1. A 16 bar period based on the extended tenorclausula.

Transcription

1 2012 Reinier Malieaard: Recomosing Van Hemel s Fantasia Piece : Valse viennoise or breaking lines As we saw in Piece 2 from Fantasia of Oscar van Hemel ( ) clausulae as the tenor clausula define a oint of melodic rest (a musical eriod or comma) i.e. the finalis or so to say the tonic of a key. The tenorclausula as a short descending line (from the third tone via the second tone to the first tone of a key) can easily be exanded to a descending line from the fifth tone smoothly moving into the first tone of a key. Piece Valse viennoise shows another way of exanding a line that makes the musical meaning of register quite clear. First we will recomose Section A of the ternary A B A. 1. A 16 bar eriod based on the extended tenorclausula. The next examle shows the extended tenorclausula B A G F# E (key: E minor). The ends on the second tone the consequent on the tonic. Examle 1: 8 bar eriod consequent Of course this 8 bar eriod can be exanded to a 16 bar eriod e.g. by reeating the main tones. Examle 2: 16 bar eriod consequent Van Hemel s exansion is more interesting: exansion via a sequence (motive: falling fifth). In theory the 16 bar eriod could be as in the following examle. Examle : 16 bar eriod 8 consequent 2. A modulating 16 bar eriod. Van Hemel discerns this eriod form other eriods in Fantasia by modulating from E minro to G major. The modulation technique is quite easy: relace in examle the C of bar 1 by A and the final tone by a G. One could say: the G of bar 1 is a ivot tone: the third tone in E minor = the first tone in G major. Examle : 16 bar eriod 8 consequent 1

2 2012 Reinier Malieaard: Recomosing Van Hemel s Fantasia Van Hemel s final version has a nice feature in bar 1: the tone G is relace by to E inserting his falling fifth motive and making the modulation in a way surrising. Examle 5: 16 bar eriod 8 consequent. A three art version of the 16 bar eriod. To make a two art version is quite easy: we use a melody in arallel thirds which is associated with tyical waltz rocedures. While anticiating on Van Hemel s version we elaborate bar 5 and 6 and comose the end of the with a two bar triad B (effect: the falling fifth s get some unexected motion). For the three art version of Van Hemel we add the edal oint A (slightly elaborated with tone B). In the consequent these bass tones A and B are in a redictable way connected to the dominant and tonic of G major. Examle 6: three art version of the 16 bar eriod The final version of the 16 bar eriod (section A) In a few stes with only some slight annotations we recomose Van Hemel s version of section A based on the three art model of examle 6. Ste 1: anticiations (> syncoations)

3 2012 Reinier Malieaard: Recomosing Van Hemel s Fantasia Ste 2: dotted waltz rhythm and anacrusis 8 12 Ste : embellishing the bass (idea: broken chord) We adjust D to D# when art of a dominant seventh. Note the marked change in bar 15 (cf. beginning)! 8 12 x Van Hemel s final version show another way of notating reflecting the erformance he want: see the comlete score at the end of this document.

4 5. Recomosing section B 2012 Reinier Malieaard: Recomosing Van Hemel s Fantasia Section B contains a 16 bar eriod (8+8) in Bb major (although the concluding art of the makes a flirt with G minor). In section B Van Hemel refers to the bars 5 and 6 of section A and sometimes to the broken chord idea of the bass in section A. The melody is an easy lay with main tone F (dominant tone of Bb major). Section B can harmonically described by tonic and dominant chords of Bb major (excetion: the flirt with G minor). In a few stes with only slight annotations we recomose Van Hemel s version of section B. Ste 1: 16 bar eriod section B: main tones 8 Ste 2: register change main tones 8 Ste : syncoations like section A 8

5 2012 Reinier Malieaard: Recomosing Van Hemel s Fantasia Ste : basic harmony Note that in bar 7 and 8 the tonic Bb could have been written without any roblems. However an oen ending of the is now nicely done. Flirt with G minor 8 Dom7 Dom7 Tonic Dom7 Dom7 (V in G minor) Dom7 Dom7 Tonic Tonic Dom7 Dom7 Tonic Tonic Ste 5: three art version of ste 8 Again Van Hemel s final version shows another way of notating reflecting the erformance he want: in the next chater this will be shown. 5

6 . Final version A B A 2012 Reinier Malieaard: Recomosing Van Hemel s Fantasia Valse viennoise leggiero staccato 8 20 mf 2 28 mf

7 2012 Reinier Malieaard: Recomosing Van Hemel s Fantasia 0 8 About the author: Reinier Malieaard sychologist software engineer organist and teacher at the ArtEZ Conservatorium Netherlands (music writing music theory and music history). Malieaard is the develoer and maintainer of that has three objectives education information insiration This article has been tyeset with his free/oen source music notation rogram MC Musiceditor that can be downloaded at 7