Music 251A Chamber Music Profile No. 2: Accompaniment

Each profile will highlight a specific problem of orchestration for chamber ensemble. The accompaniment is not merely "everything else that is left over," since there may be many parts to the accompanimental fabric. For example: sustained chords may be one layer, while some figuration may be another. the accompanimental whole may include a fully independent obbligato part which could rise to the foreground. In fact, any fragment of the accompaniment may become foreground as part of the developmental process; and, consequently, a foreground may descend to the level of accompaniment with some intervallic or other modification.

A common misconception is that the accompaniment provide primarily harmonic support. Except in rare cases, the foreground carries the tonal identity by itself, and the accompaniment may provide more rhythmic and textural support. This "activation" of the texture has a direct influence on the perception of pitch density, which may affect the varying dramatic personnae of a given foreground.

In addition to the extended examples below, we will address the relative registral position of accompaniments as a means of highlighting the foreground. The sense of low vs. high in the foreground may be defined by the position of the accompaniment. Also, when the accompaniment comes in, whether before, at the same time, or after the entrance of any foreground will be addressed in short references to the scores.

  • 1. Repeated chords with a contrasting texture:
    Schoenberg, Pierrot Lunaire, "Rote Messe," P. 92.
    Stravinsky, L'Histoire du Soldat, "Marche Royale," P. 19.
    Wagner, Siegfried-Idyll, after introduction of the theme, starting P. 2.
  • 2. Repeating, similar chords, subdivided as a rhythmic complex:
    Dvorak, Serenade No. 1, Movement II opening, P. 10. Foreground is reinforced after the double bar, and the "Trio," (P. 12) replicates the process with shifting chords.
    Stravinksy, Pribaoutki, "Kornilo," P. 7.
  • 3. A static accompaniment with obbligato figuration (english horn in the first, clarinet and bassoon in the second)):
    Pribaoutki, "Nataska," P. 10.
    "Pokovnik," P. 12.
  • 4. Ostinatos with timbrally contrasting forground:
    Dvorak, Serenade No. 2, "Finale," nineteen measures after the opening, p. 99.
  • 5. Sustained chords for texture one with a contrasting complex:
    Pierrot Lunaire, "Eine blasse Washerin," P. 74.
  • 6. Overlapping sustained chords with fragmented foreground:
    Webern, Concerto, Op. 24, Movement II, P. 8.

    With regard to the relative strength of accompanimental support, there are a number of global factors to consider:

  • 1. The doubling and spacing of the chordal support.
    Doubling at "best intervals" by the Hindemith definition will increase strength of chords. Octave doubling would be strongest, followed by fifth, etc. going up he harmonic series.
    Spacing tends to be a matter of stretching at the extreme registers.
  • 2. Amount of space allowed for the foreground.
    Accompaniments which interweave with a forground will partially obscure it.
    Another contributing factor is the pitch density of the secondary materials.
  • 3. Perception of foreground as figuration or melody, and the relation of that to the type of accompaniment.
    A sustained, slow foreground would provide a greater contrast than an active foreground with figurative elements.
  • 4. Changes in either element- the same foreground may have a number of different accompaniments or vice versa- the varied registral placement of either may also contribute to overall forward motion.

    • Updated, October 15, 2003.