CHRONICLE

2024, composed by
Alex Shapiro

Duration: 9:15

For F Tuba,
and Prerecorded Soundscape

Commissioned by and dedicated to
Gretchen Renshaw

ACKNOWLEDGMENTS

Commissioned by and dedicated to Gretchen Renshaw,
Nancy and Craig Wood Odyssey Associate Professor of Music,
Hendrix College, with the participation of the following musicians:

• Jeff Baker, Texas A&M University-Commerce

• Nick Beltchev, Oklahoma State University

• Lurii Bengalskyi, Dublin Concert Band

• Nick Brown, Louisiana State University

• James Cipriano

• Ethyn Evans, Oklahoma State University

• Kevin Fenske, University of Houston

• Vincent B. D. Flieder

• Ramón Garavito, Jr.

• Brendan Ige, Tuba-Euphonium Social Justice Initiative

• Greg Lindstrom

• Samuel McHenry, University of Central Arkansas

• Jessica Payne, The University of Kansas

• Samuel A. Revis, Arizona State University

• Gail A. Robertson, University of Central Arkansas

• Scott Roeder, University of Texas Rio Grande Valley

• Chris Seay, Oklahoma State University

• Nathan Shook

• Danielle VanTuinen, University of Florida

• Beth Wiese, Vanderbilt University

• Stephanie F. Ycaza, University of North Carolina at Greensboro

• Mia Young

• David Zerkel, University of Michigan

A RECORDING

THE CONDUCTOR SCORE
(email Alex for code access)

PERUSAL ONLY; not for performance or duplication.

.pdf file of score, 20 pages including cover,
single sheets for 8.5 x 11 paper

THE PROGRAM NOTE:

CHRONICLE (2024)

Our lives are ongoing collections of emotions. Some remain close to the surface as years pass, obvious and, for better and sometimes for worse, easy to trace. Other parts of our personal history fade to nearly imperceptible ghosts of memories. Shards of past events arise at unexpected moments; if we squint, their reflection catches the light. If we dare, we look closer.



A piece of music is the same as one's lifetime: as it moves forward, it carries the forensic evidence of its origins. CHRONICLE revisits its initial lyrical statements in unexpected ways. We cannot change our history, but we can alter our perception of it.

THE ANALYSIS:

CHRONICLE (2024)

"Chronicle" begins with a 12-tone row which repeats twice:

G Ab Bb Db Eb F Gb A C B E D



12-tone statement row: mm. 7 - 27

Second row iteration: mm. 28 - 46

Ballad, part A (D bass): mm. 62 - 118

Ballad, part B (chromatic bass): mm. 119 - 134

Ballad part A, with aggression (D bass): mm. 135 - 154

Faster, with 12-tone row (C bass): mm. 164 - 190

12-tone row (first 9 notes, C bass), introduction of pulse:
mm. 191 - 205

Ballad motives (beginning with D bass), row segments,
new thematic material, with pulse: mm. 207 to end.

New thematic material is introduced at mm. 215 - 226.



The repeats of the new thematic lyrical material each have
different bass lines:

Lyrical theme (repeating mm. 215 - 227) (C, Bb, D), with pulse,
mm. 253 - 264

Lyrical theme (2), (C, G, Bb, F), with ballad motive and pulse with
ostinato: mm. 265 - 278

Lyrical theme (3), (C, G, Eb, F), with bigger drum pulse with ostinato:
mm. 279-292

Lyrical theme (4), (C, G, Bb, F), with bigger drum pulse with ostinato:
8:12 to 8:33, mm. 293 - 304

12-tone row (first 7 notes, chromatic bass), with pulse, ending in F:
mm. 305 - 314

Ending: major version of first two notes of minor ballad,
mm. 315 - 318, with accompaniment motive from ballad
mm. 318 - 320, and growl motive from mm. 147 - 148.



Of note:


Ballad motives: mm. 220, 227 - 228, 258, 265 -2 72

Row segments: mm. 235, 252, 305 - 314

The first use of an Eb bass line is mm. 229 - 231,
foreshadowing mm. 287 - 290.

To download the analysis of CHRONICLE,
click the .pdf icon.

THE TECHNICAL STUFF

REGARDING THE TRACK:

All of the audio tracks are aligned, and begin with a four-click countoff that represents half note pulses for two measures.

The track volume should be set to be as loud as the tuba, for an organic, blended sound. Although not imperative, consider running the tuba through a small amount of reverb, if not performing in a naturally reverberant venue.

The click track includes accented downbeats.

Please avoid converting the high resolution performance audio file to a lower quality MP3 file.

A multitrack sequencing/playback application, and a small audio interface, are needed. If you would like software and hardware suggestions for your particular setup, please drop Alex an email, and she will do her very best to help. Or, to at least make you laugh.

Here's something VERY helpful: a complete guide to the software and hardware setup for your rehearsal room and performance venue. While this was written with wind bands in mind, the setup is identical for a solist.

ACKNOWLEDGMENTS

Commissioned by and dedicated to Gretchen Renshaw,
Nancy and Craig Wood Odyssey Associate Professor of Music,
Hendrix College, with the participation of the following musicians:

• Jeff Baker, Texas A&M University-Commerce

• Nick Beltchev, Oklahoma State University

• Lurii Bengalskyi, Dublin Concert Band

• Nick Brown, Louisiana State University

• James Cipriano

• Ethyn Evans, Oklahoma State University

• Kevin Fenske, University of Houston

• Vincent B. D. Flieder

• Ramón Garavito, Jr.

• Brendan Ige, Tuba-Euphonium Social Justice Initiative

• Greg Lindstrom

• Samuel McHenry, University of Central Arkansas

• Jessica Payne, The University of Kansas

• Samuel A. Revis, Arizona State University

• Gail A. Robertson, University of Central Arkansas

• Scott Roeder, University of Texas Rio Grande Valley

• Chris Seay, Oklahoma State University

• Nathan Shook

• Danielle VanTuinen, University of Florida

• Beth Wiese, Vanderbilt University

• Stephanie F. Ycaza, University of North Carolina at Greensboro

• Mia Young

• David Zerkel, University of Michigan

You can reach Alex Shapiro through email,
by clicking here

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