Title

Journey

Date of Graduation

5-2016

Document Type

Thesis

Degree Name

Master of Music (MM)

Degree Level

Graduate

Department

Music

Advisor

Robert Mueller

Committee Member

Alan Gosman

Second Committee Member

Rick Salonen

Abstract

Journey is not about a particular journey, it is more about images or moments from within a journey. The interpretation for what this means is left up to the performers and listeners; however, I view this as one person not particularly achieving what they set out to achieve. It all began with a rough start, moments of happiness, playfulness, contempt and contemplation, but in the end it wasn't the expected outcome of the journey. The work plays between moments of vigor, aggitation, playfulness, light-heartedness, comfort and relaxation. Expression markings are described above each area of the work. These descriptions help to explain how the the music could potentially be expressed in a style similar to a story.

Journey does not require a conductor, but it is strongly suggested. Writing for the wind parts is relatively standard and does not call for explanation on special technique requirements. The percussion section throughout the work should be light in weight. For example, if a hard mallet is suggested the sound should not forceful. All mallet markings are suggestions. Player 1: The hi-hat should be very light, short, and crisp in articulation. For the moments when the hi-hat is open, the distance between each cymbal should be set roughly smaller than ¼ inch. For the sustained open hat sound, try using yarn on the edge of the hat. Player 2: The suspended cymbal should generally use a similar stick as the high hat to achieve a similar light, short and crisp sound; however, your sound is intentionally meant to be a bit more resonant. The bell tree acts as both a momentary and extended effect. The lower 2/3 of the mark tree should always be muted. Player 3: The bass drum has a felt sound than projected sound. The tambourine should be mounted, not on a stand, and performed lightly. Player 4: The role of the crotales is normal. Bring out the bowing effect when it is notated. The chimes should never use a hard mallet. The role of the chimes is to have an open resonant sound that sits within the sound of the ensemble. Player 5: The majority of the music will require an independent player. This part never uses more than a three mallet technique.

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Composition Commons

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