21 March 2010
Classical Music
So, I have been on a classical music kick lately as I make my 40 min commute to and from work. It all started when I read "Evening in the Palace of Reason" by James R. Gaines. It is about an epic showdown between Johann Sebastian Bach and Frederick the Great, which really symbolizes the collision between two worldviews and two eras in world history. Anyone who is into music or history would love reading it. Anyway, because I read this book, I had to go out and get a J. S. Bach album to listen to while I drive. This week, as I was listening to Bach's music I had an interesting experience. It was the auditory equivalent of staring into the flames of a fire, with its endlessly flickering patterns. Bach's music is similar. Many composers write their music in what I call "musical sentences" - a series of notes that end in a "note of resolution" - such that it goes in series of 4 - 8 or 10 notes that culminate in a note held just a little bit longer and then a small pause that seems to close out that series. I am sure any of you that know musical theory could enlighten me on what that is called. Anyway, much of Bach's music does not do that. It just keeps going in endlessly flickering patterns. Many times you will hear what seems to be a note of resolution, but it won't pause and another thread of melody will take up the lead. It was quite surreal. It also seemed to me that listening to Bach was the musical equivalent of reading a deep work of philosophy or theology. It was dense - as opposed to most other classical music and definitely modern music, which is more like reading a pulp fiction novel. Any other classical music buffs out there? What do you like?
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I am very impressed that although you do not have a background in music, your vocabulary and understanding of the music is quite accurate! Yes, that is what it is called when the piece finally reaches that ending chord or home pitch—“resolution” or a resolved cadence—watch out as they can be deceptive (a pun for all you musicians). What you referred to as 4 or 8 or 10 notes is the “phrase” usually consisting of 8, 12, or 16 “beats” if the meter has four beats per measure, making the phrase consists of multiples of four. You explained this perfectly—hearing 10 notes, the final note being held a bit longer, probably was a 12 or 16 beat phrase.) A good melody--in the most elemental or basic form--consists of four phrases: 1st) the melodic theme, 2nd) the theme “expanded on or played with” maybe in sequence (i.e. repeating the melody up a few notes), 3rd) tension where the melody takes an unexpected turn, usually staying away from the home pitch, 4th) resolution, moving back to the home pitch.
ReplyDeleteLike I said earlier, this is the basic form of our tonal, Western European music. The Masters take this idea and run with it so to speak. I’m wondering what music of Bach’s you were listening to, and I’m thinking any one of his Fugues—this would explain while he seems to resolve, the new melody takes that final note and continues, creating something new. If you’re enjoying the repetitive nature of Bach, try Handel or Vivaldi. All Baroque pieces have “unity of mood” from beginning to end. Beethoven begins to break away from this, and by the time it meets the classical composers (Mozart, Haydn, and Tchaikovsky to name a few), the music can turn violently and unexpectedly (which is thrilling in its own right). You might find impressionist music soothing as well (Debussy and Ravel).
ReplyDeleteThanks. I noticed the effect I mentioned to a degree in the Fugue in D minor and in the first movement of his Orchestral Suite No. 3, but most of all in the first movement Brandenburg Concerto No. 3. I didn't notice it as much when I listened to them again. It is not so much the repetition that I like as the myriads of variation on a theme, and the "unity of mood" you spoke of. I have listened to a collection of small pieces of various composers music as well (Like an intro to classical music CD) and I find that I much prefer listening to a whole work all the way through.
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