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CHAPTER IV

DUSK (2004)

Dusk was commissioned by the Langley High School Wind Symphony, Andrew

Gekoskie conductor.41 Bryant describes the work as a “…capturing the reflective calm of

dusk paradoxically illuminated by the fiery hues of sunset.”42

Structurally Dusk is simple and elegant. The work is a straightforward arch

form.

He further describes the

experience of the coming darkness by the slow, silent setting of the sun and the various

colors still present in the sky at sunsets decay. The short, rather reflective work

musically depicts the oncoming stillness of night, while reflecting on the closing of the

day. This short tone poem is appropriate for high school, intermediate and advanced

middle school bands. Though not technically difficult, Dusk provides an excellent

opportunity for young and experienced musicians to play in a variety of textures, with

musically interesting melodic and harmonic writing. Just as the last moments of light at

sunset provide layers of color, Bryant creates a layered musical tapestry in his use of

form, orchestration, melodic and harmonic writing.

43

41 Fairfax County School District, McClean, Virginia.

Within the arch are three distinct sections, loosely following a ternary form.

Each section has its own interesting internal form. The first section, A, is binary, and is

twenty measures in length.

42 Dusk by Steven Bryant. Score. 43 Ibid., 42.

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Chart 4.1 Analysis of form

Arch form with internal sections

Arch

A B A' (20) (33) (14)

12 8 4 8 4 6 11 9 5 3 6 3 4 4 5 3 3 3 3 3 5 4 5

Measure: 1 12 13 20 21 23 24 31 32 35 36 41 42 52 53 61 62 66

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The seeds for the work are sown in the opening twelve measures. The flute, harp and

vibraphone present the two primary harmonic elements for which the work is based:

quintal chords and diatonic clusters.

Figure 4.1. Measures 1-4, which show the quintal and diatonic harmony, as well as the opening melodic figure in the French horn

The primary theme is presented in the solo French horn in measure 2. Of note is the

melodic use of descending thirds. The entire work is based on this simple progression.44

Figure 4.2. Changing meters provide a flow in the musical line

These opening twelve measures divide into three phrases. Changes in meter provide an

uneven flow of musical line.

The second phrase group of section A is only eight measures. It contains a single

period that divides evenly into two four measure phrases. Unlike the opening, this

portion remains in one meter. A brass chorale states the melodic material, with ascending

fourths in the trumpets, and descending thirds in the French horns.

44 Dusk by Steven Bryant. Score.

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Figure 4.3. Measures 13-16

Transposed

The second internal section, B, begins in measure 21. This is the first place where

all of the winds play together. This section contrasts the first in several ways. This

section is developmental. Using the motive of descending thirds as the primary material,

this section contains a series of full ensemble arrivals. Each of these arrivals increases in

volume leading to the climax of the piece in measure 42. Between each of these major

arrivals, primary thematic material is further developed, adding instruments to the scoring

and further developing thematic material.

Figure 4.4 Descending thirds, measure 21

Concert Pitch

The final section develops differently. The theme presented by the brass in

measure 13 is now presented in the first flute, all three Bb clarinets and bass clarinet. It is

presented down a major second from its original statement to accommodate key. This

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phrase group is extended by one measure in measures 53-61 compared to its related

phrase group between measures 13-20. The final phrase is only five measures in length.

The structure of this final section brings the work in full circle, neatly completing the

arch. He presents the themes backwards, and ends in the exact same manner it began-

descending thirds quintal harmonies, and uses the same meter progression as the

beginning.

Bryant’s scoring and how he uses timbres within the ensemble add another

dimension to the beauty of the work. The opening phrase group, twelve measures in

length, is essentially scored for woodwind quintet. The opening measures are scored for

low flute and vibraphone, while in measure 2 solo French horn presents the first theme.

Continuing with transparent, chamber like scoring, he opens the next phrase with a

clarinet duet between first clarinet and bass scored largely in the chalumeau register. The

use of thirds and fifths in relation to the harmonic and melodic framework is apparent.

Figure 4.5. First Clarinet Bass Clarinet duet measures 4-7

The duet is accompanied as before with low flute and vibraphone. As this first phrase

group draws to a close, Bryant reinforces the French horn at the cadence with euphonium.

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Figure 4.6. French horn and Euphonium measure 12

The second phrase group begins in measure 13. Bryant changes the timbre

completely by presenting the second theme in the lower trumpet and middle horn.45

The second major section, B, begins in measure 21 with the works first complete

thematic statement by the full ensemble. The ensemble presents the descending minor

third motive, while being harmonized with quintal chords. The harmonies do change

through the second and third tutti sections, which will be discussed in more detail.

Almost all instruments are scored in their middle or lower register. After this arrival in

measures 21-23, scoring is pared back to horn, timpani, alto saxophone, and low clarinet,

presenting the theme and diatonic clusters. The flute joins in measure 25 followed one

measure later by low reeds and tuba.

This

creates a dark, rich timbre. He expands the palette in measure 18, adding the woodwind

choir prior to the tutti statement from the complete ensemble.

45 See fig. 4.3.

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Figure 4.7.First ensemble tutti measures 21-25

The texture increases at the second arrival in measures 32 and 33. The range is

expanded, doubling the tuba in the lower octave, increasing the range between tuba and

first flute, doubling the tuba line in timpani, and adding more harmonic variety.

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Table 4.1. Comparisons of depth of range and orchestration at the three tutti sections

Following this arrival, Bryant again reduces the instrumentation. Musically depicting

darker hues becoming more prominent, he scores the end of the phrase with low brass

and French horn, closing on yet another diatonic cluster. The transition which occurs in

measures 36-40 is perhaps one of the most interesting sections of the entire work.

In building layers figuratively and musically, this section is demonstrative of

mature and well-structured musical thought. At the base of the texture, the bass drum

and timpani roll through this section. Adding to this effect, the alto and tenor saxophone

perform trills for three measures, ascending in minor thirds. Moving eighth notes are

scored giving rhythmic and harmonic direction towards the works climax in measure 42.

Measures Range Orchestration and scoring differences

21-23 Bb-c4 Gb-a3 Eb-f3

• Harmonized in quintal chords

• No phrase extension 32-34 Eb-f4

C-d4 AAb-c4

• Expanding range • Quintal chords

resolving to Ab Major chord in the third pitch

• Emphasis on the third in upper voices and mallet percussion

• Two bar phrase extension

42-44 Ab-ab4 G-g4 F-f4

• Major harmonies on all three descending chord

• Half cadence • Cadence now

interrupted with rhythmic movement in various voices

• Repeated three times, each time with more movement dissolving the cohesive effect

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Within the texture under all of this, the low reeds and low brass present the theme from

measure 13 augmented, and then finish the complete statement in measures 39-41 with

descending minor thirds.

The climax occurs at measure 42. Written to be played as loud as possible, this

moment is the loudest and most densely scored moment in the work.46

Figure 4.8. Low brass and woodwinds statement of the theme hidden inside of a thicker musical texture

Eleven measures

in length; this phrase group divides into phrases of 3+3+5. Each of these statements is

broken up by other lines as the work begins to retreat to its conclusion. Upon the arrival

of the third note in beat one of measure 43, eighth notes in ascending from minor third to

perfect fourth and then falling to a fifth are added to the texture.

46fff.

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Figure 4.9. Third trumpet, horn and euphonium present the intervallic motive leading to a half cadence in measures 43-44

During the second phrase between measures 45-47, the motive is interrupted on the

second note by eighth notes, and further disrupted by the clarinet, horn, euphonium, harp

and vibraphone adding a syncopated rhythm leading to the cadence.

Figure 4.10. Clarinet, French horn and euphonium present a syncopated figure at the end of measure 46 leading to the cadence

The third phrase of this group between measures 48-49 an echo of the previous material.

The motive is presented in the French horn, second trombone and clarinets.

The final section begins in measure 53. As to be expected of an arch form, the

music is in retrograde in relation to its presentation at the beginning. The first period

between measures 53-61 resembles the music found in measures 13-20. Bryant changes

the orchestration here. Instead of a brass chorale, the thematic material is presented in

low flute, middle and low soprano clarinet, and bass clarinet.

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Figure 4.11. Scored for brass chorale at measure 13, thematic material is scored for woodwind chorale at measure 53

With the exception of solo French horn and euphonium, the brasses do not return

for the duration of the work. This final statement in the last five measures completes the

arch. The work closes as it began, with the French horn solo being reinforced by the

euphonium, and ultimately resolving to the same chord that opened the work.

Figure 4.12. Woodwind scoring and final thematic statement in measures 62-66

Dusk alternates primarily between the keys of Bb and g minor. The opening tonal

center is Bb, but the use of quartal and quintal harmony is prevalent throughout the work.

It opens with a sustained perfect fourth in the flute and vibraphone (and optional harp).

Diatonic clusters are also a harmonic staple of the work. This certainly becomes true

when arriving at cadences. Almost every major phrase ending results in a half cadence.

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The motive itself also has significance in the harmonic writing throughout the work. The

progression of minor thirds, an example of which is in figure 4.6, is clearly the melodic

building block of the entire work.

Another characteristic which gives the work its open feeling is the use of space.

The rests allow the conductor to manipulate space, leaving the listener with a sense of

anticipation or reflection. Perhaps the most significant moment of silence occurs at the

end of the middle section in measure 52. After the third statement of the descending

minor third motive, three beats of rest are written. The vibes and harp sustain through the

winds release, decaying to absolute silence prior to a return of the opening material in

measure 53.

Simple and elegant, Dusk is a work that would augment any program. It is

technically simple enough that younger bands would be able to perform successfully. It

is sophisticated enough that more advanced musicians would have a meaningful

experience performing the work. Masterfully crafted Dusk is a work worthy of study and

performance.