Chapter 2.1 Guided Workshop

There's is never just one way to compose, or pertaining specifically to this chapter, just one way to construct pianistic textures. I'll demonstrate how I like to think about these types of textures, using one of the Chapter 2.1 Review Exercises (No.1).

I've asked you to compose a pianistic accompanimental layer in between the right hand (melody) and left hand (bass line) registers. Your new accompanimental layer should increase the overall rhythmic motion, using any practical rhythmic durational value. I've provided the harmonic content via chord symbols above the top staff. The first step would be to familiarize yourself with the harmony, and how it relates to the melody (and bass line). Shown below, I've notated every possible chord tone in between the hands; ultimately I don't have to use all of these notes, but it's helpful to see all of the note options for this background part.

I've highlighted the top melodic line in green and the lowest voice (bass) in orange. I'm not going to alter those voices; however, any of the remaining chord tones could be thrown out, as long as the harmony is fully realized. The final two chords feature quite a few low bass register tones in close proximity, which would result in a dark sound. With a dynamic marking of p and the expressive word "Nobilment", I probably want to thin out the bass register just a bit. Additionally, there are two 9th chords (Bb9 and Ab9sus4) present, and therefore several stacked second intervals when voiced in closed position. Stacked seconds can be really effective at times; to keep things simple however, I'll avoid voicing more than two adjacent seconds. In other words, the Bb9/F chord features what I like to call a 'cluster' in both the left and right hands (shown below, left). By removing just one note from each cluster (shown below, right), I avoid voicing three adjacent second intervals, and I improve the clarity of the chord voicing.

Notice that I removed the C in the left hand and the Bb in the right hand. If I were to remove the same note in each hand, I might not fully realize the harmony. Shown below are my edited chord voicings with balanced spacing.

Let's listen to what we have.

In the exercise prompt I suggest that you try two different versions: one with a single inner voice arpeggio that moves between hands, and a second version that features an arpeggiated layer in each hand. Let's start with the first version...

In between my outer voices, I need to compose an arpeggiated line that moves either from left hand to right hand (i.e., ascending), or right hand to left hand (i.e., descending). I'll choose to compose a line that moves from left to right (ascending). I always recommend starting with a rhythmic value... how about 8th notes.

In this version shown above, I've added an ascending 8th note layer that begins on the bass note (orange), using my revised chord voicings. I've placed all of the notes in the left hand for now, so I need to determine a specific moment to switch to the right hand. Remember though, the right hand is also responsible for a few melody notes, so any background 8th notes in the right hand must be within about an octave from the melody notes.

The new 8th note line ascends the entirety of the register gap (between outer voices) in the first few measures, but not in the last two measures. This may or may not be ideal, depending on your desired texture. If I were to choose triplet 8th notes instead of straight 8th notes, I'd certainly be able to cover a greater register distance.

Now I have the opposite problem... the first few measures ascend too quickly. One solution would be to rethink the accompanimental contour. It can move up, down, and back up again in an interesting way, and yet still have an overall ascending trajectory.

In the version above, I've maintained a constant triplet rhythm in each measure. When the ascending triplets run out of register space (below the melody), the line jumps down by a sixth and then continues ascending until the end of the measure. But I could just as easily make this contour change earlier in the measure, using wider jumps on occasion.

In my opinion, that's starting to sound more musical and expressive. The contour and pattern makes an enormous impact on the character of the music.

Perhaps for your exercise, you could try a 16th note rhythmic value instead!

Let's finish this guided workshop with a version that features simultaneous left and right hand background notes. In many ways this is actually easier, as you can fill up the register gap between outer voices more evenly with two hands. There are of course many options... Do you want each hand to remain roughly in the same position? Or do you want the background as a whole to move either up or down together?

I'll switch over to 16th notes this time, and I'll try to emphasize contrary motion between hands. I'll start with the right hand, with constant 16th notes moving up and down below the melody...

Next I'll add a left hand part that mostly moves in contrary motion against the 16th note right hand line. My left hand part should fill out the remaining register gap between bass note and right hand 16th notes. Should this left hand part also use 16th notes? It could, but it doesn't have to... In fact, it might be interesting to use a slower rhythmic value, like 8th notes. The 8th notes create a more 'noble' character, while the right-hand 16th notes create the motion.

As I said at the start, there's more than one way to approach this exercise, and this type of pianistic texture. With that said, I suggest that you purposefully make a few different decisions while you work on Exercise No.1.