seachanges...(everyone's favourite :P)

aine-maire

Can anyone tell me, definitively, the form of Seachanges?!

I have 2 different sets of notes which give different forms, and also divide them in different places... I have no idea which to follow, and it's just so unbelievably confusing!

I'd also welcome any advice as regards studying something which makes my ears hurt...

Thanks in advance!:D

PurpleFistMixer

They're asking for the form of seachanges.
I'll copy out what I had written on the inside cover of my book; (ie the form with notes) No bar numbers I'm afraid, but it's mostly done by the tempo changes so that may make it easier to follow!


Intro A (ie form notation), pedal point G, crotchet = 80
Changing time sig, igh pitched, 3 note cell, silent bars

Secition 1 A1, pedal point G, crotchet = 80
Main melody inversion (cello), main melody (violin), subtraction, main melody inversion (piccolo)

Section 2 B, atonal, crotchet = 120
Totentanz, (I had written here the 7 4 rhythm of it), Strumming, sul pont, over bridge, guiro, main melody & inversion (piano), tritone, repeated 5ths

LINK (glissando)

Section 3 A2, pedal point D, crotchet = 80
Main melody & inversion (violin & cello) minums, lively flute countermelody, subtraction, main melody accented (piano)

Section 4 C, atonal, crotchet - 120
Dies Irae, canon (violin & marimba), dies irae (5ths) (cello, violin), march-like dies irae (piano)

Section 5 A3, pedal point E flat, crotchet = 80
Main melody (flute in G) subtraction, paino addition, gong, high pitch cello over bridge

Section 6 B1 + C1, pedal point C then A then atonal... (no tempo marking for this, I assume it changes)
Totentanz + Dies Irae, cmaj danse macabre, flute dies irae, flute passage -> fff climax, totentanz, sudden A cross rhythm, totentanz, maracas -> end.


Basically that was what I used for last minute revision of the form and what happens in each section. I spent a lot of time working on the forms of the various pieces for Music last year, and of course, it was all completely useless because the most complex question that was asked was probably something like "what happens after this section?", instead of "describe in detail the form of the 3rd movement of Mozart's Piano Concerto in A Major". Alas!

Anyway, hope you can make some of that out. I don't think there's any objectively correct way to categorise this piece, mostly one learns the form to help them remember the piece in general, IMO.

aine-maire

Thanks so much!
That really helps

cautioner

PFM, do you mind if I ask what you mean by "sudden A cross rhythm"?
Thanks a million btw, that post is just too helpful.

Dante

Unfortunately there is no form to seachanges....just one long musical rape scene...

Futurism

Accurate description!

Fad

DaaaaaaaaaaN wrote: »

Unfortunately there is no form to seachanges....just one long musical rape scene...

I dont do music anymore, but a guy in my year said "It's not music, it's just loads of sounds strung together"

I like your description better:pac:

cautioner

It gets easier to listen to the more you do it.

PurpleFistMixer

cautioner wrote: »

PFM, do you mind if I ask what you mean by "sudden A cross rhythm"?
Thanks a million btw, that post is just too helpful.

It's bar 163, the Marimba, Piano and Violin all play quavers and semiquavers on A, but not in unison (ie the semiquavers on Marimba come in 1 beat before those on the piano, and those on the violin come in 3 beats before the piano). It's not a terribly significant part really, it just demonstrates another composition technique.

AndyWhite

PFM, if you by any chance still have a few of those type of quick revision notes for the other pieces aswell, is there any chance you might be able to email a few to me? If its too much hassle dont worry about it, i have a good few notes already but those are just very handy!
My email is aobw1@hotmail.com if you are able to. Thanks!