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THE FOUR SEASONS

PIZZOLLA FOUR SEASONS OF BUENOS AIRES

One of the world’s most lauded chamber ensembles, the Australian Chamber Orchestra is renowned for

its inspired programming and unrivalled virtuosity, energy and

individuality.

Its unique programming extends across six centuries,

spanning popular masterworks, adventurous cross-artform

projects and pieces specially commissioned for the

ensemble.

Outstanding Australian violinist Richard Tognetti has been at the helm of the ACO

since 1989.

AUSTRALIAN CHAMBER ORCHESTRA

Began his career as a musician and played in Tango orchestras as

a bandoneon player.

Studied composition and orchestration which resulted in his established style of “Nuevo Tango” mixing Tango music with elements of both Jazz and Classical music..

About Tango

A style of music that traditionally comes from Latin America,

namely Argentina and some surrounding areas.

Extremely popular in early 20th Century with bands &venues

playing Tangos throughout not only Latin America but into North

America &beyond.

The passion of Tango dancing has always been intriguing and

popular.

ABOUT ASTOR PIAZZOLLA

FOUR SEASON IN BUENOS AIRES (1964- 1970) Originally four separate tangos.

After Piazzolla’s death Russian composer Destyatnikov connected these works to those of Vivaldi’s.

There are references to Vivaldi’s works in each of the Piazzolla movements arranged by Destyatnikov.

It is interesting to note that Destyatnikov has matched Piazzolla’s ‘Winter’ with Vivaldi’s ‘Summer’ motifs and visa-versa given the opposite hemispheres each composer belonged to.

The table below shows the bar references for the Vivaldi motifs that are referenced in each movement:

Vivaldi mvt Piazzolla mvt Reference Point

Spring Spring A direct quote of Vivaldi’s opening motif is at the end of Piazzolla’s mvt (coda)

Summer Summer The descending scales from Vivaldi’s WINTE is heard in Piazzolla’s mvt (b44)

Autumn Autumn Vivaldi’s opening motif is reference with more discords in the final section (b113)

Winter Winter The rapid semiquaver motif from Vivaldi’s SUMMER is heard in Piazzolla’s mvt (b48)

CHARACTERISTICS OF TANGO

PITCH

Because of their dramatic feel, Tangos will often be in minor

tonality/keys.

There will sometimes be a contrasting section in a major key.

DURATION

Meter is usually or .

Syncopation is a

defining feature of

Tango.

Three main Habanera

rhythmic ideas

Piazzolla’s use of the 3-3-2 variation is prominent in his work.

Clear and strong beat is important as this is a dance style.

Variations of the Habanera rhythm can be found @

Tangomusicology.com

PITCH Because of their dramatic feel, Tangos will often be in minor tonality/keys. There will sometimes be a contrasting section in a major key

DURATION Meter is usually or Syncopation is a defining feature of Tango. Three main Habanera rhythmic ideas – Piazzolla’s use of the 3-3-2 variation is prominent in his work. Clear strong beat is important as this is a dance style. Variations of the Hanbanera rhythm can be found at Tangomusicology.com

PITCH

Because of their dramatic feel, Tangos will often be in minor

tonality/keys.

There will sometimes be a contrasting section in a major key.

DURATION

Meter is usually or .

Syncopation is a

defining feature of

Tango.

Three main Habanera

rhythmic ideas

Piazzolla’s use of the 3-3-2 variation is prominent in his work.

Clear and strong beat is important as this is a dance style.

Variations of the Habanera rhythm can be found @

Tangomusicology.com

STRUCTURE

The basic structure of Tango has two or three sections (A-B-C).

Each section has 16 bars of or 8 bars of (32 “counts” for

dancers).

These sections will usually have two clear 8 bar phrases and

sometimes an internal structure of two 4 bar phrases within

each.

The phrasing structure described above is called Question &

Answer phrasing.

As with most dance music, balanced phrasing is very important.

TONE COLOUR

Traditionally Tango orchestras had the following

instrumentation:

2 violins; piano, double bass, bandoneons

(similar to an accordion)

Sometimes a percussionist, guitarist or vocalist is added to the

ensemble.

Piazzolla brought the Tango tradition into the concert hall by

composing works for not only traditional instruments but also for

a concert orchestra. This brought the style known as Tango

Nuevo to all new audiences.

DYNAMICS &

EXPRESSIVE

TECHNIQUES

Juxtaposition of articulations and dynamics are very prominent

in Tango.

Strong detached staccato accompaniment against smooth legato

melodic lines.

Sudden changes in dynamics from loud to very soft.

Accents are integral to emphasise the syncopated rhythms.

Use of glissandos and other expressive techniques to highlight

the dramatic nature of this style.

TEXTURE

Traditionally ensembles had a soloist (violin perhaps) on the

melody leading while other members provided chordal

accompaniment or counter melodies.

Sometimes a soloist will play the question phrase while the

ensemble will provide the answer phrase.

The double bass provides either a stable bass line on the beat

(similar to a walking bass line) or a repeated ostinato pattern

that reinforces the habanera rhythm. This will depend on

whether there is a drummer/percussionist sometimes.

These roles are easily identifiable in the Piazzolla by looking at

the score. The soloist is often labelled and the other roles can be

seen in the various parts.

AURAL/ MUSICOLOGY • Each sequence of Lessons

provided by the ACO will focus on developing key

skills: PERFORMANCE, COMPOSITION and

AURAL/MUSICOLOGY.

• This sequence of lessons

will focus on AURAL

AND COMPOSITION.

PREPARATION LISTENING ACTIVITY Listen to the opening of the Primavera Porteña (Spring) movement and answer these guide questions in preparation or the composition activity we are about to complete. Use the score excerpt to help you.

List all the instruments in this score IN THE ORDER THEY ENTER THE PIECE– ________________ ________________ ________________ ________________ ________________ ________________ The entries of the melodic parts are fugal in nature reflecting Piazzolla’s classical training. Identify the bar that each instrument enters in this fugal structure – Violin 1 = ________Viola = ________Violin (solo) = ________

LISTENING ACTIVITY Identify 2 DIFFERENT WAYS/PARTS in which the habanera rhythm is used in the opening of this movement. Give instrument name and bar references in your answer.

Part (instrument name) Bar reference

How is it used?

1.

2.

From the GENERAL CHARACTERISTICS table above, identify 3 characteristics of Tango that are in this excerpt. Part (instrument/s name) Bar

reference Characteristic and how it is used

1.

2.

3.

COMPOSITION ACTIVITY Let’s use what we have learnt to compose our own Tango. Follow the step-by-step instructions to create your own Tango piece. You will need manuscript paper for this activity.

There are three main layers to compose in order to create your Tango. • Rhythm (drum kit,

percussion, bass line*) • Accompaniment

(ensemble, chords + bass line)

• Melody

STEP 1 – RHYTHM SECTION • Create the rhythm parts by first choosing a basic pattern

you would like to build from.

• Use one of the habanera rhythms we learnt about earlier.

• Now you get to play around with adding other percussion layers to fill out the rhythm section*. Don’t forget that this is not the only layer for the piece so don’t crowd it too much. This is the foundation layer.

*Use the Percussion Cheat Sheet to help with the drum notation if you need to.

STEP 2 – THE ACCOMPANIMENT + BASS LINE Traditionally Tangos are in minor keys. Choose one of the chord progressions below to use as a template for your Tango. This piece will have an A – B – C structure. SECTIONS A & C will be in A minor and SECTION B will be in A major.

Section A & C options (Choose the order you’d like to use them in)

A minor (i) Am – Am – E7 – E7 – E7 – E7 – Am – Am

A minor (ii) Am – Dm – E7 – Am – Am – Dm – F – E7

Section B – A major

A major A – A – E7 – E7 – E7 – E7 – A – A

Bass line – This can be constructed in 2 ways Arpeggiate the chord using one of the habanera rhythms or Use the notes in the chord in a different order still with the basic habanera rhythm.

Chords – Start out simply with simple note values such as minims and then later you can make it more complex. If you are orchestrating for multiple instruments then divide the notes in the chords between the instruments for a unified sound (just as Piazzolla does).

STEP 3 – MELODY Tango melodies are often built on step movement with some chromatic notes that help you move from one chord to the next. When building a melody it is a good idea to but a chord note at the beginning of each bar in your phrase and then play around with step movement from bar to bar to create shape and cohesion. Chromatic notes every now and then add interest. Use some of the rhythms below to help you get started:

SHARE YOUR IDEAS THROUGHOUT THE PROCESS FOR FEEDBACK. TRY OUT A COUPLE OF IDEAS EVEN IF THEY DON’T ALL WORK. PERFORM THE TANGOS YOU HAVE COMPOSED.

When you go to the concert, use the knowledge and skills we have explored and consider the following questions:

1. How do the three elements of duration (meter, tempo and rhythm) contribute to the overall effectiveness of Tüür’s work Action - Passion – Illusion?

2. Can you identify different ways duration has been used by composers in the other works performed in the concert? Were they similar or in contrast to how Tüür used duration?

3. After you have seen the concert, write down three ways you could use elements of duration in your own composition work. Give examples from what you saw/heard at the concert to help you remember the techniques used by Tüür and the other composers.

TEACHER’S NOTES Teacher's Notes for reference to the Draft Australian Curriculum: The Arts and NSW Stage 6 Music 1 & Music 2 Syllabus.

General

Capabilities

LIT – Reading the score, writing about the Concepts of Music (CoM).

NUM – Identifying and discussing meter and rhythm.

ICT – Utilising internet resources.

CCT – Critically discussing the set work/s.

PSC – Sharing personal responses to set work/s.

EU – Working collaboratively with peers in group discussions.

ICU – Discussing cultural issues surrounding the set work/s.

Cross-Curriculum Links &

Priorities

English, Humanities and Social Sciences, Mathematics, History, Language

Viewpoints 2 – Extend discussions into the links between the repetitive nature of these works and

that of cultural music of Asian regions (eg; Balinese, Chinese).

TEACHER’S NOTES MUSIC 1

Topic Links

Music of the 20th & 21st

Centuries

Music for Small Ensembles

Music and the Related Arts

(Hermann & Stravinsky)

MUSIC 2

Topic Links

Music 1900 – 1945

Music 1945-25 Years Ago

Music of the Last 25 Years (Although

the Tüür work is not Australian)

MUSIC 1

Outcome

Links

P – 4,5,6,7,8,10,11

H – 4,5,6,7,8,10,11 MUSIC 2

Outcome

Links

P – 4,5,6,7,8,10,11

H – 4,5,6,7,8,10,11

NSW Stage 6 Syllabus Links –

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