Since there are only two possible layers for each section, the number of layers is not likely to change, however the function of the layers will change throughout. Many of the notes that establish the syncopation in this piece Are very low, and the notes that help shift the melody or establish it are very high pitched. This pattern is found from start to finish, making it an extremely wide range of notes. The pitch dives down at the end of a phrase to set up for the next melody, and then quickly hikes back up for the shift in melody. Each transition from melody to melody puts a kink in the contour of the song.
This aspect is seen throughout the whole piece. As joplin plays about 4 notes in his basic phrase, he repeats one of the notes, typically the first one to add to the off beat phrasing. A good example of the phrases he uses is the repetition of the first note. Since most of the song is focused on shifting the melodies from start to finish, Joplin uses a variety of phrases to make up the overall contour. As if his left hand, the melodic undertone, seems to be automatic, Joplin adjusts the accompaniment to show how he uses syncopation almost as a character trait in this song.
Joplin executes this work with careful coordination and doesn’t seem to miss a beat. As the rhythm of each of the shifts is relatively same (only slows down a little towards the end), the pitch is how these phrases are distinguishable. This piece that we are able to pick out is due to the connection between the pitch and rhythm of each melody. As the shifts occur on the off beat of the melodies, Its easy to pick out where the several shifts occur.Īs we discuss the shifts in melody throughout this piece by parker, its important to know why each of the melodies is distinguishable. Joplin does not hesitate to make these shifts distinguishable either. There are only several shifts and it seems that the syncopation allows for these shifts to notice. These shifts occur in the song after the established melody and rhythm of the song is played through, about 20-30 seconds into the song. As this song progresses and plays different melodies, you can hear the shift of the different melodies being played. The aspect of syncopation can be analyzed throughout the whole song as well, and may very well be the most important aspect of this piece as a whole. As this piece moves through time, the off beat playing of the melody and the accompaniment stay structured, meaning the stressed beats do not fall together. As established with rag time songs, the general structure is typically consisting of the left hand playing a melody and the right hand accompanying that melody.
There is no build up as the song begins, he jumps right into the continuous tempo and meter heard throughout the song from start to finish.Īs well as establishing the tempo of the song from the beginning, an important characteristic established during this song is the repetition of off beat melodic phrasing. As this song starts off from the first note, Joplin doesn’t hesitate to establish the tempo and the overall element of time. This piece is remarkable in the fact that only one person is playing the piano, for the entire song. Joplin was deemed the “King of Ragtime” after releasing this piece, as he made incredible amounts of money off of this song. This song preformed by Joplin on the piano became a template for the composers of rag music in the years to come. This piece by Scott Joplin was groundbreaking for the genre of rag music.
0 kommentar(er)
