Les 100 de Roland Dyens by Roland Dyens (1955-2016) is an excellent source of repertoire for beginning composers to study artistic applications of a number of compositional techniques. This post will focus on varied repetition in On Joe\u2019s Deck, which is of the first compositions in Volume 1 of Les 100 de Roland Dyens. It is also available as an individual composition.\u00a0<\/p>
On Joe\u2019s Deck is written in ternary form (ABA\u2019). The sections can easily be identified and labeled in the score: the opening A section is measures 1-8, the B section is measures 9-16, and the repeat of the A section is measures 17-24. Examples 1 and 2 show variation in the repeat of the A section.<\/p>
In Example 1, the original figure in measure 2 of the A section (and also in measure 6) is varied in measures 18 and measure 22, both of which are in the repeat of the A section. The variation in measure 18 consists of the changing of only one note (E to G). However, measure 22 is a more elaborate variation that includes a figure that places the high G directly on a beat with a fermata and accompanied by the expressively dissonant bass note Eb.<\/p>
In Example 2, an inconclusive cadence in measure 4 (A section) is varied in measure 20 (repeat of the A section) to include a new figure that has more forward energy than the figure in measure 4. \u00a0<\/p>
The B section (measures 9-16) is a period made of two phrases<\/strong>. The first phrase is measures 9-12 and the second phrase is measures 13-16. The second phrase is a variation of the first phrase. Examples 3 and 4 show variation in the second phrase.<\/p> In Example 3, the upper voice remains mostly on the high note E in measures 9 and 10, rising to an F# one time. Additionally, the B and G are beamed as part of the upper voice. When the figure is presented again in measures 13 and 14, the upper voice rises to a G, and the B and G are beamed as an inner voice, separating them from the ascending E, F#, G line.<\/p> In Example 4, the ending of the first phrase (measures 11-12) is varied when it is repeated (measures 15-16). The pitches in measure 16 work in tandem with the marking \u201crit. poco a poco\u201d to create a seamless transition from the ending of the B section into the repeat of the A section.<\/p> Here is a link to a performance of On Joes Deck (with an optional cello part) (<\/span>https:\/\/www.youtube.com\/watch?v=ndEqNjnmNfo<\/a>)<\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t![\"\"](\"https:\/\/robertvierschilling.com\/wp-content\/uploads\/2023\/01\/On-Joes-Deck-Variation-Examples-791x1024.jpg\"){kind=spacer}
\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t