【音楽ガチ分析】ラヴェル『道化師の朝の歌』～ メロディと伴奏で調が違う⁉ 美しすぎるメロディ＆爆盛り不協和音で現代音楽を先駆ける

This analysis focuses on "Alborada del gracioso" (Morning Song of the Jester) from Maurice Ravel's suite "Miroirs" (Mirrors). Please leave any questions or comments below. ☆Score video →    • 【クラシック分析楽譜】ラヴェル『道化師の朝の歌』   〈Maurice Ravel〉 A composer of the first half of the 20th century, often described as a "magician of orchestration." He honed his cutting-edge musicality in France, generating both praise and criticism. Having Basque ancestry, he had a strong affinity for Spanish music. 〈Overall Assessment〉 【Musical Form】 ・Clear ternary form. ・Development influenced by fugue and sonata. Example: The theme is presented in various keys (expositional). The dominant chord is frequently used. Fragments of previously used musical material are scattered throughout the final theme return (recapitulation/divertimento). The piece ends with a dominant chord hold followed by a tonic chord hold (coda). →This reveals Ravel's deep understanding of classical music. 【Time signature and scales】 ・Awareness of Spanish music. →Flamenco-style 6/4 time signature →Ornamental tuplets reminiscent of the castanet carretilla ・The Phrygian mode is used throughout. ・The Phrygian melody is reharmonized in major/minor modes, creating a kind of polyphony. →Partial tonality (=the tonality of that moment due to the accompaniment) and overall tonality (=the Phrygian mode that permeates the melody). This polyphony can be interpreted as depicting the two faces of the jester. A blend of major and minor chords permeates the entire piece. → Examples include the Phrygian dominant scale (upper flat of the third) and major/minor chords. 【Melody/Harmony】 There are many notes that clash at the second interval. → Percussive major and minor second intervals created by unresolved non-chord tones. This is essential for the eerie, playful, and lighthearted rhythmic feel. → Minor second and minor ninth intervals are often inverted to major seventh intervals to reduce the unpleasantness of the sound. Voicing techniques are employed. Chords contain many off-beat and ornamental notes. → The 7th note, obtained by up-flattening the 7th of the dominant seventh chord (or down-flattening the tonic), is characteristic. This note is the leading tone to the dominant (leading dominant). → Both up- and down-off notes are frequently used. → Displacements of the 5th of the dominant chord are also frequently used. The lower flat, in particular, is related to Phrygian cadences. → Severely off-key chords are avoided by reducing the number of notes to prevent them from sounding unpleasant. ・There are many unresolved ornaments (appoggiaturas, embellishments, etc.). → These should be considered tension notes. Beautiful chords such as minor 9ths and major 9ths are frequently used. ・The sound of the perfect fifth is emphasized. → 7th and 9th tensions tend to be supported by the interval of the perfect fifth. → Perfect fifths are placed in the lower register, supporting severe chords from below. → Empty fifth harmonies also appear frequently. → Consecutive fifths are used freely. ・There are few inversions, and many chords are in their original form. ・Resolution of the leading tone is persistently avoided. → To emphasize modality. → To make tonality ambiguous. ------------------------------------------------------------------------------------- Composer Toydora → https://tomita-haruki.studio.site/ #Ravel #MauriceRavel #MusicTheory