Methodology for analysis 

In this chapter I will discuss Ross Edwards’s works for oboe and English horn as the solo or prominent voice. This narrows the repertoire list to Four Bagatelles for oboe and clarinet (1994), Yanada (1998), Ulpirra (1993), Water Spirit Song (2003), and the Oboe Concerto Bird Spirit Dreaming (2006). This list intentionally omits Bagatelle for Oboe and Piano (1968) due to the work belonging to his serial phase while still in school. For the purposes of this study only works that are part of Edwards’s mature, personal style will be considered. 

Since Edwards’ music cannot be comprehensively analyzed by using traditional Western classical terms, I am utilizing the same analytical techniques used by prior Edwards’ scholarship. These separate, though similar, techniques were developed by Ross Hamilton in The Piano Music of Ross Edwards: A Performer’s Approach and Beyond Sacred and Maninya: Developments in Music of Ross Edwards between 1991-2001 written by Philip Geoffrey Cooney. Cooney created this list after reviewing the published works of Edwards and cataloging the instances of repetition of motives. If the motive had been used a certain number of times, an arbitrary number that Cooney did not specify in his dissertation, than the motive was numbered and labeled an icon.1 Hamilton uses a modified list of the icons to more accurately describe the piano music he is focusing on. I am following the tradition that was established by Edwards scholars and allowing the icons to be slightly altered while retaining the initial character of each, as these icons were never defined by Edwards himself. Edwards has accepted the classification of the icons in his music though he himself does not use them as defined motives. He developed these fragments through his compositional process of reduction to the essential elements in his music, though he himself never explicitly assigned meanings. 

Therefore, this analysis is a combination of both traditional western classical analysis and encountering Edwards’ music within the language he composes, utilizing an analytical methodology based upon his icons. As stated by Jeanell Carrigan, “Analysing the works of Ross Edwards is difficult from a terminological point of view because there are no terms which adequately describe the events. Cell, archetypes and symbols used are a compromise accepted by the composer.”2

Four Bagatelles for oboe and clarinet (1994)

The Four Bagatelles for oboe and clarinet was commissioned by Eve Griffith in 1994 in memory of Heinz Harant. These pieces are a perfect example of Ross Edwards’ personal style, sacred and maninya from the 1990’s,

“In 1994 Eva Griffith commissioned Ross Edwards to write some miniatures for oboe and clarinet which would be suitable for student and amateur players as well as professionals. Each of the Four Bagatelles is dance-like in character and features a strong rhythmic exuberance that is unmistakably Edwards.”3

These works fit solidly in Edwards’ maninya style.

Not only are these pieces useful in order to learn Edwards’ personal style but also to expose younger students to non-traditional chamber music instrumentation and elements of world music. While there are more advanced duets for oboe and clarinet in the repertoire the options for beginning to intermediate students are more limited. Therefore, these works fulfill two pedagogical functions to expand the standard repertoire and expose the players to world music elements. Each movement focuses on a short, repeated melodic fragment that functions as the formal structure as well. 

While it is possible to discuss the Four Bagatelles in terms of major and minor tonality and traditional functional harmony, it is neither the most descriptive way, nor the intention of the composer. I will be engaging with Ross Edwards’ music using the accepted terms laid out by previous analysis of Edwards music, described in Chapter 2, and western classical harmony and form when applicable. This way the player can engage with Edwards while working within his own language without attempting to force a traditional system of analysis that does not fit the material. 

The first of the Four Bagatelles is marked Allegro with the quarter note equaling 138 beats per minute. There are two melodic motives: the slurred eighth note accompaniment and the dancing 5/8 melody. The clarinet begins with the accompaniment that establishes C major and the tempo before the oboe enters in the fourth measure with the introduction of the fragmented dancing melody. The melodic fragment in the oboe expands with each of the four restatements, respectively totaling in duration of one, three, four, and eight measures. The tonality remains C major throughout the entire movement. 

The oboe dancing motive fragment stated in measure 4 illustrates Icons 3 and Icon 20.4 Icon 3, as described by Philip Cooney, is a dotted rhythmic motif, and Icon 20 is a rising minor seventh and a falling major second, seen below in Example 12. I have accepted an alteration to Icon 20 as the icon is commonly referred to as the “maninya icon” and in this instance the movement is clearly in the maninya style and the oboe initiates the melodic material. 

Example 12. Icon #3 and Icon #20 

Therefore, it is a short transition from the rising minor seventh and a falling major second to the oboe part of a rising major sixth and falling major third. The contour and grace note rhythm, along with the dotted rhythm, allows for drawing the conclusion that this is an alteration to the Icon #20 as described by Cooney.5 

The structure of the first movement is divided into three sections. The first two sections are identical in duration and phrasal structure with the third section being a truncated version of sections one and two. The numbers below represent the number of measures in individual phrases per section. 

Table 1. Phrasal structure for Four Bagatelles, Movement 1. 

Section 1: 1 + 3 + 4 + 4 

Section 2: 1 + 3 + 4 + 4 

Section 3: 1 + 4 

However, when you compare the meters of the sections you encounter some differences. Section 1 is based on a series of shorter phrases all starting in 3/4 and finishing in a mixed meter, either 5/8 or 7/8. Section 2 has the same phrasal structure as Section 1, however the meter remains 3/4 throughout the rest of the section. This produces an interesting effect of obscuring the desire by the performer to inadvertently stress the downbeat of each measure even when remaining in a steady meter throughout. 

Example 13. Four Bagatelles, Movement 1, mms. 8-14. 

Both the clarinet and oboe parts require little technical facility and have a restricted tonal range, clearly intended to be playable by beginner to intermediate students, according to the Australian Music Examination Board the Four Bagatelles is ranked a difficulty level 5. However the mixed meter and accelerated tempo would require a student with a slightly higher experience level. While the playing level required to play this movement is not extensive, there are a few opportunities to develop technique. The slur from middle D to the second octave G in measure 14 requires the student to ensure proper half hole technique and the slurs from middle D to second octave B in measures 17, 19, and 23 require the student to have a flexible embouchure and air support in order to make sure the B is not flat. 

The second bagatelle’s tempo is marked Andantino with the quarter note equaling 56 beats per minute. This movement plays on the alternating eighth note subdivision of the beat in the clarinet and the triplet eighth note subdivision in the oboe. Both the clarinet and oboe phrases begin with the same rhythmic motive that is then reiterated several times and followed by fragments of the melody, measures 1 and 5 in the clarinet line and measures 3, 5, 7, and 15 in the oboe line. 

The phrasal structure of this bagatelle also divides into two main sections, though this time with a one-measure extension for the resolution. The two sections are complimentary with Section 1 covering measures 1-10 built by two phrases measuring six and four measures respectively. Section 2 is measures 11-21 and is a four measure phrase plus a six measure phrase with a one measure cadential extension. 

When you examine the harmonic structure of the entire movement you see that within a d minor tonality you have an overall chord progression of v/VI – VI – iv – i. While this movement follows a traditional harmonic progression, it is not advised to allow the harmonic structure to dictate the motion of the music. The melody is influenced by the harmonic structure however the harmony does not provide the formal structure to the work. This is dictated by the icons that are used to initiate the melodic statements. For this bagatelle Edwards employs Icons 1, 3, and 4 to provide both the rhythmic and melodic structure. Icon 1 is characterized by a melodic falling semitone, Icon 3 is a rhythmic motif that is a dotted rhythm, and Icon 4 is a falling minor third. Instances of these motives in both the oboe and clarinet parts are represented in Table 2. 

Table 2. Icon listing for Four Bagatelles, Movement 2. 

Icon 1: mms. 7, 9, 15 

Icon 3: mms. 1, 3, 5, 7, 10, 12, 13, 14, 15, 18 

Icon 4: mms. 5, 9, 10, 17, 18 

This bagatelle extends the range for the oboe up to a high E flat. The student will need to develop upper range fingerings and air support to get the note to respond in the correct octave without biting the reed and causing it to be sharp. Playing in the third octave can be a challenge for intermediate students. They must understand air support and not biting the reed or choking up on the reed, thereby which will cause a loss of response. The rhythms of each individual part are not technically challenging. However, when played simultaneously the difficulty increases. Both of the players will need to practice their parts individually to ensure a solid inner pulse, so when they play together they are able to confidently maintain their separate rhythms. 

Example 14. Four Bagatelles, Movement 2, mms. 1-12. 

The third movement is in strophic form and marked a sprightly Allegro with the quarter note equaling 132 beats per minute. Strophic form is characterized by repeated verses or chorus form. In this instance, the “verse” is a short, repeated melodic cell. This is a simple form that, in this particular instance, provides variation through instrumentation differentiation. There are three verses with the melody moving from the oboe to the clarinet and then back to the oboe respectively. The verses are slightly uneven in length, 13, 10, and 14 measures respectively, with a short cadential extension at the end of the third iteration, measures 38 through 41. 

The tonality overall is e minor with a B drone throughout the entire movement. The B drone is integrated into the melodic material, rather than the more traditional harmonic function. However, the B drone is present in the accompaniment as the closing note of the motivic material. While the overall tonality does not modulate, the rhythms vary between the iterations of the melodic material. The harmonic structure is predominately V – I through the verses and into the cadential extension. Because the changes are slight in the repeated melodic material, it is not enough to be considered a variation, such as A1. The meter changes provide alterations as well, listed in the table below. 

Table 3. Verse structure for Four Bagatelles, Movement 3. 

A1: mms. 1-13 

A2: mms. 14-23 

A3: mms. 24-37, with a cadential extension mms. 38-41 

As throughout all of the other movements in this piece the melodic material comes from a collection of icons. The main icons utilized here are 4, 9, 15, 19, and 20. The usage of those icons is listed below in Table 4. Icon 4 is a falling minor third. Icon 9 is a pedal drone. Icon 15 is a melodic motive, rising minor third, falling semitone, and falling major third (outlining a falling minor third). Icon 20 is a rising minor seventh (“maninya motive”). 

Table 4. Icon usage in Four Bagatelles, Movement 3. 

Icon 4: mms. 13, 17, 20, 30, 32, 34, 41 

Icon 9: though out the entire movement 

Icon 15: mms. 13, 16 

Icon 19: mms. 13, 17, 26, 29, 31, 35, 37 

Icon 20: mms. 12, 21 

The pedagogical issues in this movement include how to keep the melodic material from becoming stagnant due to the strophic form. Additionally, the dynamics are marked forte at the beginning without any other dynamic markings in the movement. Therefore, the student will have to make musical decisions to keep from playing the entire movement at one dynamic level. While the movement is short, as they all are, there needs to be some dynamic variety within each movement to maintain the listener’s interest. The interchange between the clarinet and the oboe is sparse. The majority of the time the two instruments do not play at the same time, thus each individual player must be counting and be prepared to play in time when the other player stops. The tonal range and endurance are not particularly problematic in this movement. 

Example 15. Four Bagatelles, Movement 3, mms. 1-14. 

The fourth movement is marked allegretto with the quarter note at 126 beats per minute. This is a brisk tempo but should not seem rushed or hurried in any way. The oboe dominates this movement with the melody over the clarinet accompaniment. The clarinet’s main function is to provide tempo, harmonic structure, and reinforce the fluidity of the allegretto marking. The oboe line supplies the icons used and the energy inherent to a slightly brisker tempo. The two parts provide contrasting information, active versus static, but are brought together by the dovetailing of phrases between the two instruments. This is particularly obvious when the final note of one phrase overlaps with the first note of the next phrase. 

As seen in Example 14, the phrasal structure as defined by the oboe melody is three measures (mms.6-8) plus four measures (mms.9-12) plus two measures (mms.13-14). This creates a short experience of expansion and contraction of the melodic material. The rhythmic complexity mirrors that same progression, rhythmically active, more active, and then less active respectively. The clarinet line functions as a foundation from which the oboe begins and ends. The overall tonality is A major alternating with e minor. The most interesting aspects structurally within this movement are the two cadences. The second ending, mms. 17-18, is a leading tone imperfect authentic cadence followed immediately by a second leading tone imperfect authentic cadence in e minor with no transitional material. This demonstrates clearly that Edwards understands traditional western classical harmony but chooses to manipulate it to fit his personal aesthetic. This is a common compositional thread throughout his music. 

As in the other movements, there are a limited number of icons used due to the more simplistic nature and limited duration, this movement is only 20 measures long. The icons used in this work are numbers 6, 14, and 19, listed in Table 5. 

Table 5. Icon usage in Four Bagatelles, Movement 4. 

Icon 6: mms. 5, 9, 12 

Icon 14: mms. 10, 13 

Icon 19: mms. 7, 9 

All three of these icons are used for melodic material in the oboe part, thus reinforcing the oboe’s dominance. 

Another challenge performing this movement is intonation. It can be difficult for younger players to play in tune with themselves with out a lower voiced instrument to establish the pitch center, such as the function on the tuba in concert band. Playing solo requires a personal responsibility for the pitch level and tonal center. The oboist must be able to play in tune with themselves and relative to another player as nearly all of the phrases end and begin with the same note passed between the two voices, m. 8 is an A, m. 9 is an A, and m. 14 is a B. This can be aided by learning the tendencies across the range of the instrument. 

Example 16. Four Bagatelles, Movement 4, mms. 9-16. 

A way to practice challenges with intonation would be to have the student play their major scales with a tuner and make sure to begin in tune. Then play the scale without the tuner, then end the scale using the tuner again. Once they are able to start and return to the tonic in scales, the student can then begin to play short melodies that start and end on the same pitches. This will help develop their ear for relative pitch as well as keeping a universal pitch center. This will also help the student to play in tune with them selves and in ensemble. 

The overall icons used throughout the Four Bagatelles draw some interesting conclusions. The icons that are used in the four movements are listed in Table 6 below. 

Table 6. Icon usage throughout the Four Bagatelles. 

Movement 1: Icons 3, 20 

Movement 2: Icons 1, 3, 4 

Movement 3: Icons 4, 9, 15, 19, 20 

Movement 4: Icons 6, 14, 19 

The icons that appear in multiple movements are 3, 4, 19, and 20. These particular icons will continue to appear throughout his oboe and English horn works. This speaks to Edwards’ approach to a particular instrument as well as, more broadly, his treatment of sacred versus maninya styles. 

The arrangement of the movements also follows Edwards pairing of sacred and maninya movement. Movements 1, 3, and 4 are maninyas and Movement 2 is sacred. 

 

1 Philip Geoffrey Cooney, “Beyond Sacred and Maninya: Developments in the Music of Ross Edwards between 1991-2001” (Ph.D. Thesis, University of Newcastle, 2003), 47.

2 Jeanell Carrigan, “Towards an Australian Style: On the Relationship between the Australian Landscape and Natural Environment and the Music of Peter Sculthorpe and Ross Edwards” (D.M.A. thesis, University of Queensland, 1994), 51.

3 Ross Edwards, Four Bagatelles for oboe and clarinet (London: Ricordi, 2004).

4 A complete list of icons is included in the Appendix Table A4.

5 Philip Geoffrey Cooney, “Beyond Sacred and Mainya: Developments in the Music of Ross Edwards between 1991-2001” (Ph.D. Thesis, University of Newcastle, 2003), 54.