1 Chapter I: Analysis of Arvo Pirt’s Fratres (1977/1985) and Summa (1977) and the harmonic ramifications of the tintinnabuli style Arvo Part’s interest in a simple approach to music led to the development of a simple compositional technique, the tintinnabuli style. The tintinnabuli style is a simple compositional technique that allows for only a limited number of harmonies, which the listener experiences as a reduced sound world. According to Nora Part, wife of Arvo Part, “the listener becomes increasingly sensitized in the process once he is drawn into this dimension... At the point after the music has faded away it is particularly remarkable to hear your breath, your heartbeat, the lighting or the air conditioning system, for example.”" “Tintinnabuli,” a word meaning “a small bell,” denotes a relatively simple technique consisting of a pairing of two voices, a melodic voice (M-voice) and a tintinnabuli voice (T-voice). The M-voice is constructed in a pattern of mostly stepwise motion above and below a central pitch and the T-voice is composed of members of a triad based on the central pitch written note-for-note against the M-voice. Consistency of pattern and symmetry are important principles of Part’s tintinnabuli technique. Paul Hillier, musicologist, conductor and author of a biography on Arvo Part, has elaborated on the tintinnabuli technique and has provided possible “positions” of the T- voice in relationship to the M-voice. According to Hillier, the T-voice can be the first or second nearest note in the triad above or below the M-voice pitch or in alternation note by note. Example 1.1a shows the possible positions of the T-voice in relationship to the * Smith, Geoff. “An Interview with Arvo Part: Sources of Invention,” The Musical Times, Vol. 140, No, 1868. (Autumn 1999), p. 19-22, 24-25. Nora Part’s comment was from the cited interview with Arvo and ‘Nora Part, and the interviewer Geoff Smith‘Mé-voice. The black notes represent the M-voice and the white notes represent the T- voice. Any T-voice can be transposed to a different octave. Example 1.1b gives the illusion of a superior T-voice providing the most distant triadic pitch within the octave above the M-voice, but it is considered an octave transposition of the inferior 1* position of the T-voice.Example 1.la—Hillier’s illustration of the M-voice and related T-voices* Ist position, superior 2nd position, superior Ist position, inferior 2nd position, inferior 1. I position superior ~T-voice as the nearest note in the tonic triad (a minor) above the M-voice. 2. 2" position superior — T-voice as the second nearest note in the tonic above the M- voice. 3. I position inferior ~'T-voice as the nearest note in the tonic triad below the M- voice. 4. 2" position inferior — T-voice as the second nearest note in the tonic triad below the M-voice. Example 1.1b* 2 Hillier, Paul, Arvo Part. (Oxford University Press, New York, 1997), 94 > Thid4 Example 1.1e—a hypothetical T-voice in white notes against a hypothetical M-voice in black notes alternating between first position inferior and first position superior’ SS sean To summarize, there are three possible ways the T-voice can be used. 1, Remaining above the M-voice: superior. 2, Remaining below the M-voice: inferior. 3. Alternating above and below the M-voice: altemating. The forms of the M-voice, always composed first, may range from the most basic scalar pattern in mostly stepwise motion to varieties of repeated pitches or variations on the scale pattern with small interval leaps and melodic tums. Hillier calls these forms “modes” and asserts that the range of possibilities for the M-voice can be reduced to four basic pattems. Each pattem is simply a fragment of ascending and descending scales to or from a central pitch. Example 1.3, in which A is the central pitch, shows the development of the M-voice in Tabula Rasa (1977).* The M-voice development in Example 1.3 reveals a symmetrical structure. Each section is made up of two equal parts in length, the second half an inversion of the first half. In each half except the first ‘Hillier, Arvo Part, 9. 5 Example 3 is from Amy Shimbo's masters thesis, “Analyses of Works by the Twentieth-Century ‘Composers John Cage, Arvo Part, and Brian Wilson of the Beach Boys.section, the A is repeated twice at the beginning and three times at the end. Two additional pitches are added in the M-voice symmetrically above and below the centric A until the M-voice has spanned a complete octave above and below the A for a total of eight sections that become progressively longer. Example 1.2 — four basic arrangements of the M-voice.* Ist mode 2nd mode 51d mode 4th mode Example 1.3 — M-voice development in Tabula Rasa” @ 6 etc. ‘Hillier, Arvo Part, 95. 7 Shimbo, Amy. “Analyses of works by the Twentieth-Century Composers John Cage, Arvo Part, and Brian Wilson of the Beach Boys” (M.A. Thesis., University of Washington, 1999), 30.6 Although Part achieves a limited harmonic universe through the consistency of pattern and symmetry in the M-voices and constant outlining of a tonic triad in the T- voices, certain questions remain unanswered. What are the boundaries of the patterning? Does or can the pattern continue to infinity? What are the real harmonic ramifications of the tintinnabuli style? If Part composes music purely out of patterns, then the harmonic content would simply be a result of the patterning. The remainder of the paper will address these issues and questions through the analysis of two early tintinnabuli works, Fratres for string quartet and Summa for soprano, alto, tenor and bass (SATB) choir or soloists. An Analysis of Fratres (1977/1985) Fratres has appeared in more versions than any other piece by Part. Originally composed in 1977 for a chamber ensemble of early instruments, the version of Fratres under discussion here is for string quartet, arranged in 1985. It is one of the earliest tintinnabuli pieces and appears to be a simple construction on the surface. Two M- voices, centered on G, are organized in parallel tenths through the piece. The two M- ‘Voices construct two halves of an octave scale using modes 2 and 3 and are organized in a symmetrical pattern (see Example 1.5). Measures 3-8 begin and end with the interval G-B in the spacing of a tenth. Each measure reflects a departure and a return to the G-B by way of stepwise motion. In measure 3, the interval G-B proceeds one step down and the final G-B is approached one step from above. In measure 4, the G-B proceeds two steps down and the final G-B is approached two steps from above, and so forth. Atmeasure 6, the symmetrical pattern is reversed beginning with a stepwise motion up. ‘This 6-bar pattern is repeated eight times, each repetition beginning a third lower than the previous. Example 1.4 - M-voice scale Example 1.5 ~ M-voices and T-voice mm, 3-8 One T-voice, frequently in second position relative to both M-voices at the same time, outlines the G-minor triad. However, there are numerous instances where the T- voice cannot be in second position relative to both the M-voices. For example, in the second and third chords in measure 3. The T-voice is in second position above thebottom M-voice and first position (transposed down an octave) from the top M-voice. At these points, Part must choose first position from either the bottom M-voice or the top. The disposition of second and first positions necessarily creates a symmetrical pattern from bar to bar and phrase to phrase. For example, the seven instances where the T-voice is in first position from one M-voice (denoted by *) in measures 3-5 are mirrored in measures 6-8. ‘One reason why the listener may not receive a systematic or mechanical impression of Fratres is simply because not every part is constructed to a pattern. Although the dispositions of second and first positions in the T-voice form patterns, the T-voice is not constructed to a pattern the same way the M-voices are constructed. Furthermore, the harmonic content of Fratres is not a consequence of pattems in the M and T-voices Before discussing the results of a harmonic analysis, it would be interesting to compare the actual harmonies with the possible harmonies of the tintinnabuli style, given Part’s criteria: 1, Three different pitches. No doublings 2. Two M-voices in tenths (or thirds) from the C-minor “harmonic” collection against one T-voice, member of the G-minor triad.Example 1.6 — actual vs. possible harmonies in Fratres given Part's criteria Possitle harmenies Acktal harmonies peat by 8 é ———— [ois] rr] Copa] fa Lose] fois] Coat] (ert Convo a (es = [oud GorAllonAleeloriioait] Cov2.51) pee ee : = = = ~, [097] foe Cone) fois] Lot] | fo%7] fore] Core] Out of eight possible harmonies - [013], [014], [015], [024], [025], [026], [036] and [037] - Part uses only five: [015], [025], [026], [036] and [037]. The five harmonies he uses include all the possible [026], [036] and [037] (major and minor triad) combinations, and only one each of the [015] and [025] combinations. Example 1.7 displays a harmonic analysis of the three main voices — two M- voices against one T-voice. The consonant and dissonant harmonies that begin and end cach measure give Fratres an overall shape. Part emphasizes consonance in the beginning (statements 1-2) and in the end (statements 6-8) by beginning and ending each10 measure with [037]. Part gradually emphasizes dissonance in the middle of the piece by beginning measures 19-24 (statement 3) with [025], but still ending each measure with [037]. Measures 27-32 (statement 4) begin with the most dissonant interval [015], the only harmony in Fratres containing interval class 1. Measures 35-40 (statement 5) begin with a diminished triad [036] and end with [025]. Part organizes the harmony to produce an increase in dissonance towards the center of the piece. Example 1.7 — harmonic analysis of Fratres Measure. Harmony. 3 037) [025] [015] [037] 4 [037] [025] [037] [037] [015] [037] 5 [037] [025] [037] [037] [025] [037] [015] [037] 6 [037] [026] [036] [037] i [037] [026] [037] {037] [036] [037] 8 [037] [026] [037] [037] [037] [037] [036] [037] u [037] [037] [036] [037] 12 [037] [037] [025] {037} [036] [037] 13 [037] [037] [025] [037] [015] [037] [036] [037] 4 1037] [025] [037] [037] 15 [037] [025] [037] [037] 037] [037] 16 [037] [025] [037] [026] [037] [037] [037] [037] 19 [025] [037 [037] [037] 20 {025] [037] [015] (037) [037] [037] 21 025} [037] [015] [037] [036] [037] [037} 2 025) [037] [037] [037] B [025] [037] [037] [026} [037] [037] 4 [025] [037] [037] [025] [037] [026] [037] [037] 27 (015) [037] [037] [026] 28 [015] [037] [036] [037] [037] (025) 29 [015] [037] [036] [037] [037] [037] [037] [026] 30 {015} [037] [037] [026] 31 [015] [037] [025] [025] [037] [026] 32 [015] {037} (025] [037] [037] [025] [037] [015]35 36 37 39 40 43 44 45 46 48 SI 52 54 55 56 59 60 61 62 64 [036] [037] (037) (025) [036] [037] [037] [026] [037] [025] [036] [037] [037] [037] [037] [026] (037) [025] [036] [037] [037] [025] [036] [037] [015] [037] [037] (025) [036] [037] [015] [037] [037] [037] (025) [037] [037] [037] [037] [037] (037] [037] [025] [037] [037] [037] [037] [037] [026] [037] [025] [037] [037] [037] [037] [025] [037] [037] [037] [036] [037] [025] [037] [037] [037] [036] [037] [015] (037) (025) (037) {037} [025] [025] [037] [037] [026] [037} [037] [025] [037] [037] [026] [037] [025] [037] [037] [025] [037] [037] [037] [015] [037] [037] [037] [037] [037] [015] [037] [037] [037] [037] [037] [036] [037] [015] [037] (037) [025] [015] [037] [037] [025] [037] [037] [015] [037] [037] [025] [037] [037] [025] [037] [015] [037] [037] [026] [036] [037] [037] [026] [037] [037] [036] [037] [037] [026] [037] [037] [037] [037] [036] [037]2 The patterns in Fratres are governed by predetermined harmonies. Part carefully constructs the T-voice to maintain a limited harmonic universe. When the T- voice cannot be exactly two positions from both M-voices, for example the second and third chords in measure 3, Part’s decision seems governed by two requirements: he must maintain a symmetrical pattern and he must employ one of the five harmonies - [015], [025], [026], [036] and [037]. Thus, the T-voice can only assume one of four positions when unable to fit into second position relative to both M-voices. In the second chord in measure 3 for example, those positions are G4, Bb4, D5, and G5. Placing the T-voice at G4 or G5 would yield [013], a’harmony that Part seems to avoid completely. Out of the four possible positions of the third chord in measure 3, Bb4, DS, G5 and BbS, the D would also yield [013]. Although Part uses the tintinnabuli style and symmetrical patterns to maintain a limited harmonic universe, the patterns do not govern the harmony. Part manipulates the T-voice to maintain a restricted sound world that contains only five of the eight possible harmonies given the criteria of the ti innabuli style. Example 1.8~ reduction of m. 3 of FratresB Summa (1977) Originally composed for two solo voices (tenor and bass) and six instruments in 1977, Summa first became known as an a cappella work for soloists and choir and more recently in various instrumental combinations. The following discussion concerns the SATB version of Summa. The text, derived from the “Credo” portion of the Ordinary of the Mass, is divided into a fixed syllabic pattem: 7-9-14-9-14-9-14, continuing with 9 & 14 in regular alternation until ending with a final group of fourteen. (See Example 1.9.) The nine- syllable groups are sung by all parts (SATB) and the fourteen-syllable groups are sung first by the lower pair of voices (TB) and then by the upper pair of voices (SA) in strict rotation. Phrases of the text frequently stop or begin in the middle of words because of the strict syllabic partitioning,Example 1.9 — text of Summa partitioned by either the entrance or exit of pairs of voices wowmanun= u 14 15 7 18 20 2 23 24 26 21 29 30 32 33 35 36 38 39 41 42 45 46 ‘Text Credo in unum Deum. Patrem omnipotentem, facto- rem coeli et terra, visibilium omnium, et in visibilium. Et in ‘unum Dominum Jesum Christum, Filium Dei unigenitum. Et ex Patre natum ante omnia saecula. Deum de de- o lumen de lumine, Deum. yerum de Deo vero. Genitum, non factum, con- substantialem Patri: per quem ‘omnia facta sunt. Qui propter nos hominess, et propter nostram salutem descen- dit de coclis. Et incarnatus est de Spiritu ‘Sancto ex Maria Virgine: Et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato passus et sepultus est, Et resurrexit terti- a die, secundum scripturas. Et ascendit in coelum: sedet ad dexteram Pa- tris. Et iterum venturus est cum gloria, judicare vivos et mortuos: Cujus regni non erit finis. Etin Spiritum Santum, Dominum, et vivifi- cantem: qui ex Patre Filio que procedit. Qui cum Patre et Filio simul adoratur, et conglorifi- catur: qui locutus est per Prophetas. Et unam Sanetam catholicam et apo- stolicam Ecclesiam. Confiteor unum bap- tisma in remissionem pec- catorum, Et expecto resurrectionem mor- tuorum, Et vitam venturi saeculi. Amen.15 As in Fratves, Part does not use all the possible harmonies in the tintinnabuli style, Example 10a is a comparison of the actual harmonies and the possible harmonies given the following criteria: 1, Two M-voices and two T-voices. 2. Possible arrangement of voices: one M-voice against one T-voice, or two M- voices against two T-voices. 3. The pitch content of the M-voice is from the natural version of the e-minor scale and the pitch content of the T-voice is from the e-minor triad. Example 1.10a~ actual vs possible harmonies in Summa given Part's criteria Cardinality Possible Harmonies ‘Actual Harmonies) Unused Harmonies 2 {01}, {02}, (03}, [04], [05] {01}, {02}, (03}, {04}, 05) 3 013}, [014], 015], (016), (024), | [013], [O15], (024), | Tora], fore) {025}, 026}, (027), [037] {025}, [026), (027), (037) 4 {0135}, (0137, (0156), [0157], {0158}, {0235), (0237), [0247], 02571, [0358] 10135), [0157], {0158}, [0235], {0237}, (0247). 10257], 10358] [0137], (156) | | Not only does Part avoid certain harmonies, but he also does not use the actual harmonies equally. Example 10b is a list of the actual harmonies and their numbers of occurrence.16 Example 1.10b ~ actual harmonies and their numbers of occurrence in Summa Actual Harmony ‘Number of occurrences fon 16 {02} 50 [03] 49 {04} 50 [os) 137 [013] B [015] 2B [024] 2 025] 24 {026] 1 [027] 2B {037} 56 [0135] 15 0157] n [0158] 2 [0235] 6 [0237] u 0247) 2 (0257) 19 [0358] 3 Of the actual harmonies, Pért minimizes the presence of [013], [024], (026], [0158], [0235] and [0358]. Part maintains the limited harmonic universe in Summa by employing only twenty out of twenty-four possible harmonies given the criteria of the tintinnabuli style and by using only select harmonies regularly. ‘The M-voices form a pair of rising and falling scales, with one syllable allotted to each note of the scale. The upper voices begin with a descending phrase with the text “Credo in unum deum,” normally sung as a solo intonation. Example 1.11 contains all statements of the M-voice in the alto part.7 Example 1.11 -alto part M-voice in Summa Phrase 1 (mm. 1-2) Phrase 2 (mm. 5-6) x * Phrase 3 (mm. 7-8) Phrase 4 (mm. 11-12) = Phrase 5 (mm. 13-14)Phrase 6 (mm. 17-18) 18 Phrase 7 (mm. 19-20) Phrase 8 (mm. 23-24) Phrase 9 (mm. 25-26) Phrase 10 (mm. 29-30) Ae =e ad Phrase 11 (mm. 31-32)19 Phrase 12 (mm. 35-36) Phrase 13 (mm. 37-38) Phrase 14 (mm. 41-42) a ee Phrase 15 (mm. 43-44) Phrase 16 (mm. 47-49) pO = 720 Although the alto M-voice does not follow a strict pattern, there is some operation that allows for Phrase 1 (measures 1-2) to be heard once again at the end (Phrase 16 - measures 47-48). Every phrase is derived from phrase 1. Phrase 2 (measure 5) begins on the same note as Phrase 1, E, but skips the D and replaces the following C and G with B and C and imitates the rest of phrase 1 from the B. The asterisk (*) marks the breaks in the pattern. Phrase 3 also begins on E and imitates Phrase 1 from the fourth note. Phrase 4, also beginning on E, imitates Phrase 1 from the sixth note. Each phrase begins on E and proceeds to imitate a portion of phrase 1, the second note of every phrase beginning at later points in phrase 1. Although the patterning is not consistent, it accounts for the eventual return to phrase 1 by the end (measures 47-48). As each successive phrase imitates a later portion of phrase 1, there is « gradual accumulation of pitches (which have been bracketed) that eventually becomes Phrase 1 by the end (measures 47-48). A similar operation is in effect in the bass M-voice (Example 1.12), soprano T-voice (Example 1.13) and tenor T-voice (Example 1.14). For reference, the location of eighth notes in the phrase have been indicated.Example 1.12 bass M-voice in Summa Phrase 1 (mm. 2-3) 21 ARS ot —~ eae f : Phrase 4 (mm. 10-11) vs Ex ae a oa $a a TS = | es ji Phrase 5 (mm. 14-15) . $4, ft A eee2 Phrase 6 (mm. 16-17) 22 aaa —= a £ Phrase 7 (mm, 20-21) Phrase 8 (mm, 22-23) Phrase 9 (mm. 26-27) Phrase 10 (mm. 28-29) Phrase 1] (mm. 32-33) AE ae ees23 Phrase 12 (mm. 34-35) Phrase 13 (mm. 38-39) Ba + { Phrase 15 (mm. 44-45) Aa Phrase 16 (mm. 46-49)Example 1.13 — soprano T-voice in Summa Oo25Example 1.14 — tenor T-voice in Summa 262728 ‘As mentioned, the asterisks mark the obvious breaks in patterns. What is the reason for these breaks? A comparison of the actual harmony with the correct harmony (the harmony that includes the “correct” note of the patterning scheme) reveals that Part breaks the pattern in order to preserve a limited harmonic universe. art uses pitches other than the correct G in the soprano T-voice. One reason Part does not use G is to avoid certain harmonies. Replacing the asterisked notes in measures 17, 23, 26, 29, 32, 35, 38 and 41 with G would yield 0137], a harmony absent from ‘Summa, Another reason is to limit the possible spacings per harmony. Replacing the asterisked notes in measures 5, 6, 11, 12, 43 and 44 (second asterisk) with G would yield a harmony that is in fact used in Summa, but in a spacing that is otherwise used infrequently or not used at all. The following table accounts for every asterisked break in pattern in the soprano T-voice. Appendix A shows the limited spacings, location and frequency for the discussed harmonies,29 Example 1.15 — correct harmonies vs. actual harmonies in the soprano T-voice” Measure(s) Correct Harmony “etual Harmony Reason for the discrepancy aii 10135] (247) Tnfvequent spacing 612 (oH 105) Tnffequent spacing 17,23, 26,29, 32,35, DBT poem cis7) ‘Unused harmony 38,41 a 1051 13) ‘Unused spacing WCF asterisk) | «(ODT [027] Unused spacing 4 @ asterisk) 135) |__ wo Infrequent spacing Similar to the breaks in the soprano T-voice, the breaks in pattern in the tenor T- voice are also made to avoid harmonies and limit the number of spacings per harmony. Replacing the actual E and G with the correct G and B in measure 11 would yield an infrequent harmony and unused spacing of [0158]. Similarly, replacing the actual B in measures 4, 10, 16, 21 and 27 with correct G would yield an avoided spacing of [02]. Notice that the discrepancy in measure 5 occurs because the T-voices are never doubled. The table in Example 1.16 accounts for every asterisked break in pattern in the tenor T- voice. ® Appendix B shows the precise harmonies and spacings of the discussed correct and actual harmonies in example 15,30 Example 1.16 — correct harmonies vs. actual harmonies in the tenor T-voice”” Measure(®) Correct Harmony “Actual Harmony Reason for the discrepancy 7,10, 16,21,27 Ta wa Infrequent spacing SCF and 2 asters) 1025], [0371 (01351, 1037) Tvolces are never doubled TH and 2 asteri T0158), (0158) 10247], [0371 Tafrequent harmonies ‘and infrequent spacing 14 0 asters) 105] [01s] ‘Unused 4-part spacings 14 @™ and 3 asterisk) [05], [025] [015], (0247) Unused spacings 15 (1 and 2 asterisk) 1051, [03] Pa [05] Tniequent spacings 32, 38,44 1025] 10135) Unused spacings ‘The alto and bass M-voices have been analyzed in the same fashion in Examples 1.17 and 1.18, Although the M-voices do not follow a strict pattern, compared to the T- voices they follow a recognizable pattern and do not have consistent breaks in the pattern. 1 Appendix C shows the precise harmonies and spacings of the discussed correct and act example 16, tual harmonies in31 Example 1.17 - correct harmonies vs. actual harmonies in the alto M-voice'’ ‘Measure(s) ‘Correct Harmony ‘Actual Harmony Reason for the discrepancy SQ asterisk) pi] 105 ‘Unused harmony 5 asterisk) [oa] 10135) Taffequent harmony Example 1.18 — correct harmonies vs. actual harmonies in the bass M-voice!? Measure(s) ‘Correct Harmony ‘Actual Harmony Reason for the discrepancy Si, i7 105) P27] Unused spacing of part texture 9,15, 21, 28, 34,40 i [057 Unused spacing | 23 [023] [0247] ‘Unused spacing 26, 32,38 fw 105] Unused 4-part spacings Analysis of Fratres and Summa shows that the tintinnabuli style does not determine the harmony Part uses. In fact, the behavior of the tintinnabuli style appears to be a result of a predetermined harmonic scheme. This discovery clarifies the role of the tintinnabuli method in Part’s music, or more specifically, Part’s use of the tintinnabuli as a stylistic element in his music rather than a strict compositional technique. Furthermore, V7. 2 Appendix D shows the precise harmonies and spacings of the correct and actual harmonies in example » Appendix E shows the precise harmonies and spacings of the correct and actual harmonies in example 1832 Parts patterning does not behave the same way as other music also based on patterning, The interest in minimalism, for example, is the interaction between the patterns and the resulting musical events, Pért’s music is not reminiscent of minimalism because the patterns do not interact and are frequently adjusted to maintain a predetermined set of harmonies. Perhaps the attractive quality in Part’s music is the illusion of a simple musical construction through patterning and the resulting limited number of harmonies.