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To analyse music within the fields of the “Triquetrae Music Programs”[4], The three pillars of this analysis are musical development, musical direction and musical schema.

The pediment is the structural analysis and the three step base is the interaction of the music with the mind, body and spirit as a performer, an educator and a listener.

My initial observations of the pieces include the situational knowledge, musical knowledge and personal knowledge of the composer and his methods. I extrapolate from this what my learners require regarding background information.

Bartok

The piece written by Bartók immediately, through its title, informs of the speed required. My knowledge of the Ethnomusicology roots of many of this composer's compositions include the information that this is likely to be simple in style yet memorable enough to be recorded on a wax phonograph roll because the singer or musician felt that the piece was worthy of sharing. The likelihood of a Slavic or Romany style is also high, although not assured. The music, in appearance, is open and absent of any great event. This leads me to believe that this piece would be simple in sound, perhaps a song.

Bach

The Bach, on first observance, strikes me as very short, whilst the title announces the piece as a Prelude the length does not agree with the title in its literal form. I know from my experience that Bach taught, therefore there is the chance that this is a teaching piece which would explain its brevity. First glance shows me the clear structure and clarity I would expect from a piece of Baroque music. The ornamentation is also expected, although I am surprised there is not more. The final flourish seems out of character, but if it is composed for a learner it may be required for other reasons.

Chopin

The Chopin seems to do exactly what I would expect from this great composer; a good length, a clean style and decoration increasing with a good deal of repetition. The last few bars look quite sparse in the left hand but my understanding of the Posthumous addendum in the title implies it may not have been completed by Chopin.

Sculthorpe

Peter Sculthorpe sounds modern, this will be interesting. It has a wide range and increasing texture and tonality. Clear pedal markings and articulation indicate that the composer is very particular on the translation of this piece. I posit the thought that this could be a particular style of imagery that is required. This piece is more complex than it looks.

Looking in closer detail the form and structure set the direction for the piece.

Bartok
In the Bartók, I believe my initial assumptions are correct. This composition is from a set of pieces called ‘For Children’ with a folk song background. While there is no evidence other than the sound I believe this is a form of lament. This is shown by the wistful pensive nature that is thoughtful and thought provoking perhaps considering a loss of some form. The structure of the piece is a simple A, B, A+, B+ and coda yet the setting is very stirring. The + signs here show a slight variation in decoration.

Bach

The Bach is from a set of small preludes published posthumously. The pieces were composed for a purpose, understood to be teaching. This one teaches arpeggiation, melodic transfer and repetition, ornamentation and a scalic coda which is shown in figure one. The structure is A, B, A+, B+, Coda. The + signs indicate a repetition in the key of the dominant.

Chopin

Chopin does not disappoint with this delightful waltz in Rondo form. This work follows a traditional structure with the repetitions showing an increasingly decorated theme.

Sculthorpe

Peter Sculthorpe is a very different force, whilst the structure of each section of the piece is ABA plus a final coda in Flowers. The structure of each part is very different with the individual format of music showing a more experiential and evocative style. Each individual section reveals constant growth through all three parts towards the dramatic end to Flowers and also shows the comparative nature of the three elements.

In comparison, the three pieces agree on an A and B format with the Chopin offering a greater variety preferring a Rondo structure.

Bartok

Quasi Adagio has a foundational two bar motif that is repeated and a second concept that lasts up to six bars forming a conclusion to the previous statement.  The initial thematic concept of a rising fifth, a falling and rising second followed by descending thirds is repeated before a secondary theme is introduced. This forms the anchor for the piece and is shown in figure two.

Bach

Prelude has a primary arpeggio theme which is repeated in different chords and inversions. The chords follow an expected tonic, dominant and subdominant progression with an occasional supertonic included. This is what I have learned to expect from a teaching piece composed by one of the Great Composers.

Chopin

The Waltz, being double the length, is more complex with the initial theme consisting of rising seconds over two bars. This is followed by a decorated tonic dominant ending in falling thirds; this full motif forming the tonic chord related to the key. This forms the theme of many of Chopin’s works of a vacillation of minor to major or melancholy to joy.

Sculthorpe

Snow has a motivic repetition of bar one with an interlude providing a climax. The motif presented in Moon occurs initially in bar one and repeats throughout the movement with alternative themes entering briefly as the light of the moon reflects intermittently.

Flowers shows two themes which contrast the primary motif appearing in bars one and two with the secondary motif in bar eleven with the primary motif theme returning in bar nineteen. The whole piece is based on an expanding atonal theme.

When focusing upon the comparisons between the pieces I have come to the conclusion that the similar progression of two themes and multiple motifs give them all a surprisingly familiar construction but this is tailored to, and flavoured by, the composer's individual flair and style.

On contemplation of the harmonic and tonal schema it became evident that;

Bartok

The Bartók is written in the key of A minor with a movement towards the melodic form using primarily the tonic and subdominant chords.

Bach

The Bach is written in the key of C major with a primary focus on the tonic, subdominant and dominant chords.

Chopin
The Chopin is in A minor with a balance between A minor and C major with the primary focus in the minor key being the tonic and subdominant and in the major key the dominant and the tonic.

Sculthorpe

The Sculthorpe is slightly different in that the focus is on an expanding tonality of A.

Harmonically the similarity of pieces is surprising given the chord basis of all of the pieces. This allowed me to reflect on my personal choices as the selection shows clear evidence of a preferred chord palate. It will be interesting, going forward, to ascertain what pieces appeal to me, and what their chordal basis is.

It is important to understand the climactic point of a piece for a valid performance.

Bartok

In the folk dance characterised in Quasi Adagio the point of destination is the second beat of bar sixteen with the balancing repose from bar twenty to the end.

Bach
The Praeludium builds towards bar nine to eleven culminating in a dominant at bar twelve resolving to the tonic. The balancing repose enters in the penultimate bar with the final chord sequence Ic - V - I.

Chopin

The climax of the Waltz is symbolised by the triplet and quintuplet as it rises to the highest note as shown in figure three. This is followed by repose in bar fifty four as the waltz draws to a close in rather an unusual fashion.

Sculthorpe

Snow reaches its climax when it has fallen and its depth shows its glory in bar eleven with the lowest note, its repose the silence as the last notes have sounded and the resonance approaches the double bar line.

The climax of Moon is in its perspective when seen from the ground. This is symbolised by the climax in bar ten with the repose again in the stillness following the final chord.

Flowers brings a climactic force in bar eleven, once again with the deepest resonance; it’s repose being the pentatonic glissando of the final bar.

With due consideration to the reference points made above that the comparisons drawn from studying all of the pieces it may be concluded that the diversity of the pieces directly compare to the requirements of the sponsors and the style du jour. Unpopular composers would find themselves literally on the bread line if they did not pander to their customers. The choice of position of the climactic and repose sections draws attention to this.

From a performance aspect the pieces hold many interesting points which are detailed in full in my published learner and educators books.