Concert can be found at www.MIStreamnet.org/cmsd or www.ChamberMusicDetroit.org/Education

The Chamber Music Society of Detroit presents… Classical Jam

Flute: Marco Granados Violin: Cyrus Beroukhim Viola: Meena Bhasin

Cello: Wendy Law Percussion: Justin Hines

FIRST SEGMENT: Fuga y misterio by Astor Piazzolla (02:01 to 07:49)

Fuga y misterio was composed in 1968 by the famed Argentine composer Astor Piazzolla, and is a prime example

of the “Nuevo tango” (new tango) style he pioneered after studying classical music, jazz, and other musical styles.

It is written in four parts and arranged in this performance for flute, violin, viola and cello, with percussion

improvisation. This is the same piece with which Classical Jam opened their 2012 webcast, with a very different

arrangement. In spite of its title, this piece is not written in formal fugue form, but it does share with formal

fugue form the characteristic technique of a recognizable theme or “subject” that is passed around the different

instrument in “points of imitation.”

Detailed Timeline for this segment

o 02:01 – After a short flute introduction, the percussion lays down a basic rhythmic pattern that is

joined and imitated by the other instruments, using short bits of melody that approximate the

fugue theme: violin, viola, and then flute.

o 02:30 – From the repeated rhythmic/melodic pattern the flute part transitions into what sounds

like an actual fugue subject at 02:51. As one would expect in a fugue, the violin takes over with

this same melody at 03:01.

o 03:33 – The viola steps up to take its turn with the fugue subject, but instead breaks into an

improvisation. The flute quickly takes over at 03:43.

o 04:03 – A transition begins into the middle section of the piece.

o 04:14 – The “misterio” section begins, with subtle changes in tempo, dynamics and mood; melody

shared in the flute and violin

o 04:44 – The original melody re-appears in the flute.

o 04:51 – The finish of the piece has all of the instruments playing in unison the very same music

the flute played way back at the introduction to the piece.

o 05:08 – Fuga y Misterio ends

o 05:10 – Welcome. Theme of the day is musical characters and how different sounds contribute to

the mood of a piece. This piece by Piazzolla is about a court jester. Members of the ensemble are

introduced via their instruments and the sounds they produce to contribute to the character of

the joker:

06:03 – Justin Hines, percussion

06:20 – Meena Bhasin, viola

06:33 – Wendy Law, cello

07:11 – Cyrus Beroukhim, violin

07:37 – Marco Granados, flute

Concert can be found at www.MIStreamnet.org/cmsd or www.ChamberMusicDetroit.org/Education

Teaching concepts demonstrated in this segment:

o Form: The thematic form of the piece is A - A1 - B - A1; A is the section with the fugue entrances, B

is the slower “Misterio” section, A1 is the more improvisatory approach to the melodic material,

and happens twice. This can also be used as an example of simpler A-B-A form, if only tempo and

dynamics are considered.

o Dynamics: several big shifts occur – when all four instruments begin the new theme, when the

“Misterio” section begins, and when “Misterio” ends

o Syncopation: dividing 8 beats into repeating groups of 123-123-12, 123-123-12, 123-123-12, etc.;

the music keeps this underlying pattern throughout the following “fuga” section as each

instrument enters

o Pizzacato: to pluck a string of a bowed instrument with a finger.

Possible teaching activities related to the segment

o Guided journal questions

SECOND SEGMENT: Escualo by Astor Piazzolla (07:50 – 11:58)

In addition to being a tango composer, Astor Piazzolla is also famous for his bandoneón playing. Escualo, Spanish

for shark, was originally written for solo bandoneón, but was quickly picked up and arranged for multiple

instruments. The piece includes a fast, latin groove with much chromaticism.

Detailed Timeline for this segment

o 7:50 – Narrative introduction

o 08:23 – Escualo begins

o 20:12 – Escualo ends

Teaching concepts demonstrated in this segment:

o Chromaticism: is the use of notes foreign to the key in which the piece is composed. This creates

dissonance and adds to the emotion and tension of a piece.

THIRD SEGMENT: Passacaglia by George Frideric Handel and Johan Halvorsen (12:00 to 24:23)

Renowned throughout Europe as a virtuoso keyboardist (both organ and harpsichord), George Frideric Handel

was recognized for his brilliant improvisations. This passacaglia was originally composed by George Frideric

Handel as the last movement of his Harpsichord Suite in G minor (HWV 432) and later arranged by Johan

Halvorsen for violin and viola. Both the passacaglia and the chaconne are thought to derive from dance forms—

the passacaglia probably originated in a Spanish street dance, and the chaconne in a wild Mexican dance brought

to Europe by the Spaniards. A Passacaglia is a set of variations over an ostinato. An ostinato is a perpetually

repeating phrase or motive--in the case of this passacaglia, it's the bass line/harmony that repeats. While the

actual notation may change, you'll notice that all of the variations have the same structure.

Detailed Timeline for this segment

o 12:00 – Narrative introduction

o 12:35 – Demonstration of theme

Concert can be found at www.MIStreamnet.org/cmsd or www.ChamberMusicDetroit.org/Education

o 12:52 – Discussion of variations on a theme to create different characters

o 13:27 – Volunteer from audience selected to help create a variation that has a “spooky” character

14:01 – High or low pitch? High!

14:30 – Fast or slow? Fast!

14:55 – Loud or soft? Loud!

15:39 – Percussion: chimes, drum, cymbal, Chinese cymbal, castanets, maracas,

tambourine, conga drum? Chimes!

o 16:18 – “Spooky” variation of theme performed

o 16:42 – Discussion about hearing different characters and how instruments can be used in this

o 17:20 – Passacaglia begins

o 22:22 – “Spooky” variation of theme included in performance

o 22:49 – Returns to piece

o 23:38 – Passacaglia ends

o 23:40 – Discussion of characters heard

Teaching concepts demonstrated in this segment:

o Theme – Melodic idea used as a basic building block in the construction of a composition

o Variations – Compositional procedure in which a theme is stated and then altered in successive

statements.

Possible teaching activities related to this segment:

o Have students perform the fast skipping type dance with the movement occurring on the macro

beat.

o Have students dance slower dance with the change of direction occurring on the macro beat.

Stress the anticipation that must occur in order to maintain the slower tempo.

o What additional movements can the dancer add to help maintain the duration?

FOURTH SEGMENT: CJ Storms the Castle by Justin Hines (24:24 to 34:20)

This piece is composed by Classical Jam’s own percussionist, Justin Hines. CJ Storms the Castle is a fictional story

with musical accompaniment. The story focuses on the relationship of a Princess who loves classical music, and a

Jealous Knight who makes life difficult for everyone. For each character in the story there is a musical theme.

Detailed Timeline for this segment

o 22:24 – Narrative introduction

o 22:54 -- The Main theme and the Music of the Kingdom: a bouncy 6/8 melody that imitates the

music of the Renaissance Period. It has both a Major and a Minor version.

o 25:19 – The Princess: her theme is a lilting melody in 6/8 time, often played on the flute. It is in a

major key.

o 25:51 – The Dragon: her theme is a dark, slow chromatic passage played in tremolo. The flute

plays flutter tongue technique to match the strings. The time signature is 3/4.

o 26:24 – The Magician: his theme is an odd up-and-down-type melody, played over odd time

signatures, featuring percussion that represents the Magician playing tricks.

Concert can be found at www.MIStreamnet.org/cmsd or www.ChamberMusicDetroit.org/Education

o 26:55 – Reference is made to the Jealous Knight theme, but it is not performed. The Jealous

Knight theme is in a minor key melody that sounds sad, yet has a possible turn to happiness, only

to end in minor again.

o 27:09 – CJ Storms the Castle begins

o 48:23 – CJ Storms the Castle ends

o 48:35 – Discussion of favorite characters

o 48:45 – Contour of Dragon theme

o 49:18 – Princess theme discussion- melodic

o 50:18 – Magician theme discussion- odd meter

o 51:14 – Segment ends

Teaching concepts demonstrated in this segment:

o Chromaticism: is the use of notes foreign to the key in which the piece is composed. This creates

dissonance and adds to the emotion and tension of a piece.

o Musical Saw/Flexotone: A handsaw that is bowed on its smooth edge; pitch is varied by bending

the saw. This instrument is demonstrated in the next Q&A session.

o Harmony: the simultaneous combination of notes and the ensuing relationships of intervals and

chords.

o Major Key: a major scale is a diatonic scale. The sequence of intervals between the notes of a

major scale is: whole, whole, half, whole, whole, whole, half

o Minor Key: a minor scale is a heptatonic scale. The sequence of intervals between the notes of a

minor scale is: whole, half, whole, whole, whole, half, whole

o Odd Meter: an odd meter is one that contains both simple and compound beats.

o Tremolo: rapid repetition of a tone.

o Trills: repetition of two notes consisting of the rapid alternation between one tone and the next

above it.

Possible teaching activities related to the segment

o What are the elements of a classic "Princess in a Castle Story?” o What time period do these stories come from? o Where does it take place? o What is the main conflict? o How do the characters change throughout the story? o What does the music do to represent different events in the story, such as the lowering of the

drawbridge, the release of the bird into the sky, the clouds and skywriting, the Dragon breathing a ball of hot fire, and the Princess crying?

o How does the Magician outplay the Dragon with musical scales? o Can you tell when the musical themes are combines and played at the same time?

FINAL SEGMENT: Questions & Answers, Encore (51:15 to 61:50)

Question and answer session followed by a closing piece.

Detailed Timeline for this segment

o 51:15 – Questions from the audience

o 54.54 – End of performance