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El Salon Mexico
El Salon Mexico
El Salon Mexico
EL SALON MEXICO
AARON COPLAND
M E Williams 2010
BACKGROUND (1)
E L S A L O N M E X I C O
Belize Guatemala Honduras El Salvador
USA
Copland visited Mexico in 1932 and decided to compose a piece of music based on Mexican themes
BACKGROUND (2)
E L S A L O N M E X I C O
From the very beginning, the composition was connected to a popular dance hall in Mexico City called the Salon Mexico
BACKGROUND (3)
E L S A L O N M E X I C O It would be foolish for me to attempt to translate into musical sounds the more profound side of Mexico: the Mexico of ancient civilisations the revolutionary Mexico of today In order to be able to do all that, one must really know the country All that I could hope to do was to reflect the Mexico of the tourists, and that is why I thought of the Salon Mexico, Mexico, because in that hot spot, one felt in a very natural and unaffected way, a close contact with the Mexican people
BACKGROUND (4)
E L S A L O N M E X I C O It wasnt the music I heard, but the spirit that I felt there, which attracted me. Something of the spirit is what I hope to have put into my music
BACKGROUND (5)
E L S A L O N M E X I C O Copland completed the work in 1936
It was first performed on August 27 1937, by the Orquesta Sinfonica de Mxico Mxico conducted by Carlos Chavez
It was Carlos Chavez who introduced Copland to the Salon Mexico Night Club when he visited Mexico.
BACKGROUND (6)
E L S A L O N M E X I C O Some of the themes are based on melodies printed in El Folklore y la Musica Mexicana edited by Reuben Campos Others are based on melodies from Cancionero Mexicano edited by Frances Toor NONE OF THE THEMES IS QUOTED COMPLETELY Copland used folk music idioms such as: Harmonisation in parallel 3rds and 6ths Pitch slides Clarinet cadenzas String glissandos Some call and response techniques
BACKGROUND (7)
E L S A L O N M E X I C O
Copland has mentally absorbed the spirit and characteristic idioms of Mexican folk music and reproduced them in music that is his own The original melodies have been altered
RHYTHMICALLY
and
MELODICALLY
Sometimes fragments of two different tunes are welded into a fresh idea Ralph Hawkes (co founder of the music publishing firm Boosey and Hawkes) nicknamed the work An American Bolero and commissioned Leonard Bernstein to write a piano arrangement of the work.
FORM
E L S A L O N M E X I C O El Salon Mexico is in
TERNARY FORM
INTRO A B A1
Unusually long (102 bars) In FIVE sections - each a different tempo All three folk tunes introduced
Allegro Vivace - bar 103 Contains further variations on the themes stated in the introduction and new material Moderato molto (rubato) - bar 183 Contains new material Bar 323 Same material as A, but in a different order, and in different keys bar 384 - same theme as opening of intro
CODA
EL PALO VERDE
E L S A L O N M E X I C O
First verse Allegro
CHORDS
I or G
I or G
I or G 3 4
V or D
6 followed by 1 bar 8
SEQUENCE
CHORDS
I or G
ii or Am
V or D
I or G
EL MOSCO
E L S A L O N M E X I C O
V1
10
METRE
mixed What chords are used? Verse 1
V2
TEMPO
slower Verse 2
TONALITY
LN
RHYTHM
anacrusic irregular syncopated
LA JESUSITA
E L S A L O N M E X I C O
11
V7
Simple duple Chords I and V7 Built entirely from harmony notes Anacrusic Syncopated
12
Which song? What has changed? IN NOTATION IN PERFORMANCE What has changed? IN NOTATION IN PERFORMANCE
Last entry followed by the rest of the verse
(Bar 6)
EL PALO VERDE
(Bar 8)
Piano, viola
So, if the performance of the motif hasnt changed The number and timing of much, what HAS changed?
chords before each entry
13
in the intro
He has developed fragments of the original Mexican melodies LISTEN TO SECTION 1 OF THE INTRODUCTION
14
LA JESUSITA
CADENZA
How is it changed?
MELODIC RANGE
HARMONY
15
EL MOSCO
Keep the flavour of the folk music? Use musical elements to personalise it?
MELODY
RHYTHM
HARMONY
16
G D
What instruments reinforce this rhythm in bars 69 - 71? Violin 2 and viola with quaver movement Why is this rhythm not as obvious as in other sections?
DYNAMICS
( p)
CHANGES OF TEMPO
17
2nd verse
What instruments harmonise the melody? violin 2, viola, cello What chords are used? (ignore the pedal notes) I ii V I
18
HABANERA
19
The chordal accompaniment continues throughout this section What instruction is given to the accompanying strings? DIVISI (in three)
EL MOSCO RHYTHM Same MELODIC CONTOUR Slight alteration ENDING Same drop of a Major 3rd
20
FRAGMENTATION
Look at the rhythm of the melody and the rhythm of the accompaniment in bars 77-79. What musical devices are being used?
POLYRHYTHM
or
CROSSCROSS-RHYTHM
SYNCOPATION
21
I Vsus4 I This interval (major 6th) is the same as the 2nd verse of El Mosco but the harmony is based on the first verse What has changed in the second statement? Listen to the first statement followed by the second statement
Bar 84
22
IV
M E X I C O
How has the instrumentation changed? MELODY (in 3rds) Violins 1 and 2
HARMONY (Habanera rhythm) Violas and Cellos SUSTAINED CHORDS Oboes 1&2, Cor Anglais, Clarinet 2, 3 Horns
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Extra bar
IV I What are the chords in these two bars? Why is the cadence only implied? No bass.
24
STAGGERD ENTRIES OF INSTRUMENTS TIMPANI WITH HARD STICKS TROMBONES NOT MUTED FULL ORCHESTRA (except Vln1 &Vln 2) IN BARS 101 & 102 LISTEN AGAIN TO ALL OF SECTION 5
25
Development of opening (oboe then bassoon) Development of end of opening (descending 3rds - strings) Development opening 3 notes by augmentation and expansion of 3rd to 5th (horns & strings) Restatement of shortened version of answering phrases (woodwind & upper strings). Partly developed from El Mosco
113 - 116
137 - 144
26
Bars 4 statements of El Palo Verde, 145 - 155 each separated by drum hit. Mainly rhythmical section (3+3+2) but with some melodic reference to the drop of a 3rd in the folk songs Restatement of development opening 3 notes by augmentation accompanied by the rhythm of the previous section 156 - 162
163 - 172
Restatement of opening theme (of intro) after two false entries, and ending on chord V (E major)
173 - 181
27
How do the opening bars of this section contrast with the end of the introduction?
INSTRUMENTATION METRE RHYTHM
TEMPO
Returns to original tempo Softer, not only because of dynamic marking (mf), but also because far fewer instruments playing
DYNAMICS
28
PHRASES OVERLAP
METRE HARMONY
ARTICULATION
TEXTURAL DENSITY
29
Comment on the:
MELODY
Piano RH & Violin 2
10
30
Which instruments?
Which instruments?
Upper strings
How is it changed?
Wider range eg descends a 9th (bar 126)
31
Key signature of A Focus on brass at (mainly for convenience) beginning Until now, the melody has moved mainly in 2nds or 3rds. M3 P5 Study the opening horn motif:
(Transposed to concert pitch)
The theme beginning bar 137 (woodwind) is developed from El Mosco (verse 1)
M7
32
Why 6 3 time signature? FOR CONVENIENCE 84 Which orchestral family does not play? How does Copland separate each phrase?
WITH A PERCUSSION HIT STRINGS
11
33
Bar 160 - trombone enters with Where was this first heard?
BAR 134 VIOLA
Which instrument doubles the trombone? Which instruments partially restate the motif before the trombone restatement (164)?
CELLO BASS TUBA (162) HORNS (162) CELLO BASS BASSOONS (163)
34
The melody that opened El Salon Mexico reappears after two false entries (almost like a link to Section B) Which instruments state it? WOODWIND & UPPER STRINGS Which instruments interrupt? BRASS & PERCUSSION
LISTEN AGAIN TO SECTION A
35
Much slower at beginning, but several changes of tempo throughout the section. Frequent use of rubato. More use of instruments in upper range INSTRUMENTATION and/or higher orchestral instruments TEMPO RHYTHM Still lots of syncopation, but more playful than aggressive and driving. MELODY Some reference to folk tunes, but much original material TONALITY Sudden changes of key TEXTURAL DENSITY Much lighter texture throughout DYNAMICS METRE Generally softer
12
36
What key does this excerpt suggest? What key is suggested by the opening accompaniment (bass & Violin 1)? What is their relationship? NONE The harmonies do not clash as:
MAJOR
E MAJOR
The music is not played simultaneously The accidentals in the clarinet melody could be rewritten enharmonically to be in F sharp major (much more closely related to E major)!
37
At bar 196, the clarinet appears to begin another phrase, with oboes and flutes playing a countermelody, but the clarinet stops playing and the oboe and flute state a new melody in quavers (almost like a variation on the original melody).
This theme is answered in a conversational way by horn then clarinet and bassoon (bars 199 and 201) Clarinet 1 and oboe (in 3rds) restate the theme, slightly varied Strings accompany (divisi) then finally restate the theme (bars 209 and 210)
LISTEN TO SECTION B SO FAR (Bars 183 210)
38
13
39
Which instruments play the slow melody? (bar 227) OBOES The melody appears to begin at FALSE ENTRY bar 225. What is this called? Which instruments play a CLARINETS & SOLO VIOLA countermelody? (bars 228 232) Which instruments play a pedal CELLOS & BASSES (on the Leading Note)! note? (bars 228 239) Describe the accompaniment played BROKEN CHORDS by strings (Vln 2 bars 231 236 and then later by other strings) Which instruments play the melody in:
Bar 243?
VIOLINS
What is the section beginning BROKEN CHORDS (bar 231) in bar 246 based on? What happens to the tempo? GRADUALLY GETS FASTER
Flutes & clarinets have a new motif leading to next section (bar 251)
40
This section contains new material unrelated to either the folk songs or what has gone before. Copland concentrates on creating interesting and complex RHYTHMS and changing METRE with an occasional melody emerging 20th century techniques.
41
304 - 319
Careful and precise use of ARTICULATION As well as TENUTO MARKS ACCENTS and STACCATO p ma marc. (Viola bar 256) mark the accents (Cor Anglais bar 256)
non legato (Trumpet bar 259) gliss. (Clarinet bar 275) accents well marked (Stings bar 267) Use of 20th Century HARMONY and frequent KEY CHANGES Some discords, but the overall effect is jazzy rather than discordant Often jumps suddenly to unrelated keys as a different version of the melody is introduced
14
42
Apart from a few short trumpet solos and a few chords from the horns, brass do not play in this section Piano plays for 4 bars then rests (not always both hands together) Woodwind play mostly solos many rests (NB the score occasionally looks denser as cues have been added in case some instruments (eg E clarinet pg 28) are not present The only bars where the entire string section plays are: 267 272; 291 295; 300 - 321 The texture thickens towards the end of the section with upper strings divided.
43
Solos (and duets) are written for varying combinations with sparse accompaniment Cor Anglais (256 258) answered by trumpet (259 - 261) Flutes doubled by piano (262 265) E clarinet (268 276) accompanied by pizz. strings Oboe and clarinet 1 (280 286) answered by trumpet (285 - 287) Oboe (295); doubled by piccolo (297); both doubled by flute (303); oboe rests and clarinet doubles (313 - 321) LISTEN AGAIN TO SECTION B
SECTION A Revision
E L S A L O N M E X I C O
44
Listen again to Section A. You will then compare it with Section Bars
Statement of 103 - 110 opening theme and 2 answering phrases Development of opening (oboe then bassoon) Development of end of opening (descending 3rds - strings) Development opening 3 notes by augmentation and expansion of 3rd to 5th (horns & strings) Restatement of shortened version of answering phrases (woodwind & upper strings). Partly developed from El Mosco
113 - 116
137 - 144
15
SECTION A Revision
E L S A L O N M E X I C O
45
4 statements of El Palo Verde, 145 - 155 each separated by drum hit. Mainly rhythmical section (3+3+2) but with some melodic reference to the drop of a 3rd in the folk songs Restatement of development opening 3 notes by augmentation accompanied by the rhythm of the previous section 156 - 162
163 - 172
Restatement of opening theme (of intro) after two false entries, and ending on chord V (E major)
173 - 181
46
Section A1 5 3 6 4 1
6 bars 6 bars 6 bars 3 bars 5 bars
2 5 bars 10 7 bars 7 8
11 bars 10 bars
12 11 bars
47
This section contains very similar material to that of Section A, but presented in a different order and sometimes in a different key.
As in Section 1 it is answered by a phrase developed from El Mosco Woodwind Listen to bars 131 144 (Section A) and then to bars 323 332 and follow each in your scores as you listen.
There are some minor differences at the end because each is followed by different material
16
48
The section is similar to bars 113 116 in Section A, where the opening motif of the section modulated quickly to unrelated keys G major B major
In this section. Statements of the motif are interrupted (bars 327 332) by a restatement of the El Mosco phrase from the previous section There are 6 entries of the motif altogether
49
The LENGTH of the two sections as well as the RHYTHM, RHYTHM METRE and MELODY all remain unchanged.
Listen first to Section A and then the corresponding section in Section A1 and work out what has changed?
TONALITY
IN A MAJOR INSTEAD OF G
INSTRUMENTATION
MORE FULLY SCORED (Flute, clarinet and violin 1 double trumpet melody)
50
The part of Section A1 is a little longer (15 bars) than the equivalent part of Section A (bars 156 171). Section A consisted of: Irregular rhythms (3+3+2) punctuated by orchestral hits A melody that is based on the drop of a 3rd
Restatement of the augmentation motif Restatement of the first answering phrase from the opening of Section A
17
51
Restatement of the augmentation motif Restatement of first answering phrase from the opening of Section A, but in A major Further rhythmic section with melody developing last 3 notes of the answering phrase (369 373) C major Restatement of augmentation motif (bar 379) C major Statement of original rhythmic section with drop of 3rd (C major) and further restatements of augmentation motif further expanded E major chord ends section (unrelated to what has gone before)!
52
and in the LINK (OR BRIDGE) TO SECTION B Bars 173 181 Same false starts, but in A major and with slightly altered rhythm and interruptions by trombones and snare drum Main theme in A major and only partially stated, ending with an imperfect cadence
53
G MAJOR
E MAJOR
G major (the key at the beginning of El Salon Mexico) alternates Mexico) with E major (the key in which Section A1 ended) The main theme is not stated The music ends: The motif above is repeated three times (each restatement is rhythmically slightly different )
18
AARON COPLAND
E L S A L O N M E X I C O
As a composer, Copland had four distinct periods
54
A JAZZY PHASE 19251925-1929 AN AVANT-GARDE AVANTPERIOD 19301930-1936 A POPULIST PHASE 19361936-1949 El salon Mexico A RETURN TO SERIALISM 19501950-1971
AARON COPLAND
E L S A L O N M E X I C O
55
Below are some of the musical features one might expect to hear when listening to folk/popular music and 20th century avant-garde avantmusic. How many can you identify in El Salon Mexico? FOLK/POPULAR MUSIC Simple singable melodies Steady tempo Regular phrases Diatonic harmony (often with a descant in 3rds or 6ths) Strong key centre with modulations to related keys Syncopated rhythm but easy to remember Articulation left to performer Texture remains constant Call and response techniques 20TH CENTURY/AVANTE-GARDE CENTURY/AVANTEAngular or discordant melodies Frequent changes of tempo Irregular phrases Harmony contains discords, chromatic or added notes Lack of key centre and/or wide-ranging modulations Syncopated and/or irregular rhythms Articulation carefully notated Frequent changes of texture Large colourful orchestra
AARON COPLAND
E L S A L O N M E X I C O
Elliot Carter
56
Aaron Copland
Leonard Bernstein
These three composers are sometimes referred to as the greats of American music
WHY?
19