ANALYSIS

1. ANALYSIS EL SALON MEXICO AARON COPLAND Power point prepared by: Margaret Williams www.mewsicresources.co.nz © M E Williams 2010

2. BACKGROUND (1) E L S A L O N M E X I C O 1 USA Belize Guatemala Honduras ElSalvador Copland visited Mexico in 1932 and decided to compose a piece of music based on Mexican themes

3. BACKGROUND (2) E L S A L O N M E X I C O 2 From the very beginning, the composition was connected to a popular dance hall in Mexico City called the Salon Mexico

4. the Mexico of ancient civilisations the revolutionary Mexico of today 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: 3 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, because in that ‘hot spot’, one felt in a very natural and unaffected way, a close contact with the Mexican people…

5. BACKGROUND (4) E L S A L O N M E X I C O …It wasn’t 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” 4

6. BACKGROUND (5) E L S A L O N M E X I C O Copland completed the work in 1936 5 It was first performed on August 27 1937, by the Orquesta Sinfonica de México conducted by Carlos Chavez It was Carlos Chavez who introduced Copland to the “Salon Mexico” Night Club when he visited Mexico.

7. 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 6 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

8. 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. 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 7 The original melodies have been altered RHYTHMICALLY MELODICALLY and Sometimes fragments of two different tunes are welded into a fresh idea

9. FORM El Salon Mexico is inTERNARY FORM E L S A L O N M E X I C O 8 Unusually long (102 bars) INTRO In FIVE sections - each a different tempo All three folk tunes introduced Allegro Vivace - bar 103 A Contains further variations on the themes stated in the introduction and new material B Moderato molto (rubato) - bar 183 Contains new material Bar 323 A1 Same material as A, but in a different order, and in different keys CODA bar 384 - same theme as opening of intro

10. CHORDS 1 bar followed by 1 bar 6 3 8 4 Accents fall on different quavers Verse 1 Verse 2 Second verse CHORDS EL PALO VERDE First verse E L S A L O N M E X I C O Allegro 9 I or G I or G V or D I or G MIXED METRE What chords are used? What musical device is used in this verse? SEQUENCE I or G ii or Am V or D I or G

11. V1 V2 EL MOSCO 10 E L S A L O N M E X I C O I or G V or D I or G What is the same as El Palo Verde? What is different from El Palo Verde? METRE TEMPO TONALITY RHYTHM mixed slower anacrusic ♭LN irregular What chords are used? syncopated Verse 1 Verse 2 IV or C V or D I or G What is the main harmonic difference from the 1st verse? Starts with the subdominant chord (IV)

12. 2 4 LA JESUSITA 11 E L S A L O N M E X I C O I V7 METRE Simple duple HARMONY Chords I and V7 MELODY Built entirely from harmony notes RHYTHM Anacrusic Syncopated

13. (Bar 3) (Bar 6) (Bar 8) INTRODUCTION (Part 1) bars 1-18 12 E L S A L O N M E X I C O Which song? EL PALO VERDE What has changed? IN NOTATION IN PERFORMANCE What has changed? Piano, viola IN NOTATION IN PERFORMANCE Last entry followed by the rest of the verse So, if the performance of the motif hasn’t changed much, what HAS changed? The number and timing of chords before each entry

14. Written in triple time, but accents indicate 6 7 8 8 This bar could have been written in time Copland has used FRAGMENTATION in the intro INTRODUCTION (Part 1) bars 1-18 13 E L S A L O N M E X I C O What has changed? Extra quaver causes rhythmic displacement Looks syncopated, but doesn’t sound syncopated He has developed fragments of the original Mexican melodies LISTEN TO SECTION 1 OF THE INTRODUCTION

15. Trumpet plays a version of La Jesusita DECORATED LA JESUSITA The trumpet restates the melody. Answered by a short clarinet CADENZA Answered again by a clarinet CADENZA INTRODUCTION (Part 2) bars 19-33 14 Begins with 4 bars of discords from the bassoons and trombone E L S A L O N M E X I C O The chords sound less discordant because they are very soft How has Copland changed La Jesusita? How is it changed? How is it the same? MELODIC RANGE HARMONY LONGER CLARINET CADENZA Listen again to Section 2

16. Timp Piano Bass EL MOSCO INTRODUCTION (Part 3) bars 34-60 15 Begins with an introduction (6 bars) E L S A L O N M E X I C O What instruments? What is the link to the folk tunes? IRREGULAR RHYTHM sounds like MIXED METRE On which folk tune is the main theme based? Keep the “flavour” of the folk music? How does Copland: Use musical elements to personalise it? What changes when the theme is repeated?(on each entry) MELODY RHYTHM HARMONY

17. Begins with an introduction (2 bars) Repeated throughout the section G D 3 6 4 8 Sounds like DYNAMICS (p) CHANGES OF TEMPO (rit. - a tempo) INTRODUCTION (Part 4) bars 61-72 16 E L S A L O N M E X I C O What rhythm? TONIC & DOMINANT PEDAL POINT What notes? Section 3 What other section began like this? 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?

18. I V (implied by the melody) INTRODUCTION (Part 4) bars 61-72 17 On which folk song is the melody based? E L S A L O N M E X I C O 1st verse 2nd verse El Palo Verde What instruments harmonise the melody? violin 2, viola, ‘cello What chords are used? (ignore the pedal notes) ii I LISTEN AGAIN TO SECTION 4

19. Compound duple HABANERA This section is based on the rhythm One of the most famous examples is the Habanera from Carmen by Bizet 6 8 Repetitive bass rhythm (Copland does not use this) Distinctive rhythm of melody NB is the same as same rhythm El Mosco INTRODUCTION (Part 5) bars 73-102 18 What is the new time signature? E L S A L O N M E X I C O Which folk tune uses this rhythm? Another famous song using the Habanera rhythm isLa Paloma

20. Tonic chord in Habanera rhythm played by Intro: (4 bars) The melody in the ‘cello (bars 76-80) is based on EL MOSCO INTRODUCTION (Part 5) bars 73-102 19 E L S A L O N M E X I C O Vln 2 & Vla Same chord sustained by Flutes 1&2, Clarinet 2, Horns The chordal accompaniment continues throughout this section What instruction is given to the accompanying strings? DIVISI (in three) RHYTHM MELODIC CONTOUR ENDING Same Slight alteration Same drop of a Major 3rd

21. Using and developing only part of a melody or rhythm is called: POLYRHYTHM or CROSS-RHYTHM INTRODUCTION (Part 5) bars 73-102 20 E L S A L O N M E X I C O FRAGMENTATION Look at therhythm of the melodyand therhythm of the accompanimentin bars 77-79. What musical devices are being used? SYNCOPATION

22. First statement of the melody: Typical harmonisation of folk music Vln & Vc in THIRDS Bar 76 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 Bar 84 Melody and “descant” no longer entirely in 3rds INTRODUCTION (Part 5) bars 73-102 21 E L S A L O N M E X I C O What has changed in the second statement? Listen to the first statement followed by the second statement Shows influence of 20th century (discordant) harmony

23. IV I Starts with a subdominant chord INTRODUCTION (Part 5) bars 73-102 22 E L S A L O N M E X I C O On which verse of El Mosco is the 3rd melodic statement based? SECOND How do you know? How has the instrumentation changed? MELODY (in 3rds) Violins 1 and 2 Violas and ‘Cellos HARMONY (Habanera rhythm) SUSTAINED CHORDS Oboes 1&2, Cor Anglais, Clarinet 2, 3 Horns

24. What are the chords in these two bars? INTRODUCTION (Part 5) bars 73-102 23 The 3rd melodic statement is printed below. Listen to the 3rd and 4th statements E L S A L O N M E X I C O What changes does Copland make in the 4th statement? Extra bar IV I What cadence does this imply? Why is the cadence only implied? No bass. PLAGAL

25. DYNAMICS - mfmolto crescff INTRODUCTION (Part 5) bars 73-102 24 The section ends with 5 bars of accompanying chords (chord I). E L S A L O N M E X I C O How does Copland build intensity in these five bars? 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 Harmony mostly sounds lush and romantic LISTEN TO ALL THE INTRODUCTION AND FOLLOW IN YOUR SCORES

26. SECTION A (1) Overview bars 103 -182 25 Bars E L S A L O N M E X I C O Statement of opening theme and 2 answering phrases 103 - 110 Development of opening (oboe then bassoon) 113 - 116 Development of end of opening (descending 3rds - strings) 124 - 133 Development opening 3 notes by augmentation and expansion of 3rd to 5th (horns & strings) 134 - 135 Restatement of shortened version of answering phrases (woodwind & upper strings). Partly developed from El Mosco 137 - 144

27. SECTION A (2) Overview bars 103 -182 26 Bars E L S A L O N M E X I C O 4 statements of El Palo Verde, each separated by drum “hit”. 145 - 155 Mainly rhythmical section (3+3+2) but with some melodic reference to the drop of a 3rd in the folk songs 156 - 162 Restatement of development opening 3 notes by augmentation accompanied by the rhythm of the previous section 163 - 172 173 - 181 Restatement of opening theme (of intro) after two false entries, and ending on chord V (E major)

28. SECTION A (3) bars 103-112 27 How do the opening bars of this section contrast with the end of the introduction? E L S A L O N M E X I C O No strings INSTRUMENTATION Horns enter bar 106 Trumpets enter bar 109 METRE Common time (simple quadruple) RHYTHM Irregular – accents in unexpected places = Apart from the last quaver, this is the same as: (Bar 3) Returns to original tempo TEMPO Softer, not only because of dynamic marking (mf), but also because far fewer instruments playing DYNAMICS

29. SECTION A (4) bars 103-112 28 OPENING PHRASE (oboe) – bar 103 E L S A L O N M E X I C O ANSWERING PHRASE 1 (clarinet, doubled by piccolo) – bar 106 PHRASES OVERLAP ANSWERING PHRASE 2 (trumpet) – bar 109 Comment on: SIMILARTIES TO EL PALO VERDE METRE REPETITION RHYTHM ARTICULATION HARMONY melodic/rhythmic All 3 phrases TEXTURAL DENSITY

30. SECTION A (5) bars 113-116 29 DEVELOPMENT OF OPENING PHRASE (oboe) – bar 113 E L S A L O N M E X I C O How does Copland develop the opening phrase? Opening phrase METRE TONALITY ENTRIES OF THE MOTIF The accompaniment follows the rhythm of the motif Comment on the: HARMONY First 4 notes of G major scale MELODY Unison and major 2nds Piano RH & Violin 2

31. SECTION A (6) bars 116-133 30 Which MUSICAL ELEMENTS are most obvious in this section? E L S A L O N M E X I C O In 2nds (or 7ths) Syncopated RHYTHM HARMONY A snippet of the answering phrase is developed (bar 118) Which instruments? ‘Cellos, bassoons, clarinets Copland then develops the end of the opening phrase In which bar does this start? Which instruments? How is it changed? Wider range eg descends a 9th (bar 126) Upper strings 124

32. SECTION A (7) bars 133-144 31 What MUSICAL ELEMENTS change in this section? (The music begins about bar 131) E L S A L O N M E X I C O TONALITY INSTRUMENTATION Key signature of A♭ (mainly for convenience) Focus on brass at 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 LISTEN AGAIN TO SECTION A SO FAR (Bars 102 – 144)

33. SECTION A (8) bars 145-155 32 Which folk song? E L S A L O N M E X I C O EL PALO VERDE (Second Verse) Which orchestral family begins? BRASS Which instruments share the tune? (Tune slightly modified to include upward arpeggio from verse 1) TRUMPETS 1 & 2 FOR CONVENIENCE Why time signature? Which orchestral family does not play? STRINGS 3 6 4 8 How does Copland separate each phrase? Which percussion instruments are used? WITH A PERCUSSION ‘HIT’ SNARE DRUM (Tamburomilitare); BASS DRUM (Cassa); GOURD; TIMPANI

34. SECTION A (9) bars 156 -166 33 The section begins with an emphasis on rhythm. The “tune” (such as it is) is only the leap of a 3rd followed by repeated quavers. E L S A L O N M E X I C O 11 A bar is followed by a bar. This is effectively time with accents on the first, seventh and ninth quavers. 8 How are these accents reinforced? ORCHESTRAL CHORDS STRING DOWN BOWS CYMBALS HIT WITH HARD STICKS Bar 160 - trombone enters with 3 4 4 8 Where was this first heard? BAR 134 Which instrument doubles the trombone? VIOLA Which instruments partially restate the motif before the trombone restatement (164)? CELLO BASS TUBA (162) HORNS (162) CELLO BASS BASSOONS (163)

35. SECTION A (10) bars 167 -182 34 • Note the following (bars 167 – 172): • Driving quavers grouped in 2s and 3s • No regular pattern of grouping (some over bar line) • Reappearance of • Repeated leaps of Perfect 4th E L S A L O N M E X I C O 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

36. SECTION B (1) Bars 183 – 322 Overview 35 LISTEN TO SECTION B, WHILE FOLLOWING THE SCORE, AND IDENTIFY HOW IT CONTRASTS WITH SECTION A E L S A L O N M E X I C O Much slower at beginning, but several changes of tempo throughout the section. Frequent use of rubato. TEMPO More use of instruments in upper range and/or higher orchestral instruments INSTRUMENTATION Still lots of syncopation, but more playful than aggressive and driving. RHYTHM Some reference to folk tunes, but much original material MELODY Sudden changes of key TONALITY Much lighter texture throughout TEXTURAL DENSITY DYNAMICS Generally softer Still mixed and irregular metre, changing frequently METRE

37. SECTION B (2) Bars 183 – 195 36 All instruments are playing solos. E L S A L O N M E X I C O The clarinet opens with a new melody, mostly unaccompanied What key does this excerpt suggest? G♭ MAJOR What key is suggested by the opening accompaniment (bass & Violin 1)? E MAJOR What is their relationship? NONE The harmonies do not clash as: 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)!

38. SECTION B (3) Bars 196 – 210 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). E L S A L O N M E X I C O 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)

39. SECTION B (4) Bars 211 – 226 38 E L S A L O N M E X I C O Which folk tune is this? LA JESUSITA How has Copland changed the original tune? ALMOST CONTINUOUS QUAVER MOVEMENT NO ANACRUSIS Why is the melody recognisable as La Jesusita? ARPEGGIOS DROP OF 3RD AT THE END OF THE 1ST PHRASE SIMILAR MELODIC CONTOUR SYNCOPATION IN SAME PLACE Clarinet 1, then strings state La Jesusita (overlapping) Clarinet 1, accompanied by bassoons state new staccato tune similar in style but texturally less dense Violins have rhythmically different motif leading to next section

40. SECTION B (5) Bars 225 – 255 39 Which instruments play the slow melody? (bar 227) OBOES E L S A L O N M E X I C O The melody appears to begin at bar 225. What is this called? FALSE ENTRY Which instruments play a countermelody? (bars 228 – 232) CLARINETS & SOLO VIOLA Which instruments play a pedal note? (bars 228 – 239) ‘CELLOS & BASSES (on the Leading Note)! Describe the accompaniment played by strings (Vln 2 bars 231 – 236 and then later by other strings) BROKEN CHORDS Which instruments play the melody in: Bar 241? Bar 243? MUTED TRUMPETS VIOLINS Bar 244? CLARINETS What is the section beginning in bar 246 based on? BROKEN CHORDS (bar 231) What happens to the tempo? GRADUALLY GETS FASTER Flutes & clarinets have a new motif leading to next section (bar 251)

41. SECTION B (6) Bars 256 – 322 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. E L S A L O N M E X I C O What is the significance of the time signature ? SOMETIMES INSTRUMENTS HAVE A NORMAL COMMON TIME GROUPING (but accents are not necessarily on the 1st and 5th quavers) Cor Anglais bar 256 6+2 C 8 Viola bar 256 SOME INSTRUMENTS ACCENTS ON THE 1ST, 4TH AND 7TH QUAVERS (This is a rumba rhythm) SOMETIMES GROUPINGS ARE IRREGULAR AND OVER THE BAR Piano bars 262 - 5

42. SECTION B (7) Bars 256 – 322 41 Constant changes of METRE. E L S A L O N M E X I C O 256 - 259 260 - 275 276 277 - 280 281 - 286 287 - 303 304 - 319 320 321 - 322 Careful and precise use of ARTICULATION As well as TENUTO MARKS ACCENTS and STACCATO mark the accents (Cor Anglais bar 256) p ma marc. (Viola bar 256) 6+2 6+2 6+2 C C C 8 8 8 non legato (Trumpet bar 259) gliss. (Clarinet bar 275) 6 3 4 6 2 6 accents well marked (Stings bar 267) 8 8 4 4 8 8 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

43. SECTION B (8) Bars 256 – 322 42 Constant changes of TEXTURAL DENSITY. Not always obvious as sometimes instruments not playing are omitted from the score to save room (eg pages 29 and 32). E L S A L O N M E X I C O 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.

44. SECTION B (9) Bars 256 – 322 43 There is a great deal of ORCHESTRAL COLOUR, with many solos and the changes of colour are highlighted by the light texture. E L S A L O N M E X I C O Mutes are used to add further colour. (eg horns from bar 268) Strings alternate between arco and pizzicato Unusual and colourful percussion instruments are used eg Chinese Temple Blocks; Gourd 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

45. SECTION A Revision bars 103 -182 44 Listen again to Section A. You will then compare it with Section A1 E L S A L O N M E X I C O Bars Statement of opening theme and 2 answering phrases 103 - 110 Development of opening (oboe then bassoon) 113 - 116 Development of end of opening (descending 3rds - strings) 124 - 133 Development opening 3 notes by augmentation and expansion of 3rd to 5th (horns & strings) 134 - 135 Restatement of shortened version of answering phrases (woodwind & upper strings). Partly developed from El Mosco 137 - 144

46. SECTION A Revision bars 103 -182 45 Bars E L S A L O N M E X I C O 4 statements of El Palo Verde, each separated by drum “hit”. 145 - 155 Mainly rhythmical section (3+3+2) but with some melodic reference to the drop of a 3rd in the folk songs 156 - 162 Restatement of development opening 3 notes by augmentation accompanied by the rhythm of the previous section 163 - 172 173 - 181 Restatement of opening theme (of intro) after two false entries, and ending on chord V (E major)

47. SECTION A1 (1) Overview bars 323 -401 46 Section A Section A1 E L S A L O N M E X I C O 1 Opening theme Development of beginning of opening phrase 3 bars 6 bars 2 Development of end of opening phrase 3 1 8 9 7 6 3 4 2 5 Development by augmentation 5 bars 4 Restatement of answering phrases 5 bars 5 10 7 bars 6 El Palo Verde 6 bars Rhythmic section & drop of 3rd 6 bars 7 overlaps with Restatement of augmentation section 8 11 12 11 bars 11 bars CODA Opening theme (intro) 4 bars 11 bars 10 bars 9

48. SECTION A1 (2) bars 323 -332 47 This section contains very similar material to that of Section A, but presented in a different order and sometimes in a different key. E L S A L O N M E X I C O The section opens with a restatement of the development (by expansion of interval and augmentation) of the opening motif of El Palo Verde Horns and Strings (Vln 2 & Vla) 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. Are there any differences? Concentrate on the “big picture”. THEMATIC MATERIAL TONALITY INSTRUMENTATION There are some minor differences at the end because each is followed by different material

49. SECTION A1 (3) bars 332 -351 48 The section is similar to bars 113 – 116 in Section A, where the opening motif of the section modulated quickly to unrelated keys E L S A L O N M E X I C O 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 Name the key for each of the entries of the motif: Bar 332 (vln2/vla) Bar 334 (cl 1 & 2/vlc) Bar 336 (vlns1 & 2) E♭ major C major A major Bar 346 (picc/fl/cl) Bar 348 (fg/vlc) Bar 350 (C.I/cl/vln2) E♭ major G♭ major D♭ major

50. SECTION A1 (4) bars 352 -362 49 The section restates Copland’s reworking of El Palo Verde (Section A bars 145 – 155) E L S A L O N M E X I C O The LENGTH of the two sections as well as the 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 INSTRUMENTATION IN A MAJOR INSTEAD OF G MORE FULLY SCORED (Flute, clarinet and violin 1 double trumpet melody)