THE WARP AND WEFT OF FABRIC:

A COMPOSITION FOR STRINGS

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Michael A. McBride, B.M., M.M.

Denton, Texas

May, 1999

3 T (

M8IJ / f o . V S o |

McBride, Michael, The Warp and Weft of Fabric: A Composition for Strings.

Doctor of Musical Arts (Composition), May, 1999, 64 pp. essay, 45 pp. score, 4 tables, 21

illustrations, references, 6 titles.

The six-movement work is scored for two violins, a viola, and a violoncello.

A new approach toward the decision making of the compositional process is revealed

which structures the parameters of the composition along an arbitrary frame of reference.

This reference is selected prior to composition and influences every aspect of the work.

The reference chosen is an existing musical work used in quotation and for stylistic

modeling, paraphrase, and variation. Consonance, dissonance, and thematic development

are defined in terms of this source.

Le Messe de Notre Dame by Guillaume de Machaut serves as the musical source

of the reference information. Material from the mass forms quotations, pitch sources,

rhythmic figures, formal modeling, and style paraphrasing. The fourteenth-century work

lends content and character to The Warp and Weft of Fabric.

The string ensemble work explores a variety of compositional techniques ranging

from textures of color washes created from quoted passages to linear melodic and

counterline development from styles and techniques drawn from Machaut's mass.

Modern adaptations of fourteenth century techniques and theories are exploited for

interesting developmental procedures. The Warp and Weft of Fabric contemporary work

conceived and matured within a medieval context.

THE WARP AND WEFT OF FABRIC:

A COMPOSITION FOR STRINGS

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Michael A. McBride, B.M., M.M.

Denton, Texas

May, 1999

3 T (

M8IJ / f o . V S o |

Copyright by

Michael A. McBride

1998

111

TABLE OF CONTENTS

Page

LIST OF TABLES v

LIST OF ILLUSTRATIONS

vi

Introduction viii

Organization Based on a Predetermined Frame of Reference xii

An Example from Literature xvi

Machaut's Le Messe de la Notre Dame xx

The Warp and Weft of Fabric xxxvi

Conclusion lxii

WORKS CITED lxv

THE WARP AND WEFT OF FABRIC 1

IV

LIST OF TABLES

Table Page

1. Timbres appearing in the opening section The Warp and Weft of Fabric, single-pitch "color" passage xliii

2. The Warp and Weft of Fabric Texture and Form in Fifth Movement,

third section, ms. 143-184, derived from tenor rhythm in Agnus xlvii

3. The Warp and Weft of Fabric form and pace xlviii

4. Structural elements in The Warp and Weft of Fabric lvi

5. Elements of contrast and unity in The Warp and Weft of Fabric lviii

LIST OF ILLUSTRATIONS

Figure Page

1. Le Messe de Notre Dame, by Guillaume de Machaut. Gloria, ms 43-46. Leech-Wilkinson Transcription xxiii

2. Le Messe de Notre Dame, by Guillaume de Machaut. Ite Misse Est, Plainchant Introit. Leech-Wilkinson Transcription xxvi

3. Le Messe de Notre Dame, by Guillaume de Machaut. Kyrie I, Tenor line. Leech-Wilkinson Transcription xxvi

4. The Warp and Weft of Fabric, by Michael McBride. Movement V, ms. 145-147, viola xxvii

5. Le Messe de Notre Dame, by Guillaume de Machaut. Credo Amen, ms. 10-11. Leech-Wilkinson Transcription

xxx

6. Le Messe de Notre Dame, by Guillaume de Machaut. Gloria, ms. 93-97 Leech-Wilkinson Transcription xxxvi

7. Le Messe de Notre Dame, by Guillaume de Machaut. Gloria, ms. 17-21. Leech-Wilkinson Transcription xxxvii

8. Le Messe de Notre Dame, by Guillaume de Machaut. Christe, ms. 1-6 Leech-Wilkinson Transcription xxxiii

9. Le Messe de Notre Dame, by Guillaume de Machaut. Kyrie III, tenor-contra tenor ms. 1-8. Leech-Wilkinson Transcription xxxix

10. Le Messe de Notre Dame, by Guillaume de Machaut. Sanctus, ms. 1-5. Leech-Wilkinson Transcription xl

11. Le Messe de Notre Dame, by Guillaume de Machaut. Credo, Amen, ms. 9-11. Leech-Wilkinson Transcription xli

vi

12. The Warp and Weft of Fabric, by Michael McBride. Movement I, ms. 121-123 xli

13. Le Messe de Notre Dame, by Guillaume de Machaut. Gloria, Amen, ms 15-20. Leech-Wilkinson Transcription xlv

14. The Warp and Weft of Fabric, by Michael McBride. Movement V, ms. 143-147 xlvi

15. The Warp and Weft of Fabric, by Michael McBride. Movement I, ms. 135-138 xlix

16. Le Messe du Notre Dame, by Guillaume de Machaut. Gloria, ms. 41-47. Leech-Wilkinson Transcription 1

17. The Warp and Weft of Fabric, by Michael McBride. Movement II, ms. 19-25 li

18. The Warp and Weft of Fabric, by Michael McBride. Movement I Cello, ms. 151-57 liii

19. Le Messe du Notre Dame, by Guillaume de Machaut. Ite Misse Est, Tenor. Leech-Wilkinson Transcription liv

20. The Warp and Weft of Fabric, by Michael McBride. Movement IR, ms. 27-28 lv

21. The Warp and Weft of Fabric, by Michael McBride. Movement IV, ms. 8-12 lvi

vu

Introduction

The Warp and Weft of Fabric, a string composition scored for the two violins,

viola, and violoncello was designed as a multimovement work in sections that explore the

acoustic complexities of the chamber ensemble in pitch, rhythm, and timbral production.

The tapestry of sound woven from line and melody and harmonic relationships would

scarcely surprise the listener in the contemporary musical climate. The exploration of a

new approach to genesis creates the uniqueness of this musical work. The construction of

the "warp" of the form and structure is completed by the "weft," which finishes the

patterns and binds the individual fibers into a single weave. Aspects of the music were

chosen as pertinent or insignificant to a section on the basis of an efficient achievement of

the final goal. The Warp and Weft of Fabric is a study of the selection of style and

structure, based on precompositional decisions and the construction of an outside frame

of reference.

An Overview of the Influence of Precompositional Decision

Since music was first divided into functional forms, the purpose of the music has

influenced the design and style. An architectonic plan chosen as a formal structure

defines the goal of the resulting work. A frame of reference built from that plan provides

guidelines, boundaries, and structure. It influences the basic elements of the piece,

including pitch, rhythm, and stylistic considerations. But the design denotes more than a

structure or style; it also implies a character and motivation inherited from the history of

viii

the design. The very elements that guide the larger compositional decisions influence the

minutia of the compositional process. In short, each part of a composition influences all

other parts of the piece, as the material and texture of fabric contribute to its coloration

and use.

Historically, precompositional decisions to employ certain stylistic and formal

elements predetermined major attributes in the eventual design of a composition. Text

and lyrics established many elements of mass settings, song forms, song cycles, and

oratorios. Standard titles establishing formal design, character, and/or and motive are

found in each historical period. The dance suite, trio sonata, and concerto all create an

expectation of dramatic interplay among different movements, groupings within the

orchestration, or sectional contrasts in key selection and voicings. The consequent

evaluation of the work hinges on its fulfillment of these expectations.

Precompositional Decision in the Sonata-Allegro Concept

The sonata-allegro concept exemplifies a significant branch of formal design with

precompositional determination of style and structure. An opening subject states the

theme of the movement. The theme contains the embryonic material that transforms into

the other aspects of the movement within an established framework of expectations.

When the composer approaches these expectations creatively, the audience receives the

work well, but the decisions made in the context of the sonata-allegro form evolved

through countless thematic treatments throughout the centuries. This context, invoked by

the initial statement and anticipated restatements of the theme, causes the listener to

respond along guidelines shaped by previous experience; the listener receives the work

ix

within a referential framework. Having been created within that model, a composition

folly exploits previous advances made by others using that structure.

The Primary Objective of The Warp and Weft of Fabric

The objective of this string composition, The Warp and Weft of Fabric, was to

exploit the predisposition of the ear established by a musical frame of reference. This

would provide a traditional expectation of fulfillment based on the established context.

But this context is based entirely on a frame of reference from an outside source.

Material within the composition itself forms the listener's reception of the environment

rather than do external cues. The perception that a musical performance evokes in an

audience is a combination of intonation, phrasing, pitch arena, rhythmic groupings, and

an architectonic design that considers each of these elements.

Further, the objective of the work was to inspire a reliance on the aural

perception of the entire piece rather than on a visual one. The musical statements create

this environment, not a programmatic title, program notes, or extramusical references.

The connection was derived from a series of quotations and compositional material based

on an independent musical selection taken from the historical moment when the oral

tradition of critical thinking gave way to written knowledge.1 The pivotally placed work

from this influential time tipped the scales toward modern thought. The Warp and Weft

1 Shai Burstyn, "In Quest of the Period Ear," Early Music, 25, no. 4 (1997): 693. Burstyn points out the inclusion of the rhythmic design, dynamics, and the advances in notation place a literary emphasis on what must have surely been works of aural intricacy and detail. This bridge lies between two mind-sets; one embracing millennia of intellectual development, the other heralding the literacy of thought that characterizes modem culture.

of Fabric seeks to tip them back a bit. This mode of material selection was arbitrary and

precompositional. It also extended beyond the superficial to a higher level of context for

the work beyond the musical elements of form, pitch, and rhythm. The quoted source is

Machaut's Messe de Notre Dame. Elements of this mass from the fourteenth century

forms the binding material for The Warp and Weft of Fabric.

Compositional Organization Defined

At the most basic level, a musical composition has an edifice of sound with

organized and structured noise. Designed around elements that either create unity or

contrast with the rest of the structure, the organization creates or releases tension. The

creation of tension through disharmony, rhythmic differences, or timbral disparity

provides momentum through imbalance; the balance between tension and release is the

primary driving force in a successful piece. The organization of sound uses various

resolution elements to delineate sections. As a direct result of the strategic placement of

these elements, this resolution creates direction and purpose within the scope of a single

composition.

Through use of the quotations and pertinent aspects of the existing material as

boundaries and guidelines, an environment was designed for The Warp and Weft of

Fabric to form new ideas that are received in a different light from the new ideas

presented independently. The quoted sources were deconstructed and analyzed for

components to use as building blocks. These components take the form of pitch series,

numeric relationships, and timbral elements. This raw material provides a basis for the

palette of choices creating compositional considerations within that new environment

XI

reflecting the work quoted.

Organization Based on a Predetermined Frame of Reference

In The Warp and Weft of Fabric, precompositional decisions influencing the

character and design provided the organization. Compositional techniques were

employed to fulfill the expectation created by the original design. The Warp used a

sectional design fitting the predetermined form, with certain elements of unity and

contrast built into the structure. These were exploited to achieve the goals of the

individual composition. Nonmusical decisions control musical material, as evidenced by

programmatic forms such as the symphonic poems of Liszt, the dramatically controlled

motives in Berg's Lulu, the precise arbitrary measurement of Bartok's 4th String Quartet,

or the isorhythmic tenors of fourteenth-century masses and motets; however, the

nonmusical influences must be subjected to conformity with the overall design of the

composition.

Composers have made precomposition design decisions completely apart from the

musical considerations of the piece, as in the aleatoric work of John Cage. Nonmusical

devices create empirical data independent of the musical design. Chance methods,

mapping techniques, and stochastic number processing render information that arbitrarily

translates into musical information irrespective of formal considerations. These data are

applied to various musical parameters at the composer's discretion, and these elements

are manipulated to create a more effective presentation of the work. However, the design

of the organization and structure is predetermined by the method selection and is not

related to its aural consideration.

Xll

The purpose of the design framework is strategic positioning to exploit the

contrast of similar and dissimilar sections. On a large scale, contextual placement of

movements provide continuity and forward progression. Pitch centers figure prominently

in expansion of tonal exploration, and scale and individual pitch selection reflect the

direction of the tonal center, consonant, dissonant, or modal. The tempo and textural

changes between movements and transitions contribute to the progression through the

work. These elements rest in the context of the architectonic framework. The selection

creates movement or repose within the expectations of the overall structure for that

moment.

The Historical Perspective of Organization Through Key Centers

and Motivic Design

Historically, the music of the common practice period was based on scalar pitch

structures, tonal key orientations, and progressive relationships between sections. As the

formalization of multimovement works occurred, the expectation of key centers used in

each movement became more rigid. Deviation from the standard internal-movement key

selection was perceived as tension requiring release within the context of the period. This

technique created a sense of forward movement within the body of the work.

Complementing textures and styles organized multiple movements integrated into

a work as a whole. Frequently unifying themes and motifs endowed a common character

that pervaded the piece. These elements formed a connection identifying the central

character and linking the disparate parts of the whole into a common goal. Motivic

elements provided primary components of the organizing structure and enhanced the

xiii

integration of contrasting themes and textures in separate movements.

The intention of The Warp and Weft of Fabric—to derive an independent frame of

reference from an existing work—functioned as a guide for structure and material

selections. Composers of works with sonata-allegro design used guidelines created by the

stylistic expectations of audience and performer alike. These were anticipated elements

selectively fulfilled or defeated by the composer. The Warp and the Weft of Fabric

achieves the creation of the same compositional guidelines with references to Machaut's

Mass. This pivotal work from the fourteenth century brings a sense of character and style

to The Warp. The environment in which Machaut lived and wrote profoundly affected

the orientation and direction of The Warp and imparted an attitude of reverence taken

from Machaut.

Background Information on Composition Using

References to Existing Works

The application of quotation within a work has had many incarnations historically.

These inserted sections provide contrast for surrounding material. The dramatic

statement highlights the familiar refrain. The successful imagery evokes a mood change

characteristic of the insert. However, from an existing work, data can also be gleaned to

apply to the control and design of form, structure, timbre, texture, melody, counterpoint,

and harmonic design. Elements can be referable from a motivic level to conceptual

design and intent.

Charles Ives composed extensively with material gleaned from external sources.

He modeled the structures of his works, quoted passages, and executed a variety of

xiv

repackaging techniques on tunes and melodies from his past. His early exposure to the

music of nineteenth-century New England, with its folk and hymn tunes, became

envelope with Ives' classical training. The many styles and song forms from his life

synthesize into his unique approach to composition. His works showcase numerous

applications of information from quotations. He steps beyond the simple quote and

composed with stylistic allusions, variations on a tune, paraphrasing, and resetting with

new accompaniments, lyrics or melodies. He most eloquently demonstrates his skill with

exaggerated quotation in quodlibet, juxtaposing multiple sources in close proximity with

virtuoso technique.2

For many musical venues, derivative techniques were the standard compositional

practice in the past. This was a practical result of the musical environments . The

liturgical mass and the accompanying chant were strictly interpreted, with few

innovations or avenues for exploration; however, the creative urge was not to be

suppressed. In the form of tropes and sequences, the existing material developed into

new forms and musical styles. The evolution from such rigid foundations made external

compositional influence from an existing work of music an accepted standard. Any

single section carefully avoided excessive deviation from the chant reference.

Quotation in Early Music

Music based on chant achieved a high level of intricacy with the cantus firmus

mass. This was a polyphonic rendition of a section of the Ordinary, with the chant

2J. Peter Burkholder, All Made of Tunes (New Haven: Yale University Press, 1995), 3.

xv

melody for the text sung in the tenor voice. The tenor eventually developed into a slow

augmentation of the original chant with "harmonic implications," rather than a melodic

figure. The final composition would be far removed from the original context of the

tenor line while still retaining the invariable pitch progression of the chant line.3

The parody/imitation mass was a logical but innovative development of the cantus

firmus technique. This was a logical extension in which a composition was based on a

more extensive statement from another work. In parody/imitation mass, entire voicings

and sections were quoted and developed into a new movement for the mass. A modern

parallel to this technique utilizes the chord changes of a jazz standard, forming the basis

for new tunes and lyrics. An entirely new work is created upon the framework that

existed for another song.4

An Example from Literature

Written literature includes an outstanding example of this derivative technique.

One of the premier works in twentieth-century English language literature is Ulysses by

James Joyce. In his epic work on the condition of Ireland at the beginning of the

twentieth century, Joyce told a tale of frustrated vision and lost hope within the

3For this study, the main fact to glean from the cantus firmus development was the outside source of form and modal relationships. The external source was aligned referenced, and manipulated to create the frame of the movement within which the composer worked. Frequently, a single line of chant was extrapolated to be the foundation for the entire cycle of polyphonic movements of the mass.

4This has an historical antecedent based in the traditional blues standards. A codified set of chord changes was established through interaction between players, who developed individual styles that utilized the standard framework to fit together. This allowed for maximum freedom of expression within the existing format of pick-up bands and open improvisation.

xvi

framework of another monumental work, The Odyssey, by Homer. The Irish novelist

invoked the Greek epic by titling the work after the protagonist. Events and participants

in Homer's work serve as types that are reflected in Joyce's story. These bind the

chronologies of the story lines together.5

Joyce wrote Ulysses, the story of Leopold Bloom, his unfaithful wife, Molly,

Stephen Dedalus, and the Dublin of June 16,1904, in the manner and style of Homer's

epic. His choice of the classic adventure saga set the mood and direction. In a classical

tragic drama, the frustration of a contemporary Irishman is set forth within the skeleton of

Ulysses' epic voyage. The personal struggle for his own freedom and that of the Irish

takes grand form in the warm glow of Homeric monsters and the capriciousness of Greek

gods and goddesses. Joyce applied the story motivation, the basic form, and the character

development to evolve and expose Bloom and his wife Molly. Further, he revealed

interior motivation through the window of the existing Homeric work.

An Underlying Reference

Joyce based many levels of Ulysses' lengthy form on Homer's work. Many new

styles, different writing techniques, and a variety of literary experiments were among the

ambitious goals Joyce set out to achieve. However, Bloom's story is set with his

everyday interactions, paralleling the monstrous confrontations of Ulysses' journey.

Shown in the placement of events to create an overall form to the work, the tale of

5For years, Joyce had considered the idea of parallel stories using Homer's writings. He wrote several earlier works, including The Dubliner 's that served as staging areas for the structural design of Ulysses. Character, motivation and internal conflicts were placed in new settings with new intents. This, in a way, was Joyce's lifelong obsession realized in Ulysses.

xvii

Bloom's life moved in a parallel sequence and a progression of place that make a flowing

formal design stemming from Homer.

The setting is independent of any relationship or derivative elements, but the

primary plot structure—longing for freedom, seeking a return to a formerly experienced

happiness—are common binding elements. These not only link the works in common

objective and motivation, but give additional insight into the subtext and mood of the

setting. The supporting characters and side issues provide an historical depth that adds

credibility to their contemporary relevance.

This series of notes served as a reminder of possible parallels between Bloom's return to Eccles Street and Ulysses' return to Ithaca....

The many Homeric parallels not included in the final text of Ulysses are significant, since they illustrate how much more important the Homeric background was for Joyce than it is to the reader. Invaluable to Joyce as a ready-made guide for the ordering of his material, the correspondences with the Odyssey do not provide a major level of meaning in the completed work. Ezra Pound was right in his early judgment of the Homeric framework: "These correspondences are part of Joyce's mediaevalism and are chiefly his own affair, a scaffold, a means of construction, justified by the result, and justifiable by it only."6

More Than Form

The parallels in Ulysses also imparted a deeper understanding of motivation and

character development. The fears and desires propel the story through an otherwise

ordinary day and give richness to the shared experience. The events captured and

encapsulated are part of a moment in time, soon to end, for both the nation and the author.

The subtext of the pursuit of lost greatness and return to a peace remembered is the

6A. Walton Litz, The Art of James Joyce: Method and Design in Ulysses and Finnegan's Wake (London: Oxford University Press, 1961), 21.

XVlll

foundation of Joyce's protagonist Bloom, his country, and his personal life, as seen

clearly in Homer's Ulysses.

References to events create reference markers that unify the work as a whole.

Bloom succumbs to the intoxication of "lotus blossom" in a hot bath. The characters

procede down a pathway of precise calculation through the streets of Dublin as cautiously

as Ulysses' travel through the Wandering Rocks. After carnivorously devouring lunch,

Bloom consumes a Gorgonzola cheese sandwich. He accompanies it with a blood-red

burgundy to cap off a "battle-scene" lunch break.

After all there's a lot in that vegetarian fine flavour of things from the earth garlic, of course, it stinks Italian organgrinders crisp of onions, mushrooms truffles. Pain to animal too. Pluck and draw fowl. Wretched brutes there at the cattlemarket waiting for the poleaxe to split their skulls open. Moo. Poor trembling calves. Meh. Staggering bob. Bubble and squeak. Butchers' buckets wobble lights. Give us that brisket off the hook. Plup. Rawhead and bloody bones. Flayed glasseyed sheep hung from their haunches, sheepsnouts bloodypapered snivelling nosejam on sawdust. Top and lashers going out. Don't maul them pieces, young one.

Hot fresh blood they prescribe for decline. Blood always needed. Insidious. Lick it up, smoking hot, thick sugary. Famished ghosts.

Ah, I'm hungry.7

The external structure of Ulysses fits into the framework of the existing work with

internal nodes of reference for alignment. A completely independent literary work

carefully nests within a supporting structure that reflects internal designs. The genius of

Joyce's work lies in part in this structure, arbitrarily constructed from an analysis of a

7James Joyce, Ulysses (New York: Vintage International of Random House, 1934), 171.

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literary work created centuries before.8

Machaut's Le Messe de la Notre Dame

Le Messe de la Notre Dame by Guillaume Machaut, a masterwork of liturgical

music, created over an extended period, forms the base for this present composition.9 The

various movements, compiled and performed within a single service, foreshadowed a

significant compositional form, the first setting of the sections of the Ordinary of the

Mass by a single composer.

A Brief Description of the Mass

Composed over a number of years, this stands as one of Machaut's finest

creations in its use of texture, timbral variations, traditional cantus firmus design, and

innovative strophic techniques. The work was composed evidently without specific

intention of unity; however, the work is integrated by consistent compositional methods,

technical devices, and similar motivic treatments.10

8Joyce, always attracted by Ulysses, envisioned himself in the classic story. It was a brilliant development to reverse this identification with the hero. Rather than seeing his own life in the early Greco-Universe, he places the character and development of the classic figure in his twentieth-century world.

9Elizabeth Keitel, "A Chronology of the Compositions of Guillaume de Machaut" (Ph.D. diss., Cornell, 1976). Keitel established through manuscript study the case of noncontiguous composition.

10The unifying elements are more procedural than motivic. The interjected two-voice separation sections of two measures each in the Gloria and Credo are simple and use in many permutations. These delineate sections in the non-isorhythmic movements. Similar voicings in the openings and cadences create a common atmosphere that reflects the composer and his style. This unintentional "cyclic" element call to mind a resemblance to the tightly constructed mass cycles that were prevalent in the fifteenth century and beyond. However, they speak more to the common author than a departure from the normal compositional method. This first pivotal work in the genre lays the

xx

The Machaut Experience

The Warp and the Weft extracts from the ephemeral spirit of the Machaut work

and recasts it in a contemporary mode. It is impossible, however, to experience any

musical encounter by attempting to adopt the same mind set as a previous century. The

twentieth century has lost its naivete. The simplicity of fourteenth-century lifestyle and

the influence of regional colloquial music would not have prepared those attending

polyphonic mass for the event they experienced. The quiet meditation during the

anticipated chant was broken as the lush brilliance of the four-voice music burst forth

with the opening Kyrie. Machaut's presentation of the Ordinary was unique. The attempt

to capture and re-create the "Contextual Ear" of a society in which an aural experience

could be new and unique is the focus of The Warp. Much attention has been devoted of

late to the issue of "period listening." The study is applied to authentic collegium

musicum and interpretive nuances of performance practice.11 One cannot hear with a

figurative "period ear," however accurate the performance may be in regard to the

notation; the actual initial exposure to any innovation cannot be reproduced by faithful

replication alone. Such a recapturing of the historical experience is achieved only

through an oblique approach that recreates a similar subjective experience, rather than an

exact duplication of the musical event. The emphasis is more on the music in an

environment than on the music as notated and analyzed.

In the blast of constant sound in modern society, how does a composition evoke a

groundwork for the highly integrated structure exploited later.

uSee the periodical Early Music 25, no. 4 (1997) for the current state of research.

xxi

fresh response? Barring shock value for its own sake, the uniqueness of the exposure is

beyond us, yet expectation can be created through the compositional design.

Choreographing environmental elements enhances a perceived musical reality, portraying

each microevent in a carefully positioned light. This subjective performance experience

is the closest approach we have to eliciting the reactions of a listener in pre-aural

preservation.12 Modern attempts at period listening seek to replicate the conditions and

explore the audience expectation to extract a sense of the original performance. This

quartet attempts to capture the spirit of wonder and mystery felt by a medieval listener

rather than by a twentieth-century audience.

Along with an unpolluted sound environment, this first complete mass cycle of

Machaut's is unique among his works; however, Machaut's characteristic style, one of the

primary binding elements of the cycle, permeates all the movements. The alternating

textures, the complex rhythms placed within an overall rhythmic flow, the voicing

patterns, the close, intimate sections of movement, and the open, expanded, more

deliberate places all impart viable elements of style. These applied specifics were used to

create a new composition that has a resemblance to Machaut's constructions. The re-

creation experiences and captures the delicate beauty of his legato intermezzi and the zest

of the syncopated two-voice interjection as prelude to a phrase opening.

12It is a recurring fantasy to have been present at a pivotal moment in history and to understand its significance to the flow of cultural development. Frequently the myopic state of daily experience keeps the viewer from recognizing significant events. The desire here is to recreate the audience's response at its first exposure to an historical event. Although it is impossible to recreate the inexperienced reaction, the generated expectation within the controlled atmosphere should enable a similar emotional impact as that on the first hearing of Machaut in the fourteenth century.

xxii

The Machaut Attitude

A significant aspect of Machaut's sacred music is his reverence for the

ministration of the service and the dignity of the portrayal of the text. The music conveys

an underlying attitude of devout hope and dignity. Machaut focused on the function of

the mass, regardless of the technique employed. The gentleness and strength imply a

power of conviction integral to the experience of Machaut's composition.

Selected material from the Machaut's maifss served as a reference to integrate

large formal decisions, thematic elements, and small motivic devices of The Warp and

Weft of Fabric. Analysis provided abstract data to generate control devices, or

quotations, stated directly as part of structurally significant statements (fig. 1).

Machaut Analysis

Form

Machaut composed polyphony for six sections of the Ordinary: Kyrie, Gloria,

Triplum

Motetus

Tenor

Contratenor

43 ihe

Figure 1. Le Messe de Notre Dame, by Guillaume de Machaut. Gloria, ms 43-46. Leech-Wilkinson Transcription.

xxiii

Credo, Sanctus, Agnus Dei, and the Ite Misse Est. The common mass cycles of the

fifteenth century frequently omitted the Ite Misse Est. However, The Warp and Weft of

Fabric retains Machaut's significant six-movement design. His work pairs the two

syllabic sections, the Gloria and the Credo, with similar sectional strophic forms. The

other movements are set as cantus-firmus tenor constructions in fourteenth-century

isorhythmic design. The Warp uses six movements in pairs. Three settings of large

multisectional movements have shorter, satellite companions with a single-concept

design.

Consonance

From the earliest writing of polyphony through Machaut's lifetime, vertical

relationships were viewed differently from those in the "common practice period"

harmonic concept. Logically stemming from plainchant, polyphonic composition

evolved in a linear fashion of multiple independent voices. Vertical relationships

developed a standard of consonance and dissonance that expanded throughout the

centuries into various rules for part writing and counterpoint.

Regarding consonance dissonance and resolution, Johannes Tinctoris articulated

the accepted treatment of intervallic relationships in Liber de Arte Contrapuncti. His

observations from the compositional practices of the late fifteenth century provided

specific interval definitions and described accepted uses of the intervals in the context of

a composition. These insights were gleaned from exposure to the premier composers of

the day and from his own artistic creations. Fifteenth-century polyphonic music perfected

these practices in the improvised, multivoiced works in which interval consonance had its

xxiv

aurally based birth.

But even as Tinctoris used his ear to articulate specific intervallic treatment in

linear counterpoint, he codified the new styles and techniques of the fifteenth and

sixteenth centuries. His works emphasized the increased importance of vertical

relationships in recognition of the new importance of harmonic movement.13 By

definition, this change in musical thought began in the first half of the century as a

departure from Boethius, whose philosophy still dominated in the fourteenth century.

Boethius's linear-based music construction, the primary concept in Machaut's day, is

most applicable to this analysis.

Line

The primacy of the singable melodic line in each part did not pass until the advent

of the early Baroque figured-bass accompaniments. Here, accompaniment voices were

derived vertically from intervals expanded over a melodic bass line that served as

complement to the solo melody. By the early seventeenth century, however, the linear

polyphonic composition had passed through the glory of Renaissance multivoiced

masterpieces. These works in turn presaged the intricate imitative forms that flourished

in the eighteenth century. In Machaut's time, this alternating cycle between the vertical

and horizontal lay with the linear relationship considered first.14

13Johannes Tinctoris, The Art of Counterpoint trans. Albert Seay (American Institute of Musicology, 1961), 3. Tinctoris placed the change in musical thought about 1435 with the compositions of Dunstable, Binchois, and Dufay.

14n The evolution of polyphony emphasized linear control of vertical relationships. The hierarchy of consonance developed intuitively from the intervals created by the juxtaposition of voices following independent, but parallel directions. Resulting

xxv

In keeping with his approach, selecting and exploiting linear material in the

organization of both vertical and horizontal relationships, The Warp and the Weft of

Fabric extractes material that applies to diverse elements, from thematic and melodic

figures to motivic structural devices and form. These controls developed from the

simplest of lines(fig 2).

Jf m m m

VvL/ ^ m • • m m m w m ^ m m

I te mis sa est:

Figure 2. Le Messe de Notre Dame, by Guillaume de Machaut. Ite Missa Est, Plainchant Introit. Leech-Wilkinson Transcription.

Tenor ICO ZEE I X - O - i - JCD $ H]

13

I H] 1 XT- o - ) O

Figure 3. Le Messe de Notre Dame, by Guillaume de Machaut. Kyrie I, Tenor line. Leech-Wilkinson Transcription.

combinations were declared either pleasant and proper or disconcerting and demonic. From these initial aural responses sprang the history of harmonic analysis. The emphasis of various musical styles may switch from vertical to horizontal; however, the key to a well-crafted composition lies in the balance of the two.

xxvi

Cells derived from the pitch and rhythm of Machaut's lines form structure cells.

This technique takes the duration of each note from the source (fig 3) and designated a

145

viola isP r J r ~'pr i i' /

Figure 4. The Warp and Weft of Fabric, by Michael McBride. Movement 5, ms. 145-47, viola.

pattern 3-1-2-3-0. These elements are integrated into units applicable to pitch or rhythm

interchangeably in the compositional process of The Warp. The cells modify into various

permutations of new figures related in character to the original (fig. 4).

Quotation

Machaut wrote extensively in quotation-based composition. The primary

treatment of liturgical music was the Cantus Firmus or tenor mass, in which the

plainchant melody sung at that particular section in the mass was placed in the tenor voice

in various rhythms. The voices built around this tenor voice, which controlled the length

and structure of the piece, with some adaptation.

Machaut further employed the indigenous fourteenth-century technique of

isorhythmic construction in the tenor voice, indicative of the medieval literati and their

X X V l l

desire for closely-held minutia, secret conundrums, and intricately hidden designs.15

Machaut arranged the tenor in carefully repeating patterns of talea (rhythms) and color

(pitches) of different length. These patterns cyclically progress in different phase

relationships. The movement ends when the cycles phase together for a cadence.

Machaut employed the cantus firmus isorhythmic technique in movements 1,4, 5, and 6.

The use of the tenor melody as a significant source of information applied to

several compositional decisions in The Warp to create unity from the same type of

integrated control in pitch, rhythm, form, and texture. The Warp derives from the tenor

line from several places in the mass. The string work captures the environment of

fourteenth-century liturgical music, juxtaposing the contrasting austerity of chant style

and the comparatively lush polyphonic design. The simplicity of vocal chant pairs

Machaut's complex rhythmic interchanges and developments to embody a vibrancy

applied in The Warp's subtle counter-rhythms.

Machaut Extrapolated: The Source for

The Warp and the Weft of Fabric

A single-faceted analysis of Machaut's work functions as the guideposts of the

framework, extracting and situating in the same design style as isorhythmic structures

built from a centuries-old tenor line. These primary points drawn from the mass rest on a

15The psyche of a period several centuries removed is easy to oversimplify. Although no one mind set can be said to be pervasive, certain trends are noticeable. The fourteenth century balances between the Middle Ages and the Renaissance. The complex blend of ruthlessness and sophistication gave rise to secret societies, adventurous intrigues, and circuitous relationships among peers. This fondness for intricacy revealed itself in many of the subtle nuances of literature and art. Isorhythmic construction is one such example.

xxviii

foundation of three basic precepts: pitch, motivic style, and rhythm.

Pitch

Machaut's Mass has a limited pitch selection, with strong dominance of modal

allegiances. It has a unique nonharmonic approach to pitch usage that reflects the

hexachord analysis in vogue in fourteenth-century musical circles. The pitch selection

deviates from a strict interpretation of the framework for consideration of the linear

melody. In The Warp this variation coincides with the use of musica ficta in modal

environments, reflecting "soft" and "hard" hexachord allegiances. Some sections

exploited the unique subtle contrasts between hard and soft scalar melodies. Historically,

coniuncta, or the chromatic alterations on individual pitches, created both horizontal and

vertical intervalic relationships. Both types of intervals emphasized musica ficta melodic

variations reflective of the spirit of the coniuncta.

Machaut's pitch hierarchy forms a central element in the framework design of the

contemporary work. The modal design of all pitch lines of the fourteenth century

contributes to an understanding of each pitch structure and melodic line. A deeper

principle exists beneath the surface of strict modality. The fourteenth century was long

before the concept of tonality. The logical approach to linear relationships developed

from the solmization of the melody using hexachord. This six-note pitch organization is

based on modal allegiances and the range of the line. The choice of pitch at B and F

seems at first to reflect the coming major scale; however, the use of Bb in Lydian mode

and the F# in mixolydian are reinforcements to the finalis. Rather than a key center, the

goal emphasized pitch dominance and relationship to the hexachord analysis of the

xxix

passage. The application of this principle in a polyphonic texture caused some ambiguity

in vertical alignments. The shift between B and Bb occurred quickly within a given

section as melodic lines shifted hexachords.

This variation in hexachord center provided a useful method of creating melodic

interest in The Warp and Weft of Fabric. Linear intervals alternate between diatonic

distances-based numbers of half steps and modal relationships in intervals of a third or

fourth within the existing "key."

Motivic Style

A strong unity of style carries over between Machaut's movements, especially

noteworthy given the noncontiguous likelihood of composition. Similar motivic figures

and rhythmic patterns exist in each of the movements. These devices function similarly

in each movement. Extending beyond the natural tendency of a composer to use favorite

styles and patterns, it indicates an effort of homogenous treatment of similar sections

10

Triplum

Motetus

Tenor

Contratenor

o

10

o J

10

10

1 frrs n * A VS.L/ " u C» — ^

—

O P fiTY „jn r & I- O 4)

Figure 5. Le Messe de Notre Dame, by Guillaume de Machaut. Credo Amen, ms. 10-11. Leech-Wilkinson Transcription.

XXX

within the mass. Some rhythmic patterns serve as ornamental figures in diminution,

based on the same pattern augmented in the tenor-countertenor voices. The similar

patterns within structural and melodic lines integrate a unifying factor throughout several

levels of the composition (fig. 5).

Machaut made a significant attempt to create elements of contrast to counter the

monophonic nature of plainchant present in the mass. The church historically endorsed

little variety in the presentation of the service, but allowed creative adaptations of the

Ordinary. Machaut took advantage of his opportunity in the polyphonic Ordinary to

provide dramatic interest arising from the abrupt transitions and bright contrasts of sound.

He derived contrast from manipulation of texture, timbre, and intravoice design.

The Warp uses different sections of the mass for a variety of purposes. It places

some sections of the mass as structurally useful and applies them as quoted material.

Triplum

Motetus

Tenor

Contratenor

93

i # # -

93 ihe

T W 93 ihe

93 ihe

i m iiou

ihe

nor su

ik LL IMI SU

imr

iior

-m-chri

wr chri

4leH-chri

chri

IMI I

jflloiT

-HeH-

A IMu

nor ste

m ste

DDT ste

W ste

Figure 6. Le Messe de Notre Dame, by Guillaume de Machaut. Gloria, ms. 93-97. Leech-Wilkinson Transcription.

XXXI

This is the case with one, two, and four voices of the section. One prominent example is

the statement in the Gloria of the text "Ihesu Christe." The brisk treatment of the syllabic

movement suddenly gives way to long-held notes, reflecting adoration and reverence.

This significant phrase is extracted and quoted in all four voices (fig. 6).

Machaut used the Cantus firmus technique for four of his movements. This form

incorporates the chant appropriate for the section of the Ordinary as the tenor line. The

tenor is organized in an isorhythmic structure that unifies the entire work. This technique

applies to all the melismatic sections in which form is more subjective. The structure of

the talea/color ratios integrates the various movements into common segments easily

analyzed as a cohesive work.

Triplum

Motetus

Tenor

Contratenor

|nHii i i t ~XJ" -o- $

17

i f f ! 17

3E

+"W ^

m w m 3E

T T Jjjjj

17

m 3E SJ=j= O ==j=j Figure 7. Le Messe de Notre Dame, by Guillaume de Machaut. Gloria, ms. 17-21. Leech-Wilkinson Transcription.

Machaut organized the two syllabic movements similarly, with a strophic design

that treats the larger volume of text with shorter musical phrases functioning as strophic

-xxxvn-

sections within a larger framework.16 These sections divide into subphrases delineated by

cadences. The sections themselves are separated by a rhythmic interjection of strategic

importance. This short single-measure phrase with no text in a syllabic setting uses the

two lower voices in a full-voice texture, darkening the color in an otherwise bright

movement. The element of abrupt contrast is integral to the significance of Machaut's

work. In The Warp and Weft of Fabric, it is extracted from among the primary elements

Triplum

Motetus

Tenor

Contratenor

d t r i i

m i T = f = r ^ 1 | | ,

— 4

1 $ > S U .

1

1 | | 0

-j- „

4

1 | j J JJ* it

| J -

— L ] —AJ

a " • —

mm -cL e-

* K rJ

' O

- Q * —

J e

s

=^=

Figure 8. Le Messe de Notre Dame, by Guillaume de Machaut. Christe, ms. 1-6. Leech-Wilkinson Transcription.

for foundational concepts (fig. 7).

Rhythm

Rhythm elements at micro-level and macro-structures form motivic devices that

apply to multiple layers of The Warp in form, melody, and rhythmic control (fig. 8).

16Otto Gombosi, "Machaut's Messe Notre-Dame." {Musical Quarterly 36, no.2 1950), 209-14.

-XXXVlll-

Rhythms from the Christe create diminution/augmentation relationships in similar

figures. The syncopated pattern occurs frequently in the accompaniment and melody of

The Warp. This section also includes the 3-1-2-3-0 duration ratio of the tenor. Analysis

and extraction of any aspect of Machaut's work created data applied to elements of The

Warp and Weft of Fabric, integrating micro-structures with the overall composition.

Other incorporated elements from the Machaut work include the timbral

relationship of four-voices in near-pitch imitative style, the ethereal style, the high

Tenor

Contratenor

T T 2 m IE

u J+ (Jo A-f i _ f f h *> « • V \Niy ^ O S- l—tzx — *3—

—1 / I f • mm m

r ° rJ o - •

4 — — ™€3

O '

Figure 9. Le Messe de Notre Dame, by Guillaume de Machaut. Kyrie 3, tenor-contra tenor ms. 1-8. Leech-Wilkinson Transcription.

contrast design among similar elements, voicing in four-part textures with interjections of

paired elements, and the reverential mood of the entire work. All these elements of style

and design created a new work from the old.

Machaut Applied: Overview

Applications of directly quoted material exist many places in the new work.

-xxxix-

Machaut's compositional decisions were duplicated in a twentieth-century context. The

exemplary forms chosen include paired movements with internal framework taken from

talea rhythm (fig. 9). Pitches gleaned from direct quotation in vertical and horizontal

situations create extracted and inverted intervals for use as The Warp's pitch line.

Rhythmic elements from tenor talea become linear intervals in new melodies in the

Triplum

Motetus

Tenor

Contratenor

| a

1 IE

A <)•

HI £

* O

3E ¥ IE d &

IE

IE

IE

Figure 10. Le Messe de Notre Dame, by Guillaume de Machaut. Sanctus, ms. 1-5. Leech-Wilkinson Transcription.

second movement. Rhythmic cells (i.e. 3-1-2-3-3 0) apply to pitch selection, rhythm

sections, and structural form (see table 2). This creates a pervasive unity that holds

together many elements of a diverse composition. The hexachord technique varying hard

and soft modal shifts was used in quotations in the second movement and applied

throughout the work (fig. 10).

Several specific sections from Machaut were taken for their mood and the

character of their setting. Rhythmic elements of the Credo Amen placed in

- x l -

Triplum

Motetus

Tenor

Contratenor

- 0 — » r - y j ^ h —

- P J * -

9

- o - = ** p * J>

I g y J J J J 7 J J J = ^

9

" / L - P

^ L J - J - J J J

[ I 1

1 \ '' *

9

- o -s1 O

n P \ v D « » • -o

r l r ' 1

Figure 11. Le Messe de Notre Dame, by Guillaume de Machaut. Credo, Amen, ms. 9-11. Leech-Wilkinson Transcription.

similar circumstances evoke the same bright feeling (figs. 11 and 12). The' Ihesu

Christe" statement of the Gloria, quoted in the third movement, brings its

plaintive quality to the entire piece.

In the broadest terms, the goal of The Warp is the basis of the perception

of its consonance and dissonance entirely on an arbitrary outside source. The

Violin I

Violin II

Viola

Cello

H w wtrrw 121

T3"

J j J j J J t J T 3 r r r f j f H i g _____ Lis V I V LJ

121

i

> >

Figure 12. The Warp and Weft of Fabric, by Michael McBride. Movement 1, ms. 121-23.

-xli-

elements that lend quality and greatness to Machaut's Mass impart the same

character to the string composition. Within the framework made by the structure

of referability was designed a new composition that exists as a separate entity and

has its own life, style, substance, and purpose.

In a sense, Machaut's fourteenth-century mass built a foundation for all

cyclic masses that followed. It also provided resources for a blueprint of

foundation, support elements, material specifications, and architectonic style to

create a space for a new musical work.

The Warp and Weft of Fabric

A brief examination of the layout and design of The Warp and Weft of

Fabric may prove helpful at this point.

Movement 1

Movement 1 is a series of colors on a single pitch, the hierarchy center D,

in various voices and production method. It gradually embellishes and develops

into a denser note structure, preparing for the opening ritornello.

The first movement begins with a repetition of a single pitch. This "D"

creates the tonal focus, primary mode, and pitch reference of the entire

composition. The pitch "D" serves as the finalis of the Dorian mode of Machaut's

movements 1, 2, and 3. This opening note links with the references and

quotations from the mass. The initial section unfolds in many registers, attacks,

and cut-offs. A variety of timbres creates a multifaceted view of the urge and

focus of the devout nature of the Machaut Mass. That spirit of devout emotion

-xlii-

captures the plaintive repetition through timbral permutations.

Table 1. Timbres appearing in the opening section single-pitch "color':

passage.

Violin 1 Violin 2 Viola Violoncello

ms. 1-6 upper register sul D

upper register sul D

upper register sul D

upper register sul A

ms. 7-8 touch-4 harm sul A

touch-4 harm sul A

touch-4 harm sul A

touch-4 harm sul A

ms. 9-11 touch-3 harm sul A

ms. 12-14 grace note on attack

grace note on attack

ms 15-17 quarter tones adjacent pitch

ms 18-26 upper register sul G

quarter tones adjacent pitch

ms. 27-32 touch-4 harm sul A

touch-4 harm sul A

ms. 33-38 natural-5 harm sul G

ms. 39-41 natural-8 harm sul D

natural-8 harm sul A

natural-8 harm sul D

ms. 42-46 double stops adjacent pitch

adjacent pitch double stops adjacent pitch

double stops

ms. 47-50 double stops quarter tones

adjacent pitch double stops double stops natural harm

As the first section progresses, new pitches add a complement to the opening,

reinforcing the centrality of D. The simple color tones gradually give way to tentative

-xliii-

statements of the melody of the second section, based on the vertical relationships and

melodic contours of the opening phrases of the Sanctus. This brief appearance

foreshadows a further development of the theme in movement 5 of The Warp and Weft of

Fabric. The brisk closing section introduces greater rhythmic complexity, using motifs in

diminution against themselves.

Movement 2

Contrasting elements highlight this simple companion movement. Thin textures

and longer note values pair with quick, asymmetric statements that employ fuller textures

and larger dynamics. The pitch contour introduces strong Lydian influences that are used

significantly later.

Movement 3

Movement 3 opens with a brisk, completely col legno section that intersperses the

melody among all players. The melody is based on the tenor cantus firmus from the Ite

Misse Est. The primary section of this movement repeats the music from the elongated

phrase "IHESU CHRISTE, " interjected twice into the fast-paced Gloria movement. The

similar phrases provide two cadence drone figures. The four strings play this slow

chorale style sul tasto non vibrato. The note durations shorten increasingly throughout

the section, accelerating the tempo of the foundation level while leaving the upper layers

of material unchanged.

A further quotation provides rhythmic interest and melodic variety. The two-

voice interjections from the Gloria exchange voices freely in The Warp in several

different pairs. These pairs sit atop a placid layer of undulating Ihesu Christe chords.

-xliv-

The final section mixes a pair of contrasting styles and techniques. The melody

from the Introit to the Gloria emerges first in slow tremolo. A marcato, imitative style

follows quickly and aggressively, displaying high contrast.

Movement 4

This fantasia on a theme, based on the same modal elements as the second

movement, uses twenty-three overlapping statements. Twenty-three is the number of

pitches in the Ite Misse Est tenor. The theme was developed from phrase characteristics

in the Amen of the Gloria, namely the lydian fourth that dominates the section in

Machaut's work, and the descending figure from measure 13 of the Leech-Wilkinson

edition.

Movement 5

The first section involves a lament with plaintive solo statements accompanied by

descending ornamental figures and behind-the-bridge "color" drones. These support

Triplum

Motetus

Tenor

Contratenor

-) i t j J s, zr~z: 6 • J " J j :

15

' j u , j J <->} 15

TT' Tjr-~o-

-e^ 15

j v j ^ j v j i J j j f f |* j f pi 7 f r ^ -O-:

Figure 13. Le Messe de Notre Dame, by Guillaume de Machaut. Gloria, Amen, ms 15-20. Leech-Wilkinson Transcription.

-xlv-

three iterations of Ite misse chant in a, g, and c; the first is stated solo, the second divides

the melody among separate voices, third is a tutti statement, in doubling with imitative

entrances.

The second section features a ritornello-like return of the motivic material used in

the second and fourth movements, melody and rhythm derived from the superius of the

Gloria, Amen. But here, a counter melody accompanies the reorganization of melody that

comes from the tenor of the Gloria, Amen.

The third section uses pizzicato in all four instruments on a different rhythm taken

from the Gloria, Amen, from the cello (fig. 13) for a primary rhythm pattern (fig. 14).

The pattern accompanies itself in diminution in the secondary role of Machaut's upper

voices. The distribution of the rhythms into layers serves as restatements of the pattern

and accompaniment figures. This reflects the structure of the Machaut Amen.

Distribution of rhythmic assignments organize a complex pattern derived from the

Violin 1

Violin II

Viola

Cello

/ mf

Figure 14. . The Warp and Weft of Fabric, by Michael McBride. Movement 5, ms. 143-47.

-xlvi-

tenor note durations in the Agnus. The pattern plays fully in the cello and then plays in

retrograde. The other instruments play shortened variation of the same pattern. The pitch

developed by linear intervals derives from the talea rhythm of the same tenor line.

Table 2. The Warp and Weft of Fabric texture and form in the fifth

movement, third section, ms. 143-84, derived from tenor rhythm in Agnus

1 2 3 4 5 6 7 8 9 10

Vln 1 dim dim 1st 2nd full full 2nd

Vln 2 dim dim full 2nd 1st full dim dim

Via full 1st 2nd full off dim dim 1st 2nd

Vic full 1st 2nd full off dim dim 1st 2nd full

Agnus o- J o o- - J J J o o-

11 12 13 14 15 16 17 18 19 20

1st dim dim off full 2nd 1st full

1st 2nd full full 1st 2nd full off dim dim

2nd 1st dim dim off full 2nd 1st full

full 2nd 1st dim dim off full 2nd 1st full

Movement 6

Opening with a cello contemplation on the Deo gracias of the last movement, the

following four-voice section shares a melody on the Ite missa est tenor, each note in the

line played and held by a different instrument.

-xlvii-

The Warp and Weft of Fabric Analysis

Form and Texture

The Warp and the Weft, a string quartet in six movements, was designed in three

paired groups. The primary movements, 1, 3, and 5, are multisectional, and the

accompanying shorter movements are simple or two-part form.

Table 3. The Warp and Weft of Fabric form and pace

1 Slow, ms 1-50

Moderate, ms 51-96

Fast, ms 97-164

Slow, ms 165-79

2 Slow, ms 1-12

Slow/Fast alternate, 9 pairs ms 14-58

3 Fast, ms 1-14

Slow, ms 15-113

Slow/Fast/Slow /Fast/Slow, ms 120-64

4 Fast, 23 statements, ms 1-54

5 Slow, ms 1-59

Moderate, ms 60-80

Moderate, ms 82-142

Fast, ms 143-88

6 Slow, ms 1-27

Slow, ms 28-47

The first movement opens with an introductory color progression that explores

various timbral creations of single pitch. Although not an attempt at

Klangfarbenmelodie, the drone section moves forward with energy and line created by the

variety of methods used to produce the pitch D. Adjacent pitches are added to contrast,

-xlviii-

conflict, and resolve. The pitches include quarter tones that are placed above the D with a

lowered Eb. The second section states a theme used significantly in this work. The

primary theme comes from the Machaut Gloria, Amen in the superius melody. This

melody is useful for its descending-ascending structure, its musica ficta, leaning lydian

fourth, and its staggered waltz rhythm. The slow section displays the same texturing as

the Gloria, duets of melodic material paired with a double accompaniment. However,

these elements are constantly shifting voices, making the framework malleable.

The third section is briskly imitative. The pitch is rigorously controlled in the

manner discussed earlier. The form depends on continuous restatements of the opening

rhythm, not unlike the Gloria passage in its rhythmic repetitions in the contratenor (fig.

15). The closing return of the primary theme develops a statement that is the harbinger of

the theme's use in the fifth movement.

The second movement emphasizes melodic lines of paired voices, a central

Viol in I

Viol in II

Vio la

Cel lo

ftiLT'crP *

l - ^ r r r r r r i * i* i=

£

V y > u u-1 k— 135

f

a .

135

f « J ^ -

Figure 15. The Warp and Weft of Fabric, by Michael McBride. Movement 1, ms. 135-38.

-xlix-

component of Machaut's textural design. The slow-to-fast contrasting statements

demarcated by the mixed meters build on another of Machaut's significant principles.

The drama of the juxtaposition of differing elements and rhythmic figures highlighted the

fourteenth-century work (figs. 16 and 17).

The introduction of the third movement states in col legno a melody based on 3-1-

2-3 intervals from the tenor of the Kyrie. These melodic elements are found throughout

the string quartet and are considered a return to a "tonic" position, one of fundamental

importance. The following repetitions of the Ihesu Christe quote provide the basis of an

undulating drone of more primary material. Utilizing quotations from the interjections in

the Gloria mass movement, contrast was achieved with some of the same material that

Machaut placed in sections requiring high contrast. The brief two-voice exclamations

punctuate a consistent unvarying texture. In the Warp, the voices merely rise out of the

ebb and flow of the base pattern to create peaks of interest in the overall wash of sonority.

Triplum

Motetus

Tenor

Contratenor

41

i iu-yi nor -Uoff- noir

i -fleff-

41 iu wi HofT

Jfl ll l

3c«: nor 41

IF-W J i i llojl Dor iF rr nor

3E

3E

^0 i£ m

Figure 16. Le Messe du Notre Dame, by Guillaume de Machaut. Gloria, ms. 41-47. Leech-Wilkinson Transcription.

-1-

The contrasting sections that end the movement, with a slow tremolo pairing the

fast Marcato, continue the same goals of abrupt change for dramatic purpose. Both

sections are based on the theme from the introit to the Gloria polyphonic movement.

The fourth movement's form resembles a theme and variations on material from

the Credo represented twenty-three times in sometimes overlapping statements. The

twenty-three refers to the number of pitches in the Ite misse introit. This number figures

prominently in the formal structure of the Warp.

The color and flourish of rhythmic figures, ornamental turns, and harsh tritone

outlines accompany the melody of the often-stated Ite misse est tenor for the opening of

Violin I

Violin II

Viola

Cello

p 19

I I

U "

t* — —mf

tl—d 19

| £ > -

— 4

(4 N 19

4 > :

W 1

f . 7l~Z"

V O

r * o

A—J-

P p

_ u

~ e

Ht®

9909999 * 3

t ° H rri J

Figure 17. The Warp and Weft of Fabric, by Michael McBride. Movement 2, ms. 19-25.

the fifth movement. The length and breadth of the section spreads out with spacious

presentations of each element and the use of colorful behind-the-bridge bowing in various

instruments over long-duration notes of the Ite misse tenor melody. The first section

-li-

concludes with a homophonic section based on this melody with its rhythm stated in a

singable manner.

The main section, a chorale with obligato on the opening Gloria superius phrase

was developed further and harmonized in a more traditional manner than the original

setting. Machaut often used the technique of diminution and augmentation of motives

explored in the pizzicato of the third section. Based on a pattern of intervals 3-1-2-3-0

derived from the rhythm of the Kyrie tenor, the motifs form a connective tissue between

several sections.

A solo cello section opens the sixth movement with double stops, linear intervals,

and pitch reinforcement of D-A, prominent pitches in the first three Machaut movements.

Similar intervals are explored vertically in four voices in the last section.

Pitch

Pitch material develops in a variety of ways, originating from two basic

approaches. Pitch can be based on actual notes that are quoted and then repositioned

within a texture. This creates similar scalar material and modal composition

techniques.

In addition to direct quotes, various elements of the Machaut were analyzed

for aspects used as control data. These data in turn were applied to linear intervals.

The repeated cells develop characteristics from the mass but are unique and unlike it

in sound. The intervals are applied in two ways that invoke the usage of musicaficta

to create "hard" and "soft" hexachord interpretations. The hexachord selected for a

passage affects the pitches of F and B. These notes were altered to emphasize the

-lii-

"ut" of the hexachord chosen. This was not to create a major scale in form. Through

the avoidance of a tritone interval, fulfilling the intended function of shifting pitches,

the hexachord pattern was framed to reinforce the primacy of pitch F in the soft

hexachord's use of Bb. The G hexachord, with a "hard" B natural, was additionally

altered with an F# as needed to avoid the devilish tritone in vertical relationships or

linear writing. This technique of subjective pitch alteration was put to use in a

variety of ways in The Warp and Weft of Fabric, from melodic variation to subtly-

shifting coloration in background figures.

Taking a cue from the Kyrie, the primacy of D, established in the opening section,

was emphasized with harmonics, near pitches, quarter tones, and many different timbres

and methods of production. Pitch intervals chosen from the Gloria Amen establish a

melodic source of quotation that is malleable for new settings.

The interval-content pattern using 3-1-2-3-0 from the Kyrie tenor creates the

melodies in the third section of movement 1. "Hard" hexachord material states the lines

Cello

151 _ _ >

Cello '"u , n u r f f f f j - l f i f F f T j

Figure 18 The Warp and Weft of Fabric, by Michael McBride. Movement 1 Cello, ms. 151-57.

-liii-

with literal interpretations of the intervals as numbers of semi-tones. The material

"softens" in statements, using the thirds and seconds as staff distances with no modal

variation (fig. 18).

In the last section, the melody from the second section paired with tempo from the

first creates more complex interrelationships within the movement.

The second movement, primarily a "quotation-based pitch selection" in D Dorian

extends the quote and development of the Machaut section without deviating significantly

from the pitches of the source. A quote from the Gloria, Amen emphasizing a D-A range

was exploited for its "Lydian" fourth. Not truly in the Lydian mode, the interesting

variation provides a melody that emerges in a number of sections throughout the work.

Movement 3 utilizes "quotation-based pitch selection," as well as other passages

from the Machaut used prominently, the Ite missa est Introit, the "Ihesu Christe"

quotation, and the interjection from the Gloria (fig. 19-20). These sections were

extended, adapted, and relaid in new textures as elements that formed new structures

from the old, recognizable material.

Tenor V *1 / fj frr\ • # *

Am/,£< i>• • -

1) • J rj

i UZEH O ' " o

Figure 19. Le Messe de Notre Dame, by Guillaume de Machaut. Ite Missa Est, Tenor. Leech-Wilkinson Transcription.

-liv-

The fourth and fifth movements employ "quotation-based pitch selection," but

extract different emphases from each. The Gloria, Amen with recurring statements

emphasized C-G. The melody manipulated from the Ite Misse Est tenor contains a tritone

from "soft hexachord" application. The Gloria opening, with its pitch outline and

rhythmic phrasing, forms the basis for many motives in the final three movements. The

last section of the fifth movement uses the interval derivation method derived earlier from

the Kyrie tenor. The last short movement emphasizes modal relationships and the Ite

Misse Est tenor notes. The variety and complexity of treatments of material from fairly

common sources create a highly diverse, but integrated pitch environment.

Violin I

Violin II

Viola

Cello

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1

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Figure 20. The Warp and Weft of Fabric, by Michael McBride. Movement 5, ms. 27-28.

-lv-

Violin I

Violin II

Viola

Cello

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Figure 21. 77ze fFarp We/? o/Fabric, by Michael McBride. Movement 4, ms. 8-12.

Table 4. Structural elements in The Warp and Weft of Fabric

Timbre Rhythm Tempo/Meter

i. i) Harmonics in various configurations- different strings, nodal points and registers; on D

Long-breathed non-metric, only varied for tonal accent

36 4/4 nonmetric

-Ivi-

Timbre Rhythm Tempo/Meter

2) Melody and accompaniment texture

Fast syncopated repeated notes contrasting long melodic line

64 4/4 nonmetric; quote in 3 in 4th measure

3) Polyphonic texture Imitative rhythmic motif with new accompaniment melody based on 3-1-2-3 cell

120 4/4 metrically based 5/4 breath

4) Homophonic texture Diminution and augmentation

36 4/4 with 3 melody

2. 1) Homogenous attacks with contrasting figures in various attacks and accents

Asymmetric melody reflected in meter

95 3/2

2) Grace notes- II, 36, staccato II, 42

Diminution and augmentation

95 mixed meter

3. 1) Col legno entire section Melody separated and scattered through voices

108

2) Arco sul tasto non vibrato, interjected with vibrato ordinario

Syncopation in interjections

108 actual meter shortened in note duration progressively

3) Tremolo vibrato ordinario sections, Marcato bold accent polyphonic section

Silence punctuates in fast Marcato section; asymmetrical construction

72/96 4/4 metered

4. 1) Hard attacks mark each phrase variation

Rhythmic demarcation of each statement with sfz attacks (Figure 21.)

108 mixed meter 4/4 5/4 4/4 3/4

5. 1) Notated glissando; color tones- high and pensive, behind the bridge, imitative

Notated glissando; long spaces lines with no movement

55 4/4 nonmetric

-lvii-

Timbre Rhythm Tempo/Meter

2) Chorale and obligato texture Expressive elements of melody notated in rhythm and meter

75 3/4 mixed expressive pauses 7/8 8/8

3) All pizzicato and syncopated sections

Diminution 125 3/4 metric

6. 1) Texture change with solo section

Long-breathed lines 65 4/4 nonmetric

2) 4-voice polyphonic texture Imitative entrances 65 4/4 nonmetric

Contrast and Unity

The element of contrast so fundamental to the Machaut embodies another aspect

germane to the textural design of The Warp. A brief layout of the variety of components

present in the materials from the Machaut is seen below. In part, these were taken from

Machaut's own use of texture, and in part, they are interpretations of the mood and

climate subjectively experienced from the piece. However derived, the emphasis on

advantageous placement creates a sense of the awe and richness that Le Messe de Notre

Dame evokes.

Table 5. Elements of contrast and unity in The Warp and Weft of Fabric

Description Elements of contrast and unity

1. 1) Colors of pitches; 4 voice independent entrances

High Contrast between drone and silence; contrast between voices; contrast in texture between sections

2) Imitative melody; rhythmic accompaniment

increased unity with imitation; rhythmic figure contrasts primary line

3) Polyphonic, imitative voices independent, but low contrast with imitative line

-lviii-

Description Elements of contrast and unity

4) Homophonic with individual entrances

Strong unity; homogenous

2. 1) Imitative, syncopated chorale

Weak textural unity with sectional contrasts and silence between statements

2) Homophonic, with paired voice sections

Strong unity with textural changes for contrast

3. 1) Col Legno staccato; sparse texture imitative 4-voice, scattered melody

High contrast between voices entrances with unity in timbre and pattern; high contrast preparation for next section

2) Long-breathed 4-voice homophony with paired voice interjections

Strongly unified texture with contrasting counter-lines that are similar in line for strong unity

3) Solo; 4 voice imitative, syncopated chorale

High contrast in timbre and style; contrast between voices and sections

4. 1) Melody and counterline, 2-voice, 3-voice, 4-voice

High contrast overall; unity in paired voices and return to similar textures

5. 1) Single lines overlap accompaniment figures/ imitation

High contrast opening; repetition creates unity that prepares next section

2) Homophonic with descant Strong unity with contrasting obligato

3) Imitative with rhythmic accompaniment

High contrast textures; similar figures exchanged between voices for unity

6. 1) Cello solo, double stop Low contrast within section; high contrast with rest of work

2) 4-voice homophony/ imitative with accents to emphasize pitch series

Unity increases in texture and content to final statement

The contrasts between sections was designed to create a sense of wonder at each

new opening statement. Whether abrupt or subtle, the cadences and transitions led the

listener through a door into a new experience alien in nature to the twentieth century, yet

-lix-

full of its vigor and vitality. The degree of diversity complemented the high level of

integration in each section.

Performance Considerations

It has been considered that nonscalar music could be written for strings involving

a notational system that disregarded all standard clef denotations. The purity of the

instruments in virtuoso performance creates a clean environment, free from the

entanglements of standard notation. Players are assigned pitch in cycles-per-second and

duration in fractions of seconds, with an external monitor for point of reference.

However for The Warp, this "logical" approach was considered "illogical" in application

and relegated to the arena of computer-controlled devices. The extensive training

required for musicians to develop a new method of reading would be prohibitive.

Therefore, the musical designs were applied to the existing methods of notation to render

the composition playable.

In accordance with that, several concessions were made in the basic notation to

facilitate the performers' quick understanding. Meters not involving a quotation with a

specific reference were expressed in common time and with standard durational markings

without aleatoric techniques. Tempo was given in standard manner with little rubato or

free sections. Alterations to the tempo were generally applied by lengthening or

shortening note duration rather than worded style instructions. No key signatures were

used, but all accidentals were given in each measure and were intended to be held

throughout the measure, in accordance with standard practice. All extended techniques

involving "risk" to the instrument such as col legno were grouped together into single

-lx-

movements, allowing a bow switch if required. All untraditional techniques were

described verbally at the beginning and were denoted at the time of execution with a

symbol and footnote.

Objective and Subjective Measurement

The presentation of a work of music is designed with the specific purpose of

creating a controlled environment for listener reception. Care is taken to expose the

audience to a pristine performance situation to allow the actual music to be the primary

mover. Many elements are considered to suggest moods of anticipation, and expectation

fulfilled or defeated is a key element of the success of a work. Whether this environment

is perceived or subliminally conveyed, it is built upon with each note of the piece and

each aspect of the framework. The Warp and Weft of Fabric creates this environment

largely from relationship to its frame of reference.

This ability to key many aspects of the work to the fourteenth-century-based

framework serves many purposes. The invocation of a vocabulary much larger than that

endowed by an arbitrary form, key center, or style benefits the presentation of the music.

The dramatic visions lend austerity and intrigue, whether exposed or discerned

intuitively. The cross-cultural style achieve a clash of contrast that was common in the

stark days of Machaut's music, but are rare in thick modern soundscapes. This outside

reference also provide an expectation conducive to sonic surprise or aural fulfillment.

The use of these references as tool and materials of construction evokes the familiar and

remembered through the new and inexperienced.

Substructure arising from the application of an external framework onto the fresh

-lxi-

composition integrates microelements within the controlling authority, pleasing the ear as

each diverse piece functions within the macrostructure. The discovery of commonality

between sectional rhythms and motives reflects the character of the work as a whole. The

soundness of tightly integrated forms binds each element into the common piece.

Consonance and dissonance take on new meaning as the sense of expectation is altered to

follow the flow of the work. Unity and contrast are perceived through convergence and

divergence from the focus on the framework. Dissonant attributes defeated the resonance

of Machaut's work throughout the piece. Consonance reinforces the sense of place

within the larger structure. The patterns that arise from the similarities and contrasts

make the design of the whole. These color and content choices become the warp and the

weft of the weave. These combine, converge, and disseminate to produce a fabric that

has variety in color and texture. The uniqueness of each pass of the shuttle integrates into

the cloth as a single whole pattern that is reinforced by each individual fiber.

The achievement of this pattern was measured by an analyzable use of craft, skill,

and technique. Creation of measurable data configuration with a logical presentation of

quantified similarity within stated goals indicates the achievement of quality in a work.

The ease with which a work is moved from paper to performance reflects skill in the

design and notation, yet these elements ignores an intangible aspect of a musical

composition, the ephemeral measure of art.

Conclusion

Ultimately, true success is a measure of the intuitive elucidation of a deeper

-lxii-

reflection shared by composer/performer/audience-participant. The mark of achievement

is in the listener's response, the "fey" perception of a remembered quality cast in a new,

enriching light. This reflection communicates between participants not the picture of a

landscape, but the experience of one's having stood in that landscape, smelling the grass,

feeling of wind, and hearing the movement of branches in full peripheral vision. The

emotion is carried, the abstract translated into new elements, different visions with the

same breath of response. This intuitive aspect of artistic expression was expounded by

James Joyce.

How did he elucidate the mystery of an invisible person, his wife Marion (Molly) Bloom, denoted by a visible splendid sign, a lamp?

With indirect and direct verbal allusions or affirmations: with subdued affection and admiration: with description: with impediment: with suggestion.

Both then were silent? Silent, each contemplating the other in both mirrors of the

reciprocal flesh of theirhisnothis fellowfaces.17

Joyce's vision was enhanced not by guesswork or hypothesis. The imagination

supplies from remembered experience the detail of a vision that is complete in form, but

is provoked by the suggestion of that memory, the breath of air from some long-forgotten

time. Memory allows a new dream to be born from old ashes when prompted. In The

Warp and Weft of Fabric, the effectual elicitation of these new/ancient experiences is the

most profound mark of success. Inasmuch as this is achieved by the invocation of

Machaut's Le Messe de Notre Dame in a new work, it finds its own place in the historical

17Joyce, Ulysses, 702.

-lxiii-

progression of musical literature.

-lxiv-

WORKS CITED

Sources on James Joyce

Davies, Stan Gelber. James Joyce: A Portrait of the Artist. New York: Stein and Day,

1975.

Burgess, Anthony. Re Joyce. New York: W.W. Norton and Co., 1965.

Givens, Seon, ed. James Joyce: Two Decades of Criticism. New York: Vanguard Press,

1948.

Litz, A. Walton. The Art of James Joyce: Method and Design in Ulysses and Finnegan's

Wake. London: Oxford University Press, 1961.

Murillo, Louis Andrew. The Cyclical Night: Irony in James Joyce and Jorge Luis

Borges. Cambridge: Harvard University Press, 1968.

Sources on Guillaume de Machaut and the Fourteenth Century

Apel, Willi. "French Music of the Fourteenth Century." Journal of the American

Musicological Society 8 (1955): 70-71.

Burkholder, J. Peter. All Made of Tunes: Charles Ives and the Uses of Musical

Borrowing. New Haven: Yale University Press, 1995.

Burstyn, Shai. "In Quest of the Period Ear." Early Music 25, no. 4 (1997):

Dean, Jeffrey. "Listening to Sacred Polyphony c. 1500." Early Music 25, no. 4 (1997):

611.

Friedrich, Ludwig von. Guillaume de Machaut: Musicalische Werke. Vols 1-3 Leipzig:

Breitkopf, and Hartel, 1926-29.

lxv

Guillaume de Machaut. Musicalische Werke. vol. 4 Wiesbaden, 1954.

Fuller, Sarah. "Line, Contrapunctus, and Structure in a Machaut Song." Music Analysis 6

(1987): 37-58.

. "On Sonority in Fourteenth-Century Polyphony: Some Preliminary

Reflections." Journal of Music Theory 30 (1986): 35-70.

Gennrich, Friedrich, ed. Le Messe de Notre Dame de Guillaume de Machaut in

facsimile. Darmstadt, Germany: Summamusicae medii aevi, Vol. 1. 1957.

Gombosi, Otto. "Machaut's Messe Notre-Dame." Musical Quarterly 36 (1950): 204-24.

Hoppin, Richard. Medieval Music. New York: W. W. Norton and Co., 1978.

Keitel, Elizabeth. "A Chronology of the Compositions of Guillaume Based on a Study of

Fascicle-Manuscript Structure in the Larger Manuscripts." Ph.D. diss., Cornell

University, 1976.

. "The So-Called Cyclic Mass of Guillaume de Machaut: New Evidence for an

Old Debate." Musical Quarterly 68(1982): 307-23.

Knighton, Tess. "Spaces and Contexts for Listening in 15th-Century Castile: The Case of

the Constable's Palace in Jaen." Early Music 25, no. 4 (1997): 661.

Leech-Wilkinson, Daniel. Machaut's Mass: An Introduction. Oxford: Clarendon Press,

1990.

Lessem, Alan. "Schoenberg, Stravinsky and Neo-Classicism: The Issues Reexamined."

Musical Quarterly 68, no. 4 (1982): 541.

Leguy, Sylvette, ed. Guillaume de Machaut: Oeuvres Completes. Federale

lxvi

Commemorative Etabilie pars 5. Paris. Le Droict chemin de musique, Vol. 6,

1977.

Messing, Scott. Neoclassicism in Music: From the Genesis of the Concept through the

Schoenberg/Stravinsky Polemic. Ann Arbor, MI: UMI Research Press, 1988.

Page, Christopher. "Listening to the Trouveres." Early Music 25, no. 4 (1997): 639.

Parrish, Carl. The Notation of Medieval Music. New York: W. W. Norton, 1957.

Reaney, Gilbert. "Machaut." New Groves Encyclopedia. 1981.

. Guillaume de Machaut. London: Oxford University Press, 1971.

Schrade, Leo. Polyphonic Music of the Fourteenth Century, Vols. 2-3, Works of

Guillaume de Machaut. Monaco: Editions de L'Oiseau-Lyre, 1958.

Stevens, Denis, ed. Le Messe de Notre Dame de Guillaume de Machaut. London:

Oxford University Press, 1973.

Thomson, J. M., ed. Early Music (special Machaut issue) 4,1977.

Tinctoris, Johannes. De Natura et Proprietate Tonorum. trans, by Albert Seay. Colorado

Springs: Colorado College Music Press, 1967.

. Liber de Arte Contrapuncti. Trans, by Albert Seay. American Institute of

Musicology, 1961.

. Proportionale Musices. Trans, by Albert Seay. Colorado Springs: Colorado

College Music Press, 1979.

. Terminorum Musicae Diffinitorium, An English Tranlation Together with the

Latin Text. Trans, and annotated by Carl Parrish. London: Glencoe Collier-

lxvii

Macmillan Ltd., 1963.

Tuckman, Barbara. A Distant Mirror: The Calamitous Fourteenth Century. New York:

Knopf, 1978.

lxviii

The Warp and Weft of Fabric First Movement

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155 1st Mvmt

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Vln II

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scat u i j ' j i ' l n

155

i

= /

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167

167

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n i g .

177

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n f r r p

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mm PPP

f rr PPP

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PPP

Second Movement

i J. Michael McBride

95

Violin I

Violin II

Viola

ViolonCello

u p

J° |rJ J • | ~ r J-|-J J J = mfZ^=—P f P-

- o -

' = 95

l i- J. JlJ

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Via

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f IE

P mf P

9 (9 (O (P

£ P mf P

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P 0

r ~ ° o 6> l # = -... .

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r r r ir r f # 13

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13

JI j J i - r i l l Vln I

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Via

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P. 13

/ 110

f

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13 : //0

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f

i hnn H i "*7 Jin1' j

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19

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J J -2nd Mvmt

19

S E

19

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P P

o IE 1 J 3 J 3 J 3 J ^ J ^ O A A 1 mp P

25

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30

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fif r i r r f r f i r i T* t* ~~l"~

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35 j, j, j, J, j t . J i y j fiv ffi p* fp T» [" W P7 P7 P7 P7 P7^7

2nd Mvmt

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Via

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35 / /

A ft J 1 U J # J iJ J * # tr # O

35 -O-/

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47

47

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2nd Mvmt

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P

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47

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51

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ex. P

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J-108

Violin I

Violin II

Viola

Violoncello

$

Third Movement

col legno

Michael McBride

£ j:

mp 108

2E col legno

mp * • 1J = 108 col legjio

E<" PI Pig

m ==5= £5

simile

mp re?- i i ' t d p i

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11

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11

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3 T

mp

3rd Mvmt

16

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vib. ord.

i sul tasto non vib.

T T

16

mp vib. nrd sul tasto non vib. vib. ord-^ s

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==^=; - O - D

vib. ord.

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21

m

mf sul tasto non vib.

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n mf vib. ord.

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26

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4 Y , y l ^ - & Vic

-17-

3rd Mvmt

31 vib. ord. sul tasto non vib.

Vln I

Vln II

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Vic

Vln I

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Vic

Vln I

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3=5 0~0 -P-f

31

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P1 XT

31

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vib. ord.

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36 vij^ordsul tasto non vib. vib. ord^m sul tasto non vib. v i k j i wm 0 P r " p

# o

36 vib. ord. sul tasto non vib.

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36

m $

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" w 3 j .

p J -1

36 vjlx-ord. sul tasto non vib.

3 x n

p f 7W/ P 41 vib. ord.

mm H i r

41 vib. ord.

5 j Kn 41 vib. ord.

31 sul tasto non vib.

5 t 41 vib. ord.

r i s \ j r r i p t f p sul tasto non vib.

Vic

/

- 1 8 -

3rd Mvmt

46

V l n l

Vln II

Via

Vic

V l n l

Vln II

Via

Vic

V l n l

Vln II

Via

Vic

—6^ P

£ ^vib. ord sul tasto non vib. vib. ord. sul tasto non vib,

46 vib. ord.

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mj

sul tasto non vib.

0 0.O p

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46

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i SI vib. ord.

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vib. ord. Sul tasto non vib. vib. ord. *sul tasto non vib.

w mf f

jm i ffliJi

p~ — jjfzf

vib. ord. sul tasto non vib.

pw. w 0 0 a=s

0 w # P

46

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fi 51 vib. ord.

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m i J U J viiL^rd.

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'i sul tasto non vib.

i :0= p 56

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1—p sul t£

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r - >.

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m T&~

P tt 56

m P i J -J-p r ut $

-19-

3rd Mvmt

Vic

£1 vib.

V l n l

Vln II

Via

Vic

V l n l

Vln II

Via

Vic

Vi l l i

Vln II

Via

E f e sul tasto non vib.

61

* mjr P

i 'J

^vib.^ord. s u l t a s t 0 n o n v i b vib. wd. Sul tasto non vib.

vib. ord.

Ei

mr~ P sul tasto non vib.

0 mf P

61

m mf — w pzg.

vib. ord. Sul tasto non vib.

-o-

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61 vib. ord. sul tasto non vib.

vib. ord. vib. ord. sul tasto non vib. s^_su\ tasto non vib.

* p ¥ Mm mf P "

66 vib. ord.

m mf s sul tasto non vib.

f 4 4 O

' P 66 vib. ord.

vib. ord. m

sul tasto non vib.

j j'j j ' j Sm 66

1 vib ord sul tasto non vib.

sul tasto non vib.

f

5 Q I J-—' I

mf pv- n

vib. ord i sul tasto non vib.

•0—0-£

66 vib. op&r*

mf P

M +JL

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71 sul tasto non vib. vib. ord. vib. ord.

3 0 • Zru * 0 ' 0—• P w f

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j C£ctiv_J j. + 7nf^ P W- 17 I 'ji

71

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sul tasto non vib.vib. ord.

f T r cTrr~M-i cTCr sul tasto non vib.

mf £ p

- 2 0 -

3rd Mvmt

76

Vln l

Vln II

Via

Vic;

sul tasto non vib.

j. jjj 70 vib. ord. m sul tasto non vib.

7 6 vib. ord. P

sul tasto non vib.

P ~o u J- 'J 0S*.

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81 vib. ord.

Vill i

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V l n l

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W~0j0

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81 vib. ord.

^r-

sul tasto non vib. vib. ord.

£ E 4*

sul tasto non vib. vib. ord.

m m mf

sul tasto non vib.

is i7jij33jjTji sul tasto non vib.

mf W vib. ord. ^ sul tasto non vib. vib. ord.

mm -0T&- m 81 vib. ord.

sul tasto non vib.

mf cr piiEccrf--' vib. ord. sul tasto non vib

r i' 'cj-ccrcr i

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86

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. ord.

i

01 O ^ cresc.

vib. ord. Bar mm i

86 vib. ord. sul tasto non vib.

w p - 2 1 -

3rd Mvmt

Vln I

Vln II

Via

Vic

Vln I

Vln II

Via

Vic

Vln I

Vln II

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Vic

U- j 44 Jjffi

vib. ord.

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101

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• " . O R F I F I N G f

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106

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Vln I

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W- 0 00—0-0-i flj' J J J j j fri 106

m f 106

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® sub. ff

m J j mn j 9—P-P" # 27

sub. ff 106

3 r r i ^ r c f l - ^ ^ r * t err r rrrrr 111 sul tasto non vib.

pi = 72 sub. ff vib. ord.

0^ L 0-PP

111 sul tasto non vib. i = 72

vib. ord.

111

ppj. *

sul tasto non vib

n 0-72 vib. ord.

gliss. trem. ^ ghss. 7^1

111

PP

sul tasto non vib.

J. J iJ / 4-72

vib. ord.

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Marcato J = 9 6

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JfjuffliOT ' A 1 7 A *

116 00

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116

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96

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3rd Mvmt

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£ 121

Qm Marcato mm

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faa^v 1 1 CP? CP" _UL # 1

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3rd Mvmt

133

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Via

Vic

Vlnl

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Via

Vic

Vlnl

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tremm.

trem. ®v :=r

141

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7 w 7 simile...

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m kf 1

1 A = 96

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v n t y Vln II

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156 o f\ o

72

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72

£ J,f

156 i-72

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3E

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8

161

m

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161 § sul tasto

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-27-

Fourth Movement

-108 n n Michael McBride

Violin I

Violin II

Viola

Violoncello

f -108

sfz sfz n n

/ f r J 1 ^

J .iJ- 11-

j . /

108

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P i f p 9-m-

# #

T O

j . 108

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X

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n n w /

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Vlnll

Via

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H sfifz nn

sfifz nn

?AA ——— p w * nn

I f EE p

sfifz nn

P I XX

nn V: p sftfz

nn

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12

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Vlnl

Vln II

Via

Vic

12 mp- f

£ £ £ £ £

3 0 /

£

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4th mvt

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22

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g ~ kJJJJSp • m — #

9) sfz Sfz ^ ' * ' l f — = r = : / # 2 s f z ^ - Z ^

iKar-O niffitfrMi - kf;- a 'mf §A

s p

27

sfzsfz

nn

I S E

s / z s / z

-29-

4th mvt

• P I V h - b \-p- Mr — - - mm

3 2

b f e -

= 1 =

0 f*

sfzsfz n n

1 v * / J * " S • * - S 5

3 2 1 .

h p > m

^ 1

• r ^ r r r f f

J I J • • ' . f t r ' . f J J J

mf • * ^ V

- a r - w

j y y j j — =

s / z s / z ^ - ^

m

— r f f

3 • U J J .

mf *

F r mf 3 2

® - ^ - a z e = |

i *

sfzsfz

i f f f f g / T f

1 [ T l

^—m¥ /

3 7 n n

' - r n - S — - •

V

£ = ^ 5 * = : \t ^ ft •jkkkmkm kmmms i M i f M J J J

-J 1 r f u

J h n S J ] n

^tfzsft~=^i 3 7 n n •

= - mf a —T—fm p^-*-f\-5 1

p

\< K f » « • P * * ?

Vsfzsf%===^ 3 7 n n ~ ~ ~

J J J 1 ^ » —

= - «//

l-s'l •'< • -

9 W \ R

- r • / )

p -+ l

5 - f - p

n n n

# i t ±

*

n

> f r .

4 5 - U

sfzsfz 3 7

— 4 - ^ 'k

— - v J v

^-4—! J-mf

K K f \

U — L - <

(i -

ifz sfz *

— -•- '" - • • " —

s f z r

/

4 2

n t — .

4 * "i mf

m 1 m 1 ml ml \j

n n n a * r r f r >

b - ^ f - T F r - a r f ^ — *

4 —

« n n

1 J J ff f f t e f — ^ - _ .

- J J v J « - - 3 - » 1

sfzsfz^-'9* s f z

n n n n

1 — i — r t ffl

sfz H u

J n

a - £ - | ^— If J* J J' • 1

» * *J£J nf > >

> • >

tf 0 . n n

- ^ - £ $ /

1 J

, : W *

4 2

* > • f -

- 0 —

Sfzsfz n n n n

i i r » r | f r s f z sfz

J]JJ J?/~J=

Vln I

Vln II

Via

Vic

Vln I

Vln II

Via

Vic

Vln I

Vln II

Via

Vic

s f z f z s f z s f z f -30-

4th mvt

47 n n £ ite i Vln I

Yin II

Via

I 47 n n

m S/i i f i

i •0 «-#

n n

^ S}14. •* 0-

^ sfz 47 . — ^ I /

47

• > n 2 = ^ S & » * Vic

4 w l t r r sfzsfz f

Vln I

Vln II

Via

Vic

51 n n

j j

# — #

51 #2 s/2 n n

n D ^ m sfz n

sfz V

J)l.J J.. =§j

sfz n

m sfz sfz ' n n

1 sfz s f z

n v qfz sfz

V H

B l U l> I ' ' 1 ' i l f Ji 51 n n

sfz sfz

z Sfz n v f P

s f z sfz

sfz n m'

sfz £ & f

SJZ n

sfz

-31-

Violin I

Violin II

Viola

Violoncello

1 J = 55 ^

<rj5nf , mf

1 J = 55 m -j m 1 J = 55

Fifth Movement Michael McBride

p -fiM-

zJf

Jf

I | - S V ^ - N - * — 1

1 1

i J -mp>

— ••—

f r r r r ^ ~ ^ r »

^ = - p PP

77h

i •• -»

Vln I

Vln II

Via

Vic

13

Jl|» 7 \ * Vln I

Vln II

Via

Vic

mf f 13

s ^ t f f

mf

13

m * 13

* (x) note- play string behind the bridge - Don't_gP£ss string completely to fingerboard

5th Mvmt

1 9

Vln I

Vln II

Via

Vic

TT

1 9

1 9

m 1 9

_PPP

IE

PPP PPP

PPP

PPP *

PPP

2 5 sul D sul pont. highest note oossible+

.A. ~—-

Vln I

Vln II

Via

Vic

3 =

2 5

l 2 5

JIM —

sul D sul p 3nt. highest note possible+

•3 -

2 5

sul G sul pont. higfyi ^ — test note possible+

3 1 A -A." " A " - —

sul A sul pont highest note possible+

Vln I

Vln II

Via

Vic

sul A sul pont highe 21 ^

st note possible+ non vib.

o pp

31A a - A

m non vib.

pp 3 1 «

non vib.

P - o ^ p + Don't press string completely to fingerboard

PP

-33-

5th Mvmt

37^ j ~-a.~

Vln I

Vln II

Via

Vic

37

i _ )U.

37

H 37

s: £

43 sul D sul pont. highest note possible+

non vib.

sul A sul pont highest note possible+

Vln I

Vln II

Via

Vic

43

43

m 43

P m m

/

/

/

IE

49* jA.

Vln I

Vln II

Via

Vic

49

PP P mf 49

m PP P mf

49

w /

-34-

.ft- jl \?Mp. f p wPm-\ PPrmcT~, l-n**—au—fP* Pw~ r

' 6 1 5th Mvmt

Vln I

Vln II

Via

Vic

55

m 55

i f !

60

£ % PIP mm P Vln I

Vln II

Via

Vic

n p mf

60 P. N.

§£ p _p

m 60

mf P. N.

W : crCr h=?P? #

*»/ 60 P.N.

i w /

£ P

Vln I

Vln II

Via

Vic

67

f 67

67

67

3=

I# g=

|» * *Ei*z

r r r r r r

• • j t k

m m H i rrCrr pi £

-35-

5th Mvmt

Vln I

Vln II

Via

Vic

73

p i n

Q ? p

few

p M &

* 73

3=1 3 £=

73

•->= r c J £ XH

79

j |» r f | £ - = p

75

1 E E Vln I

Vln II

Via

Vic

79 J . 75

M m 79

m / -75

*> r>

i A r lJ- £ i E

7V '>=T f U £

•/

3 E I /

85

i fc Vln I

Vln II

Via

Vic

85

& 1 ~a— mp - f

85

/ -

3 1 £ I 9 85

9= h r p t mp T mp

m i i o=?z

/ mp -36-

mp

5th Mvmt

91

Vln I

Vln II

Via

Vic

g i 91

#

Ki J mf? *

f f s — - 0

mp f f 91

mm s 3=£ fS—* mf

91 mp /

¥ m—m-

i

jf

mf V mp f

97

PS pJJ*£

11 1 Vln I

Vln II

Via

Vic

97

mp

i i = i P 97

s mf

i r i 1 I 97

1

/ ?p *»/

i: § 1 m 1^ -pp mf

103

1 3 f Vln I

Vln II

Via

Vic

m i 103

mp

i />

s # p 103

'mp P

i £ -6^ -«U

103 mp

m ttr.Nr

3 ±

«?/

-37-

5th Mvmt 109

s Vln I

Vln II

Via

Vic

109 PP f

1 I S Si -6^

109 PP f

1 m i I

II . f V r t i T . Q»

109

3 1 i

/

£ m

PP f

115

Vln I

Vln II

Via

Vic

~w mp *> mf

115. . / J

WM-

mp

m

115

v

k £ i £ n 115

/ mp

g F F i to* i

mp

mf f mp mp

121

Vln I

Vln II

Via

Vic

m % ~m— mp

121 / /

£ - v

V " 121

is J J J m P mf 121 • I -I

' v

mp /

m

jf

m m 4 r pd

mp f jf

-38-

5th Mvmt

Vln I

Vln II

Via

Vic

127

^ = 5 a * i si -% 1

9+

127

m 2

PP mf

i - J - r r = — pp

s i 3 = 3 =

127

pp mf

1 p t f

127

/ ?p

§

133

PP PP mf

1 Vln I

Vln II

Via

Vic

w. 133

——

mp 4- -&•

P

£ m m i 133

133

i § ;

mp

i

mp

•i r j [TP v

139

n. a , j .

9 />/zz. 1/25

' i P 7 P 7 p 7 D 7 p 7 p - £ Vln I

Vln II

Via

Vic

pp P ppp

139

Pf 125

mp

s

f w w ~wr pp

139 p

PPP -125

w * T V

139 PP P PPP

*)' r > i P

pizz. -125

5 £ pp

PPP /

-39-

5th Mvmt

Vln I

Vln II

Via

Vic

1 P */P*/P*yI P7P7P7 I P 7 P 7^7 |P ft 7 1 H j j j p p ——===— pp — - ir0'—~——P^mp

M E mf

145 pizz.

inpv 1 9*+ i m m m E mp mf

145 PlZZ- I

K p r J n f mf

E

145

J AJ- p 3 E

151 »..# f L 0 r - i j — f t

V U £ 7U 7 H p ! m Vln I

Vln II

Via

Vic

/ nf 151

$ (* n* 7 h i i m J ill' w w

f ww WW w #

»*/ WW

151

K " f r M [ p P ^ S P vP £ «»

/ 151

')• << n i m :k$ M 7 7^ E l WW^ WW-

f mf

157

5 Vln I

Vln II

Via

Vic

5 VW w QW W V9 w

157

5 5 A B s J I 'M 157

M # # [ ? #

157

w w ^ J J ifJ ^ j) j uj j j

3EZ—I3E

-40-

5th Mvmt

Vln I

Vln II

Via

Vic

163

Jjf S J m T T ^ T 1 P 7P,P, FT -^T*- • r in t jrr.] •

_ 9 A

& J' r 163

b£^= >• k.

7 r 7

J r if l r 7

U = l

.4 *tj« !0-

• Jj> h# v,,

m 4

p = 163

ip* \>r.

— £ _ !

m >

-H—p-h1 >—p~

* ' P > • > -

r r T jp

> ^

-W-+

:—

m <

; #4^

> p>p " r i

163

<*' n -

? • I

- V — ST

= ^ =

f— s

— s - \ V

;±tta

— ^

169

> - :

* - * — • - + k

> • >

0 * 0 •J) J ' '

m m

169

FNJ J h

3 ^

i —i

^ Tfc

pf=F4 /

y

0 0^ m mf

>•

p f

fow J: J—•—*-• 169

1 ^ rrl>r »

/ m m > - >

0 0

J# »

4$ 169

| y - I IL ZJK i « 3

/

— --•••• \>fhf m j#

Vln I

Vln II

Via

Vic

mf

Vln I

Vln II

Via

Vic

175

175

175

mf

£ £ mf i f 1

m 'p r r P

i g p r r p / mf

p f J J' 175

*• J J '

— m -

V , I J) J d J J'

-41-

5th Mvmt

Vln I

Vln II

Via

Vic

181 -m - 5 # m-

181

# # ' J f f j J J 181

B p r t r -miff f r

181

3 ± J) J u ^

t ; # #

J J

Vln I

Vln II

Via

Vic

185>- >; m m <<, E £• t- £ 185 •ffi,

- # — i * - a « p p ^ > •

« J n - $• 1 8 ^ 3 ^ Q 185

3

ii "T*1 ' J - - ! > >- > >-

n V * ?

jT

-42-

S i x t h M o v e m e n t

Violin I

Violin II

Viola

Violoncello

, J . 65

, J . 65

, J : 65

Michael McBride

3 1 =

1 J = e5 |

- e v — — N V * f i n

- J J . - -~wm

• • — ••

1? J - J J - J H rn jO I A \

- — TBI !

•Jsl

/ r ° *—

mp Tygf

k — 8

1 -

- mr —wm- —

8

WT 1 —

15

•J -o>p

I J u ~ J y j_ O ^ == ,J- S n jO

O = j

/

ypp J

15

r < J f = = b — J L — P mp -——

Vln

Vln II

Via

Vic

Vln

Vln II

15

Via

Vic

15

m 15

j - i J — - J - J r - J - i L k

P ~ pi P O

PP wf 0 .

p

Vln

Vln II

22

22

6th Mvmt

m if

Via

Vic

22

m

22 - u ~ , O ^ ^

mp « = r / p

I T

mp

mf

mf

29

Vln

Vln II

Via

Vic

29

f - j i

- # — c L — J mf

••• "10

••

gjU—

- = —

29

-m ^ —

^ jO *

[/ p* J f I 1

_ fj-

r " 1

' P - -15 — p /

29

*> |

f r ' > > > >

^ ^ ^ ^ 1

r 7 k 7 K 7 k 7

[ l

i P , C f p v p V i

r i

1 = ,

/

34

Vln

Vln II

Via

Vic

mp mf w

34

!>•==$

npr* JJJ

! M i J ~ c r : mp

** fj. „ \.m

/ ppp JJJ

m = m = = = - = f t = ^ f = :

4 * 4' 1 t #

mp

34 = r / /W»

i A /

, . c r i e r r c h . f a mp f ppp JJJ

f -44-

6th Mvmt

Vln

Vln II

Via

Vic

39

* i P I f B P T

PP

n IJ J ,H 39

J J'»- | J. ,ITF P

m m m PP

39

m

p f

IP r PT > v i f p r pp

39

J i r ~ p > - i r P

p

m =

pp p

44

J j J J ? J > I t J " J J - 7 | J. I J . Vln

Vln II

Via

Vic

44

: / mp p pp

-ah-^-

44 71

s

mp P p—p-

PP

3 ^ 3 £ - * — -

44at#-

/ mp /> pp

f mp P W PP

-f

-45-