Download - El Salon Mexico

ANALYSISANALYSIS

EL SALON MEXICOEL SALON MEXICO

AARON COPLANDAARON COPLAND

Power point prepared by: Margaret Williamswww.mewsicresources.co.nz© M E Williams 2010

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Copland visited Mexico in 1932 and decided to compose a piece of music based on Mexican

themes

BACKGROUND (1)BACKGROUND (1)

GuatemalaGuatemala

BelizeBelize

USAUSA

ElEl SalvadorSalvadorHondurasHonduras

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From the very beginning, the composition was connected to a popular dance hall in Mexico City

called the Salon MexicoSalon Mexico

BACKGROUND (2)BACKGROUND (2) 2

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““It would be foolish for me to attempt to It would be foolish for me to attempt to translate into musical sounds the more translate into musical sounds the more profound side of Mexico:profound side of Mexico:


In order to be able to do all that, one must really know In order to be able to do all that, one must really know the countrythe country

All that I could hope to do was to reflect the Mexico of All that I could hope to do was to reflect the Mexico of the tourists, and that is why I thought of the the tourists, and that is why I thought of the Salon Salon MexicoMexico, because in that ‘hot spot’, one felt in a very , because in that ‘hot spot’, one felt in a very natural and unaffected way, a close contact with the natural and unaffected way, a close contact with the Mexican people…Mexican people…

the revolutionary Mexico of todaythe revolutionary Mexico of today

the Mexico of ancient civilisationsthe Mexico of ancient civilisations

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……It wasn’t the music I heard, but the spirit that I felt It wasn’t the music I heard, but the spirit that I felt there, which attracted me. Something of the spirit is there, which attracted me. Something of the spirit is what I hope to have put into my music”what I hope to have put into my music”

BACKGROUND (4)BACKGROUND (4) 4

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Copland completed the work in 1936Copland completed the work in 1936


It was first performed on August 27 1937,

by theOrquesta Sinfonica Orquesta Sinfonica

de Méxicode Méxicoconducted by Carlos

Chavez

It was Carlos Chavez who introduced Copland to the “Salon Mexico” Night Club when he visited Mexico.

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Some of the themes are based on melodies printed in

El Folklore y la Musica MexicanaEl Folklore y la Musica Mexicana edited by Reuben Campos


NONE OF THE THEMES IS QUOTED COMPLETELYNONE OF THE THEMES IS QUOTED COMPLETELY

Others are based on melodies from Cancionero MexicanoCancionero Mexicano

edited by Frances Toor

Copland used folk music idioms such as:

Harmonisation in parallel 3rds and 6ths

Pitch slides Clarinet cadenzas String glissandos

Some “call and response” techniques

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Copland has mentally absorbed the spirit and characteristic idioms of Mexican folk music

and reproduced them in music that is his own


The original melodies have been altered

Sometimes fragments of two different tunes are welded into a fresh idea

RHYTHMICALLYRHYTHMICALLY and MELODICALLYMELODICALLY

Ralph Hawkes (co founder of the music publishing firm Boosey and Hawkes)

nicknamed the work “An American Bolero”“An American Bolero” and commissioned Leonard Bernstein to write a piano arrangement of the work.

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El Salon Mexico is in TERNARY FORMTERNARY FORMFORMFORM

Unusually long (102 bars)

AA

INTROINTRO In FIVE sections - each a different tempoAll three folk tunes introduced

Allegro Vivace - bar 103Contains further variations on the themes stated in the introduction and new material

BB Moderato molto (rubato) - bar 183Contains new material

AA11Bar 323Same material as A, but in a different order, and in different keys

CODACODA bar 384 - same theme as opening of intro

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EL PALO VERDEEL PALO VERDE

MIXED METREMIXED METRE

SEQUENCESEQUENCE

I or G I or GV or Dii or Am

Accents fall on different quavers

First verse

Allegro

Second verse

I or G I or G I or G V or D

1 bar 43

86 followed by 1 bar

What musical device is used in this verse? What musical device is used in this verse?

What chords What chords are used? are used?

CHORDSCHORDS

Verse 1 Verse 1

CHORDSCHORDS

Verse 2 Verse 2

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EL MOSCOEL MOSCO

METREMETRE

What is the same as What is the same as El Palo Verde?El Palo Verde?

TEMPO

What is different from What is different from El Palo Verde?El Palo Verde?

TONALITY RHYTHMmixed slower ♭LN anacrusic

irregularsyncopated

What is the main harmonic difference from the 1st verse?

Starts with the Starts with the subdominant chord (IV)subdominant chord (IV)

V1

V2

I or G I or G

I or GV or D

V or D

IV or C

What chords What chords are used?are used? Verse 1 Verse 1 Verse 2 Verse 2

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LA JESUSITALA JESUSITA

METREMETRE 42 Simple duple

HARMONYHARMONY

I V7

MELODYMELODY Built entirely from harmony notes

RHYTHMRHYTHM Anacrusic

Syncopated

Chords I and V7

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INTRODUCTION (Part 1) INTRODUCTION (Part 1) bars 1-18bars 1-18

Which song?

IN NOTATIONIN NOTATION

What has changed?What has changed?

IN PERFORMANCEIN PERFORMANCE


IN PERFORMANCEIN PERFORMANCE

(Bar 3)(Bar 3)

(Bar 6)

(Bar 8)IN NOTATIONIN NOTATION

So, if the performance of the motif hasn’t changed much, what HAS changed?

Piano, violaPiano, viola

The number and timing of The number and timing of chords before each entrychords before each entry

Last entry followed by the rest of the verseLast entry followed by the rest of the verse

EL PALO VERDE

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Written in triple time, but accents indicate 86

This bar could have been written in time 87

Looks syncopated, but doesn’t sound syncopated

Copland has used FRAGMENTATIONFRAGMENTATION in the intro

He has developed fragments of the original Mexican melodies

LISTEN TO SECTION 1 OF THE INTRODUCTIONLISTEN TO SECTION 1 OF THE INTRODUCTION


Extra quaver causes rhythmic displacement

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Begins with 4 bars of discords from the bassoons and trombone

Listen again to Section 2Listen again to Section 2

Trumpet plays a DECORATEDDECORATED version of La Jesusita

Answered by a short clarinet CADENZACADENZA

How is it How is it changed?changed?

How is it How is it the same?the same?

The trumpet restates the melody.

Answered again by a clarinet CADENZACADENZA


How has Copland How has Copland changed La Jesusita?changed La Jesusita?

MELODIC RANGEMELODIC RANGE HARMONYHARMONY

LONGER CLARINET CADENZALONGER CLARINET CADENZA


The chords sound less discordant

because they are very soft

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Begins with an introduction (6 bars) What instruments?What instruments?

What is the link to the folk tunes?What is the link to the folk tunes?

On which folk tune is the main theme based?On which folk tune is the main theme based?

How does Copland:Keep the “flavour” of the folk music?

Use musical elements to personalise it?

What changes when the theme is repeated? (on each entry)

MELODYMELODY RHYTHMRHYTHM HARMONYHARMONY


Timp

Piano

Bass IRREGULAR RHYTHMIRREGULAR RHYTHM sounds like MIXED METRE MIXED METRE

EL MOSCO

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What notes?What notes?


GG DDTONIC & DOMINANTTONIC & DOMINANT

PEDAL POINTPEDAL POINT

What rhythm?What rhythm?

Begins with an introduction (2 bars)

Repeated throughout the section

Sounds like43

86

What instruments reinforce this rhythm in bars 69 - 71?What instruments reinforce this rhythm in bars 69 - 71?

Violin 2 and viola with quaver movement

Why is this rhythm not as obvious as in other sections?Why is this rhythm not as obvious as in other sections?

DYNAMICSDYNAMICS ((pp))

CHANGES OF TEMPOCHANGES OF TEMPO ((rit. - a temporit. - a tempo))

What other section began like this?What other section began like this? Section 3

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On which folk song is the melody based?On which folk song is the melody based?


What instruments harmonise the melody?What instruments harmonise the melody? violin 2, viola, ‘cello

El Palo Verde

1st verse 2nd verse

What chords What chords are used? are used?

(ignore the (ignore the pedal notes)pedal notes)

iiii III V

(implied by the melody)

LISTEN AGAIN TO SECTION 4LISTEN AGAIN TO SECTION 4

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What is the new time signature?What is the new time signature?


86 Compound duple

This section is based on the HABANERAHABANERA rhythm

One of the most One of the most famous examples famous examples

is the is the HabaneraHabanera from Carmenfrom Carmen

by Bizet by Bizet

Repetitive bass rhythm (Copland does not use this)

Distinctive rhythm of melody

NB is the same as

Which folk tune uses this rhythm?Which folk tune uses this rhythm? same rhythm

Another famous song using the Habanera rhythm is La PalomaLa Paloma

El Mosco

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Vln 2 & VlaVln 2 & VlaIntro: (4 bars)

Tonic chord in Habanera rhythm played by

Same chord sustained by Flutes 1&2, Clarinet 2, HornsFlutes 1&2, Clarinet 2, Horns

The chordal accompaniment continues throughout this sectionThe chordal accompaniment continues throughout this section

The melody in the ‘cello (bars 76-80) is based onThe melody in the ‘cello (bars 76-80) is based on

EL MOSCOEL MOSCO

RHYTHMRHYTHM

Slight alterationSlight alteration Same drop of a Major 3rdSame drop of a Major 3rdSameSame

MELODIC CONTOURMELODIC CONTOUR

What instruction is given to the What instruction is given to the accompanying strings?accompanying strings? DIVISI (in three)DIVISI (in three)

ENDINGENDING

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FRAGMENTATIONFRAGMENTATION

Using and developing only part of a melody or rhythm is called:Using and developing only part of a melody or rhythm is called:

Look at the rhythm of the melody and the rhythm of the accompaniment in bars 77-79.

What musical devices are being used?What musical devices are being used?

POLYRHYTHMPOLYRHYTHM oror CROSS-RHYTHMCROSS-RHYTHM SYNCOPATIONSYNCOPATION

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This interval (major 6th) is the same as the 2nd verse of El Mosco…

…but the harmony is based on the first verse

I I Vsus4 Vsus4 I I

What has changed in the second statement?What has changed in the second statement?

First statement of the melody: Vln & Vc in THIRDSVln & Vc in THIRDS Typical harmonisation

of folk musicBar 76

Melody and “descant” no

longer entirely in 3rds

Shows influence of 20th century

(discordant) harmony

Bar 84

Listen to the first statement followed by the second statement

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On which verse of El Mosco is the 3rd melodic statement based?On which verse of El Mosco is the 3rd melodic statement based?

How has the instrumentation changed?How has the instrumentation changed?

Violins 1 and 2

How do you know?How do you know?SECONDSECOND

IV IV I I

Starts with a subdominant chord

MELODY (in 3rds)MELODY (in 3rds)

HARMONY (Habanera rhythm)HARMONY (Habanera rhythm)

SUSTAINED CHORDSSUSTAINED CHORDS

Violas and ‘Cellos

Oboes 1&2, Cor Anglais, Clarinet 2, 3 Horns

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The 3rd melodic statement is printed below. The 3rd melodic statement is printed below. Listen to the 3rd and 4th statements Listen to the 3rd and 4th statements

PLAGALPLAGAL

What changes does Copland make in the 4th statement?What changes does Copland make in the 4th statement?

Extra bar

What are the chords in these two bars? What are the chords in these two bars?

What cadence What cadence does this imply?does this imply?

Why is the cadence Why is the cadence only implied?only implied? No bass. No bass.

IV IV I I

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The section ends with 5 bars of accompanying chords (chord I).The section ends with 5 bars of accompanying chords (chord I).

STAGGERD ENTRIES OF INSTRUMENTSSTAGGERD ENTRIES OF INSTRUMENTS

How does Copland build intensity in these five bars?How does Copland build intensity in these five bars?

TIMPANI WITH HARD STICKSTIMPANI WITH HARD STICKS

TROMBONES NOT MUTEDTROMBONES NOT MUTED

DYNAMICS - DYNAMICS - mfmf molto crescmolto cresc ffff

FULL ORCHESTRA (except Vln1 &Vln 2) IN BARS 101 & FULL ORCHESTRA (except Vln1 &Vln 2) IN BARS 101 & 102102

LISTEN AGAIN TO ALL OF SECTION 5LISTEN AGAIN TO ALL OF SECTION 5

LISTEN TO ALL THE INTRODUCTION LISTEN TO ALL THE INTRODUCTION AND FOLLOW IN YOUR SCORESAND FOLLOW IN YOUR SCORES

Harmony mostly sounds lush and romantic

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SECTION A (1) OverviewSECTION A (1) Overview bars 103 -182 bars 103 -182 25

BarsBars

Statement of Statement of opening theme and 2 opening theme and 2 answering phrases answering phrases

103 - 110 103 - 110

Development of opening (oboe Development of opening (oboe then bassoon)then bassoon)

113 - 116 113 - 116

Development of end of opening (descending Development of end of opening (descending 3rds - strings)3rds - strings) 124 - 133 124 - 133

Restatement of shortened Restatement of shortened version of answering version of answering

phrases (woodwind & upper phrases (woodwind & upper strings). Partly developed strings). Partly developed

from El Moscofrom El Mosco

137 - 144 137 - 144

Development opening 3 notes by Development opening 3 notes by augmentation and expansion of augmentation and expansion of

33rdrd to 5 to 5thth (horns & strings) (horns & strings) 134 - 135 134 - 135

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SECTION A (2) OverviewSECTION A (2) Overview bars 103 -182 bars 103 -182 26

4 statements of El Palo Verde, 4 statements of El Palo Verde, each separated by drum “hit”.each separated by drum “hit”.

BarsBars

145 - 155 145 - 155

Mainly rhythmical section Mainly rhythmical section (3+3+2) but with some melodic (3+3+2) but with some melodic reference to the drop of a 3reference to the drop of a 3rdrd in in

the folk songsthe folk songs

156 - 162 156 - 162

Restatement of opening theme (of Restatement of opening theme (of intro) after two false entries, and intro) after two false entries, and

ending on chord V (E major)ending on chord V (E major)

173 - 181 173 - 181

Restatement of development opening 3 Restatement of development opening 3 notes by augmentation accompanied by notes by augmentation accompanied by

the rhythm of the previous sectionthe rhythm of the previous section163 - 172 163 - 172

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SECTION A (3) SECTION A (3) bars 103-112bars 103-112

No stringsNo strings

How do the opening bars of this section contrast with How do the opening bars of this section contrast with the end of the introduction?the end of the introduction?

INSTRUMENTATIOINSTRUMENTATIONN

Horns enter bar 106Horns enter bar 106

Trumpets enter bar Trumpets enter bar 109109METREMETRE Common time (simple quadruple)Common time (simple quadruple)

TEMPOTEMPO Returns to original tempoReturns to original tempo

RHYTHMRHYTHM Irregular – accents in unexpected placesIrregular – accents in unexpected places

==

DYNAMICSDYNAMICS Softer, not only because of dynamic marking (mf), Softer, not only because of dynamic marking (mf), but also because far fewer instruments playing but also because far fewer instruments playing

Apart from the last quaver, this is the same as: Apart from the last quaver, this is the same as:

(Bar 3)(Bar 3)

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SIMILARTIES TO EL PALO VERDESIMILARTIES TO EL PALO VERDE

ANSWERING PHRASE 1 ANSWERING PHRASE 1 (clarinet, doubled by piccolo) – bar 106(clarinet, doubled by piccolo) – bar 106

OPENING PHRASE OPENING PHRASE (oboe) – bar 103(oboe) – bar 103

ANSWERING PHRASE 2 ANSWERING PHRASE 2 (trumpet) – bar 109(trumpet) – bar 109

PH

RA

SE

S O

VE

RL

AP

PH

RA

SE

S O

VE

RL

AP

Comment Comment on:on:

METREMETRE

melodic/rhythmicmelodic/rhythmicREPETITIONREPETITION RHYTHMRHYTHM

All 3 phrasesAll 3 phrasesARTICULATIONARTICULATION HARMONYHARMONY

TEXTURAL DENSITYTEXTURAL DENSITY

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ENTRIES OF THE MOTIFENTRIES OF THE MOTIF

How does Copland develop the opening phrase?How does Copland develop the opening phrase?

METREMETRE

Piano RH & Violin 2Piano RH & Violin 2

MELODYMELODY

TONALITYTONALITY

HARMONYHARMONY

DEVELOPMENT OF OPENING PHRASE DEVELOPMENT OF OPENING PHRASE (oboe) – bar 113(oboe) – bar 113

Opening phraseOpening phrase

Comment on the:Comment on the:

First 4 notes of First 4 notes of G major scaleG major scale Unison and Unison and

major 2ndsmajor 2nds

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Which MUSICAL ELEMENTS are most obvious in this section?Which MUSICAL ELEMENTS are most obvious in this section?

‘Cellos, bassoons, clarinets

RHYTHMRHYTHM HARMONYHARMONY

Which instruments? Which instruments?

SyncopatedSyncopated In 2nds (or 7ths)In 2nds (or 7ths)

A snippet of the answering phrase is developed (bar 118)A snippet of the answering phrase is developed (bar 118)

Copland then develops the end of the opening phraseCopland then develops the end of the opening phrase

In which bar In which bar does this start? does this start?

124124

Which Which instruments?instruments?

Upper stringsUpper strings

How is it changed?How is it changed?

Wider rangeWider rangeeg descends a 9eg descends a 9thth (bar 126) (bar 126)

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What MUSICAL ELEMENTS change in this section?What MUSICAL ELEMENTS change in this section? ((The music begins about bar 131)The music begins about bar 131)

TONALITYTONALITY

Key signature of AKey signature of A♭ (mainly for convenience)(mainly for convenience)

Until now, the melody has moved mainly in 2nds or 3rds.

INSTRUMENTATIONINSTRUMENTATION

Focus on brass at Focus on brass at beginningbeginning

The theme beginning bar 137 (woodwind) is developed from El Mosco (verse 1)

LISTEN AGAIN TO SECTION A SO FAR (Bars 102 – 144)

Study the opening horn motif:Study the opening horn motif:(Transposed to concert pitch)

M7M7

M3M3 P5P5

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Which folk song?

BRASSBRASS

EL PALO VERDEEL PALO VERDE(Second Verse)(Second Verse)

Which orchestral family begins?Which orchestral family begins?

Which instruments share the tune?Which instruments share the tune?(Tune slightly modified to include

upward arpeggio from verse 1)TRUMPETS 1 & 2TRUMPETS 1 & 2

Why Why time signature? time signature?6688

3344 FOR CONVENIENCEFOR CONVENIENCE

Which orchestral family does not play?Which orchestral family does not play? STRINGSSTRINGS

How does Copland How does Copland separate each phrase?separate each phrase?

WITH A WITH A PERCUSSION ‘HIT’PERCUSSION ‘HIT’

Which percussion instruments are Which percussion instruments are used?used?

SNARE DRUM (Tamburo militare); SNARE DRUM (Tamburo militare); BASS DRUM (Cassa); GOURD; BASS DRUM (Cassa); GOURD;

TIMPANITIMPANI

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SECTION A (9) SECTION A (9) bars 156 -166bars 156 -166

ORCHESTRAL CHORDSORCHESTRAL CHORDSHow are these accents reinforced?

A bar is followed by a bar. This is effectively time with accents on the first, seventh and ninth quavers.

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118

STRING DOWN BOWSSTRING DOWN BOWS CYMBALS HIT WITH HARD STICKSCYMBALS HIT WITH HARD STICKS

Bar 160 - trombone enters with

Where was this first heard?Where was this first heard? BAR 134BAR 134

Which instrument doubles the trombone?Which instrument doubles the trombone? VIOLAVIOLA

Which instruments partially Which instruments partially restate the motif before the restate the motif before the trombone restatement (164)?trombone restatement (164)?

CELLO BASS TUBA (162)CELLO BASS TUBA (162)HORNS (162)HORNS (162)CELLO BASS BASSOONS (163) CELLO BASS BASSOONS (163)

The section begins with an emphasis on rhythm. The “tune” (such as it is) is only the leap of a 3rd followed by repeated quavers.

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SECTION A (10) SECTION A (10) bars 167 -182bars 167 -182

The melody that opened El Salon Mexico reappears after two false entries (almost like a link to Section B)

Which instruments state it?Which instruments state it? WOODWIND & UPPER STRINGSWOODWIND & UPPER STRINGS

Note the following (bars 167 – 172):

• Driving quavers grouped in 2s and 3s

• No regular pattern of grouping (some over bar line)

• Reappearance of

• Repeated leaps of Perfect 4th

LISTEN AGAIN TO SECTION A

Which instruments interrupt?Which instruments interrupt? BRASS & PERCUSSIONBRASS & PERCUSSION

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SECTION B (1) SECTION B (1) Bars 183 – 322 OverviewBars 183 – 322 Overview

Much slower at beginning, but several changes of tempo throughout the section. Frequent use of rubato.

TEMPOTEMPO

LISTEN TO SECTION B, WHILE FOLLOWING THE SCORE, AND IDENTIFY HOW IT CONTRASTS WITH SECTION A

INSTRUMENTATIOINSTRUMENTATIONN

More use of instruments in upper range and/or higher orchestral instruments

RHYTHMRHYTHM Still lots of syncopation, but more playful than aggressive and driving.

MELODYMELODY Some reference to folk tunes, but much original material

TONALITYTONALITY Sudden changes of key

TEXTURAL DENSITYTEXTURAL DENSITY Much lighter texture throughout

DYNAMICSDYNAMICS Generally softer

METREMETRE Still mixed and irregular metre, changing frequently

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SECTION B (2) SECTION B (2) Bars 183 – 195Bars 183 – 195

All instruments are playing solos.

The clarinet opens with a new melody, mostly unaccompanied

What key does this excerpt suggest?What key does this excerpt suggest? GG♭ MAJOR MAJOR

What key is suggested by the opening What key is suggested by the opening accompaniment (bass & Violin 1)?accompaniment (bass & Violin 1)?

E MAJORE MAJOR

What is their relationship?What is their relationship? NONENONE

The harmonies do not clash as:

The music is not played simultaneously

The accidentals in the clarinet melody could be rewritten enharmonically to be in F sharp major (much more closely related to E major)!

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At bar 196, the clarinet appears to begin another phrase, with oboes and flutes playing a countermelody, but the clarinet stops playing and the oboe and flute state a new melody in quavers (almost like a variation on the original melody).

This theme is “answered” in a conversational way by horn then clarinet and bassoon (bars 199 –and 201)

Clarinet 1 and oboe (in 3rds) restate the theme, slightly varied

Strings accompany (divisi) then finally restate the theme (bars 209 and 210)

LISTEN TO SECTION B SO FAR (Bars 183 – 210)

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Which folk tune is this?Which folk tune is this?

NO ANACRUSISNO ANACRUSIS

Why is the melody recognisable as La Jesusita?Why is the melody recognisable as La Jesusita?


ALMOST CONTINUOUS QUAVER ALMOST CONTINUOUS QUAVER MOVEMENTMOVEMENT

How has Copland changed the original tune?How has Copland changed the original tune?

ARPEGGIOSARPEGGIOS

SYNCOPATION IN SAME SYNCOPATION IN SAME PLACEPLACE

DROP OF 3RD AT THE END OF THE 1ST DROP OF 3RD AT THE END OF THE 1ST PHRASE PHRASE

Clarinet 1, then strings state La Jesusita (overlapping)

Clarinet 1, accompanied by bassoons state new staccato tune similar in style but texturally less dense

Violins have rhythmically different motif leading to next section

SIMILAR MELODIC CONTOURSIMILAR MELODIC CONTOUR

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Which instruments play the slow melody? (bar 227)Which instruments play the slow melody? (bar 227) OBOESOBOES

Flutes & clarinets have a new motif leading to next section (bar 251)

The melody appears to begin at The melody appears to begin at bar 225. What is this called? bar 225. What is this called?

FALSE ENTRYFALSE ENTRY

Which instruments play a Which instruments play a countermelody? (bars 228 – 232)countermelody? (bars 228 – 232)

CLARINETS & SOLO VIOLACLARINETS & SOLO VIOLA

Which instruments play a pedal Which instruments play a pedal note? (bars 228 – 239)note? (bars 228 – 239)

‘‘CELLOS & BASSESCELLOS & BASSES(on the Leading Note)! (on the Leading Note)!

Describe the accompaniment played Describe the accompaniment played by strings (Vln 2 bars 231 – 236 and by strings (Vln 2 bars 231 – 236 and then later by other strings)then later by other strings)

BROKEN CHORDSBROKEN CHORDS

Which instruments play the melody in:Which instruments play the melody in:

MUTED TRUMPETSMUTED TRUMPETSBar 241?Bar 241? Bar 243?Bar 243? VIOLINSVIOLINS

Bar 244?Bar 244? CLARINETSCLARINETS

What is the section beginning What is the section beginning in bar 246 based on?in bar 246 based on? BROKEN CHORDS (bar 231)BROKEN CHORDS (bar 231)

What happens to the tempo?What happens to the tempo? GRADUALLY GETS FASTERGRADUALLY GETS FASTER

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This section contains new material unrelated to either the folk songs or what has gone before. Copland concentrates on creating

interesting and complex RHYTHMS RHYTHMS and changing METRE METRE with an occasional melody emerging – 20th century techniques.

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What is the significance of the time signature ?What is the significance of the time signature ?CC 6+26+288

SOMETIMES INSTRUMENTS HAVE A SOMETIMES INSTRUMENTS HAVE A NORMAL COMMON TIME GROUPING NORMAL COMMON TIME GROUPING (but accents are not necessarily on (but accents are not necessarily on

the 1the 1stst and 5 and 5thth quavers) quavers)

Cor Anglais bar 256

SOME INSTRUMENTS ACCENTS ON SOME INSTRUMENTS ACCENTS ON THE 1THE 1STST, 4, 4THTH AND 7 AND 7THTH QUAVERS QUAVERS

(This is a rumba rhythm) (This is a rumba rhythm)

Viola bar 256

SOMETIMES GROUPINGS ARE IRREGULAR AND OVER THE BARSOMETIMES GROUPINGS ARE IRREGULAR AND OVER THE BAR

Piano bars 262 - 5

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SECTION B (7) SECTION B (7) Bars 256 – 322Bars 256 – 322 41

Constant changes of METREMETRE.

CC 6+26+288 256 - 259 66

88 260 - 275 276 277 - 280 281 - 286

287 - 303 304 - 319 320

CC 6+26+288

2244

6688

6688 CC 6+26+2

883388

4444 321 - 322

Careful and precise use of ARTICULATIONARTICULATIONAs well as TENUTO MARKS ACCENTS TENUTO MARKS ACCENTS and STACCATOSTACCATO

mark the accents (Cor Anglais bar 256) p ma marc. (Viola bar 256)

non legato (Trumpet bar 259)

accents well marked (Stings bar 267)

gliss. (Clarinet bar 275)

Use of 20th Century HARMONY HARMONY and frequent KEY CHANGESKEY CHANGES

Some discords, but the overall effect is jazzy rather than discordantOften jumps suddenly to unrelated keys as a different “version” of the melody is introduced

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Constant changes of TEXTURAL DENSITY. TEXTURAL DENSITY. Not always obvious as sometimes instruments not playing are omitted from the score to save room (eg pages 29 and 32).

Apart from a few short trumpet solos and a few chords from the horns, brass do not play in this section

Piano plays for 4 bars then rests (not always both hands together)

Woodwind play mostly solos – many rests (NB the score occasionally looks denser as cues have been added in case some instruments (eg E clarinet pg 28) are not present♭

The only bars where the entire string section plays are:267 – 272; 291 – 295; 300 - 321

The texture thickens towards the end of the section with upper strings divided.

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There is a great deal of ORCHESTRAL COLOUR, ORCHESTRAL COLOUR, with many solos and the changes of colour are highlighted by the light texture.

Mutes are used to add further colour. (eg horns from bar 268)

Strings alternate between arco and pizzicato

Unusual and colourful percussion instruments are used eg Chinese Temple Blocks; Gourd

Solos (and duets) are written for varying combinations with sparse accompaniment

Cor Anglais (256 – 258) answered by trumpet (259 - 261)

Flutes doubled by piano (262 – 265)

E clarinet (268 – 276) accompanied by pizz. strings ♭

Oboe and clarinet 1 (280 – 286) answered by trumpet (285 - 287)

Oboe (295); doubled by piccolo (297); both doubled by flute (303); oboe rests and clarinet doubles (313 - 321)

LISTEN AGAIN TO SECTION B

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SECTION A Revision SECTION A Revision bars 103 -182bars 103 -182 44

BarsBars

Statement of Statement of opening theme and 2 opening theme and 2 answering phrases answering phrases

103 - 110 103 - 110

Development of opening (oboe Development of opening (oboe then bassoon)then bassoon)

113 - 116 113 - 116

Development of end of opening (descending Development of end of opening (descending 3rds - strings)3rds - strings) 124 - 133 124 - 133

Restatement of shortened Restatement of shortened version of answering version of answering

phrases (woodwind & upper phrases (woodwind & upper strings). Partly developed strings). Partly developed

from El Moscofrom El Mosco

137 - 144 137 - 144

Listen again to Section A. You will then compare it with Section A1

Development opening 3 notes by Development opening 3 notes by augmentation and expansion of augmentation and expansion of

33rdrd to 5 to 5thth (horns & strings) (horns & strings) 134 - 135 134 - 135

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SECTION A Revision SECTION A Revision bars 103 -182bars 103 -182 45

4 statements of El Palo Verde, 4 statements of El Palo Verde, each separated by drum “hit”.each separated by drum “hit”.

BarsBars

145 - 155 145 - 155

Mainly rhythmical section Mainly rhythmical section (3+3+2) but with some melodic (3+3+2) but with some melodic reference to the drop of a 3reference to the drop of a 3rdrd in in

the folk songsthe folk songs

156 - 162 156 - 162

Restatement of opening theme (of Restatement of opening theme (of intro) after two false entries, and intro) after two false entries, and

ending on chord V (E major)ending on chord V (E major)

173 - 181 173 - 181

Restatement of development opening 3 Restatement of development opening 3 notes by augmentation accompanied by notes by augmentation accompanied by

the rhythm of the previous sectionthe rhythm of the previous section163 - 172 163 - 172

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SECTION ASECTION A11 (1) Overview (1) Overview bars 323 -401bars 323 -401 46

Opening theme Opening theme

Section ASection A Section ASection A11

11

Development of beginning Development of beginning of opening phraseof opening phrase22

33Development of end of Development of end of opening phraseopening phrase

Development by Development by augmentation augmentation 44

55Restatement of answering Restatement of answering phrasesphrases

El Palo Verde El Palo Verde 66

77Rhythmic section Rhythmic section & drop of 3rd & drop of 3rd

88

99

Restatement of augmentation Restatement of augmentation sectionsectionCODACODAOpening theme Opening theme (intro)(intro)

11 5 bars5 bars

22 5 bars5 bars

33 6 bars6 bars

55 6 bars6 bars

66 6 bars6 bars

77 11 bars11 bars

99 4 bars4 bars

1010 7 bars7 bars

88 10 bars10 bars

overlaps withoverlaps with

1111 11 bars11 bars

1212 11 bars11 bars

44 3 bars3 bars

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SECTION ASECTION A11 (2) (2) bars 323 -332bars 323 -332 47

This section contains very similar material to that of Section A, but presented in a different order and sometimes in a different key.

The section opens with a restatement of the development (by expansion of interval and augmentation) of the opening motif of El Palo Verde

Horns and Strings (Vln 2 & Vla)

As in Section 1 it is answered by a phrase developed from El Mosco

Are there any differences? Concentrate on the “big picture”.Are there any differences? Concentrate on the “big picture”.

THEMATIC MATERIALTHEMATIC MATERIAL TONALITYTONALITY INSTRUMENTATIONINSTRUMENTATION

Listen to bars 131 – 144 (Section A) and then to bars 323 – 332 and follow each in your scores as you listen.

Woodwind

There are some minor differences at the end because each is followed by different material

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There are 6 entries of the motif altogether

The section is similar to bars 113 – 116 in Section A, where the opening motif of the section modulated quickly to unrelated keys

G majorG major

B major♭B major♭

In this section. Statements of the motif are interrupted (bars 327 – 332) by a restatement of the El Mosco phrase from the previous section

Name the key for each of the entries of the motif:Name the key for each of the entries of the motif:

Bar 332 (vln2/vla)Bar 332 (vln2/vla) Bar 334 (cl 1 & 2/vlc)Bar 334 (cl 1 & 2/vlc) Bar 336 (vlns1 & 2)Bar 336 (vlns1 & 2)

Bar 346 (picc/fl/cl)Bar 346 (picc/fl/cl) Bar 348 (fg/vlc)Bar 348 (fg/vlc) Bar 350 (C.I/cl/vln2)Bar 350 (C.I/cl/vln2)

A major C major E major♭

E major♭ G major♭ D major♭

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The section restates Copland’s reworking of El Palo Verde (Section A bars 145 – 155)

Listen first to Section A and then the corresponding Listen first to Section A and then the corresponding section in Section Asection in Section A1 1 and work out what has changed?and work out what has changed?

The LENGTH LENGTH of the two sections as well as the RHYTHMRHYTHM, METRE METRE and MELODY MELODY all remain unchanged.

IN A MAJOR INSTEAD OF G

TONALITYTONALITY INSTRUMENTATIONINSTRUMENTATION

MORE FULLY SCORED (Flute, clarinet and violin 1

double trumpet melody)

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The part of Section A1 is a little longer (15 bars) than the equivalent part of Section A (bars 156 – 171).

Section A consisted of: Section A consisted of:

Irregular rhythms (3+3+2) punctuated by orchestral “hits”

A “melody” that is based on the drop of a 3rd

Restatement of the first answering phrase from the opening of Section A

Restatement of the “augmentation” motif

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Section A1 consists of: Section A1 consists of:

Same irregular rhythms (3+3+2) punctuated by orchestral “hits”

“Melody” that is but based on the drop of a 12but based on the drop of a 12thth and in A major and in A major

Restatement of the “augmentation” motif

Restatement of first answering phrase from the opening of Section A, but in A majorbut in A major

Further rhythmic section with “melody” developing last 3 notes Further rhythmic section with “melody” developing last 3 notes of the answering phrase (369 – 373) C majorof the answering phrase (369 – 373) C major

Statement of original rhythmic section with drop of 3Statement of original rhythmic section with drop of 3rdrd (C major) and (C major) and further restatements of “augmentation” motif further expandedfurther restatements of “augmentation” motif further expanded

Restatement of “augmentation motif (bar 379) C majorRestatement of “augmentation motif (bar 379) C major

E major chord ends section (unrelated to what has gone before)!E major chord ends section (unrelated to what has gone before)!

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CODA (1) CODA (1) bars 391 -401bars 391 -401 52

Main theme bars 8 -14:Main theme bars 8 -14:

Material heard in the Material heard in the CODA CODA appeared in the appeared in the INTRODUCTIONINTRODUCTION

Two false starts:Two false starts:Upper WW & StringsUpper WW & Strings Trumpets & CymbalsTrumpets & Cymbals

and in the and in the LINK (OR BRIDGE) TO SECTION B LINK (OR BRIDGE) TO SECTION B

Same false starts,Same false starts, but in A major and with slightly altered rhythm but in A major and with slightly altered rhythm and interruptions by trombones and snare drumand interruptions by trombones and snare drum

Main theme Main theme in A major and only partially stated, ending with an in A major and only partially stated, ending with an imperfect cadenceimperfect cadence

Bars 173 – 181 Bars 173 – 181

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CODA (2) CODA (2) bars 391 -401bars 391 -401 53

CODACODA False starts – more fully scoredFalse starts – more fully scored

G major G major (the key at the beginning of El Salon Mexico(the key at the beginning of El Salon Mexico) alternates ) alternates with E major with E major (the key in which Section A(the key in which Section A11 ended) ended)

Piccolo, flute,s, oboesPiccolo, flute,s, oboes Cor Anglais, all brass, Cor Anglais, all brass, cymbals, bass drumcymbals, bass drum

G MAJORG MAJOR E MAJORE MAJOR

The main theme is not statedThe main theme is not stated The motif above is repeated The motif above is repeated three times three times (each restatement (each restatement is rhythmically slightly different is rhythmically slightly different ))

The music ends:The music ends:

All orchestra except All orchestra except Contra bassoon, Contra bassoon, trombones, tuba, trombones, tuba, double bassdouble bass

TimpaniTimpani

BD, SD, BD, SD, CymbalsCymbals

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AARON COPLANDAARON COPLANDAs a composer, Copland had four distinct periodsAs a composer, Copland had four distinct periods

A JAZZY PHASEA JAZZY PHASE1925-19291925-1929

AN AVANT-GARDE AN AVANT-GARDE PERIODPERIOD

1930-19361930-1936A POPULIST PHASEA POPULIST PHASE

1936-19491936-1949

A RETURN TO A RETURN TO SERIALISMSERIALISM1950-19711950-1971

Research and try listening to examples of music from each periodResearch and try listening to examples of music from each period

El salon MexicoEl salon Mexico

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Below are some of the musical features one might expect to hear Below are some of the musical features one might expect to hear when listening to when listening to folk/popular folk/popular music and music and 20th century avant-garde20th century avant-garde

music. How many can you identify in El Salon Mexico? music. How many can you identify in El Salon Mexico?

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AARON COPLANDAARON COPLAND

FOLK/POPULAR MUSICFOLK/POPULAR MUSIC 20TH CENTURY/AVANTE-GARDE20TH CENTURY/AVANTE-GARDE

Simple singable melodiesSimple singable melodies Angular or discordant melodiesAngular or discordant melodies

Steady tempo Frequent changes of tempo

Regular phrasesRegular phrases Irregular phrasesIrregular phrases

Diatonic harmony (often with a descant in 3rds or 6ths)

Harmony contains discords, chromatic or added notes

Syncopated rhythm but easy to remember

Syncopated and/or irregular rhythms

Strong key centre with Strong key centre with modulations to related keysmodulations to related keys

Lack of key centre and/or wide-ranging modulations

Large colourful orchestraLarge colourful orchestra““Call and response” techniquesCall and response” techniques

Articulation left to performerArticulation left to performer Articulation carefully notated

Texture remains constant Frequent changes of texture

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AARON COPLANDAARON COPLANDElliot Carter

Leonard Bernstein

Aaron Copland

These three composers are sometimes referred to as the “greats” of American music

WHY?

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