Recycling Materials: Choro Dançado
Descrição do Produto
Recycling Materials: Choro Dançado Sopon Suwannakit Maria Schneider’s “Choro Dançado” is the first part from her three-part suite “Three Romances” from the album Concert in the Garden (Schneider 2004). Instead of using many tutti chordal textures like typical big band orchestration, this piece employs various individual lines to create polyphonic texture. These individual lines keep reappearing throughout the whole piece in different groupings, harmonies, registers, timbres, and rhythmic values. My argument is, in “Choro Dançado,” Schneider efficiently uses and develops the main individual lines or statements throughout her composition. In order to support the argument, this analysis will use Steve Lajoie’s eight-stage analytical method (Lejoie 2003). The reason why I choose Lajoie’s method is in order to listen to counterpoint, it requires detailed aural and visual observation. Lajoie’s method asks the analyst to listen with and without reading the score. Also, it requires the analyst to read with and without listening to the music. This helps the analyt hear and see in different musical levels according to the material(s) being observed at a time. I. Historical Background Although “Choro Dançado” was composed with Brazilian choro influence, Maria Schneider stated in her liner notes that her choro piece is "far from being authentic" (Schneider 2004). She explained that harmonically, this piece was harmonically influenced by Spanish and Argentine music. II.
Open Listening At the beginning, the piece opens with an 8 mm. theme statement. Then it repeats that statement again with the same chord progression but add another line as a countermelody. As a result, this creates a two-part polyphonic texture. This strategy happens several times in the piece, that the progression is repeated while the texture and timbre are changed. This strategy allows Schneider to put more layers of polyphony each time it repeats. III.
Syntax I will separate the piece into five sections: head, tenor saxophone solo, piano solo, band soli, coda. I label the main theme statements through the score in the separate file. Each statement is distinguished by color. Please make sure to print it in color if the reader wants to make a hard copy. At the head, the piece begins with 8 mm. of statement A (see example 1). Then it is heard again with the same chord progression, but this time adds statement B as a countermelody.
2
Example 1: The seven main statements which B is the counterline for A and D is the counterline for C
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3 In the following measure, 6 mm. of statement C appears with different changes. At m. 23, a variation of statement C occurs on the same 6 mm. of changes. This time the music does the same thing as the repeat of statement A. The variation of C plays with counterline D. A variation of statement A appears at m. 29 with some a perfect 5th higher than the original statement. At m. 37, the polyphonic texture expands into three melodies. Statement A and B are heard with the third line called statement E. Following by mm. 45-56, statement C reappears twice. In the first 6 mm., statement C appears alone. But in the second 6 mm., it is heard with statement D and the new statement called statement F, which is the busiest statement of all seven main statements. The way that statement C appears twice, which was alone in the first time then followed by three-part counterpoint texture in the second time, is similar to what was happening in mm. 29-44 with statement A, which also appeared alone in the first time then followed by three-part counterpoint texture. At m. 57, the statements, for the first time, merge and interchange between each other. A slightly variation of statement A is heard clearly throughout the 8 mm. phrase. The counter melody joins as statement E at m. 60, then is interrupted by a fragment of statement F (staccato triplets run downward) at the first half of m. 62, then moves back to statement E. After the three-part polyphony, the texture changes back to tutti with single melody. At m. 77 (please note that twelve measures before this, mm. 65-76, were cut from the score), statement B reappears. As usual, the statement is altered a little. The statement is also decorated by many running notes from chord tones to chord tones. These running notes reach their peaks and finally step down to a unison in the pitch E, which leads to the tenor saxophone solo section. At the beginning of tenor saxophone solo, there are several 2 mm. of question and answer between the Rich Perry and the band. The question provided by the band at m. 88 is the fragment from statement A. The texture of the piece is reduced to only the soloist and the rhythm section at m. 120. Horns come back to reinforce the harmony by playing background chords at m. 136. The fragments of statement C appear in the question and answer format as happens with the fragments of statement A earlier. Between mm. 168-175, statement C appears as a eight measures phrase background. Then mm. 176-188, statement C still appears but this time it is augmented rhythmically. The tenor saxophone solo section ends by stepping down to a unison in the pitch G, and enters the piano solo section. This is the same way as entering the tenor saxophone solo. At the beginning of Frank Kimbrough’s piano solo, the same question and answer texture as in the beginning of saxophone solo appears again, but this time in major key. Then a background which derives its materials from statement C and D enters. The soloist builds then enters the busy theme of statement F at m. 221, which also ends the piano solo and enter the soli section. This time, the statement at m. 221 melodically countered by statement C and D. Between mm. 229-244, the piece maintains its energy and employs the new melody which is sixteen measures long and has never been heard before. This new material creates a surprising effect, as listeners always hear the recycled materials throughout the piece. The new material, called statement G (see example 2), refreshes the listeners’ ears and moves the music toward its peak of the composition. And as usual, statement G plays with another counterline which is statement C.
4 After reaching its peak, the piece drops its energy. At m. 245, the same way of dropping energy to enter the solo sections which is scalar stepping down motion reoccurs, then follow by a fragment of statement B. This also countered by statement C. Between mm. 253-268, the statement C continues but is augmented rhythmically with the reprise of tenor saxophone solo on top of the statement. 2
Example 2: Through composed material in the middle of the piece
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At mm. 269-283, a variation of statement B appears while the rhythmically augmented version of statement C continues as a counter melody. Followed by slightly variated version of statement A during mm. 284-291, this section contains a fragment of statement B as a counter melody at the mm. 284-285. The tempo slightly does a ritardando during mm. 293-294 and enters the $ coda section. $ $ $ $ $ $ $ $ $ $ " At the beginning of the coda at m. 295, the tempo is slower than the previous sections. Statement C appears here with heavy accents. The texture here is one melody. Then at m. 301, the busy statement F reappears with statement C and D as counter melodies which create $ for 6 mm. $ The$tempo here $ increases $ $ $ texture$ goes back $ to single $ " $ texture polyphony slightly. The melody tutti again with a variation of statement A, which is very similar to the variation of A that happened in mm. 29-36. The tempo here goes back to the original tempo. The piece comes to its conclusion. The tempo does ritardando with chords that are connected by a series of staccato triplets. The chords create a half cadence with a fermata. Three eighth notes give a pickup to another series of chords and the piece ends with a perfect authentic cadence. According to this observation, it shows that Schneider always brings back main statements throughout the piece. She develops them with different groupings, harmonies, registers, timbres, and rhythmic values. She alters these statements by slightly changing their melody in order to fit the harmony and the directions along the piece, and changing the grouping of statements to create different flavors of counterpoint in different segments of the piece.
5 IV. The Sound-in-Time Listening again without looking into the score after having analyzed the piece helps us hear which statement is the main melody. For example, statement A still acts as the main melody at mm. 9-16. Although statement B does come in to create a polyphonic texture, statement B is just a counterline. Also, every time statement F enters, it is always the main melody of that section. V. Onto-Historical World “Choro Dançado” reshapes the treatment of jazz big band orchestration and arranging. The use of heavy counterpoint breaks the common practice of jazz big band which usually employs big sound of tutti or calls and responses between sections without playing independent lines at the same time. This also illustrates the modern world of diversity. People with different personalities and cultures could live together like her counterpoint and the three different musical influences from three different nationalities: Brazilian, Spanish, and Argentine. VI. Open Listening As in the previous stages, the main statements keep reappearing throughout the piece in different orchestration, group of counterpoint, register, harmony, and rhythm. The most reappearing statements is statement C. The reason is it is less complex rhythmically and harmonically. This helps it be able to fit in any musical situation. VII.
Conductor Performance Guide The conductor should be aware of the main statements of the piece. Because many statements are playing at the same time, the conductor should know the characteristic of each statement and should be able to identify which statement should be brought out to be heard clearly. Likewise in J.S. Bach’s music the main statement should stand out from the countermelodies. VIII.
Meta-Critique This stage is the conclusion of the whole analysis. The evidence from each stage is in the following paragraphs. The first stage shows the overall background of the piece. It shows what are the influences that Schneider put into the piece. The second stage also provides the overall level of the piece but from hearing perspective, because it relies on only hearing without seeing any score. The third stage is to look into the score. Like in computer programing, staring into the source code enables the observer to see how the music works. From the scope of the topic which is the reuse of theme statements, this third stage allows us to see how those statements come back in different musical environments. It also shows that how the reappearing statements are adapted in order to be fit with those different musical environments. The fourth stage makes us hear the music again without seeing the score. This highlights the main melody of each section. Because when looking in the score, we cannot be sure which
6 melody is the main one. Listening again without seeing the score lets us hear the different layers of sound and distinguish the main melody from the counter melodies. The fifth stage brings us to the historical context that can be drawn from the music that has been analyzed. The sixth stage acts as the proofreading process of the whole method. This confirms the argument as we listen again and check for all the evidence that occurs. The seventh stage sums up the information gathered from the six earlier stages. Then, the information is converted into a suggestion for any conductor who is going to conduct this piece. In conclusion, Schneider does bring back her main statements with some adjustment throughout the piece. The evidence is the reappearance of the main statements in different groupings, harmonies, registers, timbres, and rhythmic values. In other words, “Choro Dançado” was composed with recycling theme statements. Reference Lajoie, Steve, 2003. “Chapter 4: Analysis of Blues for Pablo” in Gil Evans & Miles Davis: Historic Collaborations: an Analysis of Selected Gil Evans Works, 1957-1962, 67-111. Rottenburg am Neckar: Advance Music. Maria Schneider Jazz Orchestra, 2004, “Three Romances: Choro Dançado.” by Maria Schneider. Record October 5, 2001. On Concert in the Garden, ArtistShare 0001, compact disc.
Full Score (Transposed)
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Maria Schneider, ASCAP
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1 Reed 1
Reed 2
Reed 3
A Reed 4
Reed 5
Trumpet 1
Trumpet 2
Trumpet 3
Trumpet 4
Trombone 1
Trombone 2
Trombone 3
Bass Trombone
Guitar
A Voice/Pandiero (Opt.)
Piano
Bass
Drums
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Copyright © 2001 MSF Music (ASCAP) All Rights Reserved
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Tnr.
Bs.Cl.
C Tpt.1
Tpt.2
Tpt.3
Tpt.4
Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
Voice
Pno.
Bs.
Drs.
245
246
247
248
249
250
251
252
!"#$$%#&'()*$+7%%,-%*./0/%123425/
88
253 Fl.
Cl.
Tnr.
Tnr.
Bs.Cl.
Tpt.1
Tpt.2
Tpt.3
Tpt.4
C (augmentation)
Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
Voice
C (augmentation) Pno.
Bs.
Drs.
253
254
255
256
257
258
259
260
!"#$$%#&'()*$+7%%,-%*./0/%123425/
89 261 Fl.
Cl.
Tnr.
C (augmentation) Tnr.
Bs.Cl.
Tpt.1
Tpt.2
Tpt.3
Tpt.4
Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
C (augmentation) Voice
Pno.
Bs.
Drs.
261
262
263
264
265
266
267
268
!"#$$%#&'()*$+7%%,-%*./0/%123425/
8:
269 Fl.
Cl.
B Tnr.
Tnr.
Bs.Cl.
C (augmentation) Tpt.1
Tpt.2
Tpt.3
Tpt.4
Tbn.1
Tbn.2
B
Tbn.3
Bs.Tbn.
Gtr.
Voice
Pno.
Bs.
Drs.
269
270
271
272
273
274
275
276
!"#$$%#&'()*$+7%%,-%*./0/%123425/
8; 277 Fl.
Cl.
Tnr.
Tnr.
Bs.Cl.
C (augmented) Tpt.1
Tpt.2
Tpt.3
Tpt.4
Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
Voice
Pno.
Bs.
Drs.
277
278
279
280
281
282
283
!"#$$%#&'()*$+7%%,-%*./0/%123425/
8<
A
284 Fl.
Cl.
A Tnr.
Tnr.
Bs.Cl.
Tpt.1
Tpt.2
A B
Tpt.3
Tpt.4
Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
Voice
Pno.
Bs.
Drs.
284
285
286
287
288
289
!"#$$%#&'()*$+7%%,-%*./0/%123425/
8=
Fl.
Cl.
Tnr.
Tnr.
Bs.Cl.
Tpt.1
Tpt.2
Tpt.3
Tpt.4
Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
Voice
Pno.
Bs.
Drs.
290
291
292
293
294
!"#$$%#&'()*$+7%%,-%*./0/%123425/ 295
8>
C
Fl.
Cl.
Tnr.
Tnr.
Bs.Cl.
Tpt.1
Tpt.2
Tpt.3
Tpt.4
Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
C Voice
Pno.
Bs.
Drs.
295
296
297
298
299
300
!"#$$%#&'()*$+7%%,-%*./0/%123425/
9@ 301
F
Fl.
Cl.
D Tnr.
Tnr.
Bs.Cl.
C Tpt.1
Tpt.2
Tpt.3
Tpt.4
D Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
F Voice
F
301
302
301
302
Pno.
Bs.
Drs.
303
304
305
306
307
!"#$$%#&'()*$+7%%,-%*./0/%123425/
A'
9?
Fl.
Cl.
Tnr.
Tnr.
Bs.Cl.
Tpt.1
Tpt.2
Tpt.3
Tpt.4
Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
A' Voice
Pno.
Bs.
Drs.
307
308
309
310
(to 312)
312
313
314
!"#$$%#&'()*$+7%%,-%*./0/%123425/
96
F (frag) Fl.
Cl.
Tnr.
Tnr.
Bs.Cl.
Tpt.1
Tpt.2
Tpt.3
Tpt.4
Tbn.1
Tbn.2
Tbn.3
Bs.Tbn.
Gtr.
Voice
Pno.
Bs.
Drs.
315
316
317
318
319
320
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