he Crystallization of 'Amethyst for Soprano and Orchestra'
This essay analyses a single theme and its various manifestations in Amethyst, a fifteen-minute symphonic poem. An important topic under consideration is the method by which a particular four-note thematic unit, called the Basic Shape, is used to generate the vertical and linear pitch material of the entire composition. The formal outlines of Amethyst are summarized, and detailed descriptions of the motives and themes as they are related to the Basic Shape are given. The harmonic language of the composition is discussed with reference to its passing associations with 'tonal functional' music. The predominating intervallic material, drawn from the octatonic, diatonic, and pentatonic scales, is discussed with respect to the distinct 'colors' of vertical sonorities derived from these scales. Some aspects of crystal structure are used to compare the tightly organized minute particles in crystals with small musical cells in Amethyst. Terms associated with crystallography throw into a new light the phenomenon of exact repetition of small crystalline or musical units, their replication to form larger structures, and the variety in shape and color possible from slight deviations in the patterns of repetitions. Finally, global parameters and tendencies are discussed with respect to orchestration, pitch bands, collective versus solo playing, and rate of change in variation of material generated by the Basic Shape.
