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into the second, and the third segues into the fourth. The first
movement, Andante Cantabile, is characterized by a lamenting flute
line and rich, haunting harmonies in the strings. The strings alternate
between bowing regularly and using pizzicato to create an array of
different colors and moods. The flute floats in its higher register
throughout most of this movement with the strings providing support.
The main theme returns several times throughout the first movement
in a variety of colors and dynamics. A trill in the flute helps to drive the
piece into the second movement, the Allegro Scherzando. The second
movement begins quietly and, while light in articulation, is quite dark
in mood. This movement is characterized by an energetic melody, and
dissonance throughout. Jolivet relies on the use of syncopation and
rhythmic tension to create uneasiness throughout the movement.
Often times, the weak beats will be accented, or the flute will play in
three while the strings will play in four, creating a disorienting effect.
As a performer, it is important to do score study and to learn
exactly what you want to say with a piece, and within that, in a
passage or between two phrases. Analysis is used to inform the
performer of the composers intent of the phrasing and musical
expression of the piece. By doing analysis before performance, you are
able to make better-informed musical decisions. Analysis allows a
performer to help make sense of the music for the listener. While
performers might do analysis on a different level than music theorists,
Beginning to
Theme 1
B Section
Rehearsal 2
Rehearsal 2 to
Theme 2
Development
Rehearsal 3
Rehearsal 3 to
Recap (transposed)
Rehearsal 4
Rehearsal 4 to two
Coda/Transition
before Rehearsal 6
Two before Rehearsal
6 to Rehearsal 7
II
Rehearsal 7-9
Introduction of
movements main
A Section
Rehearsal 9-10
theme
Theme 1
B Section
Rehearsal 10-12
Rehearsal 12-16
Theme 2
Theme 3
Rehearsal 16-17
Transition to
development
Development
Rehearsal 17-19
C Section
Rehearsal 19-21
Rehearsal 21-24+two
Transition
Recap (transposed)
bars
Rehearsal 24-25
Rehearsal 25-27
Coda
Rehearsal 27-29
Rehearsal 29 to End
New material
Transitional material
Transition to coda
The first time I did a set class analysis, I divided the first
movement into large phrases. I was curious to see if doing a set class
analysis of every phrase of the piece matched my musical intentions,
and if they did not, if they would change my thought on the musical
presentation of the piece. My goal was to find connections between
phrases throughout the first movement. Since I heard similarities
between the phrases, I thought that I would find similarities in my
analysis. After marking all of the phrases in the score, I did a set class
analysis of the flute part of the first movement. I believed that I would
find at least some similarities between the pitch class sets and my
phrasing.
Throughout the 18 phrases in the first movement of the
concerto, none of them matched exactly by set class. All of the phrases
include between six and nine intervals. Using Fortes classification of
set classes, the first two phrases can be classified as 8-26 and 8-8,
respectively. The prime form of the first phrase is, (01234578T), and
the prime form of the second is, (01234789). They work together to
create the first complete thought of the piece. The transposition of this
thought, which occurs at rehearsal 4, are classified as 9-17 and 8-Z15.
Their prime forms are (01234578T), and (01234689), respectively.
While this part of the music seems to just be transposition of the main
theme, their set classes are extremely different. The music is highly
chromatic, though not serial and not completely without a tonal center.
Even though the set classes are different, they do sound related. This
is because their subsets are all the same. While some intervals are
different, they all include a subset of (01234). This shows that the
larger phrases are built on similar intervals.
The forte name for each of the phrases in the first movement are
as follows: measures 1-4: 8-26, measures 4-7: 8-8, measures 8-10: 631, measures 10-13: 7-26, measures 14-16: unnamed, measures 1619: 9-10, measures 19-21: 8-20, measures 22-23: 7-11, measures 2425 (rehearsal 3): unnamed, measures 26-27: unnamed, measures 2830: 7-10, measures 30-32: unnamed, measures 33-36 (rehearsal 4): 97, measures 36-39: 8-Z15, measures 40-43: 7-35, measures 44-46: 6Z24, measures 46-48 (rehearsal 6): 6-Z13, measures 48-54: 8-18.
I then decided to analyze sections of the first and second
movement of the concerto, going basically measure-by-measure. This
allowed me to break down the piece even further, and to reveal any
similarities within the phrases themselves.
In the first movement, I chose to analyze the opening phrase
(measures 1-7), and then the recap at Rehearsal 4. The segments of
the music are shown below.
helped to verify the fact that the phrases on a small and large scale are
similar in some way.
In the case of Jolivets Flute Concerto, I would say that set class
is not a valid tool to use for analysis. Using set class did not change my
opinions on my own musical interpretation of the piece, nor did it
reveal any groundbreaking information about the piece itself.
I then tried to analyze the first movement in larger phrases,
rather than smaller ones to see if the set classes would match between
each other throughout the movement. I found that between the seven
larger phrases in the first movement, only two of them matched
completely. This is because they both use all of the notes of the
chromatic scale.
I also analyzed the second movement of the concerto in the
same way. First, I delineated all of the phrases in the movement. Then,
I analyzed them according to set class theory, also including the piano
part. It was soon clear that my findings would match the outcome of
my analysis of the first movement.
In the analysis of loner phrases, between the first and second
movement, there was one similarity in pitch class. This occurs between
measures four through seven in the first movement, and measures four
through seven in the second movement. The prime from of their pitch
class sets is both (0,1,2,3,4,7,8,9), and their Forte numbers are both 88. This is interesting because they are both the second half of longer
phrases. Since they occur in two different movements, they are made
up of different thematic material. They also do not sound similar at all.
The first melody is much less separated and is accompanied by a much
calmer piano accompaniment. This small similarity is still not enough
to prove that set class analysis is a valid way to analyze this piece.
Since so little of the piece ended up to be similar to each other
regarding set class, I would say that this would not be a valid tool to
use from a performance perspective. Breaking down the phrases of the
first movement might allow for more similarities between set classes,
since most of the phrases are built around major and minor seconds.
This might have worked out differently if I had never seen the piece
before and was beginning to analyze it for the first time. Since I have
already been practicing it, I had already formed ideas about how I
wanted it to sound musically. Since the set theory gave me so little
new or useable information, I felt that it added nothing to my
interpretation or information about the piece. There is probably a much
better tool to use to analyze the flute concerto.