lynne plowman biographical note

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




● InadditiontooperaLynnePlowmanhasalsowrittenawidevarietyofmusicranging

fromsongstochambermusicanddramaticlarge-scalevocalandorchestralworks

Herfirstorchestralpiece,Blue,wontheBBCNationalOrchestraofWales’sYoung

Composers’Competitionin1995andherrecentorchestralpiece,Catching

Shadows,waspremieredbythesameorchestrainMarch2016.

● LynnealsoteachescompositionattheRoyalWelshCollegeofMusicandDramain

Cardiff.Inthelastfewyears,hermusichasdevelopedradicallywiththehelpofa

specialgrantfromtheArtsCouncilofWalesallowinghertoreceiveguidancefrom

thecomposerSirHarrisonBirtwistle.

● Asabusyprofessionalcomposerwithafamily,Lynne’sworkinghabitsareregular

andorganised.ShecomposesatherhomeinCowbridgeinSouthWales.




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).




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.




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).




● 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.




QUESTIONS:

* WhattypesoftraditionaldancemusiccanbefoundinNight Dances? * Howstrictlydoesthecomposerusetheseandfromwhatsourcesarethey derived?

* Whichofthetwoinstrumentsusesserialtechniquesandinwhichmovements doesthisappear?

* AttemptadefinitionofSerialism.HowstrictlyisthetechniqueappliedinNight Dances?

* Whatcomposershaveinfluencedthework?

* WhatisunusualabouttheoverallformandshapeofNight Dances?Howmightit differfromastandardthree-movementpiece?

* Whichpitchesdominatetheoveralltonalityofthework?




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.




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.




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#




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


&Ex. 3

Inversion on E

bars

34 - 40

(Flute)Ï Ï Ï# Ï Ïb Ïb Ïn




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?




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




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#).




60 – 62 Areturntothematerialofbar51overthesameharmonyinthepianoasbefore.Thefluterepeatsa2-beatfigurethreetimes,risinganoctaveeachtime.

QUESTIONS:

* Areanyofthenoterowsusedinthispassage?Ifso,wherecantheybefound?

* Whichshortmelodicfigurefoundinthissectionlatertakesonamoresignificant role?

* Howmanysubsectionsmakeupthisshortsectionandwhatarethey?




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




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?




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.




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.




QUESTIONS:

* Howdoesthepassageatbars87–93differfromitsinitialappearanceatbars 18–25?

* Inwhichbarsbetweenbars95to103canthesmallflutefigurefrombar51be found?

* Atwhichbaristhereadramaticchangeinthetonalityfromwhathasgonebefore?

* Althoughthematerialinthebassofthepianoissimilartoitsprevious appearancesfrombar104,itisnowharmonised–whatintervalhasbeenadded?

* Theflutepartfrombars112–39recapitulatesanearlierappearanceatbars17–50. Explaintwowaysinwhichitisnowdifferent.

* Thepianopartfrombar104–139isnowinadifferenttonalitytoitsearlier appearances(AratherthanC).Istheflutepartalsotransposed?




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?




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




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.




QUESTIONS:

* Wheredoesthemainmelodicmaterialforthispassageoriginallyfirstappear? * Whatisdifferentabouttheidea’srhythminthepianoatbar143andthereafter fromitsoriginalappearance?

* Doestheideanowhaveadifferentcharactertobefore?Howmightthisbe described?

* Whatistherelationshipoftheflutetothepiano’sRHfrombars147–150?




Dance 2a ( Bars 26 – 33 )

Atitsfirstappearance,thissection(forpianoalone)givestheimpressionofabridgepassageorinterlude,butonitsreappearanceatbar46itcomestodominatethemovement.

26 - 33 Thispassageisforpianoaloneandconsistsofaseriesof

acceleratingarpeggiatedfigurationsaroundanopen5thonF#throughwhichaseriesofdescendingnotesaretracedbar-by-bar(see“Harmony”).

QUESTIONS:

* Whatisthemaintonalcentreofthispassage?

* Whatparticularpianofigurationdominatesthissection?




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?




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.




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.




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?




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).




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




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.




QUESTIONS:

* Whattwointervalsdominatetherelationshipbetweenthevarioustonalcentresin Night Dances?

* WhatisunusualaboutthekeyinwhichthelastmovementofNight Dances ends?

* ThetritoneCF#playsanimportantpartinNight Dances. What other tritone can alsobefrequentlyfound?

* Describeonemethodbywhichtonalcentresarefrequentlyestablished.




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.




● 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?




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).




● 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).




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




● 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.




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.




QUESTIONS:

* Giveanexampleofthewayinwhichthe4/4barsinthefirstmovementare rhythmicallydivided?Fromwhatmusicalstylesisthisderived?

* WhatisadditiverhythmandwherecanitsusebefoundinNight Dances?

* Inwhatwayistheflutepartrhythmicallydifferenttothepianointhefirst movement?

* Doesthepianohaveapredominantlyregularorirregularphrasestructureinthe firstmovement?

* Ingeneral,doestheflutepartofthefirsttwomovementsdisplayaregularor irregularsenseofphrasing?




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


&Ex. 2

Row 2

bars

43 - 50

(Flute)

Ïb Ï Ï# Ïn Ïn Ïb




● 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.




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.




RESOURCES

CD: CatherineHandley/AndrewWilson-Dickson.HAL004

WEBSITE: www.lynneplowman.co.uk

ErnőLendvai:BélaBartók.AnAnalysisofhisMusic.Kahn&Averill,1971

lynne plowman biographical note

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