Product Description
These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces are
I. Intonatione In the Whole-Tone Scale
II. Prélude and Nocturne in Modes
III. An Impression of Impressionism
IV. An Imitation of Roy Harris
V. Adding Chord-Tones While Shifting Meters
VI. Ragtime Bitonality
VII. Diatonic Waltz
Program Notes:
The Intonatione In the Whole-Tone
Scale recalls the Renaissance Italian musical form that evolved into the prèlude
in later organ music, as well as the use of Italian forms in the atonal music
of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century.
In contrast, the whole-tone scale is reminiscent of generally tonal composers,
including Debussy.
The Martial Prèlude and Nocturne
in Modes recalls the many pre-twentieth century pairings of preludes with
fugues and other forms. The pairing with a nocturne evokes an air of
Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode
on C. The Chopinesque Nocturne is in Phrygian mode, on E flat.
An Impression of Impressionism
evokes some of Debussys Preludes pour Piano, including a suggestive
title at the bottom of the page, as Debussy himself did. For the young pianist
aiming to master the works of Debussy, the arpeggio patterns, block chords, and
sequential motives will prove helpful as introductory exercises.
An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons
heard Roy Harris speaking in person about his compositions. Siddons was
impressed by Harris youth in Oklahoma, and how the solidity of American rural
life shaped Harris symphonic music. When taking questions at the end of the
lecture, a young composer asked Harris about his creative methods when
composing music. "Well," Harris responded, "You dont pull up a potato just to
see if its growing."
Adding Chord-Tones While Shifting
Meters is a technical exercise that is
nonetheless fun to listen to, and fun to play. A student pianist should be
asked to analyze the harmony in this piece, and to describe what "shifts" are
taking place when the musical meter (as well as phrasing and rhythm patterns)
change. The echoes of Stravinsky and Bartók should be apparent to the listener
and pianist.
Ragtime was not regarded as art
music of the same caliber as Stravinsky and Schoenberg, or even Copland and
Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would
not have been accepted by composers of the early twentieth century, Stravinsky
excepted. Ragtime Bitonality explores how such piano music might have
sounded had major composers of the 1900-1920 era taken an interest in its
march-like vitality. There is even a touch of atonality!
In contrast to the powerful rhythms
and juxtaposed tonal relations in much early twentieth-century music, there
were works by many composers that continued familiar melodic patterns and
balanced forms, offering musical relief in a turbulent era in music history.
The Diatonic Waltz is offered here as a quiet, peaceful conclusion to
our tour of musical styles in classical music of a century ago.
About the Composer: James Siddons is a composer and pianist as well as
musicologist. His research guide to the music of Japanese composer Toru
Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
This product was created by a member of ArrangeMe, Hal Leonard's global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.