ANALYSIS

EL SALON MEXICO
AARON COPLAND

M E Williams 2010

Power point prepared by: Margaret Williams www.mewsicresources.co.nz

BACKGROUND (1)
E L S A L O N M E X I C O
Belize Guatemala Honduras El Salvador

USA

Copland visited Mexico in 1932 and decided to compose a piece of music based on Mexican themes

BACKGROUND (2)
E L S A L O N M E X I C O

From the very beginning, the composition was connected to a popular dance hall in Mexico City called the Salon Mexico

BACKGROUND (3)
E L S A L O N M E X I C O It would be foolish for me to attempt to translate into musical sounds the more profound side of Mexico: the Mexico of ancient civilisations the revolutionary Mexico of today In order to be able to do all that, one must really know the country All that I could hope to do was to reflect the Mexico of the tourists, and that is why I thought of the Salon Mexico, Mexico, because in that hot spot, one felt in a very natural and unaffected way, a close contact with the Mexican people

BACKGROUND (4)
E L S A L O N M E X I C O It wasnt the music I heard, but the spirit that I felt there, which attracted me. Something of the spirit is what I hope to have put into my music

BACKGROUND (5)
E L S A L O N M E X I C O Copland completed the work in 1936

It was first performed on August 27 1937, by the Orquesta Sinfonica de Mxico Mxico conducted by Carlos Chavez

It was Carlos Chavez who introduced Copland to the Salon Mexico Night Club when he visited Mexico.

BACKGROUND (6)
E L S A L O N M E X I C O Some of the themes are based on melodies printed in El Folklore y la Musica Mexicana edited by Reuben Campos Others are based on melodies from Cancionero Mexicano edited by Frances Toor NONE OF THE THEMES IS QUOTED COMPLETELY Copland used folk music idioms such as: Harmonisation in parallel 3rds and 6ths Pitch slides Clarinet cadenzas String glissandos Some call and response techniques

BACKGROUND (7)
E L S A L O N M E X I C O

Copland has mentally absorbed the spirit and characteristic idioms of Mexican folk music and reproduced them in music that is his own The original melodies have been altered

RHYTHMICALLY

and

MELODICALLY

Sometimes fragments of two different tunes are welded into a fresh idea Ralph Hawkes (co founder of the music publishing firm Boosey and Hawkes) nicknamed the work An American Bolero and commissioned Leonard Bernstein to write a piano arrangement of the work.

FORM
E L S A L O N M E X I C O El Salon Mexico is in

TERNARY FORM

INTRO A B A1

Unusually long (102 bars) In FIVE sections - each a different tempo All three folk tunes introduced

Allegro Vivace - bar 103 Contains further variations on the themes stated in the introduction and new material Moderato molto (rubato) - bar 183 Contains new material Bar 323 Same material as A, but in a different order, and in different keys bar 384 - same theme as opening of intro

CODA

EL PALO VERDE
E L S A L O N M E X I C O
First verse Allegro

CHORDS

I or G

I or G

I or G 3 4

V or D

1 bar MIXED METRE What chords are used? Verse 1 Verse 2

6 followed by 1 bar 8

Accents fall on different quavers

What musical device is used in this verse?

Second verse

SEQUENCE

CHORDS

I or G

ii or Am

V or D

I or G

EL MOSCO
E L S A L O N M E X I C O
V1

10

I or G What is the same as El Palo Verde?

V or D I or G What is different from El Palo Verde?

METRE
mixed What chords are used? Verse 1
V2

TEMPO
slower Verse 2

TONALITY
LN

RHYTHM
anacrusic irregular syncopated

IV or C What is the main harmonic difference from the 1st verse?

V or D I or G Starts with the subdominant chord (IV)

LA JESUSITA
E L S A L O N M E X I C O

11

I METRE HARMONY MELODY RHYTHM

2 4

V7

Simple duple Chords I and V7 Built entirely from harmony notes Anacrusic Syncopated

INTRODUCTION (Part 1) bars 1-18 1E L S A L O N M E X I C O

(Bar 3)

12

Which song? What has changed? IN NOTATION IN PERFORMANCE What has changed? IN NOTATION IN PERFORMANCE
Last entry followed by the rest of the verse
(Bar 6)

EL PALO VERDE

(Bar 8)

Piano, viola

So, if the performance of the motif hasnt changed The number and timing of much, what HAS changed?
chords before each entry

INTRODUCTION (Part 1) bars 1-18 1E L S A L O N M E X I C O What has changed?

Written in triple time, but accents indicate 6 8 Extra quaver causes rhythmic displacement This bar could have been written in 7 time 8 Looks syncopated, but doesnt sound syncopated

13

Copland has used FRAGMENTATION

in the intro

He has developed fragments of the original Mexican melodies LISTEN TO SECTION 1 OF THE INTRODUCTION

INTRODUCTION (Part 2) bars 19-33 19E L S A L O N M E X I C O

Begins with 4 bars of discords from the bassoons and trombone How has Copland The chords sound less discordant changed La Jesusita? because they are very soft Trumpet plays a DECORATED version of La Jesusita Answered by a short clarinet CADENZA

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LA JESUSITA

The trumpet restates the melody. Answered again by a clarinet

CADENZA

How is it changed?

MELODIC RANGE

How is it the same?

HARMONY

LONGER CLARINET CADENZA

Listen again to Section 2

INTRODUCTION (Part 3) bars 34-60 34E L S A L O N M E X I C O

Begins with an introduction (6 bars) Timp What instruments? Piano What is the link to the folk tunes? IRREGULAR RHYTHM sounds like MIXED METRE
Bass

15

On which folk tune is the main theme based?

EL MOSCO

How does Copland:

Keep the flavour of the folk music? Use musical elements to personalise it?

What changes when the theme is repeated? (on each entry)

MELODY

RHYTHM

HARMONY

INTRODUCTION (Part 4) bars 61-72 61E L S A L O N M E X I C O

Begins with an introduction (2 bars) Repeated throughout the section What rhythm? Sounds like 6 8 What notes? 3 4

16

G D

TONIC & DOMINANT PEDAL POINT

Section 3

What other section began like this?

What instruments reinforce this rhythm in bars 69 - 71? Violin 2 and viola with quaver movement Why is this rhythm not as obvious as in other sections?

DYNAMICS

( p)

CHANGES OF TEMPO

(rit. - a tempo) tempo)

INTRODUCTION (Part 4) bars 61-72 61E L S A L O N M E X I C O

On which folk song is the melody based?

17

1st verse El Palo Verde

2nd verse

What instruments harmonise the melody? violin 2, viola, cello What chords are used? (ignore the pedal notes) I ii V I

(implied by the melody) LISTEN AGAIN TO SECTION 4

INTRODUCTION (Part 5) bars 73-102 73E L S A L O N M E X I C O

What is the new time signature? This section is based on the One of the most famous examples is the Habanera from Carmen by Bizet Repetitive bass rhythm (Copland does not use this) NB 6 8 Compound duple rhythm

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HABANERA

Distinctive rhythm of melody

is the same as same rhythm

Which folk tune uses this rhythm? El Mosco

Another famous song using the Habanera rhythm is La Paloma

INTRODUCTION (Part 5) bars 73-102 73E L S A L O N M E X I C O

Intro:
(4 bars)

19

Tonic chord in Habanera rhythm played by Same chord sustained by

Vln 2 & Vla

Flutes 1&2, Clarinet 2, Horns

The chordal accompaniment continues throughout this section What instruction is given to the accompanying strings? DIVISI (in three)

The melody in the cello (bars 76-80) is based on 76-

EL MOSCO RHYTHM Same MELODIC CONTOUR Slight alteration ENDING Same drop of a Major 3rd

INTRODUCTION (Part 5) bars 73-102 73E L S A L O N M E X I C O

Using and developing only part of a melody or rhythm is called:

20

FRAGMENTATION

Look at the rhythm of the melody and the rhythm of the accompaniment in bars 77-79. What musical devices are being used?

POLYRHYTHM

or

CROSSCROSS-RHYTHM

SYNCOPATION

INTRODUCTION (Part 5) bars 73-102 73E L S A L O N M E X I C O

First statement of the melody:
Bar 76

21

Vln & Vc in THIRDS

Typical harmonisation of folk music

I Vsus4 I This interval (major 6th) is the same as the 2nd verse of El Mosco but the harmony is based on the first verse What has changed in the second statement? Listen to the first statement followed by the second statement
Bar 84

Melody and descant no longer entirely in 3rds

Shows influence of 20th century (discordant) harmony

INTRODUCTION (Part 5) bars 73-102 73E L S A L O N

SECOND On which verse of El Mosco is the 3rd melodic statement based?

22

IV

How do you know? Starts with a subdominant chord

M E X I C O

How has the instrumentation changed? MELODY (in 3rds) Violins 1 and 2

HARMONY (Habanera rhythm) Violas and Cellos SUSTAINED CHORDS Oboes 1&2, Cor Anglais, Clarinet 2, 3 Horns

INTRODUCTION (Part 5) bars 73-102 73E L S A L O N M E X I C O

The 3rd melodic statement is printed below. Listen to the 3rd and 4th statements What changes does Copland make in the 4th statement?

23

Extra bar

What cadence does this imply? PLAGAL

IV I What are the chords in these two bars? Why is the cadence only implied? No bass.

INTRODUCTION (Part 5) bars 73-102 73E L S A L O N M E X I C O

The section ends with 5 bars of accompanying chords (chord I). How does Copland build intensity in these five bars? DYNAMICS - mf molto cresc ff

24

STAGGERD ENTRIES OF INSTRUMENTS TIMPANI WITH HARD STICKS TROMBONES NOT MUTED FULL ORCHESTRA (except Vln1 &Vln 2) IN BARS 101 & 102 LISTEN AGAIN TO ALL OF SECTION 5

Harmony mostly sounds lush and romantic

LISTEN TO ALL THE INTRODUCTION AND FOLLOW IN YOUR SCORES

SECTION A (1) Overview bars 103 -182

E L S A L O N M E X I C O
Bars

25

Statement of 103 - 110 opening theme and 2 answering phrases

Development of opening (oboe then bassoon) Development of end of opening (descending 3rds - strings) Development opening 3 notes by augmentation and expansion of 3rd to 5th (horns & strings) Restatement of shortened version of answering phrases (woodwind & upper strings). Partly developed from El Mosco

113 - 116

124 - 133 134 - 135

137 - 144

SECTION A (2) Overview bars 103 -182

E L S A L O N M E X I C O

26

Bars 4 statements of El Palo Verde, 145 - 155 each separated by drum hit. Mainly rhythmical section (3+3+2) but with some melodic reference to the drop of a 3rd in the folk songs Restatement of development opening 3 notes by augmentation accompanied by the rhythm of the previous section 156 - 162

163 - 172

Restatement of opening theme (of intro) after two false entries, and ending on chord V (E major)

173 - 181

SECTION A (3) bars 103-112 103E L S A L O N M E X I C O

No strings Horns enter bar 106 Trumpets enter bar 109

27

How do the opening bars of this section contrast with the end of the introduction?
INSTRUMENTATION METRE RHYTHM

Common time (simple quadruple) Irregular accents in unexpected places

=

Apart from the last quaver, this is the same as:

(Bar 3)

TEMPO

Returns to original tempo Softer, not only because of dynamic marking (mf), but also because far fewer instruments playing

DYNAMICS

SECTION A (4) bars 103-112 103E L S A L O N M E X I C O

OPENING PHRASE (oboe) bar 103

28

ANSWERING PHRASE 1 (clarinet, doubled by piccolo) bar 106

PHRASES OVERLAP

ANSWERING PHRASE 2 (trumpet) bar 109

Comment on: REPETITION

melodic/rhythmic

SIMILARTIES TO EL PALO VERDE RHYTHM

All 3 phrases

METRE HARMONY

ARTICULATION

TEXTURAL DENSITY

SECTION A (5) bars 113-116 113E L S A L O N M E X I C O

DEVELOPMENT OF OPENING PHRASE (oboe) bar 113

29

How does Copland develop the opening phrase?

Opening phrase METRE TONALITY ENTRIES OF THE MOTIF

Comment on the:
MELODY
Piano RH & Violin 2

HARMONY First 4 notes of G major scale Unison and major 2nds

10

SECTION A (6) bars 116-133 116E L S A L O N M E X I C O

RHYTHM

30

Which MUSICAL ELEMENTS are most obvious in this section? Syncopated

HARMONY

In 2nds (or 7ths)

A snippet of the answering phrase is developed (bar 118)

Which instruments?

Cellos, bassoons, clarinets

Copland then develops the end of the opening phrase

In which bar does this start?

124

Which instruments?
Upper strings

How is it changed?
Wider range eg descends a 9th (bar 126)

SECTION A (7) bars 133-144 133E L S A L O N M E X I C O

What MUSICAL ELEMENTS change in this section? (The music begins about bar 131)
TONALITY INSTRUMENTATION

31

Key signature of A Focus on brass at (mainly for convenience) beginning Until now, the melody has moved mainly in 2nds or 3rds. M3 P5 Study the opening horn motif:
(Transposed to concert pitch)

The theme beginning bar 137 (woodwind) is developed from El Mosco (verse 1)

M7

LISTEN AGAIN TO SECTION A SO FAR (Bars 102 144)

SECTION A (8) bars 145-155 145E L S A L O N M E X I C O

Which folk song?
EL PALO VERDE
(Second Verse)

32

Which orchestral family begins? Which instruments share the tune?

(Tune slightly modified to include upward arpeggio from verse 1)

BRASS TRUMPETS 1 & 2

Why 6 3 time signature? FOR CONVENIENCE 84 Which orchestral family does not play? How does Copland separate each phrase?
WITH A PERCUSSION HIT STRINGS

Which percussion instruments are used?

SNARE DRUM (Tamburo militare); (Tamburo militare); BASS DRUM (Cassa); GOURD; (Cassa); TIMPANI

11

SECTION A (9) bars 156 -166

E L S A L O N M E X I C O
The section begins with an emphasis on rhythm. The tune (such as it is) is only the leap of a 3rd followed by repeated quavers. A 4 bar is followed by a 8 bar. This is effectively 8 time with accents on the first, seventh and ninth quavers. How are these accents reinforced?
STRING DOWN BOWS ORCHESTRAL CHORDS 4 3 11

33

CYMBALS HIT WITH HARD STICKS

Bar 160 - trombone enters with Where was this first heard?
BAR 134 VIOLA

Which instrument doubles the trombone? Which instruments partially restate the motif before the trombone restatement (164)?

CELLO BASS TUBA (162) HORNS (162) CELLO BASS BASSOONS (163)

SECTION A (10) bars 167 -182

E L S A L O N M E X I C O
Note the following (bars 167 172): Driving quavers grouped in 2s and 3s No regular pattern of grouping (some over bar line) Reappearance of Repeated leaps of Perfect 4th

34

The melody that opened El Salon Mexico reappears after two false entries (almost like a link to Section B) Which instruments state it? WOODWIND & UPPER STRINGS Which instruments interrupt? BRASS & PERCUSSION
LISTEN AGAIN TO SECTION A

SECTION B (1) Bars 183 322 Overview

E L S A L O N M E X I C O
LISTEN TO SECTION B, WHILE FOLLOWING THE SCORE, AND IDENTIFY HOW IT CONTRASTS WITH SECTION A

35

Much slower at beginning, but several changes of tempo throughout the section. Frequent use of rubato. More use of instruments in upper range INSTRUMENTATION and/or higher orchestral instruments TEMPO RHYTHM Still lots of syncopation, but more playful than aggressive and driving. MELODY Some reference to folk tunes, but much original material TONALITY Sudden changes of key TEXTURAL DENSITY Much lighter texture throughout DYNAMICS METRE Generally softer

Still mixed and irregular metre, changing frequently

12

SECTION B (2) Bars 183 195

E L S A L O N M E X I C O
All instruments are playing solos.

36

The clarinet opens with a new melody, mostly unaccompanied

What key does this excerpt suggest? What key is suggested by the opening accompaniment (bass & Violin 1)? What is their relationship? NONE The harmonies do not clash as:

MAJOR

E MAJOR

The music is not played simultaneously The accidentals in the clarinet melody could be rewritten enharmonically to be in F sharp major (much more closely related to E major)!

SECTION B (3) Bars 196 210

E L S A L O N M E X I C O

37

At bar 196, the clarinet appears to begin another phrase, with oboes and flutes playing a countermelody, but the clarinet stops playing and the oboe and flute state a new melody in quavers (almost like a variation on the original melody).

This theme is answered in a conversational way by horn then clarinet and bassoon (bars 199 and 201) Clarinet 1 and oboe (in 3rds) restate the theme, slightly varied Strings accompany (divisi) then finally restate the theme (bars 209 and 210)
LISTEN TO SECTION B SO FAR (Bars 183 210)

SECTION B (4) Bars 211 226

E L S A L O N M E X I C O
Which folk tune is this?
LA JESUSITA

38

How has Copland changed the original tune?

NO ANACRUSIS ALMOST CONTINUOUS QUAVER MOVEMENT

Why is the melody recognisable as La Jesusita?

ARPEGGIOS DROP OF 3RD AT THE END OF THE 1ST PHRASE SIMILAR MELODIC CONTOUR SYNCOPATION IN SAME PLACE Clarinet 1, then strings state La Jesusita (overlapping) Clarinet 1, accompanied by bassoons state new staccato tune similar in style but texturally less dense Violins have rhythmically different motif leading to next section

13

SECTION B (5) Bars 225 255

E L S A L O N M E X I C O

39

Which instruments play the slow melody? (bar 227) OBOES The melody appears to begin at FALSE ENTRY bar 225. What is this called? Which instruments play a CLARINETS & SOLO VIOLA countermelody? (bars 228 232) Which instruments play a pedal CELLOS & BASSES (on the Leading Note)! note? (bars 228 239) Describe the accompaniment played BROKEN CHORDS by strings (Vln 2 bars 231 236 and then later by other strings) Which instruments play the melody in:

Bar 241? MUTED TRUMPETS Bar 244? CLARINETS

Bar 243?

VIOLINS

What is the section beginning BROKEN CHORDS (bar 231) in bar 246 based on? What happens to the tempo? GRADUALLY GETS FASTER
Flutes & clarinets have a new motif leading to next section (bar 251)

SECTION B (6) Bars 256 322

E L S A L O N M E X I C O

40

This section contains new material unrelated to either the folk songs or what has gone before. Copland concentrates on creating interesting and complex RHYTHMS and changing METRE with an occasional melody emerging 20th century techniques.

6+2 What is the significance of the time signature C 8 ?

SOMETIMES INSTRUMENTS HAVE A NORMAL COMMON TIME GROUPING (but accents are not necessarily on the 1st and 5th quavers) SOME INSTRUMENTS ACCENTS ON THE 1ST, 4TH AND 7TH QUAVERS (This is a rumba rhythm)
Cor Anglais bar 256

Viola bar 256

SOMETIMES GROUPINGS ARE IRREGULAR AND OVER THE BAR

Piano bars 262 - 5

SECTION B (7) Bars 256 322

E L S A L O N M E X I C O
Constant changes of METRE.
C 6+2 256 - 259 6 260 - 275 8 8 6 6+2 8 287 - 303 C 8 2 4 276 3 8 6 8 277 - 280 4 C 6+2 281 - 286 8

41

304 - 319

320 4 321 - 322

Careful and precise use of ARTICULATION As well as TENUTO MARKS ACCENTS and STACCATO p ma marc. (Viola bar 256) mark the accents (Cor Anglais bar 256)

non legato (Trumpet bar 259) gliss. (Clarinet bar 275) accents well marked (Stings bar 267) Use of 20th Century HARMONY and frequent KEY CHANGES Some discords, but the overall effect is jazzy rather than discordant Often jumps suddenly to unrelated keys as a different version of the melody is introduced

14

SECTION B (8) Bars 256 322

E L S A L O N M E X I C O
Constant changes of TEXTURAL DENSITY. Not always obvious as sometimes instruments not playing are omitted from the score to save room (eg pages 29 and 32).

42

Apart from a few short trumpet solos and a few chords from the horns, brass do not play in this section Piano plays for 4 bars then rests (not always both hands together) Woodwind play mostly solos many rests (NB the score occasionally looks denser as cues have been added in case some instruments (eg E clarinet pg 28) are not present The only bars where the entire string section plays are: 267 272; 291 295; 300 - 321 The texture thickens towards the end of the section with upper strings divided.

SECTION B (9) Bars 256 322

E L S A L O N M E X I C O
There is a great deal of ORCHESTRAL COLOUR, with many solos and the changes of colour are highlighted by the light texture. Mutes are used to add further colour. (eg horns from bar 268) Strings alternate between arco and pizzicato Unusual and colourful percussion instruments are used eg Chinese Temple Blocks; Gourd

43

Solos (and duets) are written for varying combinations with sparse accompaniment Cor Anglais (256 258) answered by trumpet (259 - 261) Flutes doubled by piano (262 265) E clarinet (268 276) accompanied by pizz. strings Oboe and clarinet 1 (280 286) answered by trumpet (285 - 287) Oboe (295); doubled by piccolo (297); both doubled by flute (303); oboe rests and clarinet doubles (313 - 321) LISTEN AGAIN TO SECTION B

SECTION A Revision
E L S A L O N M E X I C O

bars 103 -182

A1

44

Listen again to Section A. You will then compare it with Section Bars

Statement of 103 - 110 opening theme and 2 answering phrases Development of opening (oboe then bassoon) Development of end of opening (descending 3rds - strings) Development opening 3 notes by augmentation and expansion of 3rd to 5th (horns & strings) Restatement of shortened version of answering phrases (woodwind & upper strings). Partly developed from El Mosco

113 - 116

124 - 133 134 - 135

137 - 144

15

SECTION A Revision
E L S A L O N M E X I C O

bars 103 -182

Bars

45

4 statements of El Palo Verde, 145 - 155 each separated by drum hit. Mainly rhythmical section (3+3+2) but with some melodic reference to the drop of a 3rd in the folk songs Restatement of development opening 3 notes by augmentation accompanied by the rhythm of the previous section 156 - 162

163 - 172

Restatement of opening theme (of intro) after two false entries, and ending on chord V (E major)

173 - 181

SECTION A1 (1) Overview bars 323 -401

E L S A L O N M E X I C O
Section A 1 2 3 4 5 6 7 8 9
Opening theme Development of beginning of opening phrase Development of end of opening phrase Development by augmentation Restatement of answering phrases El Palo Verde Rhythmic section & drop of 3rd Restatement of augmentation section CODA Opening theme (intro)

46

Section A1 5 3 6 4 1
6 bars 6 bars 6 bars 3 bars 5 bars

2 5 bars 10 7 bars 7 8
11 bars 10 bars

overlaps with 9 4 bars 11 11 bars

12 11 bars

SECTION A1 (2) bars 323 -332

E L S A L O N M E X I C O
The section opens with a restatement of the development (by expansion of interval and augmentation) of the opening motif of El Palo Verde Horns and Strings (Vln 2 & Vla)

47

This section contains very similar material to that of Section A, but presented in a different order and sometimes in a different key.

As in Section 1 it is answered by a phrase developed from El Mosco Woodwind Listen to bars 131 144 (Section A) and then to bars 323 332 and follow each in your scores as you listen.

Are there any differences? Concentrate on the big picture.

THEMATIC MATERIAL TONALITY INSTRUMENTATION

There are some minor differences at the end because each is followed by different material

16

SECTION A1 (3) bars 332 -351

E L S A L O N M E X I C O

48

The section is similar to bars 113 116 in Section A, where the opening motif of the section modulated quickly to unrelated keys G major B major

In this section. Statements of the motif are interrupted (bars 327 332) by a restatement of the El Mosco phrase from the previous section There are 6 entries of the motif altogether

Name the key for each of the entries of the motif:

Bar 332 (vln2/vla) A major Bar 346 (picc/fl/cl) E major Bar 334 (cl 1 & 2/vlc) (cl C major Bar 348 (fg/vlc) G major Bar 336 (vlns1 & 2) E major

Bar 350 (C.I/cl/vln2) D major

SECTION A1 (4) bars 352 -362

E L S A L O N M E X I C O
The section restates Coplands reworking of El Palo Verde (Section A bars 145 155)

49

The LENGTH of the two sections as well as the RHYTHM, RHYTHM METRE and MELODY all remain unchanged.

Listen first to Section A and then the corresponding section in Section A1 and work out what has changed?

TONALITY
IN A MAJOR INSTEAD OF G

INSTRUMENTATION
MORE FULLY SCORED (Flute, clarinet and violin 1 double trumpet melody)

SECTION A1 (5) bars 363 -390

E L S A L O N M E X I C O

50

The part of Section A1 is a little longer (15 bars) than the equivalent part of Section A (bars 156 171). Section A consisted of: Irregular rhythms (3+3+2) punctuated by orchestral hits A melody that is based on the drop of a 3rd

Restatement of the augmentation motif Restatement of the first answering phrase from the opening of Section A

17

SECTION A1 (6) bars 363 -390

E L S A L O N M E X I C O
Section A1 consists of: Same irregular rhythms (3+3+2) punctuated by orchestral hits Melody that is but based on the drop of a 12th and in A major

51

Restatement of the augmentation motif Restatement of first answering phrase from the opening of Section A, but in A major Further rhythmic section with melody developing last 3 notes of the answering phrase (369 373) C major Restatement of augmentation motif (bar 379) C major Statement of original rhythmic section with drop of 3rd (C major) and further restatements of augmentation motif further expanded E major chord ends section (unrelated to what has gone before)!

CODA (1) bars 391 -401

E L S A L O N M E X I C O
Material heard in the CODA appeared in the INTRODUCTION Upper WW & Strings Two false starts:

52

Trumpets & Cymbals

Main theme bars 8 -14:

and in the LINK (OR BRIDGE) TO SECTION B Bars 173 181 Same false starts, but in A major and with slightly altered rhythm and interruptions by trombones and snare drum Main theme in A major and only partially stated, ending with an imperfect cadence

CODA (2) bars 391 -401

E L S A L O N M E X I C O CODA False starts more fully scored
Piccolo, flute,s, oboes

53

Cor Anglais, all brass, cymbals, bass drum

G MAJOR

E MAJOR

G major (the key at the beginning of El Salon Mexico) alternates Mexico) with E major (the key in which Section A1 ended) The main theme is not stated The music ends: The motif above is repeated three times (each restatement is rhythmically slightly different )

All orchestra except Contra bassoon, trombones, tuba, double bass

Timpani BD, SD, Cymbals

18

AARON COPLAND
E L S A L O N M E X I C O
As a composer, Copland had four distinct periods

54

A JAZZY PHASE 19251925-1929 AN AVANT-GARDE AVANTPERIOD 19301930-1936 A POPULIST PHASE 19361936-1949 El salon Mexico A RETURN TO SERIALISM 19501950-1971

Research and try listening to examples of music from each period

AARON COPLAND
E L S A L O N M E X I C O

55

Below are some of the musical features one might expect to hear when listening to folk/popular music and 20th century avant-garde avantmusic. How many can you identify in El Salon Mexico? FOLK/POPULAR MUSIC Simple singable melodies Steady tempo Regular phrases Diatonic harmony (often with a descant in 3rds or 6ths) Strong key centre with modulations to related keys Syncopated rhythm but easy to remember Articulation left to performer Texture remains constant Call and response techniques 20TH CENTURY/AVANTE-GARDE CENTURY/AVANTEAngular or discordant melodies Frequent changes of tempo Irregular phrases Harmony contains discords, chromatic or added notes Lack of key centre and/or wide-ranging modulations Syncopated and/or irregular rhythms Articulation carefully notated Frequent changes of texture Large colourful orchestra

AARON COPLAND
E L S A L O N M E X I C O
Elliot Carter

56

Aaron Copland

Leonard Bernstein

These three composers are sometimes referred to as the greats of American music

WHY?

19