Performance Problems in Akira Miyoshi`s Conversation

Transcription

Performance Problems in Akira Miyoshi's Conversation
23
Performance Problems in
Akira Miyoshi 's Conversation
A k i r a Miyoshi is currently President of the
T¢h~ University School of Music in Tokyo.
Mario Gaetano holds degrees and performance awards f r o m the State University of New
York, Potsdam, East Carolina University,
Greenville, North Carolina, and the Doctor of
Musical Arts degree f r o m Memphis State
University, Memphis, Tennessee. He is on the
faculty of Western Carolina University, Cullowhee, North Carolina.
Introduction
Conversation was written in 1962 at the request
of Takuo Tamura and was premiered by Tamura in
Japan in the same year. Marimba virtuoso Keiko
Abe first performed the work in the United States
and also recorded it on Vox Candide records?
Thomas Siwe (University of Illinois) and Michael
Rosen (Oberlin College) contacted Miyoshi in
1972 and obtained copies of the work for distribution to percussionists in the United States. Keiko
Abe subsequently became the editor of the work
for the 1978 edition, published by Ongaku No Tomo
Sha Corporation, Tokyo.
The five movements reflect in music the
conversations between a mother and her infant.
Concerning the programmatic intent of each
movement, Miyoshi says:
Movement 1 - In this tender and satisfying
atmosphere, the utterance of the infant is
reflected in the constant eighth-note pattern of
theme no. 1. The second theme is the soothing
voice of the mother.
Movement 2 - How magnificent it is!.., over and
over again.
Movement 3 - The irony of a lingering chagrin
up to eternal tomorrow.
Movement 4 - The mother answers the infant
vaguely (lento). This irritates the little one
The musical examples presented in this article Conversation by Akira Miyoshi (copyright 1978, Ongaku No Tomo Sha
Corporation, all rights reserved) are used by permission of
Ongaku No Tomo Sha Corporation, Tokyo, Japan.
(allegro).
Movement 5 - T h e mother and child speak very
gayly, then each has his own say and the
24
Percussive Notes Research Edition. Volume 25, Number 3
dialogue becomes incoherent and totally
illogical. They're at it again!2
The basic pitch content of Conversation is a
tetrachord derived from the letters in the composer's name: (Figure 1).
Akira
L a and Re
Miyoshi
Mi a n d S i
Fig. 4. M o v e m e n t V, m e a s u r e s 6-8
Fig. 1. Tetrachord
2) The two tetrachords of Figure 2 are divided
and combined to form six additional tetrachords of the same structure, each comprised
of a major seventh, perfect fourth, and a minor
second. Another tetrachord is formed by
transposing this structure to F (Figure 5).
This tetrachord is used directly or is transformed,
transposed, divided, combined, etc., in the
following five ways: 3
1) The tetrachord is transposed down a major
second and then transposed further down an
augmented fourth (Figure 2).
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c.r,
ce~
Fig. 2. T r a n s p o s i t i o n o f t h e t e t r a c h o r d
_Anexample can be found in the opening statement
(measures 1-2) of Movement I (Figure 3).
Movement V,measures 6-8, employs a juxtaposition
of the newly-derived tetrachord built on C-sharp,
the tetrachord transposed to D, and the tones of
the original tetrachord (Figure 4).
Fig. 3. M o v e m e n t I, m e a s u r e s 1-2
Fig. 5. P e r m u t a t i o n s o f t h e t e t r a c h o r d
Movement W, measure 29, and Movement V,
measures 36-37 present themselves as good
examples of the employment of tetrachord a
(Figure 6).
Fig. 6. M o v e m e n t IV, m e a s u r e 29.
Performance Problems in Aldra Miyoshi's Conversation
,~
rail.
.
.
.
.
25
.
Moderato
Fig. 6. ( c o n t . ) M o v e m e n t V, m e a s u r e s 36-37
3) The tones of the two tetrachords in Figure 2
can be arranged to form a symmetrical scale of
minor seconds and minor thirds (Figure 7).
Fig. 10. M o v e m e n t II, m e a s u r e s 1-4
n
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.
.
.
5) The two central tones of Figure 7 (C-sharp
and D), combined with the tetrachord g of
Figure 5, form a symmetrical scale of alternating
minor and major seconds (Figure 11).
Fig. 7. S y m m e t r i c a l scale
Figure 8 shows a four-note descending fragment of
this scale transposed down a whole tone, from
Movement 1, measure 28-29.
Fig. 11. S y m m e t r i c a l s c a l e
Movement W, measures 33-34, represents the best
illustration of this symmetrical scale transposed
down a major seventh and down a major second
(Figure 12). Movement V,measures 22-24, shows
its employment in the two outer voices (Figure
13). The scale has been transposed up a minor
seventh in the uppermost voice and down a major
third in the lowermost voice.
4) The two tetrachords of Figure 2 are divided
and combined to form two new structures, each
comprised of a minor ninth, major second, and a
major seventh (Figure 9).
Fig. 12. M o v e m e n t IV, m e a s u r e s 33-34
Fig. 9. P e r m u t a t i o n s o f t h e t e t r a c h o r d
The opening four measures of Movement II employ
fragments of the above structures (Figure 10).
26
Percussive Notes Research Edition" Volume 25, Number 3
Performance Problems
Movement I
Theme 1 (measures 1-12) is comprised of a single
melody with polyphonic implications, as attested
by the employment of double stems on particular
tones, along with differing articulations for these
tones. One "voice" of the theme is a pedal tone D in
the first two phrases (measures 1-4) and a pedal
tone A in the second two phrases (measures 5-9).
The second voice encompasses a wider range.
Compare the opening thematic material with
measures 40-43 (Figure 14). The pedal tone has
moved to C-sharp. The double stems and differing
articulations are again employed to show
polyphonic implications as the second voice
moves above and below the pedal tone. The D, C,
and A of measures 1-9 are derived from the first
tetrachord (G,A, C, D) and the other tones
(G-sharp, F-sharp, and E-flat) are derived from the
second tetrachord (C-sharp, D-sharp, F-sharp,
G-sharp) from Figure 2.
Allegro m~lertto
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Akira MIYOSHI
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The polyphonic implications of theme 1 need to
be enhanced by the marimbist by the use of
differing articulations for the two respective
voices.The D pedal tone in measures 1-4 and the A
pedal tone in measures 5-9 should be played with a
relaxed stroke while the tones which move above
and/or below the pedal tones should be played
with a staccato stroke, one in which the mallet is
held firmly and moves rapidly to and from the bars.
This differentiation in articulations need not be
exaggerated: the tender nature of the thematic
material should always be considered and the
differences in articulation can be subtle.The E-flat,
F-sharp, and C are notated staccato in measure 2,
but not in measure 4. This author feels that both
measures should be articulated identically.The
G-sharp in measure 3 is notated with all accent, but
note that the accent is not present in measure 1.
The accented tones (G-sharp, B-flat, and G-flat)
should be slightly louder than the other tones of
the moving voices, but should still be articulated
with a staccato stroke.
No consistent meter signatures are used for this
or any movement of the work, but barlines are
employed to show groupings of eighth notes and
the shifting of accents. If meter signatures were
employed, measures 1-9 would have the following
configuration (Figure 15). The only true meter
changes of the movement occur in measures 6
and 8.
,
Fig. 14. M o v e m e n t I, m e a s u r e s 1-9, 40-43
I
L
13
3
I
3
I
4
3
Fig. 15. M o v e m e n t I, m e t e r signatures o f
measures 1-9
I
5"
In measure 10, a half rest is notated.According
to the editor, this measure should receive three
beats rest, not two. ~
Measures 13-15 contain contrapuntal lines of
differing characters. Their individuality can be
assured by carefully observing the subtle differences in dynamics (Figure 16).
There should be a break, however, in the roll
between measures 18 and 19. This will make
certain that the listener hears these two phrases
clearly.
The second theme (measures 26-39) is
characterized by three phrases in a legato style, a
decrease in the tension and rhythmic activity, and
a prevailing two-voice contrapuntal texture
(Figure 18). The roll should be broken slightly at
the end of measure 29 and at the end of measure
33. There should be no break in the roll from
measure 39 to the downbeat of measure 40. These
two measures represent an elision of phrases as
the C ascends to the C-sharp and the E descends
to the D.
According to the editor, the tremolos in
measures 17 and 19 must be played with full
emotion without dragging the tempo? The
expressive quality of these measures can be
enhanced by employing a slight crescendo from
beat 1 to beat 2, followed by a slight decrescendo
from beat 2 to beat 3 in each of the two measures.
The tempo will remain steady if the performer
employs a measured roll of six strokes per quarter
note, similar to that indicated below (Figure 17).
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Fig. 17. M o v e m e n t I, m e a s u r e s 17-20, m e a sured roll t o be e m p l o y e d in m e a s u r e 17
Measures 17-18 and measures 19-20 each
represent individual phrases. There should be no
break in the roll from measure 17 to the downbeat
of measure 18. The same holds true for the roll
from measure 19 to the downbeat of measure 20.
27
Fig. 18. M o v e m e n t I, m e a s u r e 26-40
28
The dynamic marking ( < > ) notated on beat 1
of measure 27 can, in fact, be interpreted as a slight
crescendo from the E-flat of measure 26 to the
B-fiat of measure 27, followed by a slight decrescendo throughout measure 27. The same dynamic
marking is notated on beat 1 of measure 31, and
can be interpreted identically.To enhance the
legato nature of this passage, the E-flat of measures
26 and 30 can be played with mallet number 2
while mallet number 1 is extended to, and hovering
over, the B-fiat of measures 27 and 31 respectively.
The performer can simply drop mallet number 1
onto the B-fiat in both instances. A smooth, legato
sound will be achieved because the mallet motion
of the right hand is at a minimum.
Variations in roll speed should be used throughout measures 26-29 to enhance the increases and
decreases in musical tension. In measure 28, for
example, the tension between the E natural and D
natural, accompanied by the notated crescendo,
can employ an increase in the speed of the roll.The
roll can steadily decrease in speed as the tension is
released, from beat 3 of measure 28 to the end of
the phrase in measure 29. In measure 32, the roll
should increase in speed as the dynamic level
increases and then relax as the upper voice
ascends to C-sharp, and as the phrase ends in
measure 33. The final phrase of the second theme
(measures 34-39) contains no notated dynamic
changes, but an increase in harmonic tension
exists in measure 36 with the C against the B-flat
on beat 1 and the B-fiat against the A on beat 3.
This measure serves as the height of tension in this
phrase and should be accompanied by an increase
in the speed of the roll. The roll can decrease in
speed as the tension is released and the section
comes to a close in measures 38 and 39. As always,
variations in roll speed should be very subtle and
never exaggerated. The performer can also
enhance the feelings to tension and release
throughout the second theme by pushing the
tempo ahead slightly as the tension increases and
relaxing the tempo as the tension decreases.
TTTT
L
P,
A unique simultaneous employment of 3/8 and
2/4 occurs between measures 48 and 51.The
quarter notes of the lower voice suggest 2/4, but
the three-note melodic fragment of the upper
voice suggests 3/8. The following polymetric
implication resillts (Figure 19).
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Fig. 19. Movement I, polymetric implications
o f measures 48-51.
Additional stress should be placed on the B
naturals in the upper voice in each of these
measures to enhance the polymetric implications.
The rallentando of measure 48 continues to
measure 51, and the rallentando of measure 55
should continue throughout measures 56-58 to
add to the release of tension at the close of the
movement.' The composer gives no definitive
metronomic indication for the movement.
Considering the "tender" nature of the work, this
author suggests J = ca. 100.
The same mallets can be used for each movement. The mallets should be medium/hard and
must be capable of articulating at the highest
register of the instrument at a very soft dynamic
level. There should be as little pause as possible
between movements due to their brevity and the
programmatic effect of a long running conversation
between a mother and her infant.
29
M o v e m e n t II
Movement II is a theme and variations~in which
the theme consists of a very brief two-measure
melody that appears nine times throughout the
movement. Each time the theme is either transposed, fragmented, extended, used directly, or is
rhythmically altered. Along with the theme is a
countermelody which is also continually and
similarly varied.
The consistent polyphonic nature of this
movement demands that careful attention be paid
to the individual character of the two voices
(Figure 20).
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identical to that of measures 1 and 2. Thus, the
lower voice of measures 1-2, 3-4, and 11-12 should
be identical in terms of articulation (Figure 21).
? J ~ , ~ L ...... ~ ' f ~ l
So Nice It W a s . . . R e p e a t e d l y
Moderato
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Fig. 21. Movement II, measures 6-12
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Fig. 20. Movement II, measures 1-6
There are three types of articulation used in this
movement: 1) staccato; 2) legato; and 3) accent.
The staccato tones should be executed with a
rapid stroke where the mallet is held firmly in the
hand. The legato tones should employ a more
relaxed stroke. The accented tones should be
played staccato, at a slightly higher dynamic level.
It is only in measures 1-2 that the theme is
notated with changes in articulation. Throughout
the remainder of the movement, however, the
theme should be articulated in the same maimer,
whenever it appears in a rhythmic pattern
In measures 6-8, the theme appears in the lower
voice rhythmically displaced by one eighth note.
(The original downbeat of measure 1 has now
become an upbeat in measure 6.) This author feels
that the passage should be performed identically
to measures 1-2, both in terms of articulation and
rhythmic stress. The barlines, therefore, should not
change the character of the theme in any manner.
This will keep the programmatic intent of the
movement ("So Nice It Was .... Repeatedly") intact.
The countermelody (upper voice), which is
presented initiallyin measures 2-6 (see Figure 20),
is characterized by an accent on the first tone, an
increase in the dynamic level at the height of
tension in the middle of the phrase, followed by a
decrease in the dynamic level and a decrease in
tension toward the end of the phrase, followed
suddenly by an accent and decrescendo on the
final five tones. The increases and decreases in the
dynamic level should be consistent throughout the
movement, whenever the countermelody is
present. Thus, the G-sharp in measure 8 (see
30
Figure 21) should receive an accent and the four
S'lxteenth notes should be accompanied by a slight
crescendo, while the four sixteenth notes in the
upper voice of measure 10 should be accompanied
by a slight decrescendo. The composer's notation
indicates a dynamic swen only in measure 9, when,
in fact, it should encompass measures 8-10 to give
the phrase its proper shape. The first five tones in
the upper voice in measure 12 are identical to
those of measure 6 (except that they are presented
one octave higher). They may be played identically,
with an accent on the first tone, followed by a
decrescendo. The first beat of measure 18 should
also receive a slight accent for the sake of
consistency.
The performer must always take into consideration that the extreme upper register of the
marimba is not as resonant and does not project as
well as the middle register. The countermelody is
often notated in the extreme upper register, while
the theme is usually notated in the middle register.
To balance the volume between the voices, the
performer must actually place additional stress on
the tones which are notated in the extreme high
register of the instrument, such as the G-sharps of
measures 4 and 8, the A naturals of measure 9, and
B and F naturals of measures 11-12, and the entire
melody in the upper voice of measures 19 and 20.
The playful nature of the movement suggests
,~ = ca. 90.
M o v e m e n t III
The theme of Movement III consists of a twomeasure melody of rapid triplet figures moving, for
the most part, in conjunct motion (Figure 22,
measures 1-2).
Allegro molto
~f
Fig. 22. M o v e m e n t III, m e a s u r e s 1-6
All of the phrases in Movement HI are two
measures in length except measures 34-36, a
three-measure phrase, and measures 11-14,with
four one-measure phrases. Many of the phrases are
delineated by an eighth-note rest, a rising and
falling contour, and a dynamic swell at the height
of each phrase as in Figure 22.
In measures 1-2, for example, a crescendo is
notated to beat 3 of measure 1, followed by a
decrescendo from the end of measure 1 to the end
of measure 2. The B natural of measure 1 serves as
the height of the melodic contour in the phrase:
the performer should crescendo to this tone and
be careful not to begin the decrescendo until the
E-flat of beat 4. The thematic material of measures
3-4 is displaced by one eighth note: the performer
should not begin the decrescendo until the
downbeat of measure 4. Similarly, in measures 5-6,
the performer should crescendo steadily to the D
of measure 5 and be careful not to begin the
decrescendo until the F-sharp of beat 1 in measure
6.
Measures 7-10 employ two two-measure
phrases. The performer should crescendo steadily
through the first phrase (measures 7 and 8) as
notated, keep the dynamic level of forte in measure
9, and decrescendo throughout measure 10, again
as notated. Measures 11 and 12 each represent
one-measure phrases. The performer should
crescendo to beat 3 in both instances, then
decrescendo to the end of each of the measures as
notated. Measure 12 is actually an echo of measure
11. This author feels that measure 11 should
employ a crescendo from mezzo forte to forte,
followed by a decrescendo back to mezzo forte.
Measure 12 should employ a crescendo from subito
piano to mezzo piano followed by a decrescendo to
piano.
Measure 30 and 31 represent an increase in
texture leading to the climax of the movement at
measure 32 (Figure 23). This passage will be easier
to execute if the dyads are played with mallet
numbers 4 and 3, and the E and A naturals are
played with mallets numbers 2 and 1 respectively.
-
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31
_Although most of the movement is perceived
monophonically,measures 13-14 and 32-33 imply
polyphony (Figure 24). In measures 13 and 14, the
upper voice descends from G to F-sharp to E-flat to
D, while the lower voice descends chromatically
from E-flat to A-flat. By accenting each tone of the
upper voice and using the sticking pattern in
Figure 24, the polyphonic implications of the
passage will be made clear to the listener.A similar
procedure applies to measures 32-33.
8va
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Fig. 24. Movement III, sticking suggestions
for measures 13-14 and 32-33
Below are the three cadential formulae of the
movement, measures 17-18,20-21, and 42-44
respectively, all employing the melodic interval of a
tritone (Figure 25).These cadential formulae close
three major sections of the movement. They use
dyads for a change in texture and color, and to
provide a decrease in the rhythmic activity. The
original manuscript actually contained three- and
four-note chords at these points. These sonorities
were removed by the editor, who felt that the
movement should be played with two mallets,
rather than four, and as rapidly as possible.8 This
author feels that the additional color provided by
the three- and four-note chords is significant to
warrant the use of four mallets, rather than two.
Figure 26 shows the original version of measures
17-18, 20-21, and 42-43.
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Fig. 23. Movement III, measures 30-31
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Fig. 25 Measures 17-18, 20-21.
32
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Fig. 25 (cont.) 42-44.
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Fig. 26. Movement III, original manuscript
edition o f measures 17-18, 20-21, and 42-43
In measures 16, 19, 40, and 41, the composer has
notated glissandos on the accidentals. Pointing the
head of the mallet down, getting the shaft high and
out of the way, and executing the glissando quickly
and aggressively will help the marimbist avoid
getting his mallets caught in the spaces between
the groups of two and three accidentals. The
movement should be performed as rapidly and as
clean and articulate as possible.
M o v e m e n t _IV
Movement IV contains a single theme which is
continually varied by fragmentation, extension,
transposition, rhythmic diminution, textural
changes, and combinations of these procedures.
The theme is presented in measures 1-7 (Figure
27) and is characterized by two phrases, one
antecedent and the other consequent in nature.
The principal element of the antecedent phrase is
the interval of a major seventh which begins,
closes, and balances the phrase. The principal
element of the consequent phrase is the tritone.
Both phrases are initially presented monophonically in a legato style, and, because of the intervallic
relationships, they have very distinct contours.
Lento
=
-
.
,
Fig. 27. Movement IV, measures 1-7
According to the editor, there should be a clear
differentiation between the "question and answer"
character of the sustained phrases. 9 Measures 1-4
should employ an intense roll, but measures 5-7
should employ a relaxed roll due to the consequent
nature of the latter phrase (See Figure 27). Likewise, measures 8-13 should employ an intense roll
while measures 14-17 should employ a relaxed roll.
Measures 20-21 should employ an intense roll to be
answered by a relaxed roll in measures 22-23
(Figure 28).
PerformanceProblems in Akira Miyoshl'sConversation
8
9
14
15
20
10
16
11
12
13
17
21
22
23
Fig. 28. M o v e m e n t IV, m e a s u r e s 8-17, 20-23
Throughout the work, the marimbist must be
careful to connect the roll smoothly from one note
to the next. This is difficult to execute due to the
numerous large leaps involved. This problem can
be solved easily by using three mallets (mallets
numbers 3, 2, and 1) to execute the rolls instead of
two. In measure 1, for example, mallets 3 and 1 will
play the B while mallet 2 is extended to, and
hovering over, the C, which will be played with
mallets 3 and 2. in measure 2, the F-sharp will be
played with mallets 3 and 1 while mallet 2 is
extended to, and hovering over, the G, which in
turn will be played with mallets 3 and 2. A reverse
of this process should be used to connect smoothly
the D on beat 3 of measure 3 and the downbeat of
measure 4 (mallet numbers 3 and 2 on D, 3 and 1
on C-sharp). In a series of rolled notes, the
smoothest connection is made by starting each
tone slightly softer than the previous tone and
quickly increasing the volume to the level of the
previous tone. The marimba bars decay very
quickly in volume: using this technique will
33
provide a smooth, legato style of execution and
prevent an accented articulation. This technique
will work particularly well wherever leaps of
tritones and major sevenths exist (such as in
measures 1, 2, 3-4, 8, 9,10,11-12,14,16-17, 22, and
43-44).
There should be a clear break in the roll between
each phrase indicated by the legato markings (i.e.,
between the C-sharp and the C natural in measure
11 and between the E natural and the E-flat in
measure 16). However, there should be no break in
measure 15 where grace notes are utilized in the
middle of the phrase.
The performer must pay careful attention to the
changes in articulation throughout the movement.
The tritone and the major seventh are the
principal intervals for much of the melodic and
harmonic content, and they are often delineated by
differing articulations. Measure 19 (Figure 29), for
example, employs a slur marking from the C
natural to the F-sharp. The F-sharp is also notated
staccato and with an accent. The tones notated
legato should be executed with a relaxed stroke,
while the F-sharp should employ a quick, firm
stroke. The trritone B to F natural, in the same
measure, is notated staccato. Similarly, in measure
25, the scale passage from D to G-sharp is notated
with a slur marking, while the major seventh
(C-sharp to C natural) is notated staccato. Similar
passages of differing articulations for the delineation of the tritone and major seventh are found in
measures 25, 26, 30, 31, 39, 46, and 47 (Figure 30:
the tritone is illustrated with a circle while the
major seventh is illustrated with a bracket).
Allegro
8va
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Fig.29 M o v e m e n t IV, m e a s u r e s 18-19.
'
34
Percussive Notes Research Edition" Volume 25, Number 3
in the lower voice. The upper voice moves into the
extreme high register of the instrument while the
lower
voice moves in the upper middle register of
I
the
instrument.
To balance the volume between
24
the two voices in this contrapuntal passage, the
upper voice (right hand) must actually be played
stronger than the lower voice (left hand). The
upper register is simply not as resonant, and does
25
26
27
not project as well, as the middle register. (The
"8va" beginning in measure 32 applies to the lower
voice as well as the upper.) There are sticking
problems in this passage. This author suggests the
following sticking patterns for measures 32-36
(Figure 31).
28
Measures 28 and 45 employ two-voice counterpoint. Speed and clarity are difficult to obtain in
these measures when only two mallets are used, as
suggested by the editor. 1°By employing all four
29
30
31
mallets, the independent nature of the lines will be
clearer to the listener, along with the subtle
changes in the dynamic level. The performer will
also be able to execute these measures without
poco tit.
dragging the tempo (Figure 32).This author
39
46
47
suggests J = ca. 50 for the lento sections and J. =
Fig. 30.Movement IV, m e a s u r e s 24-31, 39, 46-47 ca. 100 for the allegro sections.
Allegro
I
8ua . . . . . . . . . . . . . . . . . .
The movement continually alternates between
tempos of lento and allegro. The thematic material
is presented in the initial lento where quarter and
half notes prevail. No meter signature is used, but
the groupings suggest 3/4. The three thematic
statements are delineated by silence. All lento
passages which follow are very brief in duration
and serve as closures to the allegro passages by
presenting only a fragment of the initial thematic
material.
The allegro sections of the movement suggest a
meter of 6/8 because of the eighth-note grouping.
Rhythmic variety is provided by hemiolas, as in
measure 30 and measures 46-47 (see Figure 30)
which strongly suggest a meter of 3/4 in juxtaposition with the prevailing 6/8 feeling of the second
and final allegro passages. The performer should
exaggerate the accents in these measures to bring
off the hemiolas.
Measures 32-35 employ two-voice counterpoint
where intervals of a tritone and major seventh
prevail in the upper voice against a synthetic'scale
L~=,.,_~
~.
r. ~
8 .................]
7':%L~
3~ 5
:
h:.~-~.-~!
>
v
"~-~ " ~ L ~
i
~3~
Fig. 31. Movement IV, sticking suggestions for
measm:es 32-36
~
,.~
A]le|~o
Fig. 3~. M o v e m e n t IV, sticking suggestions for
m e a s u r e s 28 and 45
35
Movement V
Movement V employs a single theme which is
constantly varied by transposition, fragmentation,
rhythmic alteration, and numerous combinations
thereof. The theme appears initially as a "black
note" pentatonic scale (F-sharp, G-sharp, A-sharp,
C-sharp, D-sharp) where G-sharp functions as the
tonic. This scale is actually an expansion of the
original tetrachord in Figure 2, with the addition of
an A-sharp. The thematic material of the movement
has as its basis a small fragment of the principal
theme of Movement I. This serves to give cyclic
unity to the entire work (Figure 33).At the climax
of the movement, fragments of themes or principal
elements from all previous movements reappear
and further unify the entire work.
Movement V employs a texture of melody plus
accompaniment, where the latter is based entirely
on the tetrachords (transposed) of Figure 2. The
accompaniment is presented as an ostinato of two
dyads of perfect fourths moving stepwise (Figure
34). The principal sections of the movement are
delineated by the transposition of the tetrachord
in the accompaniment and the scalewise thematic
material b y a major seventh; thus, when the
melody utilizes the black note pentatonic scale, the
accompaniment simultaneously utilizes the white
note tetrachord, and when the melody utilizes a
while note modal scale, the accompaniment
simultaneously utilizes the black note tetrachord.
Fig. 34. tetrachords employed in Movement V
In measure 1, it appears as if a fragment of the
accompaniment, in the form of two dyads,
precedes the thematic material. These two dyads
are notated staccato and should be played with a
rapid stroke, at a softer dynamic level than what is
actually notated. (A dynamic level of piano is
notated: the dyads may, instead, by played
pianissimo.) This author feels that the thematic
material actually begins on beat 2 of measure 1
and should employ a more relaxed stroke at the
notated dynamic level of piano (see Figure 33).
The opening two dyads return in the lower clef of
measure 6, where they are clearly part of the
accompaniment figures, and are notated staccato
(Figure 35). Throughout the entire movement the
accompaniment may be executed in the same
manner (staccato, and at a softer dynamic level),
although the composer makes little differentiation
between the thematic material and the accompaniment in terms of articulation and dynamic level.
The accompaniment figures could also be played
closer to the nodes of the bars for a slightly
different tone color.
AUegro vlvo
P
IT%
/
....
r:
:
:
:
:,?~;~Frirrfi
'r;++/
•
T
: :'-S
i..,=,.
Fig. 33. Movement V, measures 1-5
77
F
:
:-
i 7-F ~'÷':
i
! J
'(s;~
=
Zi÷'=f
::~f:z=:
; ÷i:~-!'-
J
J
I J
J
J
A
I J
J
J
.I
~
=
'~
:
;
=
' ;
;
;
•
Fig. 35. Movement V, measures 6-10
'
36
From measure 19 to 21 (Figure 36), four-voice
homophony is employed. The first sonority in each
measure is notated with an accent, while the final
sonority in each measure is notated tenuto. The
accented tones should employ an increase in the
dynamic level, along with a firm, rapid stroke. The
tones notated tenuto should be played with a
relaxed stroke and may employ a tilting forward of
the mallets, so as to play near the crown of the
mallets. This will result in a change of tone color. (It
should be noted that the accent is missing in the
upper voice, beat I of measure 21, and the tenuto
mark is missing in the upper and lower voices, beat
4 of measure 21. The musical function of measures
19, 20, and 21 is identical: they should each employ
identical articulations.)
11-18, 23, 25, and 29-32 applies only to the upper
clef.
In measures 36-38, themes or principal elements
from all previous movements reappear briefly as
the climactic section of the movement comes to a
close (see Figure 37). The performer should
articulate carefully each tone in this passage and
observe the rallentando beginning on beat 2 of
measure 36. By doing so, the listener will be better
able to sense the musical unity of the entire work
and relate this passage to the melodic content of
the previous movements.
I~_>
.:!
,~ . ~ &
._~_ _ ~
In measure 22, the upper voice ascends stepwise
from A to D and is accompanied by a crescendo.
This melodic motion is imitated in the lower voice
of measure 23, but the crescendo is not present.
The performer should crescendo in the lower
voice of measure 23 to enhance the imitative
nature of the passage. The lower voice of measure
25 should be accompanied by a crescendo as well,
for this measure is identical to measure 23.
When executing the glissando in measure 10,
the A-sharp, G, and D should not be rearticulated
because of the tie.The composer has also notated a
glissando in measure 34 on the accidentals.
Considering the dynamic level and tempo of this
passage, this author suggests playing this glissando, as well as the glissando in measure 10, on
the white keys. A greater degree of volume and a
more rapid, aggressive sounding glissando will be
achieved (see Figure 35). The "8va" of measures
The composer has notated a crescendo and a
decrescendo over the first tone in measures 40 and
42 (Figure 38). These tones are actually the high
points of tension in two two-measure phrases
(measures 39-40 and 41-42 respectively). This
dynamic notation may be interpreted as a
crescendo from measure 39 to the downbeat of
measure 40 at the height of tension in the phrase,
followed by a decrescendo throughout measure 40
as the melodic contour descends. Similarly, the
performer may crescendo from measure 41 to beat
1 of measure 42, and then decrescendo throughout
measure 42 as the melodic contour descends.
Fig. 38. M o v e m e n t V, measures 39-42
The tempo ofthismovement shouldbe
determinedby how fastthe performercan execute
the acceleratedpassagebetween measures 31 and
34 with clarity and at a dynamic level of fortissimo.
This passage functions as the tension climax of the
movement. Considering the 'L4.11egroVivo"
indication and the gay, spirited conversation
suggested by the program, J = ca. 110 should be
considered a minimum tempo.
37
Summary
Performance problems for the marimbist are
abundant throughout Conversation. Technical
difficulties lie in executing rapid two-mallet
passages with finesse and fluidity while holding
four mallets, or by using the four mallets interchangeably, particularly in Movements H, III, and W.
Movement V presents a coordination problem in
that the left hand must execute a moving ostinato
while the right hand executes an independent
melody which, at times, is highly syncopated.
Achieving a legato sound in the rolled passages of
Movements I and IV requires special sticking
patterns, particularly with the wide melodic leaps
of the latter. The marimbist must employ changes
in the roll speed to enhance the moments of
tension and repose, such as the "question and
answer" character of the thematic material of
Movement W. Careful attention must be paid to the
differing articulations of the two voices of
Movement II to enhance the contrapuntal nature
of the movement. Equal attention needs to be paid
to the differing articulations involved in the
delineation of the tritone and major seventh in the
allegro passages of Movement W. Lastly, the
marimbist must have knowledge of the passages of
implied polyphony which occur in Movements I
and HI to delineate the individual voices by
differentiations in tone color, articulation, and
dynamic level.
Footnotes
Keiko Abe, Contemporary Music From
Japan: Music ForMarimba, Volumes 1 and 2,Vox
5Ibid.
8Ibid
Candide No. CE31051.
2A personal letter from the composer dated
June 13, 1983.
3The analytical discussion of the five permutations of the tetrachord is that of the composer,
provided in a letter dated June 13, 1983. The letter
was in French, therefore the discussion of these
permutations has been paraphrased rather than
quoted directly. All musical examples which
accompany this discussion have been provided by
the composer.
4Keiko Abe, editor, M o d e r n Japanese Marimba
Pieces, Volume 2 (Tokyo: Ongaku No Tomo Sha
Corp., 1978), p. 31.
7The terms "theme and variations" are that of
the composer.The variation techniques are limited
to pitch transposition and rhythmic displacement
and alteration.
8A personal letter from the composer dated
June 13, 1983.
oAbe, Modern Japanese Marimba Pieces, Vol.
2,p.31.
~0A personal letter from the composer dated
June 13, 1983.
38
PercussiveNotes Research Edition"Volume 25, Number 3
Appendix A
The Works of Akira Miyoshi
Percussion:
Concerto for Marimba and Orchestra
Conversation for Mariraba
Etude Concertante for two marimbas
Litania for doublebass and percussion
Nocturne for flute, clarinet, doublebass, marimba,
and percussion
Pri~re for bass, flute, marimba, and percussion
Torse III for marimba
Torse Vfor three marimbas
Chamber:
Chaines for piano
En Vers for piano
Hommage-Series for violin, flute, and piano
Miroir for violin
Sonata for piano
Sonata for violin
String Quartet No. 1, No. 2
Orchestra:
Concerto for Piano and Orchestra
Concerto for Orchestra
Concerto for Violin and Orchestra
Concerto for ViolinceUo and Orchestra
Duel for soprano and orchestra
En-soi-lointain
Noesis
Requiem for chorus and orchestra
Rheos
Three Symphonic Movements
Appendix B
Analytical Summaries
Movement I
I:A:I- Measures 1-12: Theme 1 consists of a single
melody with polyphonic implications where one
voice acts as a pedal while the other voice leaps
above and below; the dynamic level is mezzo piano;
the tempo is allegro moderato; the melodic style is
detached.
J
B - Measures 13-25: An increase in texture to
two-voice counterpoint and three-voice
homophony exists; the dynamic level is increased
to mezzo forte with a decrescendo to piano; a
suggestion of theme 1 closes the section.
C - Measures 26-39: Theme 2 is presented; the
tension has decreased, along with the dynamic
level and rhythmic activity; a two-voice contrapuntal texture prevails; the melodic style has changed
to legato (all tremolos); the phrases have been
extended in length to four and six measures.
I
If|
I
|
~¢"
1
A 1- Measures 40-54: Theme 1 is presented in
variation and transposition; the dynamics shape
the section ( p < m f > p ) ; a retardando and fermata
close the section; the detached style returns;
two-voice counterpoint is used; melodic sequencing (measures 44-47) leads to the climax of the
movement; rhythmic interest is increased by
polymetric implications.
39
a 1- Measures 7-10: The dynamic level has
increased to mezzo forte with a swell in measure 9
at the climax of the phrase; there is no change in
style or rhythmic activity; the phrase begins
monophonically and ends in unison.
~u
a 2- Measures 11-14: The theme is transposed and
presented in stretto; an increase in the rhythmic
independence of the lines exists; and there is no
change in the dynamic level; the voices end the
phrase in unison.
A - Measures 1-12
B - Measures 13-25
C o d a - Measures 55-58: The tempo is slower and
the dynamic level has decreased ( p > p p p ) ;
two-voice counterpoint is present; theme 1 is
presented in its original tones; a cadence (D to
G-sharp) and a fermata close the movement.
I:b:l - Measures 15-16, repeated: A decrease in the
dynamic level to mezzo piano characterizes this
phrase, along with a decrease in the rhythmic
activity.
~VA
IMovement I I
a - Measures 1-6: The theme and countermelody
are presented; the tempo is moderato; a dynamic
level of mezzo piano prevails with a swell in
measure 4 at the climax of the phrase; the phrase
begins and ends monophonically in a detached
style.
~"a,v.o,e ;
a 3 - Measures 17-20: The rhythmic activity
increases along with the dynamic level from mezzo
piano to forte; melodic sequencing leads to the
climax of the movement.
@A
4
40
a 4- Measures 21-24: The theme is presented in
stretto; the dynamic level decreases from forte to
pianissimo; a falling melodic contour prevails; the
rhythmic activity is increased in measures 21 and
22 with the use of syncopation and rests; the
rhythmic activity decreases in measures 23 and 24
by the use of a retardando and longer note values.
M o v e m e n t III
I:A:I-Measures 1-2t:The theme is presented; the
section begins at a dynamic level of mezzo forte;
constant dynamic swelling shapes the twomeasure phrases; an increase in the dynamic level
to forte along with a rise to the height of the
melodic range takes place in measure 9; the
section reaches a tension climax in measure 11
through sequencing and an increased frequency of
tritones; a rhythmic slowdown to quarter notes
and a whole note, along with dyads and a fermata
close the section.
BvA
A 1- Measures 37-40; 5-15, 41-44: This section is
identical to section A except for measures 37-40
where a piano dynamic level prevails instead of
mezzo forte, and the passage is presented one
octave higher; the section closes with a rhythmic
decrescendo, rallentando, a decrease in the
dynamic level to pianissimo, and a falling melodic
contour to the lowest note of the movement.
M o v e m e n t IV
A - M e a s u r e s 1-17: The theme, consisting of
antecedent and consequent phrases, is presented
twice, the second time in variation; the intervals of
a major seventh and tritone characterize the
antecedent and consequent phrases respectively;
the tempo is lento and the section is in a legato
style; a dynamic level of piano prevails with swells
at the climax of the phrases; the section ends with
a fermata.
By^
B - Measures 22-36: The thematic material is
fragmented and transposed; the section begins at a
dynamic level of mezzo piano and crescendos to
forte in measure 29 along with a rise to the height
of the melodic range; an increase in texture with
dyads in measures 30-3t along with a crescendo to
fortissimo lead to the tension climax of the
movement in measure 32; melodic sequencing and
the interval of a tritone prevail in the climactic
phrase: rising scale passages, a decrease in the
dynamic level, and a retardando close the section.
A ' - Measures~-23: The theme is presented in its
original tones in diminutionand is fragmented; the
interval of a tritone is frilled in stepwise; the tempo
is allegro and the style is detached; the dynamic
level is increased to forte; dyads, a retardando, a
fermata, and a return to lento close the section.
B - Measures 24-31: The principal elements of a
tritone and major seventh are developed by
employing them as harmonic sonorities, filling in
the intervals stepwise, or by juxtaposition; the
dynamic level begins piano and crescendos to
fortissimo in measure 28; a decrease in the
dynamic level begins in measure 29; an increase in
texture exists with dyads in measures 26-29, and
31; the section closes with silence.
A 2 - Measures 32-44: The theme is presented in its
original tones in two-voice, imitative counterpoint
and in rhythmic diminution; the tempo is allegro;
the dynamic level begins mezzo piano and
crescendos to fortissimo in measure 35, which
serves as the tension climax of the movement by
an ascending melodic line in the lower voice and
sonorities of minor seconds and major ninths
prevailing; a diminuendo to piano, a retardando,
and a return to lento close the section.
C o d a - Measures 45-48: Ascending scale passages
lead to the highest note of the movement in
measure 45; short gestures of thematic fragments
are separated by silence; the tempo is allegro; a
retardando, a rhythmic decrescendo, and hemiolas
are presented in measures 46-48; a dynamic level
of mezzo piano begins the coda followed by a
decrescendo and subito fortissimo; the work
closes on a two-note thematic fragment which
employs the principal element of a major seventh.
41
Movement V
A - Measures 1-10: The theme is presented
monophonicallyin the first phrase (measures 1-6);
an accompaniment ostinato of parallel fourths is
presented in the second phrase (measures 7-10);
the thematic material is rhythmically varied in the
second phrase; the first phrase begins and ends at
a piano dynamic level while the second phrase
begins piano and crescendos to forte; the section
closes on a three-voice glissando.
B - Measures 11-26: The accompaniment is
transposed up a major seventh to the black note
tetrachord while the thematic material is transposed to a white note scale; the dynamic level
begins mezzo piano and crescendos to forte; the
opening rhythmic figures are fragmented; four
four-measure phrases are employed.
C - Measures 27-38: This section begins in silence;
a dynamic level of mezzo piano follows the silence
along with a crescendo to fortissimo and a
decrescendo to pianissimo, accompanied by an
accelerando and retardando respectively; the
section closes with a fermata; motives from
previous movements reappear; this section is
characterized by an increase in the rhythmic
activity; the original theme and rhythmic motives
are fragmented; a glissando is used at the highest
point of tension; the melody employs the black
note pentatonic scale while the accompaniment
employs a white note tetrachord.
42
fragmented to the close of the work; the dynamic
level diminishes from mezzo piano to pianissimo; a
rallentando and a fermata close the movement.
C o d a - Measures 39-52: A decrease in the tempo to
meno mosso exists; the opening theme and
accompaniment figures are transposed and
Appendix C
Conversation
Movement
Item
1972 manuscript
1978 edition
titles for all movements
measure 2, staccato
measures 8 and 9, diminuendo
measure 19,E natural onbeat 3
measure 29, legato continues to
the end of the measure
measures 41-43, staccato
measure 44,accent onbeat 1
missing
missing
missing
yes
yes
yes
yes
yes
missing
legato stops onbeat I
missing
yes
yes
missing
II
measure 1,rap
measure 2,staccato on beat 1
measure 24,accented dotted-half note
missing
yes
missing
yes
missing
yes
HI
measures 17-18,triads
measures 20-21, triads
measure 24,mf
measure 26,rap
measure 41,beat 2,two C-sharps
measure 42,beat 3, D-sharp
measure 42,beat 4,four-voicechord
with a monophonic glissando
yes
yes
missing
missing
yes
yes
yes
dyads
dyads
yes
yes
one C-sharp
missing
chord missing,two-voiceglissando
IV
measures 1-2 legato
measure 35,accent on beat 1
measure 37, accent on beat 1
measure 46,"poco retardando"
missing
missing
missing
missing
yes
yes
yes
yes
V
measure 1,staccato
measure 5,
missing
missing
yes
yes

Performance Problems in Akira Miyoshi`s Conversation

Transcription

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