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A Performance and Pedagogical Guide to Alec

Rowley’s Five Nocturnes
Tang, Shiyue
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UNIVERSITY OF MIAMI
A PERFORMANCE AND PEDAGOGICAL GUIDE TO ALEC ROWLEY’S FIVE

PIANO NOCTURNES
By
Shiyue Tang
A DOCTORAL ESSAY
Submitted to the Faculty

of the University of Miami
in partial fulfillment of the requirements for
the degree of Doctor of Musical Arts
Coral Gables, Florida
May 2021
©2021
Shiyue Tang
All Rights Reserved
UNIVERSITY OF MIAMI
A doctoral essay submitted in partial fulfillment of

the requirements for the degree of
Doctor of Musical Arts
A PERFORMANCE AND PEDAGOGICAL GUIDE TO ALEC ROWLEY’S FIVE

PIANO NOCTURNES
Shiyue Tang
Approved:
________________ ________________
Naoko Takao, D.M.A. Santiago E Rodriguez, M.M.
Associate Professor of Keyboard Performance Professor of Keyboard
Performance
________________ _________________
Tian Ying, M.M. Guillermo Prado, Ph.D.
Associate Professor of Keyboard Performance Dean of the Graduate School
________________
Donald Scott Stinson, Ph.D.
Professor of Music Theory and Composition
TANG, SHIYUE (D.M.A., Keyboard Performance)
(May 2021)
A Performance and Pedagogical Guide to Alec Rowley’s Five Nocturnes
Abstract of a doctoral essay at the University of Miami.
Doctoral essay supervised by Professor Naoko Takao.

No. of pages in text. (94)
The varied musical styles expressed in the keyboard miniatures by British composer
Alec Rowley (1892-1958) present piano students with ample opportunities for pedagogical
and technical training. Written at the intermediate and moderately-advanced levels, this
body of miniatures prepares a wide range of developing pianists for advanced repertoires.
The present project offers a performance guide with pedagogical suggestions for
Rowley’s Five Nocturnes for piano (1947). These pieces reveal the composer’s wide
musical palette of planing technique and pentatonicism from the French Impressionists and
extended chords derived from jazz idioms. Leisurely melodies, idyllic lyricism, and
dramatic phrasing are also featured alongside a chromatic harmonic language. The
pedagogical range of difficulty present in Five Nocturnes furthermore supplements other
repertoires of the abovementioned styles: the first two nocturnes are in the upper-
intermediate level, and the later three are moderately-advanced, with all pieces being
moderately compact in scope. Rowley’s nocturnes bridge the gap in skill levels typically
found in standard teaching repertoire while supplying stylistic diversity. Transitioning
from the intermediate Baroque and Classical works to the advanced late Romantic or
contemporary styles can thus be more gradual and less daunting, allowing students to move
on to advanced piano compositions without fear. Finally, advocating these works promotes
interest in the neglected realm of twentieth-century British piano compositions, and the
present study serves as an introduction to the specific genre of nocturnes therein.
This project consists of five chapters. Chapter 1 provides a preliminary background
of the nocturnes, outlining the study’s significance and methodology. A literature review
in Chapter 2 is followed by a discussion of Alec Rowley’s life and an overview of his piano
solo output in Chapter 3. Chapter 4 offers an analysis and performance guide for Five
Nocturnes, which will be examined according to tonal and harmonic language, texture, and
other musical elements that aid in interpretation such as phrasing, rhythm, tempo,
articulations, implied touch, and dynamics. Chapter 5 is the conclusion.

Acknowledgements
I would like to express my sincere gratitude to my essay advisor and piano
professor, Dr. Naoko Takao, who lifts me up whenever I feel depressed, and shines a
light not only for my study but also for my life. This essay would not appear in its
present form without her meticulous and thorough guidance. Dr. Takao’s consistent
encouragement and generous mentorship has enabled me to acquire the independence
and courage to perform, teach, and write. I will never forget the memories of my
lessons and our talks.
I also wish to deeply thank the other members of my doctoral committee:
Professors Santiago Rodriguez, Tian Ying, and Dr. Scott Stinson. Thank you for
imparting wise advice and offering unwavering support during my doctoral studies.
Additionally, I thank Laura Albritton for improving my skills in writing.
Finally, I would like to thank my parents, Hua Tang and Zhihui Li, for their
endless love over the years, and enabling me to achieve my dreams as a musician. My
gratitude similarly extends to my grandparents and family, who unconditionally
support me and have provided me with a wonderful childhood. I would also like to
extend my appreciation to my boyfriend, Siyun Xue, who always believes in me and
accompanies me in this journey of life. I wish to offer my thanks to all of my friends,
who provide the beautiful sunshine in my heart and stay with me for life.
iii
TABLE OF CONTENTS
Page
LIST OF EXAMPLES........................................................................................................v
Chapter
1 INTRODUCTION ........................................................................................... 1
1. Background .................................................................................................. 1
2. Need for the Study ....................................................................................... 4
3. Methodology ................................................................................................ 7
2 LITERATURE REVIEW ................................................................................ 9

1. Rowley’s piano works and his musical life ................................................. 9
2. Nocturnes ..................................................................................................... 12
3. Pastoral elements ......................................................................................... 16
4. British music in the late nineteenth and the first half of the twentieth
centuries........................................................................................................ 19
3 LIFE AND PIANO SOLO WORKS .............................................................. 21

1. Biography of Alec Rowley .......................................................................... 21
2. Piano solo output of Rowley ........................................................................ 24
4 ANALYSIS AND PERFORMANCE GUIDE FOR FIVE NOCTURNES ... 26

1. The overview of Five Nocturnes of Alec Rowley ....................................... 26
2. Theoretical analysis and pedagogical suggestions ....................................... 40
Nocturne No. 1 in B Minor ........................................................................ 40
Nocturne No. 2 in Db Major ...................................................................... 51
Nocturne No. 3 in G Major ........................................................................ 61
Nocturne No. 4 in E Major ........................................................................ 68
Nocturne No. 5 in F Major......................................................................... 78
5 CONCLUSION ................................................................................................ 90
BIBLIOGRAPHY ........................................................................................................ 92
iv
LIST OF EXAMPLES
Example 1. Schematic overview of Rowley’s Five Nocturnes (a)....................................27

Example 2. Nocturne in B Major by Ivor Gurney, mm. 33-38......................................... 29
Example 3. Nocturne in Ab Major by Ivor Gurney, mm. 52-59........................................29
Example 4. “Nocturne,” Two Russian Tone-Pictures by Arnold Bax, mm. 85-91...........30
Example 5. Nocturne No. 1 in B Minor, mm. 51-53..........................................................30
Example 6. Nocturne No. 2 in Db Major, mm. 59-60.......................................................31
Example 7. Nocturne No. 3 in G Major, mm. 17-20.........................................................31
Example 8. Nocturne No. 4 in E Major, mm. 26-28.........................................................32
Example 9. Nocturne No. 5 in F Major, mm. 21-26.........................................................32
Example 10a. Nocturne No.1 in B Minor, mm. 31-36......................................................33
Example 10b. Nocturne No. 2 in Db Major, mm. 38-46...................................................33
Example 11. “Nocturne,” Two Pieces for Piano, H. 179 by Gustav Holst, mm. 1-4.......34
Example 12. Notturno, Op. 54, No. 5 by Cyril Scott, mm. 54-55.....................................34
Example 13. Nocturne No. 3 in G Major, mm. 63-66.......................................................34
Example 14. Schematic overview of Rowley’s Five Nocturnes (b) .................................35
Example 15. “Souvenir,” Two Album Leaves, Op. 16, No. 2 by Rowley, mm. 27-32......37
Example 16. First Rhapsody, Op. 43 by Rowley, mm. 19-20...........................................37
Example 17a. Nocturne No. 1 in B Minor, mm. 1-4..........................................................37
Example 17b. Nocturne No. 2 in Db Major, mm. 1-4.......................................................38
Example 17c. Nocturne No. 3 in G Major, mm. 1-4.........................................................38
Example 17d. Nocturne No. 4 in E Major, mm. 1-3.........................................................38
Example 17e. Section A of Nocturne No. 5 in F Major, mm. 1-4....................................38
Example 18. B-minor pentatonic scale with embellishing tones.......................................42
Example 19. Nocturne No. 1 in B Minor, mm. 1-4............................................................42
Example 20. “La Cathédrale engloutie,” from Preludes Book 1, by Claude Debussy,
mm. 1-3.........................................................................................................43
Example 21. Nocturne No. 1 in B Minor, mm. 20-23.......................................................43
v
Example 23. Nocturne No. 1 in B Minor, mm. 1-18.........................................................45
Example 24. The left wrist movement for ostinato...........................................................46
Example 25. “Nocturno” from 30 Melodious and Rhythmic Studies, mm. 1-6................46
Example 26. Preliminary Table of Exercises, No. 1, Polyrhythms, Op. 50......................47
Example 27. Visualization for the first beat of measure 6 of Nocturne No. 1 in
B Minor.........................................................................................................47
Example 31. Nocturne No. 1 in B Minor, mm. 19-22........................................................51
Example 32. Gb-major pentatonic scale............................................................................52
Example 33. “Pentatonic,” The Etude in Tonality, Op. 44 by Rowley, mm. 1-5..............52
Example 34. Sequences in Nocturne No. 2 in Db Major by Rowley, mm. 5-12...............53
Example 35a. Nocturne No. 2 in Db Major, mm. 13-17...................................................53
Example 35b. Nocturne No. 2 in Db Major, mm. 22-31...................................................54
Example 35c. Nocturne No. 2 in Db Major, mm. 55-58...................................................54
Example 36. Practicing in syncopated rhythm, Nocturne No. 2 in Db Major, mm. 1-4...55
Example 37. “Breeze Song,” Op. 41, No. 1, Poetical Studies by Rowley, mm. 1-4........56
Example 38. Nocturne No. 2 in Db Major, mm. 18-21.....................................................58
Example 39. Jeux d’eau by Maurice Ravel, mm. 51-52...................................................59
Example 40: Nocturne No. 2 in Db Major, mm. 47-54.....................................................59
Example 41. Practice blocked chords in the left hand, Nocturne No. 2 in Db Major,
mm. 47-48.....................................................................................................60
Example 42. Bagatelle No. 4 by Rowley, mm. 1-4...........................................................60
Example 43. Practice quarter blocked intervals for the left hand, Bagatelle No. 4 by
Rowley, mm. 1-2..........................................................................................61
Example 46a. Nocturne No. 3 in G Major, mm. 26-29.....................................................63
Example 46b. Three descending chromatic 9th chords, Nocturne No. 3 in G Major,
m. 28...........................................................................................................63
vi
Example 47. The two motives in section A, Nocturne No. 3 in G Major.........................64
Example 48a. Ascending melody in Nocturne No. 3 in G Major, mm. 34-38..................64
Example 48b. Descending melody in Nocturne No. 3 in G Major, mm. 41-46................64
Example 49. Nocturne No. 3 in G Major, mm. 1-8...........................................................66
Example 51. First Rhapsody, Op. 43, mm. 88-91.............................................................67
Example 52. “Menuet” from Suite Bergamasque by Claude Debussy, mm. 52-53..........67
Example 54. Detailed dynamic change, Nocturne No. 4 in E Major, mm. 1-6.................70
Example 55. Nocturne No. 4 in E Major, mm. 1-2............................................................71
Example 56. The rhythmic motive of duplets and triplets, Nocturne No. 4 in E Major…72
Example 57. “A. D. MDCXX.” from Sea Pieces, Op. 55 by Edward MacDowell,
mm. 54-63....................................................................................................73
Example 58. Nocturne No. 4 in E Major, mm.15-16.........................................................74
Example 59. Practice duplet groups for the first two and half beats in measure 15,
Nocturne No. 4 in E Major...........................................................................74
Example 60. “Nautilus” from Sea Pieces, Op. 55 by Edward MacDowell, mm. 54-63...75
Example 61. Nocturne No. 4 in E Major, mm. 41-43........................................................76
Example 62. Practicing dotted rhythm for the left hand, Nocturne No. 4 in E Major,
m.41..............................................................................................................76
Example 63. Regrouping notes for the left hand, Nocturne No. 4 in E Major, mm 41.....77
Example 64a. Nocturne No. 4 in E Major, mm. 11-14......................................................78
Example 64b. Nocturne No. 4 in E Major, mm. 28-30......................................................78
Example 65. The rhythmic motive in section A, Nocturne No. 5 in F Major...................79
Example 66. Formal construction of section B in Nocturne No. 5 in F Major.................80
Example 67. Section A of Nocturne No. 5 in F Major, mm. 1-26....................................81
Example 68. Nocturne No. 5 in F Major, mm. 27-38.......................................................82
Example 69. Nocturne No. 5 in F Major, mm. 1-10.........................................................83
Example 70. Etude Op. 10, No. 3 by Chopin, mm. 38-41................................................84
Example 71. Nocturne No. 5 in F Major, mm. 27-30.......................................................84
Example 72. Four slurs in the left hand, Nocturne No. 5 in F Major, mm. 27-30............86
vii
Example 73. More conventional musical shape in the left hand, Nocturne No. 5 in F
Major, mm. 27-30.........................................................................................86
Example 74. Nocturne No. 5 in F Major, mm. 39-46........................................................87
Example 75. Regrouping by hand position, Nocturne No. 5 in F Major, mm. 43-46.......89
Example 76. Regrouping practice, Nocturne No. 5 in F Major, mm. 43-45.....................89
Example 77. Nocturne No. 5 in F Major, mm. 47-56........................................................90
viii
Chapter 1
INTRODUCTION
1. Background
For close to one hundred and fifty years after Henry Purcell’s death in 1695, it has
been noted innovation in classical music did not flourish in Great Britain. John Gillespie
asserts that “there was of course an interest in music—the oratorios and operas of Handel’s
time, the distinguished teaching and playing of Clementi and Cramer, the influence of John
Field and his Nocturnes—but the British tradition of excellence in composition was at a
standstill.”1 Many British composers in the second half of the nineteenth and first half of
the twentieth centuries pursued a variety of musical styles, contributing greatly to the
literature. Arnold Bax and John Ireland composed in the Romantic and Post-Romantic style,
respectively; Gustav Holst, Ralph Vaughan Williams and George Butterworth advocated a
revival in folk song; and Benjamin Britten advanced both English operas and orchestral
music. Peter Warlock and Ivor Gurney furthered English songwriting, while Frank Bridge
and Vaughan Williams both blended elements of modernism with pastoralism. The variety
of genres collectively created a colorful palette for British music during the late nineteenth
and early twentieth centuries.
Alec Rowley (1892-1958) was among Britain’s twentieth-century musicians. A
composer, organist, pianist, lecturer and writer of music, he attended the Royal Academy
of Music, whereafter he taught at the Trinity College of Music, and was elected as a Fellow
of the Royal Academy of Music. Although overshadowed by his contemporaries, Rowley
1
John Gillespie, “Twentieth-Century Keyboard Music: France, Hungary, Holland, Spain, And
England,” in Five Centuries of Keyboard Music (New York: Dover Publications, 1972), 366.
1
2
made significant contributions to music from both the vantage point as a composer and
educator, which cannot be ignored. His accomplishments in composition are particularly
evident in the piano solo pieces, meanwhile, his writings and books on harmony, melody,
form and musicianship also contribute to the pedagogical literature. 2 As a performer,
Rowley actively broadcasted piano duets with Edgar Moy between 1933 and 1943. While
most British composers concentrated on orchestral and chamber music, Rowley devoted
himself to solo piano works. His biography reveals his dedication to the education of the
young, particularly manifested in his keyboard pieces. These works demonstrate a vehicle
for students to improve their understanding and performance of techniques from varying
musical styles. From his output, Rowley deserves to be known by pianists, not only for the
abundance of accessible piano works composed, but also for their practical pedagogical
suggestions. The scholarship on Rowley is scarce, limited to one dissertation, a single book,
and only brief mention in several sources. 3 Rowley’s five piano nocturnes, which are
substantial of all his solo piano works, merit close exploration.
Before delving into Rowley’s contribution to the genre, one might pause to examine
the general scope of nocturnes and their development. The nocturne is described as “a piece
2
Rowley exclusively wrote several reference books, such as Do’s and Don’ts for Musicians (1938),
Four Hands—One Piano (1940), Practical Musicianship (1941), A Pocket Pronouncing Musical Dictionary
(1944), It’s Time We Laughed (1944).
Four reference books were written by Rowley and J. Raymond Tobin as joint authors: Graded Tests in
Practical Musicianship and Musical Initiative (1937), Harmonisation at the Piano (1937), Melody Making
at the Piano (1937), Musical Form at the Piano (1942).
3
Refer to Literature Review:
Adrienne Wiley-Lippoldt, “A Pedagogical and Performance Analysis of the Five Miniature Preludes and
Fugues, Etudes in Tonality, Op. 44, and Polyrhythms, Op. 50 by Alec Rowley” (D.M.A. Diss., University of
Oklahoma, 1991). Beryl Kington, Rowley Rediscovered: The Life and Music of Alec Rowley (London:
Thames Publishing, 1993). Adrienne Wiley-Lippoldt, "The Best of the British: Selected Educational Piano
Works by Alec Rowley," MTNA e - Journal 9, no. 3 (February 2018). Maurice Hinson, Guide to the Pianist's
Repertoire. Second, Revised and Enlarged ed. (Bloomington: Indiana University Press, 1987).
3
suggesting night, usually quiet and meditative in character, but not invariably so.” 4
According to Brown and Hamilton, “the Italian term notturno occurred frequently as a title
in eighteenth-century music, but the French nocturne did not appear until John Field
applied it to lyrical piano pieces written between 1812 and 1836.”5 Field was the pioneer
of nocturnes, from whom “Chopin ennobled the form originated by Field, giving it
dramatic breadth, passion and even grandeur. Set against Field’s naïve and idyllic
specimens, Chopin’s efforts are often too bejeweled for true simplicity, too lugubrious, too
tropical.” 6 Historically, the influence of the bel canto style, which is represented by
operatic composers such as Vincenzo Bellini and Gaetano Donizetti, has always been
considered a significant influence on the nocturnes of both Field and Chopin. Nocturne can
also be described as suggesting “more specifically a short piano piece of romantic
character.” 7 One might also define nocturnes as “short mood pieces with beautiful,
embellished melodies above sonorous accompaniments.”8 The nocturne, as a genre, is not
as frequently discussed as other keyboard genres, such as the sonata, etude, or concerto,
with a focus on the nocturnes of Chopin and Field. There have been analyses of Gabriel
4
Maurice J. E. Brown and Kenneth L. Hamilton, “Nocturne,” In The New Grove Dictionary of
Music and Musicians, ed. Stanley Sadie, 2d ed., (London: Macmillan, 2001), 18:11-12.
5
Ibid.
6
James Huneker, Chopin: The Man and His Music (New York: Dover Publications, 1966). 142.
7
Joyce Kennedy, Michael Kennedy, and Tim Rutherford-Johnson, eds., “Nocturne,” In The Oxford
Dictionary of Music (Oxford University Press, 2012). https://www-oxfordreference-
com.access.library.miami.edu/view/10.1093/acref/9780199578108.001.0001/acref-9780199578108-e-6497.
8
J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music (New
York: W. W. Norton & Company, Inc., 2014), 616.
4
Fauré’s thirteen nocturnes and Francis Poulenc’s eight nocturnes. 9 Aside from these
composers, the literature focuses on nocturnes in twentieth-century America,10 or teaching
strategies of the twentieth-century nocturnes. 11 Research has yet to be conducted
specifically concerning British nocturnes. With the abundance of piano nocturnes
composed by British composers, the scarcity of corresponding research and discussion is
puzzling.
2. Need for the Study
This project aims to provide a performance guide with pedagogical suggestions for
Alec Rowley’s five piano nocturnes. Besides establishing Rowley’s importance as a
composer, the project also defines and highlights salient compositional characteristics
throughout the nocturnes. Details concerning Rowley’s musical life, his influences, as well
as a general introduction to his piano oeuvre shall also be discussed.
British composers’ piano works have comparatively received less attention than
other European or Russian compositions. Western music history textbooks frequently turn
directly to atonal music in the twentieth century after discussing late German Romanticism
and French Impressionism. Additionally, it is commonly thought that few works of creative
significance appeared in Britain following Purcell in the Baroque era.12 British composers,
9
Patricia Tian-Chia King, “Gabriel Fauré and the Development of the Nineteenth-Century Piano
Nocturne” (M.A. thesis, University of Southern California, 1979). Joseph Anthony Valicenti, “The Thirteen
Nocturnes of Gabriel Fauré” (D.M.A diss., The University of Miami, 1980).
10
Chan Kiat Lim, “Twentieth-Century Piano Nocturnes by American Composers: Echoes of
Romanticism” (D.M.A Diss., University of Cincinnati, 2004).
11
Jessica L Murdock, “Night Music: The Twentieth Century in Piano Teaching” (D.M.A. Diss.,
University of Northern Colorado, 2012).
12
A representative statement by Gillespie is already quoted in the beginning of this essay.
5
however, wrote valuable pieces, to which the prolific, but often ignored Alec Rowley, also
contributed.13 Rowley wrote over fifty piano works. Although most of them are miniatures,
these solo pieces are worth exploring, not only for aesthetic merit, but also for their
pedagogical value. Among Rowley’s piano output, his Five Nocturnes are substantial.
None of his other piano collections were written over such an extensive period of time or
demonstrate his colorful and musical languages as masterfully. The first two nocturnes
were published in 1932, with the latter three in 1947. Collectively, the five works capture
the whole of Rowley’s mature musical palette, which include influences of French
Impressionism as well as jazz idioms.
Except for using ABA form and bel canto style, Rowley’s Five Nocturnes show
little resemblance to those of Chopin or Field, indicating an original approach to the genre.
Irregular phrases, thick textures, leisurely, folk-inspired melody, dance-like rhythms,
planing technique, extended chords (seventh, ninth, and eleventh chords), and chromatic
progressions reveal that the nocturne, especially in the twentieth-century Britain,
intertwined with other musical styles like impressionism, jazz, or idylls. 14 Brown and
Hamilton point out that “after Field and Chopin, the effusive lyricism in nocturnes was
replaced by an attempt to capture the fevered visions and dreams of the night or to evoke
its natural sound world in musical terms that may be very far from those of the drawing-
13
According to the author’s investigation, few British composers wrote as many piano solo pieces
as Rowley in the first half of the twentieth century.
14
Don Michael Randel and Willi Apel, The New Harvard Dictionary of Music (Cambridge, Mass.:
Belknap Press of Harvard University Press, 1986), 389: “Idyll means (1) A short work in prose or verse
depicting rustic life, sometimes synonymous with pastoral or eclogue. (2) A musical work evoking the quality
of pastoral or rural life.” For the text, it refers to the second explanation.
6
room.”15 Therefore, it can be said that the nocturne in the twentieth century is no longer
limited to lyrical “night music.” Besides Alec Rowley, other British composers who shared
the above-mentioned traits and who left their mark in the genre include York Bowen,
Benjamin Britten, Gustav Holst, Ralph Vaughan Williams, Arnold Bax, Ivor Gurney,
Joseph Holbrooke, and Kaikhosru Shapurji Sorabji. For instance, the first theme of Holst’s
nocturne depicts a frozen but dreamy scene by ascending and descending sixteenth notes
in the high register as accompaniment against parallel-fifth melodies, while the second
theme displays the fevered and ecstatic vision by flowing tritones in strong dynamics.
Sorabji’s “Arabesque Nocturne” from his Piano Symphony No. 6 uses chromatic
figurations with soft touch in the high register in order to depict the natural sound at night
like the leaves rustling in the wind.
However, most of the nocturnes of Britten, such as those by Bowen, Holst, Vaughan
Williams, and Bax, are not individual works but movements within a set of pieces.
Holbrooke’s Eight Nocturnes for Piano, Op. 121 is an exception, containing eight
nocturnes as a set, but the pieces are short and are not as varied as Rowley’s Five Nocturnes.
Sorabji, born in the same year as Rowley, is unique as a prolific composer of this genre.
Most of his nocturnes are atonal and virtuosic, only accessible by advanced pianists, and
as such, they will remain outside of the scope of this study. Exploring Rowley’s Five
Nocturnes thus expands our understanding of the fresh styles of the British nocturne in the
twentieth century, as well as the link between this genre and other musical styles that will
contextualize Rowley’s five piano nocturnes.
15
Maurice J. E. Brown and Kenneth L. Hamilton.
7
Pedagogically speaking, Five Nocturnes are most desirable for supplementation in
piano study as they cover a range of difficulty for the styles in question (impressionism,
idyll, and chromaticism): the earlier two nocturnes are on the upper-intermediate level, and
the later three are moderately advanced. In addition to these works being an excellent
introduction to British nocturnes, students can gain a better understanding of
impressionistic and idyllic styles by learning these nocturnes. The significance of this is
appreciated only by considering the fact that piano students trained through standard
teaching repertoire are normally expected to absorb the sudden increase in difficulty
encountered beyond the intermediate repertoire in Baroque and Classical styles. Rowley’s
nocturnes will be able to bridge this gap in levels, better preparing students to move on to
more difficult piano compositions in these and other styles.
3. Methodology
In order to offer a comprehensive performance guide and pedagogical suggestions
of the five piano nocturnes by Alec Rowley, this project employs three strategies: (1)
musical analysis of elements found in Rowley’s Five Nocturnes, (2) consultation of the
references listed in the literature review, relating to Rowley’s biography, the nocturne
genre, pastoral elements, and British music in the late nineteenth and the first half of the
twentieth centuries, and (3) parenthetically illustrating other British contemporaries’
nocturnes as a point of reference and comparison.
For the musical analysis, Rowley’s Five Nocturnes will be examined from the
performer’s perspective, noting relevant tonal and harmonic language, texture, and other
musical elements that aid in interpretation such as phrasing, rhythm, tempo, articulations,
8
implied touch, and dynamics. Meanwhile, comparisons between Rowley’s Five Nocturnes
and similar works of other composers will also be drawn. In this way, it will be clear which
styles inspired Rowley’s nocturnal language. Relevant references will be made to Rowley’s
pedagogical works, where appropriate.
This project analyzes Rowley’s Five Nocturnes based on the Winthrop Rogers
Edition, printed by Boosey & Hawkes in 1932 (for the earlier two nocturnes) and 1947 (for
the latter three).

Chapter 2
LITERATURE REVIEW
1. Rowley’s piano works and his musical life
Most of Rowley’s piano works remain largely unexplored. The comprehensive
second edition of Maurice Hinson’s Guide to the Pianist's Repertoire (1987) provides an
entry for Rowley, although only four works are mentioned: Twelve Little Fantasy Studies,
Op. 13, Etudes in Tonality, Op. 44, Polyrhythms, Op. 50, and Sonatinas, Op. 40. Hinson’s
ranking for the four works are as follows: Op. 13 easy, Op. 44, intermediate, and Op. 50 and
Op. 40, moderately difficult. 16 According to this standard, Rowley’s first two nocturnes
could be categorized in the upper-intermediate level, and the other three in the moderately-
advanced level.
Jane Magrath’s The pianist’s Guide to Standard Teaching and Performance
Literature (1995) grades selected piano works through Baroque, Classical, Romantic, and
twentieth-century styles by ten levels, which are from beginning to early-advanced levels.17
Magrath mentions thirteen Rowley’s piano works, including Elves and Fairies (Levels 1-2),
Five Miniature Preludes and Fugues (Level 2), From My Sketch Book, Op. 39 (Level 2), 12
Little Fantasy Studies, Op. 13 (Levels 2-3), 10 Miniatures From a Paris Window (Level 4),
Happenings (Level 4), From Dell and Hillside: Five Outdoor Pieces for Piano, Jolidays,
Marionettes,18 Sonatinas, Op. 40 (Level 6), 30 Melodious and Rhythmic Studies, Op. 42 and
16
Maurice Hinson, Guide to the Pianist's Repertoire. Second, Revised and Enlarged ed.
(Bloomington: Indiana University Press, 1987), 616.
17
Jane Magrath, The pianist’s Guide to Standard Teaching and Performance Literature (Van
Nuys: Alfred Publishing Co., Inc., 1995).
18
No level suggested.
9
10
Op. 43, Etudes in Tonality, Op. 44 (Levels 9-10), and Polyrhythms (Level 10). Unlike
Hinson, grading Op. 40 and Op. 50 as “moderately difficult,” Magrath grades Op. 40 as
Level 6 and Op. 50 as Level 10.
Adrienne Wiley-Lippoldt’s dissertation, “A Pedagogical and Performance Analysis
of the Five Miniature Preludes and Fugues, Etudes in Tonality, Op. 44, and Polyrhythms,
Op. 50 by Alec Rowley” (1991), is the only dissertation concerning Rowley’s piano
works.19 Wiley-Lippoldt divides these three sets into corresponding levels of difficulty:
early intermediate, intermediate, and late intermediate to early advanced. This exploration
of the three works is also good preparation for accessing more difficult pieces in these
styles: Five Miniature Preludes and Fugues are excellent preparatory studies for the easier
works of J. S. Bach, tonality for larger works in the twentieth-century idioms, and
polyrhythms for a series of rhythmic studies. They prepare students to perform music from
various stylistic periods.20 In chapters III, IV, and V, the author offers harmonic and modal
analysis, a practice guide, and discussion of performance suggestions. Pertinent to the
present study is Wiley-Lippoldt’s discussion of jazz idioms in Etudes in Tonality, Op. 44,
which relate to Rowley’s later three nocturnes. Moreover, her application of Rowley’s
Preparatory Exercise to reinforce the tactile sense of the polyrhythmic patterns in Op. 50
is especially relevant to the study of the nocturnes. In my analysis, I adopt a similar
approach in discussing the pedagogical value of polyrhythms in his Five Nocturnes.
19
Adrienne Wiley-Lippoldt, “A Pedagogical and Performance Analysis of the Five Miniature
Preludes and Fugues, Etudes in Tonality, Op. 44, and Polyrhythms, Op. 50 by Alec Rowley” (D.M.A. Diss.,
University of Oklahoma, 1991).
20
Ibid, 5-7.
11
An additional article by Wiley-Lippoldt, “The Best of the British: Selected
Educational Piano Works by Alec Rowley” (2018) offers a stream-lined discussion,
focusing on the above-mentioned three collections by Rowley. The article omits the
performance questions posed in her dissertation and instead provides detailed analysis of
each work. Each piece is discussed in one paragraph with a musical example. Wiley-
Lippoldt declares that “Nocturne,” the sixth piece of Polyrhythms, “is captivating and
certainly fastens upon the styles and sound of the nocturne by Chopin.”21 In my analysis,
however, I argue that Rowley’s five piano nocturnes are less influenced by the Polish
composer’s characteristic sentimental and embellished melodies and lyrical broken-chords
accompaniment with the left hand.
The single most important source on Rowley’s life and music is Beryl Kington’s
Rowley Rediscovered: The Life and Music of Alec Rowley, written in 1993, around the
centenary of Rowley’s birth.22 Kington collects materials such as unpublished lecture notes
and correspondence between him and other composers, and manuscripts, to provide readers
with a vivid and multi-dimensional portrait of Rowley. Kington’s panegyric “A
Commemoration of Alec Rowley, 1892-1958” (1992) celebrates the composer’s music
with descriptions of the commemoration concert’s program. 23 His article also introduces
readers to the Rowley’s friendships with Peter Warlock, E. J. Moeran, and John Ireland,
whose compositions were also featured in that concert. As the pianist for the celebration
21
Adrienne Wiley, “The Best of the British: Selected Educational Piano Works by Alec Rowley,”
MTNA e - Journal 9, no. 3 (February 2018): 16.
22
Beryl Kington, Rowley Rediscovered: The Life and Music of Alec Rowley (London: Thames
Publishing, 1993).
23
Beryl Kington, “A Commemoration of Alec Rowley, 1892-1958,” Aspect of British Song: A
Miscellany of Essays (1992): 74-81.
12
concert, Kington discusses the background of the concert repertoire. Most of the pieces are
vocal music; the solo piano pieces include Moeran’s Miniature Tone-poem Stalham River,
and Ireland’s Greenways, Chelsea Reach, Amberley Wild Brooks, and Song of the
Springtides. Although there is no solo piano piece of Rowley in this concert, readers may
learn about Rowley’s vocal compositional style and how his friends’ musical language
influenced him.
2. Nocturnes
A good overview of the historical development of the nocturne as a genre in the
twentieth century can be obtained from two doctoral dissertations: “Night Music: The
Twentieth Century in Piano Teaching” (2012) by Jessica L. Murdock and “Twentieth-
Century Piano Nocturnes by American Composers: Echoes of Romanticism” (2004) by
Chan Kiat Lim.24 Murdock discusses selected nocturnes written after 1900 by composers
from different countries. Within her section on British nocturnes, Murdock mentions those
composed by Benjamin Britten (1913-1976), Gustav Holst (1874-1934), and Ralph
Vaughan Williams (1872-1958). The theoretical and pedagogical analysis introduces
readers to the new style of nocturne writing in the twentieth century: lyricism combined
with distinct dissonance, subdued openings and endings, contrasting central sections, and
rhythmic freedom. Although Rowley is notably absent from Murdock’s dissertation, her
research provides a useful backdrop for comparison when analyzing Rowley’s nocturnes.
24
Jessica L Murdock, “Night Music: The Twentieth Century Nocturne in Piano Teaching” (D.M.A.
diss., University of Northern Colorado, 2012).
13
Chan Kiat Lim’s doctoral dissertation “Twentieth-Century Piano Nocturnes by
American Composers: Echoes of Romanticism” selects twelve American composers in the
twentieth century, exploring the correlation between modern nocturnes and those from the
25
Romantic tradition. Through an investigation of style, melody, texture, mood,
ornamentation, form, and harmony, Lim reveals that despite the modern idioms, most
American nocturnes demonstrate the return of tonality and neo-Romanticism.
While an in-depth study of nocturnes by major composers often associated with the
genre is outside the scope of this study, the following works help grasp the existing
scholarship on the nocturnes by John Field, Frédéric Chopin, and Gabriel Fauré.
Allan J. Wagenheim’s book John Field and the Nocturne (2006) divides John
Field’s eighteen nocturnes into two categories: introspective and idyllic.26 The eighteen
nocturnes featured are distinguished by the presence of ten characteristic figures or motifs:
the yearning, the sigh or sob, the cry of outburst, the flight or release, mood contrast, mode
alterations, the struggle, the pang or stab, the conversation, and the leap. The author also
demonstrates the influence of Haydn, Mozart, and Beethoven on Field. Haydn brought
Field a new language for expressing emotion, Mozart’s use of the building blocks in slow
movements of sonatas influenced Field, and dark hues in slow movements of Beethoven’s
sonata affected Field’s nocturnes. This comparison familiarizes Wagenheim’s readers with
Field’s style, describing the early characteristics of the nocturne genre in music history.
25
Chan Kiat Lim, “Twentieth-Century Piano Nocturnes by American Composers: Echoes of
Romanticism” (D.M.A. diss., University of Cincinnati, 2004).
26
Allan J. Wagenheim, John Field and the Nocturne (Philadelphia: Xlibris Corporation Press, 2006),
14.
14
Patrick Piggott’s book The Life and Music of John Field, 1782-1837, Creator of
the Nocturne (1973) discusses the life and compositions of Field as the title suggests.27
Chapter XIII is dedicated to nocturnes, with description of the general characteristics of
each nocturne as well as the influences that other composers had on Field. Piggott points
out Field’s preferences for the major keys, ternary form, the bel canto style of melodic
writing that originated from Italian vocal tradition, and decoration rather than development.
Field’s nocturnes draw parallels with Rowley’s: excepting the first nocturne, the other four
are in major keys, and all five piano nocturnes are in simple ternary form. Unlike Field,
however, Rowley’s nocturnes contain developments of thematic contrasts and modulations.
Decoration or embellishment is also uncommon in the Rowley’s works.
A third source by Lisa Jean Zdechlik, “Texture and Pedaling in Selected Nocturnes
of Frédéric Chopin,” (2001) examines the textural fabric of four nocturnes, conveying how
Chopin expanded the sonorous capabilities of the piano through his treatment of texture
and the innovative use of the damper pedal. 28 Chopin’s nocturnes are his most poetic,
intimate piano works, composed over a period of approximately twenty years, beginning
from 1828 to 1847. Zdechlik explores each nocturne by analyzing various elements
(melody, rhythm, harmony, form, dynamics, timbre, and articulations). She also
categorizes the textural types (monophonic, homophonic, heterophonic, and polyphonic),
while describing texture settings (voicing, spacing, linear motion, and density). Whereas
the literature on Chopin’s nocturnes is plentiful, Zdechlik’s work distinguishes itself
27
Patrick Piggott, The Life and Music of John Field, 1782-1837, Creator of the Nocturne (Berkeley:
University of California Press, 1973), 116.
28
Lisa Jean Zdechlik, “Texture and Pedaling in Selected Nocturnes of Frédéric Chopin” (D.M.A.
Diss., The University of Oklahoma, 2001).
15
through her analysis of the parametric musical elements in Chopin’s nocturnes, with
particular focus on texture. Zdechlik traces Chopin’s ornamentation to Hummel, and his
cantilena to Clementi, J. L. Dussek and John Field. Like many other scholars, she attributes
the contrapuntal practice in most of Chopin’s later nocturnes to his admiration of J.S. Bach.
Similar to Chopin, Rowley applies counterpoint in his nocturnes, especially the last three.
This project shall investigate how the textural writing of Rowley’s nocturnes affects his
nocturnes’ sonorities.
Patricia Tian-Chia King’s master thesis, “Gabriel Fauré and the Development of
the Nineteenth-Century Piano Nocturne (1979), investigates Fauré’s thirteen nocturnes,
which were composed across his three compositional periods.29 Fauré’s stylistic evolution
is explored by analyzing phrasing, texture, melody, form, theme development and keys.
This thesis also raises pedagogical considerations. Joseph Anthony Valicenti’s doctoral
essay “The Thirteen Nocturnes of Gabriel Fauré” (1980) also contains the analysis and
pedagogical aspects of the thirteen nocturnes. 30 Valicenti evaluates each nocturne,
emphasizing their innovation in composition, or Fauré’s borrowing of stylistic traits from
Chopin and Field. “A Profound Identity: Evidence of Homogeneity in Gabriel Fauré’s
Thirteen Piano Nocturnes” (2015), a doctoral dissertation written by Peter Cirka, analyzes
the homogeneity in the thirteen nocturnes.31 The homogeneous traits include the use of
augmented triads, transient use of strong mediants, use of the double-neighbor motive,
29
King, Patricia Tian-Chia, “Gabriel Fauré and the Development of the Nineteenth-Century Piano
Nocturne” (Master Thesis, University of Southern California, 1979).
30
Joseph Anthony Valicenti, “The Thirteen Nocturnes of Gabriel Fauré” (D.M.A diss., University
of Miami, 1980).
31
Peter Cirka, “A Profound Identity: Evidence of Homogeneity in Gabriel Fauré’s Thirteen Piano
Nocturnes” (D.M.A. diss., Boston University College of Fine Arts, 2015).
16
development of primary themes within contrasting textures, use of ascending sequences to
accomplish climax, and exhaling gestures after climaxes.
These theses on Fauré’s nocturnes allow us to discern common compositional traits
between Fauré and Rowley, such as harmonic parallelism, frequent change of tonal
reference, preference of seventh chords, and chromatic progression.
3. Pastoral elements
Alec Rowley held special affection for the music of Edward MacDowell, dating to
his youthful years when he first heard “Nautilus” from Sea Pieces, Op. 55.32 Considering
the strong resemblance between musical elements of Rowley’s nocturnes with the idylls of
MacDowell, an overview of the latter’s musical styles further penetrates Rowley’s own
compositional style. Random Notes on Edward MacDowell and His Music (1950), written
by MacDowell’s widow Marian MacDowell, is a personal collection of writings on her
husband’s piano compositions. 33 This resource offers readers an intimate and rich
background to his piano pieces, emphasizing MacDowell’s focus on mood and expression
in his music. In addition, the love of nature is clear throughout his compositions, with
inspiration from landscapes, plants and animals.
“The Short Piano Works of Edward MacDowell” (1982), the doctoral dissertation
of Francis Paul Brancaleone, answers basic questions about MacDowell and his music, and
offers a chronological account of his piano output.34 By presenting the background and
32
Beryl Kington, Rowley Rediscovered: The Life and Music of Alec Rowley, 49.
33
Marian MacDowell, Random Notes on Edward MacDowell and His Music (Boston: Arthur P.
Schmidt, 1950).
34
Francis Paul Brancaleone, “The Short Piano Works of Edward MacDowell” (PhD diss., City
University of New York, 1982).
17
general analysis for each piece between Op. 10 and Op. 62, readers can learn about the
evolution of MacDowell’s musical style across his three compositional periods. Abbie
Corrine Brewer’s “A Performance Guide to Selected Character Pieces of Edward
MacDowell” (2013) explores influences of Romanticism, nationalism, Impressionism, and
transcendentalism present in MacDowell’s music.35 With this performance guide for three
late character pieces (Woodland Sketches, Op. 51, Fireside Tales, Op. 61, and New England
Idyls, Op. 62), the readers gain familiarity with the composer’s musical philosophy, as well
as his late period musical style, which blends both Romantic and impressionistic elements.
A discussion on the aesthetic of the “pastoral” element in British musical tradition
can be found in Eric Saylor’s book English Pastoral Music: From Arcadia to Utopia, 1900-
1955 (2017).36 Saylor makes a case for the cultural and creative importance of English
pastoral music, and he sets a framework for readers to consider early twentieth-century
pastoral music from expressive and stylistic perspectives. Saylor indicates that English
pastoral music edifies and entertains masses and communicate a distinctive vision for
music’s role in the national culture. He writes that “musical pastoralism is more akin to an
expressive mode than a discrete genre. That is, its manifestation requires the presence of
certain distinctive musical effects, but not every possible effect must be present to invoke
35
Abbie Corrine Brewer, “A Performance Guide to Selected Character Pieces of Edward
MacDowell” (D.M.A. diss., The University of Iowa, 2013).
36
Eric Saylor, English Pastoral Music: From Arcadia to Utopia, 1900-1955. (Champaign:
University of Illinois Press, 2017).
18
the pastoral mode.”37 He also discusses the response of pastoralism to the First World
War.38
Reymond Monelle’s The Musical Topic: Hunt, Military, and Pastoral (2006)
discusses the history of musical pastoralism. He points out general pastoral musical traits:
parallel thirds, leisurely melodies, compound meters, long pedal points, and dotted rhythms.
The folk-like melody and dance-like rhythm usually evoke landscape life and rustic
scene.39
What Is Pastoral? (1996), by Paul Alpers, discusses the pastoral in literature.
Alpers exhibits representative anecdotes and ideas of the pastoral as well as its
representative roles. Alpers indicates that pastoral is a literary mode based on a
representative anecdote.40 Although pastoral music is not discussed, readers may still learn
about the pastoral through literary aspects such as corresponding pastoral lyricism and
narration.
37
Ibis, 17.
38
Saylor asserts that many British composers served in the war, or, if they did not come to the front
lines, the war irrevocably changed their works. Therefore, The First World War brought the pastoral music
multiple meanings, which include elegiac works, commentaries on the war, and personal responses to the
conflict.
39
Raymond Monelle, The Musical Topic: Hunt, Military, and Pastoral (Bloomington: Indiana
University Press, 2006), 230.
40
Paul Alpers, What Is Pastoral? (Chicago: University of Chicago Press, 1996), ix.
19
4. British music in the late nineteenth and the first half of the twentieth
centuries
In Music for Piano: A Short History (2004), F. E. Kirby asserts that during the
nineteenth century, Britain did not establish a national musical tradition, but German and
French music and musicians prevailed. Only four major English composers at the
beginning of twentieth century—Ralph Vaughan Williams (1872-1958), Sir William
Walton (1902-1983), Sir Michael Tippett (1905-1998), and Benjamin Britten (1913-
1976)—produced significant output for the piano. 41 Admittedly, while the above-
mentioned British composers made contributions to the piano literature in the first half of
twentieth-century Britain, they are better known by their contribution to other musical
genres like opera, symphony and vocal music. The book ignores Rowley, a prolific
composer who wrote more than fifty piano pieces.
Frank Howes’ The English Musical Renaissance (1966) discusses the composers
in the late nineteenth and the early twentieth centuries.42 The book has three sections—
“gestation,” “birth,” and “growth”—which refer to the revival process of English music.
Howes describes the revivals of folk music, Tudor music and Bach style, the Nationalists,
the musical employment of late Romanticisms, and the Post-War scene in English musical
life.
Modern British Music: The Second British Musical Renaissance—From Elgar to
P. Maxwell Davies (1994), written by Otto Karolyi, describes the flourishing and colorful
41
F. E. Kirby and G. Pauly Reinhard, Music for Piano: A Short History (New Jersey: Amadeus
Press, 2004), 338-40.
42
Frank Howes, The English Musical Renaissance (New York: Stein and Day, 1966).
20
music during that period.43 Each chapter introduces one musical style, with representative
composers. This book could be seen as supplementary to Howes’ work.
43
Otto Karolyi, Modern British Music: The Second British Musical Renaissance—From Elgar to P.
Maxwell Davies (London: Associated University Presses, 1994).
Chapter 3
LIFE AND PIANO SOLO WORKS
1. Biography of Alec Rowley (1892-1958)
He earned repute as a pianist, organist, and teacher (both privately and at Trinity College of Music);
his wide experience and practical outlook rendered valuable service to the cause of musical education, and
he was particularly prominent as a facile and attractive composer.44
Alec Rowley was born in the Parish of St. Paul’s in West London on March 13,
1892. He began taking music lessons with his uncle at the age of six. A child prodigy,
Rowley became an assistant church organist by age twelve before attending the Royal
Academy of Music in 1908, when he was only sixteen. He then studied under Frederick
Corder (1852-1932), a famous English composer and expert on Wagner’s operas, who
cultivated talents such as Arnold Bax, York Bowen and Joseph Holbrooke. He also learned
to play the organ from Henry Richards. During Rowley’s study in the college, he was
rewarded many honors, such as the Henry Smart Scholarship (1911), the Oliveria Prescott
Prize (1914), the Charles Mortimer Prize (1914), and the Lafontaine Prize (1914). With the
outbreak of World War I, Rowley joined a medical team for military service in 1915. In
1918, he returned to the Royal Academy of Music in hopes of a faculty position, but the
school did not accept him. Consequently, Rowley joined the professorial staff of Trinity
College of Music, teaching piano and composition from 1919. In 1921, Rowley became
44
Herbert Arthur Chambers, “Obituary of Alec Rowley,” The Musical Times, Vol. 99, no. 1381
(March 1958): 152.
21
22
the appointed organist of St. Alban and Martyr church in Teddington, where he spent the
next thirty-seven years.
Rowley travelled to France for the first time in 1928, at the age of thirty. As a letter
from Robertson relates, “Rowley, who already admired the music of France, fell in love
with Paris. He experienced the excitement of Montmartre, heard Maurice Chevalier and
Mistinguett, and saw the paintings of Toulouse Lautrec. Victor Hugo was added to the long
list of authors whose books he enjoyed reading.”45 Rowley respected the music and art of
France, and his piano works embody some French influence, namely, Impressionism and
sentimental flavor.
Rowley had two marriages, the first one was with Mary Evelyn Shaw (1930-1932),
and the second was with Sheila Rowley (1934-late 1940s). Both marriages only lasted for
a short time, and Rowley remained single after the 1940s.
From 1933 to 1943, Rowley and his childhood friend Edgar Moy, also an
accomplished pianist, began to broadcast piano duets through BBC. Their co-hosted radio
shows and presentations enjoyed a widespread reputation in Europe. The repertoire
featured Rowley’s works, but also included pieces by other composers as well.
In addition to his musical career, Rowley was passionate about tennis. On January
12, 1958, this composer collapsed and passed away in a tennis match at Oatlands Park
Hotel in Surrey.
As a composer, Rowley wrote various genres: works for piano solo, concerti, piano
duets, orchestral pieces, chamber music, organ pieces, plays, choirs, and solo vocal works.
45
Beryl Kington, Rowley Rediscovered: The Life and Music of Alec Rowley (London: Thames
Publishing, 1993), 90. The primary citation is from Rowley, A/ Robertson, A: letters 17 and 22 Nov 1943,
BBC Written Archives (BWA).
23
His younger sister, Doris Rowley, was a famous writer and frequently provided the lyrics
to Rowley’s vocal output. Rowley claimed that music should be accessible to everyone
rather than only professional students. Consequently, most of his musical works are brief
and contain lyrical melodies, making his pieces accessible. They are also excellent
educational materials for late intermediate and moderately advanced students.
As a scholar, Rowley gave many lectures. Some of them were illustrated lectures,
while others, featured recitals. He emphasized the importance of emotional expression in
musical performance and provided suggestions for teachers.46 In addition, Rowley wrote
many pedagogical treatises; some were written exclusively as the sole author, and some in
collaboration with J. Raymond Tobin.47 Furthermore, Rowley served as an advisor for
several prominent music publishers, among which included Boosey & Hawkes, Joseph
Williams, Schott, Lengnick, Ashdown, and Novello.
46
Kington, Rowley Rediscovered: The Life and Music of Alec Rowley, 72.
47
Refer to footnote 2.
24
2. Piano solo output of Rowley
Rowley wrote close to 250 piano solo pieces, with most as character pieces ranging
in levels from intermediate to moderately-advanced.48 These works were clearly intended
for teaching purposes. The following offers a discussion of select pieces ranging from easy
to difficult, as determined by the author.
Progressive Studies (1942) contains a selection of short compositions by Rowley,
as well as Carl Czerny and Hermann Berens. All of the pieces are in C, F or G major, and
provide varied technique exercise for primary students.
Some collections of small character pieces are good teaching resources for primary
or early-intermediate students. Outward Bound (1922), Seven Stencils (1926), Two Album
Leaves, Op. 16 (1916), Four Bagatelles (1957), and From My Sketch Book: Ten Short
Pieces (1932) are attractive works for young pianists to explore the beauty of piano music.
Five Miniature Preludes and Fugues (1946) consists of short, one-page pieces,
which are excellent preparatory exercises for J. S. Bach’s Well-Tempered Clavier. The
keys of these five miniatures are limited just to C major, A minor, F major and D minor.
For each fugue, Rowley additionally marks “subject,” “answer,” “invention,” and
“augmentation.” Therefore, these pieces can serve as an entry point to learning about the
prelude and fugue genre for early-intermediate students.
30 Melodious and Rhythmic Studies, Opp. 42 and 43 (1934) provide intermediate
and early-advanced students with various technical practices, including exchanging
48
Adrienne Wiley, “The Best of the British: Selected Educational Piano Works by Alec Rowley,”
MTNA e - Journal 9, no. 3 (February 2018): 2. Wiley writes, “His output of piano music is unprecedented
and unmatched by any other British composer of his day: documented are 247 pieces of piano music for the
beginning to later-intermediate/early-advanced pianist—some of these are in collections, thus this figure
does not even account for pieces within the collections.”
25
melodies between two hands, chromaticism, double notes, polyphony, ornaments, rapid
position changes, repeated notes, triplets, dotted rhythms, syncopation, and hocket
techniques. Contrasting the perceived pedantic typical of etudes, Rowley’s collection
shrouds the technical studies within the context of beautiful melodies and varied rhythms.
Seven Preludes (1930) offers short exercises which focus on intervals, from seconds to an
octave.
Polyrhythms, Op. 50 (1939) contains seven pieces. In each piece, two hands play
in different meters, thus generating various polyrhythms, including two against three, six
against three, three against four, and five against three. All of them could be practiced
according to Rowley’s “Preliminary Table of Exercise” placed at the beginning of the score.
A large number of programmatic pieces serve upper-intermediate and advanced
students. These works include Flower Suite (1915), A Lantern Suite (1915), North Sea
Fantasies (1916), A Chinese Suite, Op. 20 (1917), Six Impromptus (1919), The Festival of
Pan (1919), Five Poetical Studies, Op. 41 (1920), A Christmas Carol (1921), Rivulet
(1921), To Summer (1927), Moon Jig (1927), Evening Mists (1927), Carillon Suite (1930),
Aquarium Suite (1932), Marionettes (1933), Five lyrical Pieces (1934), Two Sonatas (1949,
1955), Tunes from an Old Musical Box, Jolidays, Midnight Hunter.
Three Concert Etudes (1936) contain frequent modulations, complicated chords,
and rapid sixteenth notes. Two Toccatas (1935) introduces students to a sample of this
genre from the twentieth century.
Similar to his nocturnes, most of Rowley’s piano solo pieces are in major keys and
the ternary ABA form. These concise and beautiful pieces are good resources for piano
educators. Unfortunately, they have not yet been popularized in pedagogical practice.
Chapter 4
ANALYSIS AND PERFORMANCE GUIDE FOR FIVE NOCTURNES
1. The overview of Five Nocturnes of Alec Rowley
Rowley’s first two nocturnes were published in 1932, and the later three in 1947.
The following table offers a schematic overview of the Five Nocturnes.
Nocturnes Form Length Tempo Meter Mode

No. 1 Ternary 59 mm. Allegretto, 3/4 B minor;
(ABA) Adagio pentatonic; small
(transition to chromatic motives
codetta)
No. 2 ABA 104 mm. Andante con 2/4 Db major;
espressione, pentatonic;
Adagio chromatic motives
(codetta)
No. 3 ABA 85 mm. Allegretto 3/4, G major; frequent
2/4 (only modulations; small
one chromatic passages;
measure) jazz-like
No. 4 Unusual 47 mm. Andante 4/4, E major, unstable
loose and keys, chromaticism,
form sometime jazz-like
s change
to 2/4 or
3/4
No. 5 ABA 82 mm. Moderato, 3/4 F major, frequent
and section B modulations;
is Agitato chromatic passage;
jazz-like;
pentatonic; whole-
tone
Example 1. Overview of Rowley’s Five Nocturnes (a)
As in the nocturnes of John Field and Frederic Chopin, Rowley uses ternary form
for four of his five nocturnes. Similar to Field, whose nocturnes are short (most contain
26
27
only one hundred measures), Rowley’s nocturnes are compact. No. 4 consists of merely
forty-seven measures and No. 2 is the longest with 104 measures (see example 1). With
the exception of No. 4, Rowley’s central sections offer greater contrast than his
predecessors Field and Chopin. In general, the texture in section B is thick and contains
the climax of the piece. Furthermore, the section usually contains several small passages
that apply different textures, thus making the piece more dramatic, yet less narrative and
more evoking of vignettes.
Nocturnes Nos. 1, 3 and 5 are set in triple meter, which carries an elegant dance-
like style. Furthermore, Nos. 1 and 3 start with Allegretto and No. 5 starts with Moderato
thus making the music lively. Nocturnes 2 and 4 are based on duple meter, which renders
the music more lyrical and linear. Contrasting Nos. 1, 3 and 5, these two nocturnes begin
with a relatively slow tempo, Andante, thereby creating a leisurely and peaceful
atmosphere.
The Five Nocturnes are titled according to key. Similar to Field’s preference for
major keys in the nocturnes (fifteen out of eighteen), Rowley’s nocturnes are almost all in
major keys, with the exception of the first in B minor. Compared to the later three nocturnes,
the first maintains the B-tonic center. No. 2 alternates between Db major and its
subdominant Gb major, and also arrives at C major once. No. 4 alternates between the tonic
E major, as well as C and Eb major, which are distant keys from the tonic. Nocturnes Nos.
3 and 5 contain more complicated modulations. No. 3 is in G major, but also incorporates
C, A, Eb, and Db major. No. 5 opens in F major but modulates to D, C, Eb, and Db major.
It is intriguing that the section B of Nocturne No. 3 begins in E major, which is the one of
the chromatic mediants of original G major; similarly, for Nocturne No. 5, F major is
28
followed by its chromatic mediant D major. This modulation technique is similarly applied
by Rowley’s fellow British composer, Ivor Gurney, in two of his piano nocturnes. Gurney’s
Nocturne in B Major modulates to Ab major in section B (see example 2); and Nocturne
in Ab Major modulates to F major later (see example 3). Another contemporary British
composer, Arnold Bax, practices this technique as well and arranges his piano nocturne
from tonic A major to F# major (see example 4).
Example 2. Nocturne in B Major by Ivor Gurney, mm. 33-38
Example 3. Nocturne in Ab Major by Ivor Gurney, mm. 52-59

29
Example 4. “Nocturne,” Two Russian Tone-Pictures by Arnold Bax, mm. 85-91
Notwithstanding the clear key references in their titles, Rowley’s nocturnes contain
other modes. The first two nocturnes use pentatonic scales, and the latter three contain
frequent modulations and jazz-like sonorities. Each piece also utilizes chromaticism: in the
first two nocturnes, chromatic progressions are merely showcased as short musical ideas,
contrasting their bold appearances made in the latter three. It is obvious that chromatic
progressions are employed as transitions for Rowley’s compositional language. The
following provides a closer examination of such instances.
Nocturne No. 1 contains a chromatic progression from measures 51 to 53 as a
transition between the return of section A and the codetta (see example 5). These three
measures linger at Adagio, and the codetta is anticipated by the fermata on the bar line.
Example 5. Nocturne No. 1 in B Minor, mm. 51-53

30
Nocturne No. 2 barely utilizes chromaticism, but the right hand emphasizes the
half-step relations in measures 59 and 60 with rit., which suggests the recapitulation of
section A (see example 6).
Example 6. Nocturne No. 2 in Db Major, mm. 59-60
Nocturne No. 3 contains a four-measure chromatic progression as a transition,
which helps the music modulate from C major (from m. 14) to Eb major (see example 7).
Example 7. Nocturne No. 3 in G Major, mm. 17-20
In Nocturne No. 4, measures 26 to 28 allude to the reappearance of the motive of
measures 13 and 14 (see example 8). These three measures contain two continuous
chromatic progressions, one is in measures 26 and 27, and another is measure 28. Hence,
one can take a breath twice during this three-measure transition, after measure 27 and after
28, respectively.
31
Example 8. Nocturne No. 4 in E Major, mm. 26-28
Measures 21 to 26 serves as a transition between section A and B in Nocturne No.
5 (see example 9). The chromatism elongate the restlessness before arriving to the
conclusion in D major.
Example 9. Nocturne No. 5 in F Major, mm. 21-26
All of these aforementioned transitions contain “rit.” or a slow tempo. As such,
these indications decrease the tempo in Rowley’s music and serve in anticipation of a
thematic or textural change.
The “rit.” marking is also employed. Rowley prefers to push the music into a climax
by repeating the fragment of a phrase. The repetitions come with crescendo to enhance the
sonority, and rit. appears, deflating the accumulated momentum over a surprisingly short
duration of time and giving the phrase a self-effacing character at the end (see examples
10a-b).
32
Example 10a. Nocturne No.1 in B Minor, mm. 31-36
Example 10b. Nocturne No. 2 in Db Major, mm. 38-46
Nocturnes Nos. 1, 3 and 5 utilize the “ad lib.” marking, and No. 3 is the only
nocturne that contains the “rubato” marking. For the passages with these markings, one
can push the tempo through short notes and stay longer on long note values to exaggerate
the rhythmic gesture. This is applicable to many passages in all Five Nocturnes. Students
can add more rubato, in order to make the music more expressive and musical.
Rowley’s nocturnes contain many instances of parallel motion, reflecting his
admiration for Debussy. Similar “planing” techniques are observed in works by Rowley’s
contemporaries: the first theme of Gustav Holst’s nocturne (1930) contains a parallel-fifth
melody in the left hand (see example 11), and the Notturno (1908) of Cyril Scott is full of
passages in parallel motion (see example 12).

33
Example 11. “Nocturne,” Two Pieces for Piano, H. 179 by Gustav

Holst, mm. 1-4
Example 12. Notturno, Op. 54, No. 5 by Cyril Scott, mm. 54-55
The later three nocturnes contain instances of parallel motion, but feature jazz-like
sonorities. These parallel-motion passages are more technically and pianistically derived
than compositionally; and frequent seventh or ninth chords make the music jazz-like (see
example 13). The parallel chromatic motion also moves the sonorities away from
pentatonic sound. Similarly, Gabriel Fauré’s nocturnes feature harmonic parallelism,
abundant seventh chords, and chromatic progressions.

34
As mentioned earlier, Reymond Monelle associates the “pastoral” in music with
the following: parallel thirds, leisurely melodies, compound meters, long pedal points,
dotted rhythms, folk-like melodies and dance-like rhythms.49 These are all embodied in
Rowley’s Five Nocturnes. Parallel thirds are used frequently in all five pieces. Nocturne
No. 1 and Nocturne No. 5 are in 3/4 meter and with many dotted rhythms, making the music
dance-like. The melody in Nocturne No. 4 is leisurely and thus creates an idyllic
atmosphere. Nocturne No. 3 sounds nostalgic and its folk-like melody evokes the landscape.
Nocturnes Range of Dynamics Expression markings Articulations

No. 1 pp<p<mp<mf<f con espr., marc., rit., legato, portato,
fermata, ad lib., accent, tenuto,
fermata staccato
No. 2 ppp<pp<p<mp<mf<f<ff<fff mark., string., legato, portato,
allargando, piu mosso, accent, tenuto,
rit., fermata staccato
No. 3 ppp<pp<p<mp<mf<f<ff cantabile, teneramente, legato, portato,
rubato, rit., piu mosso, tenuto, staccato
string., tranquillo, ad
lib., con passion, dolce,
fermata
No. 4 pp<p<mp<mf<f<ff con amore, marc., rit., legato, accent,
sonoro, string., dolce, tenuto
tranquillo, con express,
ten.
No. 5 pp<p<mp<mf<f<ff string., rit., allargando, legato, portato,
ad lib. accent, tenuto
Example 14. Overview of Rowley’s Five Nocturnes (b)
As seen above, Rowley requires pianists to use a particularly wide range of
dynamics in Five Nocturnes (see example 14). In addition, his placement of dynamic
49
Refer to footnote 38.
35
markings such as crescendo and diminuendo is precise and quite revealing of the intended
interpretation. As such, following them exactly as marked is critical for playing these
pieces, and this serves as a good practice in studying scores closely. Nocturne No. 1 stays
in the range between pp and f, while Nos. 4 and 5 change between pp and ff; Nos. 2 and 3
have a bigger range of dynamics. Nocturne No. 2 is the longest one among the five due to
the lengthy B section, which fills 43 measures (mm. 18-60). This section contains the
repeated crescendo motive of octave melody and fluid sixteenth-notes accompaniment, and
the thick texture aids in generating a much louder sound (marked fff). The middle sections
of his nocturnes, in general, typically contain dramatic contrasts that are caused by dynamic
changes; these frequent changes indicate that Rowley may be paying special attention to
the dynamics as he plans the structure of the pieces.
Regarding articulation, it is obvious that Five Nocturnes feature expressive legato
phrases prominently. In addition, staccato, portato, tenuto and accent also appear. It is
intriguing that Rowley employs tenuto for every nocturne, in order to draw one’s attention
to the line. There are two applications of tenuto, both in and beyond Five Nocturnes. In the
first usage, the tenuto notes need to be touched more deeply and held until the following
note comes in order to emphasize the musical idea (see example 15). Stretching the tenuto
notes is encouraged. The second usage is that the notes marked tenuto are to be considered
belonging to a separate layer from its surroundings, thus creating layers within the music
(see example 16).

36
Example 15. “Souvenir,” Two Album Leaves, Op. 16, No. 2 by Rowley, mm. 27-32
Example 16. First Rhapsody, Op. 43 by Rowley, mm. 19-20
To analyze the melodies in Five Nocturnes, nocturnes Nos. 1 and 5 start on
downbeats, which makes the music more earnest, zealous, and explicit. Nocturnes Nos. 2,
3 and 4 start on offbeats and this makes the phrases more gestural in nature, making the
rhythmic and metric organization more prominent, and, in some cases, more important than
the melodic aspect of the melody (see examples 17a-e).
Example 17a. Nocturne No.1 in B Minor, mm. 1-4

37
Example 17c. Nocturne No. 3 in G Major, mm. 1-4
Example 17d. Nocturne No. 4 in E Major, mm. 1-3
Example 17e. Nocturne No. 5 in F Major, mm. 1-4

38
In general, the melody is usually played by the right hand in Rowley’s nocturnes.
Nocturne No. 2 is an exception because the single-note melody in section A is played by
the left hand in the lower register. It is worth noting that some non-melodic passages in are
featured as prominently as the melody. For instance, Rowley showcases his improvisatory
and playful nature in section B of Nocturne No. 1. He takes the four pitches (B, A, F-sharp,
E) of the opening and makes up the entire section using the “play” of only these pitches in
the right hand. In Nocturne No. 5, section B contains a descending chromatic passage from
measures 49 to 54; this passage features the rapid sixteenth-note wind-like passage in the
right hand and firm, short major seconds in the left hand. Unlike the improvisatory section
in Nocturne No. 1, this chromatic passage is transitional in structure, yet equally prominent
as it leads to the climax of the piece.
Five Nocturnes have many stepwise motions. The first nocturne is based on the B-
tonic pentatonic scale, and section B of the second one is based on the Gb-tonic pentatonic
scale. These two pieces feature many passages that move in stepwise motion within the
pentatonic scale tones. Section B of the third nocturne prominently contains two long
phrases (an ascending phrase and a descending phrase) that move in stepwise motions as
well. Nocturnes nos. 4 and 5 usually incorporate stepwise motions in passages of
chromaticism. In general, using the stepwise motion in lyrical pieces reminds listeners of
the bel canto style, which also has this trait.
Rowley’s Five Nocturnes incorporate many irregular phrases. The structure of nos.
1 and 2 is comparatively neat and regular, and contains “short-short-long” phrases. These
phrases require rubato to push the tempo through short notes and stay longer on long note
values to exaggerate the rhythmic gesture. The later three nocturnes, especially Nocturne
39
No. 4, tend to include many erratic and elusive motives and phrases. The varied length of
the phrases may be caused by the decidedly obscure theme and loose section divisions.
In regard to the rhythm in Five Nocturnes, Rowley frequently utilizes eighth and
quarter notes, thus making the music flow more evenly. For instance, the beginning of
Nocturne No. 3 contains many eighth notes in zig-zag shape. Rowley also uses sixteenth
notes, but they usually appear as an accompaniment or an atmospheric background in the
non-melodic passage. The dotted rhythm in nocturnes Nos. 1 and 5 aids in accentuating the
dance-like character. Triplets in Nos. 1, 3, 4 and 5 build tension, to disturb the otherwise
leisurely and cozy music.
In terms of influences, Rowley also draws inspiration from American composer
Edward MacDowell, who studied in Europe alongside Debussy and whose musical style is
said to be inspired by late Romanticism and French Impressionism. Kington writes that
“Rowley described MacDowell as, by nature, a dreamer, a romanticist; as a creator of small
musical poems he was in direct line with Schumann, Grieg and Delius.”50 Rowley openly
admired this composer and this is apparent in his compositions. Five Nocturnes also reflect
MacDowell’s pastoral, peaceful style. The Russian composer Vladimir Rebikoff (1866-
1920), who was an expert in piano miniatures, also influenced Rowley’s piano works.51
Both of them preferred to utilize techniques such as double notes, chromaticism, and
complementary rhythm between the hands.
50
Kington, Rowley Rediscovered: The Life and Music of Alec Rowley, 49.
51
Ibid., 80.
40
2. Theoretical analysis and pedagogical suggestions
No. 1 in B Minor
Theoretical analysis
Structure and meter
Like most of Rowley’s piano nocturnes, the first nocturne is in simple ternary (ABA)
form. The meter is 3/4, and the ostinato played by the left hand in the opening of section A
establishes the barcarolle-like, peaceful atmosphere.
Section Measures Tempo
A 1-18 Allegretto
B 19-42 Allegretto
A1 43-50 Allegretto
Transition 51-53 Adagio
Codetta 54-59 Allegretto
Mode
Pentatonic mode
Although Rowley writes this nocturne with the key signature of B minor, the
sonority of this piece is pentatonic. The reason is that Rowley weaves the melody by
heavily utilizing notes B, E, F#, and A, which belong to B-tonic pentatonic scale. Although
D, the second scale degree, barely appears in the melody, listeners can still easily define
this music in B-tonic pentatonic scale with omitted D since the step-wise melody surrounds
B, strengthening the sonority of the scale. Admittedly, C# and G also occasionally appear
41
in the melody, but they sound like passing or embellishing tones instead of the foundational
notes of this piece (see example 18).
Example 18. B-minor pentatonic scale with embellishing tones
The C# in measure 3 can be considered as an incomplete neighbor tone, possibly
used to avoid the parallel fifths from the repetition of B. Another reason for using the C#
is parallelism, whereby two voices move up or down together without changing the
intervallic structure. For instance, the first two beats of measure 4 in the right hand show
descending parallel fourths, and the appearance of C# at the second beat in the alto voice
may anticipate the fourth-interval construction (see example 19).
Example 19. Nocturne No.1 in B Minor, mm. 1-4
Rowley may very well have been inspired by Debussy’s “La Cathédrale
engloutie,” which feature planing technique and pentatonic modes (see example 20).
42
Example 20. “La Cathédrale engloutie,” from Preludes Book 1 by

Claude Debussy, mm. 1-3
The tone B appears prominently in measures 20 and 23, further confirming the tonic
function (see example 21). The surrounding notes move in stepwise, which makes the
melody sound like B-tonic pentatonic scale.
Chromaticism
Besides the pentatonic mode, this nocturne also contains chromaticism especially
in the transitions, which builds tension in this otherwise easy and bright music. For example,
the transition before the codetta is a three-measure chromatic passage. The upper voices
move in parallel fifths (see example 22).

43
Phrasing
Rowley prefers to highlight parallel motion in this nocturne. In section A, the alto
follows the soprano in its general contour, adding to its pastoral quality and confirming the
work’s impressionistic roots.
Frequently within the “short-short-long” phrasing structure, the soprano usually
exhibits the stepwise progression in short phrases, while adding leaps once the long phrases
appear. For example, measures 3 and 4 are short phrases based on the same motive, and
measures 5 to 8 create a long phrase that starts with a leap. Measure 9 borrows the musical
idea of measure 5 and then unfolds this phrase with a repeated motive, then the climax of
section A comes at measure 12 when the largest leap indicates a long lyrical phrase. The
singing melody may be inspired by bel canto vocal style (see example 23).
44
Pedagogical Suggestions
Ostinato
It is important to find the appropriate motion across the left-hand ostinato motive
and thus to bring a natural and easy flowing legato sound. To avoid tension, the performer
can settle the beginning chord of the motive at a lower wrist position, and gradually
heighten the wrist until the third beat before lowering the wrist, thus making a small circle.
The reason is that the higher two pitches of the figure in the first two beats, B and A, are
both played by the thumb, while the F sharp at the third beat is played by the forefinger.
This motion—arriving at the forefinger from the thumb—requires a small supinating
motion. Because of the B played by the fifth finger at the same time as the melody-note F
45
sharp, it is important to keep the arm floating through this beat, resisting the urge to anchor
with a terminal, supinated motion into the third beat, which would be undesirable. It is also
useful to let the fifth finger leave sooner than the second finger, which would keep the arm
and elbow in a suspended position. This way, the left hand can easily feel the inertia of the
ostinato and stay relaxed (see example 24).
Example 24. The left wrist movement for ostinato
It seems that Rowley has the propensity to start a nocturne with an ostinato
accompaniment. There is a two-measure rhythmic ostinato for his “Nocturno” from 30
Melodious and Rhythmic Studies (see example 25).
Example 25. “Nocturno” from 30 Melodious and Rhythmic Studies by Rowley, mm. 1-6
Double notes
This nocturne consists of many harmonic fifths and fourths to be played within a
hand, providing an excellent opportunity to teach voicing and shaping of double-note
passages. The challenge is that the right hand will play the alto voice while bringing out
the connected melody voice in the soprano. To deal with the difficult combination within
46
the right hand, the thumb or the forefinger that plays the alto voice needs to prepare earlier
for the following note, not holding as long as the melody voice of the same note value. For
instance, the performer can practice playing the soprano voice with legato and the alto
voice with staccato between measures 3 and 6. This way, the thumb or the forefinger that
plays the alto voice remains light and floating while aiding the singing quality of tone in
the melody.
Polyrhythms
Section A contains polyrhythms of three against two. Rowley provides a
preliminary table for polyrhythm exercise in his Polyrhythms, Op. 50, which can also be
adopted for polyrhythms in his Five Nocturnes (see example 26).
Example 26. Preliminary Table of Exercises, No. 1, Polyrhythms, Op. 50
Hence, the rhythm of measure 6 can be considered as the following (see example 27):
Example 27. Visualization for the first beat of measure 6 of Nocturne No. 1 in B Minor
47
The “Toccata” passage
Section B (mm. 19-42) starts with the rhythmic materials of A and then extends
that into this toccata passage (from measure 23), making up a whole section, but using the
same pitches used in measures from 19 to 22, which are also in the very opening of the
piece in the right hand. In the toccata passage, the right hand plays the running sixteenth
notes in legato, while the left hand is in portato, outlining an open fifth interval created
between pitches F-sharp and C-sharp. Unlike the homophony texture of the section A with
a singing soprano melody, section B is without any melodic line. The left hand plays a bell-
like ostinato with quarter or eighth notes, and the right hand plays the cascading pentatonic
scale B-E-F#-A omitted note D. It is more difficult to carry this off musically than it
appears in the score because it is easy to play the right hand loudly with running sixteenth
notes in the high register. The wrist and hand should keep relaxed and light to start the
passage with piano, without making the soprano voice sound too important and melodic.
The following are suggested steps for practicing the right hand of measures 24 to
26 (see example 28):
a) Practicing the right hand lightly as blocked chords every quarter beat, and thus
anticipate the next hand position better especially with the upper arm motion. The
fingertips of right hand should be alert and sensitive, but with a loose wrist, in order
to make a floating sound.
b) Practicing the arpeggios as three groups according to the hand position. Paying
attention to the position change. For the first group that contains four notes, it is
important to keep the outside of the hand suspended before the position shift and
48
simply integrate a lateral motion of wrist. For the transitional spot between the
second and the third group, the wrist should naturally make a pronated motion.
c) Playing the whole three measures lightly and trying to avoid the accents especially
once the hand position changes.
The hemiola passage is from measure 27 to 31 (see example 29). The two-beat
motive of the right hand is repeated five times, so the music sounds like it is in 2/4 meter.
However, the score indicates that each measure uses one slur, so thinking of every three
beats as one unit is important. For the right hand that plays the arpeggios without position
change, it is also possible to integrate a lateral motion at the wrist, thus making a circular
motion instead.

49
Dynamics
This nocturne applies a dynamic range between pp and f. Section B has more
contrasting dynamics. This section starts with p, and then gradually makes a crescendo to
mf and f. The buildup for the climax of the whole piece starts at measure 37, which builds
tension between distant chords with dynamic contrasts (see example 30). The downbeat is
played in f with an accent, so it is helpful to use the strength from the upper body and back
support with wrist down. Sinking in and through the tone production of the lower chord
will produce a down-up motion between the slurred two chords, so following the up motion
will aid in playing the higher chord with a soft “echo” effect.
Tempo
The first nocturne starts and ends with Allegretto, and only changes to Adagio at
measure 51 which lasts for three measures before the codetta. Allegretto, which means
moderately fast, is recommended to be played around 100-110 beats per minute for quarter
notes. Rowley also marks some tempo changes like rit. and ad lib. Generally, the rit. often
50
appears to anticipate the thematic change, especially a textural change, for Rowley.
Students should be aware of the change of mood in seeing the “rit.” marking.
The beginning of section B is marked ad lib, signaling a coming of improvisatory
passage (see example 31). The performance suggestion is to push the tempo through short
length notes like triplets and eighth notes, and to stay longer on long note values,
exaggerating the rhythmic gesture. In this way, the four measures may sound free and
lyrical.

51
No. 2 in Db Major
Structure and meter
The second nocturne is also in ABA form and utilizes the 2/4 meter. The longest
section, section B (provide measure numbers), contains a thicker texture and striking
contrast of dynamics.
Mode
This nocturne starts and ends in Db major. It also devotes much space to the Gb
major pentatonic mode in section B. Therefore, it will be a good material for learning
pentatonic mode because Gb major pentatonic mode occupies all of the five black keys
(see example 32). Furthermore, the notes usually move in stepwise motion, which is
advantageous for enhancing the sonority of pentatonic scale.
Example 32. Gb-major pentatonic scale
Rowley also utilizes Gb major pentatonic mode in “Pentatonic,” which is the third
piece of The Etude in Tonality, Op. 44 (see example 33). This work is also an excellent
piece for students to learn the pentatonic mode as well as to enhance tactile sensitivity on
black keys.
52
Example 33. “Pentatonic,” The Etude in Tonality, Op. 44 by Rowley, mm. 1-5
Section Measures Tempo Mode
A 1-17 Andante con espressione Db M (major)
B 18-60 Andante con espressione Gb M (Ab as over bass)à Db M
A1 61-93 Andante con espressione Db MàC M
Codetta 94-104 Adagio Db M
Phrasing
The phrases usually start on an offbeat in the second nocturne. The melody is played
by the left hand in section A, and by the right hand in section B. Rowley prefers to write
stepwise motion for melodies, possibly inspired by the bel canto tradition. Furthermore, he
tends to develop music by creating sequences or by simply repeating the motive two or
more times. For example, measures 8 and 9 are sequences of measures 5 and 6 (see example
34).
53
Example 34. Sequences in Nocturne No. 2 in Db Major, mm. 5-12
One motive is often played three times with crescendo, in order to emphasize and
develop the music (see examples 35a-c). In some of the examples, Rowley tends to keep
the melodic contour or pitches but vary or embellish the rhythm.
Example 35a. Nocturne No. 2 in Db Major, mm. 13-17

54
Example 35c. Nocturne No. 2 in Db Major, mm. 55-58
Pedagogical suggestions
Balance between melody and accompaniment
As mentioned before, the melody is presented by the left hand in section A. In this
section, the sixteenth-note pattern played by the right hand in soft dynamics will be a
challenge, especially because of the repeated thirds. It is easy to play the downbeat double
notes too loudly, so practicing in syncopated rhythm (imagining the repeated notes are tied
together) or intentionally softening the second of the repeated thirds will be helpful to avoid
the unwanted accent or an accumulation of sound on the beat (see example 36). Holding
over the second finger (as if finger pedaling) would be helpful, not merely for the sake of
creating a pedaled sound but to use it as a pivot to balance the hand and to aid in keeping
the repeated thirds light. It is essential to keep the wrist relaxed, too. Practicing with the
pedal down is beneficial and crucial in this case as it requires fluent touch for the even
dynamics within the pedaled sound. Once the sixteenth notes sound even and the right hand
is comfortable with the ostinato, the left hand can join in. It is essential to focus on the
melodic line and make a legato, singing phrase. Often times, intermediate students will
55
make sharp attacks in projecting the melody particularly when seeing the “mark.”
instruction on the score. While the melody in the left hand is indeed the loudest among the
three layers, the legato phrases require a connection and tonal matching between every
note and flexibility of the wrist; thus, forced attacks on the keyboard and harsh sonorities
should be avoided. The fingers should stay close to the keyboard and anticipate the next
note with the larger muscle groups instead of suddenly changing the finger position.
Singing the melody and playing the right hand will help shape the phrases in the left hand.
Example 36. Practicing in syncopated rhythm, Nocturne No. 2 in Db

Major, mm. 1-4
The staccato fifths are played in pp, and they appear before each phrase. Although
the fifths are light, they should provide sustaining support for the passage. It is a challenge
for non-advanced students to play the staccato gently because once they see “staccato”
markings, they may hit the keys in order to create what they think of as a “jumping” sound.
The truth is that Rowley provides this excellent example for learning the tone that is
produced at the escapement point instead of the bottom of the keys. The staccato fifths are
likely meant to be played as a bell-like sound, joining the existing vibration in the piano
with purity of sound without percussiveness. To achieve balance in section A, it is essential
to hear all three layers—floating sixteenth notes, lyrical melody, and supported drone in
the bass.
56
Rowley also applies the similar texture to his “Breeze Song,” Op. 41, No. 1, from
Poetical Studies (see example 37). This piece could be used as a preparatory piece for
Rowley’s Nocturne No. 2. With the downbeat-starting melody and single-note
accompaniment pattern, the piece can be more easily handled while providing a piece to
refer back to for how the balance between the hands was achieved.
Example 37. “Breeze Song” Op. 41, No. 1, Poetical Studies by Rowley, mm. 1-4
Back to Rowley’s second nocturne, the left hand plays the arpeggio patterns as an
accompaniment and creates an Ab pedal point in section B, and correspondingly, the
melody is displayed by the right hand. The music develops and gradually gets louder,
meanwhile the octaves and chords in the melody also thicken the texture. For the left hand,
it is possible that the inside two notes played by fingers three and two may be played too
articulately, so it is essential to make them more passive. In addition, the repeated notes
played by the fifth finger should not get too loud. For the right hand, it is critical to play
the large chords without tension, and to keep the wrist flexible. This kind of melody,
formed by broad chords, should not be attempted without first being able to successfully
play octave melodies. The following are suggested steps to practice this passage (see
example 38):
57
a) Playing the left-hand sixteenth notes as blocked chords or quickly rolled
arpeggios first in order to hear the harmonic structure of this passage.
b) Playing middle two notes, Eb and Gb, together, creating a syncopated rhythm,
to make certain that the middle two fingers are in position early and close to the
keys.
c) Playing the sixteenth notes as quickly rolled arpeggios and making sure to roll
through the notes without too much finger-level action. It is important to closely
listen to the quality of the bass note Ab and make sure the fifth finger does not
attack the key. The thumb does not simply repeat the Ab, but instead,
contributes a sense of direction for shaping the music. Therefore, listening to
the connection and trying to avoid the overmuch even playing between the
fourth note to the fifth note in each measure is helpful for creating a longer line.
d) Playing the left hand as written and adding the top voice of the right hand.
Playing the soprano with a singing legato.
e) Adding the lowest voice played by the thumb of the right hand. To achieve the
fluent and singing phrase, borrowing flexibility of the wrist and thinking of the
horizontal motion instead the vertical motion, while allowing the thumb to leave
earlier, as needed, to give room for wrist and arm flexibility needed for the
singing tone produced by slower attacks.

58
f) Once both hands achieve the balance, the remaining inner voices in the right
hand can join. The inner voices are less important than the outer voices.
Example 38. Nocturne No. 2 in Db Major, mm. 18-21
Ravel also writes in a similar arpeggio accompaniment. For instance, Jeux d'eau
contains many arpeggiated patterns (see example 39), but there are no repeated notes
played by the thumb, and students will involve finger crossings for average hands. In
addition, the right hand contains double notes and open-position chords. Learning
Rowley’s second nocturne can help one prepare for Ravel’s Jeux d'eau.
Example 39. Jeux d'eau by Maurice Ravel, mm. 51-52
For the closing of section B (see example 40), the challenges are to play the double-
note melody of the right hand smoothly, and the descending bass line (F-Eb-Db-Bb) should
also be heard against the melody line of the right hand.

59
Example 40: Nocturne No. 2 in Db Major, mm. 47-54
The following are the suggested steps for practicing, after determining the
appropriate fingerings:
a) For the right hand, practicing the soprano with legato and the alto with staccato.
Trying to listen to both of the two voices.
b) Adding the bass line (F-Eb-Db-Bb).
c) Holding the remaining sixteenth notes in position and changing the bass note
(see example 41). Keeping relaxed wrists and hands.
Example 41. Practicing blocked chords in the left hand, Nocturne No. 2 in Db
Major, mm. 47-48
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In Rowley’s Bagatelle No. 4, the left hand also contains two voices: one is moving
as the bass line, against the other part that stays on E (see example 42). Pianistically
speaking, the thumb in the left hand plays the fixed E as an accompaniment while the outer
fingers play the main bass line. For both the Bagatelle No. 4 and the Nocturne No. 2, it
would be a challenge to balance the two voices since it is easy to make the thumb louder.
Closely listening to the left hand and making the repeated E less active is critical. It is
similarly difficult to play alberti accompaniment patterns, but this example would be easier
since the interval change is incremental and uni-directional (instead of back and forth).
Example 42. Bagatelle No. 4 by Rowley, mm. 1-4
Bagatelle No. 4 could therefore be used as a preparatory exercise for Nocturne No.
2. It is feasible to practice the left hand as quarter notes first, and then hold the “E” to play
the bass line (see example 43).
Example 43. Practicing quarter blocked intervals in the Left Hand, Bagatelle No.
4 by Rowley, mm. 1-2
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No. 3 in G Major
Structure and meter
The third nocturne is in 3/4 meter and ABA form.
Section Measures Tempo Mode
A 1-29 Allegretto G M (major)à
B 30-58 Piu mosso E Mà C M
A1 59-78 Allegretto G MàA MàG MàC M
Codetta 79-85 Meno mosso GM
Mode
Contrasting the previous two nocturnes, the following three nocturnes contain more
complicated modes. They would be excellent examples of distant modulation, tonicization,
and chromaticism.
Frequent local modulations away from the tonic center make this piece colorful and
impressionistic. Section A opens with G major, and the first phrase ends with the chord
V/ii (E major chord). The second phrase (mms. 5-8) begins in C major before concluding
with V/ii (A major). Incidentally, this is also the opening chord of the third phrase.
Measures 12 and 13 ambiguously draw the music back to G major, before leading to C
major. A chromatic bridge appears from measures 17 to 20. The note G is sustained, though
both alto and bass voices move chromatically (see example 44). In Rowley’s nocturne, this
sustained voice against chromatic progression usually comes with diminuendo, which
indicates the gradual disappearance of the passage. Rowley also applies this writing
technique in measures 17 and 18 in Nocturne No. 1 (see example 45).

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Section A ends with crescendo on a repeated note tenuto note F#, which implies
the coming of the new section. The note F# could be seen as a pivot note that transfers to
the supertonic tone in E major from the leading tone in G major. Before this repeated note,
the previous measure contains three descending chromatic 9th chords, imbuing a jazz-like
flavor (see examples 46a-b).
Example 46a. Nocturne No. 3 in G Major, mm. 26-29

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Example 46b. Three descending chromatic 9th chords,

Nocturne No. 3 in G Major, m. 28
Section B alternates between E and C major. E major is the parallel key of the
original G major’s relative minor key, and C major is the subdominant key of G major.
Phrasing
Section A has two motives, and both of them start on offbeats and continue with
zig-zag shaped legato eighth notes, which make the phrases eloquent and nostalgic (see
example 47). The first motive leads to the regular four-measure phrases, which are played
in G major as well as the subdominant key of C major. The second motive leads to irregular
phrases that are shown in distant keys, which makes the mode unstable.
Example 47. The two motives in section A, Nocturne No. 3 in G Major
Unlike the zig-zag melody in section A, section B consists of stepwise melodies,
ascending as well as descending (see examples 48a-b).

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Example 48a. Ascending melody in Nocturne No. 3 in G Major, mm. 34-38
Example 48b. Descending melody in Nocturne No. 3 in G Major, mm. 41-46
Legato eighth-notes passage
The first four measures incorporate a concise dialogue. The lifted melodic shape
and crescendo in mm. 1-2 pose a question, which is answered in mm. 3-4 with a repeated
motive stated in the lower register. The decrescendo and sustained notes give the phrase
its assured conclusion. Similarly, measures 7 and 8 create an answer for the question in
measures 5 and 6. There are four voices, and these eight measures contain a parallel motion
of voices except the second measure, which has a contrary motion of voices. The challenge
for playing this passage is to make the phrases legato without accents, especially from
measures 5 to 8 that contain many double notes.
There are suggested steps for practicing this passage:
a) It is important to make fingering decisions first (see example 49). The soprano
is the main melody, so make sure its fingerings are used to shape the line legato.
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b) Play soprano and bass lines slowly and listen for the connection between every
two adjacent notes.
c) The inner voices join as staccato. It is helpful to add shallow pedaling to each
eighth notes.
d) Play alto, tenor and bass voices while singing the soprano melody, in order to
hear the balance of this passage well.
e) Play all voices and follow the dynamics marking. Be sensitive to the harmonic
changes: the first four measures start in G major and settle on V/ii, and the
following four measures start with C major and also conclude on V/ii. Only the
dotted half notes in measures 4 and 8 belong to the melody, so maintaining
lightness in both the left hand and right hand thumb are critical for ending these
phrases.

66
Rhythm group in section B
Section B contains varied rhythmic groups, such as thirty-second note groupings
and sixteen-note triplets. It is advisable to practice with a metronome in slow tempo first,
in eighth-note subdivisions (see example 50).
Measure 30 consists of descending arpeggios alternating between the hands, each
sixteenth-note grouping initiated with a quarter-note melody. This texture frequently
appears in Rowley’s miniatures: First Rhapsody, Op. 43 utilizes descending sixteenth notes
as the accompaniment and a quarter-note melody line in measures 89 and 90 (see example
51).
Example 51. First Rhapsody, Op. 43 by Rowley, mm. 88-91

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Claude Debussy similarly employs this texture, as evidenced in the middle section
of “Menuet” in Suite Bergamasque. It is possible that Rowley, as an admirer of the French
music, draws inspiration from these impressionistic pieces (see example 52).
Example 52. “Menuet,” from Suite Bergamasque by Claude Debussy, mm. 52-53
Overlapping phrase-offs between two hands
There are many slurs between measures 48 and 53 (see example 53). This passage
utilizes the fragment of the motive from section A. The challenge is that the two hands,
following the slurs, need to breathe at different places. The right hand is relatively easy
since every slur starts with an offbeat and ends with the first eighth note in the following
measure, but the left hand contains different lengths of slurs. It is efficient to practice hands
separately first while ensuring the hands are lifted following each slur. Then students play
hands together, but only touching the first note of each slur and not leaving the keyboard
until the ends of the slur. As long as the two hands achieve good coordination, students can
practice as notated. Only by obtaining the correct breath can one shape the phrases and find
the musical tone.

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No. 4 in E Major
Structure
As the most structurally unusual piece among Five Nocturnes, the fourth nocturne
contains twelve double-bar lines, implying frequent changes of key signature or meter.
Phrasing and meter
Here, Rowley does not write materials based on one theme, but instead, irregular
phrases with combination of new motives. The motives include: three-note groupings
(contains three eighth note or a group of triplets at the end of a measure), a group of duplets
and triplets, the duplets played as “drop-roll.”52 The phrases usually start on offbeats, so
“hearing” rests is important for expressing the music. Rowley occasionally employs
52
Also referred to as a “two-note phrase.”
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metrical shifts in this piece: although the music is primarily in 4/4, passages of 2/4 and 3/4
are added.
Mode
This nocturne is in E major, but some passages also contain C major and Eb major,
which are distant keys from the tonic. Rowley also includes seventh and ninth chords to
create jazz-like sonorities. Chromaticism appears more frequently in this nocturne,
consisting of both parallel and contrary motions. In addition, this nocturne includes many
accidentals. Rowley also tends to use quartal or quintal chords.53 This technique is popular
in the twentieth century, best represented by Scriabin’s “Mystic Chord.”
Dynamics
Nocturne No. 4 has frequent changes of dynamics. Nearly every measure contains
dynamic markings, making this piece more delicate and sensitive than the others. For
instance, the opening six measures contain the detailed dynamic instruction for how to
develop from p to f and then go back to the soft level (see example 54). Students should
strictly follow the dynamic markings for interpreting the music correctly.
53
Grove Music Online (2001) provides two explanations of quartal harmony:
(1) Term denoting a harmonic system based on the interval of a 4th (as in early two-part organum, and some
20th-century music), as opposed to the ‘tertiary harmony’ of the major–minor tonal system. (2) The opposite
of Non-quartal harmony, hence a harmonic system like that of 15th-century faburden or fauxbourdon (and
tonal music) in which vertical perfect 4ths are permitted as consonances so long as they do not involve the
lowest-sounding part.
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Example 54. Detailed dynamic change, Nocturne No. 4 in E Major, mm. 1-6
Double-note passages that require quick hand-position changes
In the first two measures, the left hand plays the syncopated rhythm, and the right
hand, the offbeat phrases (see example 55). These two measures require quick changes of
hand position, especially for the left hand, which moves through different registers
unexpectedly. The challenge is to avoid the tendency of making the music sound vertical
due to the distant intervals in each hand.
These are suggested steps for practice this passage:
a) Tapping the rhythms of these two measures first allows students to gain
familiarity and fluency with the rhythmic coordination between the hands.
b) Play each hand separately and softly in a slow tempo, listening for the
connection between every consecutive interval. It is important to make sure the
phrase offs sound lighter than the beginning of the two-note slurs. Anticipating
the next hand position is critical, since it is helpful to avoid accents that may be
made by late and sudden hand-position change.

71
c) By slowly following the score and its dynamic markings, students can play
hands together and imagine the two measures as one phrase in order to achieve
the legato sound.
Polyrhythm of three against two
This nocturne contains a cross-rhythm of two eighth notes and triplets. The
challenge is that the two hands will play a polyrhythm of two against three at the second
beat. In order to play this rhythmic group smoothly, tapping the rhythm gently by two
hands is beneficial, and the triplet can be considered as sextuplets with slurs according to
Rowley’s “Preliminary Table of Exercises” (see example 56). Students will not play the
motive on the keyboard until the two hands get used to this rhythmic motive and can tap it
easily and unconsciously.
Example 56. The rhythmic motive of duplets and triplets, Nocturne No. 4 in E Major
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In addition, the right hand may struggle with the change from duplets to triplets.
Edward MacDowell, whom Rowley admired, used rhythmic groups of duplets and triplets
(2+3) as well as triplets and duplets (3+2) in his “A. D. MDCXX,” which is the third piece
from piano solo collection Sea Piece, Op. 55 (see example 57). Unlike Rowley’s fourth
nocturne, the left hand of “A. D. MDCXX” plays even octaves as dotted quarter notes in
6/8 meter, so it is easy for students to handle the change of rhythm in the right hand. By
learning “A. D. MDCXX” or tapping the rhythm of it, students can switch back and forth
between duplets and triplets, and thus enjoy the polyrhythm rhythmic motive in the
nocturne.
Example 57. “A. D. MDCXX,” from Sea Pieces, Op. 55 by Edward MacDowell, mm. 54-63
Chromatic passages
The alto, tenor, and bass feature chromatic descending lines in measures 15 and 16.
The soprano voice consists of two-beat long descending chromatic sequences followed by
an ascending diatonic line. There are two challenges to play the two measures. The first is
that it is difficult for the left hand to play legato due to the open position of sevenths and
73
sixths. To avoid disconnection in the left hand, first mark an appropriate fingering (see
example 58). Changing fingering on one note will aid in producing a legato sound for this
open hand position. Then students can play bass and tenor with two hands, thus listening
to the horizontal descending motions of voicing. This practice method is also helpful for
soprano and alto voices in the right hand.
Example 58. Nocturne No. 4 in E Major, mm.15-16
Secondly, it is easy to play the last triplet too loud, rather than with a lighter touch.
There are two reasons. The first is four voices play at the last triplet simultaneously and
thus creating a larger sonority. The second is the third beat in measure 15 contains two
eighth notes, which create slower rhythm than triplets. Students may feel uncomfortable
transferring from busier triplet to easier duplets and thus may unintentionally emphasize
the faster notes. One possible suggestion for practice is to play the triplets and the following
eighth note as a duplet group (see example 59). Students can imagine the first eighth note
in the original third beat is the ending of the slur instead of the last triplet.
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Example 59. Practicing duplet groups for the first two and half beats in
measure 15, Nocturne No. 4 in E Major
For the whole two measures, students can also practice the outer voices first and
then add inner voices one by one in order to hear each independent line. It would be
beneficial to play any two voices together first, and then play chords slowly so that one can
also hear the vertical movement. It is worth noting that measure 16 contains contrary
motion between the hands, thus making a crescendo more easily.
Edward MacDowell’s “Nautilus,” a graceful and delicate piece that also contains
many seventh and ninth chords as well as chromatic progressions, left a profound
impression on then sixteen-year-old Rowley (see example 60). Rowley may have derived
inspiration for the fourth nocturne from this piece.
Example 60. “Nautilus,” from Sea Pieces, Op. 55, by Edward MacDowell, mm. 54-63
75
Syncopations
The ending of this piece consists of syncopations played by the left hand (see
example 61). The challenge is that the last note of each syncopation may be unintentionally
accented since the left hand needs to keep the open hand position for the distant broken
chords and it is possible to approach the distant short notes late. Also, the second eighth
note in each beat played by the right hand may further tempt the left hand to attack the last
note of the syncopation.
The following are suggested practice steps:
a) The left hand only plays the first two notes of each syncopation (while using
the realistic fingerings for the passage) and moves the wrist and forearm
naturally with the ascending notes. Once the dotted notes are played, the wrist
and the forearm should immediately move towards the left side in preparation
for the next position (see example 62).
Example 62. Practicing dotted rhythm in the left hand, Nocturne

No. 4 in E Major, m. 41
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b) The eighth notes played by the right hand join in the music. Make sure to play
the second eighth note of each “drop-roll” group lightly.
c) Students continue practicing hands together. The left hand gets into the position
on top of the thumb but without playing the high notes.
d) The left hand regroups the notes from thumb to the fifth and second fingers (see
example 63).
Example 63. Regrouping notes for the left hand, Nocturne No. 4 in E
Major, m. 41
e) Play hands together as specified. Listen to the playing carefully and avoid
attacking the last notes in “drop-roll” groups.
Memorization
This nocturne contains an abundance of chromaticism, as well as seventh
and ninth chords. In addition, the loose structure and irregular phrases are barriers
for memorization. There is no repeated theme except for the aforementioned two-
measure motive, played in C major first (in measures 13 and 14) and then
reappearing in E major (in measures 29 and 30) (see examples 64a-b). Therefore,
students need to dedicate much time to read the score smoothly. The suggestions
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for reading and memorizing the pieces are to analyze the chords, mark fingerings,
and practice section by section. It is important to play each section slowly and
follow the dynamic markings. Students should listen to each voice as well as the
vertical sonority from chords. It is helpful to memorize the piece by thinking of the
keyboard topography as it relates to hands’ motion in the keyboard and memorize
the harmonic movement.
Example 64a. Nocturne No. 4 in E Major, mm. 11-14
Example 64b. Nocturne No. 4 in E Major, mm. 28-30

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No. 5 in F Major
Structure and meter
As in nocturnes Nos. 1 and 3, No. 5 also displays Rowley’s preference for 3/4 meter.
In addition, this piece is also in simple ternary form. The tempo indication is Moderato,
but the pianist has freedom to play with much rubato throughout, in order to make the
dance-like music more vivid. Section B is turbulent, contain several expressive markings
stringendo, allargando, and agitato.
Section Measures Tempo (with much rubato)
A 1-26 Moderato
B 27-56
A1 56-75 Moderato
Codetta 76-82
Phrasing
Within the simple ternary form, section A consists of several phrases that are based
on the theme’s rhythmic motive (see example 65). The melody always appears in the
soprano by right hand, in a lyrical style reminiscent of bel canto.
Example 65. The Rhythmic Motive in Section A, Nocturne No. 5 in F Major

79
Section B can be divided into five passages according to textures (see example 66).
Passages in section B Texture Dynamics
1 (mm. 27-30) R.H.: melody; L.H.: broken minor chords mp, p, crescendo,
diminuendo
2 (mm.31-34) Chromatic progression; (with extended mf, crescendo
chords)
3 (mm. 35-38) R.H.: melody; L.H.: broken chords with f, diminuendo
rests
4 (mm. 39-48) Development based on one motive f, ff, crescendo
(sequences); non-melodic passage
5 (mm. 49-56) R.H.: running sixteenth notes; L.H.: ff, diminuendo
seconds go descending chromatic
progression; non-melodic passage
Example 66. Formal construction of section B in Nocturne No. 5 in F Major
Mode
The fifth nocturne utilizes F major. The youthful exuberance and its restless passion
are captured by frequent and unexpected changes in harmonic direction. Section A starts
in F major, but Rowley emancipates this nocturne from the tonic key, and F major lasts for
only the opening three measures in this twenty-six-measure A section. Before finding its
way to D major, Rowley tonicizes as many as six keys, some quite distant. Chromatic
progressions appear twice, acting as small bridges, contributing to the sense of a whirlwind
in this section. (see example 67).

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Example 67. Section A of Nocturne No. 5 in F Major, mm. 1-26
The beginning of section B passage (from measure 27) contains several musical
idioms in quick succession. For instance, the first four measures contain descending
motions, which are shown by the parallel chromatic voices and the whole-tone harmonic
progression that starts from the F minor chord and arrives at the B minor chord (measure
30). The next four measures contain seventh, ninth, and eleventh chords, lending the music
its jazz-like aura. Suddenly the following four measures are in pentatonic mode (see
example 68), reverting back to the opening mood of the piece.

81
Rubato
The opening phrase of section A consists of three smaller phrases, forming the
“short-short-long” phrase structure (see example 69). These small phrases utilize the
rhythmic motive mentioned above. The challenge is that students may play eighth notes
too evenly because they could be feeling the pulse of eighth notes instead of the quarters
in the slow tempo of Moderato. In addition, chords and double notes for these eighth notes
create barriers for playing horizontally singing phrases. Furthermore, the music may sound
stale and boring because of the predictability of the “short-short-long” phrase structure and
the repeated rhythmic motive.
One practical strategy for such interpretative challenges is to play the three small
phrases with appropriate rubato in order to help the music be more expressive. Rowley
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provides clues in the dynamic markings to help with the phrasing. The music starts with
mf in F major, and the first phrase ends with diminuendo. The second phrase starts with the
same notes as the first one but then the appearance of F sharp, C sharp and B natural
approach the higher position in D major. The music is passionate now, so there is a
crescendo from mf to f instead of diminuendo. The third long phrase impatiently pushes
the music to its climax, to cadence in C major. Crescendo is usually applied to the
ascending melody line, and students can expand and stretch these ascending phrases
especially at the highest notes. The “stolen” time will be returned by playing the following
eighth notes fluidly and quickly. In this way, the passage will sound lively and lyrical.
Double notes
Measure 9 (also measure 65) contains a double-note motive, which is a small bridge
that consists of a cascading gesture with fourths and fifths in both hands, following the
“short-short-long” phrases. Students should imagine that each of the four voices are
independent, bearing its own individual dynamics and shaping. For instance, a crescendo
for bass line and diminuendo for soprano may better balance the voicing and offer more
83
foundation for this transition passage. Chopin’s etude Op. 10, No. 3 also contains a similar
passage, which has tritones in a zig-zag shape (see example 70). While Chopin’s example
may visually appear much more challenging, playing this passage is more accessible than
Rowley’s equivalent passage. Balancing the voices in Chopin’s case is more easily
controlled: the contrary motion between the hands facilitates the balance the weight
between hands and arms, and the idiomatic chromatic progression in the left hand provides
a backdrop of sound against which to balance the right hand.
Example 70. Etude Op. 10, No. 3 by Chopin, mm. 38-41
The descending motions
The beginning four measures of section B contain descending motions (see example
71).
There are two challenges. The first one is that the right hand (and particularly the
wrist) may tighten due to the four-note chords. While playing melodies with open-hand,
84
filled octaves such as the passage here, compared with the closed-hand position, the wrist
and the forearm will be slightly supinated and the fifth finger will extend toward the outer
side to form an “ulnar deviation.” It is easy to lock the hand and the wrist, thus producing
a harsh sound, undesirable for the melodic line. To avoid tension and project the melody
shape in the right hand, it is suggested that students only play the soprano voice first with
the change of dynamics. Trying to relax the wrist and utilizing the support of arm only
upon tone production thus brings the singing melody out with the fifth finger. Then students
can play the octaves without the inside notes, imagining that every octave is a cushion and
following a natural down-up motion from the wrist. Once the octaves go smoothly, one can
add inner voices with a softer touch. The wrist moves up through measures 27 and 28 since
the outer notes start on white keys and then move toward a higher position (the black keys).
On the contrary, the wrist moves down through measures 29 and 30.
Secondly, it is hard to follow the decrescendo instruction due to the ascending
broken chord figure in the left hand. There are four slurs in the left hand (see example 72).
It is easy to play the passages under slurs 1 and 3 since the ascending broken chords aid in
building a crescendo line, and the tenuto notes can help reach the peak of the dynamics.
Playing the same left-hand pattern, now under slurs 2 and 4, on the other hand, is quite
challenging while observing the decrescendo marking to achieve the thus implied two-
measure phrasing that start from the lower register instead of starting with a descending
broken chord figure.
Example 72. Four slurs in the left hand, Nocturne No. 5 in F Major, mm. 27-30
85
Multiple layers of concentration are required for the pianist to achieve the desired
result. One must follow the natural contour of the line by gradually playing a little louder
as the line ascends and softer upon its descent. It would have been just as easy to write a
more conventional left hand (see example 73), but Rowley offers here a pedagogical
passage, challenging the pianist to reach new levels in their artistry.
Example 73. More conventional musical shape in the left hand, Nocturne
No. 5 in F Major, mm. 27-30
One must practice the bass line with circular wrist motion, which will aid in
projecting a smooth sound. The left wrist should start by supporting the fifth finger (which
starts the pattern) with a lower position and gradually follow up through the remainder of
the fingers so that the highest point of the wrist is at the first tenuto note in each measure,
and then the wrist goes down and prepares for the next slur pattern. The tenuto markings,
in this context, imply extra time, and these notes can be held a little bit. Once separate
hands play smoothly, students can play hands together. Make sure to listen to the voicing
attentively and avoid accents. The inner voices of the right hand should stay at a softer
dynamic level without detracting from the melodic line, especially since one of the inner
voices is doubled in the left hand by the tenuto notes. For typical students, the third finger
may voice out more than intended in this hand position. Two approaches can remedy this
problem: 1) to control the depth of the touch by curving the third finger extra, to “shorten”
its hold to touch the keys more shallowly, combined with release of the note upon sounding;
86
2) to slow the touch of the inner voices by “brushing” the keys with the pads of the inside
fingers, while releasing the thumb sooner than the fifth finger to aid this approach. In both
cases, the wrist should be flexible to allow the melody in the fifth finger to ring out.
Sequences
The middle part of section B consists of sequences. The right hand plays broken
chords with double notes on every two eighth notes, and the left hand plays the descending
octave patterns (see mm. 42-45, example 74). One should be aware that the Gb octave
formed between the hands in the first beat of measure 41 belongs to the bass octave pattern
voicing. The motive is two-measure long in measures 41 and 42, and then it turns to one-
measure for the following three sequences.
There are two challenges for this passage. Firstly, it is easy for the left hand to play
the eighth notes loudly because of the dotted rhythmic groups and the eighth notes are
relatively distant from the surrounding octaves. While using the eighth notes to energize
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and emphasize the mounting excitement is a legitimate interpretation, even the sharply
played eighth notes should still sound like as a part of melodically connected line from the
dotted quarter notes and not completely disconnected in conception. If one remains in
position on the dotted quarter note, waiting for the right hand beat to be over to play the
left-hand eighth notes, then the eighth notes will be attacked loudly. To avoid the unwanted
harsh sound caused by holding on too long to the dotted notes, one can regroup the left-
hand sequences from the eighth notes, and practice jumping to position as soon as the
dotted quarter has sounded. It may be hard to hear the line and play it melodically since the
regrouping naturally suggests a break in line between the dotted note and the eighth.
Therefore, one can compensate this tendency by playing the straight quarter notes without
dotted rhythm or even to shape the line using two hands first, to imprint the correct auditory
image. It is important to practice this while playing both hands because the right hand acts
as the backdrop (the “clock”) against which the left-hand transportation can be timed and
coordinated.
The second challenge is in the right hand. The double notes played by the right
hand are not easy to sound together: the higher note played by the fourth finger would
sound before the second finger if the technical approach, which may be more typical, is to
use rotation to start the pattern. The following are three tactics. First, it is efficient to
regroup the right hand in hand positions, and practice group by group (see example 75). To
listen to the voicing carefully and ensure the notes are played together are essential. Once
comfortable, students should play the whole phrase slowly with anticipation of hand-
position change before gradually speeding up the passage.

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Example 75. Regrouping by hand position, Nocturne No. 5 in F Major, mm. 43-46
The second suggestion is to practice the right hand without the fourth finger (the
higher voice of double notes), and then without the forefinger (the lower voice of double
notes) for the whole passage. It is necessary to listen to the sound quality carefully and to
make sure the eighth notes sound even before playing the entire passage normally.
The third tactic is to imagine the third beat as the downbeat so that the first beat in
each measure is considered an upbeat. In addition, students practice the “double-thumb-
double” group as a triplet, and thus the thumb is as a phrase off instead of a bump (see
example 76).
Example 76. Regrouping practice for the right hand, Nocturne No. 5 in F Major,
mm. 43-45
These suggestions assume the possibility of two different wrist-arm movements for
playing this passage: to make an arch to cross the thumb, or to stay low with a scooping
motion to slip the thumb. Varying tactics provide students options since not everyone
would approach it the same, and both are valid.

89
Climax of Nocturne No. 5
For the short virtuosic passage from measure 49, the performer needs to focus on
the left hand and anticipate the next double note position (see example 77). Students need
to keep the left hand relaxed, and to imagine the circle movement of the hand in each
measure. The running sixteenth notes in the right hand mimic intense strings, so the
fingertips should be sensitive and firm. This passage is in ff, but it is wise to practice it with
p in order to avoid tension in the wrist and the hand. Once separate hands are comfortable
enough to play smoothly, one should practice two hands together slowly and hear the rest
of the left hand.

Chapter 5
CONCLUSION
By exploring the colorful musical palette of Alec Rowley’s Five Nocturnes and
offering relevant pedagogical suggestions, this project proves that the value and
accessibility of the work is deserving of attention, particularly for its use in piano
instruction. Rowley’s five piano nocturnes present a variety of musical and technical
challenges within the confines of surprisingly compact compositions. The pieces embody
the composer-pedagogue’s blend of existing musical idioms, namely, impressionistic, jazz-
like, pastoral, and bel canto styles. Meanwhile, compositional devices such as
chromaticism, parallelism, quartal chords, and pentatonic modes are also skillfully
integrated into the texture. As a whole, the Five Nocturnes will enhance students’
understanding of the aforementioned musical languages while encouraging them to explore
further repertoires.
It is hoped that exposure to his nocturnes serve as an introduction to his other piano
works, which are practical instructional pieces of fresh aesthetic value. Piano teachers and
students can investigate other works by Rowley, such as those mentioned in chapter 3
(Progressive Studies, 30 Melodious and Rhythmic studies, Opp. 42 and 43, and Three
Concert Etudes). Additionally, it would be essential for teachers to help students with the
fingerings in these works. Furthermore, the reference books written by Rowley convey
constructive and practical suggestions for musical teaching and learning. Hence, the later
generations of pianists will benefit more from the treasures of unexplored repertoire and
treatises to further build their musicianship and overarching scholarship of keyboard
literature.
90
91
Finally, the author hopes this project will arouse the interest of piano teachers and
students to other British composers’ nocturnes. By exploring and appreciating these works,
pianists will actively engage in new music, and broaden their musical horizons.
BIBLIOGRAPHY
Alpers, Paul. What Is Pastoral? Chicago: University of Chicago Press, 1996.
Brancaleone, Francis Paul. “The Short Piano Works of Edward MacDowell.” PhD diss.,
City University of New York, 1982.
Brewer, Abbie Corrine. “A Performance Guide to Selected Character Pieces of Edward

MacDowell.” DMA diss., The University of Iowa, 2013.
Brown, Maurice J. E. and Kenneth L. Hamilton. “Nocturne.” In New Grove Dictionary of

Music and Musicians, ed. Stanley Sadie, 2d ed., 18:11-12. London: Macmillan, 2001.
Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music.
Ninth edition. New York: W. W. Norton, 2014.
Chambers, Herbert Arthur. “Obituary of Alec Rowley.” The Musical Times, Vol. 99, no.
1381 (March 1958): 152.
Cirka, Peter. “A Profound Identity: Evidence of Homogeneity in Gabriel Fauré’s Thirteen

Piano Nocturnes.” D.M.A. diss., Boston University College of Fine Arts, 2015.
Dykema, Peter W. “Reviewed Work: Four Piano Duets by Alec Rowley”, Music Educators
Journal, Vol. 21, No. 6 (May – June 1935): 56.
Gillespie, John. “Twentieth-Century Keyboard Music: France, Hungary, Holland, Spain,

And England.” In Five Centuries of Keyboard Music, 366-86. New York: Dover
Publications, 1972.
Hinson, Maurice. Guide to the Pianist's Repertoire. Second, Revised and Enlarged ed.
Bloomington: Indiana University Press, 1987.
Howes, Frank. The English Musical Renaissance. New York: Stein and Day, 1966.
Huneker James, Chopin: The Man and His Music. New introd. By Herbert Weinstock. New
York: Dover Publications, 1966.
Jiang, Hua. "Three Nocturnes for Piano by Jackson Berkey: An Analysis and a Study in
Performance Practice.” D.M.A. diss., North Dakota State University, 2017.
Karolyi, Otto. Modern British Music: The Second British Musical Renaissance—From
Elgar to P. Maxwell Davies. London: Associated University Presses, 1994.
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Kennedy, Joyce, Michael Kennedy, and Tim Rutherford-Johnson, eds. “Nocturne.”

In Oxford Dictionary of Music. Oxford University Press, 2012. https://www-
oxfordreferencecom.access.library.miami.edu/view/10.1093/acref/9780199578108.00
1.0001/acref-9780199578108-e-6497.
King, Patricia Tian-Chia. “Gabriel Fauré and the Development of the Nineteenth-Century
Piano Nocturne.” Master Thesis, University of Southern California, 1979.
Kington, Beryl. Rowley Rediscovered: The Life and Music of Alec Rowley. London:
Thames Publishing, 1993.
Kington, Beryl. “Alec Rowley and Recollections of Peter Warlock.” In Peter Warlock A
Centenary Celebration, compiled and edited by David Cox and John Bishop, 213-224.
London: Thames Publishing, 1994.
Kington, Beryl. “A Commemoration of Alec Rowley, 1892-1958”, Aspect of British Song:

A Miscellany of Essays (1992): 74-81.
Kirby, F. E., and Reinhard G. Pauly. Music for Piano: A Short History. Pompton Plains,
NJ.: Amadeus Press, 2004.
Lim, Chan Kiat. “Twentieth-Century Piano Nocturnes by American Composers: Echoes of

Romanticism.” D.M.A. diss., University of Cincinnati, 2004.
MacDowell, Marian. Random Notes on Edward MacDowell and His Music. Boston: Arthur
P. Schmidt, 1950.
Magrath, Jane. The pianist’s Guide to Standard Teaching and Performance Literature. Van
Nuys: Alfred Publishing Co., Inc., 1995.
Monelle, Raymond. The Musical Topic: Hunt, Military, and Pastoral. Bloomington:
Indiana University Press, 2006.
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D.M.A. diss., University of Northern Colorado, 2012.
Piggott, Patrick. The Life and Music of John Field, 1782-1837, Creator of the
Nocturne. Berkeley: University of California Press, 1973.
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“Reviewed Work: North Sea Fantasies (For Pianoforte) by Alec Rowley.” The Musical
Times 57, no. 883 (1916): 409.
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University of Illinois Press, 2017.
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University of Miami, 1980.
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A Performance and Pedagogical Guide to Alec

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A PERFORMANCE AND PEDAGOGICAL GUIDE TO ALEC ROWLEY’S FIVE

Submitted to the Faculty

Coral Gables, Florida

A doctoral essay submitted in partial fulfillment of

A PERFORMANCE AND PEDAGOGICAL GUIDE TO ALEC ROWLEY’S FIVE

A Performance and Pedagogical Guide to Alec Rowley’s Five Nocturnes

Abstract of a doctoral essay at the University of Miami.

Doctoral essay supervised by Professor Naoko Takao.

pedagogical range of difficulty present in Five Nocturnes furthermore supplements other

found in standard teaching repertoire while supplying stylistic diversity. Transitioning

present study serves as an introduction to the specific genre of nocturnes therein.

This project consists of five chapters. Chapter 1 provides a preliminary background

articulations, implied touch, and dynamics. Chapter 5 is the conclusion.

I would like to express my sincere gratitude to my essay advisor and piano

encouragement and generous mentorship has enabled me to acquire the independence

lessons and our talks.

I also wish to deeply thank the other members of my doctoral committee:

Additionally, I thank Laura Albritton for improving my skills in writing.

gratitude similarly extends to my grandparents and family, who unconditionally

extend my appreciation to my boyfriend, Siyun Xue, who always believes in me and

accompanies me in this journey of life. I wish to offer my thanks to all of my friends,

2 LITERATURE REVIEW ................................................................................ 9

3 LIFE AND PIANO SOLO WORKS .............................................................. 21

4 ANALYSIS AND PERFORMANCE GUIDE FOR FIVE NOCTURNES ... 26

Example 1. Schematic overview of Rowley’s Five Nocturnes (a)....................................27

and early twentieth centuries.

Alec Rowley (1892-1958) was among Britain’s twentieth-century musicians. A

of the Royal Academy of Music. Although overshadowed by his contemporaries, Rowley

educator, which cannot be ignored. His accomplishments in composition are particularly

form and musicianship also contribute to the pedagogical literature. 2 As a performer,

substantial of all his solo piano works, merit close exploration.

also be described as suggesting “more specifically a short piano piece of romantic

embellished melodies above sonorous accompaniments.”8 The nocturne, as a genre, is not

composers, the literature focuses on nocturnes in twentieth-century America,10 or teaching

strategies of the twentieth-century nocturnes. 11 Research has yet to be conducted

specifically concerning British nocturnes. With the abundance of piano nocturnes

composed by British composers, the scarcity of corresponding research and discussion is

2. Need for the Study

Alec Rowley’s five piano nocturnes. Besides establishing Rowley’s importance as a

as a general introduction to his piano oeuvre shall also be discussed.

Impressionism as well as jazz idioms.

Irregular phrases, thick textures, leisurely, folk-inspired melody, dance-like rhythms,

progressions reveal that the nocturne, especially in the twentieth-century Britain,

like the leaves rustling in the wind.

contextualize Rowley’s five piano nocturnes.

Pedagogically speaking, Five Nocturnes are most desirable for supplementation in

introduction to British nocturnes, students can gain a better understanding of

more difficult piano compositions in these and other styles.

In order to offer a comprehensive performance guide and pedagogical suggestions

twentieth centuries, and (3) parenthetically illustrating other British contemporaries’

nocturnes as a point of reference and comparison.

pedagogical works, where appropriate.

the latter three).

1. Rowley’s piano works and his musical life

Most of Rowley’s piano works remain largely unexplored. The comprehensive

Jane Magrath’s The pianist’s Guide to Standard Teaching and Performance

Level 6 and Op. 50 as Level 10.

Adrienne Wiley-Lippoldt’s dissertation, “A Pedagogical and Performance Analysis

analysis, a practice guide, and discussion of performance suggestions. Pertinent to the

is especially relevant to the study of the nocturnes. In my analysis, I adopt a similar