Vicki's Composition #1

Listening Guide: A Portrait of Polly Wolly

By Vicky Trifiletti

The pitch material in this composition comes from two standard referential collections, the Octatonic (Oct 12) and the Whole Tone collection (WT1). The decision to use these two scales came from the two motives I used from the original folk song. The first motive (motive x) was derived from the first three notes of the piece (motive x) and are each a whole step apart, which lead to the decision to use a whole tone scale. This material is found in the B section of this composition, which features an ascending whole tone pattern. This motive is seen in the piano part of the A section, where the contour is reversed, as well as the top interval, as this portion of the composition uses an octatonic referential collection. The second motive (motive y) I selected was the descending pattern at the end of the folk song. The intervalic relationship between the first two notes of the motive were expanded by a half step, allowing the motive to be used in an octatonic collection. The descending contour was kept to preserve some elements of the folk song.

Within the A sections of this composition, asymmetric meter is present. The A’ section is in a 7/8 rather than a 5/8 to create a texture change. Instead of the piano and violin motives overlapping, the piano motive is played while the violin is sustaining a note. Both times that the asymmetric meter is used, the piano and violin have opposite beat divisions (ie, the violin has a 3+2 measure while the piano has a 2+3 measure). This creates some tension within the texture of the piece.

The B section of this ternary composition is polymetric. Although both the violin and piano appear to be playing in 6/8, the duplets in the piano act more as a 2/4 measure rather than a 6/8 measure. Within the B section, it is very clear that the piano is acting more as an accompaniment to the violin rather than its own independent voice, as in the A sections.

The overall contour of the violin melody throughout this piece is ascending. The change is gradual, as the melody in the A section appears an octave higher in the return of the A. The piece does not feature a distinct pitch center, but F is certainly a highlighted note within the composition, as the melody of each section ends with an “F”. Harmonies were chosen to keep the intervalic relationships within each motive intact while avoiding dissonant intervals as much as possible, especially on entrances, although they do occur within the composition.I selected these two particular instruments as I wanted a distinct timbral difference between the upper and lower voices. The staccato articulations found in the violin line of the A sections are there more for contrast of the proceeding notes, which are to be more legato. The dynamic choices in the B section were made to build intensity, as the rhythmic ostinato in the piano is reminiscent of a dance beat.