Excerpt+24

= ﻿ Track 24: Traditional Cantonese: ‘In the Forest’ (2:05)  =

D escribe the treatment of melody in this excerpt and discuss the way the various sound sources interact throughout the excerpt.

media type="file" key="24 Track 24.m4a" align="center" width="300" height="50"

David Soo (I did this in a table) Overall, the work uses a pentatonic scale SECTION A SECTION B  **Leighton H. Triplow ** The melody is heard in a string-like and flute-like instrument during the excerpt. The melody is clearly in the major pentatonic scale and this effects what notes have been used in the melodic line. Because only five notes are used in total, the contour of the melodic line is sometimes jagged. The material moves around in small leaps, but sometimes a large leap is included. The range of the melody is large and both instruments make use of their upper and lower notes. At some points, the flute-like instrument and string-like instrument play in octaves and this presents a larger melodic range overall. The rhythms in the melody help to keep the piece moving forward. The rhythmic values are quite short and this is heightened by the unbalanced phrases. The instruments play the melodic line expressively through their use of articulations and dynamics. The articulations are sometimes short and detached compared to being legato at other times. The dynamics also change through the use of crescendos and decrescendos so that the melody does not become static. The two melodic instruments interact by either playing at the same time or engaging in a call and response. The aerophone for example at one point plays a “quaver-quaver” rhythmic idea which is then answered by the stringed instrument that plays the same pattern. A plucked instrument tends to stay in the background as a clear accompaniment. Its role is to outline the major tonality and sustain a moving rhythmic sense. Sometimes this instrument does not play, allowing the solo instruments to feature. //**Response by Leighton H. Triplow, 2010 **//
 * Contour is jagged. Performed by the Erhu (2 stringed string instrument) and the pipa (the percussion sound). This repeats itself using a range of ornamentation and dynamics
 * At the end of the long notes there is a repeated trill which seems to be played mathematically by the percussion instrument.
 * At times, the different ostinati are accompanied by irregular accompaniment. For example, when the stringed instrument plays (ti ti-ka), it is accompanied by block chords playing on irregular beats
 * At times, there is a flute like instruments which plays an octave above the Erhu
 * Phrases are unbalanced and irregular as seen through the amount of notes used each time.
 * 1st phrase- legato
 * 2nd phrase- short and more detached
 * Shorter note values and louder dynamics
 * Begins with an anacrusis
 * Sharper attack on both instruments. Both engage in a call and response. Initially begins with a d, s and la. This is repeated and eventually moves up an octave. When the melody moves up, it signals the end of the piece.
 * Larger leaps are used to create happiness together with sharp staccato at the end of the flute like instrument at the beginning.