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The time signature- 9/8 is treaded in an additive metre (grouped in
quavers 2s or 3s) This is a Balkan 9/8

From bar 5 there is very quick time signature changes from

5/15, 5/16, 2/8, 5/16, 5/16, 3/8
This is clear displacement of the pulse taken from folk
additive metres
In bar 5 there is syncopation. The chord does not land on the
beat but a quaver afterwards. The ostinato pattern from bar 6
in the Viola is a repeated pattern, the only change in the
structure is an extra quaver in the second half of the ostinato
The uneven phrase length throughout further contributes to
the displacement of the pulse

- The introduction is Monophonic but thick as there are three parts
playing at the same time.
- When Cello drops an octave in bar 3, this creates denser material
- Bass comes in to create a thicker texture in bar 4

Homorhythmic Unison (In Parallel Octaves)

Bar 3 Cello drops an octave to prepare for the Bass to come
In Bar 5, the bass plays the B and F# of the Ahava Raba Mode
(B is the tonic). This is typical of Macedonian World Music
Normally in Ahava Rabe Mode there would not be G#, Hindson
has put one in.
In bar 12 in the Viola part, the ostinato pattern is still playing,
The D# is the 3rd note in the Mode so it is one of the more

important notes. The other notes in this bar are written out
- In Bars 12-16, the bass is playing the Tonic and Dominant note
Pedal Point
- There is a clear A & B theme in the Violin 1s from the very
first two bars.
- From bar 6 there is an ostinato pattern in the viola which
introduces the A section
- The introduction is finished with a chord.
Dynamics and Expressive Techniques
Labelled Molto Pesante
Bar 1 Fortissimo but there are sudden dynamic changes bar to bar
- Fermata at the end of bar 1 details a sudden pause

- Syncopation is used in bar 22 with the difference in grouping
from the cello and in viola
- At bar 26 the firsts and seconds are playing the opposite
rhythmically to each other
- The Double Bass is grouped in the traditional 9/8 while the
viola and cello are in the additive metre 3,3,3
- Bar 22 is Theme A
- The cello, viola and bass are all playing a different ostinato
- The viola ostinato is a repeat from bar 12
- In bar 26, The First and Second Violins are playing in Parallel
- The Viola is playing the ostinato from bar 22 in bar 26
Dynamics and Expressive Techniques

Trills are written in

A started off at Mezzo Piano but by the end of A the dynamic
marking was Forte.

- At bar 33 there is another change in time signature to 5/8 +
5/16 to make a longer bar
- The Double Bass is grouped in the traditional 9/8 while the
viola and cello are in the additive metre 3,3,3
- Bar 35 is a thicker texture in comparison the the previous bar
where only the first and second violins were playing
- The Beginning of B is much thinner in texture than at the end
when all parts are playing
- Further development at bar 30 of the viola part at bar 26 but
in a higher register
- Bar 30- - the Viola and Cello share the melody
- Bar 32, the Cello part is theme b from the original melody
- At bar 36, The first violin part was originally the
countermelody but Hindson has taken it and used it as a main
Dynamics and Expressive Techniques

Trills are written in

The Glissando at Bar 34 is similar to the chord finish in the
previous 2/8 bar. This acts as an exclamation mark
The Cello and Bass parts are very scalic, ornamentation
Macedonian music is ornamented with flourishes and scale

- The time signatures are changing radically in C. from 5/8+16,
_+5/16, 5/15 +5/15 , 2/4 The pulse is increasingly hard to
- Rhythmically all parts are exactly the same through C
- C is thicker that previous sections because all parts are
playing the same thing rhythmically and 5 parts at the same
time in some parts.
- First violin at C is an octave higher than 2nd.

All parts are playing the same notes but in different


Dynamics and Expressive Techniques


Trills are written in

The Glissando at Bar 42 used as an exclamation mark again,
this is similar to bar 34
Majority of the C section is at Fortissimo except for the very
last bar where sfz is used.

- Syncopation is used in the final bar before the final chord
there is a quaver rest.
- Immedietly at D there is a sudden drop in the thickness as the
violins are not playing in this section apart from the final
- The viola has taken the ostinato section from earlier and
started it at the beginning of D However bars 49,50 and 51
are different from the ostinato as it is just bar 1 playing
- The Cello and Bass have also resumed their repeated
ostinatos from the introduction
Dynamics and Expressive Techniques

There is not a glissando at the final bar of D but a chord to

emphasise the ending of the section.

- In the beginning of E, all though everyone is playing there is
only one melody while the others play repeated ostinatos
giving it a slightly thicker texture than the previous bars where
there was no melody but not heavy.
- At bar 56 a thicker texture is produced when the Violins, Viola
and Cello are all playing the same thing.

The first violin begins to play a one bar ostinato pattern 3

The 2nd violins take up the main melody (Theme A)while all the
other parts are playing ostinatos
In bar 56 the Violin ones play the same as the seconds and
resume the role of holding the theme.
In bar 56 all of the parts play the theme.
In bar 57 the 1st violins play theme A while the 2nds play the
counter theme.
Bar 57 Violas, Cello and Bass play repeated ostinatos until bar
60 where the bass drop out.
At bar 60 the viola and cello play the same melody while the
first and second violins play the same thing.

Dynamics and Expressive Techniques


Although there is a chord, it isnt such a big exclamation mark

as there are only two notes in the chord

- The time signature has changed to 2/4, 2/4, 3/8. 2/4,2/4 with a
bar of 4/4
- The texture drops right down and is much thinner at bar 61 as
only the Cello and Bass are playing
- The texture is thicker at bar 66 with the scalic movement of
the violins and violas
- The texture thins down again in the last bar when only the
cello and bass are playing with a decrescendo
- At bar 65 the Violins and Violas play a scale
- The pitch material used in F is has not been seen before.
- The Cellos and Bass play the same thing through out F but the
Cellos play it Pizz.
- The Viola plays the same as the cello and bass at 64
- The Cellos and Bass play (A) Then the Violins and Violas respond in
a higher register (B), the Viola, Cello and Bass respond in unison (A)
The violins and Violas play a scalic bar before finishing off with the
Cello and Bass in unision.
Dynamics and Expressive Techniques

Trills are written in

There is no Glissando or Chord that leads into the next

section, simply a decrescendo