Alba nera by Roland Dyens (1955-2016) is written in ternary form, and ternary form is used for many other compositions in Les 100 des Roland Dyens. Alba nera is the last composition in volume 1 of the two-volume set, and it is also available as an individual composition. In this post, I’ll mention a few things about repetition and variation in the opening and closing A sections of Alba nera. Of course, so much more could be said about not only the two A sections, but also the contrasting B section.

Here is a quick overview of the form of Alba nera: A section (measures 1-28), followed by a contrasting B section (measures 29-52), which is followed by a varied repeat of the A section (measures 53-80). While this form is very common, Dyens’ unique creativity is expressed in the music that he presents in this typical form. As I mentioned in a previous blog post on Alba nera, the fifth string, which is usually tuned to A, is instead tuned a whole step higher to B.

Example 1 shows the first note of the melody in measure 3 and a varied repeat of the beginning of the melody in measure 15. The variation of the beginning of the melody is actually an anticipation that begins in measure 14 and is tied into measure 15.

Example 2 shows a few melody notes that are changed in the repeat (measures 16 and 20). These changed notes are striking to alert listeners and provide a little interest in what is otherwise clearly repeated material.

Measure 66 has not only the first example of rasqueado (strumming), but it is also where eight measures are omitted in the varied repeat. The missing measures are measures 15-18 in the opening A section. 

Example 3 shows the final measures of the composition (measures 77-80), which are a varied repeat measures 75 and 76.  At the end of the composition, they are played as harmonics for the first time, the notes from both the melody and accompaniment are combined into one line that fades into triple pianissimo.