Larger Section Structure
The following table shows the Ancient Taiwanese Music Fantasia’s structure. Table 2.7: Ancient Taiwanese Music Fantasia’s structure.
Section Tempo Bars Time
Signature Figuration Introduction and Cadenza Larghetto ♩＝66 1-7 3/4 and 4/4 Arpeggio
Theme a tempo 8-20 3/4 and
4/4
Quaver, Broken chord
First variation a tempo 21-33 3/4 and 4/4
Triplet, Broken chord and 2 against 3 Intermezzo and Cadenza ♩ ＝ 88, accel. rit 34-42 3/4 and 4/4
Both hands octave unison, V7 arpeggio Second variation a tempo ♩＝88, 43-57 3/4 and 4/4 Octave, Semiquavers, Broken chord Third variation Larghetto
♩＝66, rit 58-74 3/4 and 4/4 Sextuplets, Broken chord Fourth variation Allegretto ♩ . ＝ 108, accel 75-91 9/8 and 12/8
Octave, Octave triplet, Broken chord
♩＝66 4/4
Harmony
The following figure shows the Fantasia’s main harmonic progressions. There are
four other variations but each of them has the same basic harmony. Figure 2.10: The harmonic progression of the theme bars 8-20.
Bars 8-9: G＃m7 (I7), Bar 10: F＃add 9th (VII 9), Bar 11: Bm (III)
Bar 12: F＃6(VII 6), Bar 13: Bm (III), Bar 14: Bm (III), G＃m(I)
Bar 15: Bm (III), F＃(VII), Bar 16: G＃m (I), C＃(IV), Bar 17: C＃(IV),
135
Bar 18: C＃(IV), G＃m(I), Bar 19: D＃7 (V7), G＃m(I), Bar 20: G＃m7(I7)
Introduction
From Figure 2.10, we can see the basic chords are G#m (I), F# (VII), Bm (III) and C#
(IV). Then he develops or adds a neighbouring note (C# in G#m7 in bar 9 and bar 19,
then A# in G#m in bar 20, all in left hand) to the chords. Furthermore, there isn’t any
perfect cadence in this harmony progression. This shows the composer’s intention to
use Western composition then combine it with Taiwanese traditional music because
Taiwanese traditional music is not based on perfect cadence progression. Kuo thus
demonstrates his sophisticated composition here.
For the introduction, a (bars 1-2) is the motive and a’ (bars 3-4) is a variant of a by
changing the rhythm of the first beat from the quavers to semiquavers (see fig. 2.11).
the cadenza which is b (bar 5) and b’ (bars 6-7) is a prolongation of G＃. Again, b’ is
The introduction serves to establish the tonality of the Yu mode of B key and the
character of the fantasia because it has a cadenza and pentatonic arpeggios within it.
This also presents the motif of the melody and introduces the theme.
The note value in the introduction has multiple changes. It starts simply, and becomes
more complicated in the cadenza part, returning to a simpler note value at the end
with minam. Along with middle range melody lines travelling to lower melody
register, then flying to the top and then diving back down towards the end; this makes
three waves and including a peak at the first phrase of the cadenza, then dying at the
lower range, thus giving an impressive introduction. In addition, there is an echo at
the end of a and a’ phrase creating an additional layer to invoke a different feeling.
Furthermore, both hands play in unison at phase a and a’, however, the hands play in
turn at the G#m7 pentatonic arpeggios of cadenza thereby the pentatonic melody
137
Figure 2.11: The phrases of the introduction bars 1-7
Theme
There are altogether 5 phrases in the Fantasia theme. It shows irregular phrase lengths
in its five phrases: a (bars 8-10), b (bars 11-12), c (bars 13-15), d (bar 16 to the 2nd
beat of bar 18), e (the 3rd and 4th beat of bar 18-20).
The theme also could be divided into two large phrases which are bars 8-15 as the A
phrase and bars 16-20 as the B. These two big phrases are like two big sections of the
theme, and give the performer two different interpretations. Finally, the theme is
concluded by a minim which is the same as the ending of Shui Di Yu. Here the
a a’
b
b’
accompaniment consists of broken chords (see fig. 2.12). By Western definitions, Kuo’s theme uses irregular phrases:
Accepting the four-measure unit as a norm, we define an irregular phrase as one which is more or less than four measures in length. There are two basic categories: 1. Phrases which are inherently irregular. 2. Secondly, phrases which are irregular by reason of extension or, more rarely, by contraction. Inherently irregular phrases may be from two to eight measures in length. A single long measure may initially seem at first to have all the necessary components of a phrase, but further analysis indicates that in reality, it probably consists of two, three or four implied measures, the bar lines of which have been omitted. (Stein 1979, 28).
Futhermore, “a musical phrase is a developed idea, having a complete sense”. (Falk
1958, 11) (Cited by Jean-Jacques Nattiez 1990, 158) According to David Beach, “musical phrases come in a variety of lengths, but four measures and eight measures are the most common. Length does not determine what constitutes a musical phrase,
but it is helpful to remember that a true musical phrase hardly ever has a length shorter than four measures.” (Beach 2012, 65)
139
As discussed above, because the theme is an appropriation of Shui Di Yu folk music, and folk music doesn’t have a four-measure unit as standard, therefore this is the reason why irregular phrases occur here.
The first theme is quite simple and pure and this serves so that the audience can
recognise the melody more easily before it moves onto the variation. Furthermore, it
also presents a song-like composition similar to the orginal material.
In contrast to the introduction, the theme shows a simple and steady note value. Its
melody range is between two octaves of G# and this is a feature of folk music, which
is suited to singing. The composer adds an arpeggiated chord for almost every first
beat of every measure to emphasise and articulate the melody and the bass part and
strengthen the layer. The accompanying part, which is played with the left hand, is
based on broken chords within its harmony. Consistantly, the pentatonic melody starts
and ends up at G# to identify the key of Yu mode of B key, which is played with the
Figure 2.12: The phrases of the theme bars 8-20
A a
First variation
The first variation transposes the theme by an octave. The length, metres, tempo and
phrase structure for the first variation are the same as for the theme. The 18 12 15 8 B B B a b c B d, refrain e
141
accompanying rhythmic pattern has changed from quavers to triplets, with the right
hand playing beamed quavers of the melody versus the left hand playing triplets of the
accompanying part, creating a conflicting feeling which introduces a livelier and more
fluent atmosphere. The harmony progression is the same as the theme, however, the
composer expands the arpeggiated chords to three octaves and adds neighbouring
notes between the chords which is a variant of the theme’s accompaniment part (see
fig. 2.13). The first variation is also concluded by a minim in the key of Yu mode of B
key.
Figure 2.13: The phrases of the first variation bars 21-33
21
24 27 30 33 c d, refrain e B
143
Interlude
The tempo of Larghetto ♩=66 is changed into ♩=88 and the rhythm note value
changes to semiquavers in the interlude. In a short cadenza, the arpeggio of G＃m7
dominates (see fig. 2.14). The interlude that connects the first and second variations
demonstrates the character of the fantasia style, as outlined below:
Generally speaking, a composition in which the “free flight of fancy” prevails over contemporary conventions of form, style, etc. Naturally, the term covers a great variety of types, which may be tentatively classified as five groups. (1) Pieces of a markedly improvisory character; written records, as it were, of the improvisation technique of the various masters. […] (2) Character pieces of the romantic era. Here, “fantasia” is one of the various titles used to indicate a dreamlike mood or some other fanciful whim. […] (3) Sonatas in freer form, or of a special character. […] (4) Operatic potpurris of a free and somewhat improvisory treatment, as if written in remembrance of a performance. […] (5) In the 16th and 17th centuries, a term for instrumental music that was used interchangeably with ricercar, tiento, and even praembulum (Preambel). Fantasias were written for the lute, for keyboard instruments, and for instrumental ensembles. (Apel 1970, 307-308).
In Apel’s terms, this interlude includes characterisations from the following categories; (1) improvisatory character which is regarding the cadenza part; (2) romantic period
style which we can attribute hugely to the dynamic contrast of ff-pp and the indication
of accel. and rit. The rhythmic pattern is completely different to previous sections. It
shows continuous semiquaver notes and even presents a quintuplet at the end of the b
phrase, to reach the peak and note value gradually becomes simplified, with the tempo
slowing down towards the end.
The melody starts at G# and ends at G# to identify and emphasise the tonality which
is in the key of Yu mode of B key. Both upper and lower melodies are in unison with
each other and both octaves during the A phrase presenting a stronger emotion,
beginning with ff and this A phrase will become the element of the second variation.
Then both upper and lower melodies, based on the pentatonic scale within G#m7, are
distanced in the 6th interval. At the lower melody of the cadenza it continues to
present the pentatonic scale within G#m7 to again articulate the character of this piece.
145
Figure 2.14: The phrases of the interlude bars 33-42
33 36 39 41 a a’ A B b c c
The second variation
It is obvious that the phrase of the second variation is adapted from the A phrase of
the interlude. However, the composer adds arpeggiated chord at the first and third
beats to emphasise the skeleton note. The b phrase starts one note lower but follows
the same shape. The c phrase is a developing part of a and b. The accompanying part
is based on the harmonic progression of the theme and is then created and developed
from its own triad chord which is on the beginning of every count, and presents over a
three octave range. A unique ending of G#m7 arpeggio acts as a bridge to connect the
following variation and giving a dream-like feeling regarding the fantasia character.
In the second variation, Kuo changes the rhythmic pattern from crochets, quavers and
triplets into semiquavers and crochets and changes the accompaniment pattern as well
to build tension and energy (see fig. 2.15). Afterwards, continuous semiquavers in
octaves are used in the A phrase (bars 43-50) and in comparison the arpeggiated
chords are used to present the B phrase (bars 51-57). The first half (bars 43-50) is
based on the interlude melody (bars 34-35), (see fig. 2.14 above) which is then
enriched and developed. But the melody of the theme is also interpolated in the
147
part is using so many octaves and a wider range of arpeggios to make a different
atmosphere compared to previous sessions and let pianists demonstrate their virtuosity
on piano.
Figure 2.15: The phrases of the second variation bars 42-57
c 46 a 48 43 50 b A B d, refrain
Figure 2.16: The melody of the theme is interpolated in the second variation bars 43-45 52 54 57 e f 8 43
149
The third variation
In the third variation, the left hand plays the main role for the melody with the
composer adding another layer under the melody to support it. In contrast, the right
hand plays the accompanying part on the upper register continued within sextuplets
broken chord and rhythmic pattern, then it starts at the second inversion of the chords
or the first inversion rather than the root position as with previous variations. It then
adds the neighbouring notes between its sextuplets.
For the third variation, the tempo of ♩＝88 is changed back to Larghetto ♩＝60.
Here, the composer adds a richer harmonic accompaniment and changes the
accompaniment rhythm to sextuplets, which gives different figuration from the
second variation (see fig. 2.17). The theme is moved to the left hand, but otherwise
the melody and its rhythmic pattern are the same as the theme. An arpeggio of G#m7
is again used to form a four bar codetta which could be seen as a prolongation of the
final melody note. Furthermore, the rhythmic pattern changes to demisemiquavers at
Figure 2.17: The phrases of the third variation bars 58-74 60 57 A b a
151 62 64 66 68 B d, refrain e
The fourth variation
In the fourth variation the time signature is based on 9/8, therefore the accompanying
rhythmic pattern is continued with triplet octave broken chords which are played by
the left hand, with the right hand alternating between playing the octave or the
seventh chord within the theme. The significant point is that the composer does not
use the legato to express the melody, but instead, detaches it. This articulates each
note within the melody more clearly, rhythmically and energetically. Compared to 70
72
153
previous variations the sound is thickest here. The dynamic indicates f-ff, creating a
determined, powerful and triumphant feel.
For the fourth variation, the theme’s metre of 3/4 and 4/4 changes to 9/8 and 12/8, and
the accompaniment rhythmic pattern also changes. The tempo is changed from
Larghetto ♩＝66 to Allegretto ♩.=108 (see fig 2.18). Seventh chords and octaves are
played by the right hand to heighten the importance of theme, while the left hand
plays octaves to underline the climax of the whole piece. Finally, an accelerating
codetta which is based on G#m7 and brings the whole piece to a peak, forming
another prolongation of the G#m7 chord. The successive variations have built up to a
Figure 2.18: The phrases of the fourth variation bars 75-91
A a
b 74
155 79 82 85 88 90 f e d, refrain B c
The coda
At the coda, the tempo returns to the original Larghetto ♩＝66 and the metre of 3/4
and 4/4 is used alternately again. This is actually a simplified form of the introduction
in terms of motive. Finally, the music ends with two types of G#m7, (arpeggio and
arpeggiated chord), the arpeggio is played by both hands in turn. Thus, this coda
conveys a dream-like atmosphere giving a summary of the fantasia character. This
157 Figure 2.19: The phrases of the coda bars 90-98
90 93 96 A a B a’ b
Table 2.8: Rhythmic patterns of the theme and the variations of the Fantasia Theme melody accompaniment First variation melody accompaniment Second variation melody accompaniment Third variation melody accompaniment Fourth variation melody accompaniment
From table 2.8 we can see the differences between the melody and accompaniment
rhythm patterns of the theme and the four variations of the Fantasia. Firstly, the table shows that the melody’s rhythm pattern is the same in the theme and the first and third variation. But the accompaniment rhythm pattern in the theme and all of the variations
goes from quaver to triplet to four semiquavers to sextuplets. This indicates that the
rhythmic pattern moves from being simple to complicated, helping the music build up
159