From Analysis To Gesture A Co

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8713554
Strouse, Lewis Hillard
FROM ANALYSIS TO GESTURE: A COMPREHENSIVE APPROACH TO

SCORE PREPARATION FOR THE CONDUCTOR
Ball State U niversity D.A. 1987
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FROM ANALYSIS TO GESTURE:
A COMPREHENSIVE APPROACH TO SCORE PREPARATION
FOR THE CONDUCTOR
A DISSERTATION
SUBMITTED TO THE GRADUATE EDUCATIONAL POLICIES COUNCIL
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
for the degree
DOCTOR OF ARTS
by
LEWIS H . STROUSE
ADVISORS: MR. LEONARD ATHERTON, DR. JOSEPH SCAGNOLI
BALL STATE UNIVERSITY
M U N C I E , INDIANA
APRIL, 1987
FOR THE CONDUCTOR
A DISSERTATION
for the degree
DOCTOR OF ARTS
by
LEWIS H. STROUSE
Approved:
Chairperson Date
rp1 son
MaMLL
Date '
»
Committe'e Date
Committee
vnm
Dat/e
MUNCIE, INDIANA
APRIL, 1987
ABSTRACT
FOR THE CONDUCTOR
A DISSERTATION
for the degree
DOCTOR OF ARTS
by
LEWIS H. STROUSE
DISSERTATION CHAIRMEN: MR. LEONARD ATHERTON
and DR. JOSEPH SCAGNOLI
MUNCIE, INDIANA
APRIL 1987
FOR THE CONDUCTOR
Lewis H. Strouse
D.A.
Ball State University, 1987
Advisors: Mr. Leonard Atherton and Dr. Joseph Scagnoli
The purpose of this study was to develop a
comprehensive and carefully detailed approach to score
preparation which would be adaptable to all Kinds of music.
As a result of reviewing selected approaches to score
preparation and general' musical analysis techniques, a
Comprehensive Approach to Score Preparation (CASP) based
upon three levels of deductive analysis was created. These
levels are described as Level I— Basal Structure Analysis;
Level II— Review of Supplementary Information; and Level
III— Detailed Structural Analysis. The sequence of Levels
was based upon (1) the importance of formulating
appropriate conducting gestures and (2) the most efficient
method of learning an extended musical work.
Level I, Basal Structure Analysis, explores the score
in terms of musical elements that may be translated directly
into gesture without further study of structural
comparisons. Level II, Review of Supplementary Information,
surveys the historical and stylistic background of the work
and the composer. The final stage of the CASP process,
Level III— Detailed Structural Analysis, identifies the
individual components of the musical structure as each
relates to the larger structure and to the conductor’s
emotive interpretation.
Conclusions
1. The musical experience effects various modes of
emotional energy in appreciative listeners as well as non-
appreciative listeners, and musical scores should be
interpreted on the basis of emotional energy.
2. The elements of the cond uct or ’s musical
interpretation are transmitted to the players and to the
audience by means of the c o n duc tor ’s personality.
3. The musical elements of articulation, dynamics, and
tempo are the most important determinants of variations in
musical interpretations.
ACKNOWLEDGMENTS
The author wishes to express deepest appreciation to
Mr. Leonard Atherton for his unselfish generosity with time
and knowledge in guiding the development of this study.
Special thanks is due Dr. Joseph Scagnoli who served as
a principle reader of the manuscript, offered keen insight
into the practical application of the material, and endured
endless discussions on musicians and music-making which
served to continually inspire and motivate.
The contributions of committee members Dr. Philip
Jackson, Dr. Eugene Karjala, and Dr. John Strouse are
recognized with sincere and warmest gratitude. Discussions
with these gentlemen always provided honest and constructive
feedback within a professional atmosphere of mutual support.
L.H.S.
Table of Contents
Page
List of E x a m p l e s ................................................ v
List of F i g u r e s ................................................ vi
Chapter
1. Rationale for the S t u d y .............................. 1
The C o m p o s e r ’s Intent.............................. 8
The Psychophysical Effect of M u s i c .............. 10
S u m m a r y .............................................12
2. Survey of Approaches to Score Preparation......... 14
Historical S u r v e y ................................. 19
Application of Theoretical Techniques.......... 20
The C o m p o s e r ’s Creative Process................. 24
3. The Comprehensive Approach To Score

Preparation For The Cond uc tor ....................32
Level I— Basal Structure A na l y s i s ............... 39
Level II— Review of Supplementary

Information...................................... 82
Level III— Detailed Structural A na l y s i s ........ 83
Application of CASP Results:

The C o nd uct or ’s Interpretation................ 94
4. Application of the CASP Analysis Process:

Analysis For Performance Of Darius M il hau d’s
Suite Francaise For Concert B a n d .............. 98
Level I— Basal Structure A n aly si s............... 98
Level II— Review of Supplementary

Information........ -........................... 138
Level III— Detailed Structural A n al ysi s....... 140
ill
5. Basal Structure Analysis Of Palestrina's
Four Voice Motet Sicut Cervus and
Deb uss y’s L'Apres-midi d'un f a u n e ............. 148
Sicut C e r v u s ....................... ..............148
L'Apres-midi d'un f a u n e ......................... 157
Appendixes
I. CASP Forms for Data Collection &Retention....... 174
II. Basal Structure Analysis Charts for

Movements II, III, IV, V of Darius
Milhaud’s Suite F r a nc ais e....................... 192
Bibliography.................................................. 197
iv
Examples
Example Page
1. Milhaud. Suite Fran ca ise : I

(mm. 7 2 - 8 3 ) ........................................ 43
2. Milhaud. Suite Francaise: V

(mm. 3 1 - 3 9 ) ........................................ 48
3. Williams. Symphonic Dance No. 5

(mm. 53 -7 5 ) ........................................ 50
4. Milhaud. Suite Fr ancaise: III

(mm. 6 1 - 7 0 ) ........................................ 53
5. Milhaud. Suite Francaise: - V

(mm. 6 6 - 7 4 ) ................................... 56
6. Milhaud. Suite Fran cai se: II

(mm. 4 2 - 5 3 )....................................... 59
7. Milhaud. Suite Francaise: III

(mm. 4 4 - 5 2 )....................................... 61
8. Milhaud. Suite Francaise: IV

(mm. 14-27)....................................... 64
9A. Milhaud. Suite F rancaise: IV

(mm. 14-27)....... 70
98. Milhaud. Suite Francaise: III

(mm. 2 4- 3 3 ) ................. 73
10. Phrasal Outline S c h e m e ...............................88
11. Phrasal Outline Scheme Using T e x t .................. 89
12. Description of Overall D e s i g n ...................... 91
13. Description of Sectional Design

with D et a i l ............. 92
14. Byrd. Mass For Three V o i c e s : C r e d o ................ 92
15. Phrasal Outline with Thematic

Indications...................................... . .93
Figures
Figure Page
1. Basal Structure Analysis Chart,

Suite Francaise: I. Norm an die ................. 81A
2. Overview Chart of Suite Fran ca ise ................140A
3. Structural Chart No. 1,

Suite Francaise: I. Normandie ................ 140B

Suite F rancaise, I. Norm an die ................. 141A
5. 8asal Structure Analysis Chart,.

Sicut C e r v u s .............. 154A

L ’Apres-midi d'un f a u n e ........................ 157A
7. Overall Structure Chart,

L ’Apres-midi d ’un f a u n e ........................ 170A
vi
CHAPTER 1
Rationale for the Study
Considering all aspects of music theory, the processes
of musical expression and interpretation are among the least
understood.! As a result, young musicians lack ready access
to a standard approach for the interpretive analysis of solo
literature and ensemble scores.
Traditionally, the conductor prepares a score using a
series of four steps: (1) researching pertinent information
concerning the compo ser ’s lifestyle and the events
surrounding the genesis of the composition, (2) analyzing
the score theoretically in order to discover the
relationships between large structural features and much
smaller components, (3) as a result of historical research
and score analysis, the conductor forms a personalized
interpretation of the work, which leads to (4) the selection
of gestures that will best communicate the interpretation to
the ensemble and the listener. Unfortunately, the available
literature on conducting does not present an approach to
score preparation of sufficient breadth and detail to allow
for thorough comprehension through these four steps.
iDonald Barra, The Dynamic Performance: A Performer’s

Guide to Musical Expression and Interpretation (Toronto:
Prentice-Hall Canada Inc., 1983), p. vii.
2
The essential purpose of musical analysis is to provide
the musician with a systematic method of exploring musical
structures.2 Considering the massive amounts of score
information that the conductor of an extended work must
comprehend and assimilate, it is necessary that a detailed
method for score preparation be offered that can give order
to the exploration of information.
A survey of approaches to score preparation reveals the
most common analytical objectives as, simply, the analysis
of themes, tonal structure, and form. The analytical
techniques involved tend to limit their evaluations to
problems of musical structure and expressions of key and
chord relationships. The translation of theoretical
analyses into musical interpretations, and the
identification of musical passages that may require unusual
conducting gestures, are rarely considered. Furthermore,
the important supplementary topic of the unique
psychological relationship between conductor and ensemble is
addressed only s u p e r f icially.3 in general, concern for the
practicalities of performance seems to be very limited.
The small amount of information on performance
preparation is reflected in Hermann Scherchen’s view that
many concert artists achieve technical mastery of their
2John D. White, The Analysis of M u s i c , 2d ed. (London:

Scarecrow Press, 1984), p. 1.
3Peter Paul Fuchs, The Psychology of Conducting (New

York: MCA Music, 1969), p. vii.
3
instruments to the exclusion of a thorough understanding of
the works which they perform.4* Concern for the composer's
communicative intentions is considered of little importance
by too many performers. Scherchen further states that the
performer has practically no acquaintance with the technique
of composition (Scherchen, p. 1)— a useful tool for
attempting to understand a c o mpo se r’s approach to
structuring a piece of music.
- Some conductors "feel too frustrated by the too
abstract process of learning scores well, so they merely go
through a few perfunctory motions of preparation” (Fuchs, p.
32). The need for a reasoned methodology of score
preparation, having a direct relationship to the practical
application of gesture technique, would be worthy of serious
consideration.
The Conductor's Purpose
The conductor is a specialist in communication, and the
content of that communication derives from a comprehensive
view of the score. The discussions which follow will
describe the co nductor’s communications with the players and
the listeners. The nature of the communication may be
obvious physical gesture or a more subtle form of contact
which results in a subjective connection.
'•Hermann Scherchen, Handbook of Conducting (1933; rpt.

London: Oxford University Press, 1942), p. 1.
4
The conductor’s ultimate goal must be to "discover the
composer’s intentions and project them according to his own
conviction,"5 and as a result, "reach the heart and mind of
the listener" (Barra, p. vii). "The art of the interpreter
must never be separated from the warmth of the soul and the
heart..."5 Thus, the cumulative effect of the c o n du cto r’s
interpretation lies in the emotional response of the
listener. It is critical, therefore, that the conductor
understand the emotive impact of music, and the
characteristics of music that produce certain kinds of
emotive responses. The musical interpretation will result
from the conductor’s shaping of these elements.
"The superiority of interpretation is due to the
quality of the conductor’s conviction resulting from an
exceptional musical intuition based upon broad knowledge..."
(Blum, p. v) The secret of musical interpretation, made
manifest through 'conviction’ and 'intuition’, is the secret
of personality" (Scherchen, p. 1), and the effect of the
conductor’s personality is strengthened by a confident
knowledge of the score and mastery of competent rehearsal
and baton technique.
5 Roger Sessions, The Musical Experience of Composer,

Performer, Listener (Princeton: Princeton University Press,
1950), p. 82.
5David Blum, Casals and the Art of Interpretation (Los

Angeles: University of California Press, 1977), p. v.
■
5
The perception of a conductor’s positive personality,
by the players and the audience, is of paramount importance
to the receptivity of the interpretation. The conductor’s
total preparation, invigorated by the medium of a warm
personality, will encourage inspirational energy from
players and audience alike.
The conductor must be able to infect the ensemble with
an appropriate sense of the m u s i c ’s g r e a t n e s s . 7 "The art of
conducting is governed by the fact that the conductor’s
instrument is a live one..." (Scherchen, p. 1) The
relationship between a conductor and ensemble exemplifies
the dynamic relationship between human beings, and is
replete with emotional cues. This factor is emphasized
throughout the literature on conductors and conducting. The
ability to lead an ensemble through an inspired musical
interpretation is manifested "...in the innermost forms of
the ego, at the very source of feeling..."8 When complete
technical competence marks the ability of conductor and
players, the decisive factor which insures an inspirational
performance is the positive impact of the conductor’s
personality. William Steinberg boldly asserts that most
conductors gradually evolve an effective form of technical
expression, but, in the final analysis, "the only factor
^Daniel Moe, Basic Choral Concepts (Minneapolis:

Augsburg Publishing House, 1972), p. 7.
8Carl Bamberger, The Conductor’s Art (New York:

McGraw-Hill, 1965), p. 306.
6
that counts is the power of personality" (Bamberger, p.
306).
Conductoi— Player Interaction
The irrationality of conducting is that “one d o e s n ’t do
things by oneself, but makes other people do them— yet the
conductor is held responsible" for the outcome (Bamberger,
p. 303). In addition to the co n d u c t o r ’s technical
excellence, the capacity to effect certain modes of behavior
in others depends upon the creation of a psychological
bridge between the players and the conductor (Fuchs, p. 39).
The amount of accomplishment at rehearsal sessions is
greatly increased when the conductor "is dealing, not with
anonymous orchestra parts, but with [players] he knows as
well as they know hi m. "9 The conductor must come to know
and interact with the players as individuals, on and off the
podium. Toscanini once remarked that "every musician in the
orchestra needs to feel exactly what I feel" (Bamberger, p.
311). By his own admission, he came to realize the need for
this relationship with his players much too late— after more
than a generation of conducting. More recently, Michel
Debost, flutist with the Orchestre de Paris, remarked about
3Frederick Goldbeck, The Perfect Conductor (New York:

Pellegrini & Cudahy, 1951), p. 181.
7
Sir Georg Solti: "I may not like his music, but I play it
the way he wants because I c a n ’t resist him."1*1
Practicality limits the intimacy of a relationship
between a conductor and all members of a very large
ensemble, and this is obviously true of guest conductors—
yet, all conductors must achieve successful interaction at
some level.
The major focus of commentaries on conductors is the
need for a conductor to be perceived as having "the
emotional impact of a great heart" (Fuchs, p. 59). When the
conductor is so perceived, even without the opportunity for
intimate social interaction, the core of success has been
achieved. The conductor must project his interpretive
feelings through a "current of love" (Bamberger, p. 274) and
thereby, communicate at the deepest levels with the players,
and ultimately, with the audience.
Conductoi— Audience Relationship
The conductor’s great victory is to have created
receptivity on the part of the audience, since conveying the
com p o s e r ’s musical intentions to the audience is the
principal goal of the concert performance.11 Richard
Strauss once admonished conductors to "remember that you are
lOActon Ostling, Jr., "Research on Nonverbal

Communication with Implications for Conductors," Journal of
Band Research 12 (1977): 29.
iiDavid Ewen, The Han with the Baton (New York: Thomas
Y. Crowell Co., 1936), p. 15.
8
making mu sic not to amuse yourself but to delight your
audience" (Bamberger, p. 117).
The listener depends on the conductor for guidance
through a piece of music. However, sometimes the music may
be so complex that "no amount of [the conductor’s]
interpretative skill can enable the listener to grasp the
work until he has heard it many times . "12
The conductor’s impact as a guide through strange or
familiar territory may take the obvious forms of giving cues
and making large changes in the size or nature of gestures,
or, in more subtle changes of physical bearing. Fuchs
describes the overall impression of the conductor’s impact
as psychological (Fuchs, p. 59). Ultimately, it is through
the listener’s psychological response to the co nductor’s
physical actions that communication, at the deepest level,
exists (Bamberger, p. 274).
The Compos er’s Intent
With the advent of electronic music during the middle
part of the twentieth century, the nature of sounds
generated for musical purposes greatly expanded beyond the
scope of those produced by traditional wind, percussion, and
stringed instruments. While the compo ser ’s sound-choices
have continually expanded through the twentieth century, the
fundamental purpose of these choices has remained as it has
1 2 Robert L. Jacobs, "A Gestalt Psychologist on Music,"

Music Review 17 (1956): 187.
9
been throughout music history. The composer's intent is to
manipulate the elements of sound and silence within a
structural framework; and, to intend this setting as an
artistic experience.*3
It is vitally important for all musicians to understand
that the vast majority of books about music literature and
music performance underscore an inextricable bond between
emotion and response to music (Lundin, p. 150). Through the
manipulation of musical elements, the composer is actually
having an effect on the listener's mood.*4 Studies have
proven that even non-appreciative listeners respond
emotionally to musical stimuli (Dreher, 1947 and Phares,
1934 ) . 15 While the nature of listener moods elicited by a
particular piece may or may not be similar among a certain
population, "affective changes induced by certain [other]
musics [may be] common to a large majority of listeners,
regardless of training, age, or experience" (Lundin, p.
161). These findings reinforce the observation by Roger
Sessions that "the realm of music is emotional energy rather
than emotion itself" (Sessions, p. 24).
Music which most interests the emotions and the
intellect is judged as the most valuable and lasting.
i^Robert W. Lundin, An Objective Psychology of Music

(New York: Ronald Press, 1967), p. 10.
^ L e o n a r d B - Meyer, Explaining Music (Los Angeles:

University of California Press, 1973), p. 6.
iSLundin, pp. 157-158.
10
Compositional skill and emotional appeal must be combined
favorably by the composer; and the conductor’s successful
interpretation will manifest the proper relationship between
the two.
The Psychophysical Effect of Music
According to Carl Seashore (1941), "...our taste for
music creates a feeling of physiological well-being"
(Lundin, p. 186). The affective power of music to produce
various emotional moods in human beings has been recorded
since earliest times. Its origins appear linked to the
physiological processes of the human body, e.g., the
regularity of breathing, the regular beating of the heart,
and vocal sounds produced by the release of emotional
tension through sighs, yells, etc. Serge Koussevitsky has
postulated that "musical activity grows steadily because we
have a need for music" (Bamberger, p. 146). Could the "need
for music" be the need to release physiological tension? A
highly sophisticated release of psychophysical tension is
the a u t h o r ’s hypothesis on the origin of music; and while
Bamberger and Lundin strongly imply this origin, the
hypothesis is never explicitly stated.
Leading authorities on music agree that our responses
to musical stimuli are primarily emotional, and that these
responses are shaped through experiences with a variety of
"social and psychological forces” (Lundin, p. 189). Barra
describes our responses to music as "based upon a series of
11
interlocking tensive reactions, expectations, and
projections which occur in the mind and body of the
listener" (1983, p. 161). When the nature and intensity of
the interpreter and audience tension is the same, a true
line of communication exists. Therefore, we may say that
music listening produces a sequence of alternating tensive
and relaxing responses in the listener through which
emotional release is achieved. While a specific type of
emotion, e.g., fear, joy, surprise, may not be communicated,
emotional energy is always communicated (Sessions, p. 24).
For the majority of listeners, the substantive response
to music is emotional; however, the first step of our
response mechanism is to recognize, cognitively, the
measurable elements of the musical event. Lundin (1967)
cites several studies which relate the effects of various
musical elements, of varying degrees of intensity, to
different categories of emotive reponse. These studies
include Ellis and Brighous (1954), Heinlein and Hevner
(1935), and Mull (1957). The results confirm a measured
comfort range for each element, beyond which an amount of
increased tension is caused in the listener. The increased
tension may take the form of heightened pleasure or anxiety.
While Meyer (1973, p. 6) does draw a relationship
between emotional responses and cognitive patternings ,
Sessions (1950, p. 30) observes that it is possible for
listeners to have "the truest sense of auditory
12
discrimination" (in terms of being able to identify causal
musical elements) and still be "unable to love or understand
[music]". In actuality, the listener’s appreciation of
music is dependent upon connections between the social
environment and the musical experience as well as the
quantity of past musical experiences.is
That music is widely appreciated more for emotional
effect than intellectual understanding is well-documented.
As performers and conductors strive to interpret the printed
page, they must not lose sight of music as a fundamentally
emotional experience. Proper performance practices demand
emotional conceptions. The emotional impact of the
intellectually structured events is absolutely essential to
inspired performance and appreciation.
Summary
The conductor must prepare to communicate the
co mp ose r’s intentions by making preparations in two major
areas: (1) development of a theoretical and emotional
rationale for the c omposition’s structure, and (2) the
practical transformation of these analyses results into
conducting gestures that will translate the objective score
information into physical motion, reflect the emotional
energy of the piece, and thus elicit an emotive response
i6i_eon Crickmore, "The Musical Gestalt," Music Review

33 (1972): 287.
13
from the players and the audience. This entire process
forms the basis of the condu ct or’s interpretation.
As a result of thorough score knowledge and technical
mastery of gestural skills, the conductor is able to display
confidence on the podium that is vital to professional
acceptance by members of the ensemble, resulting in a high
quality of music-making (Fuchs, p. 5). A superficial
knowledge of the score, on the other hand, may be evidenced
in a conductor’s lack of enthusiasm for the compo ser ’s
intent and the m u s i c ’s effect, or an interpretation lacking
in imagination and spontaneity. Positive and constructive
personality traits, combined with technical competence, are
the principal and mutually supportive characterisitics of
the finest conductors. This study will seek to explore one
aspect of this mutually supportive relationship by focusing
on the conductor’s preparation of the score.
CHAPTER 2
Survey of Approaches to Score Preparation
A survey of principal sources on instrumental and
choral conducting published within the last twenty years
reveals an emphasis on the development of gestural technique
with relatively little attention given to score study. Even
though a cond uc tor ’s gestural technique is based upon the
information printed in- the score,' the actual interpretation
of the score and the transformation of its objective
information into conducting gesture is discussed only
superficially.
In too many instances, conductors do not sufficiently
value the refining of gesture technique in order to
efficiently reflect score information, and often, they do
not appreciate the structural development of the music
itself.i These conductors tend to use very basic gesture
patterns, devoid of the nuance that should attend the subtle
effects in the score. Moreover, they rehearse their
interpretations verbally rather than rely on the more
expedient method of silent gesture. That is, instead of
indicating a strong dynamic accent or a change in tempo by
using the appropriate conducting gesture, the conductor
iCharles Blackman, Behind The Baton (New York: Charos

Enterprises,Inc., 1964), p. 76.
15
simply tells the ensemble what element to change,, when to
make the change, and how much change to make.
The review of texts and articles on conducting produced
three different means of presenting score preparation: (1)
discussions of individual musical elements to be analyzed;
(2) cursory commentary on score study; and (3) discussions
which offer simple information of ancillary importance to
score preparation, such as concerto rehearsal practices and
the numbering of measures for rehearsal purposes.
The review produced a total of twenty-three (23)
musical elements that were suggested for analysis by the
conductor. The following list cites the twenty-three (23)
suggested elements of score preparation and the source(s) in
which they were found:
Components Source(s)
1. Gain overview Boult, 8usch,
2. Advocates memorization Scherchen
3. Key structure Boult
4. Thematic balance Boult
5. Emotional sequence Boult
6 . Identify climactic points Lamb
7. Dynamic shape Boult
8 . Pattern of colors Boult, Rudolf
9'. Harmonic dstail Boult, Rudolf
Determine tempo Moe

O a
16
11. Determine phrasings Boult, Green & Malko, Rudolf
12. Listen to recording with

a full score Boult, Bowles
13. Identify musical events

requiring special gesture
preparation Moe
14. Examine historical

context Busch, Lamb
15. Ascertain instrumentation Green & Malko
16. Learn the notes Garretson, Green & Malko
17. Structural content Garretson, Rudolf
18. Analysis of text Garretson
19. Score read at piano Garretson
20. Highlight published score

markings Busch, Garretson
21. Composer and composition

background information Rudolf
22. Determine conductor and

player problems Busch
23. Analyze melody according

to gesture Busch
While a common relationship may be defined between two
or more of the suggested components, e.g., "emotional
sequence"2 and "identify climax points,"3 it is interesting
to note how few phrases describing the musical elements
appear among thetwenty-three elements with exactly the same
name. For example, while one text studies the"pattern of
2Sir Adrian Boult, A Handbook on the Technique of

Conducting (London: Paterson’s Publishing Ltd., 1968).
3Gordon H. Lamb, Choral Techniques (Dubuque: W.C.

Brown, 1974).
17
colours,"4 another examines the "instrumentation,"5 or,
while one studies "phrasings,"5 another looks at "dynamic
shape."7 This use of unprecise terminology and phrases
causes confusion in music analysis.
The elements of music frund in the score can be defined
in very specific terms, e.g., tempo, rhythm, meter, theme,
dynamics, harmony, etc., yet authors will use ambiguous
phrases such as "dynamic shape," which may refer to either
actual volume levels, or to the melodic contour of phrases
used to ascertain principal climactic points. The reader
must constantly be aware of various terminology having the
same definition.
An analysis of the common elements reveals that nine of
the elements were repeated, at least once, in more than one
text. Ranked in the order of most frequent appearance,
those elements include: (1) gaining an overview of the
composition (four sources), (2) identifying phrase groupings
(three sources), and the following, all of which were tied
for third place— each having been mentioned in two texts—
(3) identifying patterns of colors, harmonic detail,
48oult, 1968; Max Rudolf, The Grammar of Con du cti ng , 2d

ed. (New York: Schirmer, 1980).
5Elizabeth A.H. Green and Nicolai Malko, The Conductor

and His Score (Englewood Cliffs: Prentice-Hall, Inc.,
1975).
5Boult, 1968; Green and Malko, 1975; Rudolf, 1980.
7Boult, 1968.
18
listening to a recording while reading a full score,
examining the historical context of the work, examining
structural content, and the highlighting of published
markings in the score, e.g., changes in tempo, meter, key,
etc.
Absent in every case is a clearly organized and
systematic analytical approach to exploring the structural
use of musical elements throughout a score. Instead,
analysis categories are often presented in unrelated ways
and through such unprecise suggestions as "study the
strucutural content."
The commonalities found among the conducting sources
suggests that score analysis should begin by achieving an
overview of the work through identification of (1) major
structural points, (2) textures, and (3) climactic events.
Once this broad perspective is attained, a conception of the
work as a whole may be maintained as various elements are
studied in more detail and continually related to the whole
work. This continual relating of the phrase-by-phrase
sequence to the whole work will facilitate the conductor's
comprehensive understanding of the work.
The conducting sources did not present the detailed
analysis of score elements in a particular ordered fashion.
Moreover, a systematic routine for the analysis of detailed
structure on a phrasal level was not offered. One text did
suggest that the conductor establish a personalized
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
19
hierarchy of elements for examination by deductive analysis.
However, for the inexperienced conductor, there may be too
much time devoted to trial and error in designing the
hierarchy of elements before a workable order is found.
Historical Survey Of Score Preparation
A review of information on score preparation was drawn
from writings about conductors whose professional careers
spanned the late nineteenth and early twentieth centuries.
The emphases of approaches to interpretation included
analysis for (1) detail and overall compositional design,
and (2) personal emotional involvement, or (3) a combination
of the two. Approaches focused on understanding the overall
design of a work.
The means to attain an overall understanding included
cursory score study with the final interpretive decision
being made at the rehearsals; having a score reader play the
score through several times at the piano; having the
assistant conductor direct a new work while the conductor
sits in the auditorium and shapes an interpretation; and
reading the score through like a book in order to permit an
interpretation to take shape. The survey of available
information revealed that a variety of attitudes had
prevailed simultaneously. There was not one methcd-of-
choice.
20
Application Of Theoretical Techniques

To Score Preparation
In view of the absence of a well-founded technique of
musical interpretation in general, and score interpretation
in particular, it is useful to apply certain processes of
established techniques of theoretical analysis in order to
produce a method which may examine, systematically, all
kinds of musical composition to reveal interpretive
characteristics. To derive a viable analysis system, a
synthesis of these theoretical techniques, along with the
traditional approach to score preparation cited earlier (p.
1), will be necessary. The resulting analytical process
must be able to engage a mass of musical information and
analyze it in an orderly manner.
The conductor will benefit from the regular application
of a uniform analysis process to each new composition
studied. This will allow for a common basis of comparison
in identifying similarities and contrasts among different
works. Furthermore, the categories of analysis must be
broad enough to allow for the study of a wide range of
compositions, e.g., tonal, atonal, works of completely
indefinite pitch, chance music, improvisatory music,
electronic media, etc. They must address the basic
components of all musics, and, when necessary, the nature
of descriptive terms used to define each category of music
must be permitted to derive from the music itself.
21
An analysis process used to make interpretive decisions
must describe the overall form of the music and the use of
elements through that form. It is necessary for the process
to explore the elements of the composition and measure their
respective import to evoke meaningful interpretation. An
understanding of the compositional process, as well as
judgments of style and interpretation will be the result
(White, p. 207).
Apart from the results of objective analysis, "...the
instinctive and wordless feelings as to what a piece of
music is really about...can sometimes be more useful than
the most detailed of analyses." (White, p. 209) However,
through the conscientious combination of intuition and
objective analysis, the conductor should arrive at a viable
interpretation.
Many theorists favor a deductive approach to analysis
in order to gain an overview of a work before detailed
analysis is begun (White, 1984). By doing so, one develops
a concept of the whole composition to which discoveries
about the work may be related. The ability to constantly
draw relationships between the components and the whole,
plus relationships among the components themselves, serves
to reinforce comprehension of the entire work. When
studying works of extended length, this approach is a
crucial factor.
22
The illustration of a deductive process can be seen in
L a R u e ’s (1970) approach to the analysis of musical style, in
which he divides "Part II: Observation"® of his style-
analysis outline into five elements which he considers
critical to the examination of tonal music. These elements
are listed in the following sequence, preferred for analysis
purposes: Sound, Form, Harmony, Rhythm, and Melody. The
rationale for the ordering is given by the following
explanations: (1) Sound (there is a psychological firstness
to sound because color combinations are generally easy to
recognize), (2) Form (in order to retain and compare
structural impressions, the analyst must first achieve a
structural overview), (3) Harmony (chosen as a principal
element that defines texture— placed ahead of rhythm and
melody due to degree of analytical difficulty), (4) Rhythm
(placed before melody due to its greater range of
complexity), and (5) Melody (melody "demands the least
concentration"9 ). L a R u e ’s approach to musical analysis is
organized and systematic.
Another deductive analytical method is W h i t e ’s (1984)
presentation of his "Descriptive Analysis" in three
categories. White recommends music analysis in the
following order: (1) Macroanalysis (general discussion
®Jan LaRue, Guidelines for Style Analysis (New York:

W.W. Norton, 1970), p. 18ff.
9Jan LaRue, "Fundamental Considerations in Style

Analysis," Notes 25, no. 3 (1969); 448.
23
regarding the piece as a whole), (2) Middle-analysis
(general discussion regarding large sections of the work),
and (3) Microanalysis (essentially a phrasal review of the
compositional process).
LaRue and White both present systems that demonstrate
the importance of understanding the whole, and both systems
present a well-reasoned order to elemental analysis.
The deductive quality of always relating detailed
information to the larger whole is congruent with the
concept of hierarchical ordering presented by Meyer (1973).
He suggests that it is easier even for listeners to hear the
components of a work because of the compos er’s hierarchical
ordering of structure, i.e., the consistent formation of a
progression of structures (each only partially completed)
which combine to form "more extended, higher order
patterns..." Once again, the ability to draw a relationship
between one part of an event and the entire event reinforces
the process of comprehension.
One method of analyzing and comparing analytical data
is to produce a graph by detailing the information along a
continuum that may be scrutinized at a glance (White, 1984).
The use of such graphs should significantly increase
understanding of a particular work by permitting visual
comparisons of the structural features over the course of
one or several movements; and between different works. Due
24
to the coded nature of graphed information, graphs may also
have potential for computer application (White, p. 1 S 3 ) .
An analytical process using graphs was developed by
Heinrich Schenker.*0 His analyses illustrate the structural
points of melodic development that he believes shapes the
melodic and harmonic structures of entire compositions, and
explains essential structural relationships within a
composition. However, S c h e n k e r ’s graphs are of little use
to conductors since they present limited information which
concerns the understanding of developing motion at the
phrasal level.
The Composer’s Creative Process
Regarding pre-rehearsal preparation, the final
interpretive act of the conductor is the selection of
appropriate gestures which are derived from the stylistic
and interpretive analyses of the composer’s score.
Since the conductor’s interpretation derives from (1)
an understanding of the compositional process, and (2) the
subsequent cognitive-emotional bond formed between the
conductor and the score, it is useful to further trace the
compositional process to its source of emotional
inspiration. By doing so, the conductor will complete a
personal involvement with the music through some knowledge
of the compos er ’s personality and the reasons for having
lOHeinrich Schenker, Five Graphic Music Analyses (New

York: Dover, 1969), p. 4.
25
written the composition. Access to this information will
mold the c o ndu cto r’s deepest emotional involvement with the
c o m p o s e r ’s intentions.
Fuchs (1969) reinforces the idea of understanding the
c o m p o s e r ’s creative process by recommending that conductor
training should parallel composer training with regard to
the study of "harmony, counterpoint, composition,
orchestration, score reading, etc." Understanding of the
compositional process permits empathy to develop between
conductor and composer, and assists the conductor in
determining the aural balance, and resulting impact, of
various compositional elements. This should lead to an
honest interpretation of the work, and the conductor may be
better able to find "the basic i d e a " n in the work of each
composer. Koussevitsky believed "the basic idea" to be the
meaning of the c o m p o s e r ’s life and the ideals that he
transmits.
Fundamental composing processes have not changed
significantly for the last several centuries; and most
importantly for the composition student: "These basic
techniques remain technical, written, and learnable..."i 2
The basic process of composition is concerned "with
tension and the relaxation of tension." (Music Review,
11 Review of Tensions in the Performance of Music edited

by Carola Grindea, Music Revie w, 44 (1983): 305.
Ibid.
26
1983) Understanding this basic process is of critical
importance to the conductor since the processes of tension
and release are the bases of emotion (Barra, p. 28), and it
is widely held that emotion is the final arbiter of the
c o nductor’s interpretation.
The seminal idea of a composition can be virtually any
musical element developed by the composer’s imagination.
Once an idea is created, the composer immediately begins to
evolve a structure through the development and prolongation
of tension. That is, the compose!— emotion generated as a
result of the intellectual idea further develops musical
events (Sessions, p. 24). Structure and passion are not
mutually exclusive (Sessions, p. 54).
From a rough outline of the musical seed, the composer
must develop integrated form and style. Edward Cone has
stated that "...musical form is basically rhythmic.“1 3
While many composers formulate structure from thematic
ideas, others may, in fact, formulate a structure into which
thematic ideas are molded. For example, Maurice Ravel is
quoted as having said: "I’ve finished my composition. , .all
but .the themes" (Cone, 1968).
As the composition evolves, the composer varies the
musical elements independently according to conceived
patterns of tension with the purpose of producing an
1 2 Edward I. Cone, Musical Form and Musical Performance

(New York: W.W. Norton, 1968), p. 25.
27
interesting work. An interesting work will follow a
logical, emotional progression. The composer's style will
be revealed through the repetition of a few unique elemental
combinations within the work. A summation of the style
characteristics among the compositions of many composers
then allows commonalities regarding the use of elements to
be drawn. These commonalities result in the major
characterisitics of a particular historical period.
With the advent of open score notation, composers were
able to experiment with varied ways of molding chordal and
key progressions, motivic development, harmonic tension and
release, and various shadings of texture. The use of open
score improved the clarity of communication between composer
and interpreter by enabling the composer to increase the
amount of detail on a page. However, regarding the effect
on performance practice, "...the intangible factors...which
make all the difference between a good performance and a bad
one, cannot conceivably be indicated in the score"
(Sessions, p. 73). The literature on conducting and
interpretation emphasizes that variations in tempi,
dynamics, and articulation are the quintessential factors of
unique interpretations. This point is of vital importance
to the conductor and to all others who interpret music.
The Compositional Process and Score Preparation
The conductor needs to approach the interpretation of
all music with a common process of exploration which results
28
from an understanding of how composers communicate through
their music. The best composers communicate a sequence of
expectations to the listener, each of which is resolved in
unique or unexpected, yet appropriate, ways that will tend
to manipulate the mood of the listener and expand the
listener’s view and understanding of humanity. The
conductor must discover these expectations from the
objective notation presented in the score and arrive at a
progression of emotional impact.14
Characteristics of style presented by a particular work
offer insight into the c o m p o s e r ’s creative method, and the
compositional process offers a perception of the
contemporary style of writing. The c onductor’s
comprehensive awareness of the characteristic style of the
period, as well as the unique characteristics of the
composition being prepared, will assist in understanding the
c o m p o s e r ’s intentions, resulting in a convincing
interpretation.
The twentieth century has expanded the definition of
music from the pitch and rhythm content of earlier common
practice to one which replaces pitch and rhythm with a
progression of sound events. In some cases the conductor
merely signals the beginning and duration of these sound
14Stanley Sadie, ed., The New Grove Dictionary of Music

and Musicians (London: Macmillan Publishers, 1980), pp.
599-602.
29
events, e.g., Penderecki, Pittsburgh Overture (1 9 6 7 )is and
does not utilize traditional gestures based on a metrical
pattern. The conductor’s principal duty is to offer
feedback regarding the balance of various sound sources and
the overall effect of the piece.
In other types of twentieth century music, the composer
might structure events according to a preconceived
framework, e.g., Boulez, Structures^ in which the music is
not determined by emotive rationale, but rather by an
autonomic sequencing of events. Chance music and
compositions using improvisation are not based upon
composei— generated emotive sequence that can be interpreted
and controlled by a conductor. As a result, any type of
emotive interpretation is gained solely by the efforts of
the players. However, creations not based upon an emotive
premise, to whatever degree, do not prevent the audience
from responding emotionally.
A review of repertoire for composers from various style
periods reveals that "...composers...have rarely maintained
consistent awareness of movement in [the] middle and large
dimensions" of their works (LaRue, 1969, p. 456). This
would indicate that composers have been concerned with
compositional process to the exclusion of concern for the
isPenderecki, Pittsburgh Overture (New York: C.F.

Peters, 1967)
ispierre Boulez, Structures (Wien: Universal Edition,

c . 1955-67)
30
a u d i e n c e ’s emotive reaction, thus, making it more difficult
for the conductor to successfully convey the co mpo s e r ’s
intentions in an emotional way. Stated differently, this
type of music may be evaluated as boring by the listener.
Summary
In order for the theoretical analysis of a score to be
useful to the conductor, a relationship must be drawn
between the type of analytical data sought and the
translation of the data into sound. The medium of the
translation, gesture technique, must be clearly understood.
Therefore, the co n d u c t o r ’s preparation must involve the
inextricably related areas of score analysis and gesture
technique.
As a means of gathering the type of analytical data
that is necessary for translation into gesture, conducting
literature and literature on theoretical analysis stresses
the identification of broadly based score characteristics.
These characteristics include (1) the overview of the work,
(2) the identification of major structural points, textures
(e.g., orchestration, harmonic areas, homophonic or
contrapuntal writing, etc.), and climactic areas, and (3)
the review of historical context. Understanding the broad
view of the musical work will be enhanced by the graphing of
analytical data which is capable of being translated into
conducting gesture. Since the conducting gesture, at any
given moment, is involved with the communication of score
31
detail, as opposed to broad areas such as overview or
harmonic development, it follows that score analysis must
also lead to the analysis of score detail at the level of
the immediate musical sound.
The premise which underlies score analysis, subsequent
decisions on interpretation, and finally, determinations on
gestures, will be emotional effect. Most music is conceived
by a compo se r’s emotional intellect, performed by emotional
players, and heard and evaluated by emotional listeners. An
approach to score preparation which presents a means for the
translation of the score into emotional sound events will be
the subject of the next chapter.
(; -
CHAPTER III
The Comprehensive Approach To Score Preparation

For The Conductor
Introduction
"A large gap exists between the commonly taught
technique of conducting and the actual demands of leading an
orchestra" (Fuchs, p. viii). While the acquisition of
competent stick technique forms the core of most college
level conducting classes, the professional literature on
conducting and conductors also emphasizes the importance of
physical bearing and personality as vital aspects of the
conducting process (Bamberger, p. 313). Many of the demands
of conducting stem from these interactions between conductor
and players.
The manifestation of personality on the podium develops
as a result of a high degree of familiarity with the score
and gestural technique. We might postulate a basic formula
for competent conducting as: POSITIVE PERSONALITY +
COMPETENT REHEARSAL SKILLS = MEANINGFUL INTERPRETATION.
In most college level conducting texts, a major portion
of the material is devoted to developing stick technique,
and far less time is devoted to actually exploring the
components of the score. Yet, gestural technique must be
chosen according to the events portrayed in the score. This
33
lack of attention to gestures may be caused by the prevalent
attitude of professional musicians who say that "conducting
cannot be taught...conducting is instinctive...conductors
are born, not made" (Blackman, pp. 46-47). To project such
ideas lends a mysterious air to music-making in general, and
conducting in particular. Conducting texts do not recognize
the objective materials that compose a musical event, and
refuse to consider that music is composed "according to
human laws" (Scherchen, p. 2). Music is composed by human
beings in ways that are observable and measurable, and the
results of compositional efforts may be altered by other
human beings.
There is no mystery to music-making except "the secrets
of man and of human nature," (Scherchen, p. 2) and these
"secrets" are measurable and communicable. The complexity of
the score may make conducting instruction a detailed and
lengthy process, but it does not make it an impossible one
(Blackman, p. 47).
The Comprehensive Approach To Score Preparation (CASP)
will provide the young conductor with a systematic method of
exploring the complexities of any musical score. Having
mastered the sequence of steps involved with CASP, the
student may later alter the sequence to fit a more
personalized form of analysis.
Through C A S P ’s initial steps, exploration of the score
should yield data that can be immediately transformed into
34
gesture. As additional score data is collected through the
remaining steps, the conductor’s insight will broaden and
deepen to produce a better musical understanding, and
ultimately, a convincing interpretation.
For seasoned conductors who begin score study with"
greater knowledge and experience, many of C A S P ’s initial
steps will be assimilated and synthesized very quickly;
however, for the experienced as well as the inexperienced
conductor, the steps through which score learning takes
place remain the same.
While CASP acknowledges the critical importance of (1)
the conductor’s personality in conveying interpretation to
an ensemble and (2) the critical importance of developing a
clear and communicative gesture technique, the scope of CASP
factors presented here will be limited to the pre-rehearsal
preparation of the score.
Definition of CASP Analysis Process
CASP presents score preparation as a deductive process.
This process derives from the comprehension of the musical
work as an intellectually structured, emotion-effecting
entity, which has been produced by a human being responding
to the emotional energy of life experiences.
The CASP process is divided into three levels of data
collection. The levels are presented in their order of
practical importance to the act of conducting a work, and
are labelled as Level I: Basal Structure Analysis ( B S A) ,
35
Level II: Review of Supplementary Information (RSI), and
Level III: Detailed Structural Analysis (DSA). The
following is an abbreviated description of each level:
Level I: Basal Structural Analysis (BSA)
This level is the critical area of immediate
importance to the conductor. Score information for
the Basal Structure Analysis is acquired by
exploring the score from cover to cover, several
times, according to categories of elemental features.
From the results of the BSA the conductor will select
and choreograph the conducting gestures. In cases of
having to conduct on short notice, the time available
for personal study does not permit the assimilation of
a new score by virtue of thorough analysis at all three
levels, the analysis priority falls to Level I. The
primary focus on a Level I analysis, even to the
virtual exclusion of the other two levels, will permit
the pacing of musical events to be accurate, if not
interpretively convincing.
Level II: Review of Supplementary Information (RSI)
This area highlights the personal chatacteristics
of the composer during the creation of the work, the
specific events which led the composer to compose the
work, and particulars of the environment in which the
36
work was first performed. An understanding of the
history of the compositional form being prepared is
helpful to complete a comprehensive understanding of
the work. This information may assist with decisions
regarding performance practices.
Level III: Detailed Structural Analysis CDSA)
This area approaches the score through a process
of "re-composition" with a view towards the formulation
of explanation and rationale for the sequence of
musical events. It explores the score in minute detail
in order to discover communicative intentions through
the character and structure of the melodic line; the
relationship of one structural section or feature to
another; the overall structural proportions based upon
thematic development; the influence of the performance
environment; the balance of tone color combinations;
and the contrasts indicated in the score. The results
of this last analysis process should deepen the
conductor’s understanding of the work and expand the
amount of conviction with which the interpretation is
presented.
When the three levels of CASP analysis are completed,
the conductor should have achieved as complete an
understanding of the compo se r’s intentions as possible
without having actually spoken with the composer.
37
Rehearsal application of the results of the CASP analysis,
combined with a positive personal approach and efficient
rehearsal techniques, should permit the opportunity for
developing a reasonable musical interpretation.
Presented below is a detailed explanation of each of
the three CASP analysis levels. In addition to being
ordered according to immediate usefulness, this sequence of
three levels obliges the conductor to follow a deductive
process of score learning. This should provide continual
means for better understanding the relationships between the
various components of the score. Thorough comprehension of
the score will thereby be steadily reinforced.
It is useful to view a musical work as part of the
c o mpo ser ’s development as a musical craftsman. As a result
of analysis covering several of a co mp o s e r ’s works, one is
able to identify various stylistic features which are
indicative of the c o m p o s e r ’s overall compositional technique
and development as a composer. Knowing the description of a
c o mposer’s general style, it is possible to analyze a work
with a view towards finding innovative features in
compositional structure, thereby noting advances in musical
style achieved in a particular work.
The conductor’s emotional and intellectual involvement
with the work is heightened by the results of comparing
stylistic features of a particular work with a c o m p o s e r ’s
total output. The emotional and intellectual involvement of
38
the conductor then becomes an inextricable part of the
interpretation.
The following is a summary outline of the three CASP
analysis levels:
I. Level I— Basal Structure Analysis
A. Review of all instructions set forth in the

score regarding performance practice, -
interpretation, stage set-up, etc.
B. Identification of Major Musical Moments (MMM).
C. Identification of significant changes in

texture.
D. Identification of emotional energy sequence.
E. Selection of instruments to be cued.
F. Identification of phrase lengths.
G. Identification of form, thematic content, and

major tonal areas.
H. Identification of conductor problems.
I. Identification of player problems.
J. Synthesis of Level I analysis results (Basal

Structure Analysis Charts)
II. Level II— Review of Surplementary Information
A. Reason for which the work was composed.
B. The lifestyle and cultural environment of the

c o mpo ser .
C. Circumstances surrounding the first

performance of the work.
D. Compositional features of the contemporary

style period.
39
III. Level III— Detailed Structural Analysis
A. Assessment of overall structure in terms of

thematic development with sectioning by
p h r a s e s a n d clauses.
8. Analysis of phrase structure with

relationships to other musical components
found in the s c o r e v
Level I; BASAL STRUCTURE ANALYSIS
A Level I analysis is the most critical part of the
entire CASP process. From this analysis of structural
elements, the conductor derives decisions on gesture
choreography. Specifically, analyzing a score to translate
certain aspects of its structural features into gesture
enables the conductor to exhibit clear and efficient
conducting.
Basal Structure Analysis is based upon the following
prem is es:
(a) Music derives from human emotion.
(b) The listener responds to musical stimuli through a
number of internal and external responses in terms of
tension and release.
(c) The conduc tor ’s unique interpretation of a musical
work is achieved through the manipulation of tempo,
dynamics, and articulation.
(d) The conductor must seek the c o mp ose r’s intent
regarding the temporal pace of unfolding events within the
composition.
40
(e) Based upon the c omp ose r’s intent and personal
intuition, the conductor will conclude decisions on
interpretation and communicate this interpretation to the
players through
(1) the use of predetermined conducting gestures
(which may change during rehearsals), resulting
in
(2) a highly refined system of visual' communication
which contributes to
(3) the effective use of rehearsal time, and leads
to
(4) an effective performance of the work.
Leyel I analysis enables the conductor to quickly
comprehend the work as a whole (Boult, 1968). It is of
primary importance that the conductor understand the
unfolding of the work in its immediate sense— as a series of
discreet aural events (Fuchs, 1969). Level I focuses on
textural structures as they unfold, and without regard for
their theoretical derivation, or relationships among the
details of the textures. Thus, the conductor is dealing
with a synthesis of all of the m u s i c ’s elements in order to
make preliminary decisions concerning style, meaning,
design, and pacing (White, 1984).
The Level I process consists of ten (10) separate
analyses, and it is suggested that each analysis be
completed, separately, by a thorough reading of the score.
41
By reading the score through several times, the
c o n d u c t o r ’s comprehension of the work will gradually
increase (Boult, 1968; Davison, 1968; Lamb, 1974). The
progressive synthesis of the information collected from
these readings will reveal insights into how the music
should be perceived; and, this will suggest various
interpretations of the score (Cone, 1960, p. 174).
According to Blackman (1964) and Moe (1972), the
conductor conveys the following musical messages via silent
gestures: (1) Tempo, (2) Meter, (3) Dyanmics, (4) Rhythm,
(5) Intensity, and (6) Mood. CASP adds the elements of
articulation,, linear writing, and orchestration to this
list. Other factors, such as shape of the phrase and color
balance, are conductoi— controlled through a melding of the
before mentioned messages.
Components of the Basal Structure Analysis
#1■ Review all preliminary instructions set forth in the

score by the composer or editor as regards
instrumentation, stage set-up, interpretation, etc.
As Level I analysis proceeds and comprehension deepens,
it will be useful to compare the published editions of the
score with the original manuscript, if available, in order
to note any changes or structural modifications. Moreover,
a review of articles about the composition may reveal
comments or revisions made by the composer, or with the
c o m p o s e r ’s sanction, that are not included in any published
score. Comments from musicians who worked with the
42
composer, or comments handed down by the musicians to their
students, should be taken into account. Recorded
performances with the composer conducting, or with the
composer in collaboration, should also be consulted at this
point.
#2. Identification of Major Musical Moments (M M M >, or areas

of climax, throughout the score (Boult, 1968; Jacobs,
1956).
These structural areas provide points of arrival for
the patterns of motion within the work (Barra, 1983, p. 9),
which, in turn, become major factors in determining the
pacing of the work. The MMM may be defined as one or more
phrases, or it may be only a portion of a phrase. Decisions
on M M M ’s are subjective and should be considered changeable.
Mark M M M ’s in the score by selecting those measures
that are perceived as having a unique emotional impact on
the listener, and label the measured section accordingly
(See Example 1).
U3
hi
M O
PM
■P
O
I §3
Q)
-P 03
03
«- s *
CL O
1
8«
si (
lid
«u< «
•j u
si| aj
d <
d••i •
•i
I S I I I S I | I « ;
44
Mm. 7 2 -8 3
Phrases: .78,79
MMM:
Meter:
Tempo: Anime ( J. = 138)
The climax of the first movement is stated during the
last quarter of its length and is developed from m. 79
through a fortissimo restatement of theme (Al) with tutti
orchestration beginning at m. 83. The restatement of Al is
prepared by a four measure use of the repetitive rhythm (/T J ) -
with repeated pitches, simultaneously contrasting rhythmic
textures of the triplet pattern over a sequence, of ( «J. )
note values, tutti orchestration, fortissimo dynamic, and
tonal preparation of the tonic key of Bb major through
alternating inversions of a minor f n chord.
The climactic areas of music composed using common
practice techniques usually consist of a blending of
harmonic and melodic material that is unique in relation to
the surrounding harmonic and melodic texture, and usually
causes a tensional response. In the case of twentieth
century works not composed in this style, an MMM may be
created by an aural event that is noted for its uniqueness
of intensity in relation to the surrounding texture. In any
45
event, M M M ’s derive from a musical setting which forms a
unique emotional experience in relation to the surrounding
musical material.
#3. Identification of significant changes in texture.
The listen er ’s perception of musical form comes largely
as a result of contrast and variation in texture,* and the
texture of a section or phrase determines the nature and
size of the conducting gesture.
For the purposes of Level I analysis, the traditional
definition of texture, which refers to linear movement,
e.g., homophonic, polyphonic, etc., is expanded to include
not only this description of linear writing, but also the
other musical elements that can be communicated by the
conductor through silent gesture. Therefore, the sum of
musical elements that will define changes or variation in
textures include (1) tempo, (2) meter, (3) dynamics, (4)
rhythm, (5) linear writing, (6) articulation, and (7)
orchestration.
The definition of the initial textural section followed
by the subsequent changes and variations in textures,
through the elements named above, will serve as the chief
sources for decisions on conducting gestures that will guide
the ensemble from the beginning to the end of a composition.
*Karl Krueger, The Way of the Conductor (New York:

Scribner & Sons, 1958), p. 210; Meyer, 1973, p. 19.
46
Elemental changes in textural sections must effect
enough change in sound to warrant a change in some aspect of
the conducting gesture. The beginnings of score sections
which offer such changes are marked with a symbol at the top
of the score, such as ( -4-) , above the first measure of the
new texture. This symbol will not describe the nature of
the textural change, but will simply call attention to the
point at which a significant change occurs.
The decision to mark a change in texture will come from
the conductor’s consideration of the score information.
Rules containing absolute criteria for textural changes are
not offered. Whether or not a section is marked as a
textural change will depend upon the conductor’s perception,
which will vary from one conductor to another.
The following discussion describes various changes in
textural definition of enough consequence, in the auth or’s
view, to require a change in the respective conducting
gesture. Following the common practice musical definition
which precedes each example, a basic description of the
related conducting gesture is discussed, followed by the
generic definition of the textural element. The generic
definition describes the element as it may be used with
other kinds of musical composition, particularly of the
twentieth century, in which structural features defy
definition by the use of common practice terminology.
¥ — -----------
47
When the various musical textures seen by the players
in their parts are also reinforced by the conductor’s
gestures, these two sets of signals reinforce one another,
and enables the ensemble to present the most unified
performance.
Significant Changes in Texture
(a) T E M PO. Variations will include such factors as
gradual change, sudden change, fermatas, and 'grand’ pauses.
(See Example 2)
Gest ur e: Tempo is reflected in the speed of the
conducting motion.
Generic d e f i n i t i o n : In the cases of unmetered time,
'tempo’ may be recognized as the number of separate events
passing through a particular time frame.
48
<!
ON
NO
cA
NO
g.
P< X
-=r
ON
a>
at
■3
I►«
£
w n
+»
©
m
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OJ *3
© |!
£
g.K
©
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1
©
i
03
5/s T I
49
Mm. 3 5 -3 8
Phrases: 34,35,36_
Meter: C (4/4)
Tempo: Anime ( J =144)
The molto ri't. at m. 35 is presented in subito fashion
and must be prepared for between m. 344 and m. 3 5 1 .
Following release of the fermata m. 35« , the conductor must
determine the length of pause before the beginning of the "a
tempo" at m. 36*-
(b) ME TER. Change in conducting pattern according to
the number of beats per measure. (See Example 3)
Gest ur e: Meter is reflected in the conductor's the
beat pattern.
Generic d e f i nit ion : Some type of numerical grouping of
sound events, perceptible or not, which occurs during a
particular time frame. Often, sequences of aural events
will be totally without recognizable groupings in time.
Example 3: Symphonic Dance Ho. 3

Textural Change via METER
Source: Clifton Williams, Symphonic Dance ho. 3 (New York: Sam Pox, 1967)» PP» 6-7*
Condensed Score Condensed Score
Phi mosso
■* 1 p « p » e 1_ 0 v P "p U
»
P' v p * p '_
♦
A lle q ro 152?
tn.r. W.W.I-BkCtl.l
« j a » ^ **"4 a « 4 ♦ j
f " .----- . ~ ~ r ~ f=i . / / r ? , ■" r _ ' _ ■ 1
Tpu. J 4 1. Hat. Tifti. Ju.
----------- f l . f -----------^ 1 : .1 K l « 1 L
■■■■'. p 4 _ P ■■ “ U P ■' V ■ p- - '8 - p H — ' ~*
* * ♦
4il Bum
DkCl*. h ill
I i ^
1 ( P i A lle g re tto c o n g r u U ( . » 116)

US’*
V 1 y jT"
-p-r=— 1J&— _______ —1
'i-j'py f ■
9-
1■
_;79 9 HLJ?'’
b O f” r
f n i hi
'»* 'T— ~'Vl~r~i
\n
o
51
Mm. 55-75
Phrases: 53_______ 55, 56 64, 65 70, 71
Meter: 4/4 5/4 4/4 3/4
Tempo: ( J = 152) C J = 116)
The first change in meter, m. '56— 5/4, results in the
addition of one beat to the melodic phrase which begins at
m. 53. The essential thematic idea does not change, but the
rhythmic character of the idea is simply lengthened by one
beat per measure. The following change to 4/4, m. 65,isa
return to the thematic idea of mm. 53-55. The gesture
differentiation between these three sections will not be
overly evident, but a change in the condu cto r’s physical
bearing must signal the new section, along with the change
in beat pattern.
The metric change to 3/4, m. 71 will present a larger
change in the gestures due to the slower tempo and the
concomitant change to legato articulation.
(c) D Y NAM ICS . Any change in the volume level, or the
use of a dynamic ornament within a particular level, e.g.,
accent, sfp, crescendo, etc. (See Example 4)
G e st u r e : A dynamic change is reflected in the size and
intensity of the conducting motion.
52
Generic definition; The nature of various dynamic
characteristics remains the same for all music regardless of
the sound source.
53
54
Mm. 63-70
Phrases: 63__ 6 6 , ' h 70,*71_______
Meter: 2/2
Tempo: Vif ( J =112)
The dynamic change from mezzo piano to mezzo forte
between the first two phrases must be reflected by an
increased intensity of the gesture accompanied by raising
the ictus of the beat pattern and using a slightly more
expansive gesture which suggests more of an invitation to
play louder.
The preparation for m. 702 cannot preempt completion of
the mezzo forte phrase of m. 70*, therefore, it must not
appear too early.
(d) RHYTHM. Conducting gestures reflect changes in
rhythmic patterns. As rhythmic structures change within
sections of significant length, the attitude of the gesture
must change to reflect the rhythm, especially where
expressive performance of the rhythm requires an
interpre ive gesture. (See Example 5)
Ges tur e: The long and short relationships of the
rhythmic setting should, on occasion be reflected in the
gesture. This will be especially true with certain
homorhythmic settings.
_______________________
55
Generic de fi nition: A progression of sonic events
which occurs in durational values composed in units of time,
e.g., seconds, milli-seconds, etc., without necessarily
containing a common unit of metered division or variously
restated patterns.
56
&
-3-
ON
1
M
i
—l
•H
s
•H
u
PI
•V
a>
0
1
ca
;
57
Mm■ 6 7 —7 4
Phrases: 67___ 68,'69___ 73,73
Meter: C
Tempo: Anime
The constant eighth-note rhythm beginning at m. 69i
provides an abrupt rhythmic contrast to the preceding
syncopated melodic rhythm. The nature of the gesture
preceding m. 69 should be more animated to reflect the
buoyant rhythm. Prior to the eighth-note anacrusis to m.
69, the nature of the gesture must reflect a more focused
and stolid gesture to show the sameness of the upcoming
eighth-note pattern.
M. 733 begins another rhythmic contrast with the return
of the more animated sixteenth-note rhythm in the woodwind
lines. The gesture must reflect the animated attitude of
the rhythm. Additionally, the focus of the gesture may be
in the upper third of the gesture field* in order to reflect
the high woodwind register.
(e) LINEAR W RIT I N G . Change of writing style, in whole
or part, such as from a chordal style to a more linear form
of writing. (See Example 6)
2 "Gesture field" is a CASP term referring to the area

around the c o ndu cto r’s body which is defined by the radius
of the c on d u c t o r ’s gestures.
58
Ge st ure : The conducting motions will reflect a
homophonic setting by guiding the rhythm of the setting.
The rhythmic independence of lines that characterize a
polyphonic setting will be reflected in gesture which simply
marks the meter and articulation nature of the passage.
Generic d efi nition: The combination of sound that
results from the simultaneous performance of several aural
events, or the presentation of contrasting aural events,
each of which may be heard distinctly when all are combined.
Example 6: Suite Francaise, II

Textural Change via LINEAR WRITING
Source: Darius Milhaud, Suite Francaise (New York: MCA Music, 19U7)» PP* 26-27«
J ---- ,— I-------
■ i-z— ■ hrr ____
:2 ^ ___
j I - ■ .n
1 1 "
> 1 ■■■ - ^ g " > *1
*-%- - - - 1- - - - - - - - - - 1- - - - -
J i| 1 -—
&
|f j ■= ■ =
£o] rc tt.
' ! & = - I. . *
k ^ / I ■ ‘ ' 1 1" ■ 1 1 1 1
t^ T ’ _ -- 1
i2S
1_
V
-/ 1 1 -■ 1-T-----
r ' ------- 1 IJ,
,
____ ^ g ? >g__ ?___,
- -- i
■/-j,--- -...................... ---- ■------- ■
*J 1 ■- -1 ....- ■1' ” "^ vn
vo
60
E lf f l , 4 3 - 5 £ 4
Phrases: 43__________ 50, 51__ 52,
Theme: 82 A2
Meter: 6/8
Tempo: Lent ( =116)
Mm. 43-50 present a widely spaced homophonic setting
which contrasts with the unison line presented by the
woodwinds at mm. 51-52.
(f) A RTI CULATION. Varying degrees of legato and non-
legato articulation. (See Example 7)
Ge s t u r e : The conducting motion conveys note length and
the degree of dynamic and intensity emphasis.
Generic de f i n i t i o n : The nature of various articulation
types remains the same for all music, regardless of the
sound source.
/
Example Ji Suite Francaise, III
Textural Change via ARTICULATION
Source: Darius Milhaud., Suite Francaise (New York: MCA Music, 1Sh7)» PP* 38-39*
62
Mm. 4 5 -5 2
Phra se s: 45__ 4 8 2 , '~49__5Q , 'si_______
Meter: 2/2
■
Mm. 45-482 present legato passages in the woodwinds
which contrast with the detached style of mm. 49-50
manifested by the eighth-note and sixteenth-note rhythms. A
milder contrast, closer in style to the legato phrases of
mm. 4 5 - 4 8 2 , i s provided by the detached eighth-note lines of
mm. 51+ .
(g) ORCHESTRATION. Variations will include the color
nature of the instruments used, the number of instruments
used and the doublings employed, the chord spacings, and the
register used within the range of the instrument.3 All of
these before mentioned factors will combine to describe the
density of the sound as light, medium, or heavy. (See
Example 8)
Ge st u r e : The focal area (high, middle, low) of the
conducting gesture within the gesture field should be
reflected in the related registral emphasis of the
orchestration. In cases where the orchestration is written
in two to three distinct registers, the conducting pattern
3 Quentin R. Nordgren, "A Measure Of Textural Patterns

and Strengths," Journal of Music T h e o r y , 4 (1960): 19.
63
should be located ir> a compromised "middle" area. Thinly
scored passages are conducted with lighter, more delicate
gesture— depending upon the dynamic. As the orchestration
approaches the fullness of tutti scoring, the gestures
become more firm and more intense as compared with the
lighter scorings.
Generic definition: Density is described by the
overall sound structure which is created by the number and
variety of sonic combinations.
6U
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65
Mm. 14-27
Phrases: _________16,17______ 24,25________
Meter: 2/4
Tempo: Lent ( J =58-60)
Beginning at m. 17, the color emphasis changes from the
preceding moderate middle register saxophone density to a
higher register and lighter density woodwind sound. This
lightness must be reflected in the attitude of the gesture
and a rise in the area of the beat pattern.
The two measure diminuendo (mm. 23-24) prepares the
following contrast in orchestration which begins at m. 25.
The contrast is characterized by substantial reduction in
the number of instruments correlated with a similar
reduction in dynamic. Since musical elements may act
independently of one another, contrasting sections may be
joined by a dovetailing of different elements. While
certain elements act to achieve closure on one section,
certain other elements may act in contrary fashion to
initiate the following section. At these connective points,
the conductor must decide which textural elements need to be
conducted, and at what point during the juncture the
condu cto r’s attention must be shifted to the next section.
66
#4. Identification of emotional energy s e q u e n c e .
The emotional nature of the cond uct or ’s interpretation
is founded upon variations in “physiological equilibrium
called homeostasis" (Barra, p. 4), i.e., when the listener
responds to the musical stimuli whose energy levels match
normal levels of physiological function, the listener feels
most comfortable— experiences a state of homeostasis.

\
However, when musical stimuli lie outside the physiological
comfort range, at either end of the scale, tension is
created and the tension seeks resolution.
Musical stimuli consists of energy which elicits
tension and release in the listener, and this internal
combination of tension and release factors becomes the
l i ste ner ’s emotional experience (8oult, p. 21). As the
emotional content of the music changes, the conductor must
also experience that change and be ready to communicate the
change to the players, and subsequently, to the audience.
The fluctuation of emotional energy is a fact of
musical composition that has remained consistent throughout
music history (Music R e v i e w , 1983, p. 305). 8y marking the
entire score in terms of tension and release according to a
subjective evaluation of the w o r k ’s emotional progression,
the conductor will more accurately communicate the
individual musical phrases, and ultimately, the overall
interpretation.
67
The conductor should mark the score in terms of tension
and release above the measures which initiate the sections
so described by using the letter (T) for tension producing
sections and (R) for sections producing release or
relaxation. Musical elements whose manipulation will
produce either tension or relaxed emotional energy include
the following: orchestration register and density, tempo,
rhythm, meter, articulation, dynamics, linear writing style
(e.g., homophonic, contrapuntal), degree of harmonic
consonance and dissonance, and the nature of the harmonic
rhythm. While the number of variations in factors producing
either tension or release are infinite, a general
description of the most common characteristic tension and
release factors effecting emotional energy will be helpful:
Tension Traits Relaxation Traits
Emphasis on frequent Emphasis on infrequent

elemental change within a change.
comparatively brief time
frame.
Complexity of linear Simplicity of linear

writing, e.g., polyphony. writing, e.g., homophony.
Increase in the amount, Decrease in the amount,

number, or nature of an number, or nature of an
element, e.g., dynamic, el e men t.
orchestration.
Emphasis on complex Emphasis on simple harmony

harmony and frequent and infrequent harmonic
harmonic change. change.
Fast tempo. Moderate to slow tempo.
High or low register. Middle register.
68
There are basically three feelingful levels of
emotional energy: (1) Stability— -the feeling caused by a
sustained event; (2) Local Activity— a type of forward
movement not characterized as decisive forward movement; and
(3) Directional'Motion— a feeling of definite directional
movement.
The following symbols are used for indicating these
three types of movement in terms of tension and release
levels and their combinations. The symbols should be placed
along the top of the score above the measures which initiate
the change in emotional energy. These symbols are intended
to define the emotive energy of the motion, but not the
degree of related intensity. The information contained
within the score will indicate these subtle details.
Stability. The unchanging nature of a section.
(See Example 9A)
1. (T— “-) Tension is sustained.
2. (R ) Release or relaxation is sustained.

R m
3. - o r ) Both tension and release elements
are composed to occur concurrently.
When combined in this fashion, a heightened
emotional response usually occurs (Barra,
p. 12), but in these cases a movement of
energy is negligible..
69
4. (TR ) Alternating blocks of tension and
release, which occur in linear sequence, and
produce musical events at a constant
energy level.
70
CT\ m
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cA ft
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-p
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05 05
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6 P
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71
Mm. 14-27
Phrases: 16,17______ 24,25______
Emotional Energy: 14_16, 17___21,22_24,25_____
R— T— R->* R---
Meter: 2/4
Tempo: Lent ( J =58-60)
The overall texture which brings the phrase to a close
at m. 16 achieves Release (R ) through the use of a mezzo
forte dynamic, slow tempo, middle register, legato
articulation, arched phrase shape at mm. 15-16, and longer
note values. Beginning0=ai m. 17, a subito tensional effect
(T ) is achieved through the use of a sudden forte
dynamic, widening of the overall register through the
simultaneous orchestration of upper woodwinds and low brass,
and the use of quicker rhythmic values. The increase in
Release (R— » begins in m. 22 with the descending melodic
line, and is then reinforced by the decrescendo of mm. 23-
24. Release is achieved at m. 25+ through substantially
reduced instrumentation, return to longer note values, the
much softer dynamic, and the repeated, descending, ostinato-
like phrase in the lower voices.
72
B. Local Activity & Directional Motio n. The
difference between Local Activity and Directional
Motion is found in the intensity of forward
movement. Only one symbol (---» is used to
indicate movement. The symbol does not define the
amount or nature of the movement; only that move
ment towards tension or relaxation is in progress.
(See Example 9A, mm. 22-24)
1. (T----->) Gradual increase in tension.
2. (R----- >) Gradual increase in the amount of
release or relaxation.
R T
3. ( rj — >• » ) Gradual increase in energy of
thevertically combined tension and release
areas.
4. (TR >) Gradual increase in energy through
settings which consist of the alternation of
tension and release.
Example 9B: Suite Francaise, III

Textural Change via Factors of Vertically Combined TENSION and RELEASE
Source: Darius Milhaud, Suite Francaise (New York: MCA Music, 19h7)» PP» 3h-3%»
(L
23 . rr.f t
• j i ■■ ■: _ -A ---------- -
..1
4j»jp -
-
■1 I 1 ■*
f i £ > - P r 7 - ......................
, .1 1■ T > rV - - -
it 1 . * 1 l.t
11 ly ■ HU , 1^-
. ,4 . -
a —1 J -■ J ----- - * 1
* "* ' "■*'' ■*’ r U | r 'r --------
‘S - r r - , . .rW k ' 1 - r ' ^ 1

1 — — * i 1 1 1
g • t ^ m »■ jj. ^ ___________
,1 I 1 " 'f if e | =
-ii-- - ■ ! ■ ■ - h —
•ir ^
00] y
. rt >:
‘ j
■m ■** ** T ~ !r
>Ufc_U^_____ '■'■ * - -- ZZI * "•*
~i 1 1 r
‘ ,4 "■ ■ '■ — 1 1 1
1 T m n i . n ^ f..« -------le-------- - t r ' t F. . J l A s U l L --------------- ,
1 » i|n > ■ ' 1-i-in----- !■■■ :.=
[ I______________ | in I r _ 1______________
J i L?» Ai—jjjiS iZ p S S ti J.I|Jm„ i ■1 .. —
T» j j
-J
V<J
74
Mm. 2 9 -3 3
Phrases: ________ 30, 31 32, 33_________
Emotional Energy: 2 9 ______ 32
Meter: (£,
The superimposition of Release and Tension factors is
created by the legato lines of the woodwinds (R ) which
sound over the detached eighth-note movement of the
trombones and tuba (T ).
#5. Selection of instruments to be c u e d .
A system of marking cues in the score will enable the
conductor to cue the players, and will also assist in the
con d u c t o r ’s reading of the score.4 In fact, in order to
prepare a score for rehearsal or performance on short
notice, the marking of cues in the score will be of critical
importance for the conductor’s confidence and the resulting
effect on the ensemble, which, in turn, should lead to the
best possible interpretation under the circumstances.
Decisions regarding which instruments to cue should be
made while practice-conducting the work through at
performance tempi. The conductor may tend to make
unnecessary cues if the choice of cues is made during silent
4 Rudolph Fellner, "DND: A Better Way Of Marking

Orchestra Scores," Opera J o u r n a l , 25 (1982): 10-14.
75
score study without consideration for the proper tempo. Too
many cues will result in a cluttered gesture field, and
unnecessary signals with which the players must deal.
'Overcuing’ may help at initial readings of a work but
should be culled so that only those that are absolutely
necessary are left.
Cuing motions should be performed in a physioally
eloquent manner. The cuing motion should reflect the nature
of the m u s i c ’s motion. Cues should not be executed in a
mechanical way, but should be a part of the mood and motion
of the music. Cuing motions must be choreographed at proper
performance tempi. The motions must be smooth and
deliberate. Every effort should be made to avoid looking
awkward. Cues that are performed in an awkward manner, or
amid a cluttered gesture field, will unduly focus the
attention of players and audience on the conducting
gestures, and thereby distract from the aural comprehension.
CASP marks cues in the score by means of a penciled
check mark placed at the beginning of the instrument’s line.
As the conductor reads the page, the check mark immediately
draws attention to the instrument and line to be cued. An
abbreviation for the instrument to be cued may be written on
the extended line of the checkmark. Thus, the instrument
and its notation are seen immediately by the conductor.
As stated in Chapter 1, personal and psychological
rapport between conductor and players is of critical
76
importance to the finest performances. Personal contact
between conductor and ensemble members will be enhanced by
the nature of the cuing gestures and by eye contact. When
cuing a section of the ensemble, it is more effective to
look at those members seated in distant chairs, rather than
to continually dwell on first chair players. By looking at
distant chairs, the c onductor’s view will encompass the
entire section. A cuing code, discussed on pp. 167-168, may
be used as an abbreviated method of assigning cue rationale.
#6. Identification of phrase lengths.
The identification of phrase lengths clarifies the
conductor’s understanding of structural groupings on a
foreground level— i.e., the level being immediately
communicated by the conducting gesture as the music unfolds.
Phrasal understanding is critical for learning asymmetrical
groupings. The groupings of various phrase lengths on the
foreground level gradually combine to form larger sections,
or hierarchical groupings, thus enabling the conductor to
learn the overall proportional development of the work.
When combined with the placement of M M M ’s, this technique is
useful for arriving at good performance pacing.5 Of
especial importance is the accurate conducting of the
5Grosvenor Cooper and Leonard B. Meyer, Rhythmic

Structure of Music (Chicago: University of Chicago Press,
1960).
77
asymmetrical phrase lengths. The structural understanding
of phrase groupings is a major aid in memorization.
As a work is being performed, the level of immediacy
for the conductor, players, and listeners is at the phrase
level. In large measure, substantive differences in musical
interpretation lie in the interpreter’s handling of phrase
interpretation via tempo, dynamic shadings, and
articulation. The numerical indication of measured phrase
lengths is placed at.the top of the score above the initial
measure of each phrase length. Thus, the conductor is
immediately made aware of phrase lengths.
#7. Identification of form, thematic content, and major

tonal a r e a s .
During Level I analysis, the conductor does not
intentionally follow a process of re- composition in order
to determine rationale for various structural relationships.
The process of explaining the measure-by-measure detail of
the work will be the objective of the Level III analysis.
This part of the Level I analysis identifies and marks large
sections of structural material according to formal
structure, thematic origin, and tonal areas. The purpose
here is to realize the conceptual groupings of material that
immediately have an impact on the players, and to use this
material in order to understand the relationship between
structural features previously marked in Level I analyses
and the formal development of the work. The formal outline
78
created for this particular area of Level I analysis will
serve as the point of departure for the Level III analysis
process of 're-composition.’
The following content abbreviations are used to label
thematic material: principal themes will be indicated by
capital Arabic letters, while secondary themes derived from
the principal themes will be marked by small case Arabic
letters which correspond to the principal theme letter from
which they are derived: a,b,c, etc. Thematic content is
identified at the bottom of the score below the measure
where each theme begins.
#8. Identification of conductor proble ms.
A reliable, comprehensive, and rationale technique will
allow conductors to arrive at good decisions for accurate
gestural communications. Measures involving some difficulty
of a gestural or interpretive nature should be marked at the
top of the score above the initial measure of the difficult
section. It is critical for the conductor to master areas
of gestural difficulty in order to earn and maintain player
confidence and respect as well as to carry on an efficient
rehearsal.
Gestural difficultues often consist of the need to
combine, simultaneously or in quick juxtaposition, two or
more contrasting types of gestures. The gesture
choreography that results from careful consideration of the
area must be practiced slowly so that the complete physical
79
feeling of the gesturing is totally comfortable. Areas of
conductor difficulty should be marked at the top of the
score as study reminders.
#9. Identification of player p r obl em s.
The finest conductors exhibit empathy for the technical
concerns of their players. By reviewing the score to
identify player difficulties, the conductor can consider
possibilities to assist the pla y e r s ’ technique (especially
necessary with young or inexperienced players), or to
legitimately alter the interpretation or retouch the
orchestration in order to assist the execution of a
particular passage. A thorough knowledge of instrumental
playing techniques and orchestration procedures are required
to assure the conductor’s success in this area. Measures
involving player difficulty should be marked at the top of
the score as study reminders.
#10. Synthesis of Level I analysis results.
Each time the conductor reads through the score to
collect Level I data, a synthesis of that information occurs
along with score information not under immediate scrutiny.
Each reading of the work expands the c o ndu ct or’s
comprehensive view. Ultimately, the conductor must achieve
a congruent impression of the whole work in order to make
decisions regarding the various components of
80
interpretation. The comprehensive view of the whole work is
enhanced by a technique of graphing certain Level I data.
Barra (1983) and White (1984) promote graphing
techniques for the sake of making various structural
comparisons within a composition or among many compositions
of a particular composer, style, or historical period.
Boult (1968, p. 21) suggests constructing "an emotional plot
of the work" by noting the sections of tension and release
as well as climactic moments within the score. The
overviews gained from such graphing techniques assist the
conductor in developing a thorough grasp of structural
evolution, especially for works of considerable length. The
graphing technique presented by CASP includes both objective
structure and emotional progression.
For the most efficient comprehension of overall design,
CASP suggests graphing Level I information along four
separate continuums that define the relative placement of
structural information in the following order: (1) Major
Musical Moments— denoting principal climactic areas, (2) the
progression of emotional energy plotted by marking the areas
of tension and release (T and R, respectively) which will
give the emotional ebb and flow of the work, (3) points of
significant textural change requiring an adjustment in the
nature or size of the conducting gesture, and (4) a formal
outline of the work based upon thematic development and
indicating sectional proportions, and key areas. See Figure
Figure I * Basal Structure Analysis Chart
I. Normandie
Suite FrancaiBe;
82
Level II: REVIEW OF SUPPLEMENTARY INFORMATION
This analysis level addresses the importance of
acquiring background information regarding (1) the reason
for which the work was composed, (2) the lifestyle and
cultural environment of the composer during the creation of
the work, and (3) a review of the circumstances surrounding
the first performance of the work which include the
contemporary instruments employed, the contemporary
acoustical environment of the performance, and performance
practices.
The acquisition of background information concerning
composer and composition serves several functions. It adds
a perceptive measure to music-making by enabling the
conductor to comprehend and interpret the work as an entity
that developed as part of a human life. The exploration of
social, economic, political, intellectual, philosophical,
and emotional factors which surrounded the c om p o s e r ’s
creative process facilitates the c o n d uc tor ’s attempt to
interpret the mood of the work.
It is also useful to view a musical work as one part of
a composer’s developing craftsmanship. By analyzing several
major works of a given composer, the conductor can identify
certain common stylistic features that may assist in
explaining the nature of emotion-effecting events in the
music. Understanding the stylistic descriptors of a
particular composer and the related style period increases
S3
the probability of discovering innovative features of
compositional structure, thereby noting new or unique
developments in the contemporary musical style.
The comparison of a work's stylistic features to a
co mp o s e r ’s total output, and to similar compositions of
other periods, heightens the co nductor’s emotional and
intellectual involvement with the work. The personalization
of the cond uc tor ’s inquiry becomes an inextricable part of
the interpretation.
CASP suggests the establishment of reference base
files. These should contain three sections of stylistic
data which stem from the information collected from Level II
analysis: (i) biographical information of composer and
his/her cultural environment, (2) stylistic features of the
composition under study, and (3) stylistic features of the
historical period during which the work was composed. A
complete data collection system to accompany the CASP
analysis format is provided in Appendix A.
Level III: DETAILED STRUCTURAL ANALYSIS
The Detailed Structural Analysis represents the most
detailed approach to score preparation for the conductor.
Thoughtful consideration of musical details and their
relationships within a particular structure will serve to
reinforce the critical performance decisions regarding
interpretation as indicated in Level I analysis. Through
this process of detailed analysis, the conductor must not
84
lose the relative concept of the whole work (Boult, p. 20).
For example, conductors may become involved with analytical
details to the exclusion of creating a beautiful melodic
line (Fuchs, p. 22).
As the conductor examines the details of the
composition, the analyses must always include reference to
the larger formal development (Moe, p. 9). Understanding
structural evolution becomes clearer as relationships are
drawn between detail and overall form, as well as between
the individual details. A knowledge of score detail should
no more interfere with conductor comprehension than that of
the sculptor or painter (Fuchs, p. 34). The conductor
should be able to shift from one structural level to another
structural level without "cognitive confusion."
The common juncture between Level I and Level III
analyses is the graph of overall formal structure and
thematic development. This graph becomes the final
consideration of Level I analysis and the first
consideration, or point of departure, for Level III
analysis.
Level III analysis continues the concept of deductive
comprehension that is basic to the CASP process. Level III
analysis asks the conductor to re-create the compositional
process and clarify the interaction of form and process in
the music being studied. This process leads to a reasonable
interpretation of the composition. In a continual effort to
85
increase the interpreter’s familiarity with the work, there
should be an understanding of the "technique of composition
and the creative forces involved" (8amberger, p. 223).
Through Level I analysis, the conductor deals with the
work as it unfolds for the sake of formulating clear and
precise gesture choreography. Level I analysis does not
demand that a structural rationale be drawn among the formal
sections, although a peripheral awareness of obvious
relationships among phrases and larger sections is
inevitable. Level III analysis, however, asks the conductor
to explain the progression of structural events (Cone, p.
174; White, p. 5).
Level III analysis consists of two sub-divisions: Part
1 is an assessment of the overall structure of the work;
Part 2 constructs a detailed phrasal analysis of the work.
The effect of a Level III analysis will be to structurally
reinforce the comprehensive view gained from the Level I
analysis. The detailed analysis will draw attention to
various unifying factors that create structural cohesion and
lucid expression. This type of detailed analysis helps the
conductor to understand the structural shape at various
hierarchical levels through the energy-intensive emphases
and release of large formal shapes.
Level I emotive structures are explored in more detail
at Level III. Since the appreciation of music consists of
intellectual and emotional responsiveness, it is important
86
to translate all structural detail into their emotional
components.
The results of Level III analysis will serve several
functions: (1) to structurally reinforce the performance
rationale of the comprehensive vie-; ; • r<?d from Level I
analysis, (2) to focus on stylistic unifying factors which
result in structural cohesiveness, and (3) to translate
structural events into designs of emotional energy.
Level III: PART 1— Assessment of Overall Structure
(A) A view of the overall form should define the
compo se r’s basic structural approach. Any uniqueness or
peculiarity of formal structures, compared to similar
compositions of the same historical period, should be noted.
(8) The overall structure is defined by the evaluation
of symmetry and unifying factors among movements or
sections. Comparisons should identify large scale
similarities and contrasts among movements such as forms,
key centers, instrumentation, etc.
(C) If the composition employs instrumental and vocal
writing, the relationship betweer- the two must be drawn.
To begin the detailed evaluation of the work, it is
useful to construct a chart of the overall structure which
contains basic elemental material in order to acquire some
sense of progression through the broad component outlines.
A CASP Level III Overview Chart will consist of the
87
following elements (See Example 12): movement, type of
form, tempo, meter, orchestration, key, textual content (if
applicable), and an additional comments section. The
"additional comments" section may note large formal
relationships between movements or sections.
This large overview will give the conductor an
impression of movement through variations in the use of
tempo, density of orchestration, text (if applicable), and
key area. Each of these elements will contribute to the
hierarchical structuring of tension and release, and the
subsequent temporal pacing of the composition being studied.
LEVEL III: Part 2 — Detailed Structural Analysis
This assessment begins with an overview of the movement
or section by the construction of a chart according to
phrase structure. Isolated phrases chosen for analysis from
the overview chart will include tonal movement and indicate
thematic similarities and contrasts between individual
measures or phrases. These isolated representations of
phrase structures are called "schemes." An appropriate
sense of visual proportion should exist when representing
phrase lengths visually. These phrasal charts and schemes
continue to foster comprehensive learning through the
continually relating of detail to overall structure.
For example, the following scheme represents the
initial outline of a phrasal structure:
88
Example 10: Phrasal Outline Scheme
1 I---------------- 1
3/4 1 .12,13_____ 22 23 __ 26,27_____ 36
12 10 4 10
(6+6 ) (6+4) (2+2) (5+5)
D A D
13-14=1-2 Orch: 23 - 3 6 W 1-2
15-16W3-4
The above scheme presents two parts of a movement, 36
measures in length, divided into two large structural
sections and performed in 3/4 meter. The opening section is
divided into two phrases of twelve measures and ten
measures, respectively, while the closing section divides
into two phrases of four measures and ten measures,
respectively. Each large phrase is subdivided into two
clauses which are indicated in parentheses below the large
phrase length indication. Note that a comma is used to
separate the phrases within each bracketed section. The
tonal progression is indicated by capital letters (small
case letters would indicate minor modes). Below the tonal
progression, phrase relationships are designated (" = " means
"the same as"; “ £ 3 ," means "similar to” ). Unless otherwise
indicated, designations such as 13-14=1-2 and 15-16£i3-4
89
refer to similarities in melodic structure. The designation
"Orch: 23-26££l-2" specifically refers to the similarity in
orchestration of both phrases. These detailed schemes are
generally constructed according to the thematic phraseology
of the work.
The discussions which follow focus on the kinds of
information which the conductor finds unique or of special
interest in relation to the movement being examined. For
example:
Example 11: Phrasal Outline Scheme Using Text
Measures: 433 _50,502 592, 684 792
582 693
L e ng t h : 7 9 11 10
Vo ic ing : AT2B STT AT 28 STTB
Text: Domine Deus Qui tollis Qui tollis Qui sedes.
Miserere suscipe
Cadence
notes
The contrast in content between Example 10 and Example
11 is clear. "Voicing" refers to vocal part, e.g., A =
alto, T2 = second tenor. The "Text” information describes
90
the text setting by giving the beginning text of each
phrase. In the "Measures" line, 433 means "measure 43
beginning on beat 3" and the phrase ,r582___________ 693" is
illustrated as overlapping with phrases "502_______ 592" and
"684_______ 792".
In addition to the various shorthand symbols found in
Example 10, i.e., (=), (££), (5 0 2 ), the following phrase
descriptions may be used:
mm. 4, 5 means "anacrusis to m. 5";
mm. 4 ^ 5 means ”m. 4 material ends during m. 5";
mm. 6,7 indicates "a complex overlap of phrase cadences
and beginnings";
•V"
m. 4 indicates "a pivot bai the end of one phrase and
the beginning of the next."
The following two examples provide additional
categories which may serve to illustrate a comprehensive
view. The data for each category is listed across the page
from left to right:
Example 12: Description of Overall Design
Composer (dates):
Title of Composition:
Move m e n t :
Tempo:
Meter:
Type or Char ac ter :
Orchestration:
Formal Cont ent :
Ke^:
Additional C omm ent s:
(Broad comparisons between movements)
92
Example 13: Description of Sectional Design With Detail
Phrase L eng ths :
Voicing:
Measure of Vocal E n t r y :
Entry V o i c e :
Text:
Cadence V o i c e s :
Measure of Cad e n c e :
Cadence Pitches:
Another type of chart may be used to indicate sections
according to text, length of textual section, and tonality.
These items are found in Example 14 and are as follows:
Example 14: Byrd. Mass For Three V o i c e s : Credo
(Final Large Section)
I. Et in spiritum sanctum... Mm. 106-117 C
II. Qui cum patri et filio... Mm. 118-131 C-(G)-D
III. Et unam sanctam Catholicam. Mm. 132-142 d-(C)-C
93
In order to clarify and relate thematic and
developmental motives and phrases, letter and number labels
which correspond to inserted manuscript examples, may be
added to the phrase schemes. For example, capital letters
(A,B,C) indicate principal thematic ideas, capital letters
with Arabic numerals indicate the various phrases of a
particular theme section, e.g., A1,A2,A3 (the A theme is
presented in three varied phrases. Variations of principal
thematic ideas are indicated with superscript numbers
(All,A12,atc .), and small Arabic letters (a,b,c) indicate
subordinate or secondary motives or phrases derived from
their related principal thematic ideas. Variation of
secondary thematic material would be indicated by the use of
superscript numerals, e.g., all, al*, etc. (See Example
15. )
Example 15: Phrasal Outline With Thematic Indications
2/4 1____4 , 5___ A _____ Al_____ 20.21 A21 28,29___ a ___ 36
8 + 8 8 + 8
The discussion which follows a particular phrasal
scheme is directed at the 're-composition’ of the phrasal
scheme. The use of musical elements involved in that
particular discussion must address the scheme, or related
elements which occur elsewhere in the piece. The discussion
94
following each outline scheme need not explain every phrase
of the outline. Only the phrases of the outline that offer
unique aspects of compositional technique or style need be
presented for discussion.
The detailed discussion of phrasal breakdowns is used
to trace the c o m p o s e r ’s structural process within the phrase
and as compared to other areas of the composition. These
discussions may include a relationship to the c o m p o s e r ’s
general stylistic tendencies, or to the contemporary
historical style period. The order of topic discussion need
not follow any prescribed pattern. As stated above, the
choice of material to be discussed should be drawn from
prominent or unique compositional features. This material
may include the melodic character, the relationship of the
text to the form, the impression of the opening texture, or
the tonal character and its relationship to text and form.
Application of CASP Results: The Cond uct or ’s Interpretation
The results of preparing a score through a CASP
analysis will serve three basic functions for the conductor:
(1) assist in formulating an interpretation of the
c om pos er ’s intentions, (2) enable the communication of
interpretation to the ensemble, and (3) the communication of
the c om p o s e r ’s intentions to the listeners. The basic CASP
formulations -from which these results are derived include:
(1) information regarding the origin of the composition, (2)
comprehension of the w o r k ’s overall structure, (3) the
95
sequence of emotional moods, and (4) an awareness of how the
audience may react to the interpretation (Boult, p. 20).
For all practical purposes, an audience reacts to the
immediacy of the music (Cone, 196B). The large majority of
listeners do not comprehend the structural evolution of
music, especially of lengthy works. Therefore, when the
c o n duc to r’s preparation time becomes limited, the
c o nd uc tor ’s understanding of how the audience perceives the
music is significant for the establishment of a priority
routine for score preparation. When preparation time is
limited, the Level I analysis is sufficient to render an
interpretation of the score.
Furthermore, it is of paramount importance to realize
that, as a result of a CASP analysis, the conductor will
formulate the interpretation through the selection of
variations in tempo, dynamics, and articulation. These
variations are the three principal means of rendering unique
interpretive expression by a conductor or any performing
musician (Green and Malko, p. 22). Therefore, the conductor
translates the structural features of a work into emotive
events through the manipulation of these three elements.
Arthur Nikisch once commented: "...the details of my
interpretation change at nearly every concert, in accord
with the emotions that are especially aroused in me"
(Bamberger, p. 313). Other famous conductors have also
drawn a relationship between emotions and interpretation.
96
Therefore, if one were to merge the Nikisch quote and the
Green and Malko information, it appears that there is a very
strong link between emotional involvement and expressivity
through tempo, dynamics, and articulation. Additionally,
Barra (1983) states that the principle of interpretation is
based upon a turn-of-the-century (20th century) theory of
emotions.
Articulation, Dynamics, Tempo
Of all the musical elements at the c o mpo se r’s disposal,
the elements which most often remain beyond his/her control
in performance are the shadings of articulation, dynamics,
and tempo. Consequently, given two interpretations of the
same piece, and assuming that all other musical elements are
performed correctly, a preference for one interpretation
over the other will be defined in terms of the interpreter’s
handling of articulation, dynamics, and tempo.
The varying of elements in the interpretations of
inexperienced musicians are often marked by the same type of
change in all three of these elements. For example, if a
passage increases in tempo, it will often also increase in
dynamic level and in the length of the notes; and if a
passage decreases in tempo, it will often also decrease in
dynamic level and the articulations may become shorter.
These responses are common knowledge, especially among
conductors of younger, inexperienced ensembles, and are
natural human reactions. Therefore, the mark of an
97
experienced interpreter must be the ability to vary each of
the three principal expressive elements independently
(Barra, p. 17). Additionally, it is useful for the
conductor to know that when any unnatural combination is
presented, e.g., loud dynamic and slow tempo, there is an
increase in tensional response from the player and the
listener. Any combination of elements that are opposites
tend to heighten tension.
Of the three expressive elements, several major
conductors cite the choice of tempo as the most critical.
The proper articulation depends upon the influence of tempo
on the rhythm. The tempo must allow the rhythmic
development to evolve in a logical and clearly articulated
manner. Reverberation time of the performance site will
also affect the choice of tempo.
The results of the complete CASP analysis process will
include the c o n du cto r’s decisions regarding choice of tempi,
extent of dynamic range, and shading of articulation
lengths; and the selection of gestures to effect these
interpretive ideas. These three areas are the cond uct or ’s
principal means of translating the printed score into a
convincing and meaningful interpretation.
t: '
CHAPTER IV
ANALYSIS FOR PERFORMANCE OF DARIUS MILHAUD'S

SUITE FRANCAISE FOR CONCERT BAND
Darius Milhaud (1892-1974), Suite Francaise (New York: MCA

Music, 1947). Full Score.
Level I; BASAL STRUCTURE ANALYSIS
#1. Review of preliminary comments regarding interpretation

and special instructions printed in the s c o r e .
Special instructions which address interpretation or
stage set-up are not indicated in the score.
The instrumentation is that of the standard concert
band as set forth by the College Band Directors' National
Association and remains the same for each of the five
movements. Some variation does occur with the
instrumentation for percussion. The percussion
instrumentation appears as follows:
First Movement: Timpani, snare drum, crash cymbals.
Second M ov eme nt: Timpani.
Third Movement: Timpani, snare drum, cymbals, bass
drum.
Fourth M o vem en t: Timpani, snare drum, cymbals, bass
drum.
Fifth Movement: Timpani, snare drum, military drum
(with timpani sticks).
Special' orchestration effects: II. Muted trombones
99
and cornets; IV. Muted cornets.
#2. Identification of Major Musical Moments (MMM)
First Movement: NORMANDIE
Mm. 1-20
The opening of the movement presents the tuneful first
theme alia m a r c i a . Orchestration, the rhythmic nature of
the theme and accompaniment setting, and the nature of the
harmony all combine to cause the majestic excitement of the
opening.
Mm. 79-108
A four measure phrase (mm. 79-82) presenting sudden
rhythmic excitement, fortissimo dynamic, and tutti
orchestration, introduces the final complete statement of

/
the opening theme. The orchestration of this restatement
remains tutti throughout most of its length, unlike the more
milder setting of the moveme nt’s opening.
During mm. 101-108 the orchestration thins to a unison
statement of a phrase derived from the first theme in the
brass. The excitement of the restatement is maintained
through the sudden contrast in orchestration and subsequent
unison soli lines in the cornets and trumpets.
100
Second Movement: BRETAGNE
Mm. 2 6 -5 6
This section develops climactic contrasts via elevated
dynamic levels and the use of high pitch registers. While
this section does provide the climactic moment of the
movement, the nature of the overall section does not provide
the subjective impression of an MMM.
Third Movement: ILE DE FRANCE
Mm. 24-36, 40-44, 58-70
Each of these three sections presents the m ov e m e n t ’s
second theme in contrasting legato articulation and
contrasting harmonic settings. These settings combine to
form distinctive passages that the listener can compare to.
other contrasting sections of the work in order to discover
the thematic structure of the work.
Mm. 75-79
This last section of the movement presents the most
exciting setting of the second theme. The combination of
elements which result in this MMM include a fortissimo
dynamic, tutti orchestration, the repetitive eighth-note
rhythm on the pitch (g) in the trumpet’s higher register
(mm. 77-79), and the simultaneity of legato woodwind,
detached brass, and accented articulation textures.
101
Fourth Movement: ALSACE-LORRAINE
Mm. 80-109
This last section of the movement combines a legato,
fortissimo line with theme and harmony, the highest thematic
register in the movement, and tutti orchestration, except
for the omission of the baritone line.
Fifth Movement: PROVENCE
Mm. 1-14. 27-54, 53-68
A unison statement of the first theme presents
orchestration contrast via the clarinets and flutes
accompanied by detached quarter-note chords in trombones and
tubas. The uniqueness of the theme derives from the
rhythmic sequence, intervallic content, and accompanying
ha rm ony .
The following outline presents only those specific
changes in the s e c t i o n ’s texture whose nature must be
reflected in the conducting gesture. The listing of
elements are derived from those that are communicable by the
conductor: orchestration register and density (0), tempo
(T), meter (M), rhythm (R), dynamic (D), linear writing (L),
and articulation (A).
102
Mm. 1-12
The opening of the movement establishes the following
textural characteristics:
Tempo: Anime = 144. J,
Meter: 6/8
Rhythm: Regular quarter and eight-note patterns.
Dynamic: Forte (Loud).
Linear writing: Homophonic, with short counterline
phrases and motives.
Articulation: Detached, with short, legato phrases and
triplet motives.
Orchestration: Light density with variations in
overall tone color via saxophone and horn scoring.
Mm. 15-18
Rhythm: Triplets.
Orchestration: Low register brass and woodwinds.
•* :•
Mm. 19-22
Articulation: Contrasting legato phrases.
Orchestration: Light density including only horns and
saxophones.
Mm. 25-26
Dynamic: Reduced via decrescendo from forte to mezzo
forte (moderately loud).
Rhythm: Second theme presented here uses longer note
values.
Orchestration: A mixture of tone colors which produce
a polarity of registers through scoring for high
woodwinds with low-register note punctuations
following in the low brass.
Mm. 27-50
Rhythm: Increase in rhythmic activity via a repetitive
pattern.
Dynamic: Crescendo through mm. 28-29.
Mm. 31-54
Dynamic: Decrescendo in m. 33 leading to a mezzo forte
level.
Rhythm: At m. 3 4 2 motion is suspended by the dotted-
auarter note before the first restatement of. the
opening theme at m. 35.
103
Mm. 35-42
Dynamic: Restatement of theme articulated by a sudden
forte.
Articulation: Detached.
Rhythm: Contrasting activity.
Mm. 43-52
Articulation: A variation of the first theme stated by
the alto saxophone line is presented in
contrasting legato.
Rhythm: Slowing of forward motion via dotted-quarter
and dotted-half note chords.
Mm. 53-56
Orchestration: Lighter density of four treble
voicings.
Mm. 57-58
Articulation: Woodwind lines provide legato contrast.
Mm. 59-62
Orchestration: Lower register.
Rhythm: The rhythm ( jJ J
) provides contrast.
M m . 63—66
Rhythm: This phrase is the first of four which is
based on the contrasting rhythm of the second
theme.
Mm. 71-74
Dynamic: This extern-ion ot the preceding rhythmic
phrase begins wi v-h a sudden f o r t e .
Orchestration: Widening of the pitch range.
Mm. 75-78
Orchestration: Upper woodwinds and middle register
trombones.
Mm. 79-82
Rhythm: Contrast provided by the dotted-eighth
patterns ( J, jr - ) . J
Orchestration: Antiphonal-like statements between high
and low register over sustained chords.
Mm. 83-92
Rhythm: (A) theme material returns.
Mm. 922-951
Orchestration: Descending triplet line in low
register.
104
Mm. 9 5 2 - 1 0 1 1
Rhythm: Expansion of triplet texture.
Orchestration: Low woodwinds and low brass.
Mm. 1012-105
Orchestration: Low register statement of unison
melodic idea from first theme.
Mm. 104-107
Orchestration: Middle register cornets with (A) theme
statement.
Mm. 1072-108
Orhestration: Low and middle brass presenting the
cadential figure.
M. 1
The simple presentation of an octave (Bb), suspended in
the low woodwind and low brass registers, establishes a
pianissimo (very soft) dynamic and suspends forward motion
until the entrance of the first theme.
Mm. 1 2 - 4
Following the sustained Bb octave, the first theme is
presented by the horns, and the following characteristics of
the opening are established:
Tempo: Lent = 116.
Meter: 6/8
Dynamic: Pianissimo.
Rhythm: Regular patterns.
Linear writing: Homophonic.
Articulation: Legato and tenuto.
Orchestration: Light woodwind and horn scoring, low
and middle registers, respectively.
Mm. 5-6
Orchestration: Lower middle register of bassoon.
Mm. 7-9
Orchestration: Setting of theme in the middle horn
register.
Mm. 10-121
Orchestration: Scoring of A2* theme in lower register.
105
Mm. 122-15
Orchestration: Secondary thematic phrase (81)
presented by oboe with chordal punctuations
articulating the ends of phrases in trombones.
Mm. 16-17
Orchestration: The A22 theme is scored in the lower
voices of bassoon and baritone.
Mm. 18-24
Orchestration: 82 theme occurs in oboe.
Articulation: Certain measures present tenuto
markings on beats 1 and 2.
Dynamic: Sudden mezzo f o r t e ; a brief decrescendo
at m. 24 articulates restatement of A2 theme at
m. 251.
Mm. 25-26
Orchestration: Scoring of A2 in middle register.
Dynamic: Return to mezzo forte level.
Mm. 27-561
Orchestration: Presentation of C theme in middle and
upper registers.
Rhythm: Eighth-note motion of C theme contrasts with
A and 8 themes.
Mm. 362-38i
Orchestration: Appearance of A2 in middle register of
alto clarinet and alto saxophone followed by a
middle register horn statement.
Dynamic: Decrescendo at m. 381 articulates the end of
theme A2.
Mm. 382-41
Orchestration: Statement of B1 in oboe.
Rhythm: Triplet motive in baritone on beat 2.
Mm. 42-43
Orchestration: A2 scored in middle register.
Mm. 43-50
Orchestration: 82 continues in oboe.
Rhythm: Triplet motive on every beat.
Dynamic: Crescendo to approx. mezzo forte in m. 45.
Mm. 51-52
Orchestration: Middle register scoring of A2.
106
Mm. 53-541
Orchestration: (a2) appears in- the lower register.
Tempo: Rallentando.
Dynamic: Pianissimo, m. 541.
Mm. 542-57
Orchestration: A1 scoring in middle horn register.
Mm. 58-59
Orchestration: A2 scored in lower bassoon register.
Mm. 60-62
Orchestration: A1 appears in middle register of horns
accompanied by alto and tenor saxophone counter
melodies.
Mm. 65-66
Orchestration: A2 scored in low register.
Rhythm: Motion begins to slow in m. 64.
Dynamic: Decrescendo to and.
Mm. 1-21
Opening characteristics:
Tempo:
Meter: 2/2
Dynamic: Forte.
Rhythm: Regular pattern, rapid, repeated eighth-notes.
Orchestration: Middle and low brass.
Mm. 22-7
Orchestration: A1 initially presented in upper
woodwinds and middle register cornets.
Mm. 7-11
Dynamic: Sudden mezzo forte.
Articulation: A 2 , legato.
Orchestration: Middle register clarinets.
M m . 12-13
Dynamic: Sudden fortissimo (very loud); accent.
107
Mm. 14-18
Dynamic: Sudden fortissimo.
Orchestration: Low brass.
Mm. 19-201
Orchestration: Continuation of al, i.e., a i s , in the
middle register.
Mm. 202-24
Dynamic: Sudden f o r t e ; m. 24 decrescendo.
Articulation: A2* , legato.
Orchestration: Melding of low (horn, baritone) and
middle (flute) registers.
Linear writing: Overlapping contrapuntal lines of A 2 i .
Mm. 25-28
Articulation: 81, alto saxophone, legato.
Dynamic: Crescendo and decrescendo, mm. 26 and 28,
respectively.
Mm. 29-32
Orchestration: Low brass.
Mm. 35-35
Articulation: 81, legato.
Mm. 36-38
Dynamic: Sudden f o r t e .
Orchestration: Low, middle register of clarinet.
Articulation: Clarinet, legato; detached and legato
combinations with brass entrance, m. 362 .
Mm. 39-40
Rhythm: Three beat tie resulting in suspended motion.
Orchestration: Middle register brass and high
wo odwinds.
Mm. 41-48
Dynamic: Sudden mezzo forte.
Artioulation: Simultameity of legato (81) and detached
(al«).
Orchestration: Upper register (clarinet and
saxophone).
Mm. 49-50
Orchestration: Middle register, high woodwinds.
Dynamics: Sudden mezzo forte.
108
Mm. 51-54
Dynamic: Sudden mezzo piano (moderately soft); m. 53,
crescendo.
Orchestration: Very thin woodwind texture.
Mm. 55-58
Dynamic: Sudden f o r t e ; mm. 57-58, decrescendo.
Orchestration: Greater density in high woodwinds.
Tempo: m. 58, ritard.
Mm. 59-62
Articulation: Legato.
Mm. 63-66
Articulation: Simultaneity, detached accompaniment
with legato theme.
Dynamic: mm. 652-66, crescendo.
Mm. 67-701
Mm. 702 - 7 5 1
Articulation: Deatched, accented.
Mm. 752-79
Dynamic: Sudden f o r t e ; horn accents.
Mm. 1-8
Tempo:
Meter:
Lent,
2/4
J
= 58-60.
Dynamic: Mezzo p i a n o .
Rhythm: Regular; special attention to ( J J. J )
motive.
Articulation: Alternating detached, legato, and
tenuto.
Orchestration: Melding of middle and lower registers.
Mm. 9-16
Dynamic: Mezzo forte preceded by one measure
crescendo.
109
Mm. 17-21
Orchestration: Increase in density via addition of
oboes, clarinets, trombones.
Mm. 22-24
Dynamic: Even though a decrescendo is not scored
until mm. 23-24, a decrease in dynamic begins to
be felt at m. 22 with the descending melodic line
in the upper woodwinds.
Mm. 25-36
Dynamic: Pianissimo prepared by a two measure
decrescendo.
Orchestration: Density similar to the mezzo piano
opening.
Mm. 37-381
Dynamic: Mezzo piano prepared by crescendo at m. 34
and established through mm. 35-36.
Orchestration: Returns to the identical opening
density with emphasis on middle register via
saxophone family.
Mm. 382-40
Orchestration: Addition of counter line in flutes
and oboes— upper register.
Rhythm: Constant eighth-note motion.
Articulation: Fully legato in flute and oboe counter
lines.
Mm. 41-421
Dynamic: Sudden mezzo f o r t e .
Mm. 422-44
Orchestration: Flute and oboe counter line, upper
register.
Articulation: Legato, flute and oboe.
Mm. 45-47
M. 48
Mm. 482-52
Articulation: Melding of legato and detached styles,
high woodwinds and saxophones, respectively.
110
M. 55
Orchestration: Middle register, cornets.
M. 54
Orchestration: Middle register, Bb clarinets.
Dynamic: Sudden mezzo piano followed by a
decrescendo.
Mm. 55-60
Orchestration: Middle register, clarinet family.
Dynamic: Piano (soft), preceded by one measure
decrescendo.
Mm. 60-61
Dynamic: F o r t e , prepared by crescendo (mm. 58-59);
accents on strong beats.
Orchestration: Melding of high register woodwinds with
middle register high and low brass.
Mm. 62-671
Dynamic: Sudden pi a n o .
Orchestration: Lower middle register, clarinet
emphasis.
Mm. 672-751
Orchestration: Addition of tuba, m. 67.
Mm. 752-762
Orchestration: Middle register, woodwinds and high
brass.
Mm. 77-80
Orchestration: High register, woodwinds.
Dynamic: m. 80 forte prepared by crescendo at m. 78;
crescendo through m. 80 to prepare the fortissimo
at m. 81.
Rhythm: ( J, "j
j ) pattern, m. 80.
Mm. 81-96
Orchestration: Tutti; alternating addition and
deletion of high woodwinds.
Dynamic: Fortissimo prepared by one measure crescendo.
Rhythm: Alternating contrast between eighth-note
pattern and dotted-eighth & sixteenth-note
pattern.
Mm. 97-102
Rhythm: (
Orchestration:
JUJlnsm associated with thematic line,
Upper register, woodwind.
I l l
Mm. 1 0 3 -1 0 5
Rhythm:
Dynamic:
cJ- j>lj>
Accents.
Mm. 106-109
Rhythm: Slowing of the note values,
Mm. 1-11
Tempo: Anime, J = 138.

Meter: C
Dynamic: Forte.
Rhythm: Constant variation through a four measure
phrase.
Articulation: Alternating use of legato and detached.
Orchestration: Melding of middie-upper woodwinds with
low brass.
M. 12
Rhythm: Contrast with introduction of triplets.
Mm. 13-14
Resume all opening specifications.
Mm. 15-191
Orchestration: Effect of pitch polarity between
high woodwind and percussion lines.
Mm. 192-22
Rhythm: Introduction of sixteenth-notes to the
woodwind lines.
Mm. 23-271
Rhythm: Return to quartet— note and eighth-note
patterns.
Mm. 2 7 1—28
Rhythm: Quartet— note.
Or chestration: Melding of uppet— middle and lower
registers.
112
Mm. 29-54
Rhythm: Return to opening thematic rhythm of
constantly varied four measure phrase.
Dynamic: Sudden mezzo f o rte ; crescendo, m. 32.
M. 35
Tempo: Molto ritard; fermata on beat 4&.
Dynamics: Sudden fortissimo; accents.
Orchestration: Uppei— middle register, cornets and
trumpets.
M m . 36—37
Dynamic: Sudden p i a n o .
Rhythm: Less activity via emphasis on quartei— note and
eighth-notes.
Mm. 48-49
Rhythm^ Contrast, absence of dotted rhythm.
Orchestration: Low register.
M m . 50-56
Rhythm: Returnv to eighth-note and sixteenth-note
phrases of the opening.
Dynamic: Sudden mezzo f o rte ; crescendo, m. 56.
M. 57
Tempo: Molto ritard; fermata on beat 4&.
Dynamic: F o r t i ssi mo.
M m . 58—68
Tempo: "A tempo".
Rhythm: Emphasis on syncopated variation of (Al).
Orchestration: Melding of the polarity of high
woodwinds and middle register low brass.
Articulation: Alternating legato and detached motives.
Mm. 69-732
Orchestration: Effect of pitch polarity between high
woodwind and percussion lines.
Rhythm: Return of the eighth-note rhythm.
Mm. 733-771
Rhythm: Addition of sixteenth-notes.
Mm. 772-78
Rhythm: Quartei— note passage.
113
Mm. 7 9 -8 2
Rhythm: Synoopated variation
Dynamic: Sudden fortissimo.
Mm. 83-84
Rhythm: Return of (Al).
Mm. 85-89
Rhythm: Contrasting simple rhythm involving slower
note values.
#4. Identification of emotional energy sequen ce .
The following evaluations have been developed as a
result of the subjective judgment of objective score
information. Those elements that are primary to producing
the indicated emotional energy-type are followed by a colon
and the explanation.
While not precisely communicated through gesture, the
element of harmony is included in this list. For the
purpose of this discussion, pitch is viewed as a part of
orchestration register. The elements which effect emotional
energy are: orchestration register and density (0), tempo
(T), rhythm (R), meter (M) changes, articulation (A),
dynamics (D), linear writing (L), and harmony (H).
Mm. 1-20 (T ) .
Tempo: Anime, J.
= 138.
Dynamic: Forte.
Rhythm: Regular.
Or ch estration: Broad range.
114
Mm. 21-22 (R— »

Dynamic: Natural softening due to descending melodic
line.
Orchestration: Middle register.
Mm. 23—34 (R---)

Harmony: Introduction of the secondary tonality.
Dynamic: Mezzo f o r t e .
Rhythm: Long note values in accompaniment lines.
Mm. 35-42 (T )
Dynamic: Forte.
Articulation: Detached brass set simultaneously with
legato woodwinds (mm. 35-38); mm. 39-41, legato.
Mm. 43-52 (R-)

Rhythm: Less activity via quartei— notes and eighth-
notes; long note values in accompaniment lines.
Mm. 53-78 (T-)

Dynamic: F o r t e , accents.
Rhythm: Active writing.
Orchestration: Progression of gradually increasing
score density.
Mm. 79-82 (T-)

Dynamic: Fo rti ss imo .
Rhythm: Dotted-eighth motive.
Pitch: Repeated pitches.
Mm. 85-108 (T )
Rhythm: The increase in tension ceases with the
re-establishment of the regularity of the
opening rhythm and the return of the tonic
key of Bb major.
Mm. 1-65 (R )
The entire movement is relaxed in nature, except for
the subtle tensions that are characteristic of the
individual melodic lines and phrases. The opening
Relaxation characteristics include:
115
Tempo: Lent, J - 116.

Dynamic: Range = pianissimo to mezzo fo r t e .
Rhythm: Uses values of the beat unit and the first
sub-division. The second sub-division occurs only
twice, mm. 17 and 50.
Mm. 1-23 (T ) *
Tempo:
Dynamic:
Vif, J
= 112.
F o r t e ; including mezzo forte and fortissimo
variations.
Rhythm: Fast, unpredictable.
Articulation: Detached, accents.
Orchestration: Tutti.
M. 24 (R — »
Dynamic: Decrescendo.
Articulation: Legato anacrusis to m. 25ff.
Orchestration: Very light; melding of middle (brass)
and upper (woodwinds) registers.
Mm. 25-28 (R )
Dynamic: Piano with slight variations.
Rhythm: Regular, predictable.
Linear writing: Homophonic; vocal character.
Articulation: Legato..
Orchestration: Thematic emphasis in woodwinds; light
accompaniment figures in low brass.
Mm. 29-52 ( ® --- )

Articulation: Legato woodwinds over detached brass.
Mm. 35-561 (R )
Dynamic: Sudden fo r t e .
Rhythm: Unpredictable, syncopated.
Linear writing: Instrumental character.
Articulation: Detached, accents.
Orchestration: Emphasis on high brass and trombone I.
Mm. 362-4Q1 (J ---)

Rhythm: Fast.
Mm. 402-48 (J ---)

Articulation: Legato woodwinds over detached horns
and low woodwinds.
Dynamic: Sudden forte, m. 45.
Orchestration: Expansion, m. 45.
116
Mm. 49-50 (T )
Rhythm: Unpredictable.
Linear writing: Instrumental character.
Articulation: Emphasis on detached.
Orchestration: Middle register.
Mm. 51-54 (R— »

Dynamic: Sudden mezzo p i a n o .
Linear writing: Vocal character.
Orchestration: Light density.
Mm. 55-571 (T--- )

Dynamic: Sudden f or te.
Rhythm: Contrasting pattern with that of mm. 51-54.
Articulation: Legato and detached.
Mm. 572-58 (R )
Tempo: Ritard, m. 58.
Dynamic: Decrescendo; mezzo piano in low brass.
Mm. 59-62 (R )
Dynamic: Piano.
Orchestration: Light.
Mm. 63-66 ( ® --- )

M. 63: Tension is added to the texture by the
introduction of the trombones with quick rhythms
and detached articulations.
Mm. 67-701 (R--- )

Dynamic: Mezzo f o rt e.
Articulation: Emphasis on legato.
Orchestration: Very light.
Mm. 7Q2-79 (T--- )

Dynamic: Sudden f or te.
Linear writing: Contrapuntal.
Orchestration: mm. 702-75, moderately dense; mm. 76-
79, tutti.
117
Mm. 1-16 (R ) .
Tempo: Lent, J
= 58-60.
Meter: Regular.
Dynamic: Piano to mezzo forte.
Articulation: Emphasis on legato and tenuto effect.
Orchestration: Lightly scored, emphasis on middle
register woodwinds.
Mm. 17-21 (T--- )

Rhythm: Intensified via 32nd-note ornament.
Orchestration: Increase in density of woodwinds.
Mm. 22-24 (R— »

Rhythm: Gradually longer note values.
Mm. 25-48 (R---)

Dynamic: Pianissimo; subtle increase via mezzo piano
(mm. 37-40), mezzo forte (mm. 41-48). The subtle
increase in dynamic also brings about a subtle
increase in tension.
Orchestration: Very light.
Mm. 49-53 (T )
Orchestration: Expansion of woodwind density; the
tension is maintained through m. 53 with the two-
part soli for cornets.
M. 54 ( R— >)
Orchestration: Clarinets, light density.
Mm. 55-57 (R-- )

Dynamic: Piar.o.
Orchestration: Expanding clarinet family.
Mm. 58-59 (T~»

Dynamic: Crescendo.
118
Mm. 60-61 (T-- )

Dynamic: Sudden f o rte .
Rhythm: Addition of ornamental figures in low
register to emphasize strong beats.
Orchestration: Expands to include high and low brass.
Mm. 62-76 (R-- )

Dynamic: Sudden p ia no .
Orchestration: Light density.
Mm. 77-80 (T--»

Dynamic: Crescendo; accent, m. 802.
Orchestration: Expansion of texture via trumpets and
trombones.
Mm. 81-109 (T )
Dynamic: F or tissimo; accents.
Orchestration: Tutti.
Rhythm: Contrast offered by 32nd-note ornaments,
mm. 97-102.
Mm. 1-35 (T ) .
Tempo: Anime, J = 132.
Meter: Regular.
Dynamic: Forte.
Rhythm: Fast, unpredictable.
Mm. 36-49 (R )
Dynamic: Sudden p i a n o .
Rhythm: Predictable.
Orchestration: Emphasis on woodwind scoring.
Mm. 50-55 )
Articulation: Legato, detached styles.
Mm. 56-57 (T— >)

Tempo: Molto ritard, m. 57.
Dynamic: Crescendo, accents.
Rhythm: Contrasting rhythmic patterns.
119
Mm. 58-84 (T )
Dynamic: F o r t e , accents.
Rhythm: Fast, syncopation.
Orchestration: Mm. 58-68, partial scoring with
emphasis on woodwind density; mm. 69-76, maintains
partially through polarity of scoring, i.e.,
flute+piccolo and percussion lines.
Mm. 85-89 ( ® --- )

Rhythm: Use of longer note values to relax the
forward motion.
Articulation: Emphasis on legato and tenuto effect.
The following descriptions of cues indicate the measure
number of the cue, the instrument being cued, and the reason
for the cue. When more than one instrument is playing a
line to be cued, the cuing gesture of the body movement must
invite all of the instruments on that line to play. The
conductor’s eye contact, however, can only focus in one
direction at a time, in which case, the conductor must
decide where to finally fix eye contact at the moment of the
cued entrance.
When several instruments enter with the cued line, the
conductor must determine the focus of eye contact according
to (1) which instrument color to recognize, or (2) which
instrument has yet to be cued. These decisions are
subjective and will vary from conductor to conductor and
from performance to performance.
120
Mm. 1 -2 2
M. 1: Cornet— A theme. M. 3 2 : Horns I/II— prominent
triplet that articulates the end of the opening theme. M.
62: Alto saxophones— a prominent triplet motive lending an
agogic accent to a weak beat. M. 8*: Clarinet II/III—
prominent triplets that articulate the end of the A theme.
M. 82; Trumpets— first entrance, and anacrusis to the
second phrase of A. M. 9: Tuba— first entrance, and
articulates the beginning of A2. M. 1 3 2 ; Baritones— begins
an extended triplet pattern that marks the end of A theme.
M. 19: Alto saxophones— begins the four measure bridge into
the B theme.
Mm. 23-58
M. 23: Flutes— introduce B theme. M. 27: Alto
saxophone— this entrance doubles and reinforces a portion of
the flute on 8. M. 31: Clarinet III— prominent, descending
accompaniment line which articulates the end of B before the
reintroduction of A in variation form (A1 ). M. 35: Horns
III— restatement of A. M. 37: Trumpets— prominent
accompanying triplet figure. M. 43: Alto saxophones—
introduces A 2 . M. 53: Cornet I— prominent melodic line.
M. 55: Eb clarinet— echoes the melodic line from m. 53. M.
57: Flutes— prominent, ascending accompanying triplet line.
121
Mm. 5 9 -8 2
M. 59: Clarinet I— bridge to syncopated entrance of A
at m. 63. M. 63: Horns— present, along with the clarinets,
the syncopated entrance of A. M. 67: Trombones— strong
accompaniment chords that punctuate the beginning of an
episodic phrase between A statements. M. 71: Horns III/IV-
-syncopated entrance of A material. M. 75: Trombone III—
adds a line to the accompaniment density. M. 79: Cornets
I— a prominent rhythmic idea that initiates a four measure
bridge into the recapitulation of A.
Mm. 83-108
M. 85: Baritone— articulates triplet pattern to close
Al. M. 90: Horns III/XV— extended triplet line that
articulates A2. M. 95: Tubas— initiate extended ascending
triplet pattern which articulates the closing of A theme.
M. 101: Trombone II— initiates the first of two unison
statements that brings the movement to a close. M. 104:
Cornet I— presents a final cornet unison statement of Al.
Mm. 1-25
M. I 1 : Tubas— sounds the opening Bb pitch with fermata
in order to set the mood of the movement. M. I2 : Horns—
introduce the A theme material. M. 2: Clarinets I— initial
entrance with harmony pitch. M. 5: Bassoons— introduce A2.
122
M. 6: Horns— restatement of A. M. 7: Alto saxophone—
initiates a solo counter line. M. 10: Baritones— first
entrance with A2. M. 11: Bassoons— doubles A2 after four
measures rest. M. 12: Oboe— first entrance, solo line. M.
132; Trombones— first entrance. M. 152: Flutes— doubles
trombone chords. M. 16: Bassoon I— statement of A2. M.
17: Oboe— counter-melodic line. M. 182; Trombones— chord
entrance. M. 20: Horns— chord entrance. M. 2 0 2 ; Oboe—
melodic continuation. M. 222 : Flutes— octave entrance
after rest. Mm. 23-24: Trombones— entrances on strong
beats. M. 24: Oboe— solo line. M. 25: Alto clarinet— A2.
Mm. 26-66
M. 26-361: Clarinets— unison melodic line. M. 36:
Alto saxophone— A2. M. 3 7 2 ; Baritones— counterline
entrance. M. 38: Horns— counterline; Oboe— counterline.
M. 3 9 2 : Flutes— chordal entrance. M. 4 1 2 : Cornets— chord
entrance. M. 42: Alto saxophone— A2, prominent timbre: M.
43: Oboe— counterline. M. 44: Flutes— chord entrance. M.
46: Cornet I— chord entrance. Mm. 48-50: Trombones—
chordal entrances on strong beats. M . .51: Alto saxophone—
A2. M. 53: Bassoons— solo melodic line for ending of A2.
M. 54: Tuba— Bb entrance; Horns— A. M. 60: Alto
saxophone— counterline. M. 63: Baritone— A2. M. 64:
Bassoons— A 2 .
123
Mm. 1-39
M. 1: Horns— shortest accompaniment rhythm. M. 22:
High woodwinds— initial entrance of A theme. M. 8:
Clarinets— A extension. M. 1 1 2 ; Trumpets— accompaniment
passage. M. 132 : Tuba— A. M. 182 : Clarinets—
accompaniment passage. M. 20: Baritones— (A) extension.
M. 21: Flutes— (A) extension. M. 242; Tubas; Alto
saxophone— B. M. 262; Flutes— B. M. 29: Trombones—
eighth-note accompaniment passage. M. 30: Flutes— B
extension. M. 32: Cornet I— B solo. M. 36: Clarinets—
eighth-note passage; Trumpets— A.
Mm. 40-79
M. 40: .Clarinets— B. M. 44: Trombones— eighth-note
accompaniment passage. M. 482: High woodwinds— soli
episodic idea. M. 50: String bass; Oboe— (B) extension.
M. 52: Horns I/II— motive. M. 54: High woodwinds— B* . M.
58: Alto saxophone— B. M. 63: Trombones— eighth-note
passage. M. 64: Oboes— B extension. M. 66: Piccolo— A.
M. 70: Timpani— A. M. 75: Tutti— B.
Mm. 1-16
M. 1: Alto saxophone— A. M. 4: Trombone I— motive
articulating end of Al. M. 5: Alto saxophone— A. M. 7:
Flutes— first entrance, initiates A2. M. 9: Tubas— strong
124
beat punctuations, controlling tempo. M. 13: Baritone
saxophone— first entrance, continuation of A2 phrase. M.
16: Timpani— punctuates end of A2.
Mm. 17-80
M. 17: Alto saxophone. M. 19: Tenor saxophone. M.
21: Bassoon. M. 25: Cornet I— B, solo. M. 32: Soli
cornets I. M. 37: Alto saxophone— A. M., 38: Flutes. M.
41: Alto saxophone— A. M. 42: Oboes. M.44: Alto
saxophone— A2. M. 46: Cornet I— A2 solo. M. 48: Upper
woodwinds— 82. M. 50: Trumpet solo— B2. M. 53: Cornets—
soli. M. 54: Clarinets— soli. M. 55:Clarinet tutti. M.
60i: Oboe— melodic motive. M. 602: Tubas— strong beat
punctuation. M. 61: Clarinet I— anacrusis to clarinet
tutti. M. 64: String bass-strong beat punctuation. M. 67:
Tubas— harmonic lead. M. 68: Cornets— B. M. 69: Oboes—
B. M. 72: Cornets— B2. M . 73: Piccolo— B2. M. 75:
Clarinet I— B2. M. 76: Flute— B2. M. 77: Clarinets
II/III— 8. M. 801: Cornets— motive. M. 8 0 2 ; Trombones—
motive.
Mm. 81-109
M. 81: Tubas— strong tone; Trumpets— B2. M. 84:
Trombones— strong-beat punctuation. M. 84: Flutes— B2. M.
B8: Trombones— strong-beat punctuation. M. 89: Oboes— 82.
M. 94: Piccolo— 82. M. 97: Alto saxophone. M. 99:
Horns. M. 101: Trombones I. M. 102: Tubas— strong-beat
125
punctuation. M. 103: Horns I/II— -strong motive. M. 104:
Flutes— thematic augmentation of 82. M. 105: Horns II/III-
-strong motive.
Mm. 1-141
M. 1: Clarinets— A. M. 2: Horns— harmonic support.
M. 4: Flutes— A2. h. 5: Trombones— harmonic support. M.
6: Horns— harmonic support. M. 10: Trombones— harmonic
support. M. 11: Horns— harmonic support. M. 12: Upper
woodwinds— contrasting passage of triplets.
Mm. 142-57
M. 15: Percussion— accompaniment; Flutes— 8. M. 21:
Clarinet soli entrance. M. 27: Trombones— prominent
quarter-note passage. M. 29: Upper woodwinds— A; Baritone-
-soli line. M. 35: Cornets— soli. M. 36: Flutes— 8. M.
38: Horns— strong counterline. M. 49: Tuba— syncopated
harmonic close to B. M. 50: Cornets— soli A. M. 51:
Clarinets— counterline phrase. M. 53: Cornets II/III—
prominent motive. M. 54: Clarinets— A. M. 57: Cornets—
sol i .
Mm. 58-68
M. 58: Upper woodwinds— syncopated counterline with A.
M. 61: Trombone— contrasting rhythmic counterline. M. 62:
Cornet I— A. M. 64: Clarinets— A2. M. 67: Cornet I— A.
126
Mm. 684-89
M. 684; Percussion— anacrusis to melodic
accompaniment. M. 69: Flute— B. M. 73: Eb clarinet—
doubles continuation of B. M. 77: Tutti— quarter note
bridge to A. M. 85: Cornet— soli, slower note values
ritarding forward motion. .
Phrases are indicated on the Form continuum of the
Basal Structure Analysis graphs (See Appendix I) according
to thematic development. For the sake of clarity, the
measure continuum of the graph indicates the number of full
measures of length; the number located underneath each
phrase of the continuum is a more specific indicator of
length, e.g., a phrase graphed as four full measures may, in
actuality, measure only 3-1/2 measures.
The following discussions highlight the unique aspects
of phrase structure for each movement.
I. NORMANDIE
The majority of phrases are symmetrical
(four measures each).
Odd-measure groupings occur at the end of the
movement (mm. 91-108). These last phrases form
three groupings of five measures each. In
contrast, the preceding phrase lengths occur in
127
duple groupings of 2, 4, or 6 measures each.
II. BRETAGNE
Throughout the movement, the sequences of
individual phrase lengths are unpredictable. Only
once do two phrases of equal length occur side-by
side (mm. 51-54). For the majority of the
movement, the phrases alternate between lengths of
3-1/2 measures and 2 measures, respectively,
The longest phrase lengths occur in the middle
of the movement (mm. 18-50) and are 9, 10, and
12-1/2 measures in length, respectively. Due to
the slow tempo and soft dynamic throughout the
movement, the unpredictability of the odd-measured
phrases does not create tension in these areas.
III. ILE DE FRANCE
The majority of phrases are symmetrical (four
measures each). The portion of the movement
containing the most odd-measured phrases occurs at
the beginning (mm. 1-24). These opening phrase
lengths are constantly varied. The
unpredictability of the odd-measured lengths
produces tensional energy, and the opening twenty-
four measure portion of the movement does, in fact,
correspond with the Emotional Energy g r a p h ’s
123
opening length of tension.
Variation in length occurs between phrases
having the same thematic content, e.g., Al makes
its first and last appearance with a length of
5-1/2 measures, but at mm. 37-40, it is only four
measures in length. The recognition of the
irregular grouping effects tensional energy in the
listener.
IV. ALSACE-LORRAINE
This movement presents the fewest number of
odd-measured phrase lengths with the majority of
them occurring at the center of the movement
(mm. 54-83).
The end of the movement is articulated by an
odd-measured length. Similar types of phrases
occurring at mm. 56, 80, and 105 are used to
heighten tension. Additionally, the loud dynamic
heightens the tensional affect of the odd-measured
length. In contrast, the odd-measured
length at m. 54 actually increases relaxation
through the effect of the set t i n g ’s softer
dynamic.
V. PROVENCE
Odd-measured phrase lengths appear scattered
129
throughout the movement.
The elongated middle phrase which presents the
C material (mm. 36-49), is fourteen measures in
length without the occurrence of a strong harmonic
cadence. It subdivides into two phrase groupings
of eight and six measures, respectively.

tonal areas (See Appendix I for graph analyses of
thematic development for each movement of Suite
Franc ais e.)
Throughout the entire work, thematic development is
generally achieved by the repetition of whole thematic
phrase lengths, with only minimal use of motivic development
derived from the principal themes. The settings of the
various repetitions are varied by the use of contrasting key
areas and color combinations.
I. NORMANDIE
A B Ai Dev A2
A-theme material, at twenty-two measures in
length, is considerably longer than B material,
measuring eight measures, and is presented via
three principal phrases and one subordinate (a3)
phrase. The A-theme material is the emphasis of
thematic development throughout the movement.
Relative key relationships occur. The
initial A section is in Bb major; the B material
130
is presented in the relative key of G minor, and
the return of A material is in Bb major.
II. BRETAGNE
A B C Bi A2
The sectional structure of the movement is
palindrome-like with the C material being
presented in 8 minor. The return of the A theme
(m. 55ff) is presented by the horns in the key of D
major, and the return of the B theme (m. 38ff) is
presented by the oboe in the key of E minor.
In addition to the palindrome-like effect,
the individual phrase lengths throughout the
movement form an almost complete rondo-like
substructure with the alternating return of A2.
The absence of the A2 phrase articulates the
beginning of the middle C section.
III. ILE DE FRANCE
A B Dev B1 Al
The overall structure resembles the
palindrome-like form of the second movement. In
this case, however, the middle section does
develop the first two theme sections, and does not
present new material. Both A sections appear in
F major while the B section is presented in G
131
major.
This movement uses more short phrases and
motives derived from the principal themes than any
of the others. As might be expected, they occur
during the development section of the movement.
IV. ALSACE-LORRAINE
A B Al Bl A2
The overall formal design resembles that of a
rondo structure. As in the third movement, the
keys of the sections have a stepwise relationship.
The opening A section is inA-minor followed
by the B section in G major. The first return of A
is in A-minor, however, the final return of the A
section is in A major.
With each of the B sections, the harmonic
support creates a polytonal setting. The B theme-
is stated in G major while the arpeggiated bass
line outlines a half-diminished seventh chord built
on the dominant scale degree of G major.
V. PROVENCE
A B Al C A2 Bl A3
The formal structure of this movement presents
a rondo design with three contrasting themes. Each
return of a theme is clearly stated, but the themes
132
return in contrasting keys. The corresponding key
sequence to the above rondo design is (G F c Ab
F# c G).
A unique aspect of this movement is the
simultaneous combination and contrapuntal treatment
of three thematic phrases (Al, a* , Bl) in the last
section of the movement, mm. 79-89.
The phrase structure is characterized by odd-
measured groupings scattered throughout, and a
phrase sequence structured unpredictably.
#8. Identification of conductor problems.
I. NORMANDIE
Significant problems for gestural technique do not
occur. The majority of phrases are four measures in length
and change infrequently.
II. BRETAGNE
M. 1: A decision must be made regarding the length of
the fermata; ..and the subsequent entrance of the horns.
Phrase lengths of the two A sections vary between two
and 4-1/2 measures, and occur in an unpredictable sequence.
III. ILE DE FRANCE
M. 2: The conducting gesture must be clearly executed
so that the woodwinds do not enter too soon. The odd-
133
measured, unnatural rest period of 1-1/2 measures may cause
players to anticipate this entrance.
The opening section (A) presents several odd-measured
phrases in an unpredictable sequence. This may create
concern due to the fast tempo.
Mm. 57-59: Ritardando; decision regarding the tempo
and gesture execution of the eighth-note anacrusis.
IV. ALSACE-LORRAINE
A principal conducting concern is maintenance of the
full length of the note values in the slower tempo of this
movement. The majority of phrases are symmetrical and occur
in a predictable sequence.
V. PROVENCE
Odd-measured phrase groupings occur frequently
throughout this movement. Coupled with the fast tempo,
these phrases create a special concern for the conductor.
Mm. 35 and 57: The subito molto ritard— decision to
subdivide, or not; the hold and release of the fermata on
the beat "4&"; judgment of the amount of time to elapse
between the release of the fermata and the downbeat of m.
36; preparatory gesture for the "a tempo" at m. 36.
#9. Identification of player p ro ble ms .
The work was written specifically for high school
students. "The parts are not difficult to play either
134
melodically or rhythmically and use only the average ranges
for the instruments" (Milhaud, 1945).
Player concerns center on interval tuning, e.g.,
octaves in divisi flutes and trombones, fermata releases and
tempo changes such as occur in V. PROVENCE, and typical
ensemble problems of attacks, releases, and similarity of
playing style.
The following discussions present genres of player
difficulty with representative examples which are unique to
each movement.
I. NORMANDIE
A. Intonation of exposed harmonic interval or chordal
passages of two or more like instruments. Mm. Iff, 67-70,
75-78: Trombones. Mm. 19-22: Saxophones. M. 4 3 f f :
Trombones— chromatic chordal passage.
B. Intonation of exposed unison passages with two or
more instruments of like or unlike timbre. M. Iff: Cornet
I. M. 3 4 f f : Horns. Mm. 55-53: Flutes and oboes. Mm. 59-
66: Clarinets. Mm. 71-82: Flutes. M. 103ff: Cornets and
trump et s.
C. Problems of ensemble p l a y i n g . M. 95ff: Low brass-
-maintaining tempo and attacks of the ascending triplet
line.
135
II. BRETAGNE
A. Intonation of exposed harmonic intervals or chordal
passages of two or more like instruments. M. 13ff:
Trombones— muted chords, li. 20ff: Horns. Mm. 27-39:
Horns— progression of alternating octave and eleventh
intervals.
more instruments of like or unlike timbr e. M. 1: Opening
Bb unison at pianissimo dynamic. Mm. 51-52: Alto clarinet
and alto saxophone.
C. Problems of ensemble p l a y i n g . M. 1* : Horns—
entrance at pianissimo dynamic.
III. ILE DE FRANCE
passages of two or more like instruments. M. Iff: Horns—
chords via repeated eighth-notes. Mm. 12-13: Flutes and
trumpets— progression of open fifths. M. 29ff: Trombones—
muted chord progression. M. 41ff: Horns, bassoons, tenor
and baritone saxophones.
more instruments of like or unlike t im br e. M. 36ff:
Clarinets.
136
C. Matching intonation and timbre with antiphonal-like
scoring. M. 44ff: Cornets.
D. Problems of ensemble pl ay i n g . M. 2 2 : The woodwind
entrance following a weak beat may be late. M. 25ff:
Horns— continually syncopated rhythm may be difficult to
maintain a consistent tempo. M. 35: Trumpets. Mm. 58-59:
Ritard and "a tempo" scored without a break.
IV. ALSACE-LORRAINE
passages of two or more instruments of like or unlike
timbre. M. Iff: Alto saxophones. M. 17ff: Flutes. M.
38ff: Flute and oboe— octaves.
8. Matching intonation and timbre with dovetailed
melodic writing scored with two or more different
instrumental p a r t s . M. 32: Cornet I— solo; Cornet I—
tutti.
C. Intonation of exposed unison passages with two or
more instruments of like or unlike timbre. M. 38ff:
Flutes. M. 6Qff: Piccolo, flutes, oboes, cornets I. M.
64: Bassoons.
D. Problems of ensemble p l a y i n g . M. 88: Clarinets I,
alto saxophone I, cornet I— 32nd-note passage. M. 97ff:
Rhythmic differentiation between the 32nd-note duplet,
137
triplet, and dotted-eighth & sixteenth note figure among the
six instrumental groups.
V. PROVENCE
passages of two or more instruments of like or unlike
timb re , li. 1: Trombones. M. 15ff: Piccolo, flutes— soli
in octaves. Mm. 50-53: Piccolo and oboes— octaves. Mm.
54-56: Piccolo, flutes, and oboes— two octave spacing. M.
60: Trombone— wide spacing of outer parts. Mm. 69-77:
Piccolo and flutes— octaves; m. 73: Eb clarinet— added to
line doubling the flute at the unison.
more instruments of like or unlike tim bre . M. 36ff:
Flutes, alto clarinet, alto saxophone I— in octaves and
unison.
C. Matching intonation and timbre with antiphonal-like
wr it i n g . Mm. 36-47: Horns.
D. Problems of ensemble p l a y i n g . M. Iff: Flutes, Eb
clarinet, Bb clarinets I/II— proper rhythmic execution of
the unpredictable rhythmic setting. Mm. 35 and 57:
Cornets, trumpets— unpredictable rhythmic passage at subito
molto ritard. Mm. 54-56: Clarinets, baritone— articulation
and rhythm.
138
Level II: REVIEW OF SUPPLEMENTARY INFORMATION
The following discussion presents information regarding
the genesis of the composition and the lifestyle and
cultural environment of the composer during the creation of
the work. This information is meant to provide insight into
the composer and composition beyond the limits of the score
in order for the conductor to further personalize the
musical experience.
Genesis of the Composition
Suite Franoaise was commissioned by the Leeds Music
Corporation to be an extended and accessible contemporary
work for the high school concert band. Its composition was
completed in 1944, Op. 248, and its first performance was
given by The Goldman Band in 1945.1 Following its
successful debut, Milhaud was asked to score the piece for
orchestra. This work was completed, with additional
movements for ballet, in 1945, Op. 254 (Sadie, p. 305).
Environment and Lifestyle of the Composer
The composition was written while Milhaud was composei—
in-residence at Mills College in Oakland, California.
Milhaud had newly arrived in the United States from France
following the German occupation of France in 1940.
iNormand Smith and Albert Stoutamire, Band Music N o t e s ,

2d ed. (San Diego: Kjos Publishers, 1979), p. 161.
139
Before coming to the United States, Milhaud had
distinguished himself as a composer, pianist, and lecturer,
and was recognized as a major French composer. While a
student at the Paris Conservatory before the outbreak of
World War I, he had won awards in counterpoint, fugue, and
violin.
Suite Francaise reflects M i l h a u d ’s interest in South
American rhythm and the styles of American jazz. He was an
avid travellor, and had first come to hear jazz during a
visit to London in 1920. His interest in South American
rhythm stemmed from his work at Rio de Janiero as a
diplomatic secretary for the French government.
During the composition of Suite Franc ais e, the memories
of his beloved France were still very much alive. He
composed the work in five movements and titled each of the
movements with the name of a French province where Allied
forces, together with the French underground, had fought for
the liberation of France.
His embitterment towards the German invaders reads
quite clearly in his remarks at the beginning of the score:
[Each of the movements contains folk tunes from its namesake
Province.] "I wanted the young American to hear the popular
melodies of those parts of France where their fathers and
brothers fought to defeat the German invaders, who in less
than seventy years have brought war, destruction, cruelty,
140
torture, and murder, three times, to the peaceful and
democratic people of France."2
Level Ills DETAILED STRUCTURAL ANALYSIS
Part 1— Assessment of Overall Structure
The work is divided into five separate movements. Each
movement is clearly sectioned into a large structural design
resembling rondo form. An unusual occurrence in the design
sequence is the use of a palindrome-like structure for the
second movement.3
The structural designs are clearly based upon the
repetition of principal thematic phrases. The use of
motivic or phrasal development derived from the principal
themes is generally reserved^for the bridge passages between
the larger thematic sections.
The sequence of tempi among the five movements follows
the normal alternating pattern typical of multi-movement
works, i.e., fast-slow-fast-slow-fast. Metrically, the
movements are grouped 2+3, that is, the first two movements
distinguish themselves by a triple division of the beat,
while the last three movements present duple beat divisions.
Orchestration textures within each movement vary
widely, however, the tutti orchestration for all five
2Darius Milhaud, Suite Francaise (New York: Leeds

Music Company, 1945).
3 Refer to Figure 1: Overview Chart of Suite Francaise

and the 8asal Structure Analysis graphs provided as part of
the dicussion of Part 2— Detailed Structural Analysis.
Movement: II III 17
1 2 1
Form: ABA Dev A* A B C B1 A2 A 3 Dev A A B A 1 31 A2 A 3 A1 C A2 B I?
Tempo: (1-'WO Lent 7if ( J =112) Lent ( J =53-60) Anime ( J = 138 )
Metar: 6 6 2
8 8 * U
Orchestration: Piccolo
Flute I, II
Oboe I,II
Bassoon I*II
Eb Clarinet Same Same Same Same
Bb Clarinet I,II,III Woodwinds Woodwinds Woodwinds Woodwinds
Eb Alto Saxophone
Bb Tenor Saxophone
Bb Baritone Saxophone
Bb Bass Saxophone
Horn in F 1,11,111,17
Bb Comet I,II,III
Bb Trumpet I,II Same Same Same Same
Trombone I,II,III Brass Brass BT33S Brass
Baritone
Tuba
String Bass String Bass String Bass String Bass String Bass
Timpani Timpani Timpani Timpani Timpani
Percussion; Percussions Percussion: Percussion:
Snare Drum Snare Drum Snare Drum Snare Drum
Cymbals Cymbals Cymbals Military Drum
Bass Drum Bass Drum
Key: Bb a - A
f
Figure 2: Overview Chart of Suite Francaise
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141
movements remains the same. Exceptions to the tutti
arrangement are noted in the use of percussion
instrumentation.
Key progressions within each movement do not follow
common practice routines and often emphasize stepwise
motion. Exceptions occur in the first m o vem ent ’s use of
third relationships, the second movement’s use of fifth
relationships, and the fifth m o vem ent ’s varied use of
second, third, tritone, and fifth relationships. In keeping
with Milhaud’s preference for using a variety of linear and
polytonal effects, the key sequence for the entire
composition does not achieve closure in its original key.
The sequence of tonalities for the five movements are: Bb-
D-F-(a-A)-G. The sharp-key areas may present performance
problems to high school bands who limit the majority of
their repertoire to works in flat-key areas.
Thematic development is characterized by phrasal
asymmetry throughout the five movements, but is especially
evident in the second movement, the first part of the third
movement, and the fifth movement.
Part 2— Detailed Structural Analysis
These analysis discussions occur for the sake of
intellectual curiosity, structural understanding,and their
contribution to the emotive interpretation of the work. The
emotional and textural results of each section presented
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142
below may be seen by viewing the corresponding section on
the Basal Structural Analysis graph, Figure 2.
The first movement of Suite F rancaise, Normandie, is
presented as an example of the Detailed Structural Analysis
(DSA) process. Normandie is divided into four large
sections plus a coda. Its thematic material is derived from
two principal ideas, the first of which consists of four
differing phrases (A1,A2,A3,A4) and the second (B) of two
differing phrases (81,B2). Asymmetrical phrase lengths are
use in the presentation of A, while symmetrical lengths are
utilized for the B phrases.
The basis of thematic development stems, generally,
from the complete repetition of the various A and 8 phrases,
with infrequent use of motivic or partial phrase
development. Abrupt harmonic variation is heavily relied
upon to achieve tensional momentum and a sense of change
with later phrase repetitions.
I. Normandie
Mm. 1-22
6/8 1 A 8,9 A2 13, * 1 4 A3 19,

8 4 1/2 6
(4+4)
19 al 22.
4
Bb:
The opening eight measures present a regular and
predictable Al theme. Asymmetry is introduced with (A2)
143
which simply occurs as the extension of the last note of the
phrase. The third phrase of the A theme, (A3), continues
the stepwise character, adds an ascending stepwise bass line
and dotted-quarter arrival points at mm. 15,17, and 19, and
extends the original four measure phrase scheme by two full
measures. Bar 19 contains a thematic overlap of the A3
ending and the beginning of a l .
The bridge phrase beginning at m. 19 derives its new
melody" from the stepwise character and rhythmic patterning
of Al. The harmonic outline of the unison melodic line
stated by saxophones and horns is that of a majoi— minor 7th
chord built on the cadence pitch Bb (m. 19*).
Mm. 25-34
23 B 26,27 B2 50,31 b2+ai 34

4 4 4
(2 +2 )
g:
The 81 theme introduces a contrasting rhythmic phrase
which contains ( ). Theme B2 is formed by the
repetitive extension of the 6/8 triplet rhythm of the A
theme. The bridge phrase consists of a stepwise scale
passage which derives from the B2 triplet rhythm.
Beginning with B2 at m. 27, a polytonal relationship is
introduced and articulated in the outer parts. The B2 theme
is presented in G minor, while the bass support arpeggiates
an F7 chord. A prolongation of G minor, through descending
scale passages in the woodwinds, cadences on V7/Eb major (m.
144
33i) and prepares the restatement of Al by the horns at m.
35 in the key of Eb major.
Mm. 35-63
35 A 42. **43 A4 48.49 A4 52.53 a4+b2 58.

8 6 4 6
(4+4) (4+2)
F# (mixolydian)
F# (major)
59 b2 63.
5
8:
The Al theme is restated in Eb major (IV/8b) against
linear writing of the accompaniment derived from the 82 6/8
triplet rhythm. The second statement of the four measure Al
theme comes to an unstable resolution at m. 42 with a
cadence on a 8b chord in the first inversion. The following
statement of A4 begins abruptly in F# major through the
enharmonic relationship (A#-Bb). The introduction of a new,
six measure A phrase, A4, at m. 43, corresponds in length to
the earlier six measure statement of A3. The harmonic
support of A4 gives the suggestion of F# mixolydian with the
use of E-natural in the bass voices. The use of the Ftt
leading tone (E#) does not happen until m. 50. The phrase
beginning in m. 49ff is simply a variation of A4, (A4i), and
provides only one climactic point (instead of the two
provided by A4). The A4* statement is articulated by the
snare drum at m. 502.
145
The descending melodic contour of the first phrase of
the bridge, m. 53ff, is derived from the last 2-1/2 measures
of the preceding A4* , and is designated as a 4 * . Its
derivation from the latter half of a principal phrase causes
its secondary (small case) status. The following two
J measure ascending triplet phrase, mm. 57-58, is the
inversion of b2, and is so designated as a variation of b2,
(b2i).
At mm. 59-63, the motion of the bridge section is
continued through the use of a triplet melodic motive
derived from 82, b22 (the second figure to be derived from
82). The abrupt harmonic movement results in an unstable
sense of B major caused by the use of a pedal B-natural with
chordal movement in the upper voices providing the
alternating tonalities of F# major and B major. The cadence
of the section at m. 622 elicits a polytonal suggestion by
the use of an established B minor tonality which supports an
F#-C# harmonic interval.
Mm. 64-82
^4 A* 66,67 A2 70.71 A2 74,75 A2 78,79 A2* 82,

3-1/2 4 4 4 4
bill
G: V II VII
IV I bVIb vii7
M. 64 begins the statement of A with a shift of the
rhythmic opening to the second beat of the measure. This
146
momentarily alters the listener’s perception of downbeat
until the statement of A2 at m. 67. At m. 67ff, the
rhythmic instability created by the altered anacrusis and
the use of the moving eighth-note pattern, mm. 63-66, gives
way to melodic-rhythmic stability in the woodwinds,
reinforced by the stability of ongoing dotted-quarter note
chords in the low brass.
The low brass chords use an inverted C major chord as a
focal point of departure and arrival (mm. 67-69). The
entire parallel progression, mm. 67-70, creates instability
through the use of inverted chords. The unstable C major
focus occurs simultaneously with the presentation of the
melodic line by the woodwinds in D major.
Mm. 71-74 continually heightens the need for resolution
by repeating the melodic line in a wider register through
the addition of the flutes. The horns present the Al theme
in the tonality of A mixolydian and begin with the
previously heard rhythmic shift to the second beat. Mm. 75-
79 present a repetition of the textural setting of mm. 67-
70, but in different key areas and with the further
expansion of the top register by the piccolo.
At m. 75ff the polytonality of three tonal areas is
suggested with the use of theme A2 stated in Bb major (high
woodwinds), an F major statement of A2 in the clarinets,
alto saxophones, and cornets with support by an unstable
147
progression of parallel chords in the trombones which use
an Eb6 major chord as a focal point of departure.
The completion of this development section is finally
articulated with the harmonic arrival of V7/Bb major in a
progression of inversions at m. 79ff and the presentation of
the B1 theme dotted.rhythm ( m ) in the melodic line.
M. 79ff is considered a bridge, and separate from the
Development section, because some.sense of stability has
been achieved through the repetitive melodic rhythm and
slower harmonic rhythm.
Mm. 85-108
85 Al 86,^87 Al 90.91 A2 95.* 9 6 A3 101,

4 4 5-1/2 5-1/2
Bb:
102 ft2 1 0 5 , /104 ftl 108.

2 5
M. 83ff presents the recapitulation of A in' the
original key of Bb major in a more dense orchestration and
with the same sequence of phrasings. At m. lOlff, a coda of
A2 and A material is added with the extension of the 8b
tonal area. In view of this last grand statement of A
material via tutti orchestration, the statement of A at m.
103ff by unison cornets seems comically anti-climactic
before the arrival of the final V-I cadence.
CHAPTER V
BASAL STRUCTURE ANALYSIS OF

PALESTRINA’S FOUR VOICE MOTET SICUT CERVUS
AND
DEBUSSY’S L ’APRES-MIDI D ’UN FAUNE
Analysis For Performance Of Palestrina’s Four Voice Motet

Sicut Cervus
/
#1. Review of preliminary comments regarding interpretation
This work was taken from Volume XI (pp. 42-44) of the
complete works of Palestrina. There are no instructions
regarding interpretation or performance practice indicated
in the score. Aside from the music itself, the only
instruction indicated is the assignment of vocal lines,
i.e., cantus, a l t us, tenor, b a s s u s .
42. Identification of Major Musical Moment(s) (MMM).
Mm. 18-20
Until this passage, harmonic intervals created by the
voice parts move quickly through consonance, dissonance, and
open intervals. Listener interest is sustained through the
coincidental contours of the four contrapuntally conceived
lines. Mm. 18-19 present the first contrast in harmonic
characteristic, which is heard apart from the previous
melding of the whole fabric, by the succession of thirds
between the cantus and altus parts. This is followed in m.
149
20 by the emphasis on the harmonic interval of a sixth which
is created by the cantus and altus during beats one and two,
and the interval of a sixth between the cantus and the tenor
on beat three.
The climax of the phrase, which extends from m. 153 to
m. 23, occurs during this MMM at m. 20 with the placement of
the high "f" in the altus as part of the melodic
progression: 6-5-1, 1 being the "f". This melodic phrase is
written using half-notes which results in a pronounced
agogic accent.
Mm. 25-263
The second MMM also comes as the result of a succession
of four harmonic intervals of a sixth b tween the tenor and
bassus voices. The phrase is articulated by the progression
V6-IV6, in contrast to the recent IV-V (mm. 22-23)
progression. This MMM is further defined by the emphasis on
the lower vocal registers of tenor and b a s s u s .
Mm. 28^-292
A succession of five widely spaced harmonic intervals
of a third articulates this MMM. The beginning of the
section is marked by the deceptive cadence, V-IV. This is
the same type of harmonic punctuation that prepared the last
MMM, mm. 25-263.
Thus far, each of the M M M ’s has been characterized by a
progression of distinctly consonant intervals, i.e., thirds
150
and sixths. Each presentation has been within a different
and distinctly unique textural setting. For example, mm.
18-20 presented a mixture of close thirds and close sixths
in the treble voices; mm. 25-26 involved close sixths in the
lower voices; and mm. 28-29 was characterized by the
parallel movement by thirds in the outer voices through open
spacing, i.e., harmonic intervals of a tenth. Harmonic
progressions of the M M M ’s also emphasize the use of IV
chords.
Mm. 59-411
The beginning of this MMM is articulated by the cadence
resolution to IV at m. 3 9 i . The MMM is characterized by a
progression of accented non-harmonic tones and suspensions.
Mm. 48^-511
This MMM is initiated by a 7-6 suspension between tenor
and bassus voices followed by movement to a IV chord,
harmonic intervals of a third, an imitative 7-6 suspension
between cantus and altus voices, and the three voiced
simultaneity of the pitches D-A-D which closes the MMM, m.
511 .
For the analysis of this vocal piece, the term
"Orchestration" is being replaced by "Voicing". Therefore,
texture descriptions will be discussed in terms of the
following criteria, and will be indicated in outline fashion
151
according to the abbreviations indicated in parentheses for
each of the elements: Voicing (V)— density and register
[furthermore, voice abbreviations will occur as follows:
cantus (C), altus (A), tenor (T), bassus (B)]; tempo (T),
rhythm (R), articulation (A), dynamic (D), linear writing
(L).
Mm. 1-2
V: T, mid-register.
R: Long note values, whole and half notes.
Mm. 3-42
V: A ,T
R: Faster note values of quartei— note and eighth-
notes.
Mm. 43-62
V: C,A,T— density begins to increase markedly.
L: Homophonic.
R: Homorhythmic motion between altus and tenor.
Mm. 6 5 - 7 2
V: First appearance of full scoring: C,A,T,B
R: Sustained half-note in ba ss u s .
Mm. 73-82
V: Register emphasis moves to cantus and a l t u s .
R: Quartei— note and eighth-note motion.
Mm. 83-94
V: Four voices.
R: Homorhythmic characteristic of the outer voices.
M. 10
V: Emphasis on tenor and b a s s u s .
R: Quartei— note motion.
M. 11
V: Four voices— middle and upper registers.
M. 12
V: Emphasis on altus and tenoi upper register.
R: Emphasis on sustained half-notes.
152
» iin ■ 1 rar
j l **t
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1Wc?"
V: Emphasis on middle register.
R: Emphasis on quarter-note and eighth-note motion.
Mm. 153-17*
V: Four voices— middle register.
R: Quartei— note emphasis.
Mm. 183-191
V: Cantus and altus emphasis.
R: Homorhythmic ( ~ i J > J ) i
Mm. 192-214
V: Four voices.
M. 22
R: Sustaining whole-notes in A,T,B; solo-like quality
by virtue of being the only moving line.
Mm. 23-24
V: Altus emphasis via moving line.
Mm. 25-27
V: Emphasis on tenor and bassus via rhythmic motion.
R: Articulate the dotted rhythm.
Mm. 28-29
V: Emphasis on cantus and bassus via homorhythmic
scoring— middle register.
R: Articulate the dotted rhythm.
M. 30
R: Predominant quartei— note motion.-
Mm. 513-342
V: A,T,8— middle register emphasis.
Mm. 543-562
V: Four voice emphasis.
Mm. 563-58
V: C ,A ,T— middle register.
Mm. 39-47
V: Four voice emphasis; brief rests occur throughout
the parts causing momentary changes of texture.
M. 3 9 f f : A dense scoring texture— emphasis
on middle register.
R: The gesture must address the registers of greatest
rhythmic motion.
153
M. 48
V: A ,T ,8
R: Syncopation in b a s s u s .
M. 49
V: Four voices.
M. 50
V: C ,A ,8
R: Syncopation in a l t u s .
Mm. 51-58
V: Four voice emphasis.
#4. Identification of emotional energy s eq u e n c e .
The essence of the emotional energy sequence is
produced by the number of lines used, the rhythmic character
of those lines, the degree of contrapuntal or homorhythmic
nature, and the harmonic results of line coincidence.
Mm. 1-4 (R )
V: Gradual expansion to three voices, T,A,C.
R: Use of longer note values; the fastest motion is
located in the tenor voice.
D: As attends the nature of contrapuntal settings, the
dynamics will vary in relation to the number of
voices in the texture and the subtle variations
which normally follow the contour of the melodic
line.
Mm. 5-62 (T— >)

V: Increase to three voices.
R: Sudden increase in homorhythmic, altus and tenor.
Mm. 63-17 (T )
V: Continual shifting from three to four voices.
R: Independent writing among the parts; homorhythmic
activity minimized. Active writing with quarter
and eighth notes predominating.
Mm. 18-22 (R— >)

V: Extended use of four voice texture.
R: Homorhythmic writing in cantus and altus.
154
Mm. 25-36 (R )
V: Emphasis on three voice writing.
L: Homophonic.
Mm. 37-38 (T— >)

R: Increase in independent rhythmic activity.
Harmony (H): First use of chromatic alteration,
cadence, m. 38*, a l t u s .
Mm. 39-58 (T— *)

V: Establishes a predominantly four voice texture
throughout.
R: Remains active (quartei— note and eighth-note motion
throughout. Two full measures of rest occur,
mm. 48 and 50, resulting in a three voice
texture, and are contained in the last MMM,
mm. 48-50.
#5■ Selection of voices to be c u e d .
Voice part abbreviations will again be used to indicate
cues.
Mm. 1-17
M. 3: A. M. 4: C. M. 6 : 8 . M. 8: T. M. 11: A. M.
13: B. M. 15: C.
Mm. 18-36
M. 18: B. M. 19: T. M. 23: B. M. 26: C. M. 28: A.

M. 29: T. M. 31: B. M. 34: C. M. 36: A.
Mm. 37-58
M. 37: T. M. 39: B. M. 40: C. M. 41: A. M. 43: T.

M. 44: C. M. 45: B. M. 4 6 4 : a . M. 49: C. M. 51: T. M.
522; C. M. 552; A. M. 554; T.
In general, the musical phrases coincide with phrases
of the text as marked by punctuation. These text phrases
are often defined by rests in the music. (Consult Figure 5
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155
for a diagram of phrase lengths and the related thematic
material.)
Due to the contrapuntal nature of the entire
composition, an analysis of the individual vocal lines,
according to phrase lengths and thematic content, is not
helpful to the process of developing gesture choreography.
It is, however, helpful in the determination of pacing that
results in the assignment of emotional energy emphases to
the individual phrases and larger sections. These decisions
are based upon the structural purpose of the phrase or
section.

tonal a r e a s .
The thematic development of the piece is based upon the
repetition, variation, and motivic development of three
principal ideas. The tenor voice presents the opening A
phrase of 6-1/2 measures— the initial 4-1/4 measures is
repeated exactly in the first statements of cantus and
bassus voices at mm. 4 and 6, respectively.
The altus voice presents a second melodic idea on which
a small amount thematic development is based, and is a tonal
variation of the A theme (A*).
The third melodic idea (A2) which, in fact, forms the
basis of development for the majority of the work, is
presented initially by the bassus at m. 23. The opening of
156
A2 is merely a contour inversion of the A theme (Al). Its
rhythmic nature is clearly derived from Al.
The editor of the complete works edition has
transcribed the entire composition in the key of Fmajor,
and with the exception of one cadential, chromatic
alteration (m. 38, a l t u s ) , the entire piece is completely
diatonic. The strongest cadential effect, occurring in all
voices simultaneously, is located at mm. 22-23 and
articulates the ending of the first phrase of text. Other
types of cadences are weaker by virtue of continuous linear
writing in voices other than those containing the cadence
figures, deceptive chord progressions, and cadence
progressions with the fifth scale degree in the top voice.
#8. Identification of conductor p r o b l e m s .
The condu ct or’s principal concern will be one of
achieving balance among the vocal parts and an ease of
gesture choreography used to execute cues without disturbing
the mood of the work.
#9. Identification of player problem s.
The work does not present "typical" problem areas for
the vocalist, such as extensive range, angular thematic
contours, extensive chromatic alterations, or rhythmic
complexity. The s i n g e r s ’ principal concerns are those of
balance, blend, and intonation.
157
Analysis For Performance Of D ebu ss y’s

L ’Apres-midi d ’un faune for Orchestra
#1 - Review of preliminary comments regarding interpretation

Special instructions which address interpretation or
stage set-up are not presented in the score.
The instrumentation is that of the standard Romantic
orchestra with two harps and English horn. Special
orchestration effects: muted strings, string tremolos, harp
glissandos, and the cuivre and bouche effects written for
horn.i
#2. Identification of Major Musical Moment(s) (MMM)
In most cases the M M M ’s are created by the use of
melody and harmony. In two instances, M M M ’s focus on short
chordal passages. (See Figure 6 for the graph of M M M ’s in
relation to the w o r k ’s other Level I constructs.)
iNorman Del Mar, Anatomy of the Orchestra (Los Angeles:

University of California Press, 1983), p. 249.
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158
Mm. 1 7 -1 9
This first MMM derives from the A melodic idea— the
triplet motive. The triplet rhythm is extended over the
harmonic alternation of a Bb7 chord and a chord built on F
stacked with intervals of a third and one interval of a
second. The use of a pedal E# in m. 19 heightens the ending
of the MMM. This MMM marks the close of approximately half
of the opening A thematic section.
M. 30
This MMM consists of a melodic and harmonic cadence
figure on the dominant chord of E Major. The six measure
section which follows is the last variation section of the
opening A section. The attractive scoring of the Moment is
defined by the use of solo flute set with the low register
string accompaniment which effectively contrasts with the
preceding scoring of 2 flutes, bassoon, and strings.
Mm. 37-50
This section marks the beginning of the second major
thematic section. The oboe presents a diatonic and
rhythmically simple (B) theme which is followed one measure
later by the beginning of a countermelody in the celli and
characterized by contrasting, extended note values. These
melodies are set above sustained E Major and E7 chords in
lower registers. This temporary harmonic pedal effect
creates the charm of the MMM. The pedal effect continues in
159
the next section, mm. 45-50, with harmonic movement from Bb
Major to Bb minor.
Mm. 55-54
A chromatic passage, caused by the melodic half-step
motion (Violins) written above the sustained minor 7th
harmonic interval, articulates the end of a four measure
transition into the third tneme section (C).
Mm. 67-70
This section is characterized by an extended setting of
majoi— minor seventh chord support for a stepwise melody
which also revolves around the seventh of the alternating
majoi— minor seventh chords of G b a n d E b minor.
Mm. 75-78
This MMM marks the close of the five measure transition
to the closing section (A*) of the work. The basses sustain
the tonic (Db) of the key above which the lines of the
clarinet and oboe weave a melodic focus around the minor
seventh. Additional emphasis on the seventh is heard in the
quartei— note counterline of the clarinet.
M. 105
This very brief chordal MMM is the last measure of
transition to the final section of the work. It presents a
major 8*3 chord which moves to an F# minor chord. This F#
chord creates a 9th chord sonority with the bass note '8’.
160
An extension of the MMM is heard in the Harp I and II line
as the descending nalf-step line creates seventh sonorities
with the bass note *E’.
Mm. 1-3 (Flute solo, no conducting. The opening measures

establish the following textural
characteristics.) i
T: Ad libitum within context of J - 44.
M: 9/8
R: Unpredictable.
D: Piano.
L: Solo melodic line.
A: Legato.
0: Solo flute
Mm. 44-5 j
44.
9/8; m. 5: 6/8
Piano.
Two voice writing predominates in the winds while
the strings and Harp II present chordal
accompaniment.
A: Legato.
0: Very light, transparent density; emphasis on wind
color.
M. 6
0: Tacet.
Mm. 7-14
0: Very thin; middle register horn soli.
D: Decrescendo.
M- 15
T: Accelerando due to expressif (expressively)
marking.
Mm. 17-19
0: Tutti.
D: Crescendo.
161
M. 20
Q: Thinning to clarinet and horn accompaniment.
D: Diminuendo.
T: Ritard.
li. 21
0: Three emphases— low (horn and cellos), middle
(harp), and high (flute).
T: New tempo established.
M. 22
0: Parallel movement with emphasis on high and low
register polarity.
M. 23
0: Middle register focus.
M- 24-26
0: Focus on lower registers of the string
accompaniment.
M. 28
M: 12/8
D: Gradual changes.
M. 29
M: 9/8
Mm. 27,29
0: Focus on lower string accompaniment.
M. 30
T: Slowing of rhythmic motion.
0: Violin II focus.
M. 51
R: Movement of rhythmic focus through the various
lines.
D: Layered effect of piano and pianissimo.
T: Establishes new tempo.
Mm. 32-33
M: 3/4
M. 54
M: 12/8
T: Slowing.
M. 55
M: 3/4
T: Increase.
0: Middle range.
162
Mm. 57-58
T: M.M. = 72 established.
M. 59
D: Crescendo.
Mm. 44-45
D: Varying activity.
T: Increase in animation effect.
M m . 46—47
D: Arrival at f o r t e .
R: Motion through the sixteenth triplet figures.
Mm. 48-50
R: Regularity of quartei— note rhythm.
D: Beginning diminuendo.
Min. 51-52
R: Regular quartei— note rhythm.
0: High violin register.
T: M.M. = 60.
Mm. 53-54
D: Increase to p i a n o .
Mm. 55-57
0: Tutti.
D: Layered piano and pianissimo effect.
R: Syncopation in strings and winds.
T: M.M. = 56.
M. 58
D: Winds increase to mezzo f o r t e .
Mm. 59-60
0: Focus on strings due to rhythmic activity.
D: Crescendo.
Mm. 61-62
R: After m. 6 1 2 , focus on triplet rhythms of wind
voices.
D: Crescendo continues in winds and strings.
M m . 65~66
R: Shift to slower patterns.
D: Sudden pian is sim o.
Mm. 67-70
0: Focus on strings due to rhythmic activity.
163
Mm. 68,70
R: Mark change to triplet rhythm.
M. 71
0: Lighter wind density.
M. 72
D: Sudden mezzo forte
M. 73
0: Emphasis on light string density.
Mm. 74-78
0: Emphasis on winds; middle range horn figure.
L: Independent lines established.
Mm. 79-82
0: Harp II line establishes rhythmic regularity;
middle register scoring.
M: 4/4
T: M.M. = 84
Mm. 83-84
0: Focus on middle register woodwind sound.
M. 85
0: Segmented linear passage scored through the
wo odw ind s.
R: Complexity in string movement.
Mm. 86-89
0: Thin, middle to low register.
R: Return to regularity via harp I passage,
D: Gradual changes.
m
Mm. 90-92
R: Combination of regular accompaniment and
unpredictability of English horn line.
A: Staccato.
M. 94
0: Tutti strings except basses.
A: Legato.
Mm. 95
R: Focus on duple subdivision.
Mm. 96-99
R: Regularity in winds via triplets; articulate the
occasional duple subdivision.
T: Interpretive increase in tempo.
164
Mm. 100-101
R: Subdivision in harp I.
M. 102
M: 9/8
T: Ritard.
M m . 103 -104
R: Homorhythmic string accompaniment.
T: ‘a t e m p o ’
M. 105 -
T- Ritard.
R: Simultaneity of two against three.
M. 106
0: Harp fcous.
D: Pianississimo (Very, very soft).
#4. Identification of emotional energy sequence.
Mm. 1-14 (R--- ) Opening characteristics.

0 Solo flute; middle register.
T Slow.
R Unpr ed ictable.
A Legato.
D Soft.
Mm. 15--19 (T— »

0 Gradual increase; upper register focus.
D Cr e s c e n d i .
H Chromaticism.
M. 20 (R--»
0 Sharp release of all instruments except solo
clarinet and horns; middle register.
D Diminuendo.
Mm. 21--30 (R---)

0 Light; middle.
T Slow.
R Regularity established after the introduction of
each new pattern.
A Legato.
H Repeated, parallel movements.
D Basically soft with only slight, gradual changes.
L Homophonic.
Mm. 31 -38 (TR---)

0: High register, harp I.
R: Alternating changes of fast and slow rhythms.
165
H: Chromatic Bb7.
D: Quick juxtapositions of gradual changes; sforzato
(forced accent) articulations; layering of forte,
p i a n o , and mezzo f o r t e .
L: Contrapuntal.
Mm. 39-40 (T— >)

0: Additional instruments in m. 40; higher violin
register.
R: Syncopation, agogic accent.
D: Crescendo.
L: Contrapuntal.
Mm. 41-43 (TR )

0: Follow movement of principal lines.
D: Quick alternation of louds and softs within a
gradual change setting.
L: Contrapuntal.
Mm. 44-45 (T— »

0: Tutti; quick change of principal sixtesnth-note
lines to different instruments; wide range
extending into the higher registers of flute,
oboe, and violin..
D: Quick changes via sudden and gradual effects.
L: Homophonic.
Mm. 46-47 (T )
0: Sustained motion in upper register of violins I;
octave leaps in English horn and clarinet lines.
R: Syncopation set against sustained lines.
H: Bb minor chord sustained.
D: F o r t e ; accent.
L: Emphasis on homorhythmic setting.
Mm. 43-50 (R— »

0: Gradually thinning; emphasis on low register except
for violins I.
T: Ritard.
R: Less complexity.
D: Diminuendo.
L: Homophonic.
Mm. 51-58 (R )
0: Descending pitch lines; emphasis on middle
r e gister.
H: Slower harmonic rhythm.
T: Slower.
D: Focus on soft dynamic.
A: Legato.
R: Regular.
L: Homophonic.
166
Mm. 5 9 -6 2 (T — > )
Contrary motion.
Syncopation.
Legato-staccato blend in violins.
Chromaticism.
Crescendo.
Mm. 63-64 (£ ■— )
0: Tutti.
R: Simultaneity of faster and slower note values.
A: Simultaneity of detached over legato.
D: Simultaneity of quick, gradual changes over a
sustained pianissimo.
Mm. 65-66 ( )
D: Crescendo.
Mm. 67-69 (T— »

0: Increase in high register of flute and harp;
contrary motion.
Strings become .more rhythmically complex.
Large crescendo.
Contrapuntal.
M. 70 (T )
D: Sustained forte and fortissimo.
Mm. 71-73 (R— »

0 Gradual thinning; middle and lower registers.
T Ritard in m. 73
H Diato nic .
D = Decrescendo.
Mm. 74-82 (R )
0: Very transparent; emphasis shifts from wind soli to
string section accompanying the flute solo;
middle register.
Steady.
Legato.
Diatonic emphasis.
Pianissimo emphasis.
Homophonic.
Mm. 85-84 (TR )

R: Alternation of slow and faster rhythms.
A: Alternation of staccato and legato.
H: Alternation of diatonic and chromatic changes.
D: Alternation of steady levels with gradual changes
167
M. 85 (R— »
0: Descending pitch line passed from lighter to darker
instruments.
D: Decrescendo.
H: Diatonic.
Mm. 86-89 (R )
0: Very light; middle register.
T: Steady,
ft: Legato.
H: Very slow.
D: Soft.
L: Homophonic.
Mm. 90-91 (TR )

0: Movement from high to low instruments.
R: Alternation of slow and faster values.
D: Alternation ofgradual changes, accent.
L: Alternation of thin and dense writing.
Mm. 92-95 (R— > )

0: Gradual thinning; descending through registers.
T: Ritard.
R: Gradually slower note values.
A: Movement from staccato to legato.
L: Movement from widely spaced to closely spaced.
Mm. 94-110 (R-- )

0: Middle register.
T: Slow with only slight changes.
R: Somewhat unpredictable.
A: Emphasis on legato.
D: Very soft.
H: Basically homophonic.
Instruments were chosen by considering the following
criteria (derived from the music): (a) solo line, (b) soli
line, (c) counterline, (d) prominent line, (e) entrance
following rest period, (f) cuing the player(s) of a
sectional entrance who are located furthest from the
conductor in order to envelop the entire entering body of
musicians in the cue, (g) choice based upon the need to
168
share the conduc to r’s attention among all the members of the
ensemble, and (h) the rhythm of the entering instrument sets
or controls the tempo.
Following each instrument listed below is the
corresponding letter of the appropriate cue-reason cited
above.
M m . 1-20
M. 1: Flute— a. M. 44 : Oboe— d. M. 4®: Horn— d. M.
51: Horn— c. M. 5 2 : Horn— e. M. 71: Violin I— d. M. 7 2 :
Horn— d. M. 81: HarpII— d. M. 9 2 ; Horn— c. M. Ill: Flute-
-a. Mm. 11-13: Attention to string tremolos. M. 133 : Horn-
-c. M. 144 : Oboe— d. M. 151: Bassoon— c. M. 164 :
Clarinet— c. M. 171: Expansive tutti invitation. M. 1 8 i :
Violins I— c. M. 2 0 i : Clarinet— a.
Mm. 21-43
M. 211: Flute— a; 21?: Harp II— d; 2110: Violin II—
d. M. 237: Harp II— d; 2 3 i o : Celli— c. M. 257; Viola— d.
M. 26i: Flute— a; 267: Harp II— d. M. 284 : Bassoon— d. M.
301°: Clarinet— c; 301 i : Horn— c. M. 31s : Celli— c; 31s :
Violins II— d. M. 323 : Violin I— d. M. 341: Horn I— d;
345: Celli— c; 3 4 8 : Viola— d. M. 353; Celli— d. M. 361:
Flute— a. M. 371: Oboe— a. M. 381: Celli— c. M. 393 :
Clarinet— b,c. M. 401: Violin I— c. M. 4 1 i : Bass— c,d. M.
421; Clarinet— a. M. 43*: Violin I— b.
169
Mm. 44-73
M. 441: Flute— -b; 443; English horn— c. M. 471: Horn
I— c. M. 501: Flute— h. M. 51: Clarinet— a. M. 52: Flute-
-d. M. 53: Celli— d. M. 55: Flute— b. M. 56: Horn— d. M.
58: Bassoon— d. M. 60: Violins I— c. M. 61: Horn— c. M.
63: Flute— c. M. 67: Horn III— c. M. 712: Clarinet— d. M.
722; Flute— d. M. 733: Harp— d.
Mm. 74-89
M. 74: Horn I— a. M. 75: Clarinet— a. M. 76: Violin—
a. M. 77: Flute— a. M. 79i : Bass— d; 793: Flute— d. M.
82: Clarinet— d. M. 8 3 i : Horn— h; 834 : Clarinet— h. M.
841: Oboe— a; 84*: Bassoon— d. M. 851: Flute— d; 852;
Oboe— d; 853; Clarinet— d; 854 : Horns— d. M. 861: Violins
II— d; 863 : Oboe— a. M. 8 9 i ; Clarinet— d.
Mm. 90-110
M. 901: English horn— a; 904 : Bass— d. M. 914 :
Clarinet— d. M. 92: Flute— d; 923: Horn I— a. M. 9 3 i :
Harp— d; 933; Horn— a. M. 9 4 i : Flute— b; 944 : Antique
cymbals— d. M. 951: Violins— c. M. 964 : Antique cymbals—
d. M. 974 : Antique cymbals— d. M. 98: Horn I— a. M. 100:
Viola— a. M. 102: Oboe— d. M. 103: Oboe— a. M. 104:
Violins I— c. M. 105: Violin I— c. M. 106: Harps— b. M.
107: Horn— b. M. 1081: Flute— a; 1082,4 : Harp— d. M.
1091: Violin I— b; 1094 : Celli— d. M. 1101: Cello— d.
170
#6. Identification of phrase le ng ths .
While phrases frequently vary in length from one to
five measures, the variations do not pose conducting
concerns because of the slower tempi. Moreover, the
majority of phrases are symmetrical.

tonal a rea s.
The overall structure divides into three major tonal
movements,
E Major Mm. 1-54
Db Major Mm. 55-78
E Major Mm. 79-110
and into four sections according to principal thematic
presentations. (See Figure 7.)
The A theme is five measures in length and is
characterized by its initial chromatic, stepwise movement.
A-theme material provides a rounded form by beginning and
ending the work. The second and third themes are
distinguished from the first by their intervallic sequence
and predominantly diatonic structure. Thematic development
proceeds by thematic repetition, and motivic and phrasal
development.
The first and second themes share the tonality of E
major, while a unifying factor exists between the second and
third themes with the emphasis on syncopation in the later
portion of their thematic statements. The first two themes
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171
are introduced by solo instruments, in contrast to the third
theme's introduction by four instrumental doublings. The
three themes also contrast in their characteristic note
values.
#8. Identification of conductor p rob lem s.
A clear conducting pattern is especially required
throughout the composition because of the frequent meter
changes and beat subdivisions that are necessary to execute
certain passages made complex by the tempo changes and
contrasting rhythmic juxtapositions. The following
conducting suggestions are offered for the effective
communication of certain passages:
M. 4— conducted in '9' due to the slower tempo; m. 15—
conduct the three subdivisions of the first dotted-quarter
beat only, due to the gradual increase in tempo which
follows as a result of the expressif marking; m.20—
conducting subdivisions of the dotted-quarter beat begins
here due to the slowing tempo; m. 31— conduct the dotted-
quarter subdivision due to rhythmic complexity; mm. 32-33—
these two measures can be conducted in '3' due to their
rhythmic simplicity; m. 34— conducted in '12' due to
rhythmic complexity; m. 35ff— conducted in ‘3' due to
rhythmic simplicity.
M. 50— conducted in subdivided '3' due to slowing
tempo; m. 51ff— resume conducting in three due to fa c j r
172
tempo; m. 74ff— conduct in six due to rhythmic
juxtaposition; ^1. 73— conduct the last sixteenth count as
the tempo broadens in order to articulate the new section at
m. 79ff; m. 79ff— resume conducting the beat unit; m. 93—
subdivide beats three and four due to slowing tempo; m. 94—
conduct in *12’, and m. 95— conduct in *8’, both due to
rhythmic complexity; mm. 96-99— conducted in '4’ due to
rhythmic simplicity and increase in tempo.
Mm. 100-101: conducted in '12’ due to divisions of
flute and harp dotted-quarter beats; m. 102— conducted in
'9’ due to slowing tempo; mm. 103-104: conducted in '3’ due
to increase in tempo; m. 105— conduct the triple subdivision
of the first and third dotted-quarter beats in order to
assist proper execution of the simultaneous duplet and
triplet rhythms; m. 106— conduct in '8’ due to harp
subdivisions; m. 107— conduct in '12’ due to rhythmic
subdivisions; m. 108— conduct in '4’ due to rhythmic
division; m. 1 0 9 2 — conduct a subdivision of the beat for the
flute movement.
#9. Identification of player p r o b l e m s .
Intonation and blend throughout lightly scored and soft
dynamic sections, e.g., m. 4: Oboe, clarinets, horn; mm. 7-
8: strings; mm. 106-110: strings and horn sustained tones.
173
Rhythmic complexity, e.g., m. 31: celli rhythm, varied
rhythmic juxtaposition; m. 83: Oboe solo in duple divisions
against the triple rhythms of the horns.
Exposed solo entrances that must occur in the proper
t e m po, e.g., mm. 13-14: Horns and oboe.
Ensemble pl aying, e.g., m. 25: string pizzicato at a
very soft dynamic; m. 67: string section rhythms in four
against the woodwind and horn rhythm in three; m. 85: the
sequence of wind entrances; the execution of the string
passage; m. 107: execution of the strings and horn together,
given the distance in seating between them.
APPENDIX I
CASP SCORE PREPARATION
FORMS FOR DATA COLLECTION AND RETENTION
1. Preliminary Analysis Card
2. BSA Checklist
3. Bibliographic Information Card
4. Basal Structure Analysis Review
5. Aural Analysis
(Element Data Collection Form)
6. Stylistic Descriptive Summary
7. Summary of Conductor Problems
175
The following is a description of the various forms
used with the CASP score analysis process. These forms
permit the efficient collection of various types of data for
immediate as well as later reference by the conductor.
Information of this type is especially useful for the
teacher of conducting as a means of surveying repertoire in
order to select the most appropriate pieces for study at a
particular level of conducting skill.
The forms are listed on separate pages, in numbered
order, immediately following these pages of definition.
Form #1: "Preliminary Analysis Card"
This 4"x6" card is used to record general information
about a piece of music which the conductor has heard
performed in concert or by recording. The intention of the
card is to record aural impressions that have been gained
without the assistance of score analysis.
The card was originally intended to be used for the
collection of pieces that one might feel to be worthy of
study or concert programming; however, it is useful to take
note of music not so evaluated so that, should a particular
piece be discussed at a later time, one might have a record
of having known the piece, thus eliminating a later need to
relisten or re-study. Of course, some aural evaluations may
be more a reflection of our mood at the time of the
176
evaluation than of our most "honest" evaluation, and it is
always best to keep an open mind.
The information on these cards is designed to be useful
until a more thorough evaluation can be made through score
analysis. The results of this latter evaluation are then
recorded on the "Bibliographic Information Card" (Form #3).
Form #2: "8SA Checklist"
This 4"x5-l/2" form is used as a category check-off
list when a Basal Structure Analysis is being performed.
Use of the check-off lists will permit the alternating study
of several scores in an orderly manner.
Form #3: "Bibliographic Information Card"
This 5"x8" card is used to record various items of
bibliographic and musical detail for pieces that are being
seriously studied and prepared for concert performance. The
card provides areas for recording three sets of information,
each with a specific purpose.
Information provided by the line of elements listed
along the top of the card is especially useful when
considering concert programming, or when selecting pieces
for educational purposes. Usually, a concert program
consists of some variety in the nature and content of
repertoire, and this type of information will, for example,
177
elimina.te redundancies such as having all or most of the
selections in one key, in the same tempo, or in the same
form or style. These elements are described as follows:
Medium (type of ensemble for which the piece is written),
Classification (the form of the piece, e.g., march,
overture, suite), Dynamic (the general volume level of the
entire composition), Tempo (the general pace of the work,
e.g., fast, slow, mixed tempi), Meter (indicates a singular
or mixed metered piece), Time (length of pe rformance), Grade
(the grading of the piece according to level of difficulty),
Style (general style of writing such as Baroque, Romantic,
Jazz), Key (the tonal center of the composition), Preference
(the eval uat or ’s personal grade regarding his enjoyment of
the work).
The information used to describe the musical elements
is meant to be abbreviated along the top of the card for
easy reference. Extended discussions of these and other
unique aspects of the piece are included under the "Remarks"
heading.
Information listed under the top line of musical
elements simply refers to bibliographic data which is used
to order or rent the composition. "Score" refers to whether
a condensed or full score is provided.
The items listed under "Supplementary Information On
File" refer to personal files of the conductor which contain
information on composers and works. These files should be
178
kept up-to-date as new works, or works that are new to the
conductor, are studied. "Comp 8io" refers to biographical
information that has affected the composer’s musical
development; "Style Des" refers to information on the
historical style of which the composition cited on the card
is representative; "Aural" refers to information collected
from a synthesis of aural analysis and Level I— Basal
Structure Analysis and is recorded on the "Basal Strcuture
Analysis Review" (Form #4); "Theoretical" refers to
information gained from a CASP: Level III— Detailed
Structural Analysis of the work. Forms are not provided for
the recording of a Level III analysis because of the
normally extensive length.
Form #4: "Basal Structure Analysis Review"
The initial portion of this foui— page form asks simply
for an indication of the information contained on the
"Bibliographic Information Card" and is to be completed as
the Basal Structure Analysis proceeds. This musical element
and bibliographic data will then be transferred to the
"Bibliographic Information Card" for easier reference.
The topics that are addressed in the body of these
sheets require a statement of information gained through the
Level I— Basal Structure Analysis process. Some clarifying
comments may help to explain the following: "A. General
Remarks & Response To The Work"— statements regarding the
179
evaluator’s enjoyment of the work and any especially unique
aspects of the work; "B. Genesis Of The Composition"— why
was the work composed?; "C. Conductor Difficulty" and "D.
Player Difficulty"— cite specific score areas and types of
difficulty peculiar to conductor and players, respectively;
"E. Composer Life Style"— particular events in the
composer’s life that may have led to and surrounded the
composition of the work; "F. Stylistic Developments"—
discussions of stylistic characteristics of the composer or
style period that are introduced or furthered by this work;
"G. Especial Descriptives"— any special needs in terms of
musicianship or environment that may be necessary to
properly perform the work; "H. Conclusions of the Basal
Structure Analysis"— discussion of conclusisons drawn by
the CASP: Level I process, especially in the areas of major
climactic moments and sequence of emotional energy as they
relate to the overall structural design.
Form #5: "Aural Analysis"
This 8 ”xll" sheet is used to record general stylistic
information gained from the aural analysis of a work, or
part of a work. The evaluator completes the sheet by
entering descriptive comments on the c om pos er ’s use of each
element cited on the sheet. Summary conclusions regarding
stylistic description may then be entered for an entire work
on the "Stylistic Descriptive Summary" sheet (Form #6).
180
Form #6: "Stylistic Descriptive Summary"
This 8"xll", two-page sheet is used to record the
summary of the co mp o s e r ’s use of musical elements. This
results in the identification of various stylistic
characteristics. Collections of information about composers
allow the conductor to compare stylistic details between
various composers and to other style periods.
Form #7: "Summary of Conductor Difficulty"
This 8"xll" sheet is used to record the nature and
location of specific areas of gesture difficulty that may
attend a particular composition. This information is
especially useful for teachers of literature survey courses
because of the dual nature of such courses to provide
discussion of interpretation rationale and problem areas
pertaining to conducting technique.
COMPOSER (Dates} COMPOSITION (Pate)
HE I Form, Meter, Tempo, Thematic Development, Harmony, Dynamic,
Texture, Special EffectB, Notable Characteristics."
L H S /2 -6 5
PCBM #1: PRELIMINARY ANALYSIS CARD
Composer/Composition
BSA CHECKLIST
1. Review of score instructions.
2a. MMM 2b. Time:_
3. Textural Structure.
4. Phrase lengths.
5. Emotional Energy.
6. Cues.
7. Conductor Problems.
8. Player P r o b l e m s .
9. Tonal M o v e m e n t .
10. Theme Sheet.
L H S / R e v . 9-86
PQHM #2: BSA CHECKLIST
Medium Cl Dyn Tempo Meter Time Gr Style Key Pref
Composer/Dates Composition/Date
Accomp. Medium No. of Movts/Key Arranger/Editor.
Publisher::Year Score Cost/Year
Supplementary Information On File:
Composer Bio: Style Pes: Aural: Theoretical:
REMARKS:
LHs /9 -8 5
FCSM #3 s BIBLIOGRAPHIC INFORMATION CARD
Medium cl Dyn Tempo Meter Tine Cr Style Key Pref
Composer/Dates Composition/bate
No. of Mort/Key Arranger/Editor
Publishers slear Score Coet/lear
Supplementary Znforaatlon On Filet
Composer Blot Style Pest Auralt Theoreticali
* * »
A. General Remarks & Response to the Works
B. Genesis of the Composition:
FORM & s BASAL STRUCTURE ANALYSIS REVIEW
C. Conductor Difficulty!
D. Player Difficulty!
8. Cooposer U f a Stylet
P. Styliatlo Davalopaentai
Go 3*racial PraBcriptiTeei
H« Conclusions of Baetd Structure AnalysiBi
AURAL ANALYSIS ________ ___________ _____________ ____
Composer/Composition/Movement Page •
INSTRUMENTATION ________________________________________________
COMPOSITION TYPE ________________________________ __________ ____
P O R M ______________________________________ __________
ORCHESTRATION
Theme ____________________
Register ________________________________________________
. Countermelody _________________
Accompaniment
TIME ELEMENTS
Tempo ________________________ _ _ _ _ _ _ _ ______
Meter -
Rhythm .
THEME
Length _ _ _ _ _____________________ ,
_______________
Development _____ _
Character - ■,
HARMONY ________ _______________________________________
DYNAMICS ________ _______________________ ________________
TEXTURE ______________________________________________
REMARKSt
LHS/9-79
FORM #5 * AURAL A1ALTSIS

(Element Data Collection Form)
STYLISTIC DESCRIPTIVE SUMMARY
• Pagw
Composer/Composition/Movement — — — — — — — —
IA. COMPOSITION TYPE__________________ IB. FORM
II. INSTRUMENTATIONI
III. ORCHESTRATION (theme, register, e-melody, accompanisnat):
17. TIME ELEMENTS (tempo, meter, rhythm):
7. THEMATIC DBVELOfMENT (length, character):
FORM £61 STYLISTIC DESCRIPTIVE SUMMARY
VI. HARMOHTl
VII. DTHAMICSi
VIII. TEXTUREI
IX. REMARKS l
SUMMARY OF CONDUCTOR PROBLEMS
Composer Composition
I. TEMPO
II. RHYTHM
III. TEXTURE
IV. ARTICULATION
V. DYNAMICS
VI. METER
VII. CUES
VIII. BALANCE
Remarks on reverse side
FORM #7: SUMMARY OF CONDUCTOR PROBLEMS
APPENDIX II
BASAL STRUCTURE ANALYSIS CHARTS
FOR MOVEMENTS II, III, IV, V
OF
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SELECTED BIBLIOGRAPHY
Books
Bamberger, Carl. The Conductor's A r t . New York: McGraw-

Hill, 1965.
Barra, Donald. The Dynamic Performance: A Performer's Guide

to Musical Expression and Interpretation. Toronto:
Prentice-Hall Canada Inc., 1983.
Blackman, Charles. Behind the B a t o n . New York: Charos

Enterprises, Inc., 1964.
Blum, David. Casals and the Art of Interpretation. Los

Angeles: University of Cali.fornia Press, 1977.
Boult, Sir Adrian Cedric. A Handbook on the Technique of

Conducting. London: Paterson's Publishing Ltd.,
1968.
Boult, Sir Adrian Cedric. Thoughts on Co ndu ct ing . London:

Phoenix House Ltd., 1963.
Bowles, Michael. The Art of C o n d uct in g. New York:

Doubleday, 1959.
Braithwaite, Warwick. The Conductor's A r t . London:

Williams and Norgate Ltd., 1952.
Busch, Brian R. The Complete Choral Conductor Gesture and

Method. New York: Schirmer Books, 198
Cone, Edward T. Musical Form and Musical Performance.

New York: W.W. Norton, 1968.
Cooper, Grosvenor and Meyer, Leonard B. Rhythmic Structure

of Music. Chicago: University of Chicago Press, 1960.
Davison, Archibald T. Choral Co nd ucting. 2d ed.

Cambridge: Harvard University Press, 1968,.
Del Mar, Norman. Anatomy of the O rchestra. Los Angeles:

University of California Press, 1983.
Ewen, David. The Man with the B a t o n . New York: Thomas

Y. Crowell Co., 1936.
198
Fuchs, Peter Paul. The Psychology of C ond ucting. New York:

MCA Music, 1969.
Garretson, Robert L. Conducting Choral M u s i c . 4th ed.

8oston: Allyn and Bacon, Inc., 1975.
Goldbeck, Frederick. The Perfect Conductor. New York:

Pellegrini and Cudahy, 1951.
Green, Elizabeth A.H.; and Malko, Nicolai. The Conductor

and His S c o r e . Englewood Cliffs: Prentice-Hall, Inc.,
1975.
Kendrie, Frank S': Handbook on Conducting and Orchestral

Routine. New York: The H.W. Gray Co., 1930.
Krueger, Karl. The Nay of the Co nductor. New York:

Scribner and Sons, 1958.
Lamb, Gordon H. Choral Techniques. Dubuque, Iowa: W.C.

Brown, 1974.
LaRue, Jan. Guidelines for Style Analysis. New York: W.W.

Norton, 1970.
Lundin, Robert W. An Objective Psychology of M u s i c . New

York: Ronald Press, 1967.
Marple, Hugo D. The Beginning Conductor. New York:

McGraw-Hill, 1972.
Meyer, Leonard B. Explaining Music: Essays and

Explorations. Los Angeles: University of California
Press, 1973.
Moe, Daniel. Basic Choral Conce pts . Minneapolis:

Augsburg Publishing House, 1972.
Prausnitz, Frederik. Score and Podium. New York: W.W.

Norton, 1983.
Rudolf, Max. The Grammar of Conducting. 2d ed. New

York: Schirmer, 1980.
Schenker, Heinrich. Five Graphic Music A n aly ses . New York:

Dover, 1969.
Scherchen, Hermann. Handbook on Conducting. 2d ed.

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Strouse, Lewis Hillard

FROM ANALYSIS TO GESTURE: A COMPREHENSIVE APPROACH TO

Ball State U niversity D.A. 1987

1. Glossy photographs or pages____

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A COMPREHENSIVE APPROACH TO SCORE PREPARATION

FOR THE CONDUCTOR

SUBMITTED TO THE GRADUATE EDUCATIONAL POLICIES COUNCIL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

for the degree

ADVISORS: MR. LEONARD ATHERTON, DR. JOSEPH SCAGNOLI

BALL STATE UNIVERSITY

A COMPREHENSIVE APPROACH TO SCORE PREPARATION

FOR THE CONDUCTOR

SUBMITTED TO THE GRADUATE EDUCATIONAL POLICIES COUNCIL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

for the degree

BALL STATE UNIVERSITY

FROM ANALYSIS TO GESTURE:

A COMPREHENSIVE APPROACH TO SCORE PREPARATION

FOR THE CONDUCTOR

SUBMITTED TO THE GRADUATE EDUCATIONAL POLICIES COUNCIL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

for the degree

DISSERTATION CHAIRMEN: MR. LEONARD ATHERTON

and DR. JOSEPH SCAGNOLI

BALL STATE UNIVERSITY

Advisors: Mr. Leonard Atherton and Dr. Joseph Scagnoli

The purpose of this study was to develop a

comprehensive and carefully detailed approach to score

preparation which would be adaptable to all Kinds of music.

As a result of reviewing selected approaches to score

preparation and general' musical analysis techniques, a

Comprehensive Approach to Score Preparation (CASP) based

upon three levels of deductive analysis was created. These

levels are described as Level I— Basal Structure Analysis;

Level II— Review of Supplementary Information; and Level

III— Detailed Structural Analysis. The sequence of Levels

was based upon (1) the importance of formulating

appropriate conducting gestures and (2) the most efficient

method of learning an extended musical work.

Level I, Basal Structure Analysis, explores the score

in terms of musical elements that may be translated directly

into gesture without further study of structural