Two Pianos: Saiya, Saiya, Parang Saiya

1)"Saiya, Saiya, Parang Saiya"; a folk song

The general purpose of this piece is to combine elements of western music with that of traditional Korean music. "Saiya, Saiya, Parang Saiya(Bird,Bird, Blue,Bird)" is a Korean folk song. The composer of this folk song is unknown, and it was passed down by oral tradition. `Bird bird blue bird. Don't perch on the green-pea field. if a flower of the green-pea falls down, a seller of the green pea paste cries and goes.' As the lyrics of the song show, the song reflects the feelings of the lower class society. Thus, the song gained much popularity among the populace. The song of the melody consists of there notes which are `F, Bb, Eb' and the same pattern of rhythm follows the melody in 12/8 meter.

2)Form and Row of the song

This piece has a free form (ABC-AD-AEF-coda) and the harmony is constructed by the ordering rows. The rows are based on the basic melody of the song. In other words, each note of the melody is supported by a chord which consists of two or three notes, and the ordering notes will be in a twelve-tone row from. There are four harmonic variations of the theme. the constructions of the harmonic variation chords are derived from an inversion, a retrograde, or a retrograde-inversion row form of the original. The basic idea of the motive and melody comes from the song, and each section concludes with a phrase of the melody. the melody is continuously transformed by the chord which supports it.

3) The character of Each Section

Each section is described by a specific character; Section (A) is an introduction which leads to the following sections. Section (B) explores canonic motion between piano I and II in rhythm and harmony. Section (C) builds tension like an accelerating train. Clusters are used to represent the rhythm of a traditional Korean percussion instrument, Jang-Go. It progresses from accelerando to decelerando. Section (D) has a fugal character, and it continues to develop changing meter and rhythm. the direction that the melody in the climax, section (E), takes is shaped by complex harmony and rhythm. The scattered phrases support the chordal melody and sound like singing birds. Most of the sound ranges are in the high registrar and this effect creates the sound of birds. Section (F) has two slightly different melodies. Counting from the lowest note on the piano, the melody of "Bird Bird Blue Bird" may be "BFDD, BFDD, BG#FE BFDD." On the other hand, counting from the highest note, the melody may be "BEGD, BEGD, BC#EE BEGD." These two chordal melodies combine with the melody of the folk song to construct a sustained chord and a staccato chord at the same time. (coda) implicates the beginning of section (A).

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