The name is absent

39

Example 1.9: Cajun Set, Second mvt., mm. 32-35, (viola only)

Throughout the entire second statement the violin has a simple counter melody or
descant suggestive of the role of the fiddle in a Cajun band. Following the viola melody,
another bridge marks the transition into the next section. Instead of another complete
verse of the French Blues song, fragments or echoes of the melody are passed between
the instruments. The viola begins this section, not with a fragment from the beginning of
the melody, but with an altered and truncated cadence figure as shown in Example 1.10.
Example 1.10: Cajun Set, Second mvt., m. 39, (viola only)

IIS Γ ⁱT r =

The guitar follows with an altered version of the first line:

Example 1.11: Cajun Set, Second mvt., mm. 41-44, (guitar only)

The echoes and fragments continue in this fashion, becoming more and more
chromatic. In m. 71 a tone cluster in rhythmic unison and acceleration that bears
resemblance to figures found in Stravinsky’s Petrushka and Bartok’s Music for Strings,
Percussion, and Celesta stands out from the gentle waltz, as shown in Example 1.12.

<<   55   56   57   58   59   60   61   >>

More intriguing information