Exploring modes through different perspectives

Abstract

The aim of this dissertation, together with the composition portfolio is to investigate the use of modes in different perspectives. Each composition explores the use of an alternative or the same mode in a different framework. The portfolio investigates the use of the Church modes, tonality, polytonality and the use of synthetic modes and how together they can form a varied and interesting work in combination with contemporary musical language. A mode can be defined as a group of notes that ranges from just two notes to the use of all twelve notes. Such modes can be further extended with the use of quarter tones, but such an extension was not included in this portfolio. Furthermore, the combination of modes with rhythm is an important aspect of this portfolio. The specific characteristics of a mode can be brought out more through the use of interesting and engaging rhythms as well as melodic contour and the harmony derived from the mode. The solo piece titled Exploitation, for clarinet and bass clarinet is built using a synthetic mode that I created solely for this work. Using a synthetic mode for a solo work proved to be a challenging one because I was bound with just three transpositions of the mode. However, the use of extended techniques of both clarinet and the bass clarinet helped to explain the characteristics of the mode. The vocal work, Antiphona Sancte Paule is built with a combination of the Dorian mode and its transposition to a perfect fourth higher, tonality and chromaticism within tonality. The choice for the use of the Dorian mode was mainly due to its colour. However, the original intention of this work was to be tonal, using the pentatonic and whole-tone scale as a decoration to the work. This work offered a challenge in the way each section is transitioned, as smoothly as possible from one mode to the other. The chamber work Gwerra? Paċi? jew Faqar? is built using a similar combination of modes used in the vocal work. The Dorian and Mixolydian mode along with various transpositions, form the basis of this work. The second movement is written using tonal language along with chords with added notes to destabilise tonality. This movement offered a challenge in the ways one can obscure tonality as Debussy and other notable composers did in their works. Analysis of numerous scores by Debussy helped me come up with solutions to obscure tonality. The orchestral work Three Life Settings was the most challenging in this portfolio. The first two movements have no specific tonal or modal ties, drawing its melodic and harmonic content from two six-note elements that can be transposed offering numerous solutions to the work. However, the third movement explores the use of polytonality in its main sections, drawing inspiration from the intervals that constitute these two elements which are outlined in the relationship between the keys used. In this work, the third movement was the most challenging to work with, especially with the use of polytonality and the length of each movement. There are three sections in this dissertation, the first section is the commentary. The commentary is made up of a general introduction, a literature review on the modes and their development. Each piece in the portfolio will include a general introduction, literature review and analysis of each work. The second section is made up of the portfolio, divided into four works. The first work is the solo piece for clarinet and bass clarinet and the second work is the vocal work accompanied by a chamber orchestra. The third piece is the chamber work for oboe, clarinet in B-flat, bassoon, horn in F and piano, and the orchestral work is for a large orchestra. The third part is made up of the audio recording of the works on a compact disc accompanying this dissertation. The portfolio and the necessary research carried out for the writing of this portfolio was completed in the context of a Bachelor of Arts (Honours) dissertation.