1.7 Expository and developmental  (Page 3/3)

Hanna’s theme:

Her son, Munzo:

Her daughter, Dorothea, was known by her nickname, Dodo. Since “Do” is a singing syllable for the note “C”(as in “do a deer, a female deer” from The Sound of Music), Dodo is represented by repeated c’s in the viola.

The peak of the movement is an argument between Munzo and Dodo that gets out of control. To depict this,Berg wrote a developmental passage that combines aspects of all three themes: Hanna’s lyrical melody is in the upper violin;Munzo’s dance-like theme and Dodo’s repeated notes are below. By the end of the excerpt, Hanna has finally quieted the childrendown:

In conclusion, expository sections tend to be more straightforward and direct: one musical idea is usuallypresented at a time; the idea is presented in its entirety; it is usually played in a single instrument or register; the music’sprogression is more predictable. In contrast, development sections are more mercurial and complex: multiple ideas may be presentedsimultaneously; ideas may be broken into fragments and shift rapidly between instruments and registers; changes andinterruptions may be more abrupt and extreme.

The balance between expository and developmental

Some music may be almost exclusively expository . Bartok’s brief Romanian Folk Dance no. 1 consists of an expository statement in two halves, each of which isrepeated.

In contrast, some music may be almost exclusively developmental: The music undergoes constant motion andtransformation.

The balance between the expository and the developmental is a crucial expressive feature. If you want a restful vacation, you'll plan to stay put as much as possible and minimize the time spent on the road. On the other hand, if you're up for an adrenaline rush, you'll plan some high-flying travel. Similarly, thegreater the time spent in exposition , the greater the music’s stability. The greater the time spent in development , the greater the music’s unrest.

What if an exposition is highly charged? Will its development be calmer? The answer is "No:" Developmental passages always "up the ante." Someone fleeing from peril typically faces even greater dangers toescape. Similarly, the development of a highly charged material will tend to be even more intense.

For example, the fifth movement of Alfred Schnittke’s Concerto Grosso No. 1 introduces a frantic interplaybetween the two violin soloists, accompanied by the harpsichord. The string orchestra responds with a developmental passage that iseven more animated and fervent. Soloists and ensemble alternate twice, dramatizing the contrast between the expositoryand the developmental.

Thus, no matter what the particular mood or haracter of a work, the balance of the expository and the developmental is a revealing expressive feature.

The balance between expository and developmental helps to create strong contrasts in Beethoven’sBagatelle, opus 126, no. 4. [See also:] The A-sectionbegins with a brief expository statement; but development soon predominates: The A-section is constantly roving, with abruptsilences and sudden changes in texture. Musical Form

In contrast, the B-section is almost exclusively expository : It is grounded throughout and very repetitive.

In the end, Beethoven establishes a relative equilibrium between the expository and developmental by playingeach section twice.

Expository and developmental passages are similarly contrasted in the second movement of John Harbison’s FourSongs of Solitude. In the end, does Harbison tip the balance in favor of exposition or development? How does this contribute toyour emotional reaction to the movement?

When you are studying the itinerary for a trip, you want to know how long you will spend at your destinations compared to how long you will spend en route. Similarly, in the first few hearings of a work, try toidentify expository versus developmental passages. How long does each type of passage last? The greater the amount of exposition,the more stable, simple and direct the music. The greater the amount of development, the more the music is restless, complex andambiguous. Directing your attention to these structural features, rather than to fleeting details, will help you build a morecomprehensive understanding of the music.