ITEA Journal Volume 49 Number 3 (Spring 2022)

Analysis of Zach Collins' Psalm for Euphonium Quartet
By Michael Waddell

Zach Collins' Psalm, written in 2013, is a beautiful work and welcome addition to the growing euphonium ensemble repertoire. Scored for 4 euphoniums, this work explores lush harmonies and beautiful textures, reminiscent of many contemporary choral works by composers such as Eric Whitacre and Morten Lauridsen. Harmonically this is achieved through the constant use of 9-8 and 4-3 suspensions throughout the piece, which is constructed with a clear emphasis on plagal motion. This plagal motion is a clear reference to the piece's title Psalm, as plagal motion is often present in hymns and other church music through "Amen" cadences. This gives the piece a reflective quality, despite having an overall sound that is far from a traditional church hymn.

From a form standpoint, the work is constructed in an overall A-B-A' form with extended transitions used to build tension and interest throughout the piece. This harmonic landscape combined with beautiful melodic material makes for a piece satisfying to both performers and audiences alike. The tonal centers of this work are also clearly delineated along with the overall form as D major, Bb minor, some transitional material in G Major, and then back to D Major. See figure 1.

Figure 1

The A Section of the work extends from measures 1-51. This section begins with a long introduction from measures 1-18 that indicates the real flavor of the piece to come. The work opens with a 4-bar introduction in the euphonium 1 part that outlines this plagal motion of the I chord to the IV chord that is ever-present throughout the piece, albeit with some non-harmonic tones. In measure 4, the first part is joined by parts 2 and 3, and right from the start of the piece we are already treated to our first 4-3 suspension in the third part; in measure 6, the fourth part has another suspension characteristic of this piece, a 9-8 suspension with the resolution displaced by an octave. This outlining of plagal motion and introduction of suspensions foreshadows the type of harmony that can be expected for much of the rest of the work (See Figure 2).

Figure 2

Toward the end of this introductory section, which is harmonically an extended play on IV-I plagal motion, an accelerando provides the transition into the first presentation of thematic material. This alteration of tempo is important, as it is the first in the piece, and is again foreshadowing to the rest of the work. Every transition in this piece is completed with some sort of alteration of time. Harmonically, this transition ends with a clear V-I authentic cadence in D Major, a rarity in this piece. At measure 19, we are introduced to one of only two real themes in this piece. This theme first presented here in euphonium 1 is the clear primary melody and returns often throughout the work during D major sections and is often supported by plagal motion.

As the piece moves towards its B section at measure 52, we are presented with a curious harmonic transition. In measure 51 are 2 fermatas, the first clearly serving as a final I chord for the conclusion of the A section in D Major, and the second as a 1-note transition that takes the piece into Bb minor. See figure 3.

Figure 3

Collins here chooses not to use a more expected modulation based primarily on harmony but makes use of stepwise motion in both ascending and descending directions in the first and fourth parts only, to step down and up to a Bb. The key signature and material presented at the start of the B section, also marked with a tempo change of Andante, is clearly tonicized in Bb harmonic minor throughout. This unorthodox modulation to Bb harmonic minor is one of the ways that this new section takes an effective yet sharp turn in a very new direction during this new portion of the work.

In addition to this modulation and change in tonality, this section features a change into 3/4 time, as well as a measure of 6/16 thrown in to add variety with metric modulation. This section is not based primarily on a strong melody; instead, we find an ostinato present consisting of alternating 16^th notes either stacked in thirds or fifths in the inner voices. Along with this, the composer continues this plagal motion in the outer voices, which from measures 52-62 continue to highlight this motion, in the case of this key from E flat to B flat. These features combine to drive home the new tonality. See Figure 4.

Figure 4

In addition to the pervasive ostinato, this section also features the only other presentation of a clear theme other than the original theme introduced in the A section. This theme begins in euphonium 4 in measure 62 and is joined for a brief four measure canonical moment in measure 66 by the euphonium 1. The theme is then stripped away in measure 70 and deconstructed throughout the rest of the section, never to really return for the rest of the work. While this is a clear presentation of a new theme, the fact that it is stripped away so quickly shows the work's intention for this middle section to be strikingly different then the A and A' sections. See Figure 5.

Figure 5

Throughout the first section of the piece, the harmonic and rhythmic motion remains relatively slow, with most of the section outlining plagal motion of IV-I, with the occasional V or vi chord, and a stream of various suspensions. The B section, by contrast, contains a distinct increase in this harmonic and rhythmic motion, extending beyond the motoric sixteenth note ostinato of its beginnings, which the composer uses to increase tension. See figure 6. This section, with its ties across the bar line, creates the sound of notes being out of phase. This, along with the increased harmonic motion, causes a great increase in tension in the piece, which sets up a long-extended transition that will eventually lead into a release of tension at the return to the original theme.

Figure 6

The B section and the A' section of the piece are connected by a long and winding section of transitional material beginning in measure 81, the measure before andante piu mosso, and extending through measure 101. The composer uses a similar technique here in measure 81 to transition into a tonality by using stepwise motion solely in the euphonium 4 part to move to G major. From measures 82-93, there is an extended period of transitional material centered in G major, which returns to D Major in measure 93. Again, an example of plagal motion.

At measure 93 is the final transition back to the original theme of the piece and the climax of the work. There is a large crescendo and plagal motion that drives into a false climax at measure 100, where the composer places the highest and loudest notes of the entire work. This is directly followed by a ritardando and the real climax of the piece, as the original material returns at the A Tempo at measure 102. At measure 92, Collins begins to setup this return as he slowly transitions us back to the main theme. This long transition back, as well as false climax in measure 100, make the return at 102 extremely satisfying. The piece finally releases all the tension that began building in the B section in Bb harmonic minor, which has not truly been released until this moment with this return to the original theme, supported harmonically in the same way it was during its second presentation in the original A section. See figure 7.

Figure 7

This section featuring the original theme ends at measure 115, but the piece continues. From measure 116 to the end of the piece in measure 132, a coda with new material focuses on a call and response motif between one part and the three other voices working together. The voice of the call shifts between euphoniums 1 and 3 throughout this ending section. See figure 8.

Figure 8

This extended closing section mirrors the extended introduction of the piece, providing wonderfully reflective bookends to the entire work. The piece ends very fittingly with a unique version of a plagal cadence, that closes with a cue from all of the suspensions used throughout the piece. The last 2 chords are IV-I, both with 9ths, with the penultimate chord's 9 resolving, and the final chord's 9 not resolving. This leaves the audience without a true sense of conclusion, and with yet another opportunity for reflection. See Figure 9.

Figure 9

Zach Collins' Psalm is a reflective work that showcases the euphonium's lyrical qualities, while providing an engaging experience for performers and audiences alike. Its serene harmonic language and melodic interest will help solidify the work's place in the growing repertoire for euphonium ensemble.

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