lynne plowman biographical...
TRANSCRIPT
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
● Lynne Plowman was born in 1969 and lives and works in Wales. As a child she
learntthefluteandpianoaswellasbeginningtomakeupherownmusicwhichshe
wouldplayherself.
● Sheattendedthe,then,WelshCollegeofMusicandDrama,Cardiffwhereshe
studiedtheflutebutalsohadcompositionlessonswithAndrewWilson-Dickson
andGaryCarpenter.“IthoughtI’dneedtodecidewhethertobecomeaperformeror
acomposer,butbytheendofit,realisedIcouldmakethetwothingshappen
together.”
● Afterleavingcollege,Lynnemadealivingbyplayingthefluteandworking
oneducationalprojectswithOperaNorth.Graduallyshebegantoreceiveherfirst
commissionstowritemusic.
● Lynnehadalwayshadaninterestindramaandtheatre,andwhilstworkingatOpera
NorthshemetthewriterMartinRileywithwhomshehaswrittenfouroperas.Her
first,Gwyneth and the Green Knight,waspremieredbyMusicTheatreWales
in2002andthisledtoacommissionforhersecondoperafromthesamecompany:
House of the Gods.Sincethenshehascompletedtwofurtheroperas–The Face in
the MirrorforWelshNationalOpera’sMAXdepartmentandCaptain Blood’s
RevengeforGlyndebourneOpera.
LYNNEPLOWMANBIOGRAPHICALNOTE
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
● InadditiontooperaLynnePlowmanhasalsowrittenawidevarietyofmusicranging
fromsongstochambermusicanddramaticlarge-scalevocalandorchestralworks
Herfirstorchestralpiece,Blue,wontheBBCNationalOrchestraofWales’sYoung
Composers’Competitionin1995andherrecentorchestralpiece,Catching
Shadows,waspremieredbythesameorchestrainMarch2016.
● LynnealsoteachescompositionattheRoyalWelshCollegeofMusicandDramain
Cardiff.Inthelastfewyears,hermusichasdevelopedradicallywiththehelpofa
specialgrantfromtheArtsCouncilofWalesallowinghertoreceiveguidancefrom
thecomposerSirHarrisonBirtwistle.
● Asabusyprofessionalcomposerwithafamily,Lynne’sworkinghabitsareregular
andorganised.ShecomposesatherhomeinCowbridgeinSouthWales.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
LYNNEPLOWMANANDMUSICINWALES
Welshmusicbegantogainaninternationalreputationinthe1950swithcomposers
suchasDavidWynne(1900–83),GraceWilliams(1906–77),DanielJones(1912–93),
AlunHoddinott(1929–2008)andWilliamMathias(1934–92).Thesecomposersbrought
influencesfromLondonandthecontinenttoacountrythathadonlyhadalimitedhistoryof
professionalclassicalcompositionuptothatpoint.Theyemergedatatimewhenclassical
musicinWaleswasundergoinganexplosionofgrowthwiththeformationoftheWelsh
NationalOpera,itsmanyfestivals,thedevelopmentofWelshtelevisionandtheexpansion
ofthemusicdepartmentsattheuniversitycollegesofBangorandCardiffandtheWelsh
CollegeofMusicandDrama.
LynnePlowmanwasborninDorking,Surrey,butlikemanyothercomposersshehasmade
herhomeinWalesandisnowoneofitsmostsignificantcomposers.Likemanycomposers
whoemergedinthe1990s,shedrawsherideasandinfluencesfromawidevarietyof
music.HermostimmediatecontemporariesincludePwyllapSiôn(1968),GutoPuw(1971),
PaulMealor(1975)andHuwWatkins(1976).
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
NIGHT DANCESBACKGROUNDNOTES
● Night Dances wascommissionedbytheStratfordEnglishMusicFestivalwithfunds
providedthroughtheRegionalArtsLotteryProgrammebyWestMidlandsArts.It
wasfirstperformedbyGarethHansonandCharlesMatthewson12October2002
atStratford-upon-Avon.
● Theworkisinthreemovements.Thewildnessoftheflutewasitsstartingpointand
theoverallshapesuggestsawild,intoxicatingnight-timedance,followedby
agradualuncoilingofenergy,asthenightisgraduallyoverwhelmedbysleep.The
composerhaswritten,“Thefirst[dance]iswild,rhythmicandprimitive,thesecondis
slower,bluesyandbittersweet,andthelastdanceisverysimpleandstill.”
● Thecomposeroftenplayedtheflutepartofthisworkherselfduringthepiece’searly
performances.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
CONCEPT
● LynnePlowman’sNight Dancesreferenceanddrawonanumberofdifferentstyles
andtechniquesfromothermusicandcomposers,whilststillretainingitsownvery
strongcharacterandidentity.Thisisverytypicalofcomposersworkinginthe
twenty-firstcenturywhonowhaveaccesstoaverywiderangeofdifferentmusical
styles.Someofthemusicandtechniquesusedarediscussedinmoredetailbelow.
● TherhythmicostinatiusedinthefirstmovementofNight Danceshavestrong
overtonesofbothLatin-AmericanandEasternEuropeandance,withoutever
drawingonspecificmodels.Thecomposerwrites,“Iwantedarhythmicand
dance-likeostinatofiguretogivetheopeningofthepiecesomerhythmicenergy
Subconsciously,IthinkI’mprobablyinfluencedquitealotbythemusicIstudied
andperformedwhenIwasyounger–bothBartók’s‘SixDancesinBulgarian
Rhythm’forpianoandAstorPiazzolla’stangorepertoireforflutespringtomind.In
thisrespectboththeSouthAmericanandEasternEuropeanfolkinfluencesare
probablyinthemusicsomewhere.”
● Theopeningofthefirstmovementalsodrawsontechniquesfoundinthemusic
oftheHungariancomposerGyörgyLigeti(1923–2006),particularlythefirstpiecein
his Musica Ricercata forpiano(1951–53)whereasimplerhythmicpatternisbuiltup
on one note.
● Muchofthemelodicmaterialintheflutepartofthefirstmovementisbasedon
serialtechniques,particularlybars18–50and112–139.Therowsusedforthese
sectionsalsoplayanimportantpartinthefinalmovement.Inaddition,flute
figurationsarederivedfromtheflutewritingoftheIndiancomposerandperformer
RaviShankar(1920–2012),particularlyL’Aube Enchantée (1990)forfluteandguitar
(seebars52–54and81–82).
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
● Thesecondmovementdrawsonanumberofdifferentmusicalideas,including
blues,IndianmusicandBach.Muchofthemelodicwritinginthefirstsections
(bars1–25/34–45)usesabluesscale.Theuseofslowharmonicchangewithinan
arpeggiatedpianopartwasalsoderivedfromthefirstpreludeofBach’s48Preludes
andFugues.
● Althoughonthesurface,muchofNight Dancesusestraditionalmaterial,itgently
subvertsmanyofourusualmusicalexpectations:
• Itsoverallshapereversesourusualexpectationofwhatathree-movement
piece mightdo,bylettingthework’senergygraduallydissipate,concluding
with a very short and slow last movement.
• Thefluteandpianooftenchangeroles,asatthecloseofthesecond
movementwhenthefluterecedesintothebackgroundandceasestoplayat
allforthelast34bars.
• Despitethedifferentmoodsofthethreemovements,materialisoftencarried
acrossfromonetoanother.Inthefirstmovementthesmall‘playful’fluteidea
firstheardinbar51isalsoheardinbars51,60–62,84–86,98and102.This
ideaisoftencoupledwiththeoneatbar80.Itisthentransformedintoa
newandrather‘cheeky’ideaattheendofthemovement(bars143–150).It
thenappearsalmostimmediatelyagainatthestartofthesecondmovement
(bar3)inthefluteasthebeginningoftheseductivenewtheme.
• MuchofthepieceisbasedaroundthepitchC,yetattheclosethemusic
movestoapitch(orkey)thathasplayedverylittlepartintheworkasawhole
–Bflat.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
QUESTIONS:
* WhattypesoftraditionaldancemusiccanbefoundinNight Dances? * Howstrictlydoesthecomposerusetheseandfromwhatsourcesarethey derived?
* Whichofthetwoinstrumentsusesserialtechniquesandinwhichmovements doesthisappear?
* AttemptadefinitionofSerialism.HowstrictlyisthetechniqueappliedinNight Dances?
* Whatcomposershaveinfluencedthework?
* WhatisunusualabouttheoverallformandshapeofNight Dances?Howmightit differfromastandardthree-movementpiece?
* Whichpitchesdominatetheoveralltonalityofthework?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
MOVEMENT 1:
FAST,DARK,PLAYFUL.CROCHET=160.VARYINGMETRES
Thedifferentsectionsofthefirstmovementmaybeshownasfollows:
1 – 50 DANCE1A
51 – 62 INTERLUDE1A
63 – 86 DANCE1B
87 – 142 DANCE1C
143 – 150 INTERLUDE1B
151 – 154 CODA
Themovementismainlyconcentratedonthreestatementsofadance,withtwoshort
contrastinginterludesandabriefcoda.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
DETAILED RÉSUMÉ OF STRUCTURE
Dance 1a ( Bars 1 - 50 )
This section introduces the dance material.
1 – 16 Introduction:pianoalone.
1 – 8 Introductionforpianolefthandalone(bars1–7).Analternating2-barphraseisrepeated4times,madeupof4/4+3/8withbeatssubdividedin3+3+2+3quavers.PitchesareconfinedtoCandEflatalone(Key:Cminor).Aquaverpatternisintroducedintherighthandinthefinalbar,anticipatingthenext8-barsequence.
9 – 16 Arepeatofbars1–8withtheadditionofaquaverpatternintherighthand(intheformofarepeatedC),producingacontinuousseriesofquaversbetweentherightandlefthands.
17 – 28 Introductionofflute,heardagainstalternating4/4+3/8inpianoasbefore(repeated5times).Incontrasttotherhythmicpianopart,theflutepartisirregularandrhythmicallyfree;italsoisunpredictableandchromaticinitsuseofpitchesbycomparisontothepiano.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
29 – 50 Adevelopmentofpreviousideapresentedina3-partform.Thealternating4/4+3/8ismaintainedthroughoutwithC–EflatintheLH(plusF#alsointroducedatbars33,39.43and49).TheRHharmonymainlyalternatesanEflatseventh(asbefore)andchordofC–F#–G.(seeExample6).
17 – 28 ThebasslinecontinuestooutlineC–EflatwiththeadditionofF#(bar23)againstanEflatseventhchordintheRH.TheflutelinedescendstoGviaanF#,outliningthefirst5notesofthefirstoftwonoterows(RowNo.1).NB.theGisnotincludedintherow.SeeExample1forthefullrow.
&Ex. 1
Row 1
4 5 6 7 8 9 10
bars
18 - 32
Flute
Ï Ï Ï# Ï# Ï Ïn Ï Ïb Ï Ï Ï#
&Ex. 6
RH piano
harmony
b. 18-44
ÏÏÏbb ÏÏÏ#
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
29 – 50 29–32:A4-barmelodyintheflutenowaddsthefinal6notestoa10-noterow(RowNo.1–seeExample1again).
29 – 50 33–40:A6-barmelodyhighinthefluteoutlinestheinversionofnotes4–10ofRow1transposedtoE(fromF#–I–10)(seeExample3).
&Ex. 1
Row 1
4 5 6 7 8 9 10
bars
18 - 32
Flute
Ï Ï Ï# Ï# Ï Ïn Ï Ïb Ï Ï Ï#
&Ex. 3
Inversion on E
bars
34 - 40
(Flute)Ï Ï Ï# Ï Ïb Ïb Ïn
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
29 – 50 41–50:An8-barmelodyintheflutenowoutlinesanewsecondaryrowof7notes(RowNo.2–seeExample2).
&Ex. 2
Row 2
bars
43 - 50
(Flute)
Ïb Ï Ï# Ïn Ïn Ïb
QUESTIONS:
* Whatisunusualabouttheregisterinwhichthepianoisusedinbars1–16?
* Thepitchesinthispassagearemainlyconfinedtoonepitch(C):whichcomposer andpieceinfluencedthis?
* Inwhatwaydoestheunderlyingpulsechangethroughoutthiswholesection?
* Whatisthedifferencebothrhythmicallyandmelodicallyinthefluteparttothatin thepiano?
* Howmanynoterowsareusedinthissection?
* Betweenwhichbarsisthecompletefirstnoterowheardintheflute?Wheredoes thesecondrowappear?
* Aretherowsalwaysusedintheirentiretyoraresegmentsofthemused?Please giveanexampletosupportyouranswer.
* Inwhichbarisharmonyusedforthefirsttime?
* Doestheunderlyingbasspatternchangeinthisopeningsection?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
Interlude 1a ( Bars 51 – 62 )
Thisbriefsectionisaninterludebeforethereturnofthemain‘dance’idea.ItconsistsoftwonewideaspresentedinanABAform.NotetheimportanceofthenotesGflatandEflattothesection(seethesectiononTonalityformoredetails).
51 – 55 A5-barflutemelodyisasymmetricallyphrasedthroughaseriesofchangingtimesignaturesoveraseriesofharmonic
progressionsrisingandfallingthroughamajor3rd(Gflat–Bflat)inthepianoLH.(SeethesectionsonRhythmandonHarmonyformoredetail.)
The2-beatmelodicfigurerepeatedonceinthefluteinbar51(Example7)
&Ex. 7
Flute
(bar 51)
3 3
Ï Ïb Ï ÏJ Ï Ï Ïb Ï Ï ÏJ Ï Ï ÏbR
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
51 – 55 latertakesonaparticularimportance(seebars143–50andtheopeningofthesecondmovement).Itisnotderivedfromthetworows,butthepassagefrombars52–55islooselyderivedfromthem,startingwiththepenultimatetopGflatattheendofbar52(seeExample4).
&Ex. 4
b. 52
Row 1. 4 - 10 Row 1. 4 - 10
omi�ng 9
Row 2
&b. 56 - 59
Row 1. 8 - 10
Ïb Ï Ï Ïb Ï ÏnÏb Ïb Ïn Ïb Ï Ï Ïb Ï Ïb Ï Ï Ïb Ï
ÏÏb
Ï Ï Ï Ï#
56 – 59 A1-barpatterninquaversisrepeatedfourtimes.InthepianothepatternrisesupinEflatminor(Eflat–Bflat)intheLH.Thefluteoutlinesapatternderivedfromnotes8–10ofthefirstrow(C–G–C–F#).
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
60 – 62 Areturntothematerialofbar51overthesameharmonyinthepianoasbefore.Thefluterepeatsa2-beatfigurethreetimes,risinganoctaveeachtime.
QUESTIONS:
* Areanyofthenoterowsusedinthispassage?Ifso,wherecantheybefound?
* Whichshortmelodicfigurefoundinthissectionlatertakesonamoresignificant role?
* Howmanysubsectionsmakeupthisshortsectionandwhatarethey?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
Dance 1b ( Bars 63 – 86 )
ThisseconddancesectiondevelopsaspectsofthematerialfromthefirstcombinedwithelementsfromSection2.
63 - 72 Thisisavariedrepeatofbars1–16forpianoalone.A10-barsectionmaintainsthealternating4/4+3/8metreoftheopeningsection,(inCminorwithoccasionalF#s).DuringthepassageallthequaverrestsintheRHarefilled,leadingattheclosetoacontinuousquaverpattern.
Thepitchesusedexpandfromjust2attheoutsetto7attheclose(C–D–E–flat–Enatural–F#–G–Bflat).Theseoutlineaminorbluesscalethatwillassumemoreimportanceastheworkprogresses,especiallyinthesecondmovement(seeExample5).TheoveralltonalityremainsrootedinC.
&Ex. 5
Minor
Blues Scale
on F#
Ï# Ï Ï Ï Ï# Ïn
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
73 - 79 Anextensionofthepreviouspassageforpianoalone,witharhythmicdevelopmentofthepatternnowincontinuousquavers.TheLHnowexpandstoa5-notepatternmovingfromC-F#againsta3-notepattern(G–Bflat–C)intheRH.
80 - 88 Thepatternestablishedinthepianoat76–77and78–79isrepeated3timesfollowedbya3-barreductionofitatbars84–86(in3/4).Adescendingflutelineisintroducedatbar80,derivedfromSection2(seebars51–55).Asbeforethisincludespartsofrow1withaspectsoftheminorbluesscale.
QUESTIONS:
* Howdoesthepassageforpianoaloneheardatbars63–79differfromitsfirst appearanceatbars1–16?Whatprocessdoesitgothrough?
* Howdoestheunderlyingpulseinbars76,78,80and82differfromprevious4/4 bars in this section?
* Doestheflutepartfrombar80–86alsocomefromDance1aorInterlude1a? Wheredoesitoriginallyappearandisitvariedatallwhenitappearshere?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
Dance 1c ( Bars 87 – 142 )
ThisreturnstotheinitialideabutwithaconsiderablyextendedrecapitulationofDance1a(atbar104)whereseveralelementsare‘fused’togetherforthefirsttime.
87 - 103 Arepeatofbars18–25(bars87–93)withthepianopartreduced.Atbars94–103theflutepartisanextensionanddevelopmentofthefigurefirstheardinthefluteatbar51,nowextendedasatransitiontothenextsection.Thepianopartismadeupofanextensionofthematerialfromtheprevioussection(87–93).KeyCminor.
104 - 142 ThissectionfusestogetherallthemelodicandharmonicaspectsofDance1apreviouslyheardinbars1–50intoacontinuousmelodicline.TheunderlyingtonalitynowchangestoAminorforthefirsttime.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
104 - 142 ● 104–111:Pianoalone.4/4+3/8repeatedthreetimes. Thebasslineisnowexpandedfromsinglenotestopairs of5thsrisingupthroughthetritone(A–C–Eflat)against aseventhchordonCin6/5positionintheRH.
● 112–142:(piano)A–C–Eflatbasscontinues.The harmonyispredominantconfinedtoCmajor7andE flatmajor7(alsoin6/5position).Therhythmically alternating4/4+3/8ismaintainedthroughoutwithabrief changeatthetransitionarybarsat140–142.
● 112–142:(flute).Theflutelineisnowbroughttogether asafullyformed28-barstatementforthefirsttime.The pitchremainsasinDance1adespitetheunderlying changeoftonalityinthepiano.Itfallsinto4segments:
▪ bars112–115repeat29–32withanidenticalflutepart;
▪ bars116–122areanelaborationofbars34–40with melismaticfigurationaddedtotheoriginalflutepart. (120–121isavirtualrepeatof37–38.)Someofthe melismaticfiguration(seebar116)isdrawnfromrow1–
notetheadjacentsemitonesandthefalling5th and tritone;
▪ bars122–134areadevelopmentandextensionofbars 43–50withmelismaticmaterial(126–132areavirtual repeatof43–50);
▪ bars136–139representnewcodetta material.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
QUESTIONS:
* Howdoesthepassageatbars87–93differfromitsinitialappearanceatbars 18–25?
* Inwhichbarsbetweenbars95to103canthesmallflutefigurefrombar51be found?
* Atwhichbaristhereadramaticchangeinthetonalityfromwhathasgonebefore?
* Althoughthematerialinthebassofthepianoissimilartoitsprevious appearancesfrombar104,itisnowharmonised–whatintervalhasbeenadded?
* Theflutepartfrombars112–39recapitulatesanearlierappearanceatbars17–50. Explaintwowaysinwhichitisnowdifferent.
* Thepianopartfrombar104–139isnowinadifferenttonalitytoitsearlier appearances(AratherthanC).Istheflutepartalsotransposed?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
Interlude 1b ( Bars 143 – 150 )
87 - 103 Atransformationoftheflutepartfrombar51intoasmallmarch-liketheme.Bars143–44presentstheoriginalflutethemeinaugmentationinthepianoRH,harmonisedwithnotestakenfromthesecondchordofbar51.Bars145–46isarepeatofbar143.Bars147–150arearepeatoftheprevious4barswiththeadditionoftheflutedoublingtheRHtwooctaveshigher.Key:impliedEflatmajor.
QUESTIONS:
* Wheredoesthemainmelodicmaterialforthispassageoriginallyfirstappear?
* Whatisdifferentabouttheidea’srhythminthepianoatbar143andthereafter fromitsoriginalappearance?
* Doestheideanowhaveadifferentcharactertobefore?Howmightthisbe described?
* Whatistherelationshipoftheflutetothepiano’sRHfrombars147–150?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
CODA ( Bars 151 – 154 )
151 – 154 AbrieffragmentofthepianopartofSection1,nowinahigherregister(151);afragmentofsection2intheflute(seebar80)heardovertheaccompanimentfigurefrombar151(153).AlowCatbar155establishesthetonic.
MOVEMENT 2:
STEADY,SEDUCTIVE,PLAYFUL.CROCHET=84.LARGELY4/4
The different sections of the second movement may be shown as follows:
1 – 25 Dance 1a
26 - 33 Dance 2a
34 - 45 Dance 1b
46 - 114 Dance 2b
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
Dance 1a ( Bars 1 – 25 )
Thefirstsectionhasalongmelodiclinefortheflute,essentiallyunbroken,butfallingintothreesections.ThetonalityshadowsthatoftheinitialmovementmovingbetweenAandC.Theflutemelodystartsfromthemotifformedinbar51ofthefirstmovement,lastheardatbars143–150.
1 - 8 Eightbarsof4/4overanunchangingrisingAeolianbassincrochets.Aflutemelodyfrombars3–8tracingalineinAwithmajor/minorambiguityaroundthethird.Withtheexceptionoftheopeningfigureonthefirstbeatofbar3intheflute,theremainderofthelineusesaminorformofthebluesscaleonF#,butalsowithothertranspositions.
9 - 16 Acontinuationofthemelody,stillinthesametonalityandusingthebluesscale.TherisingbassfigurechangestoCasitsroot,fallingbacktoAatbar14.Themetrenowchangesbetween4/4and3/8inthemannerofthefirstmovement,butnotwiththesameregularity.
17 - 25 Aconcludingsectiontothemelody,againstanunstableharmonicbackground.TherisingbassfiguremovesthroughA–Aflat–D–Eflat.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
QUESTIONS:
* Wheredoesthemainmelodicmaterialforthispassageoriginallyfirstappear? * Whatisdifferentabouttheidea’srhythminthepianoatbar143andthereafter fromitsoriginalappearance?
* Doestheideanowhaveadifferentcharactertobefore?Howmightthisbe described?
* Whatistherelationshipoftheflutetothepiano’sRHfrombars147–150?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
Dance 2a ( Bars 26 – 33 )
Atitsfirstappearance,thissection(forpianoalone)givestheimpressionofabridgepassageorinterlude,butonitsreappearanceatbar46itcomestodominatethemovement.
26 - 33 Thispassageisforpianoaloneandconsistsofaseriesof
acceleratingarpeggiatedfigurationsaroundanopen5thonF#throughwhichaseriesofdescendingnotesaretracedbar-by-bar(see“Harmony”).
QUESTIONS:
* Whatisthemaintonalcentreofthispassage?
* Whatparticularpianofigurationdominatesthissection?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
Dance 1b ( Bars 34 – 45 )
33 - 45 Areturntotheascendingbassfigureofthefirstsection,nowrootedonapedalnoteofF#throughoutthesection.
A6-barflutemelody(bars34–39)isderivedfromthephrasestartingatbar17,heardincounterpointwiththefigurefirstheardinthefluteatbar3,nowinthepianoRH.
Atbars40–42,anewideaisheardontheflutewhichwilldominatethefollowingsection:amelodicideaoutlininga
minor3rd(G#–B),featuringgracenotesandculminatinginatrillatbars43–44.
Bars40–45formatransitiontothenextsection,maintainingtheF#ascendingfigureinthepianoLHandintroducingadecoratedG#intheflute.
QUESTIONS:
* WhatistherelationshipofthetonalityofthispassagetothatofDance1a?
* Doesthesenseoftonalitychange?
* WhattermwouldyouusetodescribethecontinuousF#bassnotethroughoutthis section?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
Dance 2b ( Bars 46 – 114 )
46 – 49 Thearpeggiatedpianofigurationfrombars26–33returnsonceagainoverthetonalityofF#.This4-barpassageacceleratestothenewtempoofcrochet=126,establishedatbar49.
ArepriseofthearpeggiatedfigurationfromthefirstappearanceofDance2a.Followingapassageforbothfluteandpiano,thefluteissilentforthelast34barsofthemovement,duringwhichthesamepianofigurationpersists.
50 - 80 Alongcontinuousflutemelodyissustainedoverthepreviouspianofiguration.
Rhythmically,thepianofigurationislargelymadeupofgroupsoffoursemiquavers,occasionallychangingtogroupsofquintuplets.
TheslowunderlyingharmonicrhythmmovesthroughanumberofdifferentpedalpointsstartingwithF#,thenalternatingbetweenAandE(57–69),C#toF#(70–80).
Themelodiclinefortheflutefallsintothreesections:thefirsttwomirroringoneanother(bars53–61and62–69)andthethird(bars70–80)beingamoreelaborateversionofthefirsttwo.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
50 - 80 ● Thefirstsection(bars53–61)consistsofatwo-part melodicline:thefirstcoveringaminorthird(E–G)and
thesecondcoveringamajor3rd(G–B)basedonthe passagefrombars40–42.4+4;tonalcentresF#andE major.
● Thesecondsection(bars62–69)consistsofasimilar two-partmelodiclineinatessituraanoctaveorsohigher: thefirstcoveringaminorthird(A–C)andthesecond openingouttocovertwominorthirds(A–CandC–Eflat). 4+4;tonalcentresAmajorandEmajor(atbar68).
● Thethirdsection(bars70–80)consistsofanelaboration oftheprevioustwointhesameoctave:thefirst(bars70 75)coveringaminorthird(F#–A)andbasedonthe passagefirstheardatbars40–42andthesecond coveringtheminorthirdC#–E.5+5;tonalcentresC# minorandF#attheclose.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
81 - 114 Apassageforthepianoaloneconsistingentirelyofthealreadyestablishedfiguration. Thefigurationpassesthroughthreedifferentregistersofthekeyboard:bassandLH(81–83),treblestaverange(84–97)andcentreoftreblerangeandledgerlines(98to114). Dynamicmarkingsformanimportantpartofthetexture,reachingtheirgreatestintensityatbars88and96andthereafterformingadiminuendo to the close. TheharmonymovesfromF#attheoutset(82)throughC#(fromaround90)eventuallysettlinginGatbar98andthengraduallymovingtoCattheclose.
QUESTIONS:
* Whatisthemostunusualfeatureofthissection?
* Whatmusicfromthepastinspiredthecomposerinthissection?
* Inwhatkeydoesthesectionatbar46commenceandinwhatkeydoesthe musicconclude?Whatistheintervalbetweenthestartandconclusion?
* Howdoestheuseofthepianoregisterchangethroughoutthepassage?
* Wherearethemomentsofthegreatestdynamicintensityinthissection?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
MOVEMENT 3:
STILL.DOTTEDCROCHET=56.6/8TIME
Thefinalmovementisbrief(32bars)andconsistsofonelongstatementoftheflutemelody
alreadyfeaturedintheprevioustwomovements
1 - 12 Astatementofrow1fortheflute(bars2–8)isprecededbythepitchesEandD#,togetherwitharepeatofbars1–4ofthefluteinthepiano(bars4–8)followedbyabar’srest.AlowpedalofCismaintainedinthepianotobar8andthereafter,G.Thestatementofrow1includestheG,foundatitsfirstappearance(bar24–25ofthefirstmovement).
13 - 20 AstatementinthefluteofamotifbuiltaroundC#–F(bars13–16)followedbyaninversionofnotes4–10ofrow1(bars17–20)(4+4)overapedalpointofCtobar16.
21 - 32 ThreedecoratedAsintheflute(aspreviouslyencounteredin
bars40–42ofthe2ndmovement)followedbyastatementofrow2(withanaddedpenultimateC)frombars25–28.ThemusiccomestorestinBflatmajor(29toend).
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
TONALITY
Atthemostfundamentallevel,theuseoftonalcentresinNight DancesiscentredaroundC
andF#.Themusicshiftsarounddifferenttonalcentres,butthereisnotraditionalsenseof
modulationbetweenthem.
The key centres across all three movements might be shown thus:
MOVEMENT 1
Dance 1a Interlude 1a Dance 1b Dance 1c Interlude 1b & Coda
C minor
Uncertain:
melodyaround
G,andpiano
aroundGflat/
Eflat
InitiallyCminor
butalsoEflat
/F#
Aminorbutalso
C/Eflat
Eflatbut
closinginC
MOVEMENT 2
Dance 1a Dance 2a / Dance 1b Dance 2b
AminorbutalsoC/Eflat F#F#(viaE/A)toC#toG
closinginC
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
MOVEMENT 3
CpedalmovingtoBflat forthelast4bars
● Ascanbeseenabove,themaincentrefortheworkisC.Thefirstmovement’sbass
oftenmovesupfromCtoF#(thetritone).However,betweenthis,twootherpitches
playanimportantpart:EflatandA,whichcreateanotherinterlockingtritone.
● Thesefourpitchesmakeupmostofthetonalcentresgivenabove.Alltheremaining
tonalcentres(C#–GandE–Bflat)aremainlyconfinedtothesecondmovement
andtheendofthethird.Theymakeupanotherpairofinterlockingtritones.They
formadominantaxistotheinitialpairoftritones,onthebasislaiddowninErnő
Lendvai’sbookonBartók(see‘Resources’).
● Tonalcentresatanyonetimeareusuallydependentonthepredominanceof
whatevernoteformsthebass,especiallygiventhework’stendencytomake
considerableuseofpedalpoints.
● Therelationshipofminorthirdsisalsoexpressedinthebasspartthroughoutthe
firstmovement,wherealthoughCremainsthemainpitch,italternateswithbothE
flatandF#(seeparticularlybars1–50).WhenDance1aentirelyreturnsatbar104,
thetonalcentrenowbecomesA,movingupwards(asbefore)toCandEflat.This
avoidsanykindoftraditionalmovementassociatedwiththedominantandsub
dominant.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
QUESTIONS:
* Whattwointervalsdominatetherelationshipbetweenthevarioustonalcentresin Night Dances?
* WhatisunusualaboutthekeyinwhichthelastmovementofNight Dances ends?
* ThetritoneCF#playsanimportantpartinNight Dances. What other tritone can alsobefrequentlyfound?
* Describeonemethodbywhichtonalcentresarefrequentlyestablished.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
TEXTUREANDSONORITY
Thecombinationoffluteandpianoisatraditionalpairing,andaquickglanceatthescore
suggeststhatmostofthetexturesandfigurationremainswithinthatorbit.However,there
aremanysubtleadjustmentstothetexturethatopenupneworunusualsonorities.
● Muchofthebassinthefirstmovementliesinthelowestregisterofthekeyboard,
whichattheoutset(frombar9)iscontrastedwithrepeatedCsintheinstrument’s
highestregister.
● Later in the same movement, this is contrasted with very closely voiced harmonised
texturesconfinedtojustoneoctave(seebars50–62).
● Nearlyallthepianowritinginthefirstmovement(apartfromthepassagefrombars
8–15)liesrelativelylowintheinstrument’sregister,veryrarelyrisingmuchabove
theGabovemiddleC.Thiscreatesasympatheticbalancewiththeflute,the
tessituraofwhoselineinthismovementisforthemostpartpitchedintheoctaves
beyond C, an octave above middle C.
● Itisinterestingtonotethatthedarkcolouringofthepianopartpersistsintomuch
ofthesecondmovement,onlyrisingintotheupperoctavesinthelatterpartofthe
finalsection(bars84–114),oncetheflutehasceasedplaying.Thesame
observationsapplytothefinalmovement.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
● Thetessituraoftheflutepartverysubtlyshiftsoverthespanofthewholework
fromahightolowtessitura.Ithasalreadybeennotedhowitispitchedrelatively
highinthefirstmovement;muchoftheactivityinthesecondmovementhasshifted
down(ingeneral)byaboutanoctave,matchingthemoreseductivecharacterof
themusic.Inthefinalmovement,muchoftheactivityisconfinedtothefirst1½
octavesoftheinstrument,reachingdownfor(nearly)thefirsttime,theinstrument’s
lowestnotes.Thisisafunctionofthework’sprogramme,where“thenightis~
graduallyoverwhelmedbysleep”.
● Texturallytheworkmovesthroughthreemaindifferentstates:sharplydefined
rhythmictexturesintheopeningmovement;denselysensualtexturesinthesecond;
andverysparetextures(nomorethanonelineusually)inthethird.
QUESTIONS:
* HowdoesthetessituraoftheflutepartchangeoverthethreemovementsofNight Dances?
* Whatrelationshipdoesthishavetotheprogrammaticideasbehindthe work?
* HowdothepianoandflutetexturesinNight Danceschangefrommovementto movement? * WhatisparticularlynotableabouttherangeofthepianopartinNight Dances, oncetheinitialopening16barshavebeenheard?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
HARMONICLANGUAGE
This section describes the use of harmony in Night Dances.
● Theharmoniclanguagechangesfrommovementtomovementandwithin
movementsaswell.Althoughitcanbroadlybedescribedastonal,itisnot
functionalinanyway(forinstance,theharmonicprogressionsdonothaveany
traditionalrelationshipswithoneanotherandthereisnosenseofmodulation).The
harmonyfoundintheworkmightconsistofeasilyidentifiabletraditionalchords,
bitonal,‘whitenote’harmonyoreven‘atonal’chords.Inthisrespecttheworkisvery
typicalofthewaypresent-daycomposersdrawonmanydifferenttypesofharmony
injustonework.Differentstylesofharmonywithintheworkarediscussedbelow.
● Inthefirstmovement,muchoftheharmonyisverystaticinthesensethatthebass
lineremainslargelythesameandthereareoftennomorethantwoorthree
alternatingchordsaboveit.Thiscanbeseenmostclearlyinthefirstmovementfrom
bars18–50:thelefthandrepeatsCthroughout,alternatingitwithEflatand
sometimesF#.Overthisareheardtwochordsintherighthand:aseventhonE
flatand(frombar34)alsoanopen5thonC–Gwithanunresolvedappoggiaturaon
theaugmented4th(F#).Thismightbedescribedasbitonalharmonybecausethe
chordsseemtobeinadifferenttonalitytothebass.Asimilartypeofharmonic
writingcanalsobefoundbetweenbars104–141,transposednowdownaminor3rd
(toA).
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
● Adifferentkindofharmonycanbefoundatbars51–55and56–62.Thisisalso
staticinsofaras,onceestablished,itdoesnotmove.Itconsistsoftwoouterparts
movingupanddowninmajor6ths(i.e.inthebassGflat–Aflat–Bflatetc)against
anunchangingEflat/Dflatinthemiddlepart.Thisalsoreturnsatbars60–62.
● Thesecondmovementcommenceswithafirstsectionbuiltaround‘whitenote’
harmony(see“WhiteNoteHarmony”foradefinition).Theharmonicwritingforthe
fluteandpianointhispassageislargelycontrapuntal,infourparts.Thebass
sustainsanupward-risingarpeggiatedfigurecentredontheAeolianscaleonA
(withaflattened7th),movingbrieflytoC(bars7–13).Theupperpartssustainfreely
movinglinesinthesametonalitythatmakeupcommonchords,seventhsor
unresolvedappoggiaturaharmonicpatterns.Thelinesoccasionallymoveoutofthe
whitenotesonA,introducingF#,C#andG#,butthefundamentaltonalityremains
rootedinA/C(i.e.minorandrelativemajor).
● Asubstantialpassagefrombar46totheendofthesecondmovement(anticipated
atbars26–33)isalsorootedaroundtraditionalharmony,butwithoutitsfunctionality.
See,forinstancebars26–33whichisbasedaroundachordonF#–C#.Thesenotes
remainconstantthroughout,butafurthernote(orpairofnotes)changefrombar
tobar.ThecomposercomparesittotheexperienceofplayingthefirstofBach’s
48PreludesandFugues(thepreludeinC)initseffect.Thisverygradualshifting
allowsthemusictomoveimperceptiblythroughseveraltonalcentresinthefinal~
sectionofthemovement,allthewayfromF#toCmajor.
● PedalpointsinoneformoranotherplayalargepartinNight Dances.They
oftenformthebassnoteofarepeatedarpeggiatedfigure(asinmuchofthefirsttwo
movements)orinthefinalmovementaresimplystaticnotesinthebass(muchof
thefirsthalfofthethirdmovementisoverapedalofCorG).
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
QUESTIONS:
* DescribesomeofthedifferentharmonicstylesfoundinNight Dances.
* Istraditionalmodulationafeatureoftheworkasawhole?
* Howmighttheuseofharmonybedescribedinthefirstmovement?Dothe harmonyandtonalcentreschangefrequently?
* Whatis“whitenote”harmony?
TEMPO,METREANDRHYTHM
ThetempiforthethreemovementsofNight Dancesgraduallyslowdown(asthework’s
programmaticideasuggests)fromcrochet=120(movement1),crochet=84(movement2)
tocrochet=56(movement3).
TEMPO
The use of metre has different purposes in each of the three movements.
METRE
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
● Ashasalreadybeennoted,thefirstshiftsconstantlybetween4/4and3/8with
somelesssignificantshiftstoothermetressuchas3/4or2/4(see“Concept”forthe
relationshipofmetreinthismovementtodance).
● Thedivisionofthe4/4barinthefirstmovementisnearlyalways3+3+2quavers.
Thishasbeenderivedfromvariousformsofjazzanddancemusicthatoftendivide
thebarunequally.Theadditionofanextrabarof3/8givesthemusicaquasi-11/8
metre.
● Adifferentwayofdividingthebeatcanbeseenatbars51–55where4/4and2/4
barsareusedtoaccommodateadifferentseriesofsyncopationsinthepianopart.
Thesecouldbeseenasalternating5/8(2+2+1quavers)and7/8(2+2+2+1)bars
(endingwitha1/8).
● Anadditiverhythmicdeviceisusedfrombars63–85.Startingwiththeprevious
4/4+3/8metre,notesaregraduallyaddedintothepatternuntilitbecomesaseries
ofcontinuousquavers.Themetreisthenchangedto4/4(2+2+2+2)plus3/8.
● Despitetheverystrongsenseofmetreinthepianopart,theflutelineoftenmoves
irregularlyinlongnotes(occasionallydecoratedwithconnectingmelismatic
flourishes),oftenrhythmicallyindependentofthepiano.Thistraitisalsocarriedover
intothesecondmovement(see“Phrasing”below).
● Thesecondmovementisin4/4throughout,thoughitsregularityhereallowsfor
considerablefluidityofmovement(expand!)
● Thefinalmovementisin6/8,thoughtothelistenerthisisprobablynotapparent.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
ThephrasestructureinNight Dancesvariesthroughoutmovements.Moredetailednoteson
individualmovementsaregivenbelow.
BAR / PHRASE STRUCTURE
● Inthefirstmovement,thephrasestructureinthepianopartisveryregular(despite
theinherentirregularityofthe4/4+3/8division),oftenfallingintosimplerepetitions
ofthetwo-barpatternortheotherrhythmicpatternsdescribedabove.Theflute
phrasingoverthesebarsthoughisirregularandonlyoccasionallyaccordswiththe
pianopart.Forinstance,thephrase(startingatbar18)iseightbarslong,followed
bya3-barrest,followedbya4-barphrase,a1-barrest,a7-barphrase,a2-barrest
andthenan8-barphrase(bars18–50).Therhythmicstructurewithinthephrasesis
veryirregular.
● Thesecondmovementalsomixesregularphrasinginthepianowithirregular
phrasingintheflute.Onceagain,therhythmicstructureoftheflutelineisoften
independentofthepiano.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
QUESTIONS:
* Giveanexampleofthewayinwhichthe4/4barsinthefirstmovementare rhythmicallydivided?Fromwhatmusicalstylesisthisderived?
* WhatisadditiverhythmandwherecanitsusebefoundinNight Dances?
* Inwhatwayistheflutepartrhythmicallydifferenttothepianointhefirst movement?
* Doesthepianohaveapredominantlyregularorirregularphrasestructureinthe firstmovement?
* Ingeneral,doestheflutepartofthefirsttwomovementsdisplayaregularor irregularsenseofphrasing?
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
SERIALISM
SomeofthemelodiclinesinNight Dances havebeenwrittenusingserialtechnique–mainly
inthefirstandfinalmovements.Therearetworowsused:one10-noterow(seeExample1)
andone7-noterow(seeExample2).
Thesehaveverymarkedcharacteristics.
&Ex. 1
Row 1
4 5 6 7 8 9 10
bars
18 - 32
Flute
Ï Ï Ï# Ï# Ï Ïn Ï Ïb Ï Ï Ï#
&Ex. 2
Row 2
bars
43 - 50
(Flute)
Ïb Ï Ï# Ïn Ïn Ïb
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
● Thefirstrowismadeupoftwounequalhalvesoutliningtwotritones:thefirst(notes
1–4)descendfromCtoF#andthesecond(notes5–10)startonanFandendon
aC#.Thesecondsegmentencompassfouradjacentsemitonesanda5th(or4th)
and a tritone.
● Thesecondrowis7noteslongandconsistsoftworisingmajor3rds,asemitone,
tritoneandaclosingmajorthird.Itwillbeseenthatitsintervalliccontentisquite
differentfromthefirstrow.
● InstudyingSerialism,itisimportanttorememberthattheintervalbetweentwo
notescanoftenbeexpresseddifferently–forinstance,arisingminor2ndandfalling
major7th(andviceversa)arethesame,asarearisingmajor3rdandfallingminor
6th,andsoforth.
QUESTIONS:
* Whatisserialtechnique?
* Which movements in Night DancesuseSerialism?Isitmainlyfoundinthefluteor pianowriting? * Doallserialnoterowshave12notes?DescribetherowsusedinNight Dances.
* WhatintervalscharacterisetherowsusedinNight Dances.
Lynne Plowman Night Dances A Level Resources Set Work
Lynne Plowman | Night Dances
A LEVEL RESOURCES | SET WORK
WHITENOTEHARMONY
Thisissometimesalsocalled‘Pandiatonicism’.Itconsistsofallthenotesofanymajoror
minorscalebeingusedandcombinedfreelywithouttheusualconventionalresolutionsor
chordprogressions,butstillretainingastrongsenseoftonalityduetotheabsenceofany
chromatic notes.
DYNAMICS
Theoveralldynamicsin Night Dancesaresignificantforthewayinwhichtheyareusedto
createalong-termstructurethatmirrorstheoverallconceptofthework(“awild,intoxicating
night-timedance,followedbyagradualuncoilingofenergy,asthenightisgradually
overwhelmedbysleep”).Muchofthefirstmovementcreatesdramaticcontrastsbetween
softandloud;thesecondmovementismorecomplexwithaseriesofgradualcrescendos
culminatingintheloudestbarsofthewholework(bars80–83)andthereafteragradual
diminuendotothemovement’spppclose.Thissetsthesceneforthefinalmovement,the
firsthalfofwhichispfollowedbyafinalcrescendoanddiminuendo.
QUESTIONS:
* HowmighttheuseofdynamicsinNight Dancesbedescribedoverall?Howdoes theirusereflectthework’sprogrammaticaspect?
* Whatisaparticularfeatureoftheuseofdynamicsinthefirstmovement.