Edvard Grieg and Cantonese Music

Edvard Grieg and Cantonese Music Kyle Horton

Demographics • Regions of china southern coast near the pearl river delta • The population is estimated to be 120 million • The region is rapidly industrializing and becoming an urban center as of the 1980’s • Most economically productive region of the People’s Republic of China • The pearl river delta is notoriously polluted due to the extensive and unchecked industrial development of the region • The dominant ethnicity is Han. (91.6) • Others include: Zhuang, Manchu, Hui, Miao, Uygur, Yi, Tujia, Mongolian, Tibetan, Bouyei, Dong, Yao, Korean, Bai, Hani, Li, Kazak and Dai • The areas primarily religions are Daoism, Buddhism, and Confucianism.

Music • The music that developed in the Guangdong region beginning in the 1920’s and continuing to evolve into its mature form in the 60’s, also known as “Cantonese” music

Instrumentation • The music gradually developed into a string ensemble format including the erhu, gaohu, ruan, qinqin, yangqin, sanxian, yehu, tiqin and various woodwind (including houguan) and percussion instruments • Recently began to incorporate western instruments such as the saxophone, violin and piano

Erhu, also Gaohu (with steel strings instead of silk and its pitch raised)

YangQin

Dizi

Pipa

Prominent artists and their works • QiuHechou: “Yu Le Sheng Ping” • He Liutang: “È MǎYáoLíng”, “SailongDuojin”, “Yu Da Ba Jiao” • LüWencheng: “Bu BuGao” (higher step by step), “Jiao Shi Ming Qin” (playing the qin by banana rock), “PíngHúQiūYuè” (autumn moon over a calm lake), “QīngMéiZhúMǎ” (happy childhood)

Focus • We will be focusing on LüWencheng, the master of traditional cantonese music and his masterwork “PíngHúQiūYuè” (autumn moon over a calm lake), one of the representative cantonese works. • This work features an ancient melody of unknown origin that was adopted and reworked by Wencheng. • We will also take a look at a modern take on Autumn moon over a calm lake transcribed for the Piano by Chen Peixun

LüWencheng • 1898-1981 • Born in Zhongshan, Guangdong Province • Grew up in Shanghai then moved to Hong Kong • Began musial career around age ten and became a known cantonese performer before age twenty. • Was a cantonese opera singer • Developed the gaohu by replacing its silk strings with steel ones and raising its pitch

Autumn moon over a calm lake • Based on an ancient melody of unkown origin that Wencheng arranged into a roughly five minute work for the erhu, gaohu, yangqin, pipa, and dizi. • http://www.youtube.com/watch?v=iGkhCpaHuVQ

Tonal and melodic structures • Based on a traditional chinese tonality that is identical to what we know as the major pentatonic scale • The major pentatonic scale can be created by removing the 4th and 7th from the Ionian mode (major scale). • Chord progression is centered on the tonic with occasional exceptions that will be addressed shortly… • The melody and countermelodies are primarily pentatonic, but occasionally strays by uses the 7th and 4th, and twice uses a flatted 2nd which creates dissonance (1:06, 3:28) • Why might Wencheng wanted brief dissonant moments? Ill come back to that at the end….

Cont. • Loosely follows an AABA format, where the primary theme is presented a few times followed by other material then the theme again, and repeated, with some structural variation. • Melody is very lyrical. • Note that there is almost no melodic development; the melody was presented in its maturity at first and matured unobservably if at all as the piece progressed. • (quad) duple meter: 4/4 • Rhythmically, the melody is simple; no real syncopation or unusual note values. • Overall, the music is equally driven rhythmically as it is melodically. • Almost no dynamic variability; again an example of a lack of development and motion. Note this, it will be important later. • Also, extremely limited changes in tonality that barely extend beyond the key signature.

Call and response and repeated melodic and rhythmic figures • Several call and response sections are present (1:22 (partialstretto*), 2:03, 4:24); note how they all consist of a smooth call and a plucked answer • We can also hear repeated figures first played smoothly then plucked (0:29, 2:03, 3:23, 3:40), among others. • *Stretto is when a theme is played in one voice then echoed in another voice before it is completed in the first voice (imitation). This is a partial stretto, or false stretto, because the echo is not completed.

ii-V-I turnaround • ii-V-I turnaround is a tonal figure at the end of a phrase that pulls the tonality back to the tonic by using a piece of a circular progression; the roots moving up by perfect fourths is a very asthetically pleasing way of bringing a phrase to a conclusion. • 0:27-ii, 0:28-V, and 0:33-I; and 0:40, 0:41, and 0:46 along with 3:03, 3:04, and 3:09, respectively, and among others. • Note how the ii resolves to the V quickly, but the V’s resolution to the I is delayed much longer, this will be significant later on. • In addition, you can hear that the melodic motion from the ii to the V is descending. This will also be important later on. • The piece slows (ritards) and ends on the dominant (ends on a question).

Modern take • Chen Peixun created an arrangement of the same melody for piano and the result was one of the most musically significant and beloved works of cantonese music ever. • http://www.youtube.com/watch?v=aKNYQjdvTek • To eliminate any possible confusion, let me here note that this is not my western piece, it is another eastern representation of the anient melody in Autumn Moon Over a Calm Lake that merits mention due to its musical value.

Analysis • Maintains the same pentatonic tonalities but removes all dissonances. • Still loosely follows AABA pattern. • Makes use of rubato, a western stylistic element popularized by Chopin, in which the tempo is continuously variable at the performers descretionand is used to emphasize certain elements of phrasing, especially chord change. • Many complex ascending and descending runs and licks in the pentatonic mode. • This piece is not rhythmically driven at all; it is strongly lyrical and its use of rubato shows, in terms of emotional expression, the relative unimportance of timing and rhythm, although rhythmic nuances do arise out of the rubato. • Dynamically variable • The melody is initially presented as simple and undeveloped, but builds momentum due to both the dynamic and rythmicvariablilityinreasing dramatically from introduction to the piece’s peak. • (quad) duple meter; 4/4 time

Cont. • Begins with an ostinato that consists of the I chord arpeggiated with passing tones on the 2nd, 6th and 9th. (this is, in context, more properly interpereted as just a pentatonic melodic ostinato) • Because this ostinato is lower than the melody and in the supporting voice, it can be accurately interpreted as an example of Basso Ostinato. However, the ostinato does develop slightly and evolves to fit the chord changes, thus it is not a full and true traditional ostinato. • Starts out in the middle of the piano’s range and later expands toward the extreme ends of the range as the piece progresses toward its climax. • Runs develop in complexity toward the climax • Note extensive development of all facets of the piece as well as strong forward motion. • No changes in tonality that extend beyond the key signature. • Slows to the end.

More ii-V-I • The ii-V-I turnarounds can be heard in their full glory as this composition utilizes them in a very strong harmonic presentation and emphasizes the circular movement in the bass (lower left hand). • The ii-V-I is elaborated on; it is first introduced at 0:45 (ii), 0:47 (V), and 0:53 (I) then occurs again at 0:58 (ii), 1:00, (V), but instead of resolving to the I, it resolves deceptively to the vi chord at 1:04. • This is an example of a more complex question and answer, where the question is a ii-V-I and the answer following that is a ii-V-vi. The question is an authentic cadence while the answer is a deceptive cadence. In a way, this can actually be seen as an answer that prompts the manifestation of a question. • Again, the ii resolves quickly to the V, but the V is sustained before resolution.

Edvard Grieg

EdvardGrieg • 1843-1907 • Norwegian • Raised in a musical household; his mother was his first music teacher at age 6 (piano) • Very laid back, type b personality • This came through when he studied at the leipzig Conservatory. His dislike of the discipline of his studies was well known although he still received very good grades. • It can also be seen in his music; it does not follow the increasing complexity of most other romantic works. Grieg was not very competitive in his composition; he wrote for the art and for himself. • Late romantic period and into the infancy of the contemporary period • Known for deeply lyrical works and extensive imagery in his music • Piano concerto in a minor • Peer Gynt- Morning Mood and In the Hall of the Mountain King

Morning Mood • Composed for HenrikIbson’s play Peer Gynt • A part of a larger volume of works including the famous In the Hall of the Mountain King • Debuted in 1876 in modern day Oslo • One of the most recognizable pieces of western music, typically used to depict scenes in nature • This is only where the similarities between it and Autumn Moon start…

Analysis • Lyrical, strongly melodic • Compound duple meter; 6/8 (threes in sets if two) • AABA loosely in that the theme repeats then is followed by a non-theme section then the theme is represented to conclude. • Starts with the introduction of the melody in E major pentatonic; passing tones do exist on the 4th in the grace notes. I II vi I • Very legato, quiet, and lyrical. Expressive. • Chord progression is simple and hangs out on the I chord. • Elaborates extensively on a simple theme; frequently reintroduces it in different keys and slight tonal variations

Tonal modulations I II vi III • Meas. 5-8, this is a transitional variation on the theme that uses a I-vi-III: note that the III chord would usually be a minor but is a major in this case. This is important because it is a major chord that is not allowed for by the key signature, and because it is on the 3rd scale degree, it is highly independent from the tonic key and strongly implies a new tonal center. • At this point, the III becomes the new I • This is a modulation to the mediant key of G# major pentatonic, a relatively rare modulation in classical music. • Meas. 9-12, here is the theme modulated to the mediant key in the flute which is the first voice it was introduced in: I (III) I II+ I • Note that the vi chord in the original theme is here replaced by an augmented triad; this would be more obvious if the key signature had not been cut off in the image; it still has the key signature of E major.

Cont. • Meas. 13-16 - Here, the III of the original key is still the new tonic and the key sig. is still E major. I (III) I I iv A new momentary tonic at the dominant of the original key. • The tonal center again shifts, this time up a minor third via a I-iv-III, where the three is, instead of being a major third above the tonic of G# like what would be expected in a major tonality, it is a minor third above on B. • This is very divisive of Grieg, as this new tonal center is the dominant of the original tonic key of E major at the beginning of the piece, and you can bet that Grieg will capitalize on this…

Cont. Meas. 16-20 - Grieg has brought the tonal center to B major pentatonic, the dominant of the original key of E major pentatonic. So in essence, this entire section resides on the V chord. Note this. Notice in the second voice from the bottom, in the last measure, a note is played that is a minor 7th above the root of B. this makes the chord a dominant 7 chord which is important because the 7th here is a leading tone pulling the tonal center back to the original tonic of E because of its close proximity to the third of the tonic. (A to G) V VVV V7

Cont. • And of course, Grieg uses the dominant 7 chord to resolve back to the home key of E. (meas. 21) I II vi ii • The theme here reaches its maturity. It is presented in the strings instead of the woodwinds to distinguish it from previous introductions of the theme and for the first time presented in more than one voice and octave. • Note the descending figures in measure 24 on the ii chord in the melody and echoed in the bass. Descending figures on the ii chord- sound familiar? • Also note that it is an example of a call and response.

Cont. ii iiii V V7/iii I IV ii • The ii is drawn out and the V is also drawn out past where it would normally be expected to resolve in measure 28. • It is interesting how in measure 28, the piece is expected to resolve to the I. Look at the bass; it moves to the 3rd of the I. So the bass resolves before the melody. • Also note the overall ascending general direction in the melody and the upward motion in the bass. This is called uniform motion. • Also, the melodic element here contains examples of repeated figures.

Other structural items of interest • Ascending and descending rhythmically straight figures in the supporting voices

Call and response • Notice the call and response here; the call is played in the flute and it is echoed in the oboe, but an octave lower. • This is an example of repeated figures.

Implicit ii-V-I • Here we see another example of what is in essence a ii-V-I. This one however appears as a II-V-I (the 2 chord a major instead of the expected minor) and is slightly disguised. • We see first an E major chord (E,G#,B) followed by a chord consisting of an A#, a C#, E, and G (The C# in the melody played by the clarinet, which appears written as an E because of the clarinet’s odd transposition) on the down beat. As written this appears to be a diminished 7th chord, but if you look at the context and its use before a V7 chord, its true form evinces itself: • An F# major Dominant 7 flat 9 chord would be the II of E major. It contains these notes in ascending order: • F#, A#, C#, E, and G. • Simple. The root of F# is not present and it doesn’t have to be. It is implied by the chord’s context. In this way, we can see that the diminished 7th chord on the + of two in the first bar here serves the funtion of a II chord, thus creating an implied II-V7-I • Note how long the chord progression rests on the V I Dim7 V7 I

Ostinati • Some prominent ostinatic figures that recur in the B section.

General Similarities • The arrangements of the cantonese melody share several things in common with Morning Mood: • Both pieces are very lyrical; the melodies are not rhythmically driven • Both genres depict serene and perfect natural beauty with a nearly complete lack of dissonances. (don’t worry, I’ll talk about Wencheng’s dissonances when I cover differences) • Grieg as well as Peixun create powerful forward motion and develop extensively toward the climax of the piece. • Grieg and Peixun both have ascending and descending runs in the supporting structures that add color and texture to the melody that symbolized the color and texture of nature. • Each piece, Wencheng included, slows to a calm end (ritardando).

Tonality • They both utilize the major pentatonic scale as the primary melodic engine. • Both melodies do occasionally stray and use passing tones on other notes, like the 4th and the 7th. This is deeply important because it emphasizes how expressive the music is; the composers were not allowing themselves to be held captive by a rigid scale, rather, they let the music take them where it naturally flowed and kept in mind unrestricted expression of emotion. • Both depict pleasant scenes in nature via major (happy) tonalities

Call and Response and Repeated Figures • Each piece contains several examples of call and response. These call and response sections parallel the composer’s atonement with nature during composition; they were responding to the call of the wild. • Repeated figures are utilized by the composers to emphasize the everlasting beauty of nature; they take a small and simple idea and play it again and again. This represents how the beauty of nature is simple and can be enjoyed over and over again. • Peixun and Grieg both use several ostinati. This is another example of a repeated figure and the same symbolism still applies.

ii-V-I • Each piece utilizes several examples of ii-V-I, the most musically perfect way to return to the tonic. This shows an emphasis on the musical journey, not the destination. • Each piece utilizes descending figures over the ii to the resolution to the V. • Each example stretches out the V past its expected resolution. This is also an example of the importance of the journey, and is an application of carpe diem (seize the day), as it puts emphasis not on where the music is going, but where it is at the moment. This is important in the composers deeper messages; they prompt their listeners to enjoy every moment of natures beauty for what it is because it may not always be there. For example, in the pearl river delta region, nature is under constant assault by rapid industrialization and the pollution that results. Examples of this exist in the western world as well. • Is it possible that the composers were encoding secret meaning into their works? Were they sending a message to warn the world through art of the disappearing beauty of nature? Were they encouraging us to seize the day and make the most of what may not be here tomorrow?

Differences • Obviously, each uses different instrumentation; Grieg uses more instruments which creates more colors. This is a connection to the cultural difference between the occident and the orient; it represents a more complex society in the occident. • The cantonese pieces use (Quad) duple meter (4/4) while Grieg uses compound duple meter (6/8); another connection to the more complex, multifaceted western culture. • Grieg frequently modulates tonalities while the cantonese pieces, for practical purposes, don’t. This is yet another artistic incarnation of the complexities of western society and consequently the simplicities of eastern life. In more simple eastern society, one typically calls their birthplace home for life while westerners will have many homes throughout their lives. Consider this in relation to the music; the eastern music has one tonal home for the duration of the piece while the western piece calls many different keys home. • Note though how Morning Mood ends on the original home key of E. Could this be Grieg’s way of expressing his homesickness? Does he internally long to return home to his metaphorical “tonic” or is this simply a reflection of him being more musically educated than his eastern cousins?

You guessed it – more ii-V-I • Grieg puts a vi before the ii. This is more of a true snippet of a circular progression simply as it utilizes a larger bit of the Ionian mode’s tonal circle. • Grieg uses a leading tone on the seventh to create a dominant 7th chord while the cantonese composers utilize the 6th of the dominant. This is a reflection of the cantonese composers staying truer to the pentatonic tonality than Grieg. In addition, Grieg’s use of the dominant 7th reflects more tonal complexity as a dominant 7th is usually used as a pivot chord to create a shift in tonal center. Grieg utilizes this quality to return to the home key whilst this practice is virtually unknown to the oriental composers we’ve discussed. • Grieg uses a substitution of the ii with a diminished triad that alludes to the II7b9. This is yet another reflection of western complexity and Grieg being more musically educated than the eastern composers.

Resources • http://216.129.110.22/files/imglnks/usimg/7/74/IMSLP02014-Grieg_-_Peer_Gynt_Suite_No.1-1__Op.46-1__Full_Score_.pdf • http://en.wikipedia.org/wiki/ • http://en.wikipedia.org/wiki/Pearl_River_Delta • http://www.youtube.com/ • http://www.musicpainting.be/

Edvard Grieg and Cantonese Music