Professional Documents
Culture Documents
Supervised by
Professor and Chair of Theory Department Jonathan Dunsby
Department of Composition
Eastman School of Music
University of Rochester
Rochester, New York
2011
iii
Biography
Michaela Eremiov (1974) was born in Prague, Czech Republic. Throughout
her studies and professional experiences as a composer of concert, jazz, and film music
she has had the opportunity to compose for various types of vocal and instrumental
ensembles, from soloists to orchestra, and in various genres and styles such as opera,
jazz, ethnic, and electro-acoustic music. Her personal study and research of various
musical traditions and techniques of composition is exemplified in the eclecticism of her
music.
Eremiovs music has been performed by ensembles such as Phil Wilson's
Berklee Rainbow Band, New York City Opera, the Arabesque Winds, ITB (Institut
Teknologi Bandung) Choir from Indonesia, Chamber Choir Hymni from Denmark, Duo
vio-Link-oto, Eastman Triana, Eastman Chorale, Eastman Trombone Choir, and the
Novus Quartet, among others. Here collaborations include work not only with great
performers but also with contemporary painters, poets, modern dance choreographers as
well as with experimental and mainstream film makers. One of her closest collaborators
is her colleague and husband, Colombian composer Jairo Duarte-Lopez, who is also a
PhD candidate in Composition at Eastman. Together, they co-composed and produced
the orchestral theme for the Toronto Blue Jays for the 2008 and 2009 baseball season as a
commission by Rogers Sportsnet (Toronto, Canada). In 2008, this score was broadcast
during 102 games on Canadian cable television. They also co-composed and produced
music for two documentaries for Discovery Channel Latin America. In addition, their
co-composed chamber work Car Crash Opera, for an animated film by Skip Battaglia,
iv
was selected as one of eight out of eighty submissions to be showcased at the 2009 New
York City Operas VOX Festival. In 2010, Michaela and Jairo were commissioned by
the Kurt-Weill Festival, the Eastman School of Music, and the George Eastman House, to
write music scores for live performance to eight short silent films from the 1910s to
1930s by renown European film makers Lotte Reiniger, Walter Ruttman, and Lszl
Moholy-Nagy. The total program was over sixty minutes of music and was premiered at
the Arsenal Theater in Berlins Sony Center in January 2011. These scores were also
performed live at the George Eastman House and the Rochester Institute of Technology.
Eremiovs collaborative works with experimental film makers such as Stephanie
Maxwell, Jean Detheux, Skip Battaglia, Peter Byrne and Carole Woodlock, have been
featured in over sixty national and international film festivals such as Siggraph Computer
Animation Festival - Visual Music in New Orleans, Anima Mundi Festival in Sao Paolo,
Brazil, backup_festival in Weimar, Germany, and 27e dition des Rendez-vous du
cinma qubcois in Qubc, Canada, among others. Several of the collaborative projects
have been recognized with awards including the ASIFA Award for Excellence in
Experimental Techniques, Best Experimental/Animation/ Music Video award, Best New
Art Award, Best Impact of Music in Experimental, Performance Art and Art Films: Gold
Medal
for
Excellence,
and
Best
Experimental
Short
award.
Since the fall of 2008, Eremiov has been co-instructor, along with her husband, of
Film Scoring Techniques for the Department of Jazz Studies and Contemporary Media at
Eastman and has been teaching the same course at the Eastman Community Music
vi
Abstract
vii
Table of Contents
Section
Title
Page
I.
Introduction
4
11
16
Bagatelle No. I
Bagatelle No. III
Bagatelle No. IV
Bagatelle No. V
Bagatelle No. VI
Bagatelle No. VIII
Bagatelle No. XI
16
19
24
26
33
36
43
Conclusion
44
II.
III.
IV.
Bibliography
46
viii
List of Examples
Example #
Title
Page
Example 1
Example 2
Pentatonic scale
Example 3
Example 4
Example 5
10
Example 6
12
Example 7
12-13
Example 8
13
Example 9
14
Example 10
14
Example 11
15
Example 12
16
Example 13
17
Example 14
17
Example 15
18
Example 16
19
Example 17
20-21
Example 18
22
ix
Example 19
22
Example 20
23
Example 21
24
Example 22
25
Example 23
25-26
Example 24
27
Example 25
28-30
Example 26
31
Example 27
31
Example 28
32
Example 29
32
Example 30
34
Example 31
34
Example 32
35
Example 33
35
Example 34
37
Example 35
38
Example 36
38
Example 37
39
Example 38
40
Example 39
40
Example 40
40
Example 41
41-42
Example 42
43
Example 43
43
1
I. Introduction
In the introduction of the score for the Fourteen Bagatelles op. 6, Bla Bartk
described his compositional style as a reaction against the exuberance of the romantic
piano music of the 19th century, a style stripped of all unessential decorative elements,
deliberately using only the most restricted technical means. 1 As this quote suggests,
Bartk felt a need for change in his musical compositional style that would differ from
the traditional romantic style. The Bagatelles were composed in 1908 and are considered
the first series of short piano pieces which exposed Bartks elaborate new musical
language. 2 This new language involved a combination of folk and contemporary
techniques and concepts, as noted by Antokoletz in the article The Musical Language of
Bartks 14 Bagatelles for Piano.3
Peter Bartok, Notes of the Editor in 14 Bagatellen fr Klavier, in Bla Bartks 14 Bagatellen fr Klavier
(Budapest: Editio Musica, 1998), 40-47.
The words come originally from Bla Bartk and were part of his introduction for the publication of 14
Bagatelles in 1940 which were not used in this edition.
2
Grove Music Online, Bartk, Bla, 3: 1908-14, by Malcolm Gillies, http://www.oxfordmusiconline.com/.
3
Elliott Antokoletz, The Musical Language of Bartks 14 Bagatelles for Piano, Tempo, New Series, No. 137
(Jun. 1981).
2
The Fourteen Bagatelles, op. 6, is a collection of unconnected short piano
compositions. In other words, it is not a multi-piece that provides an organic unity of the
pieces.4 In my analysis, I am particularly interested in modal property that is primarily
based on an Eastern European modal heritage. Thus I have selected only certain
Bagatelles (No. I, III, IV, V, VI, VIII, and XI), because they best display this modal
property as a major base for the harmonic content and the structure of the pieces.
The idea of the multi-piece entails a sense of incompleteness in the individual pieces, but it does not
automatically follow that a multi-piece thereby forms a complete whole that corresponds to a multimovement work. From Grove Music Online, Multi-piece, by Peter Foster,
http://www.oxfordmusiconline.com/.
Bartk transcribed this folk song for voice and piano, and it was published as Szkely Folk song in
Magyar Lant, from Benjamin Suchoff, Bartks Odyssey in Slovak Folk Music in Bartk Perspectives, in
Bartk perspectives: man, composer, and ethnomusicologist, 16.
6
Grove Music Online, Bartk, Bla, 3: 1908-14, by Malcolm Gillies.
3
publications, dated in February 1905: the setting of a Szkely (Transylvanian) song Piros
alma (Red Apple) BB34, and a collection of settings of four folksongs BB37.
In the compositions written between 1908 and 1910, such as Fourteen Bagatelles,
Two Elegies, Two Roumanian Dances and Ten Easy Piano Pieces, folksong in Bartks
music became more than just a melody with an accompaniment; he incorporated it into a
more complicated compositional scheme, based on the formal and modal or tonal unity of
folksong. As noted by Dobszay, the greatest effect of folk music is an attachment to
modality, the great synthesis within which Bartk managed to unify the free use of
twelve notes and the widening of the results of permutational functional thinking.7 As
expressed by John Weissmann, Fourteen Bagatelles and Ten Easy Piano Pieces may be
considered the best of introductions to modern music.8
4
II. Slovak and Hungarian folk music, and its modal heritage
Suchoff, 17 22.
5
Mixolydian, Hypoionian, and Dorian modes. Byzantine culture had its impact on Slavic
culture since the Byzantine missionaries Cyril and Methodius brought Christianity to the
Great Moravian Empire. The last stage (before 19th century) includes three types of
songs:
1. Songs with old-style rhythms and open construction (ABCD, AABB),
2. New-Hungarian style syncopated songs,
3. Songs reflecting Western melodic and harmonic influences.
The second and third types are based on closed forms such as AA5BA (A5 refers to
phrase A repeated a fifth higher). All three types of songs are based on major-minor tonal
principles.10
There was a long period of time (1526 - 1914) when Hungary, Slovakia, Moravia
and Bohemia were together as possessions of the Habsburg Empire, and later the
Austrian-Hungarian Empire. Therefore it is possible to find some musical similarities,
especially in Hungarian and Slovak folk music, in terms of strophic form, ornamentation,
modal quality, rhythm and mixed meter. The oriental aspect found in Hungarian folk
music is very peculiar however, and can be traced to different ethnic groups such as
Genghis Khans Mongols who reached the Carpathians in 1241, the Turks who ruled
Hungary from 1526 1686 (Ottoman domination) and the Gypsies who might have come
along with the Turks.
10
The Garland Encyclopedia of World Music, Europe,Czech Republic and Slovakia, by Magda Ferl
elinsk and Edward J. P. OConnor, 722-726.
6
Due to constant interaction with various ethnic groups, political, economic and
religious changes, Hungarian folk music is certainly a great source of multiple cultural
elements. The oldest songs come from peasant music that includes old-style songs based
on the pentatonic mode, songs found in the psalmody style, and the lament style
(childrens and ritual songs, funeral laments). According to Judith Frigyesi, it is possible
to assume that these old-style songs were based on Finno-Ugric (Magyarorszg
originally the Finno-Ugric nation) musical elements that existed before the Hungarian
conquest. 11
During the period of the Hungarian kingdom (11th 15th centuries) the music of
the Magyars was influenced by Gregorian chants and European melodic styles. Although
there is no surviving evidence of the repertoire sung in this time, based on the influences
of all these cultures we can assume that the music had to involve Finno-Ugric, Turkish,
and medieval European folk and chant elements.12
11
The Garland Encyclopedia of World Music, Europe, Hungary: History of Folk Music, by Judith
Frigyesi, 736-739.
12
Ibid.
13
Peter Manuel, Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic Musics,
Yearbook for Traditinal Music vol. 21 (1989).
7
Maqm ehnaz, in 17th century Hungarian folksongs.14 The existence of the so-called
Verbunkos modes15 might have developed from these types of Turkish scales, especially
the Verbunkos mode, called Kalindra. Comparing the modes Kalindra with Maqm
Hijz, we can see the identical pitch content. See example 1.
Example 1: Maqm Hijz, Maqm ehnaz and Verbunkos modes
Maqm Hijz
14
8
patterns within the performance. Bartk called this phenomenon frozen rubato. The
rhythm in giusto style is based on a metric framework; however, there is certain
flexibility in the durational values. Parlando-rubato occurs mainly in solo performance,
giusto is typical for choral performance. It is important to note that Hungarian songs are
usually syllabic; however, ornamentation is in many cases crucial. According to older
recordings, ornaments were much longer and structurally more substantial before the 20th
century.16
The various melodic types of Hungarian folk music include several general
characteristics such as fifth-shifting,17 the use of the pentatonic scale, and related types
such as major-mode, descending, octave-range types, psalmody and lament styles.18 All
these styles were simply divided by Bartk and Kodly into old, new and mixed styles.19
As I already mentioned, the mode of tunes in the old style can be found in the pentatonic
scale. See example 2.
Example 2: Pentatonic scale
(F)
Bb
(G)
(Bb)
According to Bartk, there are three basic forms of the pentatonic scale in old
style Hungarian songs:
16
The Garland Encyclopedia of World Music, Europe, Hungary: Genre, Style and Performance, by Judith
Frigyesi, 740-741.
17
Ibid. In other words, fifth-shifting refers to a melodic structure where the second half of a melodic line
appears a fifth lower in the exact or tonally adjusted version of the 1st melodic line, found in Lszl Vikr,
What Is Old and What Is New in the Traditional Music of the Volga-Kama Region, Studia Musicologica
Academiae Scientiarum Hungaricae, T. 37, Fasc. 2/4 (1996).
18
The Garland Encyclopedia of World Music, Europe, Hungary: Melodic Types, by Judith Frigyesi, 741742.
19
Bla Bartk, Hungarian Folk Music, transl. by M. D. Calvocoressi (London: Oxford University Press,
1931), 11.
9
1) The pure pentatonic scale see example 3.20
Example 3: Pure pentatonic scale in folksong
2) The pentatonic scale, in which the scale degrees 2 and 6 appear as ornamental
notes see example 4.21
Example 4: Pentatonic scale with scale degrees 2 and 6 as ornamental notes in folksong
3) The pentatonic scale, in which the scale degrees 2 and 6 appear as real notes.
However they usually appear on a weak beat, never at the end of a melody. The
20
21
Bartk, 10-11.
Ibid.
10
appearances of additional scale degrees transform the pentatonic scale to Dorian,
Aeolian, or Phrygian modes. See example 5. 22
Example 5: Pentatonic scale with scale degrees 2 and 6 as real notes in folksong
22
Bartk, 17 18.
Zoltn Kodly, Folk Music and Art Music in Hungary, Tempo, New Series, No. 63 (Winter, 19621963). Melopoeia is the art of forming melody; melody; -- now often used for a melodic passage, rather
than a complete melody. found in http://dictionary.reference.com/browse/Melopoeia.
23
11
There are two important tone systems that had a crucial impact on Eastern
European modal development: the Byzantine and Arab systems. Both systems share the
same heritage of the Greek tone system.
The set of eight notes consists of two sub-groups, the authentic tones and the
plagal tones. Each of the plagal tone is related to its corresponding authentic tone.
Therefore, the first four tones are the authentic tones and the second four are the plagals.
24
Hans Wilhelm Haussig, A History of Byzantine Civilization (New York: New York Press, 1971), 70.
12
Example 6: Byzantine Modes versus Gregorian Modes
Byzantine modes
Gregorian modes
I. authentic
I. Dorius
II. authentic
III. Phrygius
III. authentic
V. Lydius
IV. authentic
VII. Mixolydius
I. plagal
II. Hypodorius
II. plagal
IV. Hypophrygius
VI. Hypolydius
IV. plagal
VIII. Hypomixolydius
Regarding the species of modes, Byzantine music does not recognize major and
minor scales as western music does. Byzantine music instead identifies four main modal
species: Diatonic, Enharmonic, Soft Chromatic, and Hard Chromatic. The Diatonic
category includes four modes: I. authentic and I. plagal, IV. authentic and IV. plagal.
The Enharmonic category consists of two modes: III. authentic and III. plagal. The
Chromatic category appears in two kinds of modes: Soft Chromatic mode applied to II.
authentic mode, and Hard Chromatic mode to II. plagal mode.25 See example 7.
Example 7: Diatonic, Soft Chromatic, Hard Chromatic and Enharmonic Genus: 26
Diatonic:
25
H. J.W. Tillyard, The Modes in Byzantine Music, The Annual of the British School at Athens vol. 22
(1916/1917-1917/1918).
26
Byzantine scales have precise tunings that have some intervals smaller than the Western semitone. The
quartertones notated in example 7 are only approximations of a more complex intervallic structure found in
Byzantine and Greek modes.
13
Soft Chromatic:
Hard Chromatic:
Enharmonic:
Byzantine civilization dates from the reign of the first Christian emperor,
Constantine the Great (ca. 300 A.D.). It is based on three primary factors: extension and
continuation of the Roman Empire,27 Greek tradition, and Christian religion.28 As already
mentioned, Byzantine civilization is considered to be a continuation of ancient Greece.
The notes of the I. authentic Byzantine mode are named after the first seven letters of the
Greek alphabet. See example 8.
Example 8: The I. authentic Byzantine mode with the letters of the Greek alphabet
The notes of the
I. authentic mode:
pa
vu
ga
dhi
ke
zo
ni
'
27
Steven Runciman, Byzantine style and civilization (London: E. Arnold & co., 1933), 27.
Egon Wellesz, A History of Byzantine Music and Hymnography, 2nd ed. (Oxford: Clarendon Press,
1961), 31.
28
14
In opposition to the theory about Byzantine civilization being a continuation of
ancient Greece, the influence of Semitic and even Iranian civilizations was emphasized
on the Hellenized countries, which were the most important part of the Byzantine
Empire. 29 There is no doubt of the oriental impact on Byzantine music, which is
especially noticeable due to the chromatic and tuning alterations in the modes presented
in example 7. The Arabo-Turkish names were applied to the Byzantine modes by Greek
theorists, as for example Christodulus Georgiades.30 Therefore, it is hardly a coincidence
that the Hard Chromatic II. plagal mode versus the Turkish Maqm ehnaz, and
descending Diatonic I. authentic mode versus the Arabic Maqm Bayyti are identical.
See examples 9 and 10.
Example 9: Hard Chromatic versus Maqm ehnaz
Hard Chromatic:
Maqm Bayyti:
29
30
Haussig, 35.
Tillyard.
15
In comparison with the Western tone system, which distances notes by the same
interval (100 cents = half-tone) and therefore divides the octave into twelve tones, the
Byzantine, Arab and Turkish tone systems use microtones, three tones between each
whole-tone. 31 See example 11.
Example 11: Turkish, Arabic, Byzantine and Western notes between whole-tones32
Turkish, Arabic, and Byzantine notes between whole-tone
31
Garland Encyclopedia of World Music, The Middle East, The Eastern Arab System of Melodic Modes
in Theory and practice: A Case Study of Maqm Bayyt: The Invervals of Modern Arab Music, by Scott
Marcus, 36.
32
Garland Encyclopedia of World Music, The Middle East, Contemporary Turkish Makam Practice: The
Abstract Level: Makam Theory, by Karl Signell, 48.
16
III. Analyses of seven Bagatelles
Bagatelle No. I
Regarding the modality of the Bagatelle No. I, there is some unique pitch content
based on two modes: C# Aeolian in the right hand and C Phrygian in the left hand.33 The
combination of both modes offers several modal formations. In mm. 1 2, the first three
ascending notes in the right hand and the first three descending notes in the left hand
together create a 5-note set of the C# symmetrical (whole half half whole) modal
formation. It is identical to Messiaens third mode of limited transposition. See example
12.
Example 12: Bagatelle No. I: mm. 1 - 2
-P(PALINDROME)
In mm. 1 3 the pitch content expands into a 7-note set of C symmetrical (half
whole half half whole half) modal formation. 34 See example 13.
33
The score of the Bagatelle No. I is written in the dual key signature, with four sharps in the upper staff
and four flats in the lower staff.
34
The term symmetrical modal formation is based on authors theoretical construct and is not derived
from an existing theory.
17
Example 13: Bagatelle No. I: mm. 1 - 3
-PThe same pitch material also appears at the end of the piece (mm. 16 18) in a
more extended version. The entity of the type of the octatonic mode formed from this
content also can be considered symmetrical. See example 14.
H
H
-P-
18
The combination of C# Aeolian and C Phrygian, illustrated in the examples 12
14, creates a new modal symmetrical formation, surrounding note E. This pitch becomes
the center of a palindrome, the first and last note of two related Octatonic partials:35
I. = E, F, G, Ab, Bb
II. = E, D#, C#, C, Bb
Partial II is the second transposition of partial I. 36
M. 5 in the right hand and the first part of m. 6 in the left hand include a 5-note set
of the whole-tone scale. See example 15.
Example 15: Bagatelle No. I: mm. 5 6
The descending G half-diminished (Locrian) mode appears in the left hand in the
mm. 9, 11, and 15 17. See example 16.
35
Octatonic, as a designation for the scale or pitch class collection, is generated by alternating whole tones
and semitones. A scalar order of the collection can begin with the semitone or the whole tone (the forms
were termed Model A and Model B by van den Toorn). Only three distinct transpositions are possible.
The collection is therefore a mode of limited transposition under Messiaens definition (1944). From
19
Example 16: Bagatelle No. I: G half-diminished (Locrian) scale
37
Lszl Somfai, Nineteenth-Century Idea Developed in Bartks Piano Notation in the Years 1907 14,
19the-Century Music, vol. 11 (1997).
20
assume that the folk elements implied in Bagatelle No. III come from folk song found in
Hungarian or Slovak regions. See the score in example 17.38
Example 17: Bagatelle No. III score
38
21
In this piece there is a prominence of one mode that can be found with many
names. The so-called Verbunkos Phrygian scale (Phrygian with raised 3) 39 does not
appear only in the Hungarian Gypsy music repertoire, but also in the Arabic repertoire as
39
W. Marvin, handout, Scales, Modes and Collections in Western Music, from Loya Shay, The
Verbunkos Idiom in Liszts Music of the Future: Historical Issues of Reception and New Cultural and
Analytical Perspectives (Ph. D. diss., Kings College, London, 2006).
22
40
Maqm Hijz.
Its first tetrachord also corresponds with the following modes: the Arabic
Maqm ehnaz, and the Byzantine Hard Chromatic mode. See example 18.
According to the mode, the tonal center is B. However, regarding the melodic line
in the left hand; there are two pitches that frequently appear throughout the piece: F# and
C. Although the note B occurs on weak beats, together with F# it creates a melodic frame
of the periodic antecedents. The note C appears in consequents. See example 19.
Example 19: Bagatelle No. III - melodic structure
40
Garland Encyclopedia of World Music, The Middle East, The Eastern Arab System of Melodic Modes
in Theory and practice: A Case Study of Maqm Bayyt: The Invervals of Modern Arab Music, by Scott
Marcus, 36-44.
23
hand (except one occurrence of A3 in the left hand in m. 22). Thus it is possible to assume
that the Bagatelle is centered on B.
The melodic line in the left hand together with some of the pitches in the right
hand (G, A, B) offers two harmonic entities, derived from the mode: B7 ( I ) and CMaj7
( bII ). See example 20.
Example 20: Two harmonic entities in the Verbunkos Phrygian mode
In the Bagatelle No. III I peruse the pitch content through chromatic pitch space
with the main interest in Bagatelles modal material, based on one particular mode
derived from Hungarian modal heritage, which includes the Byzantine, Arabic, Turkish
tone systems and the Verbunkos modes. Example 19 illustrated the pitch content with an
emphasis on the B Verbunkos Phrygian mode, its modal transformation, and its impact
on the harmonic and formal structure of the piece. See examples 19 and 20.
24
Bagatelle No. IV
As noted by Antokoletz, the Bagatelle No. IV uses an old Hungarian folksong as
the source, collected by Bartk in 1907 in Felsiregh.41 If we only consider the pitches on
down beats in the melodic line of the right hand, then the song is based on the D minor
pentatonic scale. Referring to Bartks idea of three basic forms of the pentatonic scale in
old style Hungarian songs, this Bagatelle is based on the third type of the pentatonic scale
(cf. example 5 in section II - Slovak and Hungarian folk music), in which the scale degree
six appears as a real note. This note Bb occurs only on off-beats. See example 21.
Example 21: Bagatelle IV in D minor pentatonic
In mm. 1 2, the appearances of the additional scale degrees (E, Bb) from the
melodic line and chordal accompaniment transform the pentatonic scale into the Aeolian
mode. See example 22.
41
25
Example 22: Bagatelle IV modal transformation in mm. 1 - 2
On the first beat of m. 8, the pitches in the right and left hands include an almost
complete G Mixolydian mode. See example 23. On the second and third beats of m. 8, the
notes in the right and left hands create a symmetrical modal formation. See the 2nd part of
example 23.
Example 23: Bagatelle IV modal transformation in m. 8
26
min3 H
H
H
-P
min3
42
Benjamin Suchoff, Bartks Odyssey in Slovak Folk Music in Bartk Perspectives, in Bartk
perspectives: man, composer, and ethnomusicologist (London; New York: Oxford University Press, 2000),
17.
27
Example 24: Slovak folk song
According to Benjamin Suchoff the structure of this Slovak folk song is based on
the symmetrical Hungarian pentatonic scale. The circled notes in example 24 suggest the
scale degrees A and E are neighbor and passing tones that switch the pentatonic scale into
the Dorian mode.44 This modal transformation is typical in old-style folk melodies, as is
noted by Bartk in his book, Hungarian Folk Music. If the other degrees of the
pentatonic scale appear as real notes (usually on weak beats), they change the pentatonic
scale into a different mode. It is possible to notice that in terms of rhythm, the basic
pattern is preserved in a simplified version. This Slovak folk song is based on a mixture
of duple and triple meter, while the Bagatelle no. V is simply in duple meter. Regarding
the modal content, Bagatelle No. V is based on the G and D minor pentatonic scales and
their transformations: the Aeolian and Dorian modes. See the score in example 25.
43
Peter Bartok, Notes of the Editor in 14 Bagatellen fr Klavier, in Bla Bartks 14 Bagatellen fr
Klavier (Budapest: Editio Musica, 1998), 40-47.
44
Suchoff, 17.
28
Example 25: Bagatelle No. V score:45
45
29
30
The melodic line of the entire piece is based on asymmetrical periodic structure,
in which the antecedent is built on the D pentatonic/Dorian modes, and the consequent is
built on the G pentatonic/Dorian modes. The property of the modes has an evident
impact on the structure of the chord in the right hand, which accompanies the main
31
melody in mm. 1 20. Its harmonic function implies two harmonic entities, G and D
minor, derived from the D pentatonic/Dorian and G pentatonic/Dorian modes. See
example 26.
Example 26: Bagatelle No. V - Gm and Dm harmonic entities
The modal transformation from the D minor pentatonic to the D Aeolian in the
left hand occurs in mm. 5 -11, and the G minor pentatonic scale is established in mm. 12
19. See example 27.
Example 27: Bagatelle No. V modal transformations
32
The same melody appears in the right hand in mm. 28 45 with a different
chordal accompaniment. For the first time there is an appearance of a harmonic
progression derived from the G Dorian mode.
The chordal accompaniment in the right hand (in mm. 51 56) changes the
character of the G pentatonic mode to the G Mixolydian mode, and in mm. 57 62 to the
D Dorian mode. A short transition to the G minor pentatonic mode appears in mm. 63
64. See example 26.
Example 29: Bagatelle No. V in mm. 51 64
The main melody appears again in the left hand in m. 54 and is based on the G
minor pentatonic scale.
33
As Suchoff correctly points out, the chordal accompaniment is derived from the
melody.46 As with the Bagatelle No. IV, Bagatelle No. V is another example of the use of
folk song modal material, which has a crucial influence on the harmonic and formal
structure of the piece.
Bagatelle No. VI
The melodic framework of the Bagatelle No. VI resembles folk song. This can be
assumed because of its modality, repetition, variation and its clear repeated rhythmic
pattern. See example 30.
46
Quote from Benjamin Suchoff, Bartks Odyssey in Slovak Folk Music, 17.
34
Example 30: Bagatelle No. VI: Sentence47 in mm. 1 7
The modal content at the beginning of the Bagatelle (mm. 1 2) in the right hand,
is built on a 6-tone set (B C D# E# F# A#). The first five pitches of the set, except the
scale degree four (circled in the following example), correspond with the Verbunkos
Phrygian scale. See example 31.
Example 31: Bagatelle No. VI - Verbunkos Phrygian scale
47
Sentence is a musical term adopted from linguistic syntax that represents a complete musical idea. The
construction of the beginning (the presentation of a basic idea and its repetition) determines the
construction of the continuation. From Arnold Schoenberg, Fundamentals of Musical Composition,
(Oxford: Alden Press, 1973).
35
At the end of m. 2, the 6-tone set in the right hand gets expanded into another
modal formation, which consists of two overlapped tetrachords, based on B octatonic and
D# pentatonic modes. See the modal transformation in example 32.
Example 32: Bagatelle VI modal transformation
36
Although we do not know if this Bagatelle is based on a folk song source,
Bartks compositional procedure follows the same steps, traced in previous Bagatelles
No. I, III, IV and V.
48
Allen Forte, Contemporary tone-structures, (New York: Teachers College, Columbia University, 1955),
75.
49
Forte, 75-76.
50
Forte, 169.
51
The first three systems of example 34 are based on the score from public domain, the score analysis and
the fourth system in the same example were made by Michaela Eremiov.
37
Example 34: Bagatelle No. VIII: mm. 1 10
38
Example 35: Bagatelle No. VIII mm. 1 - 4
52
Axis system is based on the circle of fifths. If, in the circle of fifths, C is considered the tonic, than F will
be the sub-dominant, G the dominant. D is the relative of F (S function), A the relative of C (T function)
and E the relative of G (D function). This can be applied to the whole circle of fifths, in which case the
three principal functions are periodically repeated. The 'axis' grouping consists of minor-third-related
tonalities that split the octave symmetrically into four parts. From Roy Howat, Bartk, Lendvai, and the
principles of proportional Analysis,Music Analysis 2/1 (March 1983), Andrs Szentkirlyi, Some aspects
of Bartks Compositional Techniques, Studia Musicologica Academiae Scientiarum Hungaricae, T. 20
(March 31, 2008), Ern Lendvai, Tonal Principles in Bla Bartk. An analysis of his music, (England:
Stanmore Press, 1971), 1 -16.
39
Section B (mm. 12 - 23) can be considered as a sort of development. In mm. 12 15 the main motif appears again in a transposed version, and is partly inverted (m. 12).
The leaps of the motif are expanded and are based on the AUG8/or Min9 that is the frame
of the main motif in its original version. It is interesting to follow some modal formations
in this section: the octatonic triad (G, Ab, Bb) in upward motion in the right hand in m.
16, an octatonic tetrachord (F#, F, Eb, D) in downward motion in the right hand in m. 17,
an octatonic hexachord (Ab, Bb, Cb, Db, Eb, E) in upward motion in the right hand in m.
18, a whole tone 5-note set (E, D, C, Bb, Ab) in downward motion the right hand in m.
18, and two overlapping tetrachords (F#, G, Bb, B / B, C, Eb, E) in upward motion in the
right hand in m. 21, which correspond with the first tetrachords of the Turkish Maqm
Hijz, the Arabic Maqm ehnaz, the Byzantine Hard Chromatic mode, the Verbunkos
40
The original motif in mm. 1 - 2 appears again in a rhythmic diminution in m. 24.
See example 38.
Example 38: Bagatelle VIII main motif in m. 24
In m. 25 the motif occurs in a transposed and slightly varied version. The basis of
this motif is on G - Eb - G. See example 39.
Example 39: Bagatelle VIII main motif in m. 25
As Forte noted, the last section A1 consists of two phrases, which create a period,
antecedent in mm. 24 - 25 and consequent in mm. 26 - 27. They are related to section A.
41
The last part in mm. 28 - 32 can be perceived as a coda. It is obvious from this
part that Bartk wanted to emphasize the tonal centre of the piece based on the tone G.
Also, the important appearance of F# in m. 28 and m. 31 has an evident tonal resolution
to G. See the score example 41.53
Example 41: Bagatelle VIII score
53
42
43
Bagatelle No. XI
The Bagatelle No. XI is the last example of Bartks compositional procedure,
based on more intricate modal content, and its impact on the melodic and formal structure
of the piece. For instance, an 8-note set of a symmetrical modal formation, based on
octatonic pentachords at the beginning of the piece, creates a foundation for the first
section A (mm. 1 16) of the Bagatelles song-form (AA1BA). The melody based on this
formation occurs in mm. 1 7 in the right hand, harmonized in fourths. (See example
42.) In mm. 8 16 the melodic line transforms into a transposed and slightly modified
version and creates another symmetrical modal formation. (See example 43.) The circled
notes in example 43 are the modifications of the melody in example 42.
Example 42: Bagatelle XI: mm. 1 - 7
-P-
44
IV. Conclusion
The most effective analyses, therefore, should take the source of the music as a
point of
54
Bagatelles, 55 but
Peter Manuel, Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic Musics,75.
Elliott Antokoletz, The Musical Language of Bartks 14 Bagatelles for Piano, [article on-online],
Zoltn Kodly, Folk Music and Art Music in Hungary, [article on-online], Lszl Dobszay, The
Absorption of Folksong in Bartks Composition, [article on-line], Friedemann Sallis, La transformation
dun heritage: Bagatelle op. 6 no 2 de Bela Bartok et Invencio (1948) pour piano de Gyorgy Ligeti, Revue
de Musicologie, T. 83e, No. 2e (1997), Lszl Somfai, Invention, Form, Narrative in Bla Bartks
Music, [article on-line], Lszl Somfai, Nineteenth-Century Ideas Developed in Bartk's Piano Notation
in the Years 1907-14, Vol. 11, No. 1, Special Issue: Resolutions II (Summer, 1987), Jnos Krpti,
Perfect and Mistuned Structures in Bartks Music, Studia Musicologica Academiae Scientiarum
55
45
nevertheless most of the analytical treatises, such as Fortes analysis of Bagatelle No.
VIII 56 and Antokoletzs analyses of six Bagatelles,57 focus on a harmonic content, and
exclude the importance of modal quality that has such a crucial impact on the overall
structure in Bartks Bagatelles.
Bartk himself hinted about his compositional thinking when he said that
Bagatelle No. I is written in simply a Phrygian colored C major.58 There is a reason he
did not characterize his work as a bitonal composition. Bartks compositional approach
followed the monophonic or heterophonic aspect, so essential in folk song.
Hungaricae, T. 36 (July, 1995), [article on-line], Suchoff, Bartks Odyssey in Slovak Folk Music in
Bartk Perspectives, Allen Forte, Contemporary tone-structures.
56
Forte, 75.
57
Antokoletz, The Musical Language of Bartk's 14 Bagatelles for Piano.
58
Lszl Somfai, Nineteenth-Century Ideas Developed in Bartk's Piano Notation in the Years 1907-14.
46
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