20 short piano pieces of pedagogic intent, using aspects ... · pdf file20 short piano pieces...

20 Short Piano Pieces of Pedagogic Intent, Using Aspects of Traditional Persian Sources

Azadeh Atri Student Number: U2576433

This thesis is submitted to the School of Music of the Australian National University in fulfillment of the Honours Degree in Music.

June 2009

Declaration

I, Azadeh Atri, declare that this work is my own and that I have properly referenced the use of other materials.

Signed:

Date:

i

ii

Acknowledgements Grateful acknowledgement is made to the following people for their assistance during the course of

this project.

My particular gratefulness to my supervisor, Professor Larry Sitsky, for his support and direction

throughout the year. His constant encouragement, enthusiasm, perceptive comments, and guidance

kept me motivated.

My deep gratitude to Jim Cotter who generously gave so much of his time and support.

Many thanks to Dr. Geoffrey Lancaster and Arnan Wiesel. Their time and knowledge have been

invaluable.

Special appreciation is held for Yeganeh Atri and Paul V. Flottman for their “care-ful” and coherent

translation of Sepehri's poem.

I would also like to thank my family and friends, for their continual support and encouragement.

iii

Table of Contents

Declaration .................................................................................................................. i

Acknowledgements .......................................................................................................... ii

Table of Contents ............................................................................................................ iii

Preface ……………………………………………………………………………….1

Meditation with Tenths ………………………………………………………………….5

A Persian Melody in Unison …………………………………………………………...6

The Broken Chords ……………………………………………………………………...8

The Happy Fourths ……………………………………………………………………..9

9:2 in Chahargah ……………………………………………………………………….10

The Fixed Thumb Position ……………………………………………………………..12

Solitude: Clusters and Free Durations in Chahargah …………………………………..13

A Piece for the Left Hand ……………………………………………………………...15

Seconds and Doubles …………………………………………………………………..16

Melody with Accompaniment: The Unspeakable Pain ………………………………...18

Story of the Bats and the Old Cave: A Haiku for Boornik Cave ……………………...19

Study for the Repeated Notes: Longing ……………………………………………….20

Clashing Sounds ………………………………………………………………………22

Awkward Sevenths in Homayun ……………………………………………………...24

Octaves and Bimodal Study …………………………………………………………...25

Study in Sixths …………………………………………………………………………27

Rosella, the Australian Bird …………………………………………………………..28

iv

Canon …………………………………………………………………………………32

Fantasie for Five Pitches ……………………………………………………………..34

Ghoghnus …………………………………………………………………………….40

Bibliography ………………………………………………………………………….45

1

Preface

The history of composition for the keyboard reveals a very diverse musical landscape, as well as

various technical requirements. Friskin and Freundlich, among others, have already surveyed this

large spectrum of keyboard music from 1580 to 1952 by cataloguing “those pieces which have

artistic value” (1973: viii), as opposed to mere finger exercises. Performing and enjoying such a

large repertoire requires a deep understanding of technique and sound. Obtaining such knowledge is

due to the educational systems and pedagogic practices which expose students to the ideas of sound

and finger technique from the early stages of learning. For this reason, not only finger exercises

should be included in teaching methods, but also the artistic aspects of music should be considered.

As many issues are important in shaping the pianist’s skills, numerous piano compositions

(exercises) have been written by composers, performers, and teachers with the focus on velocity,

rhythm, and the finger technique (excluding the musical aspects). For instance, Czerny’s etudes

(1893), Hanon's finger exercises (1929), Pischna’s technical studies (n.d.) have all been composed

with pedagogical purposes regarding the finger technique and velocity. Bach's ‘The Little Clavier

Book of Anna Magdanela’ (Friskin & Freundlich, 1973), Bartok's ‘For Children’1, or his six

volumes of Mikrokosmos2 show, more or less, similar attitude toward finger technique, but most of

them are quite different from mere finger exercises by having artistic values.

For instance, the 153 rather short musical compositions of Mikrokosmos introduce specific

melodies or modes from the folkloric musical traditions, such as eastern European's. This

pedagogical approach introduces the learners to the sound and the musical ideas, as well as velocity

and the finger technique. Such ideas and approaches provide a fertile ground for me to apply 1 These pieces were written between 1908 and 1909 (Friskin & Freundlich, 1973). 2 These pieces were written between 1926 and 1937 (Friskin & Freundlich, 1973).

2

Persian modes in piano compositions with the aim of both artistic value and pedagogical worth.

Since no pedagogical piano composition has been written to date in Persian modes, this project

presents 20 pieces in which the Persian ambience has been created by means of Dastgah(s) (Persian

modes) or non-specific keys. As the Dastgah(s) mostly have quarter-tones and western classical

music does not allow such a system, I have used my own adaptation from the original Dastgah(s).

The project is informed by primary source material as well as a variety of secondary sources

relating to piano performance and education. For example, the piano compositions of Kabalevsky,

Kurtag, Shostakovich, Prokofiev, and Sitsky for children have been studied, as well as studies by

Debussy, and Scriabin which concentrate on a number of advanced technical and tonal problems.

Moreover, two interviews were conducted in 2008 with Dr. Geoffrey Lancaster and Arnan Wiesel,

the piano lecturers at ANU's School of Music, regarding the technical development of the piano

students through the existing repertoire.

Issues to do with architecture, rhythm, muscle tension, and dynamic control were examined through

the interview with Lancaster. The necessity to learn the art of improvisation was raised in an

interview with Wiesel. Therefore, such professional views into colour, finger technique and musical

interpretation and architecture were considered in composing the following set. For instance, the

improvisation section in the ‘Fantasie for Five Pitches’ is a response to the revitalisation of the

fading tradition of improvisation. Furthermore, the broad range of dynamics, extensive use of pedal,

finger agility, and the change of metre in Ghoghnus are examples of exercises demanded by

Lancaster. In addition to the interviews, some of these pieces were performed by the piano students

of ANU's School of Music in April 2009. Six pieces out of 20 were selected for this performance.

What the performers experienced through playing such pieces is of an importance to note.

In general, five out of six university students were not comfortable with the free durations or the

3

consecutive change of time signatures. Although free durations and successive change of metre are

not new ideas in the history of piano composition, it happened to be their first time to see or play

such passages. Furthermore, for most of the students it was one of the very rare occasions in which

they were performing a piano solo piece composed since 1900. For instance, one of the performers

mentioned that he has only played two pieces from the “modern repertoire” (as opposed to the

repertoire of 18th and 19th centuries): one from Prokofiev and one composed by me. Such comments

may cast light on the effective role of the present project in reacquainting students with issues

which seem to be currently missing from a pianist’s training.

To recap, this project sets out to work on some of the principles of the piano technique through a

Persian modal system. Compositions in this project have been arranged in a progressive order,

according to the technical difficulty and tonal control. The metronome marks should only be

considered as an approximate indication, and the use of pedal is optional unless specifically

directed. The titles for the first 16 pieces recommend the main focus of the composition, but other

aspects of piano technique such as change of hand positions, change of metre, crossed hands

technique, use of finger alternations on repeated notes, and dynamic control can also be observed in

each individual piece. The last four pieces of the set (Rosella, Canon, Fantasie for Five Pitches, and

Ghoghnus) require more technical ability in terms of finger agility, dynamic control, and creating

an atmospheric quality. These pieces were performed by both university students and the piano

students of the Girls Grammar School. As a result of these performances, some changes were made

in the scores to ease the process of learning. For instance, the Canon was first written in 2/4, but it

was found that the usual grouping of the semi-quavers (four semi-quavers per beat) is visually

confusing for the learners and it adds to the level of difficulty which is not really necessary since

the learners have to cope with multiple technical challenges such as phrasing of the individual lines

and the even use of fingers without the aid of pedal in the first section of the pieces. Therefore, the

2/4 section was rewritten in 4/8 to avoid the unnecessary challenges.

4

In conclusion, to compose these pieces I have mostly used the two Persian Dastgah(s) of

Chahargah and Homayun3, as well as my own self-invented scales (my adaptations from the

original Dastgahs) to create the Persian mood. The following figures reveal the above mentioned

Dastgah(s), but the ‘self-invented’ scales are introduced at the beginning of each piece.

Chahargah

In the original Chahargah, A, and D are the notes with the quartertones. Since the western classical tuning does not allow such a system, the flats were used instead of koron(s) (the Persian quartertones).

Homayun

Koron(s) were replaced by flats.

The above Dastgah(s) in combination with the pedagogical aspects of piano performance form the

following set of compositions.

3 Other five Dastgah(s) are called Shur, Nava, Segah, Mahoor, and Rast-Panjgah.

Copyright © 2009

Largo q = 60

Meditation with Tenths

Azadeh Atri

8

5

rit.

p

p tenuto

mp

mf p mf

ped. simile

6

A Persian Melody in Unison

The following piece has been composed in Homayun, but it modulates to Chahargah at

the end.

Homayun

Chahargah

Copyright © 2009

Moderate q = 90 Azadeh Atri

A Persian Melody in Unison

rit.

q = 76-80

6

rit.

11

rit.

*

rubato

f

non rubato

martellato

mp dolce

con pedal

senza pedal

Tempo I

mp dolce rubato

* As Homayun and Chahargah have microtones in their system, the harmonic minor seconds in this piece represent the microtones of the above mentioned Dastgahs.

(F) con pedal

7

estinto

Copyright © 2009

Largo

Arpeggiate slowlyrubato

Study in Broken Chords

Azadeh Atri

q= 40-45

e= 150- 155

R.H L.H

R.H

p espress.

L.H

con pedal

(A)

f

Tempo I

p

8

Copyright © 2009

The Happy Fourths

Moderato e = 100 Azadeh Atri

rit.

7

rit.

senza pedal

p

sempre staccato

Tempo I

ff

mf

9

hand cluster on white keys

One bar = 45 ca

9 : 2in Chahargah

Copyright © 2009

Azadeh Atri

accel.

rit.

espress.rubato

tenuto tenuto

hold back

Tempo I

pp

con pedalcon sordino

mp

x= x

p

Tempo I

mf

tenuto

10

rit.

Copyright © 2009

rit.

mp

Tempo I

ff subito ff dim.

11

(D)

Moderato q

Copyright © 2009

Azadeh Atri

The Fixed Thumb Position

rit.

rubato

= 95-100

x =x

mp

con pedal

p dolce

mf

f

5 4 3 2 1 2

(F)

12

ff

(F)5 4 3 2 1

pp

2

Copyright © 2009

Azadeh Atri

Largo q = 60

SolitudeClusters and Free Durations in Chahargah

rit. rit.

loco loco

cluster on the white keys

p

cluster on the black keys

chromatic cluster with hand


mf

13



accel.

( *)

più animato

cresc.


rit. subito

p

( ***)

pp

* Semi quavers are not necessarily equal.** Make your own cluster within this range. You can use black and white keys.*** Accelerate and then slow down.

( **) cluster on the white keys

14

fore-arm cluster

Adagio e = 60

Azadeh Atri

Copyright © 2009

A Piece For the Left Hand

accel.rit.

rit.

rit.

espress.

43

q= 70

con moto

e = 603

legatocon pedal

Tempo I

3

con motorubato

e= 130- 140

pp

3 3 3 33

mf

legato

15

arpeggiate slowly

Azadeh Atri

Copyright © 2008

Seconds and Doubles

8

16

23

senza pedalq =135

l.hpp

f

mf

pp

mf r.h

pp

p

54

mp

espress.

1 2 4 5

2

43 4

5 43

23

5 2-1 45 34

23

(2+3) (8)

(3+2)

(8)

16

30

rit.

39

46

53

rit.

Tempo I

f

e=180rubato

p

Hold back

e=90 e=180

3

espress.

espress.mp

17

pp

Copyright © 2009

Moderato q. = 60- 65molto rubato

( The Unspeakable Pain )

Melody with Accompaniment

Azadeh Atri

6

accel.

9

e =e sempre

Tempo I

p cantabile mp

p legatoespress. rit.

rit.

GEb

mf

q = 115- 120

rit.

mf

ff

18

mysteriousLargo

Azadeh Atri

A Haiku for Boornik Cave

Story of the Bats and the Old Cave

fast e= 180- 200

rit.

presto

pp

q=45-50

*

pp

con pedal

espress.

pp

( **)

pp mpp

mf espress.

f

con pedal

* Boornik Cave is located in Damavand, one of the provinces of Tehran. This piece is a rememberanceof what I experienced when I was caving there.** If a note has no accidental before it, it must be a natural.

19

senza pedal

Copyright © 2009

Moderato q = 90 - 100 Azadeh Atri

Study for the Repeated Notes(Longing)

*3 2

con pedal

3 2

espress.

L.H

L.H

* Notes with double stems should be brought out.

20

L.H

36

rit.

f

p subito

f subito

ppp

cresc.

21

estinto

Copyright ©2009

Clashing Sounds

Azadeh Atri

Very slow e= 70

R.H

mp

Fast and Staccato q= 80

p

L.H

rubatoespress.

pp

L.H

rit.

senza pedal

f non rubato

subito rit.

Slow e= 90con moto

mp

Fast q= 90

3

con pedal

22

hand cluster on black keys

mf

rit.

rit.

33

3


fff

Sad and thoughtfulelegy like

pp

3

con pedalcon sordino

3

p

Very slow e= 85

pp

3 3

23


3

x = 220-230Molto rubato

Azadeh Atri

Copyright © 2009

Awkward Sevenths in Homayun

accel.

rit.

3

accel. rit.

Andante cantabile

5

rit.

( **)

rubato

( ***)

5

5

44

3

5

( *)

5 4 5 5 4

P

espress.

* The rhythmic pattern in the left hand is an exact imitation of one of the rhythms of Homayun.** The sign means to slow down.*** The sign means to accelerate.

con pedal

24

25

Octaves and Bimodal Study

The following piece is a bimodal study in Dastgah(s) of Chahargah and Homayun. The

treble clef has been written in Chahargah, while the bass clef is in Homayun.

Chahargah

Homayun

q = 100- 120

Copyright © 2009

Azadeh Atri

Octaves and Bimodal Study

accel.

6

11

q = 100

mp

con pedal

hold back

mp espress.

mf

Cantabile e= 90

espress.

q = 110

hold back p

( slow)

mp

26

rit.

Copyright © 2009

Moderato q = 90 - 100

Study in Sixths

Azadeh Atri

18

con pedal

f

rubato

f

(B)

Tempo I

(A) (G)

f

(F)

27

28

Walking in the Molonglo gorge...

All that matters is a Rosella and its

exotic song.

Copyright © 2009

Andantino

Azadeh Atri

( e = 115 )

Rosella the Australian Bird

fast ( = 90 )

accel.

9

p pp

mp pp

pp

mp

q

mf

p

29

( q= 110) ( q= 110)

rit.

rit.

f

e= 95

pp

f

e= 95

pp

senza pedal

senza pedal

f

e= 160

martellato

a tempo

p

e= 75 rubato

pp p

con sordino senza sordino

30

con sordino

( q= 110)( q= 110)

f

p

e= 75

f

senza pedal

e= 75

p con moto

pp

e= 75 rubato

nostalgic

con sordino

p

p

pp

senza sordino

31

senza pedalcon sordino

14

19

22

rit.

mf e=100 -115rubato

Cantabile

espress.p

p mf

rit.

con pedal

mp mf mp

p

poco a3

33

poco

3

34

Fantasie for Five Pitches

Like any other person, I have lived my life punctuated with the highs and lows of joy and

happiness, loss, and pain. Since a very dear friend of mine died in a tragic way in 2004, I

have been deeply mindful of one of Sepehri's (one of the well known Persian poets)

poems in which I found consolation and comfort. After the loss of my friend, I

challenged Rumi's and Sepehri's poetry for a solution to my mystical seeking and, in the

dark time of my grief and loss, I found myself drawn to reading Sepehri's Night of

heavenly Solitude over and over to lighten my days-to convince myself that my bird

though far away, is still singing and that I was still nourished and nurtured by her

everlasting love.

On one of the Canberra's beautiful sunny days, I was immersed in my thoughts, when a

beautiful exotic bird song (exotic to me, as we Persians do not have such a bird in Iran)

suddenly reminded me of the first verse of Sepehri's poem: 'Listen, the bird farthest away

in the world is singing'. After months of grieving for my loss, and seeking answers, it was

this heavenly birdsong, seemingly from nowhere, that came as a sign of relief and

freedom. All at once, my journey with Sepehri's beautiful poem was transformed into a

musical experience.

35

Night of Heavenly Solitude ( shab e tanhai ye khub) Listen, the bird farthest away in the world is singing. Night has fallen, inviting, lucent and still. Geraniums and the season’s rustling branches hush to hear the moon. Stairs in front of a building. A door holding a lantern in the bountiful breeze. Listen, the road is calling your footsteps from afar. Your eyes are not just ornaments in the darkness! Awaken them, put on your shoes and come… come to where the rays of the moon illuminate your fingers and time sits with you on the ground while the melodies of the night become one with your body as a song. There is a sage there to tell you; ‘eyes are there for gazing, wet with the tears of loving’. By Sohrab Sepehri

Copyright © 2009

Azadeh AtriAndantino teneramente e = 80

Fantasie For Five Pitches (B-C-D-F-G#)

9

18

29

Listen! The bird farthest away in the world is singing.

p dolce

rubato con sordinopp

con motoe=120

con sordinopp

p

mp

e=130

cresc. accel.

mf

rit.

più animato

e=130

pp subito espress.p

rit.

e=130

rubato

rit.

36

P

5

36 e= 180

43

50

57

Moderatomelancoliquee= 100

Allegro vivace

f

con ped

f

D

f

4

ff

sf

pp

f

pp

(F)

p rubato

sf

37

rit.

espress.

65

q= 70

e= 180

pp

con sordinoppp

3

Improvise with the five pitches, based on the atmosphere of the piece and your own perception of the poem. Improvisation should be between 1 to 2 minutes. Start from both ends of the piano.

tenutorubato

slowpp

pp

e=epp

f subito

p

p

espress.

p

pedal simile

p

pp

f subito

p subito

pp

38

ff

q= 75

pp

ff

rit.

trem.

tenuto

L.H.

pp

p

pp

rit.

39

Listen, the bird farthest away in the world is singing....

pp

rit.

40

Ghoghnus

In ancient Persian mythology, Ghoghnus is a phoenix that lives on top of Mt. Damavand,

which at a height of 5671 metres, is the highest mountain on the Iranian Plateau. It is

volcanic in nature and Ghoghnus is said to inhabit the mountain’s peak of fire and ash.

The myth holds that this bird lives for 1000 years and then burns itself to death on a pyre,

from the ashes of which another young phoenix arises. It has also been said that before

Ghoghnus dies, it sings a heavenly song in which human beings find their musical

inspirations.

Andantino q= 75 Azadeh Atri

Ghoghnus of Damavand

q= 60

Free and expressive

accel.

mp espress.

p

f

pp

(B)

pp

pp

p

tenuto

41

(hold back then move)

Vivo non rubatocon moto

q= 110

Largo, nostalgic q = 55

e=e

f

q= 90

(A )

cresc.

con pedal

ff

A

con sordinocon prdal

pp

p

tenuto

42

B p

3

q = 90

6

5

p (hold back then move) cresc.

ff

ff

(C )

mf cresc.

5 5

5

5

(C )

ffffpp subito

cresc.

43

sfz

e = 110

q = 105

accel.

e = 110

rit.

Slow, thoughtful, and nostalgic

espress.

palm cluster on the white keys

subitopp

Quasi Cadenza

rubato

f

x=x

p

32 5

1

cresc.sfz

Slow and melancolique

pp

44

con sordino

espress.

45

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46

Hovhaness, A 1961, Do You Remember the Last Silence? Op.152, C.F. Peters Corporation, New York. Hovhaness, A 1969, Fantasy for Piano, op.16, C.F. Peters Corporation, New York. Kabalevsky, D 1968, 30 Pieces for Children: op. 27, Joseph Prostakoff (ed.), New York. Kabalevsky, D 1971, 24 Piccoli Pezzi: op. 39, Ricordi (ed.), Rome. Khaleghi, R 2007, Tar and Setar Courses, Mahoor Institute of Culture and Art Publications, Tehran. Kurtag, G 1997, Games for Piano in Five Volumes, Edito Musica Budapest, Budapest. Lendvai, E 1983, The Workshop of Bartok and Kodaly, Edito Musica Budapest, Budapest. Lieberson, G 1964, Piano Pieces for Advanced Children or Retarded Adults, Mills Music, New York. Ligeti, G 1998, Etudes pour Piano, Schott (ed.), Mainz. Nancarrow, C 1992, Prelude and Blues for solo Piano, Smith Publications, Baltimore. Nancarrow, C 1990, Tango?, Smith Publications, Baltimore. Pischna, J, Wolff, B (n.d.), The Little Pischna, Willard A. Palmer (ed.), Alfred Music Publishing, New York. Pischna, J (n.d.), Technical Studies: 60 Progressive Exercises, Wolff (ed.), G. Schirmer, New York. Prokofiev, S 1936, Musiques D’Enfants: Op.65, Boosey & Hawkes, New York. Ran, S 1967, Short Piano Pieces, Israel Music Institute, Tel Aviv. Rapoport, P 1994, Sorabji: A Critical Celebration, University Press, Cambridge. Rautavaara, E 1995, Piano Sonata No.2: the Fire Sermon, Warner Music Group Company, Helsinky. Ravel, M 1957, Gaspard de la Nuit: 3 Poems for Piano, Editions Durand & C, Paris. Scriabin, A 1968, Preludes and Poems and other Pieces, C.F. Peters, London. Scriabin, A 1973, The Complete Preludes and Etudes for Pianoforte Solo, Igumnov & Mil'shteyn (ed.), Dover Publications, New York. Scriabin, A 1969, 10 Mazurkas, Edition Peters, Leipzig. Shostakovich, D 1976, Aphorisms: 10 Pieces for Piano, op.13, G. Schirmer, New York. Shostakovich, D 1983, “Children’s Notebook”, (in) Dmitry Shostakovich’s Collected Works, Musikverlag Hans Sikorski, vol.39, pp. 123-134, Hamburg.

47

Sibelius, J 1921, 12 selected Pieces for the Pianoforte, Wilhelm Hansen Edition, London. Sibelius, J 1990, Pensées Lyriques: op. 40, Edition Breitkopf, Wiesbaden. Sitsky, L 1986, Century: 128 Piano Pieces for Young Players in four Volumes, Magpie Music, NSW. Sitsky, L 1995, Folk Songs, Currency Press, Sydney. Sitsky, L 1973, Bagatelles for Petra, Ricordi & Co., Sydney. Sitsky, L 1964, Seven Statements for Piano, unpublished. Sitsky, L 1960, Sonatina Formalis for Piano, Allan & Co. Melbourne. Sorabji, K 1992, Trois Pastiches for Piano solo, Roberge (ed.), Sorabji Music Archive, Sorabji, K 1992, Quasi Habanera for Piano solo, Roberge (ed.), Sorabji Music Archive, Talai, D 2004, The Radif of Persian Traditional Music: Radif of Mirza Abdollah, Pedagogical and Analytical Notation, Karapayam Publishers, Tehran. Talai, D 1993, A New Approach to the Theory of Persian Music, Mahur (ed.), Tehran. Ticciati, N 1966, Pieces to Play: Music for Young Pianists, J. Curwen & Sons Ltd., London.

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