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    Dallin Text 12 13 PDF

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    Hamid Alipour Shirazi

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    © All Rights Reserved
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    of 11
    12 Thematic Metamorphosis Reveriion wise gans sf mse Meninfa mmc whom apitont nn omaed asap oe ‘eevninibe non thwfwemponr ve aed ar tron congnen tras guaions inane apticn bt of Tag me wp wen lea psf eee See prc fr noyng pon shld ee ing oe Sot plan etn opely te ae Sapna of comp Te spreon ef te pce tac weed pace Iman sr chan of econ aes owgh nso pene Sled sopeton senor pl Sd afl Nou innenn my yh ‘seule ith hewitt nee agent nes ‘Sete pth tl Sytne Sadh oo apd sane fd ‘Ron fae or eee eos was anu a oe st Dstt fw heehee oon ele aad thingie nf fl mrp a a ea cae gud th dt a, aS mean areas doe ‘Transposition and Sequence ‘The modification closest to exact repetition but still capable of pro- viding variety is that of octave transposition. Thoagh rhythm, line, and tonality remain the same, the theme is brought into the zegister of other Instruments or shifted to e diferent sepstr of the same instrament By 166 187 ‘etave transposition, This type of repetition has the advantge af being mediately apparent to the most casual lsener without being wterly Tacking in variety, Example 236 shows a melody with interesting contour and internal organization and its octave transposition. A study f these to excerpts in context substantiates the value of octave transposition ‘nmodiid repetition. [26 RAVEL: Daphnis and Chie, Suto No.2 (1912) 2 plo ‘Transposition by intervals other than the octave provides adltional satiety by implying either a diferent tonal centr ora change of harmony, sai intervalie relationships may be altered. Example 237 consists of 2 ‘ne-mearute motive repeated sequentially, each le a hid loves. The ‘est and thied measures have Identical patterns, but the stcond has 2 ‘minor thied in place of a major third, an augmented Fourth in place of (eof the perfect fourths, anda diminished hth x place ofa perfect ith, [e257 SBELIUS: Symphony No, 7 In C (1924) 95 {WENTIETH cenruRY COMPOTION Thomas Mesmoreae Ineret is added to the sequential treatment of the motive ia Exam ple 238 by the aight rhythm shift in the repetition nd the change in Felationship between the parts, The two upper voices are repeated se- ‘guenilly a minor seventh higher withthe top pact doubled an clave below. The bass is also repented sequentially, bute perfect fourth lower providing afresh relationship. Even thse who generally epaed sequences fs excesively repetitious would find hide faut with the Imaginative tse the device x, 288 PISTON: Owetinento (1946) p10 ‘Systematic Modifications of Contour Every musical line inherenly has four basic forms: original, iver: sion, retograde, and retrograde inversion. The inverted form presents the theme upside-down ot as if sen ina err, going dawn where the foriinal goes up and up where the original goes dawn. The retrograde form is like the exginal played backwards from the end £9 the begin- sing. Retrograde inversion is the retrograde fom ofthe inversion oF the fnginal upside-down and backwards. All three of these modifications pose certain problems of perception to the listener, but they have per- sisted In the musical vocabulary for an extended period down to the present time. With but slight alteration all four forme of the theme SXGrisinal, inversion, retrograde, and retrograde inversionappear i the contemporary fugue from which Example 259 ls taken. 168 160 ‘Bx 269 HINDEMITH: Ludus Tonalis—Fuga Ter Osiginal “The two retogzade forms are more dificult to perceive aurally than the inverted form in which the original shythm is unaltered, and they fre therefore less serviceable for purposes of unity. Most easily reco ‘lsd and therefore most capable of contributing to unity isthe inverted form which has a different version ofthe contour but the same rhythm {the original. The inversion can mirror te intervals ofthe original ec [ly or with rome liberty, sin Example 240. The ewe forms ofthe theme Appear consecutively starting in the measures indicate {Ex 240 BARTOK: Mitrokoames, No, 48—Ostnate (1926-87) a8 Peter Sra ‘The operation of the inversion principle Is conspicuous in the two {forms of the thematic fragment shown in Example 24, though the second version doesnot actealy misror the contour ae duplicate the rhythm of the rt x 247 SHOSTAKOMICH Symphony No. 5 (1897) bas 2S SSA Rerogrades ae encountered lets feeuety than nversons i nn scl mse bt they do rer. In Schoen ert Lue, Nos 1 ‘Sc second aie an xa eoprade ofthe ft hl te fou per pan The Poston nine La Tras el eopade ‘Reem of the Procaton. The pars ae revered fom op fo Det that even the oston of he tron ave, and bo he st irored Guting these extended works eno fei but they ‘ealworh tying Systematic Modifications of Rhythm Inversion, retrograde, and retrograde inversion are systematic ways of modifying lins. Augmentation and dination ace systematic ways 170 im” ‘of modifying rhythms. Rhythmic values in augmentation are increased by s constant rato, tually 1:2, Rhythmic valies in diminution ace ce duced by a constant ratio, usually 21, For other atios see Example 92 Ta revere order, the original ie the diminution ofthe augmentation and vice versa The tere augmentation and dination customary fer {o notation and not to tempo, which afeets durations but not relative wales. ‘Example 242 shows a theme i its orignal and augmented forms. The sSfect ofthe augmentation is somevhat counteracted by the faster tempo x 242 SHOSTAKOVICH: Symphony No. § (1957) Example 243 also shows a theme in ie original end augmented forms In ths case the porpore ofthe augmentation isto bring the theme back inthe farter tempo sounding the sare ast eriginally x. 248 PROKOFIEV: Plano Concerto No. 3 (192) ap Angeline. gfe p ». ptos Allggro giuste Thomste Mesa "A somewhat diferent type of thythmic change is ilastrated in Be nyple 211. The materia in each measure oF the two versions coresponds, bot the number of beats in a measure is reduced from three to 190. At the sain time, the metronome mark is rediced, but not sufScendly t ake the to forms move st dhe same rte. Adjustments are made inthe other values, but the three equal notes in a measure are preserved 35 a tuples £244 HINDEMITH: Mathis dor Maser (1894) 2 pa Augmentation can be used within «theme, ab iti in Example 245, “The motive in the fest messute returns with icreased shythane values in the last three meararer. The two forms of this motive enclose a con feasting motive and ts varied repetton in acogent theme, x. 245 BARBER: Symphony No. (1996) pt i” ‘Within the space of seven score pages Shostakovich uses the same ‘thematic motive in stigmentation, in imination, and in various tan postions. m va {x 246 SHOSTAKOVICH: Symonony Wo (1825) ‘The preceding examples demonstrate that notating thematic elements snaugmented and diminished values used not only to double and halve

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