Analysis: Ride of the Valkyries (Case Study)

Analysis: Ride of the Valkyries.

Ride of the Valkyries ( first written on July 23rd 1851) is one of the most famous pieces composed by Richard Wagner. The piece is the third act in the popular opera "Die Walkure" however it can be heard as a separate instrumental piece out with the opera house, usually in a much shorter form. It is one of the best pieces to analyse for its use of leitmotif and for this reason has been referenced many times in popular media, most notably the film "Apocalypse Now".

The analysis will cover the introduction build up and the main thematic melody of the piece, showing various techniques and structures utilised.

Introduction (Bars 1 to 12) [only full measures are counted] .

The key signature has two sharps in it, C# and F# therefore the piece is either in D Major or B minor. However the tonal key is B minor due to the starting note or tonic note of the piece being B, therefore it can be said that the key is B minor.

The time signature of the piece is in a compound time signature 9/8 (Compound Triple). The time signature is continuous throughout the piece with no changes occurring.

The tempo is written as Allegro meaning "at a brisk speed". Allegro is a term used to associate a speed / tempo to a mood or style of music. Allegro usually falls under 120 bpm - 168 bpm. Therefore if the music is played between these tempos it will generally create the desired effect in which the composer intended the music to be heard.

 The piece begins with an anacrusis ( a note or a sequence of notes that come before the first complete bar in the piece, it does not hold the number of beats dictated by the time signature and will usually be resolved by removing the number of beats utilised from the final bar in order to provide an even measure).  The anacrusis is used to prepare the listener for the bars to follow. In this instance it is played as a scale run from B to E  by the violin and violoncello. The combination of the violin and violoncello creates depth to the scale run as it plays in unison and makes the anacrusis more prominent and impactful due to the differences in timbre. The anacrusis is not considered a full measure so should not be counted until its resolution at the end of the piece.

Figure 1. Anacrusis

The first bar is composed of trills played on the Oboe, English Horn, two A- Clarinets and a Bass Clarinet. This instrumentation provides a thick and heavy texture of sound and adds to the frantic rhythmic idea and build up of the intro making it feel very imposing. The instruments are playing the notes F# and G in unison. One Clarinet plays in a lower register as opposed to the other to help emphasis the bold sound.

Figure 2. Trill Pattern

The trilling phrase of the introduction continues throughout to bar 12 and is sequenced, with each repeat adding another layer of pitch to the phrase by utilising different instruments such as the Piccolo and Flute. The pattern moves up and down in pitch frequently to produce a thick texture to the intro which aids in building tension and keeps the listener interested by providing variety and complexity to what would normally be (if played only on one instrument) a continuous repetition of a phrase that would become boring quickly. The phrases are also played fortissimo meaning very loud.

Throughout the repetition of the trilling phrase the String ensemble play an occurring theme at the end of each bar, this theme is a repeat of the anacrusis scale run and is used to loop back into the trill sections. The scale run also adds to the bold texture whilst adding a feeling of agility to the music, possibly to emphasise the motif employed by Wagner ( the swooping down of the Valkyries from Valhalla).

Figure 3. Recurring Scale Run

During the introductory build up to the main theme, a small melodic layer is added to the trills (See Figure 4). The phrase is composed of a three note structure, utilising the notes B and F#, it then moves in sequence resulting in the phrase starting again on an F# and then moving to the B where it resolves on the tonic note. This phrase is later utilised alongside the main themes melody to emphasis the chord changes of the piece. The Bassoon, English Horn and Violoncello (Played Staccato), play this theme with subtle variations in dynamics and playing style to produce more depth to the overall feel of the composition. These instruments compliment the idea of boldness present throughout the piece.   

Figure 4. Example of a phrase moving in sequence

  Four bars after "Figure 4" is introduced the string section plays a series of arpeggios that move in sequence. The arpeggios are met with the scale run present in the anacrusis to link them into each other. The sequence of arpeggios are shared between different sections of the ensemble. This provides more tension in the build up to the main theme whilst providing depth and complexity to the overall sound of the piece. Like "Figure 4" this repeats throughout the composition but is sequenced through the main theme to highlight the chord changes. The timbre of the strings and the speed in which they play the succession of notes increases the frantic feeling of the piece and further strengthens the motif of agility and flight established earlier in the music.

 

Figure 5. String ensemble scale runs

Main Theme.

The main theme is played on the (B) Trumpet, (E)Trumpet, (E) Horn and (D) Bass-trumpet.

 The main theme has a triumphant feel to it complimenting the idea of the Valkyries carrying fallen warriors to Valhalla, this is achievable through the use of Brass instruments due to their unique characteristics.

The main section of music is composed of a melody which moves in sequence much like the previous mentioned sections. However the main melody is formed over several more measures by utilising slow sustained notes. This helps to distinguish the main thematic idea from the rest of the frantic underscore.  

Figure 6. Main Melodic Theme (taken from Horn section)

Figure 6 demonstrates a technique known as call and response, where one instrument will play a short phrase followed up by another phrase performed on another instrument, usually in a different contrasting rhythm. The above example shows two Horns, one playing a quick succession of notes, the other playing longer sustained notes. This melodic phrasing builds up in sequence moving up in pitch with every measure to build suspense. The Melody continues throughout the piece, with a subtle variation introduced near the end which also moves in sequence and follows the same structural technique of "call and response" until it reaches a climax, where it  resolves and finishes on the tonic note.   

Music and the Mind (Overview)

'Music and the Mind' by Anthony Storr, shows the powerful effects of music on the human perception, detailing key aspects of human nature which have led to music becoming one of the most manipulative experiences.

The book details how human experience can change the way we perceive a piece of music and documents basic structural features which the mind recognises as patterns that influence the way we react to music. The book discusses many philosophers outlook and understanding of music and how it effects our ways of thinking. Philosophers of influence such as Friedrich Nietzsche and Plato as well as modern researchers such as Oliver Sacks and John A. Sloboda are mentioned referring to other pieces of literature which expand on the topics discussed.

1408 Fire Scene Video Clip (Practice)

A small scene from the film '1408' was used to practice composition techniques as well as to provide a means to practice linking themes to moving images.

The film requires a sad and climactic build up.

The themes utilised did not quite fit the movements and pace of the scene and did not emphasis the emotions correctly. The piece can be further improved by removing the orchestral section and replacing it with a more subtle piece.

The practice has shown me where improvements need to be made and this will help further my work in the future.

Psychology of Music (Overview)

'Psychology of Music' by Carl E. Seashore looks at music from a more in depth scientific viewpoint than books such as Philip Ball's 'The Music Instinct' and Daniel Levitin's 'This Is Your Brain On Music'. Therefore some of the contents can be quite daunting, requiring prior knowledge of acoustics theory and music theory.

The literature provides depth greater than most books of a similar nature but at times can be quite difficult to comprehend , not due to the authors structuring of the literature or his writing style, rather because of the complex matters discussed.

The literature content presented is quite dated and further studies have been conducted in some areas discussed, however the book lays a foundation which is essential when considering new theories and scientific test results relating to the psychological effects of music.

Modes (Music Theory)

Major Scale Modes.

1. Ionian/ Major Scale.
2. Dorian.
3. Phrygian.
4. Lydian.
5. Mixolydian.
6. Aeolian/ Natural minor scale.
7. Locrian. 

Harmonic minor modes.

1. Aeolian Major 7/ Harmonic minor.
2. Locrian #6.
3. Ionian Augmented/ Ionian #5.
4. Dorian #4.
5. Phrygian Dominant.
6. Lydian #2.
7. Ultralocrian/ Diminished.

Melodic minor modes.

1. Jazz minor/ melodic minor ascending.
2. Dorian flat 9.
3. Lydian Augmented/ Lydian #5.
4. Lydian dominant.
5. Mixolydian flat 13.
6. Semi-Locrian. 
7. Super Locrian/ diminished Whole-tone.

This Is Your Brain On Music (Overview)

'This Is Your Brain On Music' by Daniel Levitin discusses how the human brain perceives music,  showing how varying musical elements can singly or collectively produce emotional responses within the listener. The book utilises a similar method to Philip Balls 'The Music Instinct', showcasing theories and points of psychology through the use of music theory. This allows for a wider target audience whilst maintaining depth and reason to his points stated.

The Book has its main focus on elements such as:-

1. Pitch and Timbre
2. Rhythm, Loudness, and Harmony
3. Human Expectation
4. Music and emotion with regards to the brain 

The above points are discussed in depth throughout the literature and all interlink. The structure of the book allows for each element to be easily understood and digested with each topic seamlessly interchanging with the next. 

The Music Instinct (Overview)

'The Music Instinct' by Philip Ball, details recent findings in music psychology and brain science to inform the reader of how music and mind relate and why it is we respond to music with regards to emotion. The book looks closely at fundamental aspects of music theory and culture, showcasing how music has evolved or been established in various different ways across the world.

Although the book provides explanations regarding music theory, it can become fairly difficult to grasp without approaching it with a basic understanding of the topic, this is due to the context in which the author applies the use of music theory. He utilises examples of music and combines them with scientific facts and theories to provide the reader with an in depth understanding of how the individual components of music composition produce and induce emotional responses within the listeners. However, it is not required to have an in depth knowledge of psychology or neuroscience as the author explains each point clearly and concisely targeting a broader audience.  

 

Composition Practice 2

The second composition targets a different emotion compared to the first, with its main focus on sadness and loneliness. Once again the composition has been written for the piano as its timbre characteristics best suited the motif implied.

The piece is in the key of D minor.

The piece involves a more simplistic approach with regards to its underlying chord structure, however it utilises small motifs and more complex notation throughout to provide tension and emotional contrast. 

The introduction starts with a solo piano playing small phrases. These phrases are then met with a contrabass playing a long sustained note. The piece has an underlying string section which adds depth and power to the chord progression used. 

 Characteristics such as tempo, dynamics and timbre will provide depth to the music whilst reinforcing the tonal centre of the piece.