques Ibert s music is colored with soun sounds ds h e encountered in his travels, especially in Italy, Spain, and
49
Tunisia. A major portion of his career wa s spent as director of the Academie d e France in Rome (1937-60). (1937-60).
Ibert's musical music al
style is difficult to categorize because of the many diverse influences influence s which wh ich h e openly embraced; he believed all systems ar e valid, provided that on one e derives music from them.
Early
study i n drama served to conne connect ct music with th e other arts an d reflected h is philosophy that musical expression expression was one
part of a total creative expression expression in response t o human experiences.1 Ibert's apparent affection for the various woodwind timbres is evident in a number of small small chamber works and the three Concerti: th e Flute Concerto (1934), th e Concertino d a camera fo r alto alto saxophone saxophone (1935) (1935), , and the Symphonie Concertante fo for r Oboe (1948-9). (1948-9).
There is certainly sufficient
evidence t o indicate that Ibert felt a deep admiration for th e flute as an instrument capable of enormous expressive
variety a nd technical prowess. T he Flute Concerto (1934) has become one of the most brilliant brilliant examples a of twentiethcentury work for the instrument, exploiting th e flute's full range an d providing a rich palette of expressive opportunities. Ibert's vocal compositions including including opera, cantatas and a number of songs date from th e period of 1910 to 1951, the
^•David Cox, Jacques Ibert, T h e e w Grove s Dictionary o f Music a n d Musicians (New York: Macmillian, 1980), 1980), 1.
of
York: Macmillian, 1980), 1980),
a n d
5
most productive span of his career. Th e opera Angeligue Angeligue is considered one of his most successful successful works. The programmatic character of his songs are a re well adapted to his view of music as an interior interior adventure.
2
Many of them are
orchestrated a nd those from t he film score of
o n Quichotte
(1932) were gathered into an orchestral song cycle. The flute wa s exploited as an obbligato instrumen instrument t previ previous ous to th e Aria
in the songs Deux stales orientees (1925) for f or voice
an d flute.
According to the score, th e Aria (1 (193 931) 1) originally origina lly appeared in the Hettich collection, Repertoire moderne de vocalises-etudes (1907). Th e work wa s arranged and
subsequently published in 1931 and 1932) for a variety of vocal a nd instrumental instrumental combinations which are a re listed on the cover of the piano score an d illustrated in example 9. VOCALISE
collection HETTICH) ALTO rr PIANO VIOLONCELLE
HT PIANO
FLUTE, VIOLON
ET
PIANO
FLUTE
Hautl»U). CLAMNKTTE XT PIANO. CLARINBTTK EM EM LA XT PIANO PLOTS
ET
PIANO
CHANT, FLUTE ET PIANO SAXOPHONE ALTO
MI >
OU
SASSON
DEUX VOIX MT PIANO Example 9: J. Ibert Aria
cover page, page, piano score score. .
Reprinted with permission of Theodore Presser for A. Leduc.
2
Ibid.
5
From th e above list it is obvious that th e number of parts varies in the different arrangements. Si x versions imply t wo instruments: th e alto (viola) (viola) an and d pian piano, o, 'cello and piano, clarinet in A and piano, and the flute a and nd piano. Four indicate three instruments: instruments: t he flute, violin, and piano; flute o r oboe, clarinet, an d piano; voice, flute, and piano; and two voices an d piano.
From studying th e edition
fo r alto alt o (viola) (viola) a nd piano, it is apparent that t he second
part of the three-part arrangements is derived from the accompaniment. T h e arrangement chosen fo r this study/performance
contains t h e following footnote.
a partie d e Piano e s t
celle de la transcription pour Flute e t Violon
dont seule l a
Th The e piano part is
reparation instrumentale e s t modifiee).
that (of th e transcription fo r flute a an n d violin of which only th e instrumenatal part(s) a r e modified). tw o issues.
3
This note raises
First, that th e flute, violin, an d piano version
preceded th e voice, flute, flute, piano arrangement arrangement an d that in the transcription f or flute, violin, an d piano, t h e flute corresponds to the part of the voice and the violin to that of the flute.
Such a supposition is supported b y evidence in
t he piano score with instances of violin markings in the
flute line such a s a mute mut e indication ( Sourd Sourdine ine ), bowi bowings ngs
3
Appears on the instrumental a nd piano parts, Ibert Aria fo r Soprano, Flute, a nd Piano, Leduc, 1931.
5
a n d harmonic symbols. It is most probable that this evidence
does no t constitute a preference of one transcription over 1
another b u t merely demonstrates a n example of Ibert s attempt t o control printing costs. T h e second issue concerns t h e modification of the
instrumental parts, a s noted.
This distribution of melodic
material differs in the two versions. T h e passages in question occur at mm. 13-19 30-39
Example 1 0 0, , a. and b.
Example 11, a. and b. .
and mm .
5
Voice
3..
Voice
Violin b.
Violin
Example 1 0 : Differences in editions J . Ibert ria mm . 13 1319 of the Voice/Flute/Piano a.) f a n d Flute/Violin/Piano b.) versions Reprinted b y permission of Theodore Presser for A. Leduc
5
Tempo
Voice a.
Flute
Voice Flute
Tempo
H
Temp o
Violin=
Flute
Viol n
o c o
rlt
/ /
Tem po
Violin
Example 1 1 : Differences in editions J . Ibert ria m m . 3 1 13 9 o f t h e Voice/Flute/Piano a.) a.), , and Flute/Violin/Piano b.) versions Reprinted b y permission of Theodore Presser f o r A . Leduc
These passages in the flute, flute, violin arrangement transform th e work from a song without without words in the voice, flute version, to a chamber work. In the second passage,
m m . 30-39, Ex. 10, of the voice, flute version, t he voice is imitated by the flute in canon, an octave higher. In the flute, flute , violin version, however, th e violin part leads the melodic line with th e flute imitating in canon a n octave lower.
These t w o factors, th e octave displacement and the
instrument leading th e melodic canon, canon, also determine the ensemble focus of the work.
In mm. 32-33, melodic lines extend higher in the flute, violin version than t h e voice, flute arrangement.
When
applied to the voice, flute version, t he range is difficult
for the singer b but ut can be managed.
Adapting th e flute,
a nd voice is quite effective, violin arrangement fo r flute and effective, distributing t h e melodic interest interest more equally between the
tw o instruments. T he
ria is
set in a slow tempo temp o
Larghett Larghetto o quarter quarte r note
= 4 8 ) i n 4 / 4 time with th e principal tonality in F Major. T he style is cantabile, reminiscent of the Rachmaninoff Vocalise
1912). T h e range of the voice is relatively low,
from C 4 to Bb 5
lying lyin g primarly in a lower tessitura. tessitura.
Traditional notation is used and no extended techniques are required for any of the instruments.
6
T h e melodic interest i s primarily i n t h e vocal line with t h e exception o f t h e return o f t h e A section in which both
solo instruments share t h e melodic interest. T h e piano part provides a rhythmic a n d harmonic accompaniment a n d color throughout. T h e form o f t h e Aria
is A B A 1 Coda. T h e texture i s
homophonic f o r t h e first t w o sections a n d polyphonic i n t h e A ' section. T h e voice, performing t h e aria melody, is
accompanied b y t h e flute a n d t h e piano i n a five-note scale i n contrary motion (see example 1 2 ) .
1r
FLl TE
f,'
Larghetto U=4s ft
A
4
-
—
-
~ y yinr •
PIANO L
1
"" O
-< « —
t-
.
i
l
"~"U' -
l
'
1
1
Example 1 2 : Texture of opening, m m . 1 - 3 , Ibert Aria. Reprinted b y permission of Theodore Presser f o r A . Leduc.
It is curious that t h e arrangements o f t h e Aria involve t w o o r three instruments. I n example 13, the nature of the
piano part is at odds with t h e flute line with passing dissonances.
57
FLUT
—-r i i i 1
—
P = - ~
—
PIANO
=a>
j
j
ft * J
tr J
*
~
Example 1 3: Dissonance between flute a n d pia piano no parts m m . 7 8 Ibert Aria Reprinted b y permission of Theodore Presser for A. Leduc.
Since t h e flute part of this study/performance plays a supporting role throughout t h e work
it is conceivable to
perform this edition without without t h e piano. T h e work stands o n its own and is effective in performance as a duo.
Performance with t h e piano part is also effective
though the
texture i s more contrapuntal. contrapuntal.
Performance
In this work
onsiderations
vibrato is a major performance
consideration. In the voice a nd flute depth
speed
t h e difference in
a n d application of vibrato is most apparent.
Flute vibrato i s generally no t used during moving technical
passages and is shallower a n d faster than t h e voice.
This is
8
especially t he case in the high register of the flute.
Both
ca n adjust these vibrato attributes, depth, speed, performers can an d application, to affect a closer match. In terms of the experimentation experimentation with timbre, the
performers found that that the low register of the flute, as in t he opening, produced a rather bright an d resonant timbre
compared to the voice in the same register. A darker tone on t he flute, combined with a brighte brighter, r, more mor e intens intense e oo
vowel
by the singer, seemed to offer a better blend. In the
imitative section (mm. 30-39 , th e flute line, in a relatively bright register for the instrument, tends to overshadow t he voice in a less resonant register. The passage demands careful attention t o dynamic balance and timbral blend. T h e addition of the piano requires t he other performers to play with a more projected tone t o clarify the parts in the thick texture. In several instances th e voice a n d flute share some
dissonant suspensions.
These offer a n opportunity for the
a n d vibrato blending skills performers to use their timbral an to enhance these thes e dissonance-consonance situations. situations.
Difference tones a re produced b y some consonant intervals of these intervals and can enhance th e aural richness. present.
However, these a re masked when th e piano part is
9
Th The e tuning of the major and minor thirds is critical in the Aria. Th The e closing six measures alone, in example 14, contain nine thirds to adjust.
im
Example 14: Thirds in last six measures, m mm m . 40-45, Ibert Aria. Reprinted by permission of Theodore Presser for A. Leduc.
THREE VOCALISES (1958) BY RALPH VAUGHAN VAUGHAN WILLIAMS (1872(1872-195 1958) 8)
Ralph Vaughan Williams Williams is credited credited with
re-creatin re-creating g an
the e symphony a as s a English musical vernacular vernacular and establishing th
form of central significance for the English revival.
4
From
an early period of his life, he collected folksongs and
adapted these in his own works as well as for T h e English Hymnal (1906). He became an authority in the collection of
folksongs, especially those of Sussex, Sussex, Norfolk, an and d Essex and
4
Hugh Hug h Ottaway, Ottaway,
The ew Ralph Ralph Vaughan Williams, Williams, Grove s Dictionary o f Music a n d Musicians New York:
Macmillian, 1980), 577
60
collected over 800 in all.
His music is decidedly English in
style an and d character and is compared to t o Bartok and a nd Kodaly who elevated folk music in Hungary.5 In the last decade of his life, lif e, Ralph Vaughan Williams wa s active in London s performance seri series, es, th e Cheltenham Festival, and the Three Choirs Festival a s well a s various London concerts; concerts; in spite of deafness a and nd poor health, he continued to t o compose. His t he morality last las t works include t he last three symphonies, the
play T h e Pilgrim s Progress (1949) and a number of songs and cantatas. Th e Three Blake Songs (1957) for f or voice and a nd oboe were written for the film T h e Vision o f William Blake. This work is for tenor o r soprano, and the oboe part may be transposed for Bb clarinet as suggested by the composer.6 Th e Three Vocalises were written in March of 1958 before th e premiere of the Ninth Symphony. Hi s long-time friend and
singer, Margaret Margar et
(Mabel (Mabel) ) Ritchie (1903-196 (1903-1969) 9) was its
dedicatee. He r career in opera wa s highlighted by the roles of Pamina in Mozart s
Lucia in i e Zauberflote,
the first
Glyndebourne production of Britten s Rape o f Lucretia, and Miss Wordsworth Wordsworth in Britten s Albert Herring. He r voice has been described a s small, clearly produced, and of a pure quality. She is reported t o have an unfailing sense of
5
Ibid., 569.
6
Michael Kennedy, Kennedy, T h e Works o f Ralph Vaughan Williams
(London: Oxford University Press, 1964), 640.
6
style and a nd showed showed unusual flexibility in the execution of 7
florid passages. In his biography of the composer, Kennedy notes that the work w a s published after th e composer's death from the manuscript housed in the British Museum (50481 (50481). ). H e notes: It is probable that that t h e composer would have added more
dynamic indications indications had he been able t o revise t he work before publication. N o dynamics other than those which appear in the manuscript have been added.
8
This statement
also appears on the published score. T he premiere of the Three Vocalises occured at the Free Trade Hall in Manchester on October 8th, 1958, six weeks after th e composer's death. T h e performers were Margart Ritchie a and nd Keith Puddy. The
first London performance was for the B.B.C. Home Serv Service, ice, on December 22th of 1958 with Margaret Ritchie a nd Gervase d e Peyer performing. T h e movements of the Three Vocalises ar e entitled I.
PRELUDE. Moderato; II . SCHERZO. Allegro moderato; III. QUASI MENUETTO. Moderato. Th e duration of the work is approximately five minutes and is of of a medium difficulty. Th e vocal range is from a C3 to C5 but is generally contained
7Des Desmo mond nd
Shaw-Taylor,
Margaret Margaret (Mabel (Mabel) ) Ritchie Ritchie, ,
The
s Dictionary o f Music an d Musicians (New York: Macmillian, 1980), 57. e w Grove
8
Kennedy, 640.
62
within within th e staff. staff.
Like t Like t he Ibert Aria
no special effects
ar e indicated indicated for for the voice the voice o o r clarinet.
Standard Standard notation
is is used. used.9 Th e first movement
th e PRELUDE
is in an ABA
form.
signature contains o contains o ne flat flat a with a n The key key a nd begins with a opening openin g section marked senza misura. Th e pitch pitch of the movement movement is is in D.
The voice makes a makes a n opening statement and statement and
th e clarinet imitates voice on voice on an F F natural.
rising rising to a bri brief ef unison with the with the This leads leads to a contrary motion
pattern pattern of of triplet triplet an d duplet groups of groups of eighth notes opposed in the the vocal line
contributing contributing to to the senza misura style.
Th e voice voice a a nd clarinet clarinet exchange melodic a melodic a nd accompanying roles for roles for the remainder the remainder o of f the opening the opening section. In the opening the opening of t this his first first movement
several unisons
occur that that ar e especially problematic t problematic t o tune because of because of the higher placement placement of of pitch pitch center center used used in vocal in vocal tone production. In m. 1, the soprano soprano ha ha s only only t t he initial initial D D in the clarinet part part as a point point of of reference reference before settl settling ing on on the F.
The clarinet must rise to The clarinet rise to the F held held by by in the the soprano soprano
part part an and d match match th e pitch. pitch. A similar passage occurs in occurs in m. 5. In this case
9
the A in the clarinet the clarinet part implies th implies th e fifth fifth of of
There is There is an editorial an editorial error between between th e concer concert t pitch clarinet line and line and the the transposed line involving involving th e lack lack of of a slur marking in marking in mm. 19-22 of the Prelude movement movement in t the he Bb
part.
6
th e chord and is less problematic fo for r pitch matching.
Both
of these instances a are re illustrated in example 15.
SOPRANO VOICE
coll p rte
CLARINET concert pitch)
senz
Sopr
mtsur
I r
Oir. C)
Example 1 15: 5: Unisons mm. 1-2, 5, 5, Vaughan Williams Three Vocalises Reprinted b by y remission of Oxford University Press copyright 1960.
A measured central section in 3/4
mm. mm. 9-22) is notated
with a quarter note = quarter note tempo marking. Th e style
is lyrical in the voice part and is imitated in canon by the clarinet. A modulation to F minor occurs in this section at
th e climax of the melodic material a and nd descends in range and implied dynamics
to the D minor tonality.
T he strict imitative style of this section section is an ideal context fo r comparing t he differences between th the e voice and clarinet in terms of timbre and vibrato. A detailed
64
discussion of the performer s decisions about such matters follows this analysis. Th e abbreviated return return features a truncated restatement of the opening material. A rapidly rising rising scale passage to th e upper range of both t h e voice a nd clarinet suggests a
climactic climacti c ending. T h e reiteration of a consonant-dissonant figure in the voice sounding sounding below a held D in the clarinet adds to this impression impress ion (example (example 16).
J* Cl«r
fi
C>
y
4 r J
u
.
^rrr
Example 16 : Final measures, m m . 24-27, Prelude t o Vaughan Williams Three Vocalises. Reprinted b y Permission of Oxford University Press, copyright 1960.
T he second movement, entitled SCHERZO, is in the style of a duple metered folk dance. 1
b e diagrammed as A - A - B - A .
Formally, Formally, th e move movement ment could The tonality of Bb Major
modulates to Eb minor in the B section. T h e Soprano part alone introduces introduces th e melodic material,
marked piano
with on e brief interjection from t h e clarinet.
T h e theme is then reiterated in the clarine clarinet t while whil e th e voice
creates a syncopated accompanying figure. Texturally, the B section (mm. 17-29) is very active in
a contrapuntal exchange of o f thematic motives motives featuring
65 staccato eighth-note duplets against triplets. triplets. A short passage of passage o f both instruments instruments performing performing sixteenth sixteenth notes notes in contrary motion marks marks a return return to to the Bb Major tonality and tonality and this section. the end of of this Marked pianissimo
th e movement ends with with a short
reference to the staccato eighth-note idea reference to idea of the opening the opening and and cadences cadences on a perfect fifth
th e voice above above th e clarinet.
This highly contrapuntal contrapuntal movement movement requires exact exact rhythmic execution. Syncopat Syncopation ion a a nd cross rhythms throughout complicate the demonstrated t he movement complicate t he texture as demonstrated in example 1 example 1 7
Sopr
I r
J
T J
J Z
Clar C)
Example Example 22-24 Scherzo Vaughan 17 : Cross rhythms m m Williams Three Vocalises. Reprinted b Reprinted b y Permission Permission of Oxford University Press copyright copyright 1960
Th e spirit spirit of the mo movement vement implies a implies a quick quick tempo. tempo. The ability ability of the singer the singer t t o perform rapid sixteenth-note passages without without consonant syllables limits the limits the the aid of of consonant tempo of tempo of the movement. the movement. Both Both th e second second an d third movements have extended staccato passages passages for soprano a for the soprano a nd clarinet.
Performance
problems associated associated with this articulation articulation discussed at are discussed at the end of the analysis. third hird move movean anen ent, t, QUASI MENUETTO, MENUETTO, has no marking The t has a pi no indicated at indicated dynamic markings. markings. The at the opening the opening and and no no other dynamic 1
form can form can be described be described as as A B A Coda with a with a tonality tonality in in Ab Major in Major in the A { mm. 1-23 mm. 1-23 , , A
(mm. 32-35 (mm. 32-35
39) sections sections with the with the B section B section (mm. 24-31 (mm. 24-31
and Coda Coda (mm. (mm. 36in A minor. A minor.
The Th e qu si menuetto menuetto is implied is implied through the through the use of triple of triple meter and the melodic reiteration o meter and reiteration of strong and sustained f a strong and sustained downbeat. Th downbeat. melody of the A section section is The e melody of is in a long, a long, lyrical style, styl e, while while the B section section is is staccato staccato throughout. The movement opens with a with a one-measure one-measure figure in figure in the clarinet followed followed by theme in the by the statement the statement of of the the main theme in voice part. part. movement, the voice is voice is alone, alone, As in the second the second movement, the this time for time for only only a portion portion o of f the the theme theme after which which it it is joined by joined by the clarinet the clarinet in in counterpoint. counterpoint. Th The e melodic interest interest is shared is shared and and exchanged exchanged by by the instruments the instruments in in a polyphonic a polyphonic texture. texture. The Th e second statement statement of of the theme the theme is is in a homophonic homophon ic texture with with the voice performing performing the the melody, accompanied accompanied figure in the clarinet. by a staccato arpeggiated figure in A brief two-measure two-measure return o return of f the the counterpoint counterpoint leads t leads to o a contrasting section in section in A minor. A minor. staccato melody in melody in the voice voice is accompanied by The Th e staccato is accompanied by an A drone in drone in the clarinet. clarinet.
This is This is followed followed by the clarinet, the clarinet,
restating the restating the staccato staccato melody. melody. Th The e voice accompanies,
7
emphasizing an E with sixteenth-note emphasizing an sixteenth-note ornaments.
Briefly, Briefly, the
style of style o st section section returns with the with the Ab tonality. f the fir the first Ab tonality. In cadenza-like bar, marke marked d free tempo a one-measure cadenza-like bar, th the e voice required to perform a very rapid rapid group of group of thirty-second thirty-second is is required to perform a very notes in notes motion to figure for the in contrary motion to a similar figure for clarinet.
This measure measure has figures. Th ha s three melodic figures. The e first
identical and two are are identical and the third the third is is an extension an extension o of f the idea. the idea. Th e third, extended figure then leads directly into into the the closing material. material. The marking rking raises questions Th e free tempo ma about t about the he interpretation interpretation of of this this passage passage (example (example 18 . The performance tempo would depend depend partially on partially on the flexibility the flexibility of the singer. the singer.
free
temt>n)
Clar
Example 18: Example Ending of Quasi Menuetto, m. Menuetto, m. 36-37, Vaughan 18: Ending of Williams Three Vocalises. Reprinted Reprinted by Permission of Oxford by Permission of Oxford University Press, copyright 1960. copyright 1960.
ending of The ending of the movement features staccato eighth notes in notes hest notes of notes of both instruments in the hig the highest
tessituras
Once again again the tonality is confirmed by the Ab Major Ab Major tonality is confirmed by a tonic dyad.
8
Performance Considerations The performance performance for for this this study features features the the combination combination of a clarinet clarinet and and a a lyric soprano. Although the Although the acoustical structure o structure of f timbre timbre in in the voice voice and clarinet clarinet are are less alike than that in that in the voice the voice and flute, flute, the the tone colors colors are still compatible. The compatible. disparity in timbre Th e disparity in timbre of a relatively
dark
clarinet tone tone and soprano voice is voice is somewh somewhat at mediated and a bright a bright soprano following solutions. solutions. The clarinetis clarinetist t used used a brighter by the the following barrel and softer barrel and softer reed and reed and the soprano created a longer longer the soprano created a resonating space space raising the soft palate palate and lowering lowering the by raising the soft the larynx. In respect respect to to the question question of vibrato, of vibrato, the the consensus consensus of of the performers performers was wa s that that the the clarinetist should us should use e a shimmering effect vibrato vibrato and only only on on held held chords that had that had been determined determined to call to call for it
The singer greatly subdued
vibrato, beginning unison interval intervals s and ending ending the her he r normal vibrato, the work with a with a straight tone.
This This wa s felt felt to to resolve resolve the the
difference in difference in vibrato usage without creatin creating g an an enormous enormous disparity in disparity in pitch between the between the voice voice and clarinet. The Th e next most importan important t ensemble concern concern is is the staccato the staccato passages for passages for both instrumen instruments ts in in the second the second and third movements. movements. The quality quality o of f staccato staccato needs to needs to match in match in attack, length, and release. length, release. situation, the soprano soprano ha In this situation, has s a very clear clear and crisp staccato. staccato. order to imitate the In order to imitate the
effect, some clarinetists clarinetists might find find a tonguetongue- stopped
69
staccato to be the mos most t similar although this author has found a breath-stopped articulation to be more effective in some som e passages. DUOS
BY NANCY CHANCE b. 1931)
10
Nancy Laird Chance wa w a s born in Cincinnati, Ohio on March 19, 19, 1931.
She studied composition with Vladimir Ussachevsky,
Otto Luening, Luening, a nd Chou Wen-Chung at Columbia University and piano under Lilias MacKinnon an d William R. Smith.
Chance is
th e only composer to t o have won the ASCAP s Rudolph Nissim
Competition f or Orchestral Composition on two occasions, in 1982 for Liturgy
work fo r harp, 5 percussion a chamber work
players a n d strings and in 1984 for Odysseus, written for solo voice an d orchestra. She has been t he recipient of numerous awards an d honors including tw o National Endowment of the Arts Composer s Fellowship/Grants in 1981 and 1983, t he Norlin/MacDowell Fellow Award (198 (1982) 2), , given annually in
honor of Aaron Copland, t he Sundance Institute Composer Fellowship at Sundance Film Composer s Laboratory, and is a member of the Artist s Fellowships Music Composition Panel for the New York Foundation For The Arts.
Chance s works have been premiered b y numerous American orchestras a nd professionial chamber groups, groups, among among the them, m, the
10
Several printing errors occur that th e composer has confirmed to the author. These will b e noted in the
Appendix.
70 Cleveland Chamber Symphony, th e Manhattan Percussion Ensemble, St . Louis Symphony Orchestra, Orchestra, th e Jupiter Symphony and Da Capo Chamber Players. He r works ar e primarily for
chamber ensembles, employing a variety of instrumental and vocal combinations. H e r most recent works, however, have been orchestral works, works, film scores a and nd movements from the requiem mass.
Chance n ow lives in rural N e w York where she
continues t o compose.11 The
uos
(1976) is scored fo r soprano, flute, and two
pairs of finger cymbals, played by the soprano. soprano.
When asked
if the work was a commission or a dedication, th e composer
replied that it was neither.
When th e composer wa s asked if
h e r study with Otto Luening, Luening, w h o wrote and was the dedicatee of several flute a nd untexted voice works, h a d inspired
uos
12
sh e responded that that it had not. T h e sole intent of the
work was
in her words: to reverse t he usual process of
dissonance resolving to consonance, and to see if the ear could b e conditioned, within t he confines of a short work to accept a particular reiterated sharp dissonance a as s a point of rest, a proper a n d satisfying cadence.
13
1J
-Unpublished biography provided by the composer.
12
13
B. . Written interview interview with with t h e composer. S ee Appendix B
Tak en from program notes, provided upon request Taken request from th e composer.
7
Th e work combines a number of extended techniques such as fluttertonguing, fluttertonguing,
n o vibrato, extremes
smorzato smorzato vibrato,
trilled passages t o enhance this in dynamics and a nd extended trilled experimentation with consonance and a nd dissonance. In most cases, t h e dissonance is approached b y a consonant interval, major or minor third, third, moving in contrary motion to a dissonance of a minor second. Th e resolution of the third to a minor second is the principal idea of the work. Th e aural a s a cadence point is not only perception of this dissonance as
confirmed through repetition bu t through dynamic a nd rhythmic resolve. Chance is very articulate in her intentions to explore t h e possibilites of o f using th e voice as an instrument. Sh e states that by omitting th e text an d treating th e voice
instrumentally, it was also possible t o explore certain acoustic phenomena associated with close dissonance, in particular t h e production of audible beats in forte passages, which lends a certain aural exitement to the work. Sh e indicates that t h e instruments
tone quality a nd vibrato, etc. emphasized t o produce
should attempt to match
The forte passages should should b e
audible audible beats,
tones a n d conflicting frequency beats.
14
presumably difference 14
Program notes.
7
T h e work is buil built t structurally structurally upon melodic, harmonic, an d rhythmi rhythmic c materials.
These materials a re used to form a
series of phrases which a re grouped into th e large divisions divisions that give rise to the work s form. In order to comprehend th e large formal character of the work, th e structural
details must first first b e identified. T he following is a categorization of the melodic, harmonic, an d rhythmic materials of the work.
Melodic Materials (MM): T h e minor second is the kernel of nearly all the melodic
material.
21, , all other With th e exception of MM3 in Example 21
melodic materials relate t o this interval. interval.
Selected melodic
materials a r e given in Examples 19-26.
Selected Examples (MM)
S l o w
V. -4 - Tl J.., I LJ I tZ
J
=
^f O
« r f
\ n o r m a l j V i b ra+
o
mp
g mj
i
MJ
mp
Example 19: 19: MM1 - Descending minor min or 2n d (m2nd). m. 1, Chance u s I Reprinted b y Permission of Seesaw Music Corporation, N e w York, Copyright, 1976. All rights reserved. International copyright secured. secured.
7
mofio.o 3 ZEZ
f4=-
Fl
1
SroJ-x-^ m p
Example 20: MM2 - Expansion of the descending descending half-step t o whole-step. Ascending m2nd, descending descending M2nd. m. 3 Chance Reprinted b y Permission of Seesaw Music Corporation, Duos I N e w York, Copyright, 1976. All rights reserved. International copyright secured.
b r o a d e n
£
troo-den - —
Example 21: MM3 - Use of the Tritone, Perfect 4th and Perfect Chance Duos I 5th in various combinations, m. 11 Reprinted b y Permission of Seesaw Music Corporation, New York, Copyright, 1976. All rights reserved. International Internation al copyright secured.
74
+r
norm.
2
M
3>J+r
,
^
allanp _
- - . 9 _
Example 22 22: : MM4 - Extended trilled trilled passage of m2nd M2nd melodxc intervals. m m . i8-23, Change Change Dufs 1 Repknted b y e6 Sa W MU Si c Co or r or a a?? °- S Ne w York, Copyright P tion, New . All rights reserved. International International copyr copyright ight secured. secured.
C YGS C Example 23 23: : MM5 - Scale passage, series of whole an and d halfsteps: A pentachord, E tetrachord. m. 30, C Chan hance ce Duo< Duo
View more...
Comments
