Piano Ergonomics №3 “Wind Stretch” — Commentary

Applying Harmonic Theory to Rhythm

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Score PDF Link : https://note.com/hoshinossimo/n/n0b91d3e6fb73

Introduction

At first listen, this may sound like a calm and gentle piece, but it is also a work that incorporates some ideas based on music theory. One of the principles of harmonic theory is tension and resolution. This is the principle that a state of tension created by dissonance resolves into a stable state of consonance, thereby creating a driving force in music. In this piece, I tried applying the principle of tension and resolution to the time-related aspects of music, such as rhythm and phrasing. Explained this way, it may sound very complicated, but this was not intended as a theoretical experiment. Rather, I was simply thinking about what kind of sounds feel naturally pleasant to people, and this idea was what came to mind.

Characteristics of the Piece

A repeating phrase in 3/4 time runs throughout the piece, with a one-phrase section of changing meter inserted between each repetition. The stable state of repeating the same phrase is interrupted by the tension created through changing meter that disrupts that flow, before returning once again to the original phrase. This cycle of stability, tension, and return forms the structure of the piece. Musically, the piece itself remains calm in character, mainly built around a pop-style chord progression.

Structure of the Piece

[A], which has the chord progression |E|F#m|A|B|, and [B], which has the chord progression |C#m7|A|F#m7|G#m7|, form a single unit. This unit is repeated twice, with a bridge section featuring a pedal point in 4/4 time inserted between them. This is also part of the structure described earlier. In the second repetition, the changing meter is expanded further while placing increasing emphasis on the inner voice movement of “D#–E–F#”. In the coda, the focus shifts to this emphasized melodic figure, forming the climax of the piece. Finally, [A] returns briefly and quietly, bringing the piece to an end. The overall form can be represented as follows: A–B–C–A’–B’–C–Coda–A’’

Performance Notes

Although this piece focuses on rhythm and uses changing meter as one of its structural principles, maintaining a strict tempo is not necessarily required. Rather, it may be interesting to slightly exaggerate and emphasize the changing meters in order to create a stronger contrast with the stable phrases. As the title suggests, it would be wonderful if the piece could be played with a relaxed feeling, as though stretching freely and naturally.

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