VARIATIONS FOR VIOLONCELLO, VIOLIN, AND PIANO

by

CINDY CHERISE WALKER, B.M.

A THESIS

IN

MUSIC THEORY

Submitted to the Gradúate Faculty of Texas Tech üniversity in

Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC

Approved

Accepted

December, 1983

r

5-^ ¿ : ^ '

ACK::OWLEDGEMENTS

I am deeply indebted no Dr. Steve Paxton, whose guid-

ance and patience has been of the utmost iniportance in the

ccrr.pletion of this project.

I am also very grateful to Dr. Mary Jeanne van

Aopledorn for her leadership and encouragement.

11

TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS ii

LIST OF EXAMPLES iv

INTRODUCTION v

VARIATIONS FOR VIOLONCELLO, VIOLIN, AND PIANO 1

BIBLIOGRAPHY 25

111

Example 1

Example 2

Example 3

Example 4

Example 5

LIST OF EXAMPLES

Synthetic scale

Modality in Variation IV (mm. 5-8)

Synthetic scale

Modality in Variation VI (mm. 1-5)

Use of Instruments

Page

V

vi

vi

vi

vii

IV

INTRODUCTION

The pitch resources for Variations for Violoncello,

Violin, and Piano are derived from the synthetic scale shown

in Example 1. The first tetrachord suggests a major scale

and the second tetrachord a whole-tone scale.

Example 1: Synthetic scale

bcoU

t^ \ \ \ o bo l> ^ — 7Ñ r5 c? -O- ^

i \ The combination of these two tetrachords results in a mul-

titude of possibilities for thematic expansión.

Intervals of an augmented fourth and a half-step found

within the synthetic scale are very important to the de-

velopment of the Variations. The augmented fourth is heard

at the beginning of the theme and is used extensively

throughout each variation in both the melody and the accom-

paniment. The half-step is not as predominant in the theme

but is used continuously through the third variation. The

Variations begin with the violoncello stating the theme in

the tonal región of C. All but two of the seven variations

are consistent within this tonal área. Variation IV

suggests the A-phrygian mode which is shown in Example 2

and also includes a synthetic scale on A using the first

tetrachord of the A-ionian mode and the tetrachord of the

A-aeolian mode as shown in Example 3.

Example 2: Modality in Variation IV (mm. 5-8)

Allegro A-phrygian

i i r t jT rn ,1 32fz:

Example 3: Synthetic scale

A-ionian A-aeolian

Variation VI suggests D-aeolian.

Example 4: Modality in Variation VI (mm. 1-5)

nnaanie

1 ^ -in

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$

The quasi-modal writing in Variation IV and Variation VI

provides contrast with the more abstract tonal resources of

the theme and the other variations.

After the violoncello states the theme, varieties of

instrumental combinations are used in the variations. Ex­

ample 5 shows the contrast achieved by orchestrational

vi

means.

Example 5: Use of Instruments

Theme Var. Var. Var. Var. Var. Var. Var.

I II: III IV V

VI. VII:

: Solo violoncello : Violoncello and inside piano : All Instruments : All Instruments : All Instruments

Solo piano with string tremolo : Violin and violoncello

All Instruments

The traditional methods of variation techniques such as

reharmonization, transposition, ornamentation, and augmen-

tation have been used freely throughout the variations.

Variation I uses the first nine measures of the theme

accompanied by repeated notes and glissandi on the strings

of the piano. Variation II combines the interval of an aug­

mented fourth and a half-step to form a cluster chord to be

played by the pianist in measures 19 through 24. The

violoncello adds a new percussive timbre by the player's

knocking on the body of the instrument with his knuckles in

measures 5 through 15 while the violin plucks the augmented

fourth interval in various rhythms. Variation III is

comprised of each instrument's varying motives from the

theme. The violoncello is played near the bridge of the

instrument while the violin is played with the wood of the

bow to add contrasting tone colors. Variation IV uses

alternating meters. Variation V is a piano solo with an

ostinato accompaniment in the left hand and a portion of

vii

the theme being played in octaves in the right hand. The

strings alternately provide a soft single note tremolo. The

last variation begins with an introduction leading to a

fugato in which the subject is taken from measure six of

the theme. The countersubject is a rhythmic variation of

the augmented fourth interval used in Variation IV. The

conclusión of Variation VII is a chórale based on the first

six measures of the theme.

Vlll

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BIBLIOGRAPHY

Apel, Wilii. Harvard Dictionary of Music. Cambridge, Massachusetts: The Belknap Fress of Harvard Üniversity Press, 1944.

Blatter, Alfred. Instrur^ientation/Orchestration. New York: Longr.an, Inc., 1980.

Bunger, Richard. The Well-Prepared Piano. Colorado Springs, Colorado: Colorado College Press, 1973.

Dallin, León. Techniques of T yventieth Century Composition. Dubuque, lovTal WmT C~. Brown Company PuDÜshers, 1974.

Grout, Donald. A History of V7estern Music. New York: W.W. Norton & Company, Inc. , r9"7T!

Roemer, Clinton. The Art of Music Copying. Sherr.an Oaks, California: Roerick Music Co., 1973.

Rosenthal, Cari A. Practical Guide to MUSIC NOTATION. New York: MCA Music, n.d.

Sadie, Stanley, ed. The New GROVE Dictionary of Music and Musicians. London: Macmillan Publishers Limited, 1980. Vol. 19.

25