Browsing by Author "Ellison, Paul"

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    Beethoven's Double Bass Parts: The Viennese Violone and the Problem of Lower Compass
    (2013-09-16) Buckley, Stephen; Loewen, Peter; Ellison, Paul; Lavenda, Richard; Blumenthal-Barby, Martin
    This study addresses the discrepancy between the range of Beethoven's double bass parts and the instrument or instruments in use in Vienna in his day. Scholars and musicians have complained about Beethoven's apparent disregard for the instrument's capabilities since the middle of the nineteenth century. A systematic examination of Beethoven's orchestral writing for the double bass shows that this reputation is undeserved. In fact Beethoven paid close attention to the lower compass of the double bass throughout his orchestral writing: a clear boundary of F is observed up to op. 55, and thereafter E, though F still obtains in some late works. Beethoven's observance of the F boundary suggests that he was writing for the Viennese five-stringed violone, and not the modern form of the instrument, as has previously been assumed in scholarship. Other evidence pointing to the use of this instrument is presented. Some of Beethoven's bass parts between op. 55 and op. 125 do in fact descend to C (sounding C1); yet there is no evidence supporting the existence of a double bass instrument capable of C1 in Beethoven's day. Possible explanations for these violations of the compass of the double bass are discussed. These focus on the possibility of simple proofreading error, and on evidence for the unwritten practice of reinforcing the double bass with one or more contrabassoons. The contrabassoon in Beethoven's day had a lower compass of C1, and Vienna was an early center for its production and use. Analysis of the bulk of Beethoven's double bass parts for their range is given. Emphasis in this analysis is given to instances where Beethoven demonstrates a clear awareness of the compass of the instrument. Out-of-range pitches are compiled in table form.
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    Exchange Concert with School of Music University of Houston Tuesday, November 4, 1980 8:00 p.m. in Dudley Recital Hall
    (Shepherd School of Music, Rice University, 1980-11-04) Ross, Allan (conductor); Griebling, Lynn; Ellison, Paul; Waters, David (bass trombone); Gottschalk, Arthur (conductor); Barnhill, Alan (bass trombone)
    PROGRAM: Tobar Klus / Barbara Kolb -- The last contrabass in Las Vegas (a musical sketch for one man, one woman, and one contrabass) / Eugene Kurtz -- Slide show / Arthur Gottschalk
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    Finding Your Place in Music: One Story Paul Ellison
    (The Shepherd School of Music, Rice University, 2014) Ellison, Paul; Rarick, Janet
    Paul Ellison relates a story that demonstrates the many opportunities offered within music career.
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    Making Career Choices Paul Ellison
    (The Shepherd School of Music, Rice University, 2014) Ellison, Paul; Rarick, Janet
    Discussion about making music career decisions.
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    Music Careers: Why Teach? Paul Ellison
    (The Shepherd School of Music, Rice University, 2014) Ellison, Paul; Rarick, Janet
    Paul Ellison discusses the joy, the benefits of teaching, and the possibilities in this career path.
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    Music Students and Music Careers Paul Ellison
    (The Shepherd School of Music, Rice University, 2014) Ellison, Paul; Rarick, Janet
    When considering your career keep your options open, nationally and internationally.
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    Opportunities for Study Abroad Paul Ellison
    (The Shepherd School of Music, Rice University, 2014) Ellison, Paul; Rarick, Janet
    Discussion about the sources of the repertoire that you play, and the importance of international travel; suggestions about funding opportunities.
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    Tropos
    (1981) Applebaum, Allyson Brown (b. 1955); Gottschalk, Arthur; Cooper, Paul; Ellison, Paul
    Tropos is a single-movement composition for orchestra. The title is Greek for turning, which as a concept is utilized in this piece in two ways. First, the introduction is a rapid presentation of events, each one turning quickly to another in the manner of the images which change as a kaleidoscope is turned. The second aspect of the title's relationship to the piece involves one of the principal motives, which is a slightly expanded turn or cambiata figure. It first appears in the 'cellos in measure nineteen; its harmonized version appears in the horns in measure forty. Each version plays a significant role in the work. The instruments called for in Tropos are four flutes (the second doubling on piccolo), four clarinets (the fourth doubling on bass clarinet), four horns, three trombones, tuba, timpani, triangle, cymbal, glockenspiel, marimba, snare drum, timbales, tom-toms, celesta, and strings. Considerations in choosing this instrumentation were, primarily, the need to set off the 'cellos and the horns as the two important sections and, secondarily, the desire to have an orchestral sound that was somewhat unusual. Tropos utilizes the sonata-allegro principle, with an introduction and coda. The exposition begins in measure eleven. Its first theme, which is lyrical in character, is in two sections. The first opens with the 'cellos' presentation of the theme, which, when joined by the other strings, eventually weaves into a rich interplay of melodies. The cellos emerge from this texture during measures thirty-four through thirty-seven to help to transfer the functional role to the horns. Their thematic presentation begins in measure thirty-eight and is joined by the trombones and tuba in subordinate melodic roles. Accompanying figures during the first theme are taken from the events of the introduction. The second theme, beginning in measure fifty-six, is rhythmic rather than melodic. Its pitches are always clusters -- except in one special case, which is the unison, legato statement of the turn figure by the trombones in measure fifty-nine. The development contains three distinct parts. The first, which is the longest, is generally an evolving variation of the first theme, accompanied by quiet rhythmic quotations of the second theme. During measures 139 through 143» however, these rhythmic accompaniments actually dominate; it is only the violas who remain steadfastly melodic. The second part of the development is at measure 167, the first cue of an unmetered section in which eight solos, joined at 168 by an additional eight, all play quietly, freely, and simultaneously little "music box" melodies. These melodies together represent an ultimate statement of the "intermelodic" aspects of the first-theme section. The third part of the development, beginning at measure 17, is the culminative statement of the rhythmic second theme. Now, devoid of the pitch clusters, and with nonfunctional timpani pitches, the statement of the theme is finally purely rhythmic. The recapitulation is generally subdued, for the statements have all been made and therefore, metaphorically, only the shadows, echoes, and memories remain. In the first-theme section (measures 178 through 21 ) the turn motive never appears melodically. Instead, its only manifestation is in the four horn chords (measures 183, 187, 193, and 198) which are the harmonized version of the motive in extreme augmentation. The second-theme section utilizes rhythmic and cluster elements, with the rhythms now slower and always varied among the instruments. The only melodic movement is the turn motive, itself turned into inverted form. The coda is directly related to the introduction, making use, however, of materials presented during the course of the piece. In addition to the sonata-allegro principle, two other principles are used in the construction of Trottos These are symmetry, regarding principal tonal areas, and the golden section, regarding placement of events in time.