Who defined what Music is?
Prelude for Piano No. 1 By George Gershwin
Lauren Thaete
Music Phrases through the Ages
As George Gershwin once said, “true
music must reflect the thought and inspiration of the people and the time.”
When considering George Gershwin’s own piece, Prelude for Piano No.1, it is
clear to see that Gershwin knew exactly how to manipulate meter and texture to
reflect the upbeat thought and dance-like inspiration of the roaring 20’s.
Prelude for Piano No. 1 was written in a
standard simple meter, 4/4. However, the piece contains complexities such as
syncopation in the left hand and the occasional change in the division of the
beat from sixteenth notes to triplets. Additionally, the performer is given the
liberty to change the tempo as they see fit during the introduction, which adds
to the spontaneous and lively nature of the tune. Unlike the texture of this
piece, the meter remains constant throughout out the entire duration.
Gershwin’s variation in the texture for Prelude for Piano No. 1 defines the meaning of music as a reflection of the
time since the ever-changing use of homophony and choral accompaniment creates
dynamic interest throughout the entire piece. Specifically looking at the
ending of this work, after the dramatic silence, Gershwin’s use of chordal
homophony creates a clear and defined ending to finale to Prelude for Piano No.
1. Other instances where the texture of this piece clearly relays a playful nature
are found in the transitions. During the transitions between phrases, the right
hand uses tonal scales to move the piece forward similar to the use of scales
in Handel’s Water Suite.
Other characteristics of Prelude for
Piano No 1. that allows for Gershwin to define music as a reflection of the
people includes the wide dynamic range and Allegro tempo marking. The use of
pianissimo dynamics creates a mischief mood that is later answered with a
louder and grander melody. The contrast made by the range in dynamics in
addition to a lively tempo gives Gershwin the ability to capture the excitement
of the roaring twenties.
Though many may say that music can be
defined as any sound, Gershwin’s own definition that music is the inspiration
of the times, is clearly embedded within his own work through texture and
meter. Prelude for Piano No. 1 is an upbeat and lively piece that demands
attention when performed. Gershwin’s thoughtful use of syncopation and
homophonic transitions make Prelude for Piano No. 1 a staple for jazz pianists,
and for that, Gershwin only adds to the constantly changing definition of what music is.
