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79

Technique and Structure in the

First Movement of MauriceRavels Sonatinefor Piano:Comparative Analytic ApproachesPaul Daniel Sayre

he rigorously fashioned structure and clarity of line in Ravels 1905Sonatineare mindful of classical style, and indeed are hallmarks ofthe composers overall compositional technique. Yet much of

Ravels compositional language is formulated by investing new meaninginto traditional compositional materials. There is a freshness imparted,formulated by techniques typically associated with impressionism:namely modality, extended tertian harmony, quartal and quintal har-mony, planing, ostinatos, and added tones among others. The genius of

the Sonatinelies largely in the fusion of these impressionistic elementswith more traditional materials. The result is a masterwork of the pianis-tic repertoire.

As the success of the Sonatineis due in part to masterful combina-tion of these more- and less-traditional elements, my analysis attempts toesh out the fundamental structures while comparing elements of tradi-tional roman numeral analysis and macro-analytical techniques. It com-bines them with a theoretical discussion of Ravels impressionistadornment.

The underlying structure of Ravels Sonatineis remarkably tradi-tional, perhaps even simple, and the impressionist components are, moreor less, ornamentations of this traditional architecture. The title Sonatineissomewhat misleading regarding the form, as the recapitulation is pre-ceded by a brief development of materials derived from the rst and sec-ond themes. However, the movement is fairly brief and the musical ideasunfold in relative miniature. Moreover, with exception of the coda andthe modications made in accommodation of the formal key scheme, the-oretical observations in the exposition apply wholesale to their corre-

sponding contexts in the recapitulationas the material is nearlyidentical in every other way.

The structure and harmony of the rst theme are not complex. Thetheme is laid out over a clear ivivVIVIIvi progression (fcbDEcf) with no chromatic alterations. Much of the appeal of the theme isthe melodic invention, transparent texture, undulating accompaniment

T


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Comparative Analytic Approaches 81

Example 1, continued.

5

6

I

F

B.C.

7

E

VII

B

IV

D

VI

8

F

I B.C.

9

E

VII

B

IV

D

VI

10

E

VII

B

IV

D

VI

(A major: V)

11

E


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82 Musical Insights

Repetition is also a critical component of the construction of theSonatine.

Measures 4 and 5 repeat the material in mm. 1 and 2, and mm. 8and 9 are identical to mm. 6 and 7 in every way except for surface-level

variation. Functional expectation is gradually eroded, as planing and rep-etition form the basis of harmonic movement. The general lack of circleprogressions throughout often replaces functional expectation and is,moreover, a hallmark of Ravels Impressionist harmonic language. ButRavel judiciously punctuates nontraditional harmonic movement withcircle progressionsresulting in a traditional harmonic syntax, but oneinfused with exoticism.

Measure 12 is also a repetition of m. 11, these two measures con-cluding the aforementioned extended-tertian planing by comparatively

functional resolution of the nal V

13

(E

13

)though Ravel avoids astraightforward tonicto the tonal center of A major in m. 13 (themetwo).

Example 2. Ravel, Sonatine,

I, mm. 1114.

The melody of theme two is accompanied by hollow parallel fths,and there is interplay between E-natural and E-sharp; thus, the tonalityoscillates ambiguously between A major and F-sharp Aeolian minor. As Iconsider the E natural to be the more structural of the two pitches, I viewtheir function as dominant to A major tonality. This labeling is in keepingwith typical key relationships in traditional sonata form. Nevertheless,Ravel cadences the material with conclusive ivvi (bc

f

) in F-sharpminor in mm. 19 and 20, reafrming F-sharp Aeolian modality. Contin-

ued use of modal material is seen in the closing theme as well. For exam-ple, the G-naturals in mm. 23 through 26 impart Mixolydian coloring.Likewise, mm. 29 and 34 amount to ornamented prolongation of the morefundamental, Phrygian-half cadential formula. These measures constitutea dominant, F-sharp anticipation of the B minor tonality in m. 34; the E-naturals and G-naturals in the bass and soprano lines expand outward to

(A major: V)

11

E

12

Rall.

13

(Theme Two)

en dehors

a Tempo

14


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meet it. The resolution of the G-naturals in the bass is delayed, so there isan ornamental misalignment of the resolution, but both pitches resolve toF sharp (example 3). After exposing this more fundamental structure,

clausula-like expansion of the E-naturals and G-naturals is clearly remi-niscent of Renaissance and baroque Phrygian cadential formulas. More-over, the G-naturals in the following measures (mm. 32 and 33, left-hand)emphasize and embellish the continuation of this Phrygian cadentialsoundas the E- and G-naturals prolong the context, which had beenestablished in the preceding measures. The proof is the B minor (Aeolian),circle progression resolution in m. 34.


I, mm. 2934.

The B Aeolian modality moves gradually toward D tonic tonality,

eventually cadencing on V

13

(A

13

) in D major in mm. 41 and 42. However,resolution to the D tonic is arrested in mm. 4347 by quartal sonoritiesunfolded over an E pedal. Using material derived from theme two, thesemeasures begin planing by fourths. The material in the treble of mm. 44and 45 is planed up a fourth, formulating the material in the treble of mm.46 and 47, and the subsequent planing up a fourth in mm. 48 and 49 con-

B minor:

29

iv

e

V

F

30

iv

e

V

F

Phrygian Half Cadence

31

32

Dominant Prolongation

33

trs expressif

34

i

b


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84 Musical Insights

summates the delayed D tonality, which had been interrupted by the pre-vious ve measures! Planing by fourths continues through mm. 49, 50and 51, though the rhythmic pace quickens to a change per measure. The

E pedal tone in the bass underlines this entire process and continues justtwo measures short of the recapitulation.


I, mm. 4152.

As mentioned earlier, analytical observations made in the exposi-tion apply to their corresponding contexts in the recapitulation. Excep-

D major:

41

V

A

E Pedal

42

Poco rit. - -

43

a Tempo

44

45

46

cre - -

Up a fourth

scen - -

47

do

48

e

D Resolution

Up a fourth

acce -

49

- le -

Up a fourth

ran -

50do

Up a fourth

51 Up a fourth

52Anim

Up a fourth


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tions are the coda and the second theme, which is now in F-sharpMixolydian in accommodation of sonata principle. The coda concludesthe piece in F-sharp Mixolydian and includes colorful references to the

now chromatic A natural, which had featured prominently in the rst andsecond themes.

Ravels Sonatine

is representative of his powerful and unique cre-ative process. It possesses the elusive and personal quality of his creativegeniusa quality that dees description and analysis. I should mentionthat, in my opinion, a calculated perfectionism pervades the work. Thereis a subsurface austerity in technique, which contrasts with the beauty ofRavels ideas and with the warmth of his impressionist style. I suspectthis is a by-product of Ravels precisionist technique, and I suspect it is

unintentional. Nevertheless, the Sonatine

is stunning. The invention isremarkable and the music is highly expressive and ultimately very mov-ing.


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