Assignment 5: References

Part 5 – References

Andrews, W G. & Sclater, M (2000). Materials of Western Music Part 1. London: Alfred Publishing Co., Inc.

Kennedy M. & Kennedy J. (2007), Oxford Concise Dictionary of Music, 5^th Edition, Michigan, Oxford University Press.

Jarrett, S & Day, H. (2008) Music Composition for Dummies, Indiana: Wiley Publishing.

Randel, D M. (1999). The Harvard Concise Dictionary of Music and Musicians.  Second Revised Edition. Cambridge, MA ; Harvard University Press.

Taylor, E. (1989) "The AB Guide to Music Theory: Part I", England: The Associated Board of the Royal Schools of Music (Publishing) Ltd.

Assignment 5: Listening Log

Brandenburg Concerto No.5 in D major, BWV 1050 (Bach, Johann Sebastian)(1721)

The harpsichord’s cadenza towards the end of the first movement of this piece really changes the dynamic of the composition.  My initial thoughts on this piece were that it seems quite clumsy in nature.  A number of the instruments seem to be playing the harmonic tones, but often the timing seemed to be shifted slightly. 

This became apparent as a theme in the cadenza with the harpsichord's increasing tempo giving the piece a frantic and tense feel.  The clumsy timing that I had noticed earlier really gave the whole piece a sense of imbalance and the feeling that it may all collapse.  However, when the Orchestra rejoin the harpsichord, the piece one again regains a sense of balance and order. 

Three Little Words – Sonny Rollins (1965)

Sonny Rollin’s saxophone cadenza at the end of Three Little Words gives a fantastic insight, not only into the theme and nature of the song, but also the character of the saxophone – not to mention the skills of the player.  The saxophone's light, bright and agile nature make it a contrast to the harpsichord cadenza heard in Bach’s Bradenberg Concerto which carried a more sinister and hectic feel.  However, in this piece, despite the complexity of this entirely improvised cadenza, it still echoes the overall feeling of the composition. 

Beethoven Piano Concerto No.5 Emperor in Eb Major Op. 73

The cadenza in this piece was a very different form, and from my research I understand it to be very precise in its nature.  From earlier studies of tempo and dynamics I understand that Beethoven was quite particular about the way in which his music was interpreted, and as such, carefully notated the cadenza for the beginning of this piece, unusually accompanied slightly by the Orchestra. 

Unsurprisingly, Beethoven’s carefully notated cadenza in this piece is a beautiful example of the piano’s range and ability and perfectly fits every element of this composition.  However, there was a clear difference in the improvised cadenza, such as Rollin’s, and Beethoven’s carefully crafted lines.  Given the original nature of the cadenza in the Italian Aria it seems that this style of ‘crafted cadenza’ could almost be argued to be more of a part of the original composition that an added cadenza.

Richard Wagner ‘Prelude’ Das Rheingold 

Recording found on Spotify

Although I appreciate the extreme use of the Eb Major chord in the prelude to this opera, I could not help to find the majority of this piece to be extremely flat and boring!  Due to the intrigue and complexity of Wagner’s other works I can only imagine that this feeling, for me, was due to the overuse of the suspension of the dominant.  Of course in later sections of this opera the music ‘comes alive’, but this Prelude seems to maintain a stationary feeling.

However, my initial feelings aside, I found it incredibly interesting that this piece could make use of many variations of the dominant and introduce a number of slightly contrasting sections to ‘offset’ the dominant.  Of course, towards the end of this Prelude, there is somewhat of a flourish across the Orchestra.  In the last minute of the piece each instrument seems to begin building and waking, each adding textural and harmonic complexity to the piece. 

Assignment 5: The Final Composition of A Cycle of Footsteps

Despite my original thoughts about the limitations that this type of cyclic progression provides, I actually found this method of composition more challenging due to those limited possibilities.  Choosing the correct pre-V chord to both develop and ensure a varying theme became a key factor in the overall syntax of this piece.  Throughout I have tried to incorporate a number of broken and arpeggiated chords to vary the sound and fit within the overall theme.

To begin this composition I designed a simple melodic vocal pattern loosely moving between the tonic, pre dominant and dominant chords (see below).  Initially written in C major, I then imitated, transformed and transposed this melody, harmonising subsidiary voices to develop the cyclic chord pattern of I – pre-V – V.  As earlier mentioned, achieving perfect cadence was reserved only for the closing bars, but I tried to incorporate a number of other cadence techniques to retain the feeling of suspense and development.  

Part A – Principal Section

To fit with the theme of human development, I composed section A using a lullaby feel with the expression direction on dolce, a tempo of 86bpm and dynamics varying slightly between pianissimo and mezzo piano; notating a sweet and light feel.  Throughout this section the melody flows gently between the tonic, supertonic, mediant, subdominant and dominant seventh, always ensuring that a pre-V chord interrupts the cadence and maintains suspense. 

With the exception of the introduction in the first two bars, this section begins on the tonic and swings between the tonic and a pre-v chord for the first 6 bars, before it develops to the dominant seventh.  As I wanted the beginning of this piece to give the feeling of early childhood, I have tried to use both clefs to give the feeling of rising and growing, ensuring the overall flow of the melodic motions move in an ascending manner.  I made use of a plagal cadence very early on, in the fourth and fifth bars, to represent the first major step of childhood development.   I have used a simplistic pattern of note lengths and reserved the use of the pedals until the seventh bar to enhance the simplicity of these opening motifs.   A phrase using triplet sections of semiquavers appears for the first time in these bars, which I have used throughout to continue the feeling of growth and familiarity.

From this point the melody gently becomes more complex with the introduction of the dominant seventh, interrupted by the mediant, to portray the idea of knowledge and independence.   Once again, the triplet phrase appears again, but this time I have used it amongst a series of bars suspending the dominant seventh.  Specific dynamics have been used in this section as I tried to give the listener the idea of absorbing, questioning and discovering the world.   This suspension is interrupted by the mediant once again, this time at the beginning of a four bar inversion.  I used this inversion as these are the closing bars of section A and I wanted to give the impression of ‘revisiting’ the theme of the section but still varying the overall feel.  

Part B – Secondary Section

This section acts as a bridge to section C and represents a phase of transition from childhood to adolescence.  The entirety of this section is based in the dominant seventh and the heavy use of the pedal portrays the sense of confusion and the introduction of angst.  The treble clef melody repeats in each of the first three bars, rising by a fourth each time; beginning to build the feeling of tension.  The latter half of this section uses an arpeggiated run down the notes of the dominant seventh chord, using triplets and a direction of niente to provide a dramatic fade and represent the fall into adolescence. 

In my earlier studies I came across a form of cadence referred to as Tierce de Picardie. This is the idea of designing a cadence for a piece written in a minor key, to end with its major key, i.e. a piece composed on the scale C minor would cadence with a C major chord.  As I found this quite an interesting concept, I decided to ‘flip’ the idea and end the section using the C minor chord.  By doing this, I believe it tempts the listener with the idea of a perfect cadence, but builds drama and demands continuation at the same time.  

Section C Subsidiary Section

Section C provides a more dramatic, tense and unpredictable feel.  The tempo rises to 106bpm, the volume increases, and I have used the expression direction of con fuoco to indicate passion and fire. I began this section by introducing the use of dramatic arpeggiated chords contrasted with short staccato semiquaver phrases, moving within the notes in the given chord.   I have chosen to remove the pedal completely from this section, as I wanted to ensure that the dramatic chords did not overpower the bass staccato rhythm.  The impact of these two ideas together was designed to give this section the feel of a constant sense of movement and anguish, interrupted with large ‘developmental’ moments provided by the large arpeggiated chords.  

In the latter half of this section, I have replaced the arpeggiated chords with accented seventh chords moving erratically with the underlying staccato rhythm. This section’s bold, slightly dissonant and forceful seventh chords really help to build the tension and give the impression of the angst often felt in our formative teenage years.   At this stage, I considered introducing the use of the ninth and thirteenth chords, but after some experimentation, decided that these chords provided too much tension and contrast. Therefore, I decided that seventh chords were better suited. 

The force and drama of this section eventually begins to slow around the 39^th bar with a quick succession of chords.  At this point, perfect cadence is almost achieved as the progression moves from the dominant seventh to the tonic.  However, the quick succession at which the subdominant ‘leaps’ in, accompanied by an inverted tonic chord, means that this cadence helps to build the idea of the steps forward in human development. 

At the end of this section I have used some ‘transition chords’ to lead to a key change.  The use of Ab – Bb – Eb does serve a purpose in its ability to seamlessly draw together the two key signatures, but was actually meant to represent a notable stage of development between adolescence and adulthood - a time which could be described as ‘an awaking’ and a time when we become more comfortable with ourselves. 

Section B – Secondary Reprise

Much like the last time we heard section B, I wanted this portion to continue the feeling of transition and give the impression of absorbing and learning. In the first instance of section B, we heard a dramatic ‘fall’ into adolescence.  However, this section represents the movement to adulthood and I therefore removed the latter bars of the original section, slowing the tempo to ensure that the piece moves seamlessly back into the principal reprise section A.  This time, the melody has been transposed to Eb major to give the impression of brightness and happiness returning. 

Section A – Principal Reprise

This section repeats the melodic line from the original principal section, adding a number of transformations and key changes to bring this piece to its closing section.   Transposed into Eb major, the first six bars remain the same, once again back to the expression direction of dolce.  This reoccurrence of the melodic patterns is aimed to provide familiarity to the listener, but also give a brighter and more contented feel than when in the home key.

However, the next three bars provide the final feeling of transition and development.  This time it represents the movement in the later stages of life.  I have done this by repeating a phrase from section A, but transposing each of the three bars to ‘step’ the key signature back down from Eb major to C major (through D and C#).  This descending motion not only serves a syntactic purpose, but also provides a slightly melancholic feel, portraying the idea of loved ones passing away and life becoming slower.  At this stage I was unsure whether to notate this as a change in key signature, or through the use of accidentals.  However, when experimenting with both techniques, I felt that the use of these signatures seems cleaner and clearer for the performer. 

Once the section returns to C major I revisited phrases from the original principal section in order to carry on the feeling of life slowing.  However, this time I have augmented a number of bars to elongate the melodic movement.

Section D Closing

Section D opens with the expressive direction of poco a poco or ‘little by little’ to notate a gentle decline in the movement of this piece.  As it provides the closing perfect cadence, I have suspended the use of the dominant seventh chord until the very last moment in this piece. This entire section was composed to represent the end of life and a very peaceful finish. 

I have used dramatically declining dynamics and tempo, a series of light phrases on the treble line before ending on a gentle dominant chord, closely followed by the arpeggiated tonic to create a perfect cadence.  Although this section portrays a very sad theme, I wanted to use the treble line to represent the memories that one collects throughout life and the idea of looking back.  

Overall thoughts on A Cycle of Footsteps

I would consider this piece one of my favourite compositions so far.  I believe that the music reflects the theme of the story throughout and I have made good use of different transformations and cadences.  As previously discussed, I had envisaged this piece as an accompaniment to a vocal score based on the original melody written (see example score below).  Throughout this piece I also tied in the idea of a verse, bridge and chorus section (A, B & C respectively), repeating and imitating the style of more modern popular compositions.

As I feel most comfortable composing on the piano I must admit I found it easier to find the correct notes and progressions to accurately portray the message I was trying to give.  However, as I mentioned earlier, choosing the correct pre-V chords and cadences proved the most challenging part of this assignment.   

Full score including vocal line: