Aural Analysis – Romantic Flight (John Powell)

Pitch

The piece is played in a major tonality, beginning in B major but does modulate to other
major keys throughout the piece. The core melodic motif is introduced as the very first thing
listeners hear. Played by solo violin at a high-mid register. The range is relatively open
moving from an initial mid register to high towards the middle of the theme. The melodic
contour rise and falls throughout the piece, testament to its expressive quality and tends to
plateau in sections with the highest pitch to this out. This introduction on violin is supported
by a soprano choir, all singing softly at a high register to provide support against the isolated
violin. They follow the general shape of the melody as the harmony moves up and down in
keeping with how the melody moves. The harp then joins at the middle of the motif and
plays broken arpeggios respective to the chord.
The motif is then repeated by brass and string sections at a lower register, strings at one
octave below the previous violin solo. There is no variation on the theme, but it does pass
through instrumental parts and begins to swell to a higher pitch as the motif passes to flutes
and higher woodwind.
As this motif is played through once the orchestra is in unison as it builds to the next section.
The build begins with a quick 1 bar passage as the dominant passes to the 6 th , then is
repeated an octave higher, then dominant passes to the tonic to the 6th before an ascending
passage starting on the tonic is played to then modulate to another key (Ab Major).
In this next section a new theme is introduced. This melodic motif is a repeated passage
played in sequence with a sloping melodic contour. It appears initially in the violins, played
at a high register and is later supported in unison by brass and woodwind sections. Piccolo
and first violin part play above the rest of the orchestra at a pitch higher than any other
instrument. The motif is supported harmonically by all the orchestra. Low brass instruments
play crotchet broken chords underneath the melody while choir provide a descant, a kind of
walking bass part. The flutes play an ostinato just out of reach (pitch-wise) of the rest of the
orchestra that continues through the section. At the end of the section a passage is played
by majority of the orchestra, descending by steps which then modulates to Db major.
In this section the original motif from section 1 is restated by flutes and all of brass section.
The supporting string parts play a melodic ostinato, alternating quavers by interval of a 4 th
over the chord and underneath the lead. There is a final swell in pitch at the final parts of
the section as all instruments play in their highest register and choir provide another
descant.
The section then climax’s and finishes on a held tonic chord. Subsequently the harp plays a
finishing passage that is atonal, in the key of Gb major but finally resolves to the tonic.
Duration
The piece is in triple meter at an initial time signature of 3/4, at a relaxed tempo that
emphasises playing freely and expressively. The opening, played on solo violin, is played with
slight amounts of rubato but is pulled back into a uniform time as other sections of the
orchestra join. The original motif that appears consistently throughout the piece is
composed of crotchets, quavers, dotted minims, and a frequent use of dotted crotchet and
quaver pairings. The main motif moves along swiftly yet still being at a slower tempo.
Appoggiatura are scattered throughout this motif to provide rhythmic diversity and bring
expressive quality to the piece. Ascending crotchet passages and sustained dotted minims
bring the pace of the music back down and give the piece its reflective feel. Also
contributing to this is the legato playing of all instruments, constituting a smooth movement
between rhythms. Syncopated does occur but is moderated with, syncopated quavers only
occur on upbeats as means of introduction to the next theme rather than rhythmic contrast.
Similarly in supporting bass lines an ascending crotchet pattern is played that is then
followed by a quaver on the upbeat to rebegin the pattern.
While the core themes are played the beat is definite but does lose its certainty around the
end of sections as slight rubato is placed on the end of phrases. The next phrase then
returns to A tempo. Also while these themes are played there are 3 main rhythmic layers.
The first is the melody or the main motif, the second the high woodwinds playing ostinatos
that begin off the beat, and the final is the supporting layers playing unsyncopated crotchets
to provide a definite beat behind the complex rhythms.
There are changes in meter occasionally, first seen at 0:30 as the time signature changes to
2/4 for one bar then back to 3/4.
The second theme makes use of shorter rhythms compared to the first and last sections.
Predominately the use of quavers and scarce use of anything longer than a minim.

Dynamics and Expressive Techniques

Given the pieces expressive and reflective feel, it would be expected to be overflowing with
dynamics and expressive techniques. The piece makes heavy use of slurs and grace notes to
connect phrases and give unique expression to the music. Trills are used in instruments of
high register to provide variation above sustained notes or phrases. Pizzicato in the double
bass part naturally accents its notes, accentuating the bass line it provides for the piece.
Ascending glissandos in string and woodwind parts heighten the reflective feel of the piece
and provide extra moments of legato. Cymbal rolls after builds in dynamics or pitch bring
further attention to and make a more powerful climax.
Dynamics also play a crucial role in the piece. There is broad dynamic range, expected of a
piece wishing to possess the expressive qualities that it does. The piece begins pianissimo
giving space for the music to build. It gradually crescendos across the introduction to a
dynamic level of mezzo piano in the 1st section. Across the second section there are dynamic
swells that give the piece its expressive feel, as mezzo piano crescendos to forte and
diminuendos again to mezzo piano. Each section then crescendos into the next to create
dynamic contrast and emphasise certain main themes/motifs.
Structure
The piece is composed inn ternary form that begins and ends with slight variations. Solo
violin begins the introduction which states the original motif with minimal harmonic
support. The first section then begins (section A, at 0:21). Brass plays the introduced motif
once through with increased harmonic support. A passing phrase is then played at the end
of the section that creates a smooth modulation and transition to the next section (section
B. at 0:50). This section presents a distinct theme that is different from other sections. This
creates musical contrast. Then finishes with a similar passing phrase to the previous section
that once again allows for a smooth modulation and transition. The final section is a
variation on section A (1:11) that restates the original motif with different instrumentation,
helps to develop unity throughout the piece. The addition of an outro or coda passage then
follows to completes the piece.

Timbre
The piece is titled ‘Romantic Flight’ pointing directly at an expressive and emotive feel to the
piece. Use of traditional orchestral instruments is extremely effective in producing such a
sound. Choice of instrumentation is deliberate as the timbre of one complements the other.
The piece begins reflectively with a solo violin piece accompanied softly by minimal
instrumentation. The use of rubato and dynamic variation assist in creating this free and
relaxed feel that allows for reflection. The piece then becomes more substantial in the
second section but retains its feelings of expression through playing of instruments with
musical emotion and a balance between all instruments.
As the piece develops it loses the reflective tone but adopts a fantastical element. A feeling
of wonder and playfulness that occurs from the lightly placed woodwinds on top of the
orchestra, the expressive movement of the violins around the motif, and the magical and
open voices of the choir that fill the holes in the orchestra creating a sound that is rich in
musical flavour and deep in its complexity.

Texture
The texture is homophonic throughout the piece’s entirety, save the very 2 opening bars.
The piece begins monophonic with the solo melody of a violin but is swiftly captured by
supporting harp and choir parts to become homophonic. In this introduction texture is
deliberately thin as to give room to develop. The first section increases in texture with the
playing of new instruments (double bass, viola, trumpet, trombone, flute, piccolo, etc.). It
then slightly thins towards the end of the section (0:37) as woodwinds and strings play
expressive melodic parts but returns to a build in texture as the piece arrives at the next
section. This new section is extremely depth in texture with use of a full of orchestra of
instruments playing multiple layers of sound. Finally, the climax occurs in the third and final
section. Here the texture becomes the densest with a wide range of instrumentation and
register. Following, the texture thins during the piece’s final diminuendo, as harp and violin
close off the passage over a gradually softening orchestra.