Chosen set brief:

Area of Study 5: Programme Music, 1820–1910

Summary: My three movements are full of vivid imagery and emotive musicality. The first
movement takes us on a walk through the aquarium, evoking the wonder and curiosity of
watching fish and marine life swim by. The second movement draws upon the depths of the
sea and its hidden creatures. The final movement celebrates the cultural heritage of Asia,
using a range of traditional instruments and motifs to create a lively and celebratory
atmosphere.

First Movement:

My first movement is intended to depict visitors walking through an aquarium. To evoke the
feeling of excitement as visitors walk through and gaze in awe at the watery delights floating
around them, I utilize legato phrasing and sweeping melodic lines to evoke a sense of
wonder. I use ornamentation, such as trills and grace notes, to add a sense of elegance and
sophistication to the ¾ waltz feel. The arpeggiated opening sets a dreamy and fluid scene,
evoking the fluidity of water. The harp is often associated with angelic and celestial sounds
and its glissandos and arpeggios create a sense of shimmering and cascading water,
conveying a sense of mystery and wonder as visitors enter this beautiful and amazing
aquatic world.

I composed this movement as a Piano Quintet to give orchestral variety between my three
movements. I decided to have the piano playing scalic passages to reflect the unity between
visitors whilst they share the same aquatic experience. The violin, cello, unconventional
harp and timpani help build excitement and anticipation for the unveiling of the new space.
This creates a sense of movement and energy that is appropriate for the aquarium and
visitors walking past different exhibitions of marine life. By creating a melody that starts
with a flowing, watery motif and then adding more complex rhythms and harmonies not
only reflects the movement and energy of the aquarium but also the variety of visitors from
all around the world with their differences in age, ethnicity and demeanors.

The B section within the ABA ternary structure is used to create a sense of contrast and
development, exploring the playfulness of sea creatures by incorporating a dance rhythmic
element by the timpani. The return of the A section at the end of the composition creates
resolution and completion, as visitors leave the aquarium and return to the outside world.
Second Movement:

My second movement highlights the darkness and abyss of the ocean that we have not
explored yet. The piece has a mystical feel via the use of a larger orchestra, including a full
string section, woodwinds, brass, and percussion. This allowed me to create a rich, layered
sound that evokes the vastness and depth of the ocean. The E minor key creates a dark and
mysterious atmosphere regarding the unknown depths of the ocean. The 6/8- time
signature creates a rushed sensation and an ominous pulse.

I used the strings to create a sense of motion, with sweeping arpeggios and tremolo
passages that suggest the ebb and flow of the tides. The woodwinds and brass are used to
add color and texture, with trombone and French horn passages that evoke the distant calls
of whales or other sea creatures. The percussion section is used to create dramatic effects,
such as crashing cymbals and timpani rolls that suggest the power and danger of the ocean
and the raising dynamics indicate the rise of a monstrous wave.

I was inspired by the similar approach to harmony and tonality by Felix Mendelssohn in the
"Hebrides Overture", known for its use of modal harmonies and ambiguous tonality, which
create a sense of mystery and tension. The movement starts by an 8-bar introduction of
tonally ambiguous legato cello to set the daunting mood of the deep sea. This then leads to
my main theme with raising scalic movements by staccato violin, taking the audience
through a journey of uneased tension not knowing what they will find through the dark
mysteries of the sea. The celesta plays a pedal E consolidating the key by suggesting a
mystical element to the deep ocean.

NC-ND
Third Movement:

Saint-Saëns had an interest in history and cultural heritage, which is reflected in some of his
works. This inspired my third movement which celebrates Asian heritage, by exploring Asian
waters and marine life, using instrumentation from Asia and the pentatonic scale.
Traditional Japanese music often has a meditative, peaceful quality that evokes the
tranquility of an aquarium. Asian music, particularly traditional Chinese and Japanese music,
often features instruments that are associated with water, such as the guzheng or an
arpeggiated Japanese Koto, which have a flowing, rippling sound driving the music forward.

The main melody is shared equally between the instruments, often through polyphonic
moments in the piece tying the cultural differences. This detailed and decorated melody is
first heard by the Chinese Xiao displaying the complexity of Asian marine life. I used trills to
imitate the sound of fish swimming in water and creates a sense of excitement or
movement in the music. Vibrato can be heard throughout my composition to add depth and
emotion to the melody, which helps to convey the complexity of fish and their behavior. The
melody is then passed to the Japanese shakuhachi to show cultural unity.

The harp accompaniment repeats an arpeggiated broken chord. Arpeggios are commonly
used in Asian music, particularly in traditional Japanese music, where they are often used to
imitate the sound of water flowing in a river or stream. I used the pentatonic scale is often
associated with a natural, organic sound and can be used to display a sense of tranquility,
contemplation and the serene environment of an aquarium. Finally, the celesta brings a
fantasy feel. Its delicate, bell-like tones can evoke a feeling of otherworldliness and fantasy
that fits well with the ethereal nature of an underwater world.

By Faye McDonald.