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.