Nik Bartsch's Ronin Modul 48 Analysis

Rudy BlessNik Bärtsch’s Ronin Modul 48 AnalysisFinal PaperTheory Harmony & Analysis IVPetter WahlbackDecember 14 2011

Nik Bärtsch opens the score of his 2010 album Llyria (Bärtsch, Nik Bärtsch) with a quote

by the Austrian philosopher Ludwig Wittgenstein. In it, he claims that that which is most

important to us is often hidden because of its simplicity and familiarity. Indeed, “the real

foundations of his inquiry do not strike a man at all” (Bärtsch, Digital Score). Following this,

Bärtsch raises questions about music, such as how a musical code arises and proliferates, and

how dialects or slang emerge from such a code. He seems to be preparing the reader for the music

that follows, which is, in and of itself, brilliantly simple, and yet complex enough that hours

could be taken up discussing it. Bärtsch, who works both as a solo artist and within a band

setting, describes the music he writes for Ronin as Zen Funk, and elements of Jazz, Funk and

acoustic Rock can be found within his compositions, as can certain elements of Zen philosophy

(Bärtsch, Ronin).

The form of this piece follows the appearance of solos, and would look something like

this: ||: Intro :||: A :||: B (x4) :||: C :|| Outro || It is the saxophone that changes the most within all

of these sections, and that is what gives away the sectional changes for the most part. Though,

due to the constant ostinato of the opening line in the left hand of the piano, what distinguishes

different sections are often very subtle differences. The saxophone solos come about during the

last three of the four | B | sections, and during the second | C | section. Due to the subtle

differences that distinguish the different sections, it is fair to state that while the texture of the

piece is largely stratification (due to the various rhythms and harmonies layered upon one

another), there is a hint of melody and accompaniment to be found, due to the phrases in the alto

saxophone line.

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“Modul 48,” the first piece on the album, is fascinatingly simple in many ways.

Rhythmically, it focuses almost exclusively on a single rhythmic pattern (Figure 1). This

Figure 11:

rhythmic palindrome (there are two palindromes within the bar, as shown by the lines drawn on

the example) is one that is constantly in play throughout the piece, and creates a perceived

compound meter, though the bass is (for the most part) functioning in 6/4. This piece could be

seen as a study of the dotted eight note, for upon closer inspection it becomes clear that each note

in the rhythm in Figure 1 is worth exactly that. The drums confirm this, where every note played

on the ride cymbal is held (including rests) for the value of a dotted eight. The accents given on

the high metal shaker (the accents are not show in the score, but are plainly audible) also allude to

a compound meter (Figure 2). Indeed, the only instrument that solidly grounds the piece in 6/4

Figure 22:

is the bass guitar, which regularly hits 2, 3, 5 and 6. The effect of this is that, taking the perceived

meter into account, the bass seems to have a highly syncopated line, while, ironically, it is really

the rest of the instruments that do.

The predominant melody of the piece features phrase elision that is so common that it

often becomes unclear where phrases of the entire band begin and end (Figure 3). Figure 3 shows

1 Begins in mm. 12 Begins in mm. 6 in the Percussion voice

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where individual phrases end (shown by vertical lines drawn on the example). Due to the phrase

elision, the tonic will only fall on beat one on the ninth repetition, and there will be one bar in

every nine bars that does not have a tonic in it. What makes this so interesting is that the

Figure 33:

phrase elision counteracts the rhythm that Bärtsch took painstaking efforts to notate as a clear

palindrome. Due to the phrase elision, the melodic line cycles through the rhythmic phrase, with

each note falling on a new beat in successive bars. This is an example of Bärtsch, as a composer,

taking something that is excruciatingly simple, something that would normally “not strike a man

at all,” and bringing it to the forefront of the listener’s attention. Figure 3 makes its first

appearance at the very beginning of the piece, though it is offset by one beat in the right hand of

the piano. This offset is revealed in the repetition, where the left hand of the piano (as well as the

saxophone and bass guitar) come in on beat one and create a fascinating echo effect. It is worth

noting that in this introductory section (mm. 1 – 5), the meter is 6/4 up until mm. 5, where it

switches to 3/4. It is this change of meter that allows the melody to come back in the repeat

3 Begins mm. 1, in the Right Hand of the Piano

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displaced by only one beat (in the right hand), instead of by 4 beats. This was a clearly structured

attempt by Bärtsch to not only minimize the phrase elision through the repeat, but in doing so

keep the echo effect to a still recognizable minimum.

There are two trichords in use during the piece that are also worth mentioning. Trichord A

(Figure 4) comes about for the first time in mm. 6, and replaces the opening melody in the right

hand of the piano, while the left hand continues the melody. This trichord holds a very prominent

Figure 44:

place in the rhythmic harmony of this section of the piece, for it works to ground the piece in the

simple meter it is notated in. This figure is repeated in each bar until the second ending (mm. 22)

when it is pseudo-harmonized with Trichord AI (Figure 5). Trichord A follows the integer

structure of { 7 9 4 } (+2 +7), and as such, when transposed to zero, would be { 0 2 9 }.

Figure 55:

Trichord AI follows the integer structure { t 0 7 } (+2 +7), and was such, when transposed to

zero, would also be { 0 2 9 }. Thus, we can say that they are the same trichord, the difference

being that Trichord AI has been transposed down a Major 6th. Though it is not audible, it is

interesting to note that the alto saxophone in Eb would also be transposed down a Major 6th from

4 First appears in mm. 65 Mm. 22

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written to sounding pitch. Mm. 22 is the exchange of dominance between the two trichords, and

even when the tonal center changes from D Dorian to Db Major. The harmony then returns to D

Dorian in mm. 34, and the modal modulation occurs simply by the reintroduction of Trichord A.

The saxophone is what gives away the most obvious sectional changes, where it takes on

a complete phrase group in section | A |. This phrase group encompasses almost the entire

section, and the first sub-phrase (Phrase a) can be seen below in figure 6. Figure 6 shows us how

Figure 6.16:

the inclusion of the phrase brings about a new section, with the piano bass and drums following.

The reason that I think the saxophone is what is leading this transformation is that it is in the

forefront of the listener’s attention. The other instruments are following while its melody pushes

the piece forward, in a way not seen before. At the same time though, this is evidence of the

timbre of stratification in this piece, because if you look at the right hand of the piano in mm.6

(above), you will notice that it is the aforementioned Trichord A (Figure 4). What is so special

6 Mm. 6 After the first two bars, the bass and piano continue in a similar fashion. As such, I did not include them in the following measure in order to save space.

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about this is that it is used, in conjunction with the opening melody, to ground the piece and

provide a frame of reference for the time, but also as groundwork for the solos that follow, that

become an integral part of the structure of the piece. In mm. 25, Trichord A1 (Figure 5) returns,

this time in the sax line. This is where the lines between the melody of the piece and its

accompaniment are truly blurred. Due to the timbre of the saxophone, as well as its placement in

the mix, it is at the forefront of the listeners attention, even through it is just repeating Trichord

A, which we have thus far assumed to be the accompaniment line! This shows how the sense of

melody and accompaniment in this piece is created purely by timbre, or by a selective use of

stratification. This is also one of the only instances where the piano actually plays chords, though

they do not really fit in harmonically nor with integers, and sound like they function more as

controlled clusters than anything. It is worth noting that the phrase ends after the first dotted

quarter note of the third measure (as indicated by the line drawn on the example). However, this

is not phrase elision in the strictest sense, for it only appears so in the written meter. In fact, it

synchronizes perfectly with the perceived compound meter.

Phrase a1 (Figure 6.2) picks up where Phrase a left off, namely on the upbeat of beat 2 (of

the written meter). This is a simplified version of Phrase a (it a measure shorter and doesn’t move

up to C), and as such the argument could be made that this is the first sub phrase of the group,

the antecedent phrase, and Phrase a is the consequent phrase. What is interesting about the

ambiguous phrase elision at the beginning of this phrase is how Phrase a1 does not begin until

Trichord A has struck its last note. This is an example of the interaction between the written and

perceived meters, for Trichord A is in the written meter.

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Figure 6.27:

The next sub phrase, Phrase b (Figure 6.3), begins on the downbeat of both the written

and perceived meter. It follows a melodic structure that is somewhat similar to Phrase a, though

Figure 6.38:

its context is such that it could not be justifiably labeled as ‘Phrase AII’ but rather follows in

Phrase A’s footsteps and takes on the form of a consequent phrase, and Phrase bI (Figure 6.4)

would be its antecedent phrase.

7 Mm. 68 Mm. 8

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What is interesting about these sub phrases (and the way they can be grouped, namely into

Phrase a and Phrase aI, and Phrase b and Phrase bI) is that they follow the exact same rhythmic

structure, with only a few melodic variations. But these subtle variations are enough to show two

distinct sections within the phrase group, both of which fulfill the same function. What is

fascinating about these is how the regular phrase order has been disrupted, and the antecedent

phrase follows the consequent phrase. This throws off the context of each phrase, for the middle

two phrases could be seen as the antecedent and consequent phrases.

Figure 6.49:

We have seen how timbre creates the sense of texture in this piece, so it is important to

understand what exactly is happening with the individual voices and see how they interact.

Holding down the minimalist groove are the bass guitar and the drums. The bass line is generally

very sparse, and moves between the written and perceived meters, one bar in 6/4 one bar in the

compound meter. Some of the hits are held, some are briefly articulated and stopped short. The

EQ on the bass is fantastic, and as such no effects are added. Using the metaphor of a musical

landscape, it remains in the background for the vast majority of the piece, occasionally

embellishing a piano or saxophone phrase.

9 Mm. 10

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The drums go hand in hand with the bass, making sense out of the articulations and legato

phrases. The drums hit most often on the 1 and 3 of the perceived meter, and follow the piano’s

study of the dotted eighth note, even experimenting with different collections of the hits

(examples of this can be seen in mm. 13, mm. 25). Interestingly, the drums (on the ride cymbal)

rhythmically mirror the piano’s opening line, which is carried through the piece. It is only during

the saxophone solos that the drums relinquish this rhythm. There is a little bit of reverb added to

the drum track in this piece, but little enough that it is only really noticeable on some of the

louder hits on the snare, high tom or on rim shots. The headroom created by the addition of this

effect helps support the piano and saxophone in that it contributes to the etheric, distant mood

that is created. The drums sit relatively even with the bass in the mix, and as such the pair work

to hold down the groove, all the while creating a solid, cohesive musical landscape and remaining

relatable to the piano and saxophone.

The piano sits at a relatively even level with the saxophone for the majority of the time,

though the piano is the instrument that shows the most dynamic variation of them all and so there

are moments when it fades into the background (it drops to mp) with the drums and bass while

the saxophone is in the forefront of the listener’s attention. There is a selective use of reverb on

the piano. It is more prominent in the opening phrase, but then cuts out in areas such as mm. 26,

when the piano plays chords. This application of the effect serves to greatly complement the

legato lines of the saxophone.

The saxophone sits very high up in the mix, right in the forefront of the musical

landscape. The EQ on the sax is great and this, combined with a little bit of reverb on the legato

phrases solidifies the distant, almost etheric feel of this piece. The piano and saxophone work

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together to solidify the distant feel, the etheric timbre of the piece. It is, however, specifically the

steady dynamics of the saxophone, as well as the wavering dynamics of the piano that combine to

create solidified musical textures, where the same phrase can often be both the melody, as well as

the accompaniment. An example of this would be Figure 4, which appears first as an

accompaniment in the right hand of the piano in mm. 6, and returns as the melody in the

saxophone line in mm. 25. There is, however, an example of how, despite dynamics and the

timbre that can be derived therefrom, phrases can inherently be a certain texture. This can be seen

in the saxophone phrases (Figures 6 – 9). This example shows us that, despite all analysis on the

part of dynamic variation, the nature of the musical phrases themselves are not to be

underestimated.

There is a musical effect in play in this piece that also serves to help create the feel,

Figure 710:

namely an echo effect. This comes into play most prominently introduction (Figure 7), but

returns in mm. 34. The effect is created through the offset of the opening phrase by one beat. This

10 Please note that this is taken from the ‘second time’ through the first 5 measures in the score.

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effect serves largely to disorient the listener, for the first time through this section the piano

begins on beat 2, and so the listener is not shown where beat 1 falls until the second through.

And so, in conclusion, we can see that rhythm plays an immensely important role in this

piece, and is somehow tied in with every aspect that can be discussed. There is a constant battle

between written and perceived meter taking place in this piece, where it is written in a simple

meter, but sounds in a compound meter. One could even go so far as to call it a ‘study of the

dotted eighth note.’ The written and perceived meters also interact with each other in this piece,

namely in the way of the seeming phrase elision in mm. the group of saxophone phrases (Figure

6). Phrase elision often makes it difficult to distinguish where phrases begin and end, for example

in the opening phrase of the piece (Figure 3). Though the main texture of the piece is

stratification, the dynamic changes and timbres that can be inferred from them sometimes imply a

texture closer to melody and accompaniment. As such, this is a fascinating piece to look at when

studying the effect of timbre on texture. What makes this piece (and indeed any other composed

by Bärtsch) so fascinating to me is how each and every detail is somehow related to the rest of

the piece, and nothing is ever done in vain.

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Subjects & Diagram

TimbreEerie, somewhat distant

- created by reverb(?)Instrumentation

- Piano- Horns- Electric Bass- Percussion- Drum kit

RhythmFASCINATING rhythm

- Palindrome within a palindrome- The piece is essentially a study of the dotted eight note

o Drums really show the study of the dotted eighth Accents of the ‘high shaker’ (specified to be from the Meinl Percussion

company) solidify the compound meter feel, almost a triplet feelo Gives the illusion of a compound meter (2 bars of 6/8 for every bar of 6/4)

Written VS perceived rhythm

MelodyMelody is treated interestingly, as both the melody and the ‘accompaniment’ and different variations of each are used

The rhythmic phrase ends after a bar (musical example), but the melodic phrase almost implies an additive rhythm of 6/4 + 3/16 (musical example) phrase elision

- Due to this, the melodic line cycles through the rhythmic phrase, with each note falling on a new beat in successive bars

- Assuming the melody begins on beat 1, it will begin on beat again on the 9th repetitionPhrase a, mm. 6

Gets transposed up a -3rd after the introduction of Trichord A (mm. 22), which is immediately followed by Trichord A1

Phrase b mm. 10Phrase b1 mm. 12

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DiagramForm ||: Intro :|| ||: A :|| ||: B (x4) :|| ||: C :|| || Outro ||Measure 1 - 5 6 - 24 25 - 33 34 - 42 43 – 46Phrase Opening

PhraseSaxophone Phrases a, aI; b, bI

Saxophone Phrases a, aI; b, bI return

Number of measures

Debatable (phrase elision)

3+2 & 3+2

Key D DorianIntervallic Trichord A,

Trichord AI in the second ending

Trichord AI

‘Controlled clusters’ in Piano

First time through, Piano RH play Trichord A, second time plays opening phrase

Rhythmic Written vs Perceived (Written in simple meter, sounds in compound meter).Rhythmic Palindrome

Phrase elision, or not? Written vs. perceivedDrums follow the pattern of Piano

Piano RH mimics LH rhythm

Texture How can Timbre help create texture?

Dynamics & Timbre implied from them suggest Melody & Accompaniment, but the dynamic variation of the Piano that follows creates something closer to Stratification

Notes Second time through, echo effect comes into play (the listener doesn’t know it, but the first time through the

Echo effect return the second time through, where the opening phrase is offset by one beat.

End

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phrase started on beat 2)

Works Cited

Bärtsch, Nik. "Modul 48." Rec. 2010. Llyria. Nik Bärtsch's Ronin. Manfred Eicher, 2010. MP3.

Bärtsch, Nik. Nik Bärtsch’s Ronin Llyria Score. 2010. Zurich: EMC Records, 2010. Digital.

"Nik Bärtsch." Nik Bärtsch. Web. 14 Nov. 2011. <http://www.nikbaertsch.com/nik-baertsch-s/>.

"RONIN." Nik Bärtsch. Web. 14 Nov. 2011. <http://www.nikbaertsch.com/ronin/>.

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Nik Bartsch's Ronin Modul 48 Analysis