Composing Phrase by Phrase 17

Finishing the Modulation

Hello and welcome or welcome back to Composing Phrase by Phrase! We've been chugging along through a movement for string quartet, something like a scherzo, except it's not quite following the classical scherzo format. Last week's post went over more of the modulatory phrase that's going to bring us from G major to B-flat major. Today, I'll bring us the rest of the way. The phrase in full looks like this.

mms. 115-130

The segment begins with a continuation of the half-step motive I've been using throughout the work. Instead of going up a half-step and stepping back to the starting note, though, I use the rising half-step as the next rung of a ladder leading upwards. This rising scale starts with just violin 1 playing the motive and violin 2 playing a simple, sustained accompaniment.

mms.115-116

In the next three measures, violin 1 continues the ascending scale, this time without the brief rests separating the statements. This phrase extension is joined by the viola, which adds a little bit more color and weight to the accompaniment. A few simple changes to the rhythm help ease into the phrase's approach towards the top of the scale - a sustained measure, followed by two beats of 6/8, followed by a hemiola of 6/8 in violin 1 against 3/4 in violin 2 and viola.

mms. 117-119

There's a shift when the three instruments reach the top of their scale. Violin 2 and viola break from their sustained accompaniments and join violin 1 in a harmonized descending scale. Excepting some contrary motion in the viola, the three instruments use the fauxbourdon harmonization I've used before in the work. This texture has come up a few times already, which might be a potential weakness of the composition. I think since the work will end up being quite short, it's probably fine, and repeating textures can also add a sense of cohesiveness to the whole. Now, if my next composition has a bunch of fauxbourdon, as well, well... I'll have to think more carefully about expanding my textural palette.

Aside done. The cello also joins in. The plan is to have all four instruments playing the return of the second major theme. I'd rather that didn't feel like a total surprise, so this seemed like a good place begin the cello's entrance. The cello's goal is a sustained B-flat and F. To get there, the bass line starts right at the bottom of the instrument's register and moves up a scale in contrary motion against the fauxbourdon harmonization.

mms. 120-121

Harmonically, a few things are happening. There is a general allusion to a ii-V-I progression, a very common pattern of chords that is used all over the place. The fact that everything is moving in scalar motion somewhat disguises this otherwise common progression. In addition, the cellist only provides the bass note for the ii chord (C minor7, marked in red). While the V chord (F major, marked in blue) does appear, it is only briefly in upper trio of instruments. The cello doesn't even provide an F in the bass. This blurring of elements used for an otherwise common progression helps keep the phrase's cadence from feeling too stale.

mms. 120-121, important harmonies

At this point, the modulation back into B-flat major is complete. Hooray! It was quite a detour to get there. Of course, there are more direct routes one could have taken, but I have ADHD, so I'm not sure I can do anything without a discursion here in there (see paragraph 4 above, as well as this parenthetical). Once B-flat major is fully settled, the second major theme makes its return. Where previously it was played by the viola and the cello in octaves, it is now played by the viola and violin 1. Violin 2 adds a little bit of harmony through a lightly contrapuntal line. Cello supports everything with a droned B-flat and F. In addition, viola and cello provide the fills in between phrases.

mms. 122-130

In contrast to the fairly disguised harmonies that brought us into the section, the harmony here is fairly plainly stated: B-flat to F, B-flat7 to E-flat to F. In this case, I wanted the plainly stated harmonies to help signal a return to stability in the composition. It won't stay stable long! But that's for next time.

This is as good a place as any to wrap up for the week. I hope you found this little read informative. Maybe even enjoyable? If so, consider following the blog on an RSS feed of your choice. If you really enjoyed it, you can follow along at my Patreon where I provide video samples of the composition in progress, as well as other compositions I write that don't make it into the blog. Either way, thanks for reading!