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This piece is highly systematic, and can serve as a good analysis
project for students of A-level.
In each bar of the piece, the row and its inversion are stated.
At first glance, it will become apparent that each bar is different,
and that not all twelve pitches are present in any one bar.
In fact, the pitches present are only those which belong to a particular
tonal major key.
This key is determined by the row and its inversion;
For the right hand, the first note of the row is E, and the key of the
first bar is thus E also.
The aim of the analysis is to demonstrate a knowledge of the twelve
basic major keys, and an understanding of serial selection and ordering.
The student will see that although the piece is serial and minimal,
the material is varied and (bi-)tonal.
An interesting point to note is that a bar 'in' a particular key
will not neccessarily SOUND as if it is in that key;
For example, the first bar, where both hands are in E major,
demonstrates on standard tonal analysis a shift on the fifth beat
to B major (the dominant, with the seventh note of the dominant in
the left hand),
thus undermining the idea that the bar is entirely in E.
In bar six, the right hand could easily be described as being in C,
but moving towards F, rather than the expected form, which would
be a firm grounding in F major.
The technique of removing non-consonant pitches results in a tonal
language of considerable ambiguity and variety.
A good idea would be to suggest that students write such a study,
based either on a row and its inversion, or else on some other
starting-point;
Obvious examples would be a transposition of the row and its
retrograde or inverse-retrograde form.
Another point of interest is that if the rhythmic patterns of the
left hand are transplanted to the right, then tonal music
still results.This proves that the inversion of a tonal scale
is a tonal scale.(The inversion of C major ascending is A-flat major
descending, but starting and ending on the mediant-note.)
This exercise is free, as is the piece, but any feedback from teachers
using it as a lesson for A-level, GCSE or Undergraduate study would
be greatly appreciated.
Please feel free to download the score or to perform the piece or any
other pieces written with the technique.No royalties are required.
Thankyou for visiting the archive.
Freeware copyright 1998 Gregory L Fox.
