Theory of Bella
For Bella Scotti
5 oct. Marimba Solo
Theory of Bella is a piece created from the letters in the name “Bella” transcribed into set classes, mallet positions and morse code. The rhythm follows the pulse of morse code while all the notes come from a specified set class alphabet. With the notes in each set class, the mallets are arranged to spell out the letter it is recreating. In theory, these transcriptions can be applied to any name with any set of letters, making the “Theory of Bella” simply one iteration of infinite possibilities. The full theory behind this piece is explained below.
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Sole Author
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Premiere Video: 4:49-6:24, Open section to repeat of A section
Aerial Video: 6:12-7:20, Ending block chords and runs
*Videos Below
This piece was written for and performed by Bella Scotti, a senior percussionist at Penn State. The “Theory of Bella” refers to the theory used to create rhythm, notation, and visual aspects all derived from Bella’s name. This piece is uniquely her own identity, but also has the capability of transforming into other name identities based on the theory practice.
Video taken from premiere on December 3, 2021. Played by Bella Scotti. Camera/Sound by Bri Wiegand
Video taken during recording session for piece. Played by Bella Scotti
Camera/Sound by Bri Wiegand
*Note - The camera is a bit blurry from being shot at an unusual angle
The Theory of “Theory of Bella”
The “Theory of Bella” uses the letters in the name, BELLA, to create the piece itself. This is done through morse code, direct note relation, relation to a specified set class alphabet, and mallet positionings.
Morse Code
The rhythmic groove is derived from the direct morse code translation of letters. For Bella, the following morse code is used
(B) - . . . (E) . (L) . - . . (L) . - . . (A) . -
Following the standard practice of morse code, each dot is equivalent to one beat and each dash is equivalent to three beats. By applying this equivalence to standard musical notation, the following is derived. These rhythms can be transcribed into any beat pattern following a 1:3 ratio, including but not limited to sixteenth notes, triplets, thirty second notes, etc.
When put together, these base rhythms create the overall groove of the piece. The original rhythm is only modified slightly to add rests in-between some of the letters to give them more definition.
The articulations further emphasize the morse code rhythm. The first note of each letter is given an accent. Each dash is given a tenuto marking. The dots are represented with the open square notehead. This notation signifies the player to strike the bar in a staccato manner with one hand while holding the bar with their other hand to completely dampen the bar.
The added rests allowed the rhythm to fit easier into a common time signature. The rhythm is also repeated in the first instance to create a total of nine measures of 6/8 time.
The first note is B, signifying the first letter of "Bella". The rest of the notes in the beginning sequence follow the pattern: B E F F A. The F stands in for the L since it was closest aesthetically to the L.
This rhythm continues throughout the piece with the dots transforming into regular dead strokes, and the accents continuing for the first instance of each new letter.
In the section at measure 69, the player is free to create rhythms based on the morse code patterns below. They can spell out anything they like using the notes given with any rhythm they desire. One hand sustains a roll, notated by the open noteheads, while the other hand plays the desired rhythms using any combination of the solid notes provided within the parentheses. Each phrase should last between 10-15 seconds. Multiple open notes in the rolled hand means any of the provided notes can be included in the roll in any order and at any time during that section. **Morse code translations provided below**
Set Class
For melodic context, I created an alphabet derived from pitch classes by drawing the letters into the pitch class circle using only straight lines. Some letters had to be creative in their interpretation. The letters are made to be as different from each other as possible, with only a few repeats occurring. The following table spells out the entire alphabet with their relative pitch classes, set classes, and interval vectors.
When compiled together, the following distribution is formed. This done to create as many set class possibilities as possible. Since any set class can be transposed to any key, the amount of differentially between pieces using different names for the theory increases significantly.
For “BELLA” the original pitch classes were used as the source material, creating the following phrases.
An important note to mention is that the for the letter, “L”, the pitch class 7 was replaced with 9 to create an A minor triad rather than a C Major triad. This was done for melodic preference in relation to the other material.
These set classes are used the entirety of the piece making up all of the pitch material with the exception of minimal passing tones.
Mallet Positioning
With the rhythm and pitch material defined, the final use of “BELLA” occurs in the positioning of the mallets on the keyboard. Using the pitches provided from the set classes used, each letter of “BELLA” was mimicked in the pattern of the four mallets.
In order to signify the visual aspect, each specific mallet positioning occurs as a “block” chord throughout the piece. Each occurrence of the letters uses the same notes and arrangement regardless of register. The top clef spells out the specific notes that the right hand (treble clef) plays and the bottom clef spells out the specific notes for the left hand (bass clef).
The symbols underneath the the notes represent the visual shape of the mallets. In order to stick these accurately, the following stickings apply
Note that since the “L” repeats, two different stickings are used to indicate a separate letter. Since the traditional grip for the mallets is in the shape of an “L”, the player needs only to spread apart both hands in octaves.
