Journal of the American Viola Society Volume 26 Online, Summer ...

More documents

Recommendations

Info

Composing for Bowed Banjo and Two Violas by Paul Elwood Programmatic Associations and Process Derived from Instrumental Color and Capabilities Capricious Apparitions, for two violas and bowed banjo by Paul Elwood (Commissioned by Juliet White-Smith, Professor of Viola, University of Northern Colorado, for premiere at the 2009 International Viola Congress with Timothy Deighton, Professor of Viola, Penn State) In January of 2009 I was approached by Juliet White-Smith, a colleague at the University of Northern Colorado, to compose a piece for two violas to be premiered at the 2009 International Viola Congress in Stellenbosch, South Africa. I immediately thought of adding five-string banjo into the mix as I often compose for this, my instrument. It was also a great excuse to travel to a part of the world that I’d never seen to perform on the premiere. One of my very first compositions as an undergraduate was a two-movement composition for viola and banjo, but I hadn’t written for the viola in such a prominent soloistic manner since. Capricious Apparitions, scored for two violas and bowed five-string banjo, takes its title from Federico Fellini’s film, 8½. The title refers to surrealist images that the main character Guido Anselmi, a famous film director, played by Marcello Mastroianni, inserts into a film that he is making. The composition is in five short movements, each depicting a different “apparition” scene from the film. While the piece has a programmatic design that follows the apparitional dream sequences in the film, I derived the colors used in the piece from sounds and techniques available on the bowed five-string banjo. As a banjo player, my early roots are in bluegrass and Appalachian music (with many excursions into free improvisation and electronics). I exploit the rich tone colors that the instrument may produce in a variety of ways using a cello bow, an Ebow, guitar slides, paperclips inserted between the strings, etc. As a teenager in the 1970s I often attended the Walnut Valley Festival in Winfield, Kansas, held each September. The festival is a huge event featuring a diverse array of folk artists along with a variety of guitar, fiddle, and banjo competitions, among others. It was at one of these festivals that I heard the wonderful banjo player DMinor Bennett bowing a low-tuned, I think fretless, banjo with renowned Arkansas musician Washboard Leo. I’d never seen anyone bow the banjo before, and I still don’t see many players bow it, though a few do now. After that, I began experimenting with the bow, going through a variety of awkward right hand positions over a period of two to three years before I hit upon holding it more like a viola da gamba player. And I figured out a few things the hard way instead of doing the obvious—asking a string player how to produce a good tone with the VOLUME 26 SUMMER 2010 ONLINE ISSUE 23
ow. I learned to angle the bow a little into the string and I learned different toneproducing aspects of bow pressure on the strings. Natural harmonics speak beautifully on the bowed banjo, and the harmonic of an octave and a third, which speaks poorly when plucked, rings out when bowed. Even pronounced harmonic glissandi are possible. As we were rehearsing Capricious Apparitions, White-Smith suggested that I would produce better results with a cello bow, and she was right. The instrument has a flat bridge and fingerboard enabling the playing of bowed chords with no arpeggiation. This can sound at times a little like an Indian tambura. A device that may be added to the tuning gears on the instrument, the Scruggs Keith Tuner, is constructed to enable a quick scordatura from one specific pitch to another without overshooting the target pitch and then can be returned accurately to the starting pitch. A limitation of the bowed banjo is that single melodic lines can only be played on the first, outside (D) string, but melodic bowing sounds a little like the Chinese erhu or the Indian sarangi. As I was composing Capricious Apparitions, these technical possibilities suggested the following complementary colors and orchestrational ideas in the viola writing (Table 1). Table 1: Possible complementary colors and orchestrational ideas between viola and banjo BANJO VIOLA bowed harmonics bowed harmonics scordatura scordatura, glissandi harmonic scordatura harmonic glissandi bowed melody sul pont/sul tasto (single line, no double stops) “picked” pizzicato VOLUME 26 SUMMER 2010 ONLINE ISSUE 24
Page 2 and 3: Journal of the American Viola Socie
Page 4 and 5: One day in the 1980s, while walking
Page 6 and 7: Lionel Tertis International Viola C
Page 8 and 9: Benedicte Royer (France), Vitali’
Page 10 and 11: International Viola Competition, th
Page 12 and 13: Any concerns were quickly allayed
Page 14 and 15: Milena Pajaro-van de Stadt was sele
Page 16 and 17: y Rolfe Boswell Quick, Watson, the
Page 18 and 19: Grove’s dictionary provides a lea
Page 20 and 21: y David M. Bynog The Joan Spencer M
Page 22 and 23: SHF: While writing for money and pl
Page 26 and 27: The entirre composition is an archh
Page 28 and 29: The violaas, when pla aying tremolo
Page 30 and 31: Example 5. Elwood, Capricious AAppa
Page 32 and 33: The movvie 8 1/2 is an n Italian fi
Page 34 and 35: From left to right: Juliet White‐

Journal of the American Viola Society Volume 26 Online, Summer ...

Create successful ePaper yourself

Delete template?

Save as template?