Techniques Used In Sibelius Essay, Research Paper

A Technical Essay on the Composition Techniques used in Sibelius Symphony #2

The second symphony written by composer Jean Sibelius {1865-1957} is one of the best examples in classical music of advanced compositional techniques such as melodic variation, tonal transitions, imitation, and suspension. Written in basic four-movement form (Allegretto, Tempo Andante/ma rubato, Vivacissimo, and Finale), Symphony #2 provides the listener with a fluidity of motion, which constantly engages the ear. The first movement in Sibelius Symphony #2 is written in the key of D major, uses A-B-A form, sets the tonal foundation for the rest of the symphony by incorporating sub-dominant and dominant chord progressions, and demonstrates ingenious suspension and transition techniques. The most noticeable and repeated element of Allegretto is the dominant and sub-dominant chord progression of I (tonic), IV (sub-dominant), V (dominant). First used by all strings in the opening measures of the movement, this progression is continually being played by the low strings (Cellos and Basses). Sibelius writes this movement in A-B-A form so of course each section of this movement has certain characteristics. The first section of the movement (A) opens with the strings playing an expressive style known as Coll`e while stating I, IV, V, I. The oboe plays the melodic material throughout this section, with the flute playing a legato accompaniment line. Also characteristic of section A is the use of 4’s to carry the melodic line (horns, oboe, flute, and clarinet). The transition from section A to section B, and the transition from Major to Minor, is made by the clarinet. In section B the melodic line is at first carried by the flute with the oboe and/or clarinet, then the strings take over until a dramatic pause at measure . After the 2 ? beats of rest the strings come back once again with a dominant chord (V). The melody is then tossed around between the woodwinds and strings until after a brief cut-time section the strings first state the pitsicato ascending chromatic pattern, which is used throughout the piece in chord suspension and transition. My favorite part in movement one then comes next. Sibelius builds and prolongs resolution by continuing the ascending chromatic pattern underneath the horn repeatedly playing the leading tone to V, which seems to have some sort of resolution even though it isn’t root. He then holds a German V chord and then resolves to root before going on. The rest of section B is a collage of imitation, Coll`e style i, iv, v (minor), chromatic patterns, chords I, IV, V, and prolonging resolution and “resolving” with dominant chords. After a whirlwind of string trills in cut time the horns, trumpets, and trombones make the transition from minor back to major, which results in the return to A material (known as A^1). In this section a variation on the oboe part in A is restated with oboe, clarinet, and flute as well as 4’s being used for transition. After that, the strings go back and forth either re-stating the Coll`e style phrases from the beginning of the piece or playing chromatic patterns. Sibelius also uses the leading tone-to-dominant resolution technique from section B in the brass and woodwinds to build tension until he holds the dominant and resolves to tonic. The first movement then ends the same way it started, with the strings playing I, IV, V, I with Coll`e style. The third movement of Sibelius Symphony #2 is written in A-B form, has an odd-meter, and makes a wonderful transition into Finale (the two are basically connected) all while demonstrating the musical genius of Jean Sibelius. The most interesting trait about Vivacissimo is how greatly the A material differs from the B material. The A material of the third movement is in the key of B Flat Major, uses themes stated in the first movement but is in 6/8 to give it a triple feel (characteristic of a third movement in a symphony), and incorporates two different melodic lines. The first of the melodic lines is the strings playing sixteen note runs in a ascending and descending chromatic pattern. During these runs the lower-end strings and higher-end strings have a question-answer pattern, almost fugue like. The second melodic line is carried by the oboe, bassoon, flute, and clarinet playing a variation of the 4’s played in the opening movement. An interesting composition technique used by Sibelius in the A material is he writes the woodwinds to play a trill going from V to IV while the brass play tonic. The B material is written in 12/4 and is in the key of G Flat Major and the melodic line is moved throughout the strings and woodwinds. The melody in section B is a richly textured legato style with notes that line up to make beautiful harmonies. The return to A material (A^1) is nearly identical to A (including the V-IV woodwind trills) except that the brass is utilized in making chord transitions and suspensions. The second B section (B^1) is also very similar to B except that the horns are used to build up to bridge material. The Bridge material added to section B^1 is a succession of ascending and descending chromatic patterns in the woodwinds and strings used to support the entrance of the horns, trombones, and trumpets which make the transition from G Flat Major to D Major for Finale.

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