TRIO FOR CLARINET, VIOLONCELLO AND PIANO:

AN ORIGINAL WORK

by

WALLACE D. L. TURNER, M.S., B.S.

A THESIS

IN

MUSIC THEORY AND COMPOSITION

Submitted to the Graduate Faculty

of Texas Tech University in Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC

Approved

Chairperson of the Committee

Accepted

Dean of the Graduate School

December, 2004

ACKNOWLEDGEMENTS

I would like to thank God for this opportunity to do a Masters in music theory and

composition. I would also like to thank my mother and family for their unwavering

support and encouragement in my musical achievements. My mother has always been a

source of inspiration and spiritual comfort.

Second, enough cannot be said about Dr. van Appledom. She has been a tme

inspu-ation both on this project and in my professional growth. Her insight,

imderstanding, and musical depth have afforded me the ability to accomplish the work

required to complete this musical degree, and this thesis. Her motivation has been

relentless and attitude just perfect, and for that I am very grateful. She is just lovely. To

Dr. van Appledom, thank you very much.

Finally, I would like to express my gratitude to Dr. Shea, and Dr. Ezerman for

their support in this effort and for providing their expertise on the production of the work

and their recommendations on each instrument capability, and strength. I have leamt a

lot fi-om this experience and it has always been a great enjoyment.

TABLE OF CONTENTS

ACKNOWLEDGEMENTS ii

LIST OF EXAMPLES iv

CHAPTER

I. INTRODUCTION 1

II. FORM 4

First Movement 4

Second Movement 8

Third Movement 12

Fourth Movement 16

m. VERTICAL STRUCTURES AND SCALES 20

First Movement 20

Second Movement 23

Third Movement 25

Fourth Movement 27

IV. RHYTHM AND METER 32

V. NOTES TO PERFORMERS 35

VI. AN ORIGINAL SCORE: TRIO FOR CLARINET, CELLO,

AND PIANO 36

VII. SUMMARY AND CONCLUSIONS 57

BIBLIOGRAPHY 59

APPENDIX: PARTS FOR CLARINET AND CELLO 60

111

LIST OF EXAMPLES

2.1. Melodic Phrases of the A Section, piano 5

2.2. Distinctive Interval of Descending Seconds (Figure 1 and Figure 2) of

the A'section, piano right-hand 6

2.3. The Opening Measures of the B Section 7

2.4. Playful Clarinet Figures 7

2.5. Phrase 1 of the A'Section, piano 8

2.6. Hammer-Stroke Staccato Chords in the B Section, piano part 9

2.7. Tetrachord, Figure 4 9

2.8. Figural Treatment in the B Section, clarinet 9

2.9. First Bridge of the Second Movement 10

2.10. First Phrase ofthe C Section, piano (RH) 10

2.11. Complete Representation of a Melodic Phrase Repeated, C Section 11

2.12. Similar Phrase Patterns in Section C, piano 11

2.13. Bridgmg the Return ofthe A ' Section 12

2.14. Opening Measures of Movement III 13

2.15. Alberti Bass Accompaniment 14

2.16. Embellishing 16* - Note Figure 14

2.17. Triplet Figures and Broken Chords 15

2.18. Similarities in Melodic Figure 15

2.19. Rhythmic 16"' - Tetrachordal Note Figures in Sequential Pattern 16

2.20. Fugue Exposition I 17

2.21. Inversion of the Subject, left-hand piano 18

2.22. Exposition IV - Retrograde ofthe Subject and Answer 19

3.1. Whole-Tone, and Whole Step-Half Step Scales 20

3.2. Opening Measures of Movement I 21

3.3. Beginning Measures of the B Section 22

3.4. Hammer-Stroke Chords 23

3.5. Bridge 24

3.6. 11-Tone Construction, measures 1 to 4 26

IV

3.7. Broken-Chord Pattern in the Piano Part 27

3.8. Beginning ofthe Fugue 28

3.9. Exposition II 30

3.10. First Three Measures of Exposition III 31

CHAPTER I

INTRODUCTION

Trio for Clarinet, Cello and Piano is written in four movements. The first three

movements reflect Neo-Classicism and the fourth is a Neo-Baroque fligue in five voices.

Neo-Classicism is advanced by such composers as Stravinsky, Hmdemith, Bart6k, Satie,

et. al. Neo-Classicism refers to 20"' Century use of classical century musical processes

such as Sonata Allegro form, Alberti bass accompaniment patterns (bottom-top-middle-

top), broken chords, two-voice textures, melody and dyad accompaniment. During the

Baroque era, specifically the lifetime of Johann Sebastian Bach (1685 - 1750), much is

learnt and reflected back on today. In his works, J.S. Bach's fiigues provide a rich history

of fiigal techniques and organ music. Paul Hindemith, (20* century), another composer

of fugues, left behind a clear picture ofthe genre. Trio for Clarinet, Cello and Piano

celebrates Neo-Classicism and Neo-Baroque fiigue, but is not based on key, scale

stability, or the functional root movement of tonality.

The first movement is in a slow tempo, written in modified ternary form A ' B A ^

where the A^ material returns slightly modified. Compared to binary forms, AB, or

baroque binary, ||:A:||:B:||, there is no A ' material nor A . The rounded bmary form,

||:A:||:BA:||, displays music in which the A material is repeated and, after the B, the A

returns in the tonic key. The standard ternary form, ABA which is the usual form ofthe

Menuetto, Trio, Menuetto da Capo, the third movement of classical symphonies and

chamber music, represents a closed form with the exact return ofthe A part. Ternary

form is typical of Classicism ofthe late 17* century and the early Romantic period in the

18* century.

The second movement ofthe Trio is written in a fast modified Second Rondo

pattern, A ' B A ^ C A ' form. Other Neo-Classical rondo forms include the first Rondo:

ABABA, the Second Rondo: ABACA, the Third Rondo: ABACABA, and the Old

French Rondeau: ABAC AD A. The character of a rondo is usually fast and lively. The

rondo was commonly used in the Classical period, especially as the form ofthe last

movement of a symphony, concerto, sonata, or chamber music.

The formal parts ofthe sectional movements ofthe Trio for Clarinet, Cello and

Piano are marked on the score in brackets at the points in which the sections begin.

The third movement ofthe Trio, marked Andante, is a little more expressive than

the previous two movements and with a cantabile feel to the voices of both the piano and

clarinet. The third movement is through-composed, and not written in any formal

pattern. This suggests a non-return of any material that had been previously presented;

however, a hint ofthe measures 4 to 8 ofthe Andante returns to conclude the movement.

The third movement incorporates figures of Neo-Classical texture such as broken chords

in the piano part, (for instance in measures 13-21), and Alberti bass accompaniments

also in the piano part, (as in measures 4 - 5).

The fourth movement, moderately fast, is a Neo-Baroque fiigue, and suggestive of

the works of J.S. Bach; however, emphasis ofthe structure ofthe fourth movement also

looks back to Hindemith and the formal structure including Exposition, Development,

and Recapitulation established by both composers. Bach is famous for his Well-tempered

Clavier and his organ fugues with subjects and answers occurring even in the organ

pedals. Such works as Die Kunst Der Fuge (The Art ofthe Fugue) and Complete

Preludes and Fugues for Organ show the mastery Bach commanded for fiigal

compositions. Hindemith's Ludus Tonalis for piano (1943) sets the stage for fiigal works

in the 20* century with distinctive subjects and answers, and based on modal harmony, or

chromatic, or 12-tone constmctions. The fourth movement of Trio for Clarinet, Cello,

and Piano, implements the characteristic fiigue stmctures akeady established in the

Baroque period such as expositions, developments and recapitulation; however, the music

is composed not in functional tonality, but rather in modal construction.

Scale centers change throughout all the movements, especially evident in the

fiigue. The characteristic of a fiigue establishes an exposition with subjects on the tonic

and answers in the dominant, or subdominant. However, modes can be incorporated to

establish the subject or the answer. Also, chord movements may not be flinctional.

Functional tonality suggests a chordal progression beginning fi-om a distant chord in the

key such as iii in C Major moving through chords the root a fifth apart (for example, the

progression: vi, ii, V, I). Functional chord progression is established already in the

Baroque period. Functional patterns such as these are not specifically followed in the

chord connections throughout the whole score ofthe Trio for Clarinet, Cello, and Piano.

Rather, chord connections are often modal, and even non-functional. The reader may

find a detailed description of modal, synthetic scale constructions, and a non-functional

tonal area in Chapter III: Scales and Vertical Structures.

CHAPTER II

FORM

A musical form describes the connection of figural and motivic structures that are

consistent in the themes until a change occurs that indicates the end of one theme or

section and the beginning of another. Further, a form such as AB (binary), describes the

characteristics ofthe A section followed by the B section with different pitches, rhythms,

dynamics and timbres. Finally, a form is indicative ofthe content and character of a set

of musical ideas contained therein. The forms which describe the layout of The Trio for

Clarinet, Cello, and Piano are Modified Ternary (A 'BA^) in the first movement.

Modified Second Rondo ( A ' B A ^ C A ' ) in the second movement, and through-composed

(no form) in the third movement. The fourth movement, a Fugue is an integral form,

which contains, in this Trio, Exposition I, Development, Exposition II, Development,

Exposition III, and Exposition IV (Recapitulation).

First Movement

The A BA modified temary form ofthe first movement is characterized by

figures and motifs that occur relative to each section. An important characteristic ofthe

first movement is the chromatic treatment in producing a synthetic scale, or modulating

to another key. Another important characteristic is that the voice layers represent a Neo-

Classical texture that implements a clear picture ofthe figures uncluttered by continual

dense harmonic treatment as may be seen in Example 2.1.

A motif contains musical figures that become important in describing a distinctive

feature ofthe sections of musical form. The A ' section begins with its first embellishing

figures as shown in Example 2.1 below. Figure I is stated tv^ce as shown in measure 1

and 3 in the right-hand piano part. Measure 1 shows Figure 1 repeated starting on E-flat

to D with half-steps, while Measure 3 shows Figure 1 sequenced starting on F with

whole-steps to E-flat. The second figure. Figure 2 shown in the example is across

measures 1 and 2, and again across measures 3 and 4. Also, Figure 2 appears in Example

2.2. Figure 2 is important because a rhythmic figure is imbedded in Figure 2 that

connects the entire movement. This rhythmic figure constructed fi-om three 16* - notes

followed by an 8* - note, is denoted as Rhythmic Figure 1 (R-Figure 1) in Example 2.1.

This rhythmic figure is essentially responsible for the playful elements that will be

described in the B section in Example 2.4.

Clarinet in C

Cello

Piano '

, , IA']

^m Motif 1 Motif 2

Figure 1 , ^'^'^ Figure 1 / ' g ^ ^ ^

R-Figure 1 R-Figure 2 R-Figure 2

I 1 '

R-Figure 1

Example 2.1. Melodic Phrases ofthe A ' Section, piano.

Actually, Figure 1, and Figure 2, together in the first two measures, creates the first motif

as seen in Example 2.1. Motif 2 describes the next two bars. Motif 1 and Motif 2

construct the first melodic phrase for A \ Perhaps the most distinctive features of Section

A ' are the thematic constructions from Figures 1, and 2, and the hint of Rhythmic Figure

Overall, Figure 1 becomes the primary basis on which this movement is built.

Figure 1 expands into developing other figures that follow a pattern described by

stepwise motion or by leaps in the movement. An example of this is the pattern that

spells the end ofthe A ' section in measure 9. The characteristic of stepping down a tone

or a semi-tone followed by a leap as shown in Example 2.2, suggests a derivative ofthe

first two 16*-notes of Figure 1. With the crescendo from measures 9 and 10, the end of

section A ' comes to its climax.

^ ^ 1 * b I 1

Figure 2

Example 2.2. Distinctive Interval of Descending Seconds (Figure I and Figure 2) ofthe

A'section, piano right-hand.

The B section beginning at measure 11, first hints at Figure 1 m the clarinet, and

simultaneously introduces a new figure. Figure 3 in the piano part, which becomes very

important m this section as shown in Example 2.3 below.

Figure 3

mi &^'^

^^^^^m

Example 2.3. The Opening Measures ofthe B Section.

Figure 3 is significant because it is a principal figure occurring until measure 14. The

rest ofthe B section is typical ofthe rhythmic figure, R-Figure 2 from measures 16 to 20,

playful in nature in the clarinet part described by a derivative of R-Figure 1. This

derivative of R-Figure 1 in measures 16 to 21, together, melodically create a playful

sound in the B section. The rhythmic figure, R-Figure 2 is important in the B section as it

dominates the second half of the B section.

i(5 A Tempo

i : ' .%j! i^Ldir i i i^ i R-Figure 2

Example 2.4. Playful Clarinet Figures

Finally, a modified A^ section occurs in which the piano part has octave

accompaniment. The clarinet part and the cello part are different from the A' section.

Besides the octave treatment in the left-hand ofthe piano, and the ending 5 measures, the

piano part in A is exactly the same as in A . The first movement is written in the A BA* i n A2

modified temary form.

Second Movement

The character of this movement, written in Allegro tempo, is the repetitive two-

bar phrase established in the piano ofthe A section ofthe modified Rondo, A ' B A ^ C A '

form. Because the movement is particularly swift, there is an advantage to phrase

repetitions, which also speak to the Neo-Classical nature ofthe movement. Another

feature expressing Neo-Classicism is a clear melodic theme doubled at the octave,

typically Mozartian. Each section points to phrases expressing their own melodic theme.

The first 2-measure phrase in the piano is characteristic throughout each ofthe A '

sections, shown in Example 2.5 below.

^ £ i ^ ^

/

V' '-'1. c ¥=0-3 t

t=4 m ^ ^ ?

Example 2.5. Phrase 1 ofthe A ' Section, piano.

This phrase is repeated continuously until measure 9 in which the B section begins. The

B section presents hammer-stroke staccato chords throughout in the piano part as shown

in Example 2.6.

10

^ ^ r ^m m

Staccato Sim

Example 2.6. Hammer-Stroke Staccato Chords in the B Section, piano part.

Above these chords, the melody ofthe B section is heard in the movement. In the

clarinet part, a tetrachord construction, Figure 4 recurs and becomes an ingredient of

energy in the movement. An example of Figure 4 is shown in Example 2.7.

Figure 4 n

- m.

W- ^m Example 2.7. Tetrachord, Figure 4.

Figure 5 is written in both the clarinet and the cello part. This figure creates a

syncopation that sets the mood ofthe B part. See Example 2.8. This rhythmic figure is

also created in the cello.

r Figure 5

12

m ^m & i Example 2.8. Figure 5 Treatment in the B Section, clarinet.

The B section ends with triplets in the piano right-hand part, and then connects with a

bridge in measures 20 to 23. The bridge advances through several harmonic variances,

and settles eventually on D Aeolian. See Example 2.9.

Bridge 1 Rit. [A^ 20 ipo

20

^ . I i • '•• r I r

ATempo

te=r •^ c, r t s 20

^ ^ I

A Tempo

^ S «s^ " . / •

r^tpr

S e « - h ^ i Example 2.9. First Bridge ofthe Second Movement.

The bridge ends with a transition to the modified A^ section. The modifications mamly

occur in the cello part with significant changes, including an Alberti bass accompaniment

(cello, measure 28) with slight melodic changes in the clarinet part. Also, the center of

the A ' part has changed from C Aeolian to D Aeolian in the A^ material. See measure 24.

The C section beginning at measure 32 can be determined by the piano phrases

that are distinctive, and repeated. The clarinet compliments the piano throughout. The

first phrase ofthe C section is given in the right-hand ofthe piano in measures 32 and 33

as shown in Example 2.10 below.

32

^ # - * ^ ^ m

mp = "?/'

Example 2.10. First Phrase ofthe C Section, piano (RH).

As expressed earlier, the use of tetrachords have given a sense of energy. The mam

phrase given above is also composed of tefrachordal motion, ascending and descending.

This phrase is also repeated m measures 34 and 35, as well as measures 36 and 37, shown

below in Example 2.11.

10

Imitalion InvernoD

Example 2.11. Complete Representation of a Melodic Phrase Repeated, C Section.

There is also an imitation ofthe start of phrase 1 seen in the clarinet part in measure 34,

then an inversion ofthe first part ofthe phrase in measure 36. Similar phrase patterns

derived from the phrase above are summarized in Example 2.12 below.

39

u -TO.rni ^

measures 39 and 40, and measures 41 and 42

measures 46 to 50

Example 2.12. Similar Phrase Patterns in Section C, piano.

The next phrase is shown in Example 2.13 below. A short bridge is also shown

with the A ' material returned in measure 56.

11

Fhraie Modified Bri<lge 2 A MatetulRetunis

S3 RU. A Tempo ir

m ^ ^ w

m s Rit. A Tempo

m >i' J \'\ r r ^ F=^ F F i * : E ^

5i ftt -^Z'

^ ^ i

A Tempo

^ ^ ^S ^ J ^ K f T

"!/ / •

^ ^ ^ ^ ^ »I. ^ »i ^ J r 1 T

Example 2.13. Bridging the Return ofthe A* Section.

The purpose ofthe phrase before the bridge is that it modulates from D Aeolian back to C

Aeolian. The bridge connects section C to Al, and gives a smooth transition by

reintroducing the staccato hammer-stroke chords. The movement reintroduces A

material, and closes with a strong climax, and a short cadence.

Third Movement

The third movement, written in free form, reflects back to Neo-Classicism with its

many broken chords, the Alberti bass accompaniment, and figural treatments that exist

between instruments. The third movement derives its beginning from the phrase

construction in measures 52 and 53 ofthe second movement, although expanded by one

beat. See the figural tetrachordal treatment in the phrase construction at the beginning of

Example 2.14.

12

ni Andante Jr:50

; fe ga

jti

^ ^ ^

» / • ;

^^m Derived from Mov. 2 '»/'

^ ^ J ''j -J Jj[iJ»i i 1

ga ^ ^ g

^

Example 2.14. Opening Measures of Movement III.

The movement quickly advances into its classical features with mainly four voices. The

piano has two main voices, while the clarinet and cello have the other two voices. The

cello can be described as the baritone voice. The piano delivers an accompaniment with

stability and the clarinet occupies the upper voice, for the most part.

The third movement begins in four-four time, creates several modulations, and

quickly establishes a singing voice in the clarinet and cello parts. The piano, which also

produces another melodic voice, acts as an accompaniment. The third movement is

through-composed; so, there is no particular form to refer to. However, for analysis

purposes, several figures will be referenced to.

Besides the opening figures, an important accompaniment figure is the Alberti

bass accompaniment pattern that is established in measures 4, 5 and 6, ofthe 3"*

movement, as shown in Example 2.15.

13

Alberti Alberti Alberti bass bass bass

Alberti bass

Example 2.15. Alberti Bass Accompaniment.

The Alberti bass acts to provide a relatively wide leap, but stability, which gives the

melody or countermelody line freedom to explore. The Alberti bass accompaniment was

first introduced by Domenico Alberti who used them frequently, and also used by Mozart

in his Sonata in C Major.

A sk-eight time change, in measure 9, spells another feature change in the third

movement, until reverting back to the four-four time in measure 22. The new time

change in measure 9 brings broken chords, embellishing figures (Example 2.16) and

triplets. Broken chords in the left-hand piano accompany the melody in the top voices

and embellishing figures give this section ofthe movement motion. See Example 2.17.

An example of these figures include the 16* - note figures in the clarinet seen below in

Example 2.16, and the triplets seen mainly in the piano right-hand, but also in the clarinet

shown in Example 2.17.

Example 2.16. Embellishing 16* - Note Figure, clarinet.

14

Embellishing Figure

^

r—-\

i ^ ^

1 I — I

m —3 I 3—

/ =

m ^

r^ m i z : m Broken Chord

J L I I I I

Example 2.17. Triplet Figures and Broken Chords.

After the four-four time change in measure 22, the melodic figure is shown again

from measures 24 through 26, although in 8* - note constmction, and emphasized on the

second half of beats 1 and 3 as shown in Example 2.18.

1 r 1 r 1 r 1 r 1 24

i=h^ ^

m • /

m Z P m Example 2.18. Similarities in Melodic Figure.

The next feature change in measure 30 is really a sequence that is representative of

Figure 1, now in inversion. This figure of 16* - notes is complimentary between the

piano right-hand and the clarinet, ascending and descending. The clarinet especially

represents Figure 1 well in treatment. The rhythmic 16* - note figures in the piano right-

hand and clarinet establish a percussive feel with a cantabile melody in measures 30, 32,

15

34, 36, and 37. This rhythmic figure also carries a melodic component that is produced

from a tetrachordal pattern sequenced in succession. See Example 2.19.

Tetrachord

Figure 2.19. Rhythmic 16* - Tetrachordal Note Figures in Sequential Pattern.

Fourth Movement

The fourth movement is composed in the form of a five-voice fugue, which

contains four expositions (three complete and one partial), with two developments. A

developmental process is also characteristic after the first two expositions with a change

in center, establishing free material and transitions between the expositions. In the

exposition, when a subject is presented, usually an answer is formulated on the dominant

ofthe subject or the subdominant ofthe subject. Later in the movement, measures 28 and

29 (see Example 2.21), a complete retrograde of subject and answer in the fourth

exposition brings a "breath of fresh air." The recapitulation, beginning in measure 34,

closes this movement in the original mode center, and completes the work.

Each exposition contains two statements ofthe subjects and three statements of

the answers. Example 2.20 shows Exposition I. This exposition shows each statement

extended by a countermelody. The countermelody is an accompaniment to the subject

that is a distinct part ofthe melodic structure with subordinate interest. It also acts as an

16

accompaniment to the fiigal subject or answer. Please see the subject, answer and

coimtermelody in Example 2.20.

IV Allegretto, Lively J=72 +

^

Answer

'»/'

Subject Counter Subject

S

Countersubject

. .1 .n j ? ^

;% r C Y P i aJJ " [ ^

p • ^ ^ ./'

^ ^

^ j J J JH j i

^

Example 2.20. Fugue Exposition I.

The Development I in measures 6-12, displays some unitation ofthe subject expressed

in several keys (measures 6 - 9,) along with free material in all ofthe instruments from

measures 10 to 12. An inverted subject (see Example 2.21) in the developmental process

brings a change in expression. The inversion ofthe subject begins at the end of measure

7 until measure 8 as shown next in Example 2.21.

17

I'- rfrr ^ ' ^ P Non-Itnrcrsion

P 5 i ^ Liri[Ji;-^U ^

.0'

^ ste

S5g ^ » It ^

7/ > > tff^ ^

l it a ^ S s ^

Subject Inversion

Example 2.21. Inversion ofthe Subject, left-hand piano.

The inverted theme occurs on D Aeolian. Following Development I, Exposition II

occurs, beginning on the second half of the fourth beat, measure 12.

Exposition II is created on C Ionian with the first subject in the piano right-hand.

This is answered on the dominant of C Ionian, at the end of measure 13 in the cello, and

answered again in the subdominant of C Ionian at the end of measure 14 in the piano left-

hand. The subject then recurs in C Ionian, end of measure 15 in the clarmet, then

answered in the subdominant of C, in the voice ofthe piano right-hand. Therefore,

Exposition II, centered on C Ionian is obviously centered on the dominant of F Ionian,

the center of Exposition I. A countermelody is consistently heard after each subject and

answer. The countennelody is important because it becomes attached as a characteristic

melodic figure ofthe exposition. Following exposition II, another development occurs

from measures 18 to 21. A partial exposition occurs in measure 21, but only consists of a

single subject and a single answer, then, a bridge appears in measures 23 through 27.

Measure 28 marks the start ofthe fourth exposition. The fourth exposition is

marked throughout by a retrograde ofthe theme. See Example 2.22.

18

Subject in Retrograde

31

i m

SI It-

m ifvr r f Answer in Retrograde

SI

^ ^ m F=? f'r'rriL^fi

^ ^ s Subject in Retrograde

•>-'^ r j CTJ^ ffl JtF tt i:a ^p ^ ^ I t ^

Example 2.22. Exposition IV - Retrograde ofthe Subject and Answer

The third exposition is centered on D Ionian. Therefore, the first subject is created on D

Ionian with the first answer in A Mixolydian in the piano right-hand, measure 29 and

beginnmg of 30, and a second answer on G Ionian in the cello, measures 30 and

beginning of 31. Another subject recurs in measure 31 until the beginning of 32, and

answers in A Ionian beginning in measure 32 until the beginning of measure 33. A short

bridge, beginning in measure 34, connects a recapitulation of exposition I. The

recapitulation of exposition I, pickup to measure 35 occurs to end the movement, short 6

bars of closing material.

19

CHAPTER 111

SCALES AND VERTICAL STRUCTURES

The scales and vertical structures that are interwoven into this work are mostly

defined by the melodic patterns expressed, for the most part. The first movement is

explorative of several scales from a whole-step scale to a whole-step, half-step scale and

chromatic implementation. The second movement begins on C Aeolian but changes

centers several times, and establishes several non-functional chord changes. The third

movement begms with an 11-tone scale centered on D and after several other centers, it

also ends on a D. The fourth movement's use of centers is representative of fiigue

expositions and developments.

First Movement

A look at the first movement suggests several mode changes. The first motif

occurs as a piano solo, beginning with a whole-tone scale (measures 1 and 2) in the left-

hand piano, and then motif 2 built on a partial whole-step half-step scale (measures 3 and

4) succeeds in the left-hand piano part. See Example 3.1. Above both motifs, a C

Aeolian scale is produced in the right-hand which forms a bi-scalar constmction (see

Example 3.2).

n, r ' r 'T i|^ r \r\ rj i j i ni Wholc-Tonc Scedc Construction "Whole-Step, Half-Step Scale Construction

(measures 1 & 2) (measures 3 & 4)

Example 3.1. Whole-Tone, and Whole Step - Half Step Scales.

A split third also appears in measures 2 and 4 with E-flat and E-natural. See example 3.2

C Aeolian also continues into measure 5, in all instruments, and quickly

disappears in measure 6 with a chromatic treatment where an 11-tone C scale is evident

until the end of measure 7. See example 3.2. C Dorian takes over in measure 8, and

continues until the second beat of measure 9. Beginning on beat 2 of measure 9, a 9-tone

20

C synthetic scale constmction, C, D, E-flat, F, G, A-flat, A-natural, B-flat, and B-natural,

climaxes the end ofthe A section ofthe temary form.

Trio For Clarinet, Cello, and Piano

I. Lento J :40 Wallace Tninei

(2004)

[A'

Clarinet in C

CeUo

Piano

^

^m

Split Thirds Split Thirds

m./' . / •

" ! / •

^ m "/

^m 5

^

Mftf'f ^ ' p l T ' g ^ ^ m ^ ^ "!/•

^

Chromatic Pitches

C Aeoli/m 11-Tone Scale: CDll 'El^FFt'GdtA AI'B (measures 6 & 7)

Example 3.2. Opening Measures of Movement I.

The B section ofthe temary form begins in C Dorian in measure 11 with the

piano left-hand in octaves to strengthen the accompaniment as shown in Example 3.3

21

[Bl

// i • ^ # _ 0 i f "?/•

''>-hJZs \^i'^ iLTQicjT'nti i2ji.

Example 3.3. Beginning Measures ofthe B Section.

Measure 13 changes to C Aeolian. See Example 3.3 above. This mode remains until

measure 15 where an 8-tone C synthetic scale constmction, C, D, E-flat, F, G, A-flat, B-

flat and B-natural, is produced. C Aeolian returns at measure 16, then a C Dorian takes

over in measure 17. C Aeolian recurs at measure 18. This clearly marks an alternation

between C Aeolian and C Dorian.

Measure 20 is interesting because two different C modes exist between the piano

and the other two instmments. While the cello and clarinet remain on a C Aeolian in

measure 20 and 21, the piano changes from C Aeolian to C Ionian on the second beat of

measure 20. The C Ionian in the piano remams until measure 21. Also, a split 6 occurs

on the second beat of measure 20 with an A-nattiral and an A-flat. Finally, measure 22

constracts a C harmonic minor scale, and the A section ofthe temary form returns in

measure 23. After the retum ofthe A section, the first movement ends in C Aeolian

with a perfect authentic cadence, followed by a tonic extension.

22

Second Movement

Movement two, written in a modified second rondo form, A'BA^CA', begins with

hammer-stroke chords in the A ' section in the cello part on the l" and 3"" beats. The B

section then fiilly unplements the hammer-stroke chords that are pronounced in the piano

part, (see example 3.4).

n. Allegr « J = , 26+

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S 1- t* Hammer Strokes

I detache I

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Example 3.4. Hammer-Stroke Chords.

Hammer - Stroke Chords

23

C Aeolian sets the mode for measures 1 to 13. B-flat Dorian then becomes the mode

center in measures 14 to 19. A bridge is next encountered in measure 20 until 23 in the

piano part (see Example 3.5). The bridge connects the two mode centers and connects

the sections. After the modulation to D Aeolian, the modified A^ section ofthe rondo

form returns.

Bridge 1

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Example 3.5. Bridge

The D Aeolian mode continues into the region ofthe C section until measure 33,

but measure 34 initiates other scale constmctions. In measure 34, A-flat and E-flat are

introduced, suggesting an E-flat center for the first two beats. The third and fourth beats

however, retum to D Aeolian. A chromatic inflection occurs in measures 36, with D-flat

to D-natural, and in 37, with G-flat to G-natural in the left-hand ofthe piano. A split

second with E-flat and E-natural occurs m measure 37. With the E-flat, G-flat, and G-

natural in measure 37, the closure ofthe synthetic scale constmction, built on D, takes

place.

Therefore, together, measures 34 through 37 produce an 11-tone synthetic scale

constmction on D. This scale is built on the following notes: D, E-flat, E-natural, F, G-

flat, G-natural, A-flat, A-natural, B-flat, C, and D-flat. Following the chords generated

within bars 34 through 37, the 11-tone scale creates non-fiinctional chord connections.

In the next measure, measure 38, the A major chord prepares the retum of D Aeolian, and

24

this remains until measure 53 where a modulation back to C Aeolian is made. A short

bridge connects and remtroduces the A material and ends the movement.

Third Movement

The third movement begins with an 11-tone scale that is centered on D. See

example 3.6. The 11-tone scale establishes several chords that are of interest. The first

chord established, beat one ofthe second measure is a G major (IV), which on the second

beat goes to a G major 7*" (IV^), and then a C major (VII) on the third beat. Then, the

16*-note descending tetrachord (cello) moves to an A major (V) on the first beat in the

third measure. Next, an A minor 7 (v^) is established on the second beat with a move to a

D minor (i) on the third beat. Then a move is made to an F major (III) on the fourth beat,

on top of which another descending 16*-note tefrachord in the clarinet moves to a G

minor (iv) in measure 4, first beat. Another D minor (i) occurs on the third beat, and on

the fourth beat, first half, to a C-sharp diminished (vii), to a D major on the second half of

the fourth beat. Therefore, non-functional chord connections exist, as chords do not

necessarily move from the root a 5* apart in the direction ofthe tonic.

25

m. Andante J =50 I:

Albert! Bass Alberti Bass

Figure 3.6. 11-Tone Constmction, measures 1 to 4.

Measure 4 establishes a D harmonic minor scale constmction. The D major scale

center is then established in measure 5. See Example 3.6. Also included in measures 4

and 5 is an Alberti bass pattern that holds for a steady rhythmic figure. Another rhythmic

feature begins in measure 13 with a broken chord establishment in the piano left-hand

that becomes an essential accompaniment. See the example 3.7.

26

i>'irrrrirrr ")• 'I ^' r 1^

^ ^

f T If ^

^^.

^ -JO J ^ ^

''•'I'LdLlI i ; i=F ^

Figure 3.7. Broken-Chord Pattem in the Piano Part.

The use of octaves strengthens the piano accompaniment. The use of broken

chords estabUshes a balance, which allows for figural variations in the melody that

produce new material and essentially a Neo-Classical presence. The use of tertian chords

in several places in the piano also adds to the piano accompaniment and serves to

increase the harmonic presence.

Fourth Movement.

The fourth movement. Allegretto, is written as a fiigue with three expositions, two

developments and a recapitulation. The exposition analysis considered first concentrates

on the center ofthe each subject and each answer, and not necessarily the vertical

stmcture in individual portions ofthe movement.

The movement begins with a subject and countermelody on an F Ionian scale

center in the right-hand ofthe piano. See Example 3. 8 below.

27

I EXPI

IV Allegretto, Lively J=72 +

^ ^

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Answer

Subject

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Example 3.8. Beginning ofthe Fugue.

The answer to this subject occurs on a B-flat (IV) Ionian center a measure after the

subject is stated, beginning on the second half of beat 4 in measure 2. Another answer is

encountered on a C Aeolian mode, (a iv from the I.) with the second half of beat 4,

measure 3. Another subject recurs in the cello on F Ionian starting in measure 4 and

answered on a G Dorian in the right-hand ofthe piano, measure 5. This spells the first

exposition ofthe movement.

Now, looking at the vertical stmctures, the chord stmctures developed in each

exposition reflect the mode changes made as the subject or answer occurs. The first

exposition establishes chord connections in the right-hand in the piano part during the

second answer. At the beginning ofthe fourth measure, a C minor chord is established

on the first beat and to the first half of the second beat. The progression on the second

28

half of the second beat moves to a B diminished, then back to a C minor chord on beat

three, to an A minor on first half of beat four, to a C major 7 on second half of beat four

and then settles back to an F major chord on beat one of measure 5. So, the chord

connections can be summarized as (v - iV - v - iii - V^ and to I), which is non-

fiinctional.

The first development begins essentially in measure 6 on a C mode to a D mode

and finally to an F mode. Stability in measure 16 to measure 18 is established fairly

quickly compared to the onset ofthe developmental process. The developmental process

does not estabUsh extreme tension, rather a modulation process and a connection to the

second exposition. The second half of the fourth beat of measure 12 initiates the second

exposition.

The second exposition is established on the dominant of F. See Example 3.9

below. The subjects and answers are derived on a similar pattem as established in the

first exposition. That is, subject, answer, answer, subject, and then answer. As stated,

the second exposition begins on a C Ionian, and answered on the dominant of C, G

Ionian, then answered again on the sub-dominant of C, F Ionian. Each section ofthe

music reflects this mode change with accompanying harmonic changes. The next subject

occurs back in C Ionian and then answers on an F Lydian. This pattem of subject and

answer mode relationship is reflective ofthe Neo-Classical nature ofthe development of

the rest ofthe Fugue. Next, another development section begins.

29

Subject

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^ ^

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Example 3.9. Exposition II.

30

The second development begins with measure 18 and lasts until measure 27. This

becomes the longest development ofthe fiigue. The development begins with the

subject, inverted, expressed in a D 9-tone synthetic scale. Another inversion ofthe

subject in the piano left-hand, centered on C, occurs in measure 21 into measure 22. Free

material bridges the third exposition until the retrograde ofthe countermelody introduces

a retrograde ofthe first subject.

The subject ofthe third exposition begins on a D center m retrograde. See

measures 28 to 29, Example 3.10. It is answered on the dominant of D, the A center, and

then again answered on a G center.

Expm

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2S

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Figure 3.10. First Three Measures of Exposition III.

The subject recurs again in measure 31 and then answered on the Dominant in measure

32. Measures 33 and 34 agam mtroduce free material and a recapitulation begins in

measure 34 until measure 42, with the next three measures brings closure to the

movement and to the work.

31

CHAPTER IV

RHYTHM AND METER

Rhythm and meter describe the time divisions and duration of notes and the

grouping of notes into segments to coordinate the pulses that are produced from sound

production. Rhythm is directly related to a beat pattem that is produced from the

individual notes, while meter is related to the groupings ofthe notes in a measure. The

tempo is dictated by the melodic interest ofthe intentions of either the composer or

sometimes the performers. Trio for Clarinet, Cello and Piano tempo patterns are

dictated as slow, fast, moderate, and fast, marked Lento, Allegro, Andante, and

Allegretto, respectively.

The first movement is written in a Lento tempo. In this case, the quarter note has

a metronome value of 40. However, the melodic interest is centered on a sixteenth-note

rhythm throughout. So, the movement, while mdicated as slow, deceptively feels

moderate. There are points of retardation that allow for a short restraint on the tempo and

then they resume to the original tempos. These points give a sense of pause and rhythmic

release. Kfermata at the end ofthe movement also relieves the crescendo build up that

occurs on the third measure from the last. The first movement ends with three soft-

measured hammer-note tonic extensions separated by two octaves that suggest a

recurrence ofthe tme rhythm, as they are in quarter-note length. Please refer to the score,

chapter V, page 38, the first movement of this thesis for all rhythmic gestures.

The second movement, written in Allegro tempo is written with a quarter note at a

metronome value of plus or minus 126. The idea is to give the performers a relaxed

rhythmic format, but suggest a tempo that remains fast. The quarter-note hammer chords

in the cello at the start ofthe movement set the pace ofthe movement immediately. The

staccato emphasis at the onset ofthe movement and throughout maintains a rhythmic

presence that continues throughout the A and B sections. Also, the hammer chords in the

piano maintain the rhythmic interest ofthe movement, especially in the B section.

Imbedded in these hammer strokes are sforzandos that put emphasis on the first beat of

32

the measure in the piano part ofthe B section. The C section changes the rhythmic

interest from the quarter note to the eighth note with a legato presence. A ritardando

appears in measure 33 along with a short pause, and connects the retum ofthe A section,

reintroducmg the quarter note as the rhythmic interest. Finally, the movement ends

abmptly on a quarter note chord. See Example 4.1 below.

m ^ ^

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Example 4.1 Ending of Movement II.

The third movement is written in Andante, which indicates a walking pace. In

this case, a quarter note is indicated with a metronome value of 50. The movement

begins in a four-four time signature. A ritardando occurs in measure 8, which prepares a

meter change from four-four to six-eight time in measure 9. Therefore, a dotted-quarter

note now equals a metronome value of 50. This change slightly speeds up the tempo and

allows for a more playful rhythmic gesture and embellishments. A time signature

conversion back to four-four time occurs in measure 22 with the original tempo observed.

Then in measure 30, sbcteenth-note patterns in both the piano and clarinet shift the

rhythmic interest to sixteenth notes. These sbcteenth notes accelerate the rhythm in

measures 30, 32, 34, 36, and 37. Another ritardando occurs in measures 39 to measure

40, effectively restraining the rhythm for two measures. An 'a tempo' restores the

original tempo which continues until the end ofthe movement. A three-four time

signature occurs at the second to the last measure ofthe movement. However, this

change is not effective in altering the rhythmic emphasis because a whole note dissolves

33

any rhythmic audio distinction that occurs with the four-four time signature in the last

measure.

The fourth and final movement is written with a quarter note metronome value of

plus or minus 72. A tempo marking of Allegretto, or lively is observed. The rhythm is

relatively straightforward throughout the movement. Actually, except for apoco

ritardando in measure 25, an 'a tempo' in measure 26, another ritardando and an 'a

tempo' at the end ofthe movement, the previous statement is correct.

34

CHAPTER V

NOTES TO PERFORMERS

This work should be played with good balance between the voices. Although the

clarinet is the top voice most ofthe time, the other instmments also have interesting

contributions in all the movements.

The first movement, although written as slow, follows the 16*-notes for rhythmic

interest. At the end ofthe first movement, the pianist may breathe (or break slightly) after

the Fermata C chord, and then play the remaining three hammer-note C double octaves.

The second movement should be kept to a tempo mark above 120 to get the

correct effect ofthe movement. Although, most of section C ofthe Rondo form, that is,

measures 32 to bar 52, can be taken slightly slower, the initial tempo should be resumed

in bar 54 which bridges back to the retum ofthe A ' section.

To the cellist: a challenge in speed execution may present a problem with playing

octaves in Movement II. The cellist does not have to play the octaves as notated, if speed

is compromised. Instead, play the bottom note and the fifth note above the bottom for the

first three measures, then in measure 4 play the higher note ofthe octave. Also in

measure 24, play the higher note ofthe octave. Finally, in measures 57 to 59, again play

the higher note ofthe octave. In the fourth movement, another set of octaves occurs in

measure 35 and 36. If difficulty arises, play the lower note ofthe two notes.

Lastly, please enjoy the Trio.

35

CHAPTER VI

AN ORIGINAL SCORE:

TRIO FOR CLARINET. CELLO AND PIANO

36

Performers

Regina Shea - piano

Dr. David Shea - clarinet

Dr. Alex Ezerman - violoncello

Personal Note: I would like to thank all ofthe performers for producing the

professionally recorded audio CD and artistic performance.

37

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CHAPTER VII

SUMMARY AND CONCLUSIONS

Trio for Clarinet, Cello and Piano reflects back to Neo-Classicism in musical

texture and Neo-Baroque fugue. Four movements with slow, fast, slow, and fast tempos

reveal a set of musical ideas that brings to life figures and phrases that are kept

uncluttered by dense harmonic structtires. Although, several modes are established that

are non-functional. The forms imposed in this work include modified temary, modified

second rondo, through-composed, and a fugue.

All the movements bring back the first section ofthe musical form followed on

the tonic center. Even in the third movement with a through-composed structure, part of

the beginning section ofthe movement is hinted on. Bringing back material from the

beginning adds a sense of closure to each movement.

Synthetic scales produce non-fimctionality and therefore, the chord progressions

are not necessarily a fifth apart. Also the use of modes produces non-functional chord

progressions. For example, Movement I produce several modes in C including C Dorian,

C Aeolian, and C Ionian which are all effective in describing the non-functional tonality

ofthe movement. Movement II and Movement II also carries non-flinctional chord

changes because ofthe modes and synthetic chord constructions. Movement IV, with a

Baroque Fugue produces non-fimctionality based on the built-in pattem ofthe fugue

process. Therefore, all ofthe movements, while having their own melodic characteristics

follow no prescribed chord progression; instead the chords are a fimction ofthe melody.

The classical period, 1770 to 1803, developed several techniques of musical

expressions including harmonic textures, the Alberti bass, broken chords, and a

widespread use of dynamics. Trio for Clarinet, Cello, and Piano reflects back on these

techniques incorporating elements of classicism. Specifically, the use ofthe Alberti bass

in movements II and III, broken chords and a scan of all the movements tells the story of

uncluttered harmonic textures.

Going back a little further back to the Baroque period, 1685 - 1750, the fourth

movement incorporates the style ofthe Baroque fiigue. Therefore, Movement IV follows

57

the basic principle ofthe Neo-Baroque fugue in which a subject is stated then an answer

may follow on the fourth or fifth interval. A countermelody also adds another dimension

to the voices. While the fugue reflects back to the 17* century, this fiigue (Movement

IV) incorporates more dynamic expressions that the 21*' century considers important in

enhancing a musical work.

58

BIBLIOGRAPHY

Apel, Willi. Harvard Dictionary of Music and Musicians. Cambridge, MA. Harvard University Press., 1956.

Ed. Randel, Michael D. The New Harvard Dictionary of Music. Cambridge, MA. The Belknap Press of Harvard University Press., 1986.

Eggebrecht, Hans H. J.S. Bach's The Art ofthe Fugue: The Work and Its Interpretation. Ames, lA. Iowa State University Press., 1993.

Kamien, Roger. Music: An Appreciation. New York, NY. McGraw-Hill Companies, Inc., 2000.

van Appledom, Mary. Research Class & Scores: Texas Tech University. Lubbock, TX., 2004

van Appledom, Mary. Passages III. Trio for Clarinet, Cello and Piano: Texas Tech University. Lubbock, TX., 2003

Dover Publications. Johann Sebastian Bach: Complete Preludes and Fugues for Organ. New York, NY. Dover Publications, Inc., 1985.

Ed. Hans Schurich. Johnn Sebastian Bach: Die Kunst Der Fuge, Vol. 1. Suddeutscher Musikverlag, Heidelberg, Germany. Willy MuUer., 1964.

Ed. Hans Schurich. Johnn Sebastian Bach: Die Kunst Der Fuge, Vol. 2. Suddeutscher Musikverlag, Heidelberg, Germany. Willy Muller., 1953.

Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modem Europe and America. New York, NY. W.W. Norton & Company., 1991.

Randel, Don, M. The Harvard Concise Dictionary of Music And Musicians. The Belknap Press of Harvard University Press. Cambridge, MA. 1999.

59

APPENDIX A

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