Topic: Kaija Saariaho–Petals– Context, structure, sonority Music Year Group: 12/13 and melody. 1. Context and structure 3. Sonority – How the instruments are used 4. Key vocabulary Ralph Finnish composer, who has studied in Artificial A harmonic produced on a stopped Spectralists A group of French Vaughan- Helsinki, Germany and Paris, where she 1 Harmon string on a stringed instrument. E.g. composers who use Williams now lives. Interests included computer- ic Section 5. 1 computer analysis of based sound spectrum analysis, Double Playing two notes at the same time sound as the basis for 1 electronic music, music combining live 2 Stoppin on a string instrument. E.g. Stave 18. composition. performance and electronics and the g Nympheas Composition in 1987 for use of computers in the actual string quartet and composition of music. Identifies as a Electro Making a sound louder by electronic nic means. 2 electronics, which spectralist composer. 3 amplific Saariaho uses as a basis Colouristic Slower moving passages where the ation for the opening. 2 emphasis is on changing sounds of long Harmoniser A device that detunes’ notes. Section 1, 3, 5 and 7. Fundam The musical pitch of a note that is 4 ental perceived as the lowest partial the input pitch by Energetic Section with short note lengths and present. 3 adding pitches a quarter 3 faster moving passages. Section 2, 4 and tone above and below Glissan Slide from one note to another. E.g. 6. 5 simultaneously. do Stave 18. Staves Rather than using bars, everything is Reverberation A sustaining effect that divided into staves. In the colouristic Harmon A very high note on a string creates the impression 4 ics instrument produced by placing a sections, each stave must last for a 6 4 of being in a physical minimum length. finger on a string very lightly before space. For this piece a plucking or bowing. reverb unit is used. 2. Melody Partials Higher, much quieter sounds above 7 1 Chromatic Movement by semitones. Stave 4-7 the fundamental. Close mic A technique where the mic is placed close to Pizzicat Pluck the string. Microton An interval smaller than a semitone. Glissandi 8 5 the string to pick up all 2 e are seen in stave 7 – the logical extension of o of the sounds made by microtones. Signal Analysing, modifying and synthesizing the player. Quarter The tone between a semitone. Seen in stave 4- 9 processi sound signals. 3 tone 7 ng Retrograd Play a melody backwards. Seen in stave 10. Trill A quavering or vibratory sound, 4 e 1 especially a rapid alternation of sung 0 or Sequence The immediate repetition at a different pitch 5 played notes. of a melody. Seen in stave 10. Other points of interest: What other works by Spectralists do you know? What common features do Spectralists share? How do the electronic effects exploit the sounds available? Topic: Kaija Saariaho–Petals– Texture, Harmony and Music Year Group: 12/13 Tonality, Tempo, metre and rhythm. 5. Texture 7. Harmony and Tonality 8. Key vocabulary Drone Pedal note that usually consists of the tonic Sounds that are pleasant when Flautando T0 give a high 1 and dominant. Seen in section 3. 1 Atonal played together. Seen in all 1 bowing murmuring flute pieces. like string sound. Monopho A single line which can be played or sung by nic several people. Most of the piece is A chord made up of two notes. Free No established 2 Stave 9 is an example of a D and 2 monophonic, however the reverb unit often 2 Dyad tempo tempo allows notes to overlap. an A. Other chords are seen in the piece. Pedal A sustained or repeated note sounded Tremolo Quickly repeating the same note, 3 against changing harmonies. Seen in staves 3 A musical tone which is a part of 3 the harmonic series above builds tension in the 17-27. Overtone a fundamental note, and may be music. 6. Tempo, metre and rhythm heard with it. Heavy Gives a heavy bow scratching sound 1 Accelerando Getting faster 4 Spectral Computer analysis of sound as 4 analysis the basis for composition. pressure and replaces a clean 2 Dectuplet 10 notes in the time of 8. Staves 4-7. pitch. 5 A repeated or held note, Pulseless No particular pulse. Free time. Lento normally used to give some sense A fast wobbling of 3 the pitch – piece sections. of tonal centre to a piece. An 5 Vibrato Pedal example is seen with the low C in ranges from none to Quintuplet 5 notes in the time of 4. Seen in stave 4 staves 17-27, although it is heavy vibrato. 10-13. undermined through the Ritenuto Hold back the music for dramatic constant use of the F#. 5 effect. Septuplet 7 notes in the time of 4. Seen in stave 6 10-13. Syncopation Emphasising beats of the bar that are 7 normally unaccented. Seen in stave 10-13. Wider listening: Murial – Gondwana; Stockhausen – Gesang der Junglinge; Berio – Sequnza III; Crumb – Vox Balaenae; Ustvolskaya – Piano Concerto.