Meditation IV 

Rhythmic Displacement and Rhythmic Variations

 

An essential element to create more intricate layers and create different combinations that would not normally happen if everything stays on the beat. One of the main examples of this is Solfeggio and De Pacem Domine by Arvo Pärt. These compositions will have a dedicated section anaylsing them so this meditation on the topic will serve as an introduction. I will rhythmically displace voices from the previous example to create a steady movement. This will create unique harmonies, accentuating different sections and voices. Further meditations will explore continuations of this idea.

 

The second idea that came from this meditation and analysis of certain works is to augment or diminish rhythmical values to create intricate lines that constantly overlap. This is the backbone of Cantus In Memoriam Benjamin Britten, where basically every line enter after each other, playing the same structure in different speeds with having their own T-voices. 

 

A third idea could be a Canon, whihc has been used over centuries, creates alluring movements. This approach has been implemented in many Pärt pieces.

 

Rhytmic variations are very effective for still rhythms. However, in the upcoming meditations and chapters, I will be exploring possible rhythmic constructions, their variations and how Pärt uses them to create more interesting melodies. In most cases Pärt's rhythmic construction comes from the text and for instrumental pieces it seems more intuitive, creating one pattern and sticking to its variations.


 To create a strong, memorable meoldy that could be connected with feelings and people with these methods, or any method, is one of the most essential and in the meantime, most difficult task as a composer. 

 

In this chapter, I will explore various potential applications of Tintinnabuli concepts, drawing primarily from my own reflections, meditations on the subject. Additionally, I will examine certain elements found in Arvo Pärt’s works, where I perceive a uniquely intricate and evolving compositional process, usually very well structured but hidden behind the beautiful and natural flow of his music. Rather than striving for a perfect imitation of Pärt’s style, my goal is to engage with these techniques as a source of inspiration, using them as a foundation for creative exploration or additions to pre existing compositions.

I believe that Pärt himself continually refined and expanded the Tintinnabuli technique, his approach to silence and a unique minimalism over time. Beginning with Für Alina, he gradually developed the approach into a more complex and versatile system, applying it to larger-scale works with multiple voices, experimenting with different methods of constructing the M-voice and T-voice, and integrating text as a structural and rhythmic element. Furthermore, his use of symmetry in form, orchestration, and harmonic development demonstrates the depth and flexibility of Tintinnabuli as an evolving compositional language. I believe these developments that has evolved over time, could be used highly efficiently in modern music. In this chapter, I will consider these aspects while presenting my own interpretations and applications of the technique.

Tintinnabuli Part II

Meditations

Meditation II

Different destiantions for the M-voice. Pari Intervallo

 

Would it be possible to aim for different notes of the triad as destination? This thought occured to me and while thinking of this idea, trying to create M-voices I have found this different M-voice design in Pärt’s music. I have transposed it to A minor. The M-voice in this scenario has individual phrases, each one of them starts and ends on a different member of the tonic triad. Then the M-voices start and end in different places within the same phrase. There is structure and balance here. After reaching to the highest note of the triad, we start getting every pair of notes downward until it rests on the tonic pitch.

This method sounds interesting with different T-voice accompaniment, altering the mood of the tonality and creating different layers.

 

Before I start explaining the meditations, an introduction on 4 way combinations for creating M voice ideas. 4 modes:

descending away

ascending from 

ascending towards

descending towards


A version could  also be applied while increasing the number of notes, creating an interesting pattern. I have made the permutations of these 4 modes as 1234 - 2341- 3412 - 4123. These possiblities will be the basis of following ideas.

 


Symmetry could be applied while creating with combinations, which is a very common aspect of Pärt's music.*

Meditation III

Creating additonal M-voices.

 

It is possible to create additonal M-voice in relation to the original one, generating other T-voices in conclusion as well. In Pärt's music, there are numerous examples of additional M-voices in 3rd or 10th intervallic relationship to the original M-voice. I will use a simple ascending towards and descending towards structure, increasing phrase length every 2 structure.

 

The first version, each T-voice follows the line below in close position, except the lowest voice, following one above close position(8vb) to give a more stable foundation.

 

 In the second example, I have adjusted the voices, introducing alternating T-voices for the middle lines and the outer lines have switched open position, creating a richer harmonic structure and inner movement.

 

With this meditation, I have realised that it is possible to expanding almost infinitely with this approach, creating ever growing structures and harmonies. Because of the constant addition, every line starts interacting with other lines in a unique way. A T-voice for a line will have a different relationship with another and so forth. This is one of the techniques that Pärt used constatly, for example in his piece Cantus in Memoriam Benjamin Britten ,  each section is divided between an M-voice and a T-voice, creating a beautiful interwoven tapestery, which I have a dedicated section for the entire piece.

Meditation I

- Creating M voices from different positions of the triad.

  Instead of the1st note, I have started my melodic phrase from the 2nd and 3rd note of the tonic triad, A minor. With different T voice accompaniment, it is a refreshing change from the A minor center, a brief moment of difference. I have used the descending from, ascending from, ascending towards and descending towards for the M-voice, increasing the phrase length by one note each phrase. For the first example I have used T voices in close (1st) position and for the second example they are in open (2nd) position. They are still in A minor tonality.

 

 

Meditation VII

Mirror images, elevating and creating variations from simple themes.

Builiding arpeggios and melodies

 

Variations for the Healing of Arinuschka

 

 

Up until this part, everyhing has been very stable. Possible variations has been explored without and attention to form, structure or rhythmical building blocks. I have tried to come up with melodic constructions with certain M-voice and T- voice combinations, arpeggiating them in a certain order

 While thinking of these elements, I have stumbled upon another Pärt piece titled Variations for the Healing of Arinuschka.  Because the core idea is very simple, it automatically lead into a very similar approach. I will present and analyse this piece under this section, glad to know that our way of thinking somehow aligned with Pärt and lead to same similar direction..


Variations for the Healing of Arinushka for solo piano was composed in 1977 for the composer’s daughter Ariina who was recovering from an appendix operation. The piece contains six short variations, the first three of which are in minor key and the other three in major. They are based on a very simple theme of a rising and falling octave scale. The clear and transparent soundscape of this early tintinnabuli composition is created by the resonating overtones and subtle use of the pedal.(Arvo Pärt Centre 2025) 

Creating a line from combination of two T-voices and an M-voice in a pure and simple ascending A minor scale, this example started igniting some ideas of my own. Gradually with each movement, shifting to major tonality,he represents the healing process. Going from melancholy to a very happy and hopeful area. I have tried similar approaches in certain compositions that will be presented after the first chapter where I incorporated certain elements from this piece.

 

Meditation VI

Polytonal M-voice and T voice combinations.

 

This is a personal approach to the relationship between two voices. To alter the possible outcomes, I have tried changing which notes to be used for T-voice. This eventually created very unique and modal like structures. I will use Vem kan segla förutan vind (Who can sail without wind?), a common Swedish folk song as an example, for it has a beautiful melody and one of my favoruite folk piece.

 

These combinations could be extended with additional T-voices, different combinations for different repetitions of the melody to create harmonic variety. I have given several examples for 2 cello

Meditation V

Alteration of existing scales

Raising or lowering notes In different registers to create more variations. Raising 6th and 7th degree only in bass register for instant, creates a very interesting and unique soundscape. To keep things more interesting, I experimented with uncommon scales, changing first only in one M-voice. The next step was to implement different scale alternatives for each M-voice or alter supporting T-voices from different tonalities to create a polymodal atmosphere. This will be covered in Meditation VI.

 

As an example, I have altered only the scale of M-voice I, while every other M and T-voice follows A Natural Minor. I will be adding more variation in the next meditations, to create richer harmonies by both altering the scales, appyling different modes and changing the rhythmical structures.

WIth all of the meditations on the subject of Tintinnabuli, I have tried to go in detail to possible outcomes of the technique. During these thinkining processes, I have realised the vast variations that could be achieved with tintinnabuli and most of my own discoveries were similar in some of Pärt's own approach. Both studying his music and trying to develop my own ideas at the same time helped me connect the stylistic elements into my own way of thinking. In the next few pages, I will share in depth analysis of certain works such as Fratres, Tabula Rasa and many more, to understand the train of thought behind them. The first tintinnabuli style composition is know to be Für Alina, and it is a great example of how the simple structure of this style works.

Example III-I

A great example of this Meditation already exists in Pari Intervallo. Here is the melodic reduction, transposed to A minor.

Example V-I

The M-voice I one follows this scale:

A-Bb-C#-D-E-F-G#

Example IV-I

The permutations

Example I-I

The first variation of Healing of Arinuskha.  The simple idea behind it is enough the create the effect that Pärt was aiming for. The long note, coming on the first beat of the bar, is a simple A minor ascending scale. And when it reaches A5, it starts descending. The alterations of the T-voice is also very simply structured. When ascending, it follows the close position alternating, from superior to inferior, and when the scale is descending it follow the mirror image of this, inferior to superior. This shows, even with something as simple as a ascending and descending scale, Pärt can implement such details to make something worthy out of it. Holding the A minor triad pressed without playing them allows the overtones to be built constantly with each phrase, creating a sheet of lingering sounds. A beautiful example of using what is not obvious. (Pärt 1977)

→

Für Alina

Example III-II

Possible Variations

Example I-II

The third variation. While this is the repetition of first variation, in a brilliant way Pärt writes a similar pattern, rhythmically shifted and the M-voice is on the first beat of this pattern. This creates a beautiful movement against the original melody, almost like a reflection from far away. A great example of reusing the material at hand. (Pärt 1977)

4th variation, is the same of the first variation with 2 exceptions. From now on we are in A major instead of minor, signaling the healing of Arinushka and there is an alteration in the tempo, making this variation less moody and more jolly sounding. (Pärt 1977)

The last variation is a collection of every element that was introduced in the previous variations. 3 ascending M-voice are happening in different octaves and different parts of the beats creates a beautiful tapestry. We end with a beautiful and simple A major chord at the end, signifying the healing process has completed. (Pärt 1977)