IN DREAMS
Portia Onyenachi Njoku
B.A., University of California Davis, 2007
PROJECT
Submitted in partial satisfaction of
the requirements for the degree of
MASTER OF MUSIC
in
(Composition)
(Performance)
at
CALIFORNIA STATE UNIVERSITY, SACRAMENTO
FALL
2010
© 2010
Portia Onyenachi Njoku
ALL RIGHTS RESERVED
ii
IN DREAMS
A Project
by
Portia Onyenachi Njoku
Approved by:
__________________________________, Committee Chair
Leo Eylar, M.M.
____________________________
Date
iii
Student: Portia Onyenachi Njoku
I certify that this student has met the requirements for format contained in the University
format manual, and that this project is suitable for shelving in the Library and credit is to
be awarded for the project.
__________________________, Department Chair
Ernie Hills, D.M.A.
Department of Music
iv
___________________
Date
Abstract
of
IN DREAMS
by
Portia Onyenachi Njoku
The intention of this work is to portray the composer’s childhood recurring dreams
through music: painting a musical picture of the moods during the dream sequences. In
Dreams is a large chamber-sized group using cyclic form. It is scored for piccolo, flute,
clarinet in B-flat, bass clarinet, trumpet in B-flat, trombone, drum set with whistle, piano,
two violins, viola, and cello and lasts approximately a little over fourteen minutes. The
piece was written with the intention to use music to connect disjunct scenes from the
composer’s recurring dreams smoothly so that the two types of dream scenes can weave
in and out of each other like streams of consciousness. The two types of dreams are
representative of the composer’s first encounter with a clown at a fair and her family
living in four different homes. The key component of this work is the use of thematic
transformation. The contrasting thematic and stylistic material for the circus clown
music and the four home locations are the basis for this cyclic progression and undergo
changes each time these themes reappear. This thematic transformation facilitates the
audience’s ability to become familiar with the themes and types of music, and thus,
allowing the audience to follow along on the musical journey. A chamber ensemble,
under the direction of Jason Pano, premiered In Dreams on November 23, 2010.
, Committee Chair
Leo Eylar, M.M.
______________________
Date
v
DEDICATION
To my wonderful mother Evangeline. I am thankful for all your words of
encouragement, love, and wisdom.
vi
ACKNOWLEDGMENTS
I would like to acknowledge all of my teachers. It has been a pleasure to study
with all of you. During my time at Sacramento State, I have grown as an adult, a
musician, and a scholar. A special thank you is due to Laura Basini, James Chopyak,
Julian Dixon, Stephen Blumberg, Ernie Hills and especially Leo Eylar. Thank you to
Jason Pano for conducting and all of my musicians for playing. You all have brought life
to my creation and I am forever grateful.
I would also like to thank my dear friend Daniel Webster. You have been my
rock throughout this whole process.
vii
TABLE OF CONTENTS
Page
Dedication ................................................................................................................... vi
Acknowledgments...................................................................................................... vii
List of Musical Examples ........................................................................................... ix
Chapter
1. INTRODUCTION ................................................................................................ 1
Problem Statement ........................................................................................... 3
Need .............................................................................................................. 4
Delimitations ................................................................................................... 5
2. BACKGROUND OF THE STUDY ...................................................................... 6
Review of Literature ........................................................................................ 6
Methodology ................................................................................................... 7
3. COMMENTARY AND ANALYSIS .................................................................... 8
Analysis ........................................................................................................... 8
Results ............................................................................................................ 16
Appendix A. In Dreams score ................................................................................... 17
Appendix B. Formal Structure Diagram ................................................................. 120
Bibliography ............................................................................................................ 122
viii
LIST OF MUSICAL EXAMPLES
Page
1.
Musical Example A Sacramento …………………………………………….. 8
2.
Musical Example B Elk Grove ……………………………………………… 9
3.
Musical Example C Clown March …………………………………………. 10
4.
Musical Example D New York …………………………………………….. 11
5.
Musical Example D’ New York ……………………………………………. 12
6.
Musical Example E Fremont ……………………………………………….. 13
ix
Chapter 1
INTRODUCTION
This project is an original composition for a large chamber group. This ensemble
consists of: flute/piccolo, clarinet in B-flat/bass clarinet, trumpet in B-flat, trombone,
drum set with whistle, piano, two violins, viola, and cello. It is a single movement work
that utilizes multiple compositional techniques, styles, and influences to create the work’s
formal structure. Stylistic elements that are present and influence the piece’s concept,
range from American Music to European Music and also include Contemporary Music
from Persia. These contrasting styles and elements form energetic sections that
continuously attract the listener’s ear while creating a musical journey to follow along
with.
The various styles present a musical depiction of the two types of recurring
dreams the composer had during her childhood. The first recurring dream consists of
four different home locations where the composer used to live. These locations are
Sacramento, Elk Grove, Fremont, and New York. Most audience members may find that
they are able to connect with this type of dream because of its lack in stability. In an
example of the home dream, the composer moves through various locations within her
house, but realizes that she is actually not in the right house. She is transported from the
kitchen in Elk Grove, to the backyard of the house in Fremont, and then later to her
bedroom in New York. The dreamer is unaware of where her true location lies because
the locations change without warning and cause a great deal of confusion.
2
The second type of recurring dream is an extension of the composer’s first reallife experience with clowns at a local fair. In the dream, the composer and her family
enjoy watching the clown perform at the fair and then walk home. During the walk home
however, she is the only person that notices that the clown is following her and her
family home. At first the clown straying from the circus is amusing because the clown
does not belong there, but later the clown becomes annoying and then threatening
because the clown tries to break into the house later that evening. The composer defends
her family and home by hitting the clown over the head with a frying pan and then the
clown disappears.
Audience members may find that they could have the same frightened reaction to
a clown following them and trying to break in their homes. In addition, they can also see
how the initial attraction of clowns and their joyful entertainment can obscure the
clown’s stigma since so many people fear them. It is the composer’s intent to create an
interactive experience for the audience while listening and then the audience members
can draw upon their own dream experiences. It should also feel like the audience is
riding along on the musical journey.
The compositional techniques incorporated in this piece are thematic
transformation, orchestration, rhythm, and metric displacement. The thematic
transformation begins after the five themes are stated. Each thematic repetition is altered
and sometimes is even corrupted by the circus clown’s music while the clown music
distorts itself in the process. The combination of instruments used within this 10-person
ensemble yield many different shades of color and dramatic effect. Rhythm is another
3
important technique in this composition. It constantly drives the piece forward through
counterpoint, by creating tension, and adding a fresh impact to the pivotal sections
throughout the work. Metric displacement also contributes to the tension, but creates
new emphases that imply another layer to rhythm.
Problem Statement
This project is an endeavor in the creation of music, which mimics the styles and
patterns of the previously stated recurring dreams. There are a few challenges in writing
such a piece. The first is creating a cohesive identity that unifies the piece as a whole. It
is easy to fall into the trap of writing chunky sections that have little in relation to each
other. In order to avoid writing music for the sake of just imitating the dreams, the music
must be capable of standing alone as a solid piece of work. It also needs to tell a story or
have a trajectory that the audience can grasp. To solve this problem, the composer uses
motives and fragments of the thematic material to tie the piece together. The piece
progresses from simple ideas to complex thoughts throughout its duration. Another form
of cohesion is through key relationships and tonal centers. An example of this is the use
of chromatic mediants and dissonant tonalities to represent the negative experiences
while consonant tonalities represent positive experiences.
Another potential with problem composing In Dreams is its highly programmatic
concept. The audience does not know the full background of the piece or any of the
special meanings within the different themes. The title, In Dreams, helps guide the
audience’s perception of what the piece will potentially sound like: a dream-like state.
This piece exhibits many of the stylistic qualities found in dreams: abrupt texture
4
changes, blurred lines of separation, different rates of time, confusion, and familiarity.
Most audience members are comfortable with listening to traditional classical music like
Beethoven or Mozart because they have heard it before. These same audience members
might not have had much education or exposure to contemporary music. In Dreams is
the composer’s attempt at drawing in a newer audience and giving the audience an
interactive experience. The goal for this piece is to write a work that is exciting,
accessible, and engaging for the audience.
Need
There are many negative connotations about new music. New music is not as
well received by the public as traditional classical music is. This makes having numerous
performances of a new work difficult because audience tunes out, does not understand, or
has a bias towards new music. Sometimes new works are programmed in between older
works during concerts. This bookending technique forces the audience to listen to new
works out of context, and without their expressed desire, they are trapped. Instead of
forcing new music on the audience, ensembles should present new music to them
honestly and without a hidden agenda. New music is needed to show that the future of
music is not dead and that there is hope for upcoming composers who would otherwise
have no voice.
Music evolves over time and must make room for future generations of music. If
more people are exposed to new music and its many possibilities, the negative
stereotypes and connotations will disappear. Another common downside with new music
5
that has been expressed is that new music should needs to be short. The reason for this
thought is because audiences tend to lose interest and focus if the piece is too long. There
should not be a limitation on new music, whether it is on the length of time, style,
programming, etc. New music should be valued the same as previous works. In order
for this to happen, new music needs to be heard.
Delimitations
This work is a little over 14 minutes long. The composer had originally planned
for the piece to be 10 minutes long, but during the composition process, she realized that
she needed to extend the piece to about 15 minutes. This extension allowed her to
express everything that she wanted to say musically. Due to time constraints and
conflicting schedules, the composer’s time with the musicians was very limited. The
performance was on November 23, 2010 in the Music Recital Hall at California State
University Sacramento.
6
Chapter 2
BACKGROUND OF THE STUDY
Review of Literature
Throughout the compositional process, many different sources were consulted.
The Study of Orchestration by Samuel Adler was an important source for orchestration,
instrumental performance technique, and score preparation. Audio Graffiti’s “Guide to
Drum & Percussion Notation,” from [www.audiograffiti.com/au]; Jon Hazilla’s
“Mastering the Art of the Brushes,” from [Berkleeshares.com]; Norman Weinberg’s
“Guidelines for Drumset Notation,” in Percussive Notes; and Vic Firth’s “Vic Firth
presents Tommy Igoe Groove Essentials,” from [www.vicfirth.com] were all essential
sources for traditional and jazz drum set techniques and notation. Mark Levine’s The
Jazz Theory Book and Ted Pease’s Jazz Composition Theory and Practice were
informative sources on the basics of Jazz theory and composition.
In addition to reading multiple books, journals, and websites for information and
resources for this project, the composer also spent time listening to many jazz charts for
inspiration, structure and style. Red Garland’s “A Foggy Day,” Oscar Peterson’s
“Tender Trap,” and “After All,” Stan Getz’s “East of the Sun,” and Count Basie’s “Oh
Lady Be Good,” were examples of jazz charts that composer listened to from Pandora
Radio.
7
Methodology
This piece was written over the span of a little over 11 months. The first idea for
this piece began after the composer watched a performance of the Sacramento
Philharmonic Orchestra in January 2010. The orchestra performed Toward That Endless
Plain: Concerto for Persian Ney and Orchestra by Iranian composer Reza Vali. The
concerto had many dreamlike qualities.
In the early stages of composing In Dreams, the composer wrote sketches of
melodic lines for the different themes. After singing the melodies and playing the
harmonies at the piano, the composer expanded the themes and organized the structure
for the piece. Every week during the composition lessons with instructor Leo Eylar, the
composer discussed possible revisions, instrument techniques, formal structure, harmony,
and musical styles. The composer finished the piece in the beginning of November 2010
and rehearsals began soon after completion. As rehearsals progressed, little changes were
incorporated to improve the piece and its effectiveness along the way. A few examples
of these changes were increasing or decreasing dynamic levels, playing passages up the
octave, and omitting parts to allow for instrument changes.
8
Chapter 3
COMMENTARY AND ANALYSIS
Analysis
In Dreams is made up of five different themes. Throughout the piece, the themes
reappear, but are altered each time they happen. These are five themes are categorized
simply as: A, B, C, D, and E. The cyclic formal structure is based on the themes
repeating without a predetermined order. This form is not to be confused with a rondo
form, which is more strictly defined as ABACA or ABACADA. Notice the order of
themes in Appendix B.
The A Theme is representative of the composer’s first home in Sacramento. In
addition to the ascending and descending major second suspensions, the D Major scale
also characterizes this theme. Theme A lasts from m. 1 to m. 16 and is tonally centered
in D major. Sacramento is characterized by octaves and perfect fifths. In the musical
example from Theme A (below), the cello plays a pedal D while the rest of the strings
play a descending D major scale in a dovetail fashion starting with F# in the first violin.
This section is open sounding and stable; it feels like home. The texture and the
orchestration are sparse and expansive as well.
Musical Example Theme A mms. 6-12.
9
Next, the B Theme, which represents Elk Grove, begins by overlapping with the
melody from the end of Theme A. This section lasts from the pick-up to m. 17 to m. 29.
The orchestration changes from the vast expansive texture to a more intimate setting with
the clarinet and string quartet. The key is still in D major but the difference in texture
and thematic content help create a defined musical division. Another difference in
texture is that Theme B is highly contrapuntal when compared to Theme A. The cello
and viola drive the music forward throughout the section, while the clarinet beautifully
soars above the string accompaniment. Musical Example B shows the clarinet’s lyrical
line.
Musical Example B mms. 16-20.
When the clarinet melody line ends at m. 25 the descending scale figure from Theme A
returns to conclude this section.
Theme C, the Clown/Sousa march, interrupts the serene nature that Theme A and
B have both established. The composer had Stravinsky’s Petrushka, John Philip Sousa
marches, and Barnum and Bailey’s circus music in mind while composing this section.
This section lasts from m. 29 to m. 86. It is loud and boisterous and opens with a whistle
cadence that is similar to a marching band sound off. After the whistle, the opening
fanfare is in E-flat major and later morphs into D-flat major at m. 35. The majority of
10
this of section is in D-flat, but there are sections that emphasize E-flat and A-flat major as
well.
After a lengthy introduction, the main melody of Theme C finally arrives at m. 59
in the clarinet line. An excerpt of this melody can be seen in Musical Example C down
below. The harmony here has temporarily shifted to A-flat major. This section is the
first time that all 10 players are playing together including the drum set, and the drum set
adds a forceful rhythm and internal beat that is natural to the elements of a march. The
meter is in cut-time, but because of the different layers in instrumentation and accented
sections, the meter and rhythm imply something other than what is written. A great
example of this metric confusion is from mms. 67-71. The drum set starts a triple meter
with the crash cymbals at m. 69, and the viola and the cello play on beats 1 and 2
respectively. The trombone and trumpet play on the and of beat 1 at m. 67, violins 1 and
2 play on the and of beat 2, and the piano plays strict duple time.
Musical Example C mms. 55-64.
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The clown march ends with a flourish while violin 1 holds over and starts the
transition section, which lasts from m. 86- 103. At m. 93, the clarinet melody from the
march is stretched out as the harmony moves away from D-flat and moves to F major.
The busy orchestration melts away into the piano and drum set duet ballad.
The piano and drum set ballad is the D Theme and represents the composer’s
home in New York. It is an intimate orchestration that feels like a cadenza with wire
brush accompaniment. Here is Musical Example D.
Musical Example D mms. 109-110.
This section lasts from mms. 103-114. The harmony centers on the key of F
major. After the fermata, the D’ Theme begins and is based on the harmony from Theme
D. The D’ Theme tries to follow the typical big band chart form with mini 8-bar phrases.
This section lasts from m. 114-210. The short formal structure for Theme D’ is aaba(interlude)- drums- aaba (march interlude)- a (coda march/big band).
So far, this is the largest section yet. It also uses all the instruments to create a
full jazz orchestral sound. The melody is first doubled in the clarinet and trumpet part.
See Musical Example D’ below.
12
Musical Example D’ mms. 123-126.
The first a section lasts for 8 bars and repeats a again for another 8 bars, and then the
harmony moves to the b section with an emphasis of A major at m. 132. The b section,
for the next 8 bars, shifts the harmony back to F major. The piano picks up the a section
solo at m. 140. The second a section is interrupted by an interlude section at m. 147 that
leads into the 8 bar drum solo at m. 152. This is where the clown march begins to
influence the jazz music. Now the 8 bar drum solo moves in between the swung and
straight eighths.
Measure 160 is the start of the new a section with the trombone solo. The
harmony is still based in F major. Another a section passes, this time with the march
style influence in the trombone at m. 172 and then passes through the woodwinds at m.
175 and leads into the b section. The trombone moves from the A major harmony at m.
176 and then fades back to the F major harmony when the trumpet and clarinet resume
the solo at m. 183. This a section is incomplete and is boldly interrupted by the drum
13
solo and then the march fanfare for 6 bars. The rest of the 8-bar phrase is completed and
then another a section begins but deceptively turns into a coda-like ending that is a
mixture of clown march style and jazz harmony at m. 200. The coda harmony starts off
in E-flat major and chromatically ascends to G major and then finally ending on a G
dominant 7 chord.
The next section is a transition from the big band jazz section to the wind chorale.
Sparse orchestration gives the listener’s ears a break from the constant commotion. This
section is an expansion on the A Theme’s major second suspensions. The section lasts
from m. 211-231 and solidifies the tonality in G major for the upcoming wind chorale.
Theme E is the last theme to be introduced and represents the composer’s home in
Fremont. The chorale lasts from m. 232-248. It consists of simple counterpoint and a
clearly defined key in G major. Here is a Musical Example of Theme E.
Musical Example E mms. 232-236.
Another statement of Theme E happens from m. 248-267 but starts with the
strings. The counterpoint is a little more complicated than the woodwind version. The
harmony shifts from G major to F major in the middle of m. 253. From then on, there are
staggered entrances from the same melodic fragment until the transition section at m.
14
267. Towards the end of Theme E, the harmony, and rhythm changes, the tempo picks
up, and the style becomes more agitated.
The next transition section lasts from mms. 267-292. Here, the drum set enters
alongside the cello, for the first time in a while and establishes a waltz rhythm during the
duple time meter. The cello also drives the harmonic rhythm by alternating between E
and E-flat major. The waltz rhythm melts away and returns to a duple feel at m. 273.
Now the harmony is then stabilized in E-flat major.
Theme A returns at m. 292 and lasts until m. 377. This extensive section builds
on the major second suspensions and major scale material, but is applied to E-flat major.
After the E-flat major scale is played for the last time, the strings move from unison
pizzicato E-flat to unison arco at m. 369. The strings are at their loudest dynamic in the
A Theme. Shortly after the peak, the dynamic lessens as the strings move away from the
unison E-flat by whole steps.
In m. 378, Theme C, the clown march, interrupts Theme A as it continues to
toward the foreground and Theme A the background. The harmony has shifted from Eflat to an emphasis on A major. The downbeats, the notes A and E-flat, which are a
tritone apart, are derived from that whole tone cluster in the strings. This section lasts
from mms. 378-431, and the main clarinet melody from the original C Theme appears in
m. 397 in the first violin, m. 407 in the piano, and m. 423 in the flute.
Theme B returns immediately at m. 432 and lasts until m. 445. The harmony is
defined as A major as the melody is passed through the instruments like the second E
Theme did. A short transition from mms. 446-450 leads into the long drum solo at m.
15
451. This drum solo lasts from mms. 451-479 and plays a variety of styles that have
occurred in the piece thus far, such as: the swinging triplets on the ride cymbal in m. 462,
the straight eighths on the snare drum in m. 470, and the waltz rhythm in the bass drum
and hi-hat in m. 472.
The last transition section begins at m. 481 and lasts until m. 505. In this section,
the dynamics continue to build as the orchestration grows larger. Multiple layers in mms.
499-505 create an uncomfortable tension until the clown march returns for the final time
in m. 506.
The final clown march returns but this time it is in a waltz form and emphasizes C
major with embellishments of F#. It is not disguised in different meters like the previous
times; the meter feels like it fits. This section is full of layers from elements that have
carried throughout the piece and continue to build until the section begins to unravel. In
the cello and bass clarinet parts, the constant downbeats shift over to beat 2 so the waltz
offset by one beat in m. 516. The piano plays the transitional material from m. 211 while
the drum set and brass play march rhythms in waltz form. The piccolo and the remainder
of the strings fill in the gaps of the growing texture. Measure 521 is where the texture
changes and pushes forward to the climax. In stretto fashion, the strings play the trumpet
motive in the original version of the clown march. The build up to the climax at m. 532
is like a snowball rolling down the hill. This is the most grotesque version of the clown
march and it is difficult to feel a stable downbeat. At m. 541, the instruments start fading
out until the strings are left at m. 552. This is the last A Theme as the lack of tonality
returns to D major. The strings descend to a unison D through stepwise motion.
16
Results
In Dreams was successful in carrying out the theoretical idea and turning it into a
living practical application. The audience members felt like they were experiencing their
own dream for themselves. It can be difficult for a composer to keep the audience
connected, especially with modern music that the world has not yet heard. By allowing
the audience to draw upon their own dream experiences as they listen, the composer has
succeeded in keeping the audience engaged and connected to the music.
17
APPENDIX A
In Dreams Score
18
Portia Onyenachi Njoku
In Dreams
(2010)
Transposed Score
Piccolo
Flute
Clarinet in Bb
Bass Clarinet
Trumpet in Bb
Trombone
Drum Set
Piano
Violin I
Violin II
Viola
Cello
120
APPENDIX B
Formal Structure
121
Formal Structure
A --- B --- C trans D --- D’ trans
E --- E --- trans A --- C --- B trans
drum
--- trans C --- climax ---A
122
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2010).
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(accessed April 13, 2010).
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1994): 15-26.
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