The Piano Concerto represents an experiment in form in which a set of five continuous variations are partitioned into three movements, corresponding to the listener's expectations of a traditional tripartite concerto. Through the analysis of phrase structure, pitch and motivic variation, links amongst the variations are uncovered and developmental strategies discussed in an attempt to clarify the processes of musical creation. By proceeding in analysis from the highest levels of organization downwards, structural trends emerge which lend consistency to the work— low level patterns often reflect larger structural forces. In addition, a variety of symmetrical constructs are extant in the form of consistently used pitch collections (e.g., [0 1 4 9], a triad with both M3 and m3, subset of [0 1 4 5 8]), phrase organization (as in the second variation and the second movement) and the grouping of the variations themselves. Seeded initially as a recorded improvisation by the composer (which became the Aria), the Concerto displays formal tension as areas of rigid organization (Variations 1, 3, and 5) alternate with more freely organized regions (Variations 2 and 4), a dichotomy which springs from the Theme itself. The listener is taken on a linear journey through the telescoping development of material which maintains more or less explicit connections to the Theme throughout In general, the further into the work the listener progresses, the less literal the Thematic references become until a brief recapitulation appears at the end. The aesthetic which drives this work is based on a fundamental adherence to traditional procedures, tempered with unique approaches to form. This aesthetic and certain cohabiting non-traditional aspects of the Concerto will be discussed in the analysis that follows. / Arts, Faculty of / Music, School of / Graduate

This study examines the history of the cadenza, as well as the fundamental elements of a good cadenza. This paper is intended to help the modern trombonist learn to create appropriate, original cadenzas for classical trombone concerti. Both historical and modern writing,as well as extant classical cadenzas are used as a guide.

This composition is a concerto in two movements and has a total duration of approximately twenty-two minutes. The First Movement is prefaced by an Introduction, while the Second Movement is concluded with an Epilogue. The bass trombone functions in speeding up the tempo when it is featured in solo capacity. The horn, however, functions in slowing down the tempo when featured as a solo instrument. The speeding up and slowing down processes follow the principles of metric modulation.

Variations Concerto is a work for large orchestra and solo trumpet of approximately sixteen minutes duration. The work is scored for piccolo, flute, two oboes (one doubling English horn), two clarinets in B-flat, bass clarinet in B-flat, two bassoons, four horns in F, three trumpets in B-flat, two trombones, bass trombone, tuba, timpani, percussion, piano, the solo trumpet in C, and strings. The large percussion battery includes glockenspiel, xylophone, chimes, vibraphone, four graduated wood blocks, four graduated triangles, temple blocks, four high toms, finger cymbals, four wood drums, four automobile brake drums, five medium toms, four low toms, four graduated suspended cymbals, snare drum, and four graduated metal pipes.

Like the trumpet concertos of Haydra and Hummel, the present concerto for trumpet and orchestra is set in the classical plan of three movements: fast, slow, and fast. The total duration is approximately twenty minutes. The instrumentation of the orchestra, reveals an ensemble of moderate proportions.

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v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves)

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