Character Studies: New Third Stream Music for Winds Presentation by Luke Norris How does a ‘Third Stream’ approach help us create new music in the 21st century? Look into the past: 20th century tonality (1901-2000) Tonality (n): The organization of all the tones and harmonies of a piece of music in relation to a tonic1. Goal: ● To engage in study and analysis of selected classical works and create long form works classically derived instrumentation blended with a traditional jazz quartet, linking improvisation and composition. Analysis Methods Composers Studied Arnold Schoenberg (1874-1951) Igor Stravinsky (1882-1971) 1. 2. 3. Form Charts Score Study JSTOR articles Why Woodwind Sextet? Bela Bartok (1881-1945) Aaron Copland (1900-1990) Dmitri Shostakovich (1906-1975) Olivier Messiaen (1908-1992) Witold Lutoslawski (1913-1994) 1. 2. 3. Influenced by woodwind writing of Stravinsky Experience playing flute and clarinet Achieve a Third Stream blend with this wind instrumentation Bob Brookmeyer (1929-2011) George Russell (1923-2009) Clare Fischer (1928-2012) Wayne Shorter (1933-present) What is ‘Third Stream’? ● ● ● ● Term coined by Gunther Schuller @ Brandeis University lecture, 1957 Describes a synthesis of classical music and jazz2. Jazz: Language, improvisation, rhythm Classical: Instrumentation, forms, compositional devices Gunther Schuller on what Third Stream is not:3. ● ● ● ● ● ● ● It is not jazz with strings. It is not jazz played on "classical" instruments. It is not classical music played by jazz players. It is not inserting a bit of Ravel or Schoenberg between bebop changes—nor the reverse. It is not jazz in fugal form. It is not a fugue played by jazz players. It is not designed to do away with jazz or classical music; it is just another option amongst many for today's creative musicians. Important Third Stream Recordings 4. Guiding Compositional Principles Derived from My Research 1. The tritone can serve tonic function. 2. Chromaticism and diatonicism work in tandem with each other. a. 3. Harmonize diatonic melody with chromatic harmony, chromatic melody with diatonic harmony, etc. Octatonic scale use creates a sense of motion through destabilizing the tonic. a. works great as connective material. 4. Strong outer voice (able to be inverted) counterpoint creates strong lines and unconventional harmonies. 5. Thematic development helps generate long-form composition. 6. 7. a. Improvisers have the GIFT of endless thematic development at their disposal b. Variation, imitation, sequence, augmentation, diminution, etc. Improvisation sections should utilize source material from the composition a. Improvising within specific language of the piece b. “Comprovisation” - etudes The greatest composers can express the human experience through manipulation of musical materials. 1. Acceptance ● ● Form based on Aaron Copland’s Clarinet Concerto, mvmt. 1 Triadic movement, diatonicism and shifting key centers Principle #5: Form Chart for Acceptance (Rough Draft) Triad Pairs ● ● Source material First appearance serves as melodic accompaniment, later iterations occur in different textures Principle #6: Comprovisational Material ● ● Term coined by Danilo Perez Improvising using specific language of the piece ○ Ex. Re-use of triad pairs as thematically related material Principle #3: Octatonic use ● ● Orchestrated in the low winds Some pitches sustained to create a tonal cluster Principle #2: Balancing Chromaticism and Diatonicism ● ● Start with triadic material and diatonic melody Add chromatic harmony 2. Today’s Chorale ● Form based on Shostakovich Symphony No. 5 mvmt. 3 Largo ○ ● Thematic use, drama Considering the storytelling element of writing music ○ ○ How can we express different emotions through raw musical means? Access the human element of musical composition Shostakovich 5 mvmt. 3 5. Form Chart for Shostakovich 5 Mvmt. 3 Principle #5: Thematic development generates long forms Aleatoricism and Chorale ● ● ● ● Aleatoricism: characterized by chance or indeterminate elements Notably utilized by Witold Lutoslawski Short moments of contained thematic improvisation for the classical players Chorale dedication ○ Reminiscent of Alban Berg’s violin concerto, Bach chorale included in second movement9. Principle #6: Comprovisational Material ● ● Slash chords to provide harmonic instability Upper structures of chords suggest “UFO material” ○ Term coined by Danilo Perez ○ Suggests the highest extensions of a chord 3. Orchids ● ● ● “The Ornette Coleman chords” Bill McHenry influence Inspired by Bartok’s pan-tonality, chromaticism of Stravinsky and early Schoen Principle #1: C and F# triad pairs, Pedal Point ● ● Introduction explores ‘outside’ and extended harmonic sounds Sonority famously used by Stravinsky in 2nd Tableau of “Petrushka7.” ○ 2 major triads separated by a tritone 8. Principle #2: Melody derived from “Ornette Chords” ● Diatonic melody supported by chromatic, or in this case hybrid chord changes Chord Sequences ● ● ● ● ● Harmonic rhythm of 1 chord per bar Variation of tritone chord relationship ○ Emin and Bbmin Cyclic root movement and chromatic chords ○ Feeling of instability Long melodies that break from typical 4 or 8 bar phrases ○ Provides opportunity for more distant sequences “Which way is it moving?” - Danilo Perez ○ Considerations of bright and dark harmony Principle #4: Linear Sonorities through Counterpoint ● Converging lines suggest harmony that avoids being labeled with a chord symbol Realizations: Third Stream principles encourage us to be inclusive. 21st century music can blend cultures, folk musics, and rich traditions to compose a new reality. A Third Stream blend can be a microcosm of global identities. Performers Dan Elbert - Conductor Thank you to: Heidi Martin - Engineer Allan Chase - Adviser Grzeorgz Wlodarczyk - Bass Aga Derlak - Piano Connor Kent - Drums Joe Melnicove - Flute Shannon LeClaire - Committee Member Bill Dobbins, Dave Rivello and Dariusz Terefenko for infinite lessons learned after graduation Nadya Kelly - Oboe Matt Stubbs - Clarinet Danilo Perez and Marco Pignataro for inspiration, mentorship, and moral support!! Evan Kopca - Bass Clarinet My mom, grandma and the rest of my family! Tyler Harper - Bassoon Charlie Lincoln - Assistant Producer and Pizza Boy Bibliography ● ● ● ● ● ● ● ● ● 1. “tonality” , Merriam Webster’s Collegiate Dictionary The Thelonious Monk Institute of Jazz. “Third Stream.” 22 June 2019.. 3. Schuller, Gunther.: Musings: The Musical Worlds of Gunther Schuller; Oxford University Press, 1986; 0195037456 4. Cerra, Stephen. 4 Nov 2017 posting. “Third Stream Music - From Three Perspectives - Part 2” Jazz Profiles. 21 June 2019. 5. San Fransicso Symphony. Keeping Score. 22 June 2019. 6. Nuño, Luis. “Bela Bartok’s Axis System.” 22 June 2019. 7. Krumhansl, Carol L. and Mark A. Schmuckler. “The Petrushka Chord: A Perceptual Investigation.” Music Perception: An Interdisciplinary Journal, Vol. 4, No. 2 (Winter, 1986), pp. 153- 184 8. Taruskin, Richard (Spring, 1987). "Chez Pétrouchka – Harmony and Tonality "chez" Stravinsky", p. 269, 19th-Century Music, Vol. 10, No. 3, Special Issue: Resolutions I., pp. 265–286. 9. 2.