Southwestern Suite (2004) - This composition was written
for Duozona
and
premiered by them at Arizona State University in
2005. The piece is divided into three sections with each section
containing multi-movements. While the piece is conceived as a unit, it
is possible to perform each movement or each section individually or to
select one or more movements from each section and make a new grouping.
Part I consists of Native American Songs. Movement 1 – Dance Songs of the Night Chant contains two dance songs, both Navajo. The first song uses a pentatonic scale that covers a range of an octave and has a feel of minor. The second song uses a pentatonic scale that covers the range of a fifth and has a feel of major. This difference between major and minor is emphasized in the transition section between statement of the two themes. Ornamentation is freely added to the flute line to imitate voice sounds and subtly vary some of the rhythms. The guitar is treated percussively at times, imitating the sound of a rattle with the strumming in the beginning and a drum, by tapping on the body of the guitar later on. One of the motives from the first song is used as an accompaniment figure for the second song. Movement 2 is a Social Dance Song, also Navajo in origin. It uses English words that suggest acculturation. This song uses another pentatonic scale with a range of a tenth. An interesting characteristic of this scale is the use of two consecutive major thirds that suggest a tonal shift. Harmony and bird sounds are added to this song to create interest, yet retain its stark nature. The Dance Song in movement 3 is from the Mojave-Apache. It uses a pentatonic scale that covers the range of a tenth and is in triple meter. This song is treated imitatively and free counterpoint is added at several places.
Part II consists of cowboy songs. While the musical origin of these songs are often European and the words are created by cowboys in regions other than the southwest United States, they are included in this suite because the cowboy culture is important to this region and the songs are universal among cowboys. Movement 4 is a Night Herding Song, a lullaby for cattle claimed to have been written by Harry Stephens while herding in Yellowstone Park. The phrases of this song are separated by guitar obbligatos, and modulation and altered chords are used extensively. Old Chisholm Trail is the source for movement 5. According to legend, this song had a verse for every mile of trail from Texas to Kansas. The refrain may have been borrowed from the Indians. Syncopation, modulation, mode change, and polytonality are some of the techniques used in this setting. Movement 6 – Get Along Little Dogies was used by cowboys to sooth the restless Dogies, the cowboy’s name for yearling calves. The setting is soothing with lush harmonies and contains a cadenza for flute and guitar.
Part III consists of Mexican Songs. Movement 7 combines two songs, Las Mananitas, which a birthday serenade sung early in the day, and A la Puerto del Cielo, a Basque lullaby that came to New Mexico from the Pyrenees Mountains of Spain. Altered chords are added to Las Mananitas as well as Mexican sounding accompaniment figures. After a modulation, A la Puerta del Cielo is stated in an ethereal manner. The tempo then increases and the two songs are combined contrapuntally. After a recapitulation of Las Mananitas, a coda using the last phrase of A la Purta del Cielo serves as an "amen". The last movement, Cielito Lindo, begins traditionally. After the first statement of the verse, the music is repeated in new keys for each phrase. A traditional setting of the chorus is followed by an imitative, modulatory setting of the verse phrases. The chorus, accompanied by Mariachi style strumming in the guitar brings the piece to a rousing conclusion. This piece is recorded by Duozona on their CD Colors. Duration 22:00 Grade 4 $12.00
