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Yayalar
Department of Music
[1] Introduction
!arly "#th century music $itnesse% numerous inno&ations in %i&erse fiel%s. 'ne significant feature $as an increase% interaction $ith folk music. ( significant conse)uence $as %e&elopments in rhythm an% meter as a result of this influence. The e&olution of Bela Bartks music in tan%em $ith his stu%ies in ethnomusicology represents a goo% e*ample in this respect. In this paper+ I $ill focus on one of the rhythmical features that surfaces in Bartks music in a significant $ay. Rhythmical an% metrical irregularities in Bartks mi%%le an% late perio% $orks are features that $ere intro%uce% to the &oca,ulary of -estern music through the %isco&eries of !astern !uropean folk music. I $ill highlight the influence of folk music in this process. I $ill then analy/e specific e*amples from Bartks string )uartets.
[2] Background
0".12 Meter in Western Music If $e e*clusi&ely concentrate on the classical an% romantic perio% music+ $e can get a false impression that all -estern art music makes use of regularly recurring meters. 3o$e&er+ this $asnt the case in most Renaissance an% Me%ie&al music. In the a,sence of ,arlines+ the natural accents of the te*t %etermine% the meter in early &ocal music. Thus+ the music ha% irregular groupings of rhythmic patterns. This ten%ency of -estern music $as replace% ,y the e*tensi&e use of regular an% simple meters %uring the perio% of 14th through 15th century. In the ,eginning of the "#th century+ the %isco&eries of early music an% folk music helpe% composers to %epart from this metric regularity. !*amples can ,e Stra&inskys 67etrouchka+ Rite of Spring8 an% -e,erns 69ariations for 7iano+ II8. 0"."2 Folk Music Influence In the romantic perio%+ $e can o,ser&e fe$ e*amples of irregular metric groupings. The most popular one $as :;<+ $hich =hopin use%+ in his first sonata+ Tchaiko&sky in his >th symphony an% -agner in Tristan ? Isol%e. These e*amples ha&e relati&ely slo$ tempi an% )uarter pulse is easily noticea,le. 3o$e&er+ one feature that %istinguishes asymmetric meters of folk music from -estern art music is
Tolga T. Yayalar
Department of Music
that in folk music+ meters ha&e pulses $ith %ifferent num,er of ,eats. For e*ample :;< has " ,eats+ groupe% in " an% @ or &ice &ersa ASuchoff+ 154>B. 0".@2 Bartk and Bulgarian Rhythm Bartk $asnt a$are of the e*istence of irregular meters in !astern !uropean folk music until he came across Stoins article a,out the su,Cect in late 15"#s. This $as the first pu,lication+ $hich announce% the Bulgarian musicologist 3risto&s systematic stu%y of the asymmetric meters in Bulgarian folk music. This a$erness cause% Bartk to return to his ol%er collections an% re&ise them accor%ing to the groupings of " an% @ in a measure ARice +"###B. In his essay in 15@D+ Bartk focuses on the rhythmic significance in Bulgarian music+ $hich he names 6Bulgarian rhythm8. 3e also ,rings to the fore that irregular rhythms;meters e*iste% across Balkans as $ell as in Turkey an% Turkmenistan e&en though the origin of these rhythms;meters is )uite am,iguous. Bartks reason for la,eling them as8 Bulgarian rhythms8 is %ue to his ,elief that Bulgarian musicologists $ere the first to %isco&er them ARice+ "###B. 3o$e&er o$ing to the %etaile% ethnographic information of later years+ its more legitimate to la,el them as 6Balkan or 6Turkish8 or 6Balkan;Turkish8 rhythms. 0".<2 Characteristics of so called !Bulgarian Rhythm" (ccor%ing to Bartk+ 6Bulgarian rhythm8 meant a%%iti&e com,inations of " an% @ pulse ,eats of short )uantities such as eighth or si*teenth notes ASuchoff+ 154>B. 3e also insiste% that fast tempi constitute a criterion for Bulgarian rhythm+ although this is %isregar%e% ,y Bulgarian musicologists. The most fre)uently use% meters can ,e liste% as follo$sE :;D A@F"B 4;D A<F@B D;D A@F"F@B 5;D A<F"F@B
0".:2 Bartk#s rhythmic e$olution through his %uartets Its not until his @ r% )uartet that Bartk reache% a comple* rhythmic %imension in his music. The first t$o )uartets e*hi,it influences from late Romanticism an% Impressionism an% some folk elements. they %ont sho$ any use of irregular rhythms. 3is metric usage is in line $ith $hat has ,een use% ,y the composers of 1Dth an% 15th centuries. Its $ith the @r% )uartet that Bartk first escapes from the usual metric an% rhythmic ten%encies of the classical !uropean art music. (lthough Bartk uses irregular
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Tolga T. Yayalar
Department of Music
groupings of meter in his mi%Gperio% )uartets+ he %oesnt in%icate the groupings in the meter. For e*ample in the :th mo&ement of his <th )uartet+ he notates the long asymmetric section in ";<. In his :th )uartet he in%icates the appropriate su,%i&ision of the meter in time signature A:th )uartet @r% mo&ementB. In his >th )uartet Bartk relies on the ,arline e*cept for some polyrhythmic passages A> th )uartet;1st mo&ement M"#5B.
Tolga T. Yayalar
Department of Music
manifestation of Bulgarian Rhythm that Bartk %escri,es as a%%iti&e com,ination of " an% @ pulse ,eats of short )uantities such as eighth or si*teenth notes in fast tempo. The secon% approach appears most clearly in @ r%;1st mo&ement+ at rehearsal num,er 4+ $here Bartk uses o%% meters such as :;D an% 4;D. 3ere the goal is %ifferent+ in the :;D he constructe% a regular irregularity+ $here the effect is totally the opposite. -e %o not percei&e any meter. The asymmetric time signatures are use% to esta,lish a fluctuating feel. Both :;D an% 4;D %o not seem to %i&i%e clearly into "s an% @s. 0<."2 ,olyrhythmic ,assages 7olyrhythm is a %e&ice that Bartk utili/es fre)uently. 3e occasionally creates polyrhythms $ith irregular groupings of meter. In e*ample 1+ the melo%y clearly has an irregular rhythm.
The first < measures coul% ,e notate% as D;D $ith @F"F@ su,%i&isions. In the secon% system = an% (, are a%%e% to the melo%y+ an% they make the line t$o eight notes longer. This coul% ,e notate% as 1#;D ,ar $ith @F"F"F@ groupings. The cello part un%erneath this melo%y creates a %ifferent perception of meter although it is notate% $ith the same time signatures. A!*ample "B -.(M,*- 2 A@r% uartet+ Secon%a 7arteB
The =ello starts t$o ,eats later than the 1st &iolin. Irregular groupings of the cello part suggest a &ery %ifferent time signature than the &iolin part. Jotating it as the percei&e% meter $oul% make the coor%ination of the parts more %ifficult. Jotating in a simple meter such as ";<+ an% ,eaming the &iolin o&er the ,arlines+ $oul% ,e another choice+ $hich Bartk employe%. 3ere+ he chose time signatures accor%ing to melo%ic suggestions.
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Tolga T. Yayalar ( similar passage occurs fe$ ,ars later in the same )uartet. -.(M,*- & A@r% uartet+ Secon%a 7arteB
Department of Music
A3ere+ means three ,eats per pulse an% means " ,eats per pulseB The cello has a " ,eat %elay again. The melo%y here suggests a :;D time signature. But $ith the other parts+ the smallest common %enominator is @;D. The cello follo$s a rhythmic pattern of 1#;D A@F"F"F@B or " :;Ds A@F" an% "F@B. The last e*ample is from the <th )uartet. In the first mo&ement+ ">4th measure+ The 1st &iolin an% &iola form groupings of @F@F"+ "F@F@ $hile the cello plays up,eat D th notes in ";< time. This part soun%s more like a syncopate% passage that polyrhythm+ ,ut Bartk often uses %ifferent grouping of D;D time signature. A!*ample <B -.(M,*- + A<th uartet+ :th Mo&. M">DB
0<.@2 Canonic /assages =anon is also a techni)ue that Bartk employs fre)uently in his music. -e encounter " passages in $hich Bartk uses irregular rhythmic patterns in a canon. (t the en% of the thir% )uartet+ theres a &ery short passage $here Bartk implemente% a canon &ery skillfully Asee !*ample :B.
Tolga T. Yayalar
Department of Music
The groupings of @F<F4F< in cello an% &iola are follo$e% ,y &iolins ,y " ,eats. This < ,ar e*ample is originally notate% in :;D+ an% theres a note in e&ery ,eat. In other $or%s the cumulati&e rhythm of this passage is all eighth notes. ( more complicate% canonic passage appears in the first mo&ement of the fifth )uartet. In the e*position+ $e see that Bartk again makes use of a canon in &iolins &s. cello;&iola. This time the canon is separate% ,y " eighth notes. The same cumulati&e rhythm is again consecuti&e eight notes. !*ample > sho$s the upper &oice notate% in a%%iti&e meter. -.(M,*- 1 A:th uartet+ 1st mo&. M":B
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Tolga T. Yayalar
Department of Music
In this e*ample+ Bartk use% a %ifferent notation techni)ue. 3e notate% the $hole passage in <;< ,ut he in%icate% the percei&e% meter in %ashe% ,arlines. So its o,&ious that he consi%ere% the irregularity an% notate% it in simple time for the con&enience of the performers The canon starts one )uarter later+ ,ut this is a rhythmic canon an% not a strict one either. 9iolins ha&e groupings of >F>F:F@F<F>F4F4F>F:F:FDF:F>F:F:F4F4 $hile cello;&iola ha&e groupings of >F>F:F4A@F<BF4F>F@F:FDFDF:F4F:F>F4F<F4Asee !*ample 4B. The pattern ,reaks up at ,ar "5 completely. But ,oth lines continue in such a similar fashion that a canonic feel is still present. (t ,ar @# it seems like &iolins follo$ cello;&iola ,y an D th note. -hen the passage en%s at @>+ this time cello an% &iola seem to ,e an Dth note ,ehin%. But the Dth note cumulati&e rhythm is present throughout these allG11 measures.
( similar passage occurs at the recapitulation of the same section. This time the canon is in&erte% A:th uartet+ 1 Mo&. M1<4B.
0<.<2 Irregular grou/ings in sim/le time signatures This is the techni)ue that Bartk uses most often to notate a%%iti&e meters. The most famous passage of this type is the opening of the :th mo&ement of the <th )uartet Asee !*ample DB.
Department of Music
Tolga T. Yayalar
Department of Music
'riginally this passage is notate% in ";<. 'ne of the reasons for this+ is pro,a,ly the melo%y. In a%%iti&e meters+ the rhythm of the melo%y looks unclear. 3o$e&er the melo%y is &ery luci% in %uple time an% fits in ";<. (nother reason to notate it in ";< is again for the con&enience of the performers. In a%%iti&e meter notation+ the accompaniment looks correct ,ut the melo%y is &ery har% to percei&e. The
accompaniment soun%s like a ran%om com,ination of " an% @ ,eat groupings. In fact it is organi/e% aroun% D;D meter A@F"F@B. !ach pattern en%s $ith the < ,eats grouping+ $hich also appears at the en% of the melo%ic phrase. So the pattern looks ,riefly like thisE DFDFDF5
Department of Music
This passage in a $ay prece%es the Bulgarian Rhythm passages in his *th +uartet A@r% mo&ement+ 15@<B+ Music for ,trings, -ercussion and $elesta Afourth mo&ement+ 15@>B+ ,onata for Two -ianos and -ercussion Asecon% mo&ement.15@4B an% $ontrasts Athir% mo&ement 15@DB. In the same mo&ement+ theres a short passages that occurs t$ice. Ae*ample 5 an% 5.1B -.(M,*- 4 A<th uartet+ :th Mo&. M"D1B
This part is 1# measures after the @F@F"+ "F@F@ e*ample Asee !*ample <B. !*ample 5 an% 5.1 are &ariations of this earlier passage. This is a &ery typical Bartk passage $here he makes the earlier passage stronger an% more po$erful ,y esta,lishing a complicate% rhythm an% ,y using all the &oices in rhythmic unison. (nother metho% of notating irregular rhythmic patterns is the use of %ynamic markings an% ,eaming. In e*amples 1# an% 1#.1+ $hich are ,asically same music $ith some &ariation+ Bartk clarifies the percei&e% rhythm ,y ,eaming notes o&er the ,arline an% %ifferentiates the t$o contrasting i%eas $ith %ynamic markings.
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Tolga T. Yayalar
Department of Music
!specially in the secon% system $e ,enefit from the %ynamic marks. -hen the same passage occurs earlier in the piece+ there is no am,iguity a,out $hat the irregular groupings are. This time $e percei&e the irregular meter from the contrasting i%eas. I trie% to notate this e*ample in a%%iti&e meters. In this case the t$o contrasting i%eas are fitte% in a measure.
[0'] Conclusion The String uartets may ,e interprete% as the summary of Bartks musical life. They encompass o&er his entire musical career+ an% each of them signifies a specific epoch in this career. Its possi,le to trace his musical e&olution Cust ,y looking at these pieces+ $hich are regar%e% as masterpieces in this me%ium. Its in his mi%Gperio% )uartets that he reache% the highest point of comple*ity in his music. This is $hen $e start to see the e*amples of irregular rhythms in his music. Its not a coinci%ence that he %isco&ere% $hat he calls 6Bulgarian Rhythm8 in those years. In 15@< he in%icate% the su,%i&isions in the time signature itself A: th )uartet+ @r% mo&ementB. Mean$hile+ he %e&elope% %ifferent techni)ues
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Tolga T. Yayalar
Department of Music
an% solutions to use irregular rhythms in his music. I&e trie% to e*amine the use of these techni)ues an% Bartks e&olution in irregular rhythms through his )uartets.
References B(RT'K+ B. The String uartets of Bela Bartk+ Ion%on+ Boosey an% 3a$kes.
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Tolga T. Yayalar
Department of Music
=''7!R+ H. an% I. B. M!Y!R. 15>#. The Rhythmic Structure of Music+ The Lni&ersity of =hicago 7ress. K'STK(+ S. 1555. Materials an% Techni)ues of T$entiethG=entury Music+ Je$ Mersey+ 7renticeG3all. K'STK(+ S. "###. Tonal 3armony+ McHra$G3ill. 'TTM(J+ R. 15DD. !lementary 3armony+ Je$ Mersey+ 7renticeG3all. RI=!+ T. "###. 6Bela Bartok an% Bulgarian Rhythm8 in (ntokolet/+ Fischer+ Suchoff Ae%s.B Bartok 7erpecti&es. '*for% Lni&ersity 7ress.
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