Mikrokosmos #148 (or 3X3=maj/min7)

"According to Wikipedia, Béla Bartók's composition for piano Mikrokosmos Sz. 107, BB 105 consists of 153 progressive pieces in six volumes written between 1926 and 1939" is not a very creative way to begin a blog, but it is helpful in analyzing "Six Dances in Bulgarian Rhythm". See, it turns out the "Six Dances" are not a complete work in themselves, but merely the columniation (pieces 148 to 153) of a larger work. "The individual pieces [of Mikrokosmos] progress from very easy and simple beginner etudes to very difficult advanced technical displays, and are used in modern piano lessons and education."

The first dance (148) starts off as an E major scale: E - F# - G# - A - B - C# (oops) D and D# together. We expect the scale to resolve an octave above the beginning E, but Bartók stops short. In addition to not completing the scale, he also creates tension by resolving on the major 7th and the minor 7th together, which when combined form the dissonant interval of a minor second. As the entire series served as content for piano lessons (some titles in volume one include "Dotted Notes," "Repetition," "Syncopation," "With Alternate Hands," and "Parallel Motion") I have to believe this broken scale is a deliberate attempt at irony. It is a parody of the basic scales which every beginning piano student is forced to learn and it may even be a parody of an earlier piece in Mikrokosmos itself.

Wikipedia also tells us that, "Bulgarian rhythm is one in which the beats in each bar are of unequal length. For example, the first dance (148) is grouped into 4+2+3 quavers in each bar." I can't hear that. I hear a compound rhythm of three beats per measure with each beat dividing into three, leading me to conclude the piece is in 9/8 time. Either way, it's an irregular meter for sure.

After three repetitions of the mutated major scale we discover that what we first thought was the melody takes a backseat to a higher register and more rhythmically prominent melody. The first three repetitions have already firmly established E as the tonic and as the higher melody takes over it starts on an E. However, the two voices collide as the new melody moves in a descending motion and even more significantly, it moves within the E minor scale. This struggle between a minor key melody and a major key harmony lasts ten measures (or more specifically a five measure unit which is repeated once) of 9/8 time.

And this is what Bulgarians dance to???

The left hand then shifts its rising major scale down a major third to C as the minor melody rises a minor third to G. This cacophony of sound and fury lasts for four measures, signifying nothing.

Then the left hand moves to A for a measure or two, after which all sense of a tonal center leaves the building. The beautifully complex rhythm also falls apart, as if the dancers need a minute to catch their breath. I lose all interest in what Bartók is doing at this point because I can't make heads or tails of it. It's a shame that I can't wholeheartedly endorse this piece (especially since it's only one minute and forty-four seconds long) but I do enjoy the first twenty-seven seconds.

Eventually the E tonic is reestablished (through much E octave banging by the left hand in the low piano register in the last ten seconds of the piece) but it's too little, too late.

Too bad.