The piece “Grain of Sand” is based on a poem by William Blake: an English poet, painter, and printmaker. The lyrics to the first verse of the original poem are:
To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.
Even though the piece “Grain of Sand” is set for voice and piano, the piano line sounds a lot like the accompaniment of a religious chant that would traditionally be played by an organ. Held octaves and fifths in the left hand add a certain kind of heaviness to the quiet melody which is sung, and played piano. In a church setting, the bass line would represent the organ bourdon, the right hand the soprano voices (women) and the voice part the alto/tenor/bass voices (men). The tempo (76) is rather slow. This tempo indication, combined with the dynamics (p), the deep, held octaves and the opening intervals (open fifth), create a mysterious atmosphere. Though the text to this song is not of religious manner, the meaning behind it actually carries the same message as many religious chants: “To see the world in a grain of sand”- to see greatness and beauty in places where we don’t expect to see it, and, “Hold infinity in the palm of your hand”- to discover a strength that we didn’t know was there, or even possible. This song is composed in serial/ twelve-tone style, which fits the lyrics perfectly. As well as expressed in the lyrics, these twelve note rows represent complexity in which tonality can be, but doesn’t have to be, found. This piece is based on two 12-tone rows: P1 and R11. Generally, the voice is ahead of the piano, presenting a pitch, which is then repeated by the right and the left hand. What’s special about the P1 row is its focus on the number 11. As presented in the DCPI’s, the number 11 occurs 4 times in this row. Besides the focus on the number 11, the melody line goes along with the text. The simplicity and the small form of the grain of sand are represented by the right hand of the piano. Even though the piano is “echoing” the pitches of the vocal line, the melody is either rhythmically diminished (m1), or shortened by quarter rests (m 2). Harmonically, the first 4 measures of the piece sound rather tonal. Assuming A as a pitch center, these measures sound like they are based on a Phrygian mode. The use of this mode supports the mystical /chant-like character of the piece. In measure 4, the character suddenly changes: the texture thins out (voice solo for one measure), every note is accented and the dynamic level increases; the word flower is emphasized. Measure 4 marks not only the end of row 1, but also the beginning of row 2. Mm. 4-6 are the highlights of this song. The dynamics increase and every note is accented. At the end of measure 5 the melody rests on a fermata on Bb. This stopping point represents the tangibility of time, in which time is an infinite factor. The rests that follow the fermata even more emphasize this sense of infinity. (a fermata can be held as long as the performer wishes. The rests after the fermata are symbolizing the infinite extension of freedom.) The second row of this piece, R11 (notice the number 11) is a retrograde of the original row P1. It starts on Gb and ends on Ab. After measure 5, and total silence, the melody suddenly loses its tonal tendencies. Just like the sand in an hourglass, the bits of harmonies suddenly fall apart. The character changes, the sudden tonal instability communicates a sense of restlessness. Only on the downbeat of the last measure, on the word hour all voices finally find a common pitch: Eb. After this half note unison, all harmonic chaos disappears and the piece ends on an Ab major chord. The purpose of this chord is to recreate the overall order of things- representing the unity of life.
To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.
Even though the piece “Grain of Sand” is set for voice and piano, the piano line sounds a lot like the accompaniment of a religious chant that would traditionally be played by an organ. Held octaves and fifths in the left hand add a certain kind of heaviness to the quiet melody which is sung, and played piano. In a church setting, the bass line would represent the organ bourdon, the right hand the soprano voices (women) and the voice part the alto/tenor/bass voices (men). The tempo (76) is rather slow. This tempo indication, combined with the dynamics (p), the deep, held octaves and the opening intervals (open fifth), create a mysterious atmosphere. Though the text to this song is not of religious manner, the meaning behind it actually carries the same message as many religious chants: “To see the world in a grain of sand”- to see greatness and beauty in places where we don’t expect to see it, and, “Hold infinity in the palm of your hand”- to discover a strength that we didn’t know was there, or even possible. This song is composed in serial/ twelve-tone style, which fits the lyrics perfectly. As well as expressed in the lyrics, these twelve note rows represent complexity in which tonality can be, but doesn’t have to be, found. This piece is based on two 12-tone rows: P1 and R11. Generally, the voice is ahead of the piano, presenting a pitch, which is then repeated by the right and the left hand. What’s special about the P1 row is its focus on the number 11. As presented in the DCPI’s, the number 11 occurs 4 times in this row. Besides the focus on the number 11, the melody line goes along with the text. The simplicity and the small form of the grain of sand are represented by the right hand of the piano. Even though the piano is “echoing” the pitches of the vocal line, the melody is either rhythmically diminished (m1), or shortened by quarter rests (m 2). Harmonically, the first 4 measures of the piece sound rather tonal. Assuming A as a pitch center, these measures sound like they are based on a Phrygian mode. The use of this mode supports the mystical /chant-like character of the piece. In measure 4, the character suddenly changes: the texture thins out (voice solo for one measure), every note is accented and the dynamic level increases; the word flower is emphasized. Measure 4 marks not only the end of row 1, but also the beginning of row 2. Mm. 4-6 are the highlights of this song. The dynamics increase and every note is accented. At the end of measure 5 the melody rests on a fermata on Bb. This stopping point represents the tangibility of time, in which time is an infinite factor. The rests that follow the fermata even more emphasize this sense of infinity. (a fermata can be held as long as the performer wishes. The rests after the fermata are symbolizing the infinite extension of freedom.) The second row of this piece, R11 (notice the number 11) is a retrograde of the original row P1. It starts on Gb and ends on Ab. After measure 5, and total silence, the melody suddenly loses its tonal tendencies. Just like the sand in an hourglass, the bits of harmonies suddenly fall apart. The character changes, the sudden tonal instability communicates a sense of restlessness. Only on the downbeat of the last measure, on the word hour all voices finally find a common pitch: Eb. After this half note unison, all harmonic chaos disappears and the piece ends on an Ab major chord. The purpose of this chord is to recreate the overall order of things- representing the unity of life.
No comments:
Post a Comment