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Wang is focussed on the compositional technique of variations. The theme of section A is based on a melodic contour. The variations of it expand and contracte its intervals, which serves to ornament its melodic contour. This variation principle derives from the music tradition of chuānjǜ gāoqiāng.

As mentioned above (see Chapter 3.2.1), the singing style tradition of chuānjǜ gāoqiāng

allows the singer to introduce variations of the given melody, to extend or contract the phrase lengths, and to ornament expressively according to the particular text which is being sung.

This principle is reflected in the score of Wang, where the theme is subject to variations, (albeit composed rather than improvised) which intended to convey the spirit of chuānjǜ

83 gāoqiāng through variation. The singers are “introduced” one by one by the shēng (mouth organ), each having their own variants which follow the same melodic contour of the theme, albeit with expanded and contracted intervals.

Example 21: Section A: Three variat ions of t he melodic contours of Theme I

The theme is subject to further variation, but always following the same melodic contour, though sometimes in retrograde.

Table 10: Variations of “wang”

In turning these pitch sequences into vocal lines chuānjǜ gāoqiāng principles of variation and ornamentation are kept in mind. The Maori musician, playing the koauau koiwi, is re- quired to apply these principles in following the contour of the given line when improvis- ing a response to Theme I (A) sung by the mezzo-soprano.

Theme A Ab E Eb Eb Db B A B A1 Ab E D Db B C A Bb A2 Ab Eb E D C Db C Bb A3 Ab D F C B D Bb A A retrograde B A B Db Eb Eb E Ab A1 retrograde Bb A C B Db D E Ab A2 retrograde Bb C Db C D E Eb Ab A3 retrograde A Bb D B C F D Ab A 4 transposition of A Eb B Bb Bb Ab F E F A 5 transposition of A3 Eb A C G (F# A F E)

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Example 22: Theme I (mezzo -soprano) and the melodic contour supplied to the improvising Maori instrument player)

After the soprano’s singing of Theme I above, the shēng plays a motive announcing the next singer.

Example 23: Theme I of Wang

A variation I of Theme (A1) is sung by the baritone:

Example 24: Variat ion I

The shēng repeats the announcing motive, introducing the soprano (A1):

85 The final variation, Variation III, is sung by the tenor (A3):

Example 26: Variat ion III

The shēng again pla ys the invit at ion mot ive, but, since all four singers have already been introduced, there is no response. The shēng steps into the breach (bb. 83- 85) and wit h a litt le flourish, invites the ensemble to jo in, pla ying Variat ion IV of Theme I (A), in two -part imitat io n wit h its transposit io n (A4) at the interval o f a 4t h.

Example 27:Variat ion IV

The shēng, by introducing counterpo int, encourages the singers to fo llow the example, the mezzo -soprano (A) and baritone (A4) first jo ining in a duet (Va r- iat io n V), and then all four singers, shēng and zhēng get into the climax sec- tion (Variat io n VI, bb.105-115).

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Unlike variat ion A which explored interval expansio n and contract ion and o r- namentat ion wit hin the melodic contour, Variat ion B explores the length of Theme II wit h the variet y of imitat io n techniques.

It is in t hree sect ions. The first sect ion introduces Theme II (bb.119 -130), in two phases: 1) the theme’s archet ype, played by shēng and zhēng (bb.120-121), fo llowed by three bars o f “wāng” sung in tone one, and 2) Variat ion I, in

which t he melody line o f the theme, played twice by t he saron, is counter- pointed by the second line (bonang and zhēng). Because this line is almo st two beats longer than the saron’s melod y, the parts take on a different contrapuntal relat io nship in the repet it io n (bb.125-127). Then fo llows three connect ing bars with “wáng” sung in tone two.

soprano A2 mezzo-soprano A in retrograde tenor A3 baritone A2 in retrograde shēng A5 (transposition of A3) zhēng A1

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Example 28: Variat ion I of Theme II (bb.125-127)

In the second sect ion, beginning wit h Variatio n II, the theme is played three times by t he zhēng, while the acco mpanying bonang line is o nly pla yed twice, the contrapuntal relat io nship having changed, as previously (bb.133 -136).

In Variat ion III, the melody line is pla yed against itself in a cano n at the o c- tave by the saron and zhēng (bb.139-142).

In Variat ion IV (bb.143-147) the saron and shēng play the melody in canon by inversio n, beginning on G and D respect ively.

Variat ion V is a three-part cano n, played on zhēng, shēng and saron all begin- ning on the same pitch, alt hough the saron pla ys an inversio n o f the melody as fo llows:

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Example 29: Variat ion V of Theme II (bb.147 -150)

Throughout the sect ion Variat ion II to V, the vocal quartet chants the “bent” versio n o f the revo lut ionary so ng164 ment ioned above (see also C hapter 4.4.3).

The third sect ion of B builds towards the climax o f the co mposit io n. The me- lody line o f Theme II is extended by three beats.

Example 30: the extended Theme II

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This revolutionary song was not performed in the premiere on 1st November, 2009 in the Recital Hall of the Central Conservatory of Music, Beijing.

89 Variat ion VI is based on the extended Theme II, in a three part canon, played by the

shēng, zhēng and saron, starting on C, G and C respectively. The bonang plays the secon- dary contrapuntal line, the notes of which are periodically accented by the vocal quartet. The tempo quickens and the ensemble plays Theme II in unison. The vocalists sing the me- lodic contours of Theme I before finally concluding with the “descending cries” of “wang” (see Volume II, pp. 214-215).

Example 31: Variat ion VI of Theme II (bb.154-156)

A and B sect io ns are contrasted in several ways by means of the co mposit io nal techniques emplo yed (interval expansio n/contract ion), the pitch material used (chro mat ic/modal), and in the character of the music itself. The vocal music, however, in both sect ions use the mo nosylla ble “wang” as a unifying principle.

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