7/29/2019 Describe the Use of Rhythm & Melody in Berlioz, Cage & Rag Bhairav

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Rachel Yates

Compare and contrast the use of rhythm and melody in Berlioz, Rag Bhairav and Cage.

There are several ways in which these three pieces are melodically similar. All three pieces do not feature a

small range. Indeed the overall range is 3 octaves in Bhairav, a 9th

in Berlioz and is also large in Cage. However,

both Berlioz and Cage do feature conjunct melodies, evident by intervals no greater than a 3rd

in the former and

the first 8 bars of Sonata III in the latter piece. The three pieces also showcase ornamentation. Indeed, there are

trills in bar 120 of Berlioz and bar 36 of Cage and decorative semi quavers in bar 132 of Bhairav. Similarly,

Berlioz and Cage both have grace notes such as bar 27 in Berlioz and bar 4 in Sonata II of Cage. These two

pieces also have clear performance markings. The arco and pizz in Berlioz and Piu Mosso in Sonata III of

Cage demonstrate this. In both Berlioz and Cage, there is use of chromaticism. This is apparent in bar 49 of

Berlioz and bar 2 of Cage. Both Berlioz and Cage both have sequences. This is evident through bar 16 in Sonata

I of Cage and the descending sequence in bar 202 of Berlioz.

However, the pieces have some melodic differences. Unlike Berlioz and Cage, Rag Bhairav is reliant upon

melodic improvisation, or the rag. This particular rag has a flattened 2nd

and 6th

which can perhaps be contrasted

with the falling 3rds and 6ths featured in Berlioz. The three pieces are also different in that Cage is reliant upon

props. Indeed there are three types of mute: muted, unmuted and partial. This can be contrasted with Berlioz

who adopts an orchestra, with the use of clarinet and viola solos and Rag Bhairav, whose soloist is a Sarangiplayer. Cage is also different in that it has elements of pentatonicism and arch-shaped melodies, such as bars 15-

16 of Sonata I.

There are several ways in which the three pieces of rhythmically alike. This is evident through Cage and

Rag Bhairavs use of fast-paced notes. A use of sextuplets in bar 16 of Sonata III and line 26 of Rag Bhairav

show this. The pieces are also similar through the use of dotted rhythms, such as bar 4 in both Berlioz and line

29 in Rag Bhairav. Both Berlioz and Cage feature tempo changes, such as the allegretto section in Berlioz and

Sonata shifts in Cage. Berlioz and Rag Bhairav can be seen as similar through their florid elaborations. An

example of this is the semi-quaver triplet at bar 70 in Berlioz. Similarly, the displacement of stresses in Cage

creates an obscure pulse and irregular phrasing. This can also be seen in Rag Bhairav, where there are irregular

phrases and Alap translates as rhythmically free.

However, there are rhythmic features of these pieces that make them different. Unlike the other two pieces,

Cage features frequent changes of metre, such as 2/2, 4/4 and 5/16. Furthermore, Berlioz is in the compound

time of 6/8: different to the other two. What also distinguishes Cage is its use of ragtime-like syncopation, as

opposed to Berlioz who utilises the Saltarello rhythm.