The Intermediate The Intermediate Piano WorksPiano Works
of Aaron Copland of Aaron Copland
Style, Analysis, Pedagogy, Style, Analysis, Pedagogy, and Peformanceand Peformance
Peter FriesenPeter Friesen
The Piano WorksThe Piano Works
Piano Variations Piano Variations (1930) (1930) (orchestrated (orchestrated 1957)1957)
Piano Sonata Piano Sonata
(1939-1941)(1939-1941) Piano Fantasy Piano Fantasy
(1952-1957)(1952-1957)
Intermediate WorksIntermediate Works
Moment musicale, 1917, Waltz Caprice, Sonnet I, 1918, Moment musicale, 1917, Waltz Caprice, Sonnet I, 1918, Sonnet II, 1919, Sonnet III, 1920 – all unpublishedSonnet II, 1919, Sonnet III, 1920 – all unpublished
Scherzo Humoristique:Scherzo Humoristique: The Cat and the Mouse, 1920 The Cat and the Mouse, 1920 3 Moods, 1920–21: Embittered, Wistful, Jazzy3 Moods, 1920–21: Embittered, Wistful, Jazzy Passacaglia, 1921–2Passacaglia, 1921–2 Petit Portrait, 1921Petit Portrait, 1921 Blues no.1 (Sentimental Melody: Slow Dance), 1926–7Blues no.1 (Sentimental Melody: Slow Dance), 1926–7 Blues no.2 (Piano Blues no.4), 1926Blues no.2 (Piano Blues no.4), 1926 Pf Blues no.2, 1926, rev. 1934 Pf Blues no.2, 1926, rev. 1934 (arr. chamber orch, 1978–9)(arr. chamber orch, 1978–9) Sunday Afternoon Music, 1935Sunday Afternoon Music, 1935 The Young Pioneers, 1935The Young Pioneers, 1935
More Intermediate WorksMore Intermediate Works
Billy the Kid: Suite from the ballet: Nos 1, 2, 5 & 8, Billy the Kid: Suite from the ballet: Nos 1, 2, 5 & 8, 19381938
Billy the Kid: Waltz from the ballet, 1938Billy the Kid: Waltz from the ballet, 1938 Episode, (organ), 1940Episode, (organ), 1940 Midday Thoughts, 1944 Midday Thoughts, 1944 (rev. 1982)(rev. 1982) Midsummer Nocturne, 1947 Midsummer Nocturne, 1947 (rev. 1977)(rev. 1977) Piano Blues no.1, 1947 Piano Blues no.1, 1947 (arr. For chamber orchestra, (arr. For chamber orchestra,
1978–9)1978–9) Piano Blues no.3, 1948Piano Blues no.3, 1948 Down a Country Lane, 1962Down a Country Lane, 1962 In Evening Air, 1966In Evening Air, 1966 Night Thoughts (Homage to Ives), 1972Night Thoughts (Homage to Ives), 1972 Proclamation, 1973 Proclamation, 1973 (rev. 1982)(rev. 1982)
Duet/2-Piano WorksDuet/2-Piano Works Concerto for Piano, 1926Concerto for Piano, 1926 Dance of the Adolescent Dance of the Adolescent (arr. excerpt from ballet (arr. excerpt from ballet GrohgGrohg), ),
before 1932before 1932 El Salon Mexico, 1936El Salon Mexico, 1936 Fantasia Mexicana, 1936Fantasia Mexicana, 1936 Two Children’s pieces, 1936Two Children’s pieces, 1936 Billy the Kid: Suite from the ballet: Nos 1, 2, 5 & Billy the Kid: Suite from the ballet: Nos 1, 2, 5 &
8, 19388, 1938 Billy the Kid: Waltz from the ballet, 1938,Billy the Kid: Waltz from the ballet, 1938, Rodeo: Dance Episodes Nos. 3&4, 1942Rodeo: Dance Episodes Nos. 3&4, 1942 Danzón cubano, 2 pf, 1942 Danzón cubano, 2 pf, 1942 (orchestrated 1946)(orchestrated 1946) Danza de Jalisco, 2 pf, 1963 Danza de Jalisco, 2 pf, 1963 (arr. of orch. work)(arr. of orch. work) Dance Panels, 1959 Dance Panels, 1959 (ballet, arr. 1965 for two pianos)(ballet, arr. 1965 for two pianos)
Aaron Copland (1900-1990)Aaron Copland (1900-1990)
Early influences: piano Early influences: piano music of Liszt, Chopin; music music of Liszt, Chopin; music of Scriabin, Mussorgskyof Scriabin, Mussorgsky
Studied composition with Studied composition with Rubin Goldmark in New YorkRubin Goldmark in New York
Studied piano under Victor Studied piano under Victor Wittgenstein and Clarence Wittgenstein and Clarence AdlerAdler
At 20, moved to Paris to At 20, moved to Paris to study under Boulanger; also study under Boulanger; also studied French piano music studied French piano music under Ricardo Viñesunder Ricardo Viñes
Aaron Copland Aaron Copland (continued)(continued)
Published his first work, Published his first work, The Cat and the The Cat and the MouseMouse, in 1920 after his arrival in Paris, in 1920 after his arrival in Paris
Upon return to the USA, was involved in Upon return to the USA, was involved in various music societies to promote new various music societies to promote new music; was championed in his early career music; was championed in his early career by Koussevitsky, later by Bernsteinby Koussevitsky, later by Bernstein
Taught at Harvard in 1935 and 1941 on an Taught at Harvard in 1935 and 1941 on an interim basis; in 1951, was honored as the interim basis; in 1951, was honored as the Norton Chair of PoeticsNorton Chair of Poetics
Less productive later in life, esp. after Less productive later in life, esp. after onset of Alzheimer’sonset of Alzheimer’s
General Style General Style CharacteristicsCharacteristics
4 overlapping style periods:4 overlapping style periods: Jazzy, abstract, populist/Americana, serialJazzy, abstract, populist/Americana, serial
Transparent textures/economic use of pitch Transparent textures/economic use of pitch materialmaterial
Disjunct melodiesDisjunct melodies Static key areasStatic key areas Ambiguous harmonic languageAmbiguous harmonic language Use of familiar harmonic elements (e.g. triads, Use of familiar harmonic elements (e.g. triads,
tonic/dominant) in non-traditional waystonic/dominant) in non-traditional ways Use of colorful descriptive language in scoresUse of colorful descriptive language in scores Highly syncopated, often declamatory rhythmsHighly syncopated, often declamatory rhythms
Down a Country Lane Down a Country Lane (1962)(1962)
Ternary formTernary form
Disjunct melodyDisjunct melody
Irregular phrasingIrregular phrasing
Avoidance of tonic and strong cadencesAvoidance of tonic and strong cadences Creates wistful/longing effectCreates wistful/longing effect
Unclear key areas in B sectionUnclear key areas in B section Unresolved modulationsUnresolved modulations
Examples of disjunct melodiesExamples of disjunct melodies
Avoidance of Avoidance of Tonic/CadencesTonic/Cadences
Down a Country LaneDown a Country LanePedagogical NotesPedagogical Notes
One of Copland’s piano works that doesn’t require large One of Copland’s piano works that doesn’t require large hands to play comfortablyhands to play comfortably
Introduction to non-traditional harmonic devices, but still Introduction to non-traditional harmonic devices, but still very accessible to the listenervery accessible to the listener
Familiar elements (ternary form, unchanging meter) make Familiar elements (ternary form, unchanging meter) make the work accessible for earlier intermediate pianiststhe work accessible for earlier intermediate pianists
Contrapuntal in nature – 2- to 3-voice textures dominateContrapuntal in nature – 2- to 3-voice textures dominate
The Young Pioneers (1935)The Young Pioneers (1935)
7/8 meter 7/8 meter (3+4, alternates occasionally with 4+3)(3+4, alternates occasionally with 4+3)
Meter changes at transitions between formal Meter changes at transitions between formal sectionssections
Ternary formTernary form
Use of repetitive motives to explore variety of colorsUse of repetitive motives to explore variety of colors
Sparse texture, limited pitch materialSparse texture, limited pitch material
Harmonic center (not key area) of Eb/D#Harmonic center (not key area) of Eb/D#
Meter Changes at TransitionsMeter Changes at Transitions
The Young PioneersThe Young PioneersPedagogical NotesPedagogical Notes
Think 3+2+2 in general Think 3+2+2 in general (beat 6 often has a tenuto (beat 6 often has a tenuto indicated)indicated)
Try not to make this too cerebral - encourage a Try not to make this too cerebral - encourage a “feel” of the rhythmic scheme“feel” of the rhythmic scheme
Have student come up with short lyrics which have Have student come up with short lyrics which have accents on the strong beatsaccents on the strong beats
Have student clap 3+2+2 while you play for themHave student clap 3+2+2 while you play for them Dynamic variety a must for a strong Dynamic variety a must for a strong
performanceperformance
Piano Blues No. 4 (1926)Piano Blues No. 4 (1926) Blatant example of Copland’s “jazzy” styleBlatant example of Copland’s “jazzy” style
Use of blue notesUse of blue notes
Syncopated rhythmsSyncopated rhythms
Repetitive vamping styleRepetitive vamping style
No indicated key signatureNo indicated key signature
Published 1949Published 1949
Use of Blue NotesUse of Blue Notes
SyncopationSyncopation
Piano Blues No. 4Piano Blues No. 4Pedagogical NotesPedagogical Notes
Player should have large handsPlayer should have large hands Frequent, large jumpsFrequent, large jumps Syncopations make it easy to lose the beat Syncopations make it easy to lose the beat
without strong countingwithout strong counting
The Cat and The MouseThe Cat and The Mouse “Scherzo Humoristique” “Scherzo Humoristique”
(1920)(1920)
Most directly programmatic of Most directly programmatic of intermediate worksintermediate works
Utilizes extensive augmented and whole-Utilizes extensive augmented and whole-tone harmoniestone harmonies
Wide rhythmic varietyWide rhythmic variety Frequent tempo changesFrequent tempo changes Through-composed with repeated Through-composed with repeated
themesthemes
Use of Whole Tone ScaleUse of Whole Tone Scale
The Cat and the MouseThe Cat and the MousePedagogical NotesPedagogical Notes
Rapid jumpsRapid jumps Highly patterned themes and motivesHighly patterned themes and motives Pacing/tempo relationships criticalPacing/tempo relationships critical Great piece for teaching dramatic Great piece for teaching dramatic
interpretationinterpretation Silence is goldenSilence is golden
Petite PortraitPetite Portrait(ABE)(ABE)(1921)(1921)
Use of limited serialismUse of limited serialism Use of familiar triadic harmonies in Use of familiar triadic harmonies in
non-traditional waysnon-traditional ways Use of widely-spaced, open intervalsUse of widely-spaced, open intervals Declamatory rhythmDeclamatory rhythm Non-melodic compositionNon-melodic composition
Petite PortraitPetite Portrait
Pedagogical NotesPedagogical Notes
Frequent 10thsFrequent 10ths No melody – can explore color and No melody – can explore color and
harmonic shapingharmonic shaping Bold dissonanceBold dissonance