Rudy Bless

Nik Brtschs Ronin Modul 48 Analysis

Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

Nik Brtsch opens the score of his 2010 album Llyria (Brtsch, Nik Brtsch) with a quote

by the Austrian philosopher Ludwig Wittgenstein. In it, he claims that that which is most important

to us is often hidden because of its simplicity and familiarity. Indeed, the real foundations of his

inquiry do not strike a man at all (Brtsch, Digital Score). Following this, Brtsch raises questions

about music, such as how a musical code arises and proliferates, and how dialects or slang emerge

from such a code. He seems to be preparing the reader for the music that follows, which is, in and

of itself, brilliantly simple, and yet complex enough that hours could be taken up discussing it.

Brtsch, who works both as a solo artist and within a band setting, describes the music he writes for

Ronin as Zen Funk, and elements of Jazz, Funk and acoustic Rock can be found within his

compositions, as can certain elements of Zen philosophy (Brtsch, Ronin).

The form of this piece follows the appearance of solos, and would look something like this:

||: Intro :||: A :||: B (x4) :||: C :|| Outro || It is the saxophone that changes the most within all of these

sections, and that is what gives away the sectional changes for the most part. Though, due to the

constant ostinato of the opening line in the left hand of the piano, what distinguishes different

sections are often very subtle differences. The saxophone solos come about during the last three of

the four | B | sections, and during the second | C | section. Due to the subtle differences that

distinguish the different sections, it is fair to state that while the texture of the piece is largely

stratification (due to the various rhythms and harmonies layered upon one another), there is a hint

of melody and accompaniment to be found, due to the phrases in the alto saxophone line.

Modul 48, the first piece on the album, is fascinatingly simple in many ways.

Rhythmically, it focuses almost exclusively on a single rhythmic pattern (Figure 1). This

1
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

Figure 11:

rhythmic palindrome (there are two palindromes within the bar, as shown by the lines drawn on the

example) is one that is constantly in play throughout the piece, and creates a perceived compound

meter, though the bass is (for the most part) functioning in 6/4. This piece could be seen as a study

of the dotted eight note, for upon closer inspection it becomes clear that each note in the rhythm in

Figure 1 is worth exactly that. The drums confirm this, where every note played on the ride cymbal

is held (including rests) for the value of a dotted eight. The accents given on the high metal shaker

(the accents are not show in the score, but are plainly audible) also allude to a compound meter

(Figure 2). Indeed, the only instrument that solidly grounds the piece in 6/4

Figure 22:

is the bass guitar, which regularly hits 2, 3, 5 and 6. The effect of this is that, taking the perceived

meter into account, the bass seems to have a highly syncopated line, while, ironically, it is really

the rest of the instruments that do.

The predominant melody of the piece features phrase elision that is so common that it often

becomes unclear where phrases of the entire band begin and end (Figure 3). Figure 3 shows where

individual phrases end (shown by vertical lines drawn on the example). Due to the phrase elision,

the tonic will only fall on beat one on the ninth repetition, and there will be one bar in every nine

1
Begins in mm. 1
2
Begins in mm. 6 in the Percussion voice

2
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

bars that does not have a tonic in it. What makes this so interesting is that the

Figure 33:

phrase elision counteracts the rhythm that Brtsch took painstaking efforts to notate as a clear

palindrome. Due to the phrase elision, the melodic line cycles through the rhythmic phrase, with

each note falling on a new beat in successive bars. This is an example of Brtsch, as a composer,

taking something that is excruciatingly simple, something that would normally not strike a man at

all, and bringing it to the forefront of the listeners attention. Figure 3 makes its first appearance at

the very beginning of the piece, though it is offset by one beat in the right hand of the piano. This

offset is revealed in the repetition, where the left hand of the piano (as well as the saxophone and

bass guitar) come in on beat one and create a fascinating echo effect. It is worth noting that in this

introductory section (mm. 1 5), the meter is 6/4 up until mm. 5, where it switches to 3/4. It is this

change of meter that allows the melody to come back in the repeat displaced by only one beat (in

the right hand), instead of by 4 beats. This was a clearly structured attempt by Brtsch to not only

minimize the phrase elision through the repeat, but in doing so keep the echo effect to a still

3
Begins mm. 1, in the Right Hand of the Piano

3
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

recognizable minimum.

There are two trichords in use during the piece that are also worth mentioning. Trichord A

(Figure 4) comes about for the first time in mm. 6, and replaces the opening melody in the right

hand of the piano, while the left hand continues the melody. This trichord holds a very prominent

Figure 44:

place in the rhythmic harmony of this section of the piece, for it works to ground the piece in the

simple meter it is notated in. This figure is repeated in each bar until the second ending (mm. 22)

when it is pseudo-harmonized with Trichord AI (Figure 5). Trichord A follows the integer structure

of { 7 9 4 } (+2 +7), and as such, when transposed to zero, would be { 0 2 9 }.

Figure 55:

Trichord AI follows the integer structure { t 0 7 } (+2 +7), and was such, when transposed to zero,

would also be { 0 2 9 }. Thus, we can say that they are the same trichord, the difference being that

Trichord AI has been transposed down a Major 6th. Though it is not audible, it is interesting to note

that the alto saxophone in Eb would also be transposed down a Major 6th from written to sounding

pitch. Mm. 22 is the exchange of dominance between the two trichords, and even when the tonal

center changes from D Dorian to Db Major. The harmony then returns to D Dorian in mm. 34, and

4
First appears in mm. 6
5
Mm. 22

4
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

the modal modulation occurs simply by the reintroduction of Trichord A.

The saxophone is what gives away the most obvious sectional changes, where it takes on a

complete phrase group in section | A |. This phrase group encompasses almost the entire section,

and the first sub-phrase (Phrase a) can be seen below in figure 6. Figure 6 shows us how

Figure 6.16:

the inclusion of the phrase brings about a new section, with the piano bass and drums following.

The reason that I think the saxophone is what is leading this transformation is that it is in the

forefront of the listeners attention. The other instruments are following while its melody pushes

the piece forward, in a way not seen before. At the same time though, this is evidence of the timbre

of stratification in this piece, because if you look at the right hand of the piano in mm.6 (above),

you will notice that it is the aforementioned Trichord A (Figure 4). What is so special about this is

that it is used, in conjunction with the opening melody, to ground the piece and provide a frame of

reference for the time, but also as groundwork for the solos that follow, that become an integral part
6
Mm. 6
After the first two bars, the bass and piano continue in a similar fashion. As such, I did not include them in the
following measure in order to save space.

5
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

of the structure of the piece. In mm. 25, Trichord A1 (Figure 5) returns, this time in the sax line.

This is where the lines between the melody of the piece and its accompaniment are truly blurred.

Due to the timbre of the saxophone, as well as its placement in the mix, it is at the forefront of the

listeners attention, even through it is just repeating Trichord A, which we have thus far assumed to

be the accompaniment line! This shows how the sense of melody and accompaniment in this piece

is created purely by timbre, or by a selective use of stratification. This is also one of the only

instances where the piano actually plays chords, though they do not really fit in harmonically nor

with integers, and sound like they function more as controlled clusters than anything. It is worth

noting that the phrase ends after the first dotted quarter note of the third measure (as indicated by

the line drawn on the example). However, this is not phrase elision in the strictest sense, for it only

appears so in the written meter. In fact, it synchronizes perfectly with the perceived compound

meter.

Phrase a1 (Figure 6.2) picks up where Phrase a left off, namely on the upbeat of beat 2 (of

the written meter). This is a simplified version of Phrase a (it a measure shorter and doesnt move

up to C), and as such the argument could be made that this is the first sub phrase of the group,

the antecedent phrase, and Phrase a is the consequent phrase. What is interesting about the

ambiguous phrase elision at the beginning of this phrase is how Phrase a1 does not begin until

Trichord A has struck its last note. This is an example of the interaction between the written and

perceived meters, for Trichord A is in the written meter.

Figure 6.27:

7
Mm. 6

6
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

The next sub phrase, Phrase b (Figure 6.3), begins on the downbeat of both the written and

perceived meter. It follows a melodic structure that is somewhat similar to Phrase a, though

Figure 6.38:

its context is such that it could not be justifiably labeled as Phrase AII but rather follows in Phrase

As footsteps and takes on the form of a consequent phrase, and Phrase bI (Figure 6.4) would be its

antecedent phrase.

What is interesting about these sub phrases (and the way they can be grouped, namely into

8
Mm. 8

7
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

Phrase a and Phrase aI, and Phrase b and Phrase bI) is that they follow the exact same rhythmic

structure, with only a few melodic variations. But these subtle variations are enough to show two

distinct sections within the phrase group, both of which fulfill the same function. What is

fascinating about these is how the regular phrase order has been disrupted, and the antecedent

phrase follows the consequent phrase. This throws off the context of each phrase, for the middle

two phrases could be seen as the antecedent and consequent phrases.

Figure 6.49:

We have seen how timbre creates the sense of texture in this piece, so it is important to

understand what exactly is happening with the individual voices and see how they interact. Holding

down the minimalist groove are the bass guitar and the drums. The bass line is generally very

sparse, and moves between the written and perceived meters, one bar in 6/4 one bar in the

compound meter. Some of the hits are held, some are briefly articulated and stopped short. The EQ

on the bass is fantastic, and as such no effects are added. Using the metaphor of a musical

landscape, it remains in the background for the vast majority of the piece, occasionally

embellishing a piano or saxophone phrase.

The drums go hand in hand with the bass, making sense out of the articulations and legato

phrases. The drums hit most often on the 1 and 3 of the perceived meter, and follow the pianos

9
Mm. 10

8
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

study of the dotted eighth note, even experimenting with different collections of the hits (examples

of this can be seen in mm. 13, mm. 25). Interestingly, the drums (on the ride cymbal) rhythmically

mirror the pianos opening line, which is carried through the piece. It is only during the saxophone

solos that the drums relinquish this rhythm. There is a little bit of reverb added to the drum track in

this piece, but little enough that it is only really noticeable on some of the louder hits on the snare,

high tom or on rim shots. The headroom created by the addition of this effect helps support the

piano and saxophone in that it contributes to the etheric, distant mood that is created. The drums sit

relatively even with the bass in the mix, and as such the pair work to hold down the groove, all the

while creating a solid, cohesive musical landscape and remaining relatable to the piano and

saxophone.

The piano sits at a relatively even level with the saxophone for the majority of the time,

though the piano is the instrument that shows the most dynamic variation of them all and so there

are moments when it fades into the background (it drops to mp) with the drums and bass while the

saxophone is in the forefront of the listeners attention. There is a selective use of reverb on the

piano. It is more prominent in the opening phrase, but then cuts out in areas such as mm. 26, when

the piano plays chords. This application of the effect serves to greatly complement the legato lines

of the saxophone.

The saxophone sits very high up in the mix, right in the forefront of the musical landscape.

The EQ on the sax is great and this, combined with a little bit of reverb on the legato phrases

solidifies the distant, almost etheric feel of this piece. The piano and saxophone work together to

solidify the distant feel, the etheric timbre of the piece. It is, however, specifically the steady

dynamics of the saxophone, as well as the wavering dynamics of the piano that combine to create

9
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

solidified musical textures, where the same phrase can often be both the melody, as well as the

accompaniment. An example of this would be Figure 4, which appears first as an accompaniment

in the right hand of the piano in mm. 6, and returns as the melody in the saxophone line in mm. 25.

There is, however, an example of how, despite dynamics and the timbre that can be derived

therefrom, phrases can inherently be a certain texture. This can be seen in the saxophone phrases

(Figures 6 9). This example shows us that, despite all analysis on the part of dynamic variation,

the nature of the musical phrases themselves are not to be underestimated.

There is a musical effect in play in this piece that also serves to help create the feel,

Figure 710:

namely an echo effect. This comes into play most prominently introduction (Figure 7), but returns

in mm. 34. The effect is created through the offset of the opening phrase by one beat. This effect

serves largely to disorient the listener, for the first time through this section the piano begins on

beat 2, and so the listener is not shown where beat 1 falls until the second through.

And so, in conclusion, we can see that rhythm plays an immensely important role in this

piece, and is somehow tied in with every aspect that can be discussed. There is a constant battle

10
Please note that this is taken from the second time through the first 5 measures in the score.

10
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

between written and perceived meter taking place in this piece, where it is written in a simple

meter, but sounds in a compound meter. One could even go so far as to call it a study of the dotted

eighth note. The written and perceived meters also interact with each other in this piece, namely in

the way of the seeming phrase elision in mm. the group of saxophone phrases (Figure 6). Phrase

elision often makes it difficult to distinguish where phrases begin and end, for example in the

opening phrase of the piece (Figure 3). Though the main texture of the piece is stratification, the

dynamic changes and timbres that can be inferred from them sometimes imply a texture closer to

melody and accompaniment. As such, this is a fascinating piece to look at when studying the effect

of timbre on texture. What makes this piece (and indeed any other composed by Brtsch) so

fascinating to me is how each and every detail is somehow related to the rest of the piece, and

nothing is ever done in vain.

Subjects & Diagram

Timbre
Eerie, somewhat distant
- created by reverb(?)
Instrumentation
- Piano

11
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

- Horns
- Electric Bass
- Percussion
- Drum kit

Rhythm
FASCINATING rhythm
- Palindrome within a palindrome
- The piece is essentially a study of the dotted eight note
o Drums really show the study of the dotted eighth
Accents of the high shaker (specified to be from the Meinl Percussion
company) solidify the compound meter feel, almost a triplet feel
o Gives the illusion of a compound meter (2 bars of 6/8 for every bar of 6/4)
Written VS perceived rhythm

Melody
Melody is treated interestingly, as both the melody and the accompaniment and different
variations of each are used

The rhythmic phrase ends after a bar (musical example), but the melodic phrase almost implies an
additive rhythm of 6/4 + 3/16 (musical example) phrase elision
- Due to this, the melodic line cycles through the rhythmic phrase, with each note falling
on a new beat in successive bars
- Assuming the melody begins on beat 1, it will begin on beat again on the 9th repetition
Phrase a, mm. 6
Gets transposed up a -3rd after the introduction of Trichord A (mm. 22), which is
immediately followed by Trichord A1
Phrase b mm. 10
Phrase b1 mm. 12

Diagram
Form ||: Intro :|| ||: A :|| ||: B (x4) :|| ||: C :|| || Outro ||
Measure 1-5 6 - 24 25 - 33 34 - 42 43 46
Phrase Opening Saxophone Saxophone
Phrase Phrases a, aI; b, Phrases a, aI; b,
bI bI return
Number of Debatable 3+2 & 3+2

12
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

measures (phrase elision)

Key D Dorian
Intervallic Trichord A, Trichord AI First time
Trichord AI in Controlled through, Piano
the second clusters in RH play
ending Piano Trichord A,
second time
plays opening
phrase
Rhythmic Written vs Phrase elision, Piano RH
Perceived or not? Written mimics LH
(Written in vs. perceived rhythm
simple meter, Drums follow
sounds in the pattern of
compound Piano
meter).
Rhythmic
Palindrome
Texture How can Dynamics &
Timbre help Timbre implied
create texture? from them
suggest Melody
&
Accompaniment
, but the
dynamic
variation of the
Piano that
follows creates
something closer
to Stratification
Notes Second time Echo effect End
through, echo return the
effect comes second time
into play (the through, where
listener doesnt the opening
know it, but phrase is offset
the first time by one beat.
through the
phrase started
on beat 2)
Works Cited

Brtsch, Nik. "Modul 48." Rec. 2010. Llyria. Nik Brtsch's Ronin. Manfred
Eicher, 2010. MP3.

13
Rudy Bless
Nik Brtschs Ronin Modul 48 Analysis
Final Paper
Theory Harmony & Analysis IV
Petter Wahlback
December 14 2011

Brtsch, Nik. Nik Brtschs Ronin Llyria Score. 2010. Zurich: EMC Records, 2010. Digital.

"Nik Brtsch." Nik Brtsch. Web. 14 Nov. 2011.

<http://www.nikbaertsch.com/nik-baertsch-s/>.

"RONIN." Nik Brtsch. Web. 14 Nov. 2011.

<http://www.nikbaertsch.com/ronin/>.

14