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Michael Barkett
Analytical Techniques
Dr. Haley Reale
3 December 2015
An Analysis of Symphony in Brass by Eric Ewazen
Symphony in Brass was written in 1991 by Eric Ewazen and is a staple in the
brass ensemble repertoire. The reason it is such a standard piece of music in the brass
world is not only because of the idiomatic writing or singing melodies but the complex
harmonic progressions that Ewazen used throughout the piece. My analysis will focus on
the second movement as some of the most interesting harmonic development happens in
the chorale theme of this movement. Through use of Roman numeral analysis and
multiple other tools, I will discuss how Eric Ewazens use of voice-leading and
experimental tactics regarding cadences make this short chorale one of the strongest
pieces of music to date.
Eric Ewazen was born on March 1, 1954 in Cleveland, Ohio. His parents, Helen
and Dimitro, were both part of the working class but made colossal efforts to ensure Eric
was exposed to as many musical opportunities as possible. This included the purchase of
a piano and beginning lessons at age five as well as finding opportunities for performance
at local museums and concerts (Roggenkamp 3). Ewazen began playing violin in his
junior year of high school but switched to cello. He joined his high schools orchestra as
well as playing double bass in the wind ensemble. It was also at this time that Eric
Ewazen began experimenting with composition. Using a musical about the Vietnam War
called, Apocalypse, and a twelve-tone brass composition, Ewazen was granted acceptance
into the Eastman School of Music at the University of Rochester (Roggenkamp 4).

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While at Eastman, Ewazen was immersed in many twentieth century techniques
and compositional styles. His principal teachers during his undergraduate work were
Samuel Adler and Joseph Schwanter. During this time he begins to work with
experimental wind band literature as well as symmetry and building climaxes. He was
then accepted into The Juilliard School for his Masters (1978) and Doctorate (1980)
under the tutelage of Milton Babbit. After receiving his doctorate, Ewazen became a
faculty member at the Juilliard School that same year (Roggenkamp 4).
Symphony in Brass was written in 1991 for the Detroit Chamber Winds. The
piece was written in three contrasting movements. The first movement, Andante, is
employs the use of a multimetric sonata form. The second and slower of the three
movements, Andante con moto, provides rich harmonies and passionate phrases that
contrast from the sprightly third movement, Allegro vivace (Eaverson 27). The piece is
written in sonata-allegro form (Smith 32). The second movement, which is where my
analysis is written is focused, is written in ABA form. The middle B section is a
polyphonic and rhythmically intense section of the piece (Smith 35). The A sections of
the movement are a chorale-like structure where the c minor melody is passed around the
ensemble. At the climax of the movement, the chorale is set in chordal structure with
planing fifths and ending in a double-plagal cadence to F major.
The opening melody begins in the solo baritone in c minor. There are no chords
under this melody line so the harmony of this portion is left up to the listeners
imaginationfor now . The melody is pictured below:

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The solfege allows the listener to hear the tonal center of c minor. It also shows the
natural minor form that Ewazen uses in the chorale melody. This is imperative to take
note of for the chordal analysis. The second and third entrance of this melody occurs
using full orchestration with the melody on the top of the ensemble in the first trumpet as
well as the first part of each instrument group i.e. French horn, trombone, and solo
euphonium. The other parts of the ensemble are playing the chord tones that create the
interesting harmonic structure.
There are many characteristics of Ewazens harmony that are perplexing in this
short five bar phrase. Ewazen completely avoids using any typical dominant
characteristics. There are no leading tones throughout any of the parts. Ewazen also does
not use a V chord in this progression as well as not raising the leading tone in any of the
VII chords. The other thing that I found interesting about the orchestration of this portion
was that all chords are in root position with the exception of the VII7. From an analysis
standpoint, this made it challenging to take the Neo-Riemannian approach as well as the
fact that all the chords were major except for the dominant seventh chord. Instead, I
revoiced the chords beginning with a root position Ab chord and then continuing the
progression using smooth voice-leading. This allowed me to show the tendencies of each
chord tone. While Ewazen uses root position chords, he still uses similar voice-leading
which allows the chords to transition smoothly:

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This diagram illustrates what I think is the smoothest voice-leading. The other
thing this displays is how Ewazen moves throughout c minor from a Roman numeral
standpoint. There are absolutely no V chords as well as only one tonic i chord in the
excerpt. However, the buildup before the climax that Eric Ewazen causes even with the
absence of these two chords is unimaginable and so powerful. I believe this is caused by
the voice-leading within the planing of these major chords as well as the usage of a quasidouble-plagal cadence. Through my observation I have noticed that while some of the
voices include skips like in the melody, including these voice-leading patterns creates the
harmonic strength of the excerpt. In the first chord change in pickups to measure 30, I
will identify three voices that follow the pattern displayed above: horn 2 keeps the
common-tone C. Horn 3 moves from Ab G along with the bass trombone. My other
example will be pickups into measure 33, which is the point of harmonic repose. All four
trumpets parts resolve the Bb major F major cadence in the manner demonstrated
above. I think these part-writing shapes drastically affect the way we hear this
progression.
The next thing I would like to discuss is the cadence. A typical double-plagal
cadence contains a bVII IV I. The extra fourth progression creates a powerful
sound that would be desired in this type of composition. What Ewazen wrote was III
VII IV. I do not think this is a coincidence nor do I think it doesnt have everything to
do with a traditional double-plagal cadence. The cadence resolves to a IV chord just like
it would in a double-plagal cadence, however it is the chords but more importantly, the
motion that distinguishes these two progressions. I believe that Eric Ewazen took this
planing-fifths motion idea from the original cadence and made it his own. The planing

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fifths bringing the progression to a IV chord creates a power so strong it leaves nothing to
be desired by the listener.
I believe that there is a reason that these planing fifths were used as opposed to
the fourths of the traditional double-plagal. I believe this cadence is borrowed from the
parallel major key. Taken out of context, the last three chords of the analyzed phrase
could be written as bIII bVII IV. There are multiple reason as to why I think this is
plausible or why I think this explains the harmonic strength of this excerpt. In the major
(Ionian) mode, bIII bVII I, and bVI VII I are both typical cadences with
similar tonality. I think that Ewazen melded these two cadences together as well as
altered the point of repose. He replaced the tonic with the IV, which brings us back to a
plagal idea. By combining these cadences, Ewazen creates a progression more powerful
than the typical bVII IV I.
A final thing that makes the climax point so intense for me is the texture at the
end of the movement. After the thickest orchestration of the piece so far, Ewazen
contrasts it by ending the movement with a solo French horn excerpt restating this
chorale theme. This time, however, the theme is not in c minor. The theme is restated in
the key of c# minor. As for the relation of these two keys, I am still unsure. My theory is
that Ewazen used this half-step motion to creep up towards D Major, which is the tonal
center of the third and final movement. Another reason I think the theme is stated in c#
minor in its final appearance is because our ear perceives c# minor in a somewhat
brighter manner than c minor. This leaves a glimmer of hope or maybe even something
as simple as a glimmer of sunlight at the end of such a powerful journey that is the
second movement.

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In todays world of music with so many different things being experimented with
harmony-wise, composers must find a way to compete in order to stay in business and to
make their music attractive. Every composer tries to write something that will connect
emotionally with as many listeners as possible. Through the use of contemporary
harmonic progressions combined with a traditional style and setting, Eric Ewazen created
a piece so complex yet so palatable for listeners of all ages and backgrounds. Through
the implementation of voice-leading as well as interesting cadential ideas, Ewazen
created a masterpiece in many different ways.

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Works Cited
Eaverson, Anna K. A graduate recital in wind band conducting featuring analysis of:
Eric Ewazens Symphony in brass, Shelley Hansons Dances with winds, and Paul
Hindemiths March from symphonic metamorphosis on themes by Carl Maria von
Weber. Diss. Kansas State University, 2010.
Roggenkamp, Elizabeth. "The Brass Chamber Music of Eric Ewazen." (2013).
Smith, Thomas Rodgers. "The use of the trumpet in selected chamber works of Eric
Ewazen." (2001).