Rachmaninoff's Lyrical Use of Motif - Composer Insights
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Date: 2022-03-28
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Comments and reviews: 8
Impromptu
In most music, even more modern, you can identify a handful of small -DNA strands- from which everything else - even accompaniment - is organically derived. Typically they're worked into varying combinations and modulations, using the old techniques of augmentation, diminution, inversion and retrograde. Quite often, the variation is so skilled that passages sound new but still feel like they belong - same DNA. Not only does it provide cohesion with variety, it's a perfect antidote to grinding to a halt when writing. This may sound workmanlike, but it also involves creativity and intuition - to a certain extent, composing is bit like making practical use of having a bee in your bonnet.
I think this piece is inspired by Chopin's E minor prelude. And both were surely models for things like the out theme of the '70s TV show Incredible Hulk.
Incidentally, classical vocalise has its equivalent in jazz as scat, but there's another practice called vocalese. In the latter case, you take an existing instrumental melody and write words to it. Check out Anita Wardell's version of Moanin. The main tune uses Hendricks' lyrics written to Timmons' melody. Then she sings the entirety of Lee Morgan's virtuosic trumpet solo to words she wrote.
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In most music, even more modern, you can identify a handful of small -DNA strands- from which everything else - even accompaniment - is organically derived. Typically they're worked into varying combinations and modulations, using the old techniques of augmentation, diminution, inversion and retrograde. Quite often, the variation is so skilled that passages sound new but still feel like they belong - same DNA. Not only does it provide cohesion with variety, it's a perfect antidote to grinding to a halt when writing. This may sound workmanlike, but it also involves creativity and intuition - to a certain extent, composing is bit like making practical use of having a bee in your bonnet.
I think this piece is inspired by Chopin's E minor prelude. And both were surely models for things like the out theme of the '70s TV show Incredible Hulk.
Incidentally, classical vocalise has its equivalent in jazz as scat, but there's another practice called vocalese. In the latter case, you take an existing instrumental melody and write words to it. Check out Anita Wardell's version of Moanin. The main tune uses Hendricks' lyrics written to Timmons' melody. Then she sings the entirety of Lee Morgan's virtuosic trumpet solo to words she wrote.
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Matt
An inspiring analysis. Just to belabor the obvious, but this music really is like chess, where every move does not one, but three things, and the three things all add up musically and emotionally.
So another obvious thing in retrospect. I've usually thought of motifs as repetitions, but not's not it, really. It's usually taking a pattern of one dimension (like rhythm) and repeating it while varying another dimension (like melody). So other motifs might be: keeping the melody constant, while varying the rhythm. Keeping the harmony constant, while varying the key. Keeping the progression of texture constant, while varying the harmony. Keeping the melodic intervals constant, while also varying the rhythm. Etc.
As usual, simple to you, revelatory to me! Thank you.
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An inspiring analysis. Just to belabor the obvious, but this music really is like chess, where every move does not one, but three things, and the three things all add up musically and emotionally.
So another obvious thing in retrospect. I've usually thought of motifs as repetitions, but not's not it, really. It's usually taking a pattern of one dimension (like rhythm) and repeating it while varying another dimension (like melody). So other motifs might be: keeping the melody constant, while varying the rhythm. Keeping the harmony constant, while varying the key. Keeping the progression of texture constant, while varying the harmony. Keeping the melodic intervals constant, while also varying the rhythm. Etc.
As usual, simple to you, revelatory to me! Thank you.
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pazdziochowaty
I know the cello+piano version of this piece and it sounds wonderful. I thought this was the original and the title was about the singing-like tone of the cello.
As for the use of short motives, I think his famous prelude (also c# minor, interesting conincidence) takes that to an extreme as the opening 3 note motive a-g#-c# is repeated countless times throughouht the whole piece
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I know the cello+piano version of this piece and it sounds wonderful. I thought this was the original and the title was about the singing-like tone of the cello.
As for the use of short motives, I think his famous prelude (also c# minor, interesting conincidence) takes that to an extreme as the opening 3 note motive a-g#-c# is repeated countless times throughouht the whole piece
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Ruth
Hi Gareth, I enjoyed this. I'm trying to puzzle out the reason why Rachmaninov introduces that 2/4 bar straight after Bar 1. Is this a common feature in his music?
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Hi Gareth, I enjoyed this. I'm trying to puzzle out the reason why Rachmaninov introduces that 2/4 bar straight after Bar 1. Is this a common feature in his music?
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Antoine
Thanks for the analysis ! Indeed the link with baroque music is obvious. It reminds me the B flat minor Prelude of WTC1, i think it's a similar way of writing.
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Thanks for the analysis ! Indeed the link with baroque music is obvious. It reminds me the B flat minor Prelude of WTC1, i think it's a similar way of writing.
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Matt
Please do more Rachmaninoff analysis. He's my all time favourite composer. His harmonies and chromatic writing is always so dense and expertly achieved
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Please do more Rachmaninoff analysis. He's my all time favourite composer. His harmonies and chromatic writing is always so dense and expertly achieved
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Marcas
This is my favourite video so far of yours. Your mastery of theory has enabled you to extract the fullest appreciation of the piece. Respect!
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This is my favourite video so far of yours. Your mastery of theory has enabled you to extract the fullest appreciation of the piece. Respect!
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wayne
Rachmaninoff trademark habits are what? It looks like he keeps use the 7th degree often in his melody line but what else to look out for?
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Rachmaninoff trademark habits are what? It looks like he keeps use the 7th degree often in his melody line but what else to look out for?
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