176
3. Rhythmic diminution (Rv3). Diminution of the time-value of certain pitch(es) in the original version while the pitches of the original pattern remain unchanged (e.g.,
to
In order to illustrate how these above-defined variation techniques function within the formal structure of Jiao-shi music, four excerpts are transcribed and discussed as follows.
The first excerpt is a vocal solo in the chanting style (type 3 above) with the accompaniment of er-hu, luo, and po. The beginning portion of a fifteen-minute chanting session is transcribed. The unit-pattern consists of three basic motifs, indicated in the transcription by letters a, b, and c. All three motifs are derived from a two-note motivic germ of the pitches la and mi. Motive a is the most static, having more narrative character than the other two melodically more active ones. The third motif, with its strong cadential effect from pitch ti sliding down in vibrato to la, indicates the completion of a unit-pattern. The transcription includes four versions of the unit-pattern, A1, A2, A3, and A4, each gets progressively shorter, from forty-seven quarter notes in A1 down to thirty-eight, twenty, and sixteen in A2, A3, and A4 respectively. The fourth pattern is the most compact and therefore regarded as the basic version of the unit-pattern from which the other three patterns are derived. The three motifs in the unit-pattern are strung together in two ways: a-b-c and a - ||:b-c:||; the latter can be regarded as yet another variation technique based on the re-arrangement of the order of motifs within the unit-pattern, creating extension of the pattern.
176
3. Rhythmic diminution (Rv3). Diminution of the time-value of certain pitch(es) in the original version while the pitches of the original pattern remain unchanged (e.g.,
to
In order to illustrate how these above-defined variation techniques function within the formal structure of Jiao-shi music, four excerpts are transcribed and discussed as follows.
The first excerpt is a vocal solo in the chanting style (type 3 above) with the accompaniment of er-hu, luo, and po. The beginning portion of a fifteen-minute chanting session is transcribed. The unit-pattern consists of three basic motifs, indicated in the transcription by letters a, b, and c. All three motifs are derived from a two-note motivic germ of the pitches la and mi. Motive a is the most static, having more narrative character than the other two melodically more active ones. The third motif, with its strong cadential effect from pitch ti sliding down in vibrato to la, indicates the completion of a unit-pattern. The transcription includes four versions of the unit-pattern, A1, A2, A3, and A4, each gets progressively shorter, from forty-seven quarter notes in A1 down to thirty-eight, twenty, and sixteen in A2, A3, and A4 respectively. The fourth pattern is the most compact and therefore regarded as the basic version of the unit- pattern from which the other three patterns are derived. The three motifs in the unit-pattern are strung together in two ways: a-b-c and a - ||:b-c:||; the latter can be regarded as yet another variation technique based on the re-arrangement of the order of motifs within the unit-pattern, creating extension of the pattern.
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