General Overview
This composition is in a 3/4 tempo, typical rhythm for a bolero (Andalusian ballet) , but with a slower tempo (moderato assai).
Two melodies, the first is in C major and it is diatonic, the second is in C minor and it is more rich of syncopation and flattened notes, like Bb, Eb and Db.
Those two themes, are played on a rhythmic pattern without variations from the beginning to the Finale, structured in two bars, initially played only by drums, and it is used as introduction for two bars every time one of the themes come in.
Some instruments double the key of the piece just by octaves, like the Celesta, playing the melodies two or three octaves above; other using diatonic chords (like Piccolo)
Ravel escape from the rigid melodic …show more content…
S1= intro + 4 • ( 2 • B1 + 2 • B2 ) + B1 + B3 + 2 • B4 +Bres fig.1. The melodic objects sequence (Haus and Rodriguez, 1993, p. 7)
Together the melodic elements made a four cyclic structures creating a sort of loop function.
Each loop lasts 72 bars (18•(2+2)) and it is characterised by specific developments of the rhythmic, dynamic, harmonic and timbral structure growth objects, but melody still static till the finale. This repetitiveness have a fundamental role on the global development of rhythm, harmony and timbral textures.
Haus and Rodriguez have proposed a map showing the interwork between the different Objects.
The x-axis represent time and the time unit is the bar; on the y-axis there are the music objects of Bolero; their appearances in the score are described by rectangles whose length represents their duration in bars. (Haus and Rodriguez, 1993) fig.2. The music objects' map of Intro and Loop1 (Haus and Rodriguez, 1993, p.
This composition is in a 3/4 tempo, typical rhythm for a bolero (Andalusian ballet) , but with a slower tempo (moderato assai).
Two melodies, the first is in C major and it is diatonic, the second is in C minor and it is more rich of syncopation and flattened notes, like Bb, Eb and Db.
Those two themes, are played on a rhythmic pattern without variations from the beginning to the Finale, structured in two bars, initially played only by drums, and it is used as introduction for two bars every time one of the themes come in.
Some instruments double the key of the piece just by octaves, like the Celesta, playing the melodies two or three octaves above; other using diatonic chords (like Piccolo)
Ravel escape from the rigid melodic …show more content…
S1= intro + 4 • ( 2 • B1 + 2 • B2 ) + B1 + B3 + 2 • B4 +Bres fig.1. The melodic objects sequence (Haus and Rodriguez, 1993, p. 7)
Together the melodic elements made a four cyclic structures creating a sort of loop function.
Each loop lasts 72 bars (18•(2+2)) and it is characterised by specific developments of the rhythmic, dynamic, harmonic and timbral structure growth objects, but melody still static till the finale. This repetitiveness have a fundamental role on the global development of rhythm, harmony and timbral textures.
Haus and Rodriguez have proposed a map showing the interwork between the different Objects.
The x-axis represent time and the time unit is the bar; on the y-axis there are the music objects of Bolero; their appearances in the score are described by rectangles whose length represents their duration in bars. (Haus and Rodriguez, 1993) fig.2. The music objects' map of Intro and Loop1 (Haus and Rodriguez, 1993, p.