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Caprice, Sonnet I, 1918, Sonnet II, 1919, Sonnet III, 1920 – all unpublishedSonnet II, 1919, Sonnet III, 1920 – all unpublished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