Tolga T.

Yayalar

Department of Music

Irregular Rhythm Formations In Bartks String uartets

Tolga Yayalar

[1] Introduction
!arly "#th century music $itnesse% numerous inno&ations in %i&erse fiel%s. 'ne significant feature $as an increase% interaction $ith folk music. ( significant conse)uence $as %e&elopments in rhythm an% meter as a result of this influence. The e&olution of Bela Bartks music in tan%em $ith his stu%ies in ethnomusicology represents a goo% e*ample in this respect. In this paper+ I $ill focus on one of the rhythmical features that surfaces in Bartks music in a significant $ay. Rhythmical an% metrical irregularities in Bartks mi%%le an% late perio% $orks are features that $ere intro%uce% to the &oca,ulary of -estern music through the %isco&eries of !astern !uropean folk music. I $ill highlight the influence of folk music in this process. I $ill then analy/e specific e*amples from Bartks string )uartets.

[2] Background
0".12 Meter in Western Music If $e e*clusi&ely concentrate on the classical an% romantic perio% music+ $e can get a false impression that all -estern art music makes use of regularly recurring meters. 3o$e&er+ this $asnt the case in most Renaissance an% Me%ie&al music. In the a,sence of ,arlines+ the natural accents of the te*t %etermine% the meter in early &ocal music. Thus+ the music ha% irregular groupings of rhythmic patterns. This ten%ency of -estern music $as replace% ,y the e*tensi&e use of regular an% simple meters %uring the perio% of 14th through 15th century. In the ,eginning of the "#th century+ the %isco&eries of early music an% folk music helpe% composers to %epart from this metric regularity. !*amples can ,e Stra&inskys 67etrouchka+ Rite of Spring8 an% -e,erns 69ariations for 7iano+ II8. 0"."2 Folk Music Influence In the romantic perio%+ $e can o,ser&e fe$ e*amples of irregular metric groupings. The most popular one $as :;<+ $hich =hopin use%+ in his first sonata+ Tchaiko&sky in his >th symphony an% -agner in Tristan ? Isol%e. These e*amples ha&e relati&ely slo$ tempi an% )uarter pulse is easily noticea,le. 3o$e&er+ one feature that %istinguishes asymmetric meters of folk music from -estern art music is

Tolga T. Yayalar

Department of Music

that in folk music+ meters ha&e pulses $ith %ifferent num,er of ,eats. For e*ample :;< has " ,eats+ groupe% in " an% @ or &ice &ersa ASuchoff+ 154>B. 0".@2 Bartk and Bulgarian Rhythm Bartk $asnt a$are of the e*istence of irregular meters in !astern !uropean folk music until he came across Stoins article a,out the su,Cect in late 15"#s. This $as the first pu,lication+ $hich announce% the Bulgarian musicologist 3risto&s systematic stu%y of the asymmetric meters in Bulgarian folk music. This a$erness cause% Bartk to return to his ol%er collections an% re&ise them accor%ing to the groupings of " an% @ in a measure ARice +"###B. In his essay in 15@D+ Bartk focuses on the rhythmic significance in Bulgarian music+ $hich he names 6Bulgarian rhythm8. 3e also ,rings to the fore that irregular rhythms;meters e*iste% across Balkans as $ell as in Turkey an% Turkmenistan e&en though the origin of these rhythms;meters is )uite am,iguous. Bartks reason for la,eling them as8 Bulgarian rhythms8 is %ue to his ,elief that Bulgarian musicologists $ere the first to %isco&er them ARice+ "###B. 3o$e&er o$ing to the %etaile% ethnographic information of later years+ its more legitimate to la,el them as 6Balkan or 6Turkish8 or 6Balkan;Turkish8 rhythms. 0".<2 Characteristics of so called !Bulgarian Rhythm" (ccor%ing to Bartk+ 6Bulgarian rhythm8 meant a%%iti&e com,inations of " an% @ pulse ,eats of short )uantities such as eighth or si*teenth notes ASuchoff+ 154>B. 3e also insiste% that fast tempi constitute a criterion for Bulgarian rhythm+ although this is %isregar%e% ,y Bulgarian musicologists. The most fre)uently use% meters can ,e liste% as follo$sE :;D A@F"B 4;D A<F@B D;D A@F"F@B 5;D A<F"F@B

0".:2 Bartk#s rhythmic e$olution through his %uartets Its not until his @ r% )uartet that Bartk reache% a comple* rhythmic %imension in his music. The first t$o )uartets e*hi,it influences from late Romanticism an% Impressionism an% some folk elements. they %ont sho$ any use of irregular rhythms. 3is metric usage is in line $ith $hat has ,een use% ,y the composers of 1Dth an% 15th centuries. Its $ith the @r% )uartet that Bartk first escapes from the usual metric an% rhythmic ten%encies of the classical !uropean art music. (lthough Bartk uses irregular

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Tolga T. Yayalar

Department of Music

groupings of meter in his mi%Gperio% )uartets+ he %oesnt in%icate the groupings in the meter. For e*ample in the :th mo&ement of his <th )uartet+ he notates the long asymmetric section in ";<. In his :th )uartet he in%icates the appropriate su,%i&ision of the meter in time signature A:th )uartet @r% mo&ementB. In his >th )uartet Bartk relies on the ,arline e*cept for some polyrhythmic passages A> th )uartet;1st mo&ement M"#5B.

[&'] Remarks on the (nalyses

0@.12 )erminology It $oul% ,e appropriate to make a %istinction ,et$een rhythm an% meter ,efore going into the analyses. H. =ooper an% I. Meyer pro&i%e the concise %escription of those terms. Meter is the measurement of the number of pulses between more or less regularly recurring accents. Therefore, in order for meter to exist, some of the pulses in a series must be accented marked for consciousness- relati e to others. !hythm may be defined as the way in which one or more unaccented beats are grouped in relation to an accented one."#$ooper and Meyer, %&'() By irregular groupings+ I mean a%%iti&e com,inations of " an% @ pulse ,eats. This is also calle% asymmetric or a%%iti&e meter. In other $or%s+ a note &alue remains constant ,ut it is groupe% in "s or @s an% sometimes in <s as $ell. 0@."2 *ast remarks on the analyses In the analyses ,elo$+ only the passages that contain irregular groupings $ill ,e inclu%e%. I $ill gi&e alternati&e notations to Bartks. Mean$hile I $ill renotate polyrhythmic an% canonic passages separately if ,oth parts contain irregular groupings. These alternati&e notations are not meant pro&i%e a ,etter means of notating the gi&en passages. The sole purpose is to e*amine more clearly Bartks rhythmic concept.

[+'] (nalyses of Music

[+'1] Regular Irregularity Bartk approaches the irregularly %i&i%e% meters in t$o $ays. The first one is ,ase% on putting the appropriate time signature+ an% notating the music accor%ingly. The ultimate e*ample for this is the entire @r% mo&ement of the :th )uartet+ $hich he %esignates (lla ,ulgarese. 3ere the tra%itional triple 5;D A@F@F@B time signature ,ecomes a nonGtra%itional one $ith su,%i&isions of <F"F@. The contrasting trio section has a )ua%ruple meter again $ith nonGtra%itional groupings of @F"F"F@. In this e*ample+ the tempo is )uite fast. -e percei&e the pulses as . + an% . . This is a clear

Tolga T. Yayalar

Department of Music

manifestation of Bulgarian Rhythm that Bartk %escri,es as a%%iti&e com,ination of " an% @ pulse ,eats of short )uantities such as eighth or si*teenth notes in fast tempo. The secon% approach appears most clearly in @ r%;1st mo&ement+ at rehearsal num,er 4+ $here Bartk uses o%% meters such as :;D an% 4;D. 3ere the goal is %ifferent+ in the :;D he constructe% a regular irregularity+ $here the effect is totally the opposite. -e %o not percei&e any meter. The asymmetric time signatures are use% to esta,lish a fluctuating feel. Both :;D an% 4;D %o not seem to %i&i%e clearly into "s an% @s. 0<."2 ,olyrhythmic ,assages 7olyrhythm is a %e&ice that Bartk utili/es fre)uently. 3e occasionally creates polyrhythms $ith irregular groupings of meter. In e*ample 1+ the melo%y clearly has an irregular rhythm.

-.(M,*- 1 A@r% uartet+ Secon%a 7arteB

The first < measures coul% ,e notate% as D;D $ith @F"F@ su,%i&isions. In the secon% system = an% (, are a%%e% to the melo%y+ an% they make the line t$o eight notes longer. This coul% ,e notate% as 1#;D ,ar $ith @F"F"F@ groupings. The cello part un%erneath this melo%y creates a %ifferent perception of meter although it is notate% $ith the same time signatures. A!*ample "B -.(M,*- 2 A@r% uartet+ Secon%a 7arteB

The =ello starts t$o ,eats later than the 1st &iolin. Irregular groupings of the cello part suggest a &ery %ifferent time signature than the &iolin part. Jotating it as the percei&e% meter $oul% make the coor%ination of the parts more %ifficult. Jotating in a simple meter such as ";<+ an% ,eaming the &iolin o&er the ,arlines+ $oul% ,e another choice+ $hich Bartk employe%. 3ere+ he chose time signatures accor%ing to melo%ic suggestions.

<

Tolga T. Yayalar ( similar passage occurs fe$ ,ars later in the same )uartet. -.(M,*- & A@r% uartet+ Secon%a 7arteB

Department of Music

A3ere+ means three ,eats per pulse an% means " ,eats per pulseB The cello has a " ,eat %elay again. The melo%y here suggests a :;D time signature. But $ith the other parts+ the smallest common %enominator is @;D. The cello follo$s a rhythmic pattern of 1#;D A@F"F"F@B or " :;Ds A@F" an% "F@B. The last e*ample is from the <th )uartet. In the first mo&ement+ ">4th measure+ The 1st &iolin an% &iola form groupings of @F@F"+ "F@F@ $hile the cello plays up,eat D th notes in ";< time. This part soun%s more like a syncopate% passage that polyrhythm+ ,ut Bartk often uses %ifferent grouping of D;D time signature. A!*ample <B -.(M,*- + A<th uartet+ :th Mo&. M">DB

0<.@2 Canonic /assages =anon is also a techni)ue that Bartk employs fre)uently in his music. -e encounter " passages in $hich Bartk uses irregular rhythmic patterns in a canon. (t the en% of the thir% )uartet+ theres a &ery short passage $here Bartk implemente% a canon &ery skillfully Asee !*ample :B.

Tolga T. Yayalar

Department of Music

-.(M,*- 0 A@r% uartet+ =o%aB

The groupings of @F<F4F< in cello an% &iola are follo$e% ,y &iolins ,y " ,eats. This < ,ar e*ample is originally notate% in :;D+ an% theres a note in e&ery ,eat. In other $or%s the cumulati&e rhythm of this passage is all eighth notes. ( more complicate% canonic passage appears in the first mo&ement of the fifth )uartet. In the e*position+ $e see that Bartk again makes use of a canon in &iolins &s. cello;&iola. This time the canon is separate% ,y " eighth notes. The same cumulati&e rhythm is again consecuti&e eight notes. !*ample > sho$s the upper &oice notate% in a%%iti&e meter. -.(M,*- 1 A:th uartet+ 1st mo&. M":B

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Tolga T. Yayalar

Department of Music

In this e*ample+ Bartk use% a %ifferent notation techni)ue. 3e notate% the $hole passage in <;< ,ut he in%icate% the percei&e% meter in %ashe% ,arlines. So its o,&ious that he consi%ere% the irregularity an% notate% it in simple time for the con&enience of the performers The canon starts one )uarter later+ ,ut this is a rhythmic canon an% not a strict one either. 9iolins ha&e groupings of >F>F:F@F<F>F4F4F>F:F:FDF:F>F:F:F4F4 $hile cello;&iola ha&e groupings of >F>F:F4A@F<BF4F>F@F:FDFDF:F4F:F>F4F<F4Asee !*ample 4B. The pattern ,reaks up at ,ar "5 completely. But ,oth lines continue in such a similar fashion that a canonic feel is still present. (t ,ar @# it seems like &iolins follo$ cello;&iola ,y an D th note. -hen the passage en%s at @>+ this time cello an% &iola seem to ,e an Dth note ,ehin%. But the Dth note cumulati&e rhythm is present throughout these allG11 measures.

-.(M,*- 2 A:th uartet+ 1st Mo&. M": 9iola;=elloB

( similar passage occurs at the recapitulation of the same section. This time the canon is in&erte% A:th uartet+ 1 Mo&. M1<4B.

0<.<2 Irregular grou/ings in sim/le time signatures This is the techni)ue that Bartk uses most often to notate a%%iti&e meters. The most famous passage of this type is the opening of the :th mo&ement of the <th )uartet Asee !*ample DB.

Tolga T. Yayalar -.(M,*- 3 A<th uartet+ :th mo&. M11B

Department of Music

Tolga T. Yayalar

Department of Music

'riginally this passage is notate% in ";<. 'ne of the reasons for this+ is pro,a,ly the melo%y. In a%%iti&e meters+ the rhythm of the melo%y looks unclear. 3o$e&er the melo%y is &ery luci% in %uple time an% fits in ";<. (nother reason to notate it in ";< is again for the con&enience of the performers. In a%%iti&e meter notation+ the accompaniment looks correct ,ut the melo%y is &ery har% to percei&e. The

accompaniment soun%s like a ran%om com,ination of " an% @ ,eat groupings. In fact it is organi/e% aroun% D;D meter A@F"F@B. !ach pattern en%s $ith the < ,eats grouping+ $hich also appears at the en% of the melo%ic phrase. So the pattern looks ,riefly like thisE DFDFDF5

Tolga T. Yayalar 4FDFDF5 4FDFDFDFDFDF5 4FDFDFDF:F:F:F4 DF>FDFDFDFDFD

Department of Music

This passage in a $ay prece%es the Bulgarian Rhythm passages in his *th +uartet A@r% mo&ement+ 15@<B+ Music for ,trings, -ercussion and $elesta Afourth mo&ement+ 15@>B+ ,onata for Two -ianos and -ercussion Asecon% mo&ement.15@4B an% $ontrasts Athir% mo&ement 15@DB. In the same mo&ement+ theres a short passages that occurs t$ice. Ae*ample 5 an% 5.1B -.(M,*- 4 A<th uartet+ :th Mo&. M"D1B

-.(M,*- 4'1 A<th uartet+ :th Mo&. M"5>B

This part is 1# measures after the @F@F"+ "F@F@ e*ample Asee !*ample <B. !*ample 5 an% 5.1 are &ariations of this earlier passage. This is a &ery typical Bartk passage $here he makes the earlier passage stronger an% more po$erful ,y esta,lishing a complicate% rhythm an% ,y using all the &oices in rhythmic unison. (nother metho% of notating irregular rhythmic patterns is the use of %ynamic markings an% ,eaming. In e*amples 1# an% 1#.1+ $hich are ,asically same music $ith some &ariation+ Bartk clarifies the percei&e% rhythm ,y ,eaming notes o&er the ,arline an% %ifferentiates the t$o contrasting i%eas $ith %ynamic markings.

-.(M,*- 15 A<th uartet+ 1st Mo&. M 1:"B

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Tolga T. Yayalar

Department of Music

!specially in the secon% system $e ,enefit from the %ynamic marks. -hen the same passage occurs earlier in the piece+ there is no am,iguity a,out $hat the irregular groupings are. This time $e percei&e the irregular meter from the contrasting i%eas. I trie% to notate this e*ample in a%%iti&e meters. In this case the t$o contrasting i%eas are fitte% in a measure.

-.(M,*- 15'1 A<th uartet+ 1st Mo&. MD"B

[0'] Conclusion The String uartets may ,e interprete% as the summary of Bartks musical life. They encompass o&er his entire musical career+ an% each of them signifies a specific epoch in this career. Its possi,le to trace his musical e&olution Cust ,y looking at these pieces+ $hich are regar%e% as masterpieces in this me%ium. Its in his mi%Gperio% )uartets that he reache% the highest point of comple*ity in his music. This is $hen $e start to see the e*amples of irregular rhythms in his music. Its not a coinci%ence that he %isco&ere% $hat he calls 6Bulgarian Rhythm8 in those years. In 15@< he in%icate% the su,%i&isions in the time signature itself A: th )uartet+ @r% mo&ementB. Mean$hile+ he %e&elope% %ifferent techni)ues

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Tolga T. Yayalar

Department of Music

an% solutions to use irregular rhythms in his music. I&e trie% to e*amine the use of these techni)ues an% Bartks e&olution in irregular rhythms through his )uartets.

References B(RT'K+ B. The String uartets of Bela Bartk+ Ion%on+ Boosey an% 3a$kes.

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Tolga T. Yayalar

Department of Music

=''7!R+ H. an% I. B. M!Y!R. 15>#. The Rhythmic Structure of Music+ The Lni&ersity of =hicago 7ress. K'STK(+ S. 1555. Materials an% Techni)ues of T$entiethG=entury Music+ Je$ Mersey+ 7renticeG3all. K'STK(+ S. "###. Tonal 3armony+ McHra$G3ill. 'TTM(J+ R. 15DD. !lementary 3armony+ Je$ Mersey+ 7renticeG3all. RI=!+ T. "###. 6Bela Bartok an% Bulgarian Rhythm8 in (ntokolet/+ Fischer+ Suchoff Ae%s.B Bartok 7erpecti&es. '*for% Lni&ersity 7ress.

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