Les orandes oubliees by Messiaen and Traditional Chinese music: Dance music Hua T’ao Tzu
Link 1: Pitch, development of melodic phrasing Link 2: Structure, harmonic layering
Word Count: 2045
Table of contents Introduction……………………………………………………………………………………………….2
Investigation………………………………………………………………………………………………3
1) Pitch: Development of melodic phrasing…………………………………………………..3
2) Structure: Harmonic layering………………………………………………………………..9
Conclusion……………………………………………………………………………………………….14
Bibliography……………………………………………………………………………………………..15
Introduction The following discussion will compare and contrast Les offrandes oubliees by Messiaen
and Hua T’ao Tzu from Chinese folk-tradition, using the concepts of Pitch and Structure. Within the two works, melodies are developed phrase by phrase using repetition and more advanced techniques of fragmentation, augmentation, diminution and tonal/real sequencing. Harmonically, both pieces are structured around layers of complimentary horizontal lines and pedals; forming the structure of both works.
Oliver Messiaen (1908-1992) 1 enhanced the idea of rhythmic2 complexity, rich tone-
colour, and unique harmonic language in his compositions. He invented his own modes, with seven varieties, using a formula which is created by the combination of whole tones and semi tones. In 19303, Messiaen composed Les offrandes oubliees for orchestra (the piano reduction is used here). It consists of three different sections, Presque lent, Vif, and Lent.
Chinese traditional music has a rich history4. Historically, Chinese people believed that
music affects nature and natural phenomena. This had an influence on religious chants and songs, because they had used particular notes in the scale according the month that the ceremony was held. The scales consist of five to seven notes, which are categorized as pentatonic or heptatonic, 5-7 note scales (Han music tradition), often in duple meter with some syncopated rhythms5 .
Chinese traditional music is played solo or in small ensembles, which usually include
“plucked and bowed stringed instruments, flutes, various cymbals, gongs, and drums.”6
1
Johnson, Robert Sherlaw, Messiaen, Berkeley: University of California Press, 1975
2
Johnson, Robert Sherlaw, Messiaen, Berkeley: University of California Press, 1975
McComb, Todd. n.d. “Olivier Messiaen .” AllMusic. Accessed November 24, 2018. https://www.allmusic.com/ artist/olivier-messiaen-mn0001528006/compositions. 3
4
Han, Kuo-huang, and Patricia Shehan Campbell. 1997. The Lion's Roar. Danbury, CT: World Music Press, 1997
5
Han, Kuo-huang, and Patricia Shehan Campbell. 1997. The Lion's Roar. Danbury, CT: World Music Press, 1997
“Music of China.” n.d. Ohio River. New World Encyclopedia. Accessed December 9, 2018. http:// www.newworldencyclopedia.org/entry/Music_of_China. 6 6
1) Pitch: Development of melodic phrasing A melodic phrase means “…a group of notes that make sense together and express a definite melodic ‘idea,’ but it takes more than one phrase to make a complete melody.” 7
<Les offrandes oubliees> One of the main features 8 of Messiaen work is use of 7 different modes.
In Les offrandes oubliees piece, it can be argued that this is based on the mode 2.
The intervals of each note are minor 2nd, major 2nd in that order [Figure 1]. 9
Figure 1: Messiaen mode 2 in E minor To show that this piece is based on Messiaen mode 2, this mode is transposed to start from E, since the piece could be argued as E minor. The mode 2, starting from E will contain the notes of E, F, G, G#, A#,B, C#, D.
I will use this chromatic scale to explain my analysis [Figure 2].
Notes
E
F
F#
G
G#
A
A#
B
C
C#
D
D#
Number
0
1
2
3
4
5
6
7
8
9
10
11
Figure 2: Scale formula
10
Musictheory. 2012. “Melodic Phrases in Music Theory .” Music Theory and Classic Jazz Harmony. April 19, 2012. https://www.aboutmusictheory.com/melodic-phrases.html. 7
8
Johnson, Robert Sherlaw, Messiaen, Berkeley: University of California Press, 1975
9
Making it Octatonic.
10
After the D#, when it goes to the octave E, it means that it goes back to 0 again.
Figure: 3 Melodic Phrase A (b.1-5)
First phrase A (b.1-5) is the main phrase of this entire piece. Bar 6 repeats the same melody as b.1, suggesting that bar 5 is the end of the phrase.
Until b.4, there are only two voices. Right hand keeps playing the octaves, and left hand plays the pedal note. Bar 5 shows there is an extra voice in the middle, which plays the pedal note, along with the contrary motion between top + bottom parts.
In the Figure 3, red numbers show the notes from Messiaen mode 2 transposed to E minor. From the sequence of these numbers, there is a formula in the melodic material. The diďŹ&#x20AC;erence between two numbers are mostly a 3rd apart. For example, in b.1, the pitch material moves from pitch set [7,10], [1,4] (repetitions of minor 3rd intervals). In b.3, it does not have this formula, because it uses chromatic ascending patterns (octatonic).
Also, blue rectangles show the pedal notes of this melodic phrase. From b.1-3, it is made by E and G, which can be expressed as pitch set [0,3] (again a minor 3rd). In b.4 [10, 1], maj3rd. In b.5, the pedal/pitch set expressed as [7, 9, 1, 7] has notes interpolated from Mode 2. Since 7 and 9 are major 2nds, it again involves chromaticism but it is repeated as a rhythmic dissonance on the beat to end the phrase (here in 10/8).
Piano
Figure 4: Melodic Phrase B (b.10-13) Phrase B (development from phrase A) consists of two diďŹ&#x20AC;erent parts (b.10-11, 12-13). In b.10-11, right hand has the melody part, and the melody moves to the left hand in two octaves lower in b.12-13. However, the melody is still in the octave through this phrase, showing phrase B refers to phrase A (for unity).
Despite the two parts in this phrase, there is almost no diďŹ&#x20AC;erence between melodies within these bars (repetition).
The Melody part in b.10 is inverted from b.4, and b.11 is an augmented version of 8th notes melody part in phrase A. Also, it has clearly the elements of phrase A, such as use of minor 3rd intervals between notes in Messiaen mode 2, and pedal.
In b.10-12, the notes of Messiaen mode 2 go from 7 to 10 (min3rd). This is the same feature as bar 1 in the phrase A. Also, in b.10-11, there are the same pedal notes that can be seen in the first three measures of phrase A (repetition). In b.12-13, it has the octave B pedal note, which is one of the notes in Messiaen mode 2, in E minor.
Piano
Figure 5: Melodic phrase C (b.1) in the Vif section
Melodic phrase appears in the first bar of the Vif section. In the both hands they have the same repeated rhythmic pattern (one dotted 8th note + one 16th note in parallel motion). In the right hand, the chord is made by [5,10,0], which makes dissonant sound in the melody, which also can be seen in phrase A b.5. It has a diminution of the rhythmic pattern from the pedal note in the left hand from phrase A.
Figure 6: Melodic phrase D (b.20) in Vif In phrase D, the right hand has parallel motion in the interval of major 6. This parallel motion can be argued comes from the octave parallel motion in phrase A.
Furthermore, in phrase D, the bottom part plays one syncopated pattern (blue box Figure 6). This rhythmic pattern in the bass an be argued that it comes from phrase A by counting two same 8th notes together as one quoter note. (So, the rhythmic pattern is dotted quarter note to quarter note).
Piano
Figure 7: Melodic phrase E (b.1-3) in Lent
In phrase E, in the right hand, is almost exactly the same rhythmic pattern from phrase A. The intervals between notes in the melody parts are contracted, because the interval is narrower compared to the octave interval melody in phrase A. For example, in the first bar, the interval between two notes are [6, 9], is a min3rd.
Also, in the bass line, he uses the pedal notes (the blue box). The internal within the pedal notes is a min3rd, which is the same interval as melody part above. On top of this pedal notes, he puts extra notes (interpolates), which did not happen in phrase A.
<Hua T’ao Tzu>
Figure 8: Main melodic phrase (b.1-3)
This extract shows the main melodic phrase of the Chinese traditional piece. It is clearly
shown that it is in e minor pentatonic.11 The basis of this piece is a anhemitonic pentatonic (five-tone) scale. 12
The rhythmic motif13 is based on the combination of the dotted 8th note and 16th note, which appears in 1st + 3rd beats of each bar.
Figure 9: Melodic phrase B (b.4-5)
11
which consists of the notes e g a b d
12
Han, Kuo-huang, and Patricia Shehan Campbell. 1997. The Lion's Roar. Danbury, CT: World Music Press, 1997
13
Han, Kuo-huang, and Patricia Shehan Campbell. 1997. The Lion's Roar. Danbury, CT: World Music Press, 1997
In this phrase B, it has exactly the same rhythmic pattern that appears in phrase A (repetition). For the first two notes in the beginning of the each bar, it uses interval contraction. In phrase A, the interval used is a P5th, but in this B, it is a P4th. Also, the first beat is retrograded (backwards), because it goes from B to E, whereas the first beat in phrase A goes from E to B.
Figure 10: Melodic phrase C (b.8-9)
In this phrase C, the first beat has exactly the same pattern as the main melodic phrase A, which is made by one dotted 8th note + two 32nd notes. The blue box is augmented from the melodic theme of the phrase A. Also, the red line shows the interval contraction, compared to the interval on the second beat of the phrase A. In phrase A, the interval between two notes of the second beat is P5th, but in this part, it is in maj3rd.
Figure 11: Melodic phrase D (b.10) In D, it develops from b.2. It deletes notes from b.3, making it simpler, then the rhythm is augmented.
Figure 12: Melodic phrase E (b.12)
In E, the red box is the motive from main phrase A; because the rhythmic pattern is exactly the same. However, the two 8th notes on the second beat (blue) are in inversion + interval contraction. In the first bar of the main phrase A, it has descending pattern in the interval of P5th. However, in this phrase E, it has ascending pattern and in the interval of min3rd.
2) Structure: harmonic layering
Harmony is a combination of horizontal voices. Homophonic music stands for “an
individual melody stands out from its harmonic, or supporting, background.”
14
Harmonic
layering in this paper, is a series of moving lines. These two pieces may sound homophonic, but it is their horizontal melodic lines that create harmony through layering each entry.
<Les offrandes oubliees> In this analysis part for Les offrandes oubliees, the table of scale formula [Figure 2] will be referred to.
Notes
E
F
F#
G
G#
A
A#
B
C
C#
D
D#
Number
0
1
2
3
4
5
6
7
8
9
10
11
Figure 2: Scale formula
In Les offrandes oubliees, there are different types of harmonic layering. First type
appears in b.1-4 [Figure 13].
Figure 13: Les offrandes oubliees, Presque lent (b.1-4) Edwin J. Stringham, Listening to Music Creatively (New York: Prentice-Hall, 1946), 19, http:// www.questiaschool.com/read/214063/listening-to-music-creatively. 14
There is a pedal in the left hand with Messiaen type phrases on top in the right hand.
From b.1-3, the pedal note is a combination of 3 + 6 in the scale formula (m3rd). Then, in the b. 4 it goes to the maj3rd.
In the right hand in b.1-3, the melody is based on the Emaj7th chord, which consists 0-4-7-10. Then, in b.4, when the pedal chord in the left hand changes, the bottom chord changes to Ddominant 7th (10-2-5-8). However, right hand chords are played by arpeggios, with notes which do not belong to Emaj7th and Ddominant 7th (how it is layered). Although those notes do not belong to the chords, they are still in the group of Messiaen mode 2.
Dissonant harmonies are created by Messiaen layering in the mode 2 at b.5 in contrary motion [Figure 14].
Figure 14: Les oďŹ&#x20AC;randes oubliees, Presque lent (b.5)
The extra harmony layer in the middle part, with pedal notes adds a texture to the
dissonant harmony created by the top + bottom parts.
Figure 15: Les offrandes oubliees, Vif (b.7)
The upper part chords are mainly made by the notes from Messiaen’s mode 2.
Messiaen shifts the chords by half steps after introducing the first two chords. It
sounds like a chromatic ascending pattern of chords.
The bottom parts are in octave arpeggios on the dominant and tonic chords. The first
arpeggio is a Bmajor chord (dominant of Eminor), and the second arpeggio is Eminor (no 5th).
<Hua T’ao Tzu>
Chinese music works through lines of melodic motifs layered horizontally. This piece
has evidence of modal harmony by using a tonic Eminor to a b7major chord (D), acting as a dominant.
Figure 16: Hua T’ao Tzu (b.1-3)
Figure 16, shows harmonic layering in this piece b.1-3. The top and bottom parts are
played by Erhu. While top part is playing the melody, the bottom part is playing pedal notes with exactly the same rhythmic pattern to the top (rhythmic unison). In the first two bars of each measuresâ&#x20AC;&#x2122; ascending pattern, a tonality is implied by the overlapping voices.
Figure 17: Hua Tâ&#x20AC;&#x2122;ao Tzu (b.4-7)
In bar 4-5, top and bottom parts are in rhythmic and harmonic unison with the rhythmic
theme of b.1-3. Whereas middle part has a rhythmic + melodic ostinato pattern. This ostinato pattern is made by Eminor tonic chord E, G, B. The bottom part has a solo melody part in b. 6-7. This bottom melody part is made out of Eminor (no 3rd).
In bar 6-7, top and middle parts have similar rhythmic theme, which is mainly based on
4th notes. When those three layers of harmonies are together, they are mainly still the combination of E minor tonic scale. However, A minor subdominant chord appears in b.6 as an exception.
Figure 18: Hua T’ao Tzu (b.8-9) Here the top two lines play in unison, but the top line is an octave higher than the second line.
The second harmony layering appears in the bottom two lines. They play a repeated
rhythmic pattern in parallel motion. The first note of each bar is always in the octave unison. However, at the end of each bar, they play the maj3rd interval or E minor 1st inversion.
Conclusion Two pieces, Les offrandes oubliees by Messiaen and Hua T’ao Tzu from Chinese folktradition, have the same features through development of phrasing and harmonic layering. Based upon the evidence given, it can be seen that both pieces have completely different system of tonality and approaches to compositions. However, the evidence outlines many uses of repetition and development tools within each phrase. Structurally, the Chinese work has a simpler approach to harmonic layering, and Messiaen’s comes from his octatonic mode 2.
Bibliography Edwin J. Stringham, Listening to Music Creatively (New York: Prentice-Hall, 1946), 19, http:// www.questiaschool.com/read/214063/listening-to-music-creatively. Han, Kuo-huang, and Patricia Shehan Campbell. 1997. The Lion's Roar. Danbury, CT: World Music Press. Johnson, Robert Sherlaw. 1975. Messiaen. Berkeley: University of California Press. "Melodic Phrases In Music Theory". 2012. Aboutmusictheory.Com. https:// www.aboutmusictheory.com/melodic-phrases.html. "Music Of China - New World Encyclopedia". 2018. Newworldencyclopedia.Org. Accessed December 9. http://www.newworldencyclopedia.org/entry/Music_of_China. "Olivier Messiaen | Compositions | Allmusic". 2018. Allmusic. Accessed November 24. https:// www.allmusic.com/artist/olivier-messiaen-mn0001528006/compositions. Oliver, Messiaen. Les offrandes oubliees. Bryn Mawr, United Music Publishers Ltd. Londres, 1957.
Paul, Kim. “Les offrandes oubliées (Version for Piano)”. Filmed [Jun 2005]. YouTube video, 10:16. Posted [Sep 2015]. https://www.youtube.com/watch?v=1cr88jjSUtY
Rick, Beato. “Olivier Messiaen - The Modes of Limited Transposition”. YouTube video, 15:37. Posted [Apr 2017]. https://www.youtube.com/watch?v=nCXxV7eDEPc. Sharma, Elizabeth. Music Worldwide. Chinese Classical Orchestra. Cambridge University Press, 1998. Audio CD. Track 46.