Saariaho Tonality & Harmony Flashcards
In what way does ‘Petals’ have a tonic note?
‘Petals’ in no way has a conventional tonic. It is far removed from any tonal system. However; Saariaho sometimes uses a specific note prominently during a section. This note takes on slightly greater importance as a consequence. Some argue this likens it to a tonic note.
Where does Saariaho use ‘tonic like’ notes?
The repeated low C during staves 17 to 27 become very familiar to the ear, as does the high F# that concludes nearly every phrase in this section.
Is tonality a relevant description for Saariaho’s ‘Petals’?
The reality is that this music is all about timbres. There is a case for saying some pitch is hierarchical (more important than others). But some of the music is so different in timbre to other styles that it is difficult to even describe it as ‘atonal’.
What is a ‘dyad’?
A two note chord
What is the significance of ‘dyad’ chords in relation to the ‘tonal content’ of ‘Petals’?
Certain dyads (two-note chords) D/A (stave 9), C–A♯ (stave 16) and the final C–B sound as points of ‘resolution’, perhaps because of their position at the end of sections.
How is Saariaho’s use of harmony fundamentally unconventional?
The conventional ideas of harmony are largely absent, in the sense of beat-to-beat movement between vertical pitch structures (i.e. chord progressions).
How is the harmony/chordal content of ‘Petals’ audible in the music?
The chords/harmonies are embedded in the rich timbral mixes. When a note is played, a number of ‘overtones’ also occur, but you cannot notate them in the score, as they are too specific.
What does Saariaho mean when she describes harmony as ‘horizontal’?
She used computers to analyse a note. The computer worked out all the different notes (overtones/harmonics) happening at the same time as the fundamental note. She then layered out these notes horizontally - i.e. one after another, as a melody. A good example is the section from staves 17 to 27.
