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How do the two pieces by Miriam Hyde “Frost fairies” and “the Abbey Organ” contrast?.

Frost Fairies

Pitch:

1.       Register (Bar 5-7 0:14 -0:22)

2.       Contrast in dissonance and rest of the piece ( bar 9-12 0:25-0:37)

3.       Key in relation to Tonal quality.

·         G major

·         Upper register, Both in treble to start with (Bar 5-7 0:14 -0:22)

·         Light in tone quality

·         Contrast in dissonance in bar 9-11 accidenntals. (0:25-0:37)

Duration

1.       Repetition (Bar 1-2 0: 00-0:06) (bars 5-6, 0:14 -0:18) (bars 17-18, 0:50 - 0:54)

2.       Syncopation (Bar 11 0:32 – 0:36)

3.       Tempo

a.       Pauses (bar 19-20, 0:54-0:59)

b.      Runs (3-4 0:07 – 0:13) (7-8 0:19 – 0:25) (14 0:40 – 0:42) (16 0:45 – 048) (20-21 0:58- 1:02)

c.      

·         6/8 regular

·         Repetition Bar 1-2 0: 00-0:06 (5-6 0:14 -0:18) (17-18 0:50 - 0:54)

·         Bar 11 (0:32 – 0:36) syncopation in the melody (top line)

·         Fast Duration ...... (bars 3-4 0:07 – 0:13) (bars 7-8 0:19 – 0:25) (bar 14 0:40 – 0:42) (bar 16 0:45 – 048) (bars 20-21 0:58- 1:02)

Texture

·         Light (8va) homophonic melody (one melody), few notes played at once.

Articulation

1.       Staccato (seen in whole piece)

2.       Contrast to Slurs (seen mainly in runs ) (bars 3-4 0:07 – 0:13) (bars 7-8 0:19 – 0:25) (bar 14 0:40 – 0:42) (bar 16 0:45 – 048) (bars 20-21 0:58- 1:02)

Dynamics

1.       Overall Dynamics of piece (MF = bar 17-19 0:48 – 0:57) (PPP = Bar 24, 1:10 - 1:12)  

2.      

·         Predominately soft. P > PPP (piano > piano pianissimo)

·         Highest volume is mf (mezzo forte) when the theme returns and played more in bass ** Tone Colour

Expressive Techniques

·         Delicato

·         Brocken Chords (23-24 1:05 – 1:11)

The Abbey Organ

Pitch

1.       Key

2.       Range in comparison to Frost Fairies (focus on bass (bar 9-13 0:12-0:18)

3.       Melodic shifts (bar 9-13 0:12-0:18)

·         Minor – Clash and Dissonant

·         Wider Range

·         Focus on Bass (bar 1 0:00-0:02)

·         Sustenance

·         Melody Shifts to bass (bar 9-13 0:12-0:18)

·         Repetition of Melody (bar 1-8 0:00-0:12 Repeated in bars 37-44 0:52-1:03)

Duration

1.       Tempo

2.       Accents in bass (bar 1 0:00 – 0:02)

3.       Repetition (bar 1-8 0:00-0:12 Repeated in bars 37-44 0:52-1:03)

4.       Ralls (bar 36 0:48-0:50)

·         ¾ Moderate

·         Heavy accent on beat 1 of most song. (bar 1 0:00 – 0:02)

·         Simple rhythm crotchets, dotted minims. (Bar 1 0:00 – 0:02) 

·         Repetition  (Bars 1-8 repeated 37-44) (bars 9-13 repeated 45-49)

·         Ralls (bar 36 0:48-0:50)

Tone Colour

1.       sustenance (bar 67-74 1:34-1:47)

2.       Use of Low Register in conjunction to sound quality.

·         Pedal – sustenance (bar 67-74 1:34-1:47)

·         Slurs 1:15-1:16 ,1:17-1:18, 1:20-21, 1:22-1:23

·         Low register

·         Rich Thick Dissonant

Texture

1.       Homophonic

2.       Thick  (bass and sustained) (bar 14 0:18- 0:20)

3.       Dissonance

Dynamics and Expressive Techniques

1.       Slurs 1:15-1:16 ,1:17-1:18, 1:20-21, 1:22-1:23

2.       Range

3.       Accents contrast within piece

4.       Dynamics (F = bar 1 0:00 – 0:02) (P = bar 63-74 1:28-1:44)

·         Forte f (bar 1 0:00 – 0:02)

·         Range

·         Accents (bar 54  56 58)

·         Sustained through slurs