'Phoenix' Concerto - Of Rhythmic and Pulse Interest

I felt it was fascinating how the composer managed to infuse so much rhythmic interest into what looks to be very regular rhythms on the surface (e.g. semiquavers, quavers, crotchets, and sometimes long held notes). Perhaps it was the way he combines these rhythms with staggered entrances, coupled with the persistent use of accents on weak and off beats (syncopations) that upsets the regularity of the pulse, injecting in the music a sense of rhythmic interest. But because there are many little recurring fragments of melodic ideas subjected to syncopated treatment throughout, that gave it the feel of regularity within irregularity and vice versa. I feel that this unique mood portrayed can be relieving in some extent.

Of course, the use of syncopations in Chinese music is not uncommon, especially for accompaniment but it is actually quite rare to actually find such extensive use of syncopations for the melody. Instances can be heard at 0’20 – 0’30; 0’43 – 0’51 etc. (see diagrams for illustrations)

Another very prominent aspect is the frequent change in time signature.
Right from the beginning (0’00 – 0’15), the subtle change in time signature from 6/8 passing through 2/4 before going to 3/4 made the transition in meter smooth. (i.e. 6/8 and 2/4 both can be sub-classified into 2 groups, except that 6/8 consists of groups of 3 quavers while 2/4 consists of groups of 2 quavers. Leading in to 3/4 from here would not upset the metrical feel too much).

It was also interesting how he creates a little tension in the piano part before ushering in the yangqin (main character, if speaking from the operatic point of view) by inserting an extra crotchet beat to build up a little climax. Note the change from 4/4 to 5/4 in that little 2 bar link from 0’15 – 0’20. Once the yangqin enters, the meter went back to 4/4 again.

During the last time where this 2 bar link is featured, the composer surprises us with a 4/4 to 3/4 change instead of a 5/4 change which we have been conditioned to expect, from the many previous appearances. (heard from 13’07 – 13’10)

Sometimes, even though the time signature remains unchanged, the displacement of regular metrical pulse is actually created by the playing of registers, for instance at 0’51 – 0’59, 4’20 – 4’36.

The registral change also aids in creating the impression of rhythmic complexity as heard from 13’53 – 14’19, where the texture slowly climaxes towards the end of the piece.

I also found instances where the perceived meter is not what was stated in the score, due to the rate of harmonic change and phrase structure that conflicts with the actual time signature. One example would be the middle section, 6’02 – 6’54 or a more decorated version from 7’48 – 8’40.

The main accompanimental figuration was also ingeniously ‘tampered’ with so that its recurrence is not always exactly the same. Although it was only altered from 6/8 to 5/8, but I feel that such little variation actually added variety to the already interesting music. (Compare between 0’59 – 1’05 and 1’28 – 1’33)

There is an instance at 11’45 – 11’54 where the feeling of antecedent and consequent phrase (period) relation could be subtly felt. This is brought about by the addition of just one quaver note which allows the consequent phrase to have the last note rooted in the dominant or tonic, giving it a slight sense of closure. Or maybe it’s also due to the more even time signature of 10/8 in the consequent phrase as compared to 9/8 of the antecedent phrase.

'Phoenix' Concerto - Rhythmic Influences from Opera

Since the term “凤点头” refers to the drumming pattern of Chinese opera, this piece must be infused or embellished with such rhythms.
So, I’ve spent some time delving into this aspect which is not very familiar to me and managed to identify a few main patterns. It was an eye-opener for me as I have seldom come across such specific percussive rhythmic patterns being infused in a melodic instrument; much less provide a rhythmic structure for the music.

Ø Bars 9 - 12 (0’11 – 0’15) resembles the rhythm “ 3/4 [乙才] [乙台] 匡” ([yi cai] [yi tai] kuang) also termed as “马腿儿” (ma tui er) rhythm unique to opera music.
N.B. [ ] represents quaver because this blog dosent support e underline format

Ø Bars 77 – 84 (1’41 – 1’55) piano accompanimental rhythm uses the characteristic interval of minor 2nd (see R.H.) and major 7th (see L.H.) to create a timbre that is similar to that of the Chinese big drum. The rhythm [XX] [0X] [0X] [0X] is also distinctive to the drumming patterns of this Chinese drum.

Ø Another very distinctive operatic element could be heard from 4’36 – 5’05.

It is quite amazing how the composer uses this element as a link to connect section A to section B. This is often found in Chinese opera music, especially the part just before the main character is put into the limelight.

We can also extrapolate this essence into the concerto, since the upcoming section after this string of characteristic rhythmic figurations pose a sharp contrast to section A in terms of mood, texture and soundscape, it's like another ‘character’ being introduced on stage.
Thus in a sense, the competitive atmosphere brought from the previous A section between the yangqin and piano could be viewed as an ‘overture’ for the main theme of section B.

'Phoenix' Concerto - Structure, Melodic element

This piece is in ternary form and to be precise, I think it is a compound ternary.
Section A: Bars 1 – 213 (0’00 – 5’06)
Section B: Bars 214 – 343 (5’07 – 12’56)
Section A’: Bars 344 – 417 (12’57 – )

Under each of the 3 sections, it can further be classified into smaller segments according to the various melodic ideas as shown below:
(Timings are shown below the melodic fragments)

It is deeply contrasting between section A and section B especially in terms of its mood, tempo and also the thematic material. They sort of represent two extreme atmospheres, the percussive and bold section A with the mysterious sounding or sort of ‘nocturnal’ section B. Section B encompasses 2 emotions: from lyrical/ gentle to fiery and passionate.
Here, the theme is introduced by the piano for the first 8 bars, followed by a repetition of the exact same theme by the yangqin. It is actually quite difficult for yangqin to produce such expressive sounds since it’s often considered a percussive instrument, but it is remarkable how the composer uses the rare 9 single stroke roll technique to give listeners an illusion of ‘a line connected by dots’.

Within each section, the various little melodic fragments unique to that section are constantly brought back, sometimes with modifications and sometimes without. I suppose it is because the melodic fragments in this concerto are neither singable nor could easily be remembered, given its characteristic clashes and dissonant leaps all over especially in the first section. So there is a need to constantly reiterate these ‘points’. Or perhaps it is also something to do with Chinese opera influences? – where each melodic fragment represents a character in the plot..

But generally, I notice that the extent of exploration or development of the melodic fragments is quite little. Most of the time, it is repeated in its original form, which in a sense makes it easy to recognize… Perhaps that’s why the piece is full of rhythmic excitement, and many different melodic ideas to make up for the lack of thematic development.

"...technique is something that can be mastered by anyone overtime, what distinguish the best musicians are their musicality and sensitivity, which can be taught by no one, except yourself.. by your heart..." - qls