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Analysis of an Anonymous Piano Piece
This anonymous piano piece presents the analyst with several challenges to understand how
the composer manipulates material in order to create a unified work that, despite being very
chromatic and having no large scale tonal centre, appears to develop particular audible
consonances. By examining the pieces structure, motivic content and harmony, I shall explore
the journey that this piece makes both tonally and thematically.
On listening to this piece, the music portrays an organic sense of unfolding continuity,
not relying on a tonally controlled structure to create unity and development. There are,
however, both audibly and visually (clear when looking at the score), several distinct
structural breaks. As the music progresses and develops though these sections it portrays an
almost Sonata-like structural outline, where the music undergoes an initial statement,
transition into a developmental passage, feel of return to the opening ideas and a closing
coda.1 Figure 1 displays the components of bars 1 and 2 which provide much of the work’s Commented [M1]:
Commented [M2R1]: Don’t need it!
thematic content. It is through the composer’s manipulation and restatement of the material
that occurs in the opening bars of the piece that these sections appear to arise, and that this
material becomes identifiable as thematic. As the listener experiences the piece, they
continue to hear these themes (ideas from the opening occur in nearly every bar of the piece)
1
Describing the structure of this piece as a sonata as it was traditionally presented in the common-practice era
would be inaccurate because, as Hepokoski and Darcy define in the work Elements of Sonata Theory, for a
piece to be in this form, there must be a process of tonicization. As this piece has no large-scale tonal centre,
tonicization cannot occur in the recapitulation. I am therefore using the concept of a sonata because it helps to
provide an explanation as to how certain thematic material is used places and how sections of the piece are
defined and divided.
2
It is only in the cadenza-like section of the development (bar 21-23) where some element from the opening is
not obviously heard. This helps to give this passage a sense of freedom and contrast from the rest of the work.
Figure 1. Motivic components of bars 1 and 2 which provide thematic
material through their variation and repartition.
Within this cell of music there are A is a paradigm out of which P and Q Q is a descending leap,
several individual motifs, apparent both are formed. This opening phrase is initially stated over a sixth
horizontally (along single lines) and seen in various forms throughout the (9 pitch classes). Although
vertically (examining how chords are piece and is developed using controversial to class two
formed). These are developed rhythmic alteration, pitch changes notes as a pitch class set,
separately, as well as a complete unit, and articulatory differences. the way that the composer
throughout the piece. uses it away from A and
develops it independently
P is a descending A justifies this.
chromatic scale –
although this a P Q
fundamental element of
music, through its
repartition, variation and One of the distinguishing
combination with other X features of this cell is the
elements in the piece, it way that the last chord
becomes a motif. could be described tonally.
Although this is obscured
X is made up of pitches 0,4 when listening to the piece,
and 5. This chord recurs B through the delay in arrival
throughout the piece and is between A and B, the
in its nature very dissonant. B again uses descending chromatic scales – phrase lands on a first
Throughout this opening important to the dissonant nature of much of inversion C minor triad. I
cell, X is sounded on each this piece. Forming an interval of a major third (5 shall return to the use of
quaver beat of bar 1 and in pitch classes) this idea is seen in many places triads later however
the first beat of bar 2. This throughout the work. The use of acciaccaturas although the piece does not
shows how a pattern is with tenuto marks adds weight and emphasis to have a distinct tonal centre,
being transposed down the this motif as well as ensuring that B is sounded there are moments of local
chromatic scale and ensures before A. This encourages the analyst to look at tonality. This helps the piece
that no prominent tone is this bar in horizontal and vertical components. to develop its feeling of
established at the outset of uncertainty, instability and
the piece. I shall return to X organicism.
later in my analysis.
By examining how these motifs are developed we can also gain more insight into how
they help to control the piece’s structure. Table 1 combines an explanation of the key
structural sections of the work as well as showing the transformations which occur out the
material provided in bars 1 and 2. Returning to the earlier idea of the piece having similarities
to Sonata Form, I have used categories from this structural form in my analysis. The colours
in the table show the structural sections and the paradigm which the motivic idea has
developed form.
Table 1. Structural breakdown and explanation of motivic transformations.
3
In all my discussions of pitch classes, the starting note is treated as zero.
4 One other key aspect that we must consider is tempo and how this is manipulated though the piece. When
listening to the piece, the music flows without appearing to be constrained by a strict sense of pulse. Although
part of this may be due to performative decisions, when we examine the score, the changing metronome
markings (like at bar 16 and bar 24), time signatures (moving between 2/4 and ¾) as well as the repeated
sostenuto markings help to suggest a sense of freedom in the music. Although this is particularly evident in the
development, it occurs throughout the piece. The use of silences though rests also adds to the feel of space and
flexibility. As I discussed in Table 2, we question the role of strong and weak beats in the bar and therefore what
role bar lines have. An emphasis can arise on a beat when the composer uses an accent or rhetorical device on
a specific note (such as the last quaver of bar 15 or the semiquaver Eb on the first beat of bar 9), causing us to
interpret that note and perhaps the next in a particular way but, to the listener, this occurs independently from
the bar lines. Therefore, the bar lines more useful as interpretative aids for the performer than as regulatory
sections for the listener.
inversion D major chord which gives
a locally tonal sound. This is then
clouded by the arrival of the B from
Q to ensure that any suspected
consonance is short lived. This is an
idea which continues throughout
the piece.
5 From the same paradigm as B, the
chromatic relationship between the
chords however is not as prevalent.
The use of this idea away from the
other confines of the original cell
justifies how we should look at its
contents horizontally as well as
vertically though pattern
movements of X. The acciaccaturas
have also been removed, simplifying
the idea.
6-9 This sighing motif echoes Q
although it is heavily transformed
through the addition of a third note
and the variation in the interval of
the leaps (here jumping over 4 and 8
pitch classes) thus spelling out
triadic shapes. Below I discuss how
we might interpret the use of
harmony in this section.
questions surrounding the notion of consonance and dissonance. Throughout, the piece is
highly chromatic, and this ensures that no solid tonal centre arises. Chord X is a prime example
of how chromaticism is used within the pieces harmony and chordal creation. Figure 2
X and X1 recur throughout the piece in several guises across voices and in various
transpositions. As well as being prominent in the opening bars, the composer exploits the
shape repeatedly from bar 5 to bar 10. This is interesting because this moment is signalled to
the listener as important through the rhetorical repeating cadence shape and the
introduction of the climbing third voice in the bass of bar 5 (perhaps suggested slightly earlier
with the A on the final chord of bar 4). This new voice exploits a different register of the piano
and uses the whole tone scale. These help to increase the expectation that an important
moment will occur in the music. The first beat of bar 6 has a second inversion chord of E major
before the chromaticism returns with the use of X1 (Figure 3). The following chord is also
difficult to describe using tonal language but is not a variation of X.5 Through the repartition
of this cadence, the listener begins to hear these chords as consonants arising by an
emancipation of the dissonance. The use of voice leading into bar 9, this time the X chord
5
A description of this chord using tonal language would be C# minor13, the chord on beat 2 of bar 6 could also
be defined as B major with a major 7th and so a I-ii cadence is occurring. However, it does not sound like this
and so by using these definitions it would be contorting the music into a model which it does not fit.
having been enharmonically respelt (Figure 4), encourages us to look at the G as an arrival
point. The accent on the G also suggests it is important and helps the listener to remember
it for its recurrence in the rest of the work. Although this respelling cannot be heard by the
audience, it can be taken as a direction for the performer to encourage them to play the music
Figure 3. Bar 6 beat 2 into bar 7. Figure 4. Bar 8 beat 2 to bar 10.
When referring to Bartok in his book Music in Transition6, Samson states that ‘to
demonstrate that a tonal argument need not be dependent upon triadic harmony but can be
built around pitch polarities which one established through repetition and emphasis’. In some
ways the composer of this piece exhibits this idea in the way they establish the role of the
note G. It is repeated many times throughout the piece in particularly prominent places (see
Figure 5) and this repartition helps to establish it in the memory of the listener so that by the
time it is heard at the very end, the music feels like it has reached a sort of resolution. The
piece, however, does continue to be highly chromatic throughout which would perhaps push
Samson’s idea to the extreme because although G becomes a prominent pitch, the music
never becomes tonal. It therefore may be more accurate to consider the piece as a process
of G being emancipated as a consonant out of the haze of chromaticism. Throughout the piece
there are moments of local tonality, though the composer’s use of G and use of a major
seventh chord (as on beat one of bar 6) and at the end of statements of A and B such as bar
13.
6
Samson, Jim. Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920. (London: Dent, 1977),
page 33.
Figure 5. The role of pitch class G.
The bass is
The accented sustained G in the bass creates enharmonically re-
a grounding below the movement towards spelt, perhaps to create
an apparent resolution in the upper parts. voice leading onto the
This assumes that we are assuming than the D and G, enforcing their
harmonic root of the moment is in the bass importance.
of the chord. The D, a fifth above the G,
helps to justify the G being the harmonic
root though traditional diatonic associations.
clouded and ambiguous. In this respect the piece shows how the journey has not brought any
resolution to finding a tonal centre (if indeed that was the intention of the piece) and, has
perhaps, made it even more ambiguous with the role of G. As seen above, the G act as a pedal
during the coda, forming a bass over which the alternating chords in the upper voices are
hear. This idea is developed out of the opening bars again where the acciaccaturas ensured
that B was heard first. Tritones are used in both voices during the coda and so the music
sounds unresolved. The chromaticism continues with the use of descending chromatic scales
in both parts (again echoing the opening). The final bar of the piece poses many analytical
problems. If we consider the right hand of the whole bar, a version of X is created, and so the
circle is complete – the piece beginning and ending with the same chord shape. However, the
G does not sound until after the other notes have been released and the diminuend marking
suggests that the sound should be fading away, so the listener does not hear the G as strongly.
This leads us to question whether the piece sounds finished. I believe that it does, the
decreasing dynamic and the feeling of a reduction in tempo (caused by the acciaccaturas
being transformed into longer notes) suggests that the piece is winding down to its
conclusion. Therefore, the G acts as a reminder of both X chord – which has been key to
allowing the piece to have unity and continuity and as an indication of the consonance that
In this piece, the composer presents a journey to the listener signalled and linked
though their transformation and exploitation of material that is first heard in the opening
bars. Through the unfolding structure the music experiences moments of local tonality with
continues to return in order to remind the listener that the piece is not firmly tonal and to
Hepokoski, James A, and Warren Darcy, Elements Of Sonata Theory, 1st edn (New York, N.Y.:
Oxford University Press, 2011)
Samson, Jim. Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920.
(London: Dent, 1977)