Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback

December 14 2011

Nik Brtsch opens the score of his 2010 album Llyria (Brtsch, Nik Brtsch) with a quote by the Austrian philosopher Ludwig Wittgenstein. In it, he claims that that which is most important to us is often hidden because of its simplicity and familiarity. Indeed, the real foundations of his inquiry do not strike a man at all (Brtsch, Digital Score). Following this, Brtsch raises questions about music, such as how a musical code arises and proliferates, and how dialects or slang emerge from such a code. He seems to be preparing the reader for the music that follows, which is, in and of itself, brilliantly simple, and yet complex enough that hours could be taken up discussing it. Brtsch, who works both as a solo artist and within a band setting, describes the music he writes for Ronin as Zen Funk, and elements of Jazz, Funk and acoustic Rock can be found within his compositions, as can certain elements of Zen philosophy (Brtsch, Ronin). The form of this piece follows the appearance of solos, and would look something like this: ||: Intro :||: A :||: B (x4) :||: C :|| Outro || It is the saxophone that changes the most within all of these sections, and that is what gives away the sectional changes for the most part. Though, due to the constant ostinato of the opening line in the left hand of the piano, what distinguishes different sections are often very subtle differences. The saxophone solos come about during the last three of the four | B | sections, and during the second | C | section. Due to the subtle differences that distinguish the different sections, it is fair to state that while the texture of the piece is largely stratification (due to the various rhythms and harmonies layered upon one another), there is a hint of melody and accompaniment to be found, due to the phrases in the alto saxophone line. Modul 48, the first piece on the album, is fascinatingly simple in many ways. Rhythmically, it focuses almost exclusively on a single rhythmic pattern (Figure 1). This

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

Figure 11:

rhythmic palindrome (there are two palindromes within the bar, as shown by the lines drawn on the example) is one that is constantly in play throughout the piece, and creates a perceived compound meter, though the bass is (for the most part) functioning in 6/4. This piece could be seen as a study of the dotted eight note, for upon closer inspection it becomes clear that each note in the rhythm in Figure 1 is worth exactly that. The drums confirm this, where every note played on the ride cymbal is held (including rests) for the value of a dotted eight. The accents given on the high metal shaker (the accents are not show in the score, but are plainly audible) also allude to a compound meter (Figure 2). Indeed, the only instrument that solidly grounds the piece in 6/4 Figure 22:

is the bass guitar, which regularly hits 2, 3, 5 and 6. The effect of this is that, taking the perceived meter into account, the bass seems to have a highly syncopated line, while, ironically, it is really the rest of the instruments that do. The predominant melody of the piece features phrase elision that is so common that it often becomes unclear where phrases of the entire band begin and end (Figure 3). Figure 3 shows where individual phrases end (shown by vertical lines drawn on the example). Due to the phrase elision, the tonic will only fall on beat one on the ninth repetition, and there will be one bar in every nine
1 2

Begins in mm. 1 Begins in mm. 6 in the Percussion voice

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

bars that does not have a tonic in it. What makes this so interesting is that the Figure 33:

phrase elision counteracts the rhythm that Brtsch took painstaking efforts to notate as a clear palindrome. Due to the phrase elision, the melodic line cycles through the rhythmic phrase, with each note falling on a new beat in successive bars. This is an example of Brtsch, as a composer, taking something that is excruciatingly simple, something that would normally not strike a man at all, and bringing it to the forefront of the listeners attention. Figure 3 makes its first appearance at the very beginning of the piece, though it is offset by one beat in the right hand of the piano. This offset is revealed in the repetition, where the left hand of the piano (as well as the saxophone and bass guitar) come in on beat one and create a fascinating echo effect. It is worth noting that in this introductory section (mm. 1 5), the meter is 6/4 up until mm. 5, where it switches to 3/4. It is this change of meter that allows the melody to come back in the repeat displaced by only one beat (in the right hand), instead of by 4 beats. This was a clearly structured attempt by Brtsch to not only minimize the phrase elision through the repeat, but in doing so keep the echo effect to a still
3

Begins mm. 1, in the Right Hand of the Piano

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

recognizable minimum. There are two trichords in use during the piece that are also worth mentioning. Trichord A (Figure 4) comes about for the first time in mm. 6, and replaces the opening melody in the right hand of the piano, while the left hand continues the melody. This trichord holds a very prominent Figure 44:

place in the rhythmic harmony of this section of the piece, for it works to ground the piece in the simple meter it is notated in. This figure is repeated in each bar until the second ending (mm. 22) when it is pseudo-harmonized with Trichord AI (Figure 5). Trichord A follows the integer structure of { 7 9 4 } (+2 +7), and as such, when transposed to zero, would be { 0 2 9 }. Figure 55:

Trichord AI follows the integer structure { t 0 7 } (+2 +7), and was such, when transposed to zero, would also be { 0 2 9 }. Thus, we can say that they are the same trichord, the difference being that Trichord AI has been transposed down a Major 6th. Though it is not audible, it is interesting to note that the alto saxophone in Eb would also be transposed down a Major 6th from written to sounding pitch. Mm. 22 is the exchange of dominance between the two trichords, and even when the tonal center changes from D Dorian to Db Major. The harmony then returns to D Dorian in mm. 34, and
4 5

First appears in mm. 6 Mm. 22

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

the modal modulation occurs simply by the reintroduction of Trichord A. The saxophone is what gives away the most obvious sectional changes, where it takes on a complete phrase group in section | A |. This phrase group encompasses almost the entire section, and the first sub-phrase (Phrase a) can be seen below in figure 6. Figure 6 shows us how Figure 6.16:

the inclusion of the phrase brings about a new section, with the piano bass and drums following. The reason that I think the saxophone is what is leading this transformation is that it is in the forefront of the listeners attention. The other instruments are following while its melody pushes the piece forward, in a way not seen before. At the same time though, this is evidence of the timbre of stratification in this piece, because if you look at the right hand of the piano in mm.6 (above), you will notice that it is the aforementioned Trichord A (Figure 4). What is so special about this is that it is used, in conjunction with the opening melody, to ground the piece and provide a frame of reference for the time, but also as groundwork for the solos that follow, that become an integral part
6

Mm. 6 After the first two bars, the bass and piano continue in a similar fashion. As such, I did not include them in the following measure in order to save space.

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

of the structure of the piece. In mm. 25, Trichord A1 (Figure 5) returns, this time in the sax line. This is where the lines between the melody of the piece and its accompaniment are truly blurred. Due to the timbre of the saxophone, as well as its placement in the mix, it is at the forefront of the listeners attention, even through it is just repeating Trichord A, which we have thus far assumed to be the accompaniment line! This shows how the sense of melody and accompaniment in this piece is created purely by timbre, or by a selective use of stratification. This is also one of the only instances where the piano actually plays chords, though they do not really fit in harmonically nor with integers, and sound like they function more as controlled clusters than anything. It is worth noting that the phrase ends after the first dotted quarter note of the third measure (as indicated by the line drawn on the example). However, this is not phrase elision in the strictest sense, for it only appears so in the written meter. In fact, it synchronizes perfectly with the perceived compound meter. Phrase a1 (Figure 6.2) picks up where Phrase a left off, namely on the upbeat of beat 2 (of the written meter). This is a simplified version of Phrase a (it a measure shorter and doesnt move up to C), and as such the argument could be made that this is the first sub phrase of the group, the antecedent phrase, and Phrase a is the consequent phrase. What is interesting about the ambiguous phrase elision at the beginning of this phrase is how Phrase a1 does not begin until Trichord A has struck its last note. This is an example of the interaction between the written and perceived meters, for Trichord A is in the written meter.

Figure 6.27:
7

Mm. 6

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

The next sub phrase, Phrase b (Figure 6.3), begins on the downbeat of both the written and perceived meter. It follows a melodic structure that is somewhat similar to Phrase a, though Figure 6.38:

its context is such that it could not be justifiably labeled as Phrase AII but rather follows in Phrase As footsteps and takes on the form of a consequent phrase, and Phrase bI (Figure 6.4) would be its antecedent phrase.

What is interesting about these sub phrases (and the way they can be grouped, namely into
8

Mm. 8

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

Phrase a and Phrase aI, and Phrase b and Phrase bI) is that they follow the exact same rhythmic structure, with only a few melodic variations. But these subtle variations are enough to show two distinct sections within the phrase group, both of which fulfill the same function. What is fascinating about these is how the regular phrase order has been disrupted, and the antecedent phrase follows the consequent phrase. This throws off the context of each phrase, for the middle two phrases could be seen as the antecedent and consequent phrases. Figure 6.49:

We have seen how timbre creates the sense of texture in this piece, so it is important to understand what exactly is happening with the individual voices and see how they interact. Holding down the minimalist groove are the bass guitar and the drums. The bass line is generally very sparse, and moves between the written and perceived meters, one bar in 6/4 one bar in the compound meter. Some of the hits are held, some are briefly articulated and stopped short. The EQ on the bass is fantastic, and as such no effects are added. Using the metaphor of a musical landscape, it remains in the background for the vast majority of the piece, occasionally embellishing a piano or saxophone phrase. The drums go hand in hand with the bass, making sense out of the articulations and legato phrases. The drums hit most often on the 1 and 3 of the perceived meter, and follow the pianos
9

Mm. 10

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

study of the dotted eighth note, even experimenting with different collections of the hits (examples of this can be seen in mm. 13, mm. 25). Interestingly, the drums (on the ride cymbal) rhythmically mirror the pianos opening line, which is carried through the piece. It is only during the saxophone solos that the drums relinquish this rhythm. There is a little bit of reverb added to the drum track in this piece, but little enough that it is only really noticeable on some of the louder hits on the snare, high tom or on rim shots. The headroom created by the addition of this effect helps support the piano and saxophone in that it contributes to the etheric, distant mood that is created. The drums sit relatively even with the bass in the mix, and as such the pair work to hold down the groove, all the while creating a solid, cohesive musical landscape and remaining relatable to the piano and saxophone. The piano sits at a relatively even level with the saxophone for the majority of the time, though the piano is the instrument that shows the most dynamic variation of them all and so there are moments when it fades into the background (it drops to mp) with the drums and bass while the saxophone is in the forefront of the listeners attention. There is a selective use of reverb on the piano. It is more prominent in the opening phrase, but then cuts out in areas such as mm. 26, when the piano plays chords. This application of the effect serves to greatly complement the legato lines of the saxophone. The saxophone sits very high up in the mix, right in the forefront of the musical landscape. The EQ on the sax is great and this, combined with a little bit of reverb on the legato phrases solidifies the distant, almost etheric feel of this piece. The piano and saxophone work together to solidify the distant feel, the etheric timbre of the piece. It is, however, specifically the steady dynamics of the saxophone, as well as the wavering dynamics of the piano that combine to create

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

solidified musical textures, where the same phrase can often be both the melody, as well as the accompaniment. An example of this would be Figure 4, which appears first as an accompaniment in the right hand of the piano in mm. 6, and returns as the melody in the saxophone line in mm. 25. There is, however, an example of how, despite dynamics and the timbre that can be derived therefrom, phrases can inherently be a certain texture. This can be seen in the saxophone phrases (Figures 6 9). This example shows us that, despite all analysis on the part of dynamic variation, the nature of the musical phrases themselves are not to be underestimated. There is a musical effect in play in this piece that also serves to help create the feel, Figure 710:

namely an echo effect. This comes into play most prominently introduction (Figure 7), but returns in mm. 34. The effect is created through the offset of the opening phrase by one beat. This effect serves largely to disorient the listener, for the first time through this section the piano begins on beat 2, and so the listener is not shown where beat 1 falls until the second through. And so, in conclusion, we can see that rhythm plays an immensely important role in this piece, and is somehow tied in with every aspect that can be discussed. There is a constant battle
10

Please note that this is taken from the second time through the first 5 measures in the score.

10

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

between written and perceived meter taking place in this piece, where it is written in a simple meter, but sounds in a compound meter. One could even go so far as to call it a study of the dotted eighth note. The written and perceived meters also interact with each other in this piece, namely in the way of the seeming phrase elision in mm. the group of saxophone phrases (Figure 6). Phrase elision often makes it difficult to distinguish where phrases begin and end, for example in the opening phrase of the piece (Figure 3). Though the main texture of the piece is stratification, the dynamic changes and timbres that can be inferred from them sometimes imply a texture closer to melody and accompaniment. As such, this is a fascinating piece to look at when studying the effect of timbre on texture. What makes this piece (and indeed any other composed by Brtsch) so fascinating to me is how each and every detail is somehow related to the rest of the piece, and nothing is ever done in vain.

Subjects & Diagram

Timbre Eerie, somewhat distant - created by reverb(?) Instrumentation - Piano
11

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

Horns Electric Bass Percussion Drum kit

Rhythm FASCINATING rhythm - Palindrome within a palindrome - The piece is essentially a study of the dotted eight note o Drums really show the study of the dotted eighth Accents of the high shaker (specified to be from the Meinl Percussion company) solidify the compound meter feel, almost a triplet feel o Gives the illusion of a compound meter (2 bars of 6/8 for every bar of 6/4) Written VS perceived rhythm Melody Melody is treated interestingly, as both the melody and the accompaniment and different variations of each are used The rhythmic phrase ends after a bar (musical example), but the melodic phrase almost implies an additive rhythm of 6/4 + 3/16 (musical example) phrase elision - Due to this, the melodic line cycles through the rhythmic phrase, with each note falling on a new beat in successive bars - Assuming the melody begins on beat 1, it will begin on beat again on the 9th repetition Phrase a, mm. 6 Gets transposed up a -3rd after the introduction of Trichord A (mm. 22), which is immediately followed by Trichord A1 Phrase b mm. 10 Phrase b1 mm. 12

Diagram
Form Measure Phrase Number of ||: Intro :|| 1-5 Opening Phrase Debatable ||: A :|| 6 - 24 Saxophone Phrases a, aI; b, bI 3+2 & 3+2 ||: B (x4) :|| 25 - 33 ||: C :|| 34 - 42 Saxophone Phrases a, aI; b, bI return || Outro || 43 46

12

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

measures Key Intervallic

(phrase elision) D Dorian Trichord A, Trichord AI in the second ending Trichord AI Controlled clusters in Piano First time through, Piano RH play Trichord A, second time plays opening phrase

Rhythmic

Texture

Written vs Perceived (Written in simple meter, sounds in compound meter). Rhythmic Palindrome How can Timbre help create texture?

Phrase elision, or not? Written vs. perceived Drums follow the pattern of Piano

Piano RH mimics LH rhythm

Dynamics & Timbre implied from them suggest Melody & Accompaniment , but the dynamic variation of the Piano that follows creates something closer to Stratification Echo effect return the second time through, where the opening phrase is offset by one beat. End

Notes

Second time through, echo effect comes into play (the listener doesnt know it, but the first time through the phrase started on beat 2)

Works Cited
Brtsch, Nik. "Modul 48." Rec. 2010. Llyria. Nik Brtsch's Ronin. Manfred Eicher, 2010. MP3.

13

Rudy Bless Nik Brtschs Ronin Modul 48 Analysis Final Paper Theory Harmony & Analysis IV Petter Wahlback December 14 2011

Brtsch, Nik. Nik Brtschs Ronin Llyria Score. 2010. Zurich: EMC Records, 2010. Digital. "Nik Brtsch." Nik Brtsch. Web. 14 Nov. 2011. <http://www.nikbaertsch.com/nik-baertsch-s/>. "RONIN." Nik Brtsch. Web. 14 Nov. 2011. <http://www.nikbaertsch.com/ronin/>.

14