symphony in three movements dissertation/67531/metadc...third movement, measures 1-3 of the violin...

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SYMPHONY IN THREE MOVEMENTS

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

Park, Ki-Seob, B.M., M.M

Denton, Texas

December, 1994

Park, Ki-Seob, Symphony in Three Movements. Doctor

of Musical Arts (Composition), December, 1994, 153 pp., 4

figures, 10 Tables, 68 Examples.

Symphony in Three movements is an orchestra work

scored for two flutes, two oboes, two clarinets in Bb, two

bassoons, two horns in F, three trumpets in Bb, three

trombones, one tuba, percussion and strings. The percussion

consists of timpani, vibraphone, temple block, tom-tom,

suspended cymble, bass drum, and gong.

The piece is not based on any non-musical image.

The three movements of this work, I.(variation-like)

II.(ternary) III.(fantasia-like), are based on the

combination of the solemn ceremonial atmosphere of Korean

music and early twentieth-century Western music.

TABLE OF CONTENTS

Page

LIST OF FIGURES iii

LIST OF TABLES iv

LIST OF EXAMPLES V

Chapter

1. INTRODUCTION X

2. DESIGN xi

First Movement Second Movement Third Movement

3. TONAL CENTERS xx


4. MUSICAL ELEMENTS xxii


5. LINEAR INTERVALS xxxi

6. VERTICAL SONORITIES xxxv

7. INSTRUMENTATION xliv

8. CONCLUSION Iii

SYMPHONY IN THREE MOVEMENTS 1

ill

List of Figures

Figure Page

1. Length of Movements of the Symphony x

2. Design of the First Movement x

3. Design of the Second Movement xv

4. Design of the Third movement xviii

IV

List of Tables

Table Page

1. Formal Description of the First Movement xii

2. Formal Description of the Second Movement xvi

3. Formal Description of the Third Movement xvii

4. Principal Tonal Centers of the Symphony xx

5. Tonal Centers of the First Movement xxi

6. Tonal Centers of the Second Movement xxi

7. Tonal Centers of the Third Movement xxii

8. Principal Elements of the First Movement xxx

9. Principal Elements of the Second Movement xxxi

10.Principal Elements of the Third Movement xxxiv

v

List of Examples

Example Page 1. First Movement, measures 1-4 of the violin I

and 5-8 of the flute, theme xiv

2. First Movement, measures 13 and 22 of the horn, head of the theme xiv

3. First Movement, measures 38-39 of the temple block,measures 41-43 of the bassoon,

rhythmic variation xiv

4. First Movement, measures 135-136 of the flute, trumpet,violin I xv

5. Second Movement, measures 1-4 of the violin I, theme xvi

6. Second Movement, measures 51-52 of the flute and violin I, conversation of the theme xvii

7. Second Movement, measures 65-68 of the flute and violin I.themes of the first and

second movement xvii

8. Second Movement, measures 72-78 of the violin I and horn, theme. answer xvii

9. Second Movement, measures 184-186 of the strings, fragment of the theme of the first

movement xvii

10. Third Movement, measures 54-58 of the horn, theme xx

11. Third Movement, measures 73-75 of the horn, ostinato xx

12. First Movement, measures 13-14 of the violin I, motive utilizing the lst-half of the theme xxii

13. First Movement, measures 183-185 of the violin I, motive utilizing the 2nd-half of the theme xxii

14. Second Movement, measures 184-186 of the violin I, same as. example 12 in different mode xxii

VI

15. Third Movement, measures 1-3 of the violin I....xxii

16. First Movement, measures 72-73 of the bassoon...xxiv

17. Second Movement, measures 11-12 of the violin I and clarinet, theme. variation xxiv

18. Third Movement, measures 116-119 of the bassoonr solo J _ _ i n g x x i v

19. First Movement, measure 41-44 of the bassoon, melodic line with ornamentati on xxiv

20. Second Movement, measures 99-102 of the violin I,

melodic line without ornamentation Xxv

21. First Movement, measures 135-137 of the trumpet, xxv

22. Second Movement, measures 70-71 of the violin I. xxv 23. Second Movement, measures 145-147 of the

clarinet and bassoon, without ornamental--i on . . . xxv

24. Third Movement, measures 22-25 of the clarinet and oboe, with ornamentation

. xxvx 25. First Movement, measures 87-89 of the clarinet

and bassoon

26. Second Movement, measures 106-109 of the snare drum xxvi

27. Second Movement, measures 110-112 of the

strings xxvi

28. First Movement, measures 134-136 of the strings.xxvi

29. Third Movement, measures 153-158 of the strings.xxvi

30. First movement, measure 89 of the woodwinds xxx

31. Third Movement, measures 73-76 of the brasses., xxx

32. First Movement, measures 214-216 of the strings x x x

33. First Movement, measures 104-106 of the strings and xylophone xxxi

34. First Movement, measures 41-43 of the bassoon...xxxv 35. Second Movement, measures 65-66 of the flute....xxxv

VI1

36. Third Movement, measures 47-49 of the oboes xxxv

37. First Movement, measures 57-60 of the violins

and viola xxxv

38. First Movement, measures 81-84 of the clarinet..xxxv

39. Second Movement, measures 83-84 of the woodwinds xxxv

40. Second Movement, measures 155-156 of the

clarinet xxxv

41. Third Movement, measures 74-80 of the violin I..xxxv

42. Third Movement, measures 196-199 of the

violin I xli

43. First Movement, measures 6-7 of the flute xlii

44. Second Movement, measures 53-55 of the violin I.xlii

45. Third Movement, measures 86-87 of the horn xlii

46. First Movement, measures 229 of the strings, triad-like omitted 3rd xlii

47. Second Movement, measures 184-186 of the strings, unison xlii

48. Third Movement, measures 152-153 of the woodwinds, quartal xliv

49. First Movement, measures 74-75 of the strings, triad added augmented 4th xliv

50. First Movement, measures 225-227 of the strings, triad-like omitted 3rd xliv

51. Second Movement, measures 5-6 of the strings, unison lxv

52. Second Movement, measures 165-167 of the woodwinds . chromatic quartal xlv

53. Third movement, measures 67-68 of the woodwinds, triad added maior 2nd and augmented 4th xlv

54. Third movement, measures 176-177 of the strings 7 th chord added minor 6th xlv

Vlll

55. First Movement, measures 90-92 of the woodwinds and strings, oolvchord xlvi

56. Second Movement, measures 121-123 of the strings xlvi

57. First Movement, measures 65 of the strings, molto vibrato xlvi

58. First Movement, measures 9-10 of the strings, alissandi xlvi

59 Second Movement, measures 51-52 of the strings, pizzicato alissandi xlvi

60. First Movement, measures 104-107 of the strings, tremolo xlvi

61. First Movement, measures 218-220 of the strings, tremolo alissandi xlvii

62. Second Movement, measures 42 of the strings, quick bowing on all open strings xlvii

63. Second Movement, measures 106-107 of the woodwinds, molto vibrato. non vibrato. . .. xlvii

64. Third Movement, measures 67-68 of the woodwinds

and strings xlvii

65. Second Movement, measures 48-49 of the brasses. li

66. Third Movement, measure 182-185 of the percussion li

67. Second Movement, measures 83-84 of the cymbal and snare drum li

68. Second Movement, measures 22-23 of the strings, brasses and woodwinds li

IX

Introduction

Symphony in Three Movements is a work for

orchestra and is scored for the following instruments:

2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 Horns in F 3 Trumpets in Bb 3 Trombones 1 Tuba Percussion (4 players):

Timpani Vibraphone Xylophone Temple block Tom-tom Suspended cymbal Snare drum Bass drum Gong

Strings Violin I Violin II Viola Violincello Contrabass

The piece is not based on any non-musical image.

The first movement exhibits the characteristic sectional

organization of a variation form, while the second movement

shows clearly divided ternary form. The third movement is in

a fantasia-like style acting as a culmination of the previous

two movements. The three movements are designed with certain

cyclic implications. The first and the third movements are

related by similar materials.

x

Design

Svmphonv in Three Movements is almost 22 minutes in

length. Each of the movements is approximately the same

length.

Movement Time

I 7:40

II 7:30

III 7:40

Figure 1--Length of movements of the Symphony

First Movement

The first movement is constructed in variation

form: theme, variation and coda.

Theme Six Variations Coda

J =92 J =92-120 J = 9 2

mm.1-12 mm.13-217 mm.217-219

Figure 2--Design of the First movement

Exclusive of the presentation of the theme and

coda, the movement consists of six variations. While the

entire movement is continuous, the groupings are clearly

delineated by a wide variety of timbral patterns, and by

significant alterations in the character of the music.

xi

Internally, the work attempts to achieve unification through

diverse means. Most common is the use of motives derived from

the main theme throughout the piece. The theme, based on a

Korean folk song, serves as the general principle of

development in this movement. The instruments produce highly

decorated melodic lines. This process begins in the first

variation and is completed at the sixth variation. The coda

consists of material similar to that of the introduction.

Table 1.

Formal Description of the First Movement

Section Measures Description

Introduction 1-12

Variation I 13-37

Variation II 38-71

Variation III 72-111

theme

first half of the theme begins m.13 in horn transition mm.35-37 in percussion

melody based on the first-half of the theme appears four times 1st begins m.41 in bassoon, ends m.46 2nd begins m.46 in bassoon and violin I, ends m.55 3rd begins m.56 in flute and violin I, ends m.60 4th begins m.61 in clarinet, ends m.65

melody based on the first half of the theme appears three times in extended pattern

xix

Table 1 -- continued

Section measures Description

Variation IV 112-133

Variation V 134-190

Variation VI 191-217

Coda 218-219

1st begins m.72 in bassoon, ends m.79 2nd begins m.80, ends m.97 3rd begins m.98, ends m.107 transition mm.108-111

first half of the theme appears only m.123 in horn 1st statement begins m.112 in violin I, reaches peak m. 125 2nd statement begins m.117 in violin II 3rd statement begins m.119 in viola 4th statement begins m.121 in cello

1st statement begins m.134 in strings,winds and brasses transition in mm.142-145 2nd statement begins m.146 in strings, ends m.153 transition in mm.154-162 3rd statement begins m.163, reaches peak at m.183 transition mm.186-190

first half of the theme begins m.191 in strings, reaches peak at m.213 peak sustains until m.217

theme

Most of the contiguous main variations are

diversed, although they are derived from the main theme, but

two variations,III and IV, are paired using similar material

x m

treated slightly differently. The fourth variation uses the

same material as that of the third variation, but offers a

dynamic contrast. The structure of entrances is a retrograde

of the third variation. The fifth variation consists of

mainly one figuration in a march-like character. The melodic

line of the ostinato pattern is based on the beginning of the

main theme.

Example 1. First Movement, measures 1-4 of the violin I and 5-8 of the flute, theme.

vioimi

H1-2

Example 2. First Movement, measures 13 and 22 of the horn, first half al £ll£ theme.

FHn.1-2

i l l * J p f t £ PP K

Example 3. First Movement, measures 38-39 of temple block, and measure 41-43 of the bassoon, rhythmic variation'

Per.2 I T.fl

Bsn.1-2

i" p r r r r r r pp m

XIV

Example 4. First Movement, measures 135-136 of the flute, trumpet, and violin I.

k FI.1-2

Bb Tpt.1-2

Vn.1

m J > 3 S

n sempre

Second Movement

The second movement is constructed in three

sections: slow, fast and slow.

Slow

J =60-70

mm.1-71

Fast

J =120 mm.72-134

Slow

J =60 mm.135-186

Figure 3-- Design of the Second Movement

In this ternary form, the first and third sections

are closely related, while the fast middle section is in

contrasts. Within the slow section the main theme is repeated

six times. Generally the style of the theme is kept in the

same mood while the instrumentation is varied. The first slow

section consists of repetitions of the main theme and is

followed by a transition based on the theme of the first

movement. The fast section is made up of a series of

conversations between strings and other groups.

xv

Table 2 Formal Description of the Second Movement


Slow

Fast

1-10 1st statement begins in strings ends in clarinet

10-21 2nd statement begins in strings clarinet follows in imitation

22-28 3rd statement begins in strings, brasses, winds, respectably

28-41 4th statement reaches peak m.37 42-50 5th statement begins in woodwinds 51-60 6th statement begins in woodwinds,

strings pizzicati and glissandi

.61-71 themes of the first and second movement transition mm.70-71

72-82 1st statement begins in strings, reaches peak m,76 in horn

83-105 2nd statement begins by tutti simultaneously

106-118 3rd flow keeps the theme in same mood

119-134 4th statement begins m.118 in strings, reaches peak at m.130, declines toward the following slow section

135-141 1st statement begins in strings 142-151 2nd statement begins in woodwinds 152-178 3rd statement begins in strings,

imitates in woodwinds 179-186 coda keeps the mood of the

theme of the 1st movement

Slow

Example 5. Second Movement, measures 1-4 of the violin I, theme.

3,

Vlollnl

XVI

Example 6. Second Movement, measures 51-52 of the flute and violin I.conversation of the theme.

Vnl

Example 7. Second Movement, measures 65-68 of the flute and violin I.themes q £ first and second movement.

FL1-2

Vnl

mf f Example 8. Second Movement, measures 72-78 of the violin I

and horn.theme. answer.

Vnl

FHn.1-2

Example 9. Second Movement, measures 184-186 of the strings, fragment &£ the main theme of the first movement.

Vnf

Vn.2

Va.

Vc.

Cb.

ir jET XI

-tr-

JT -e-jt

WW

X V I 1

Third Movement

The third movement is constructed by combining

elements of the first and the second movement. Similar to the

first movement, the third movement is made up of three

sections: introduction, main body and coda.

Introduction

J= 96 mm.1-10

Main Body Coda

J = 96-140 J =

mm.10-190

140

mm.191-204

Figure 4--Design of the Third Movement.

Within the main body the theme is repeated eight

times. The theme is kept generally intact, but is varied

according to the instrumentation. The whole section is framed

by the head of the theme, similar to the first movement. But

in this movement the theme is much more freely varied in a

fantasia-like style. The entries of the main theme and the

material of the introduction, the main body, and the coda are

illustrated in Table 3.

Table 3

Formal Description of the Third Movement


Introduction 1-4 5-7

special chord in strings the chord in woodwinds

xviii

Table 3-- continued


8-10 first half of the theme

Main Body

Coda

10-17 transition 18-34 1st statement begins in violin I

and oboe 35-62 2nd statement begins in cello 63-72 3rd statement begins in strings 73-95 4th statement begins in strings

brasses and percussion 96-116 5th statement begins in strings

and percussion fragment of the theme chord of the introduction

116-139 6th statement begins in bassoon 140-153 7th statement begins in cello 153-190 8th statement begins in strings

reaches peak at m.190

191-205 repetition of the special-chord theme of the first movement

Example 10. Third Movement, measures 54-58 of the horn, theme.

FHn.1-2

f t i . — J , IlipS

PP

Example 11. Third Movement, measures 73-75 of the horn,ostinato.

FHn.1-2

XIX

Tonal Centers

The symphony focuses on a tonal center of E, but

moves through various centers from the first to third

movement. Although the symphony is tonal in general, the

approach to tonal centers is free. The tonal centers as they

occur at the beginning and end of each of the three movements

are listed in table 4.

Table 4

Principal Tonal Centers of the Symphony

Movement Tonal Center

First Movement E Second Movement G, A Third Movement E

First Movement

Tonal organization in the first movement is built

on six consecutive repetitions of the pitch E. This E becomes

most important to the overall structure of the symphony

because it is not only the point of departure for the

movement but the point of repose for the last. In addition to

the emphasis of the tonal center E, bi-tonal centers are

utilized throughout the movement except for the beginning and

the ending sections. The D# of measures 191-217 functions as

a leading tone toward the final E.

xx

Table 5

Principal Tonal Centers of the First Movement

Measures Tonal Center

1 72 90 112 134 191 218

E E/C E/Ab C/G E/A D# E

Second Movement

In the second movement, the tonal centers are

primarily organized in terms of an alteration between G and

A. Although the movement of the tonal center is governed by

the pitch G and other tonal centers, the music ends on the A

tonal center. The G# of measures 180-186 is regarded as a

leading tone toward the final tonal center of A.

Table 6

Principal Tonal Centers of the Second movement

Measures Tonal Center

1 18 61 72 119 135 168 180

unconfirmed E F# D G G# A

xxi

Third Movement-.

Tonal organization in the third movement is built

on five repetitions of the pitch E together with other tonal

centers. In addition, the area marked "unconfirmed" at m.116

is tonally ambiguous by the use of sequence. Similar to the

first movement, the use of bi- tonal center is illustrated in

measures 63-72.

Table 7

Principal Tonal Centers of the Third Movement

Measure Tonal Center

1 18 43 54 63 73 96

B E G E E/C E B unconfirmed

140 191 205

E B E

Musical Element-g

In the Symphony in Three Movementh. individual

musical elements are used for the coherence of this work.

Since this work is designed with certain cyclic implications,

a number of these elements are common to all three movements.

XXI1

These elements may be classified into eight broad categories:

motives, themes, melodies, counterpoint, heterophony,

rhythms, ostinato, and sustained passages. Each of the

elements is illustrated as follows.

Individual Musical Elements

A. Motives;

1. The motive based on the first half of the theme.

Example 12. First Movement, measures 13-14 of the violin t.motive utilizing the first half of the theme.

Vn.1 PI77 Brco

¥

2. The motive based an the tale of the theme.

Example 13. First Movement, measures 183-185 of the violin I, motive utilizing the second half of the

theme.

Vn.1

Jf

Example 14. Second Movement, measures 184-186 of the violin I, same && example 13 in

different mode.

Vnl

Jf

3. The motive as an introductory or transitional element.

Example 15. Third Movement, measures 1-3 of the violin I.

Violin 1

XX111

B. Themes:

4. "Inherit" theme.

Example 16. First Movement, measures 72-73 of the bassoon.

Bsn.1-2

5. Variation of theme Example 17. Second Movement, measures 11-12 of the

violin I and clarinet, theme and variation.

M.U Vn1

BbCI.1-2

C. Melody;

6. Solo line.

Example 18. Third Movement, measures 116-119 of the bassoon, solo line.

Bm. 1-2

7. Melodic line with ornamentation

Example 19. First Movement, measures 41-44 of the bassoon,melodic line with ornamentation.

Bsn.1-2

8. Melodic line without ornamentation

xxiv

Example 20. Second Movement, measures 99-102 of the violin I, melodic ling without ornamentation.

Vn1

PP PP

9. Fragment of tune.

Example 21. First Movement, measures 135-137 of the trumpets.

Bb Tpt.1-2

BbTpt.3

m •

10. Transitional tune

Example 22. Second Movement, measures 70-71 of the violin I.

Vnl

D. Counterpoint:

11. Imitative counterpoint without ornamentation.

Example 23. Second Movement, measures 145-147 of the clarinet and bassoon, without ornamentation.

Bb CI. 1-2

Bsn.1-2

XXV

12. Imitative counterpoint with ornamentation.

Example 24. Third movement, measures 22-25 of the clarinet and oboe, with ornamentation.

Ob. 1-2

BbCI.1-2

m

E. Heteroohonv:

13.Ornamentation of the original melody keeping the original line.

Example 25.. First movement, measures 87-89 of the clarinet and bassoon.

BbCI.1-2

Bsn.1-2

$ V

F. Rhvthm:

14. Rhythmic Figure m

Example 26 Second Movement, measures 106-109 of the snare drum.

xxvi

15. Rhythmic figure n Example 27. Second Movement, measures 110-112 of the

strings.

Vn1

Vn.2

Va.

Vc.

Cb.

jji n ;J

Ji. n n.

jj. n. fl.

cr cr [f

is is v

n n n n

JJ J]. J3. Jl

u u u' u

cr is' is' is'

ir sr v is

f\ fl. h ,r,i. ;

u u u u

tf ti' ir u

G. Ostinato:

16. Ostinato with a chromatic line

Example 28. First movement, measures 134-136 of the strings.

Vn.1

Vn.2

Va.

Vc.

Cb.

£ Remoue mule n * n n w n n

/• Remoue mute " w " " n n i

Remoue mule

f Remoue mute

f Rrco

r »r" Jb f

n sempre

ff . " f t

m sempre

„ sempre

m

ftfrfrrr

XXVI1

17. Ostinato with a diatonic line

Example 29. Third movement, measures 153-158 of the strings.

non diu. M PI N sem pre w Vn. 1

Vn.2

Va.

Vc.

CJk

non diu. r* n n sempre

H Snimi J J 1 J' "*» 9 WZW non di ~9 W non diu, m tk i sempre k k £ &

Pizz

18. Ostinato following heterophony.

Example 30. First Movement, measure 89 of the woodwinds.

FI.1-2

Ob. 1-2

BbCI.1-2

Bsn.1-2

i p

XXVI11

19. Ostinato with repetition of the dynamic pattern, p< f.

Example 31. Third Movement, measures 73 -7 6 of the brasses (ostinato continues until m.95).

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

i

Ti

P

m p-> y-r -•> p

/

£=* yf

p- p~

H Sustained Passages:

20. Sustained accompanying line

Example 32. First Movement, measures 214-216 of the strings.

Vn.1

Vn.2

Va.

Vc.

Cb.

XXIX

21. Sustained homophonic passage with contrapuntal movement

Example 33. First Movement, measures 104-106 of the strings and xylophone.

Vn.1

Vn.2

Va.

Vc.

Cb.

i *

^ ^ j J J ̂

J? A— 1 I

^ —

[§^1—rrJuL ? 1 \^-—

J g|J J ;ij=|

, i ̂ ti\ ' lt>4 Jgg| -1 & J

4—J — v J —

U & i — ^ J — l> J J

fM&J 1 r/g? 1—1 gg-." -

k g 1 " ['#

' ' y-p 1

^ ^ 1 8 = 7

Most of the preceding elements are common to all

three movements except heterophony and ostinato. Heterophony

is used in the first movement while ostinato with repetition

of the dynamic pattern (p

shifted accents, and syncopation. The heterophony is

important because it occurs only once and serves as the

central point in the third variation. The elements mainly

used in the first movement are illustrated in table 8.

Table 8

Principal Elements of the First Movement

Section Element Type

Introduction

variation I

Variation II

Variation III

Variation IV

Variation V

Variation VI

theme motive

motive

counterpoint sustained-passages

motive melody

heterophony melody theme sustained-passages

counterpoint motive

sustained-passages

ostinato motive

sustained-passages

theme

inherit based on the second half of the theme

based on the first half of the theme

with ornamentation

percussion

first half of the theme with ornamentation

following ostinato with ornamentation varied

contrapuntal

with ornamentation based on the first half of the theme

percussion

chromatic bass line based on the first half of the theme

percussion

varied

xxxi

Table 8-- continued

Area "Element Type

melody fragment sustained-

passages accompanied line

Coda theme varied

Second Movement

A number of elements are found throughout the

second movement. (Example 14,17,20,22,23,26, and 27): six

are in the slow sections, and four in the fast section. The

second movement is rhythmically the most regular in the

symphony. The rhythmic elements m and n • are

important because they occur throughout the movement and

serve as the central point around which all the phrases are

linked. The inherited theme is special in that it is

derived in part from the first movement. Table 9

illustrates the main elements of the movement.

Table 9

Principal Elements of the Second Movement

Area Element Type

Slow theme inherit melody with ornamentation sustained-passage accompanying line

xxxix

Table 9-~ continued

Section Element Type

Slow counterpoint rhythm motive

without ornamentation

based on the second half of the theme

Fast melody

rhythm sustained-passage counterpoint

with ornamentation without ornamentation fragment

accompanying line without ornamentation

Third Movement

The third movement consists of introduction, main

body and coda. Similar to the first movement, most of the

elements are used in the main body (Example 15,18,24,29, and

31): two are in the introduction, five in the main body, and

three in the coda. The motive based on the head of the theme

is common to all three sections. The rhythmic interest of the

movement is created by the frequent use of syncopation and

shifted accents. The ostinato (p

Table 10

Principal Elements of the third Movement

Area Element Type

Introduction motive

melody

based on the first half of the theme transitional tune

Main Body melody

motive

counterpoint ostinato

.sustained-passage

solo with ornamentation based on the first half of the theme

with ornamentation diatonic

with dynamic p

elements are designed. The major and minor third are of

secondary importance because they are less often utilized

Types of Linear Intervals

A. Intervals'. major 2nd, minor 2nd

Example 34. First Movement, measures 41-43 of the bassoon.

Ban. 1-2

Example 35. Second Movement, measures 65-66 of the flute.

FI.1-2 [ \

A Bliss

tJ mf

Example 36. Third Movement, measures 47-49 of the oboe.

Ob. 1-2 * r HTFFFI) 1 " • 'asaa mp B. Intervals: perfect 4th, perfect 5th

Example 37. First Movement, measures 57-59 of the violins and viola.

Vn.l

Vn.2

Va.

'f rfri&H f f~[T i f [ /

c £.rr_r H 7 '-'Cj-

m

xxxv

Example 38. First Movement, measures 81-83 of the clarinet.

BbCI.1-2

Example 39. Second Movement, measures 83-84 of the woodwinds,

FI.1-2

Ob.1-2

Bb CI.1-2

Bsn.1-2

i ' J a i 1 J ' , l

Example 40. Second Movement, measures 155-156 of the clarinet,

»ai-2 Bb(

Example 41. Third Movement, measures 73-80 of the violin I,

Vn. 1

• 1* J 1 j JJjp

XXXV1

Example 42 Third Movement, measures 196-199 of the violin I

Vn. 1 if yf.tr

W

C. Interval: major 3rd ( minor 6th ) minor 3rd (major 6th)

Example 43. First Movement, measures 6-7 of the flutes.

jU-M.ll £N-U |j|

FI.1-2

Example 44. Second Movement, measures 53-55 of the violin I,

sernpre

Vftf $ m ¥ ¥ Example 45. Third movement, measures 86-87 of the horn.

I FHn.1-2

Vertical Sonorities

The vertical framework of the symphony is basically

quartal and quintal. There was no systematic attempt to

control the harmonic direction within the movements. Non-

functional relationships predominate in freely diatonic or

chromatic sequences. Triad-like chords are also found but are

essentially incomplete chords omitting the 5th or 3rd of the

chord. In addition, a number of unison passages found in the

xxxvn

symphony are features of Korean music. The' cadences,

particularly the final cadences of each movement are made of

unisons or triad-like chords omitting the 3rd of the chord,

another feature of the traditional cadence in Korean music.

These sonorities are found in predominant chordal structures

of a passage, melodic outlines, passing chordal structures,

arpeggiations and accompaniments. Each of the examples is in

the following section.

Tvoes of Vertical Sonorities

A.

Example 46. First movement, measures 229 of the strings, triad-like chord omitted 3rd.

Vn.1

Vn.2

Va.

Vc.

Cb.

Ptzz

i i Pizz

mz

Plẑ

Pizz

X X X V l l l

Example 47. Second Movement, measures 184-186 of the strings, unison.

Vn1

Vn.2

Va.

Vc.

Cb.

ff

$ IT £X

~W -o-

JT

#2r

W f

* U j

Example 48. Third Movement, measures 152-153 of the woodwinds, qugrtaJ-.

FL 1-2

Ob. t-2

BbCI.1-2

Bsn.1-2

f f=£=

1-J. : £

3 2s f u ) * *

t i n 3

U f

= E ' 1 1 • > -

~ r > * * 4M ̂ ^

i t

E-p " * * •

j 1 1

XXXIX

13. Predominant chordal structure of a passage

Example 49. First Movement, measures 74-75 of the strings, triad added augmented 4th.

Vn.1

Vn.2

Va.

Vc.

Cb.

.$_i — i j * J / J J |

-ti r = - i PP

J |

/y —

PPP

— — 7 ft 4 J

PPP

i •*

4—i£ j J r"* [

PPP PP

Example 50. First movement, measures 225-227 of the strings, .triad-like chord omitted Ird.

Vn.1

Vn.2

Va.

Vc.

Cb.

4 ^ = ^ =

i j 1 *-= - - • L*

|.f

prj |J

t >

L»

m r i f . - — | | J £ j

n. i PP

^ 4 -> < L r PP

'Xf > t 11^=2 8 £ 1

PP

-f* f8—

* — ^ — i

H? I

xl

Example 51. Second Movement, measures 5-6 of the strings, unigon.

Vnl

Vn.2

Va.

Vc.

Cb.

^•WVWVVVW /VV̂ i

£

Example 52, Second Movement, measures 165-168 of the woodwinds. chromatic cruartal.

FL1-2

Ob. 1-2

BbQ.1-2

Bsn.1-2

m i a 4:

xli

Example 53. Third Movement, measures 67-68 of the woodwinds, triad added major 2nd ftnd wgment;ed

a 1-2

Ob. 1-2

Bb CI. 1-2

Bsn. 1-2

.1 «b-j- mm SS3S8S9— i

Example 54. Third Movement, measures 176-177 of the strings, 7th chord added minor 6t;h,

Vn. 1

Vn.2

Va.

Vc.

C.b.

H sempre

mm n sempre

K'f f f f H sempre m n sempre m m m j l .

&

j j j'

m m j l

Although this work is essentially tonal, there are

occasions when a chord is intentionally obscured. This is

xlii

accomplished by the technique of overlapping chords which are

unrelated by ordinary tonal standards. These, polychords are

used in which two tonal centers are employed simultaneously.

Example 55. First Movement, measures 90-92 of the woodwinds and strings, polvchord.

R.1-2

Ob.1-2

BbCI.1-2

Bsn.1-2

Vn.1

Vit.2

Va.

Vc.

Cb.

A rri ̂ m I a 3 3

r r n J J J u J J 1

1 I-—— — — tU dJldJ

^lppl|tj *£j" : J r-n

I ̂ { M T I,J ; j lJ=H , VT—\RD—

4 ^ r

Hrco

^ PPP . ilrco

9 > > »

* ''p » p t r

>• Jp

iM 1 ifl

HrtoPPP

^ i J -

K F 1 RRCQPPP

n r r 1 $

J \,l r—1 f i t 1 - = 4

v { y f J PPP

Rrco fcn ^ IF Z

PPP

xliii

Many of the chords found in the work are a result

of contrapuntal considerations. If the movement is primarily

contrapuntal in natural, the vertical alignment is a

secondary consideration.

Example 56. Second Movement, measures 121-123 of the strings.

Vol

Vn.2

Va.

Vc.

Cb.

i Pizz

PP

.J t J

Pizz

PP Pizz

PP

Instrumentation

The instruments are generally treated in a

traditional manner. However, instrumental techniques are

adapted to create the timbre of Korean sounds. The

adaptations include the decoration of single tones in the

strings by means of molto vibrato, glissandi, quick bowing on

all open strings, tremolo, tremolo glissandi, long trills,

and pizzicati. A special type of the pizzicato followed by

short glisssandi produces a sound similar to a Korean drum.

xliv

Example 57. First Movement, measure 65 of the strings, molto vibrato.

Vn.1

Vn.2

Va.

Vc.

Cb.

PP

PP

pp

PP

Example 58. First movement, measures 9-10 of the strings, alissandi.

Vn.1

Vn.2

Va.

Vc.

Cb.

H p flrco

Plzz

Plzz

gllss

/ :

xlv

Example 59. Second'movement, measures 51-52 of the strings, pizzicato alissandi.

Vn1

Vn.2

Va.

Vc.

Cb.

«" 1 ; ' H B _ , P'» 9"*>

£

r ' 1 1 i f 1 Ptzz

/ PIzz alisŝ.

1 j 1 ! ff

Q. 41 v v '

Pizz gHss. jf

ff

Example 60. First Movement, measures 104-107 of the strings, tremolo.

Vn.1

Vn.2

Va.

Vc.

Cb.

xlvi

Example 61. First movement, measures 218-220 of the strings, tremolo alissandi.

Vn.1

Vn.2

Va.

Vc.

Cb.

Pi i

Example 62. Second Movement, measure 42 of the strings, quick bowing on all open strings.

Vn1

Vn.2

Va.

Vc.

Cb.

Woodwinds are included to add weight to the string

sonorities. Sometimes the instruments double the strings

exactly or do so in a highly embellished manner. In certain

instances, the instruments provide harmonic support by

providing a different harmonic texture from the strings. In

addition, the instruments also produced a special type of

xlvii

glissandi, molto vibrato, non vibrato and long trill

imitating a Korean bamboo-like flute.

Example 63. Second Movement measures 106-107 of the wood-winds /molJta vibrato, non vibrato.

J. M.0

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

i n

^ht-

M " " J.H.U 1 =—M=y-— r

i.™ j i

4r!f U-M.U

—"ttf-«r fr

*r 1— J-H-U 1

Example 64. Third Movement, measures 67-68 of the woodwinds and strings.

,7 J W -Fl. 1-2

Ob. 1-2

BbCI.1-2

Bsn. 1-2

Vn. 1

Vn.2

Va.

Vc.

i

EP-CP TPRR

xlviii

The brass is generally treated in a traditional

manner. It supports the strings, giving emphasis to certain

pitches by either doubling them at the exact pitch or at the

octave, or introducing a pitch prior to its entrance on the

other instruments. Glissandi and some use of strong accents

are found in the trombones and tuba.

Example 65. Second Movement, measures 48-49 of the brasses,

Bb Tpt.1-2

BbTpt.3

Tbn.1-2

Tbn.3

Tuba

a

Percussion instruments were chosen for their unique

coloring. The timpani, tom-tom, suspended cymbal, snare drum,

bass drum, vibraphone and xylophone were selected. The use of

certain percussion instruments such as gong and temple block

recall the solemn ceremonial atmosphere of a Buddhist temple.

It also includes the use of accelerandos or rallentandos with

a simultaneous lengthening or shortening of note values as in

the percussion parts of Korean music. The use of glissandi

xlix

found in the timpani recalls the primitive sound of the

Korean small drum.

Example 66. Third Movement, measures 182-185 of the percussion.

Timp.

Perc.

/ P—

The snare drum and suspended cymbal were chosen for

metric and regular phrases in the second movement.

Example 67. Second Movement, measures 83-84 of the cymbal and snare drum.

s.o

Per.2

r J J J

> • > »

i i i i There are special combinations of instruments in

certain instances. A number of passages were based on a slow

change in the color of a sound, a type of Klancrfarbenmel od-i P .

where strings, woodwinds and brasses exchange a note very

slowly with one disappearing as the other becomes prominent.

Example 68. Second Movement, measures 22-23 of the strings brasses and woodwinds.

• 3 . 3

FI.1-2

Ob.1-2

CI.1-2

Bb CI. 1-2

Bsn.1-2

F Hn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.3

Tuba

=

I v - = \ P • • p ; r _ a—^— F • =

A h b b = K -

t)

m

Vn1

Vn.2

Va.

Vc.

Cb.

$ p p w

3 ~m—w—r

S i P

PPP

- PPP

PPP

PPP

PPP

li

Example 68 shows a type of special combination.

Repeated notes in the strings are followed immediately by the

same pitches in the brasses and the woodwinds. The first

movement features strings, woodwinds, and certain percussion

instruments such as temple block and tom-tom. The

introduction and a number of variations feature the

structural frame using woodwinds, strings and certain

percussion. Various combinations of strings and woodwinds are

used throughout the movement. The second movement serves as

the midway point where instrumental resources are expanded,

especially in the percussion, while the brasses are slightly

reduced in the first and third sections. In this movement

alternation between solo players and groups occurs,

especially at the beginning of the third section. The third

movement is based on a wide variety of timbre patterns,

including; higher pitches in the strings and lower pitches in

the woodwinds; the use of solo passage in the woodwinds; and

brasses, especially in the second section, using the repeated

dynamic pattern (p

motives, themes, melodies, counterpoint, heterophony, rhythm,

ostinato, and sustained passages. Vertical sonorities

consisting of unison, triads, quartal, and quintal harmonies

are combined with triads which omit and add intervals.

The instruments are used in a traditional manner.

To get the colorful Korean sounds, special types of timbre

manipulation are adopted. The use of Klanafarbenme1odies and

ostinato (p

SYMPHONY IN THREE MOVEMENTS

PARK, KI-SEOB

Orchestra

2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 Horns in F 3 Trumpets in Bb 3 Trombones 1 Tuba Percussion (4 players)

Timpani Vibraphone Xylophone Temple block Tom-tom Suspended cymble Snare drum Bass drum Gong

Strings Violin I Violin II Viola Violoncello Contrabass

FIRST MOVEMENT 1

SECOND MOVEMENT 58

THIRD MOVEMENT 104

Transposed Score

J = 92 SYMPHONY IN THREE MOVEMENTS

Park, Ki- Seob

(1994)

Flute"!-2

Oboe 1-2

Bb Clarinet"!-2

Bassoon!-2

F Horn1«2

Bb Trumpet! -2

Bb Trumpets

Trombone1-2

Trombones

Tuba

Timpani

Vlollnl

Violln2

Viola

Violoncello

Contrabass

Percussion 2 <

m.u

1 ^ • 1

i ! ; i , 3

mp 5 W

7Tlp~

1 — R

j J j J p .

6 ,

mp

; i > > 6 mp

nri—r

Sh V ™"

*1

g 4

• i •I "

t i •1 ~"

• i #1 ™

-

> .• • m " > m m v - "Ti #1 fi>

Q t PP

? r r r = r r r = 4 j = = j -*==Zmf

l | #1 "" =

4 mm. *1 •J ™

• 4

* |

•J —

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

0 fi» y f T = | f " §f 4 , J t t = f

JS> A mf

> • ii «N*» if V # "

11 f w f f

u , j t f=4 J=#J= mf

-\—i

4 jT=—. J

i i jj>-u ' y J j a i * r > * -

> •

4 ^ M-k—

C u t • r i «r 4 5 5

l i f f —

#T 5 7 5

l i r r * *=1 mf

T? ; m

-"^r r r r

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

P m

m

- 2 -

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

I f I J L u ,

•i —

J L y •i

i n -Brco

—1 < f 14 1 ! » » A± Z Z ! f J J Pizz

* J J T — 5 — PP

i_j ! J

PPP

J — i p — t) p 1

r — Pizz

ii .I ^

PP

tl V V ' '

PPP •j ""

-Va-A P

:t /i ™ ^ —

' ' gliss

i t t i t = "Tj

^ 1

J r -f Z = = =~p

• 1 ^

- 3 -

13

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

/ -

tr-

' ,n ,n . pp

pp

m V

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

-Elzz_

¥ flrco

w sfz

i Plzz

p flrco

£

W :«i » 2

Pizz

Pizz

S/iz

6--L1 j f

4 j ^

-4

17

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

:• J fa4^E^=== ; f ir i^r ' == ' f t i * i

/ ~ T f

- a b B j g H = =

- 8 - j r v * *

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

mf

-5 -

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsri.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

P

m

•> p V "I I Sky = —

JjL-a

firco# tr'1 "r i - I,I =

T 1

I « Is »

."""Hp ..->—

•(pi 7 f 7 |J) J=— , , , r ' f ,, = =

„J 7 J- 7=ĵ Ir

A ? ? V < i = "T—7—r

j**4—?— 4 r ,j tt;!i .""E .. . . —

«J ^ t= nrz^z-;—"—f—"] flrcaja^ -

^ 0 ^

T IKK

r crrrp 1 -jt l - 5 ^ - ' , i b J — J —

H N = T = P

/vy» r

Z n n . L > > > mp P

ft "TP#* » "f" r

M p — - — - — - —

S ? 1 1 1 -

!l > > t = = = \ •J J ^ =~ & - = = ^ - U 1 *—Itfi—

p —

pj £*•-

J -4

gliss

h - = H PP

& H —

• = ,— 3—, | \\ r d j ^ - t p — o < 7 -, , t ^ — * *

7J|J j — j p & JJJgy" flp—tHrri i i - 6—p

7 Lr-1 7 p

r - 1 M . ft =

p*3 J. - w*

'} v Tin pq

O ! -

? r Li= i f [|ff-

1 — i i r f r ? — ~

4 " i J 7

»• P r rIT"fuT i — n n p

JL-i **

J £

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

• 8 -

33

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

h j>>

H N - — ^ Mate ,

^ , J ,

_jtl

»i •1 «->

tJ t j - f - 8

- J

I I I > } *1 • 1 •• ^ J J J

ff j§3 J ""H 1 1 111

•J

*1

> | #1 •

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

F Hn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

$ < r t ' ' =

%) S-

L J i i

"71 _ 1

' / « • _

v i Ir . P \ > = ' * \ 1 * * —

J 1 10 -

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

- 11

46

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

' - y » m

• =

1

^ J? ;t - — W =

f h J j J

" ' J f r U g ? , J ) 7 7 i « - « i

f "

W> - - | J § j

J L u

fr* = -

qliss Timp

P~

m Per.2 it-

m Vn.1

Vn.2

Va.

Vc.

Cb.

P-flrco

U S B m P

Pizz /

flrco

m m & p Piz t , r r * r T f

. . " 4 * « r k i t

/ Pizz

i p /

te

12 -

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

i i w Jm-u i u

mf

m P

Fl.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Li 1 IA - = -¥ =-It* . =4 fr* ==-

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

gliss

$

i

- 14

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

~~Jh~y : * = ~ - j/.~ 9 . — Jtf- - -- 9 .

ft i hi * rrw=rr —1—4̂ -J—2—_—2—

# S T r n * —

M — f "

4 - J — *

$fz

Per.2 <

— ' f u n > r " B T ~ ^

P f - > " L-te

P i Vn.1

Vn.2

Va.

Vc.

Cb.

/

i i - y r t , frrrffy m *

m *t 1 rLr /

'r v , k ^ r m M /

/ ¥ m • i n j ' r j

15 -

FI.1-2

Ob. 1-2

Bb CI.1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

$

—H

- M — 4 -> • > •

- J - 4 f f M :

- l i , # A I 0 • » — ^ . • i — 4 -

p N

f f 1 1

> - > -

p p p,

i 4 r sF i

| ; j r . f , j T ^

*

4 j | f

J f 1

. . . ' f , f ' q d j b l

— v r p r -

j • r 4 1 T C J

r * i — .

± = 1 =

> - > •

w > * '.J bp «v bp- -

P

-*h--J i f f J y - 4 } - # f - J . h ' i ? r =

> • > -

4 f 7 ' p = j

H L , 4j \ L m —

i ; L r J 7 ^ M A j f i k ± = l = M f c i =

J J 7 J

. h i

nri i — — ^ — f —

DO > • > •

4 Y '

»

^ lil.W \# id1* P

* * p > > > «

r * ^

- 16 -

p * * * r = j

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

•' 1 J j L y

-S-H = -

m mm Per.2 -PP

m PPP

Vn.1

Vn.2

Va.

Vc.

Cb.

-PP

pp

pp

pp

— PP

PPP

pp - 17 -

69 J . 120 Fl.1-2

Ob.1-2

Bb CI.1-2

Bsn.1-2

FHn.1-2

BbTpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

Per.2

Vn.1

Vn.2

Va.

Vc.

Cb.

4 = fj #1^ \>m " j | J+ J

- J — * —

4 = V

4 =

./

/

= 9 F /

>• >-} • l* ^

> • > • > •

/ * r r * = ^Poco a poco accel p

1 1 * 1 =

m "4 f t t t f t J «/ 4 * — Poco a poco accel

mp y ~ SB - * - * > » " # ! » » ! » » W Z ~

> - • • •

> -

Poco a poco accel mp

H E |

H E

| J m

- 18 -

FI.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

H-1 iJ

gliss Timp

P-

Sym.

Per.2

PPP'

Vn.1

Vn.2

Va.

Vc.

Cb.

j j * PPP PP

ii| PPP pp

PPP PP

PPP PP

PPP 19 -

Fl.1-2

Ob. 1-2

Bb CI. 1-2

Bsn.1-2

FHn.1-2

Bb Tpt.1-2

Bb Tpt.3

Tbn.1-2

Trb.3

Tuba

Timp

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symphony in three movements dissertation/67531/metadc...third movement, measures 1-3 of the violin...

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