'Fantasia
on "Greensleeves"' composed by Ralph Vaughan Williams is adapted from
the opera "Sir John In Love" by Ralph Greaves. 'Fantasia on
"Greensleeves"' has a ternary form as it has a three-part musical
form where section A is repeated after section B creating an A, B, A pattern.
The key signature in section A shows four flats (B flat, E flat, A flat, D
flat), which could either represent A flat Major, or its relative minor of F
Minor. The first note in both the Flute and Harp are an F, which indicates that
the key signature is in F Minor. There are also D and E naturals as well as
flats, this reflects an F Minor Melodic scale, in which the sixth and seventh
notes are raised one semitone when ascending, but when descending, the sixth
and seventh notes are flattened, and this produces the natural minor scale.
Although 'Fantasia on "Greensleeves"' is in F natural Minor/Melodic
Minor, the folk song 'Greensleeves' is Dorian mode based on F.
The time signature is 6/8, which is a compound meter that subdivides into three beats. However, as can be seen after the word Lento (meaning slow) there is a signal for the Conductor to conduct six beats per bar. This piece was written by Ralph Vaughan Williams for two Flutes, Harp and Strings which includes Violin 1 (divisi), Violin 2 (divisi), Viola 1 and 2, Cello 1 and 2, and Double Bass.
In the A section there is an Introduction that lasts five bars. The Flute sustains an F whilst the Harp has an upwards arpeggio of an F Melodic Minor scale (as it has a D natural). The Flute then in bar 2 descends on an F Minor scale, and in bar three the Harp repeats the arpeggio from bar 1, and in bar 4 the Flute repeat the descending scale however now down an octave. These four bars show contrary motion between the Flute and Harp parts, and the Harp arpeggios help establish a sense of key, and create a mysterious atmosphere. In bar 5 in the Flute repeats a fragment from the previous bar, and at bar 6 the tempo marking changes to Lento Moderato which means at a slightly faster pace than before. After this tempo marking it is indicated that the Conductor should now conduct two beats the bar, instead of six as in the previous five bars. The rolled F Minor chords in the Harp are similar to Guitar or Lute strum. Lutes were the most important instruments in the Renaissance era, and this was around the time that the folk song Greensleeves was written (the time of Queen Elizabeth I's reign). The Harp in this part establishes a new sense of tempo, as well as it gives the feel of magic, and reflects music of the heart and soul.
In the A section there is an Introduction that lasts five bars. The Flute sustains an F whilst the Harp has an upwards arpeggio of an F Melodic Minor scale (as it has a D natural). The Flute then in bar 2 descends on an F Minor scale, and in bar three the Harp repeats the arpeggio from bar 1, and in bar 4 the Flute repeat the descending scale however now down an octave. These four bars show contrary motion between the Flute and Harp parts, and the Harp arpeggios help establish a sense of key, and create a mysterious atmosphere. In bar 5 in the Flute repeats a fragment from the previous bar, and at bar 6 the tempo marking changes to Lento Moderato which means at a slightly faster pace than before. After this tempo marking it is indicated that the Conductor should now conduct two beats the bar, instead of six as in the previous five bars. The rolled F Minor chords in the Harp are similar to Guitar or Lute strum. Lutes were the most important instruments in the Renaissance era, and this was around the time that the folk song Greensleeves was written (the time of Queen Elizabeth I's reign). The Harp in this part establishes a new sense of tempo, as well as it gives the feel of magic, and reflects music of the heart and soul.
The division of instruments also gives the feel of being lush, which represents the British landscape through this folk song. Developing on this sense of a lush feel, the origins of the Greensleeves folk song dates back to the Golden Age in England, and there was a strong sense of national pride, as well as England was doing very well economically. Also, at this time in England, costumes were elaborate to indicated what class a person belonged to. In fact laws existed dictating what had to be worn to show status and rank. This was designed to maintain the social structure of the Elizabethan Class system. Costumes featured many layers and included bodices and corsets for women, with high collared jewelled gowns. Therefore the feel of the song could represent lush countryside, or the lush society in which this folk song mirrored.
The top division of the Second Violins and Violas have the melody in this section (the folk song 'Greensleeves'), however the Viola melody is an octave below the Violin melody. The Cello and Double Bass both pizz on the first beat of each bar, and these notes are pp. These instruments help give definition to the first beat. The bottom parts of the Violin 1 and 2 provide harmony to support the melody, and the feel of sustain as they move together horizontally, which opposes the Harp which is chordal and moves vertically. The bottom Violin 1 and 2 parts are similar to the Introduction in the Flute, as it hovers above the other parts. The top part of the Violin 1 is similar, however it adds complexity to the harmony. This top Violin 1 part is set against the melody, therefore it is the counter melody. It can be seen that the melody is not the highest part, which could show that the melody is pitched almost as if it is a tenor part, which could represent a male character. This could represent Sir John yearning for Mistresses Ford and Page. Therefore the Flute could represent these two women. Also, the melody of Greensleeves is indicated with the marking Cantabile that it is to be played in a singable, songlike manner. This is to imitate a human voice, therefore to represent Sir John and Mistresses Ford and Page.
The top division of the Second Violins and Violas have the melody in this section (the folk song 'Greensleeves'), however the Viola melody is an octave below the Violin melody. The Cello and Double Bass both pizz on the first beat of each bar, and these notes are pp. These instruments help give definition to the first beat. The bottom parts of the Violin 1 and 2 provide harmony to support the melody, and the feel of sustain as they move together horizontally, which opposes the Harp which is chordal and moves vertically. The bottom Violin 1 and 2 parts are similar to the Introduction in the Flute, as it hovers above the other parts. The top part of the Violin 1 is similar, however it adds complexity to the harmony. This top Violin 1 part is set against the melody, therefore it is the counter melody. It can be seen that the melody is not the highest part, which could show that the melody is pitched almost as if it is a tenor part, which could represent a male character. This could represent Sir John yearning for Mistresses Ford and Page. Therefore the Flute could represent these two women. Also, the melody of Greensleeves is indicated with the marking Cantabile that it is to be played in a singable, songlike manner. This is to imitate a human voice, therefore to represent Sir John and Mistresses Ford and Page.
This section of score showing the Greensleeves melody indicates the tone set, and how the melody is fairly evenly spread out from the tonic which is an F, with a C (dominant), D natural, E flat and E natural below, and a G, A flat, B flat, C (dominant) and D natural above. The dominant can be seen as Middle C, which is where the first phrase ends, before returning to the tonic at the end of the first part of the folk song melody. It also shows the chord progression indicated by the Harp rolled chords. As this section of score shows the chord progression in the first part of the 'Greensleeves' melody is F Minor, E flat Major, F Minor, C Minor, F Minor, E flat Major, C Minor, F Minor, C Major, F Major.
At
the second half of the melody, the first time it is played the lead Cello
represents Sir John, as it has a lower pitch, and Solo Arco means that they
Cellist is no longer playing with pizzicato. At bar 24 this second part of the
Greensleeves melody is repeated. At this point the Harp accompaniment changes
from rolled chords to arpeggios, and the Violin 2 and Viola have tremolo, which
creates a trembling sound and a mysterious feel. At this point there is a shift
in the melody from the Violin 2 to the Violin 1, although the Cello and Bass
still pizzicato. Also, the Cello provides a contrast from the melody through a
solo.
This
second half of the melody has two simple patterns of two bars which are
repeated. The chord progression for this section of the melody is A flat Major,
E flat Major, C Minor, F Minor, C Minor, A flat Major, E flat Major, C Minor, F
Minor, C Major and F Major. As can be seen, this part of the melody ends with a
Tierce de Picarde which is when the melody is in a minor key however finishes
on a major chord.
At the start of the B section, the tempo marking (Allegretto) which indicates that this section is slightly faster. Also, a minim can be seen to equal a dotted crotchet. There is also a key change. Although the key signature indicates either C Major/A Minor through the A and E in the first and seconds Violins, the folk song of 'Lovely Joan' is in Dorian based on D. As this Dorian scale would be D, E, F, G, A, B, C, D, with the pattern tone, semitone, tone, tone, tone, semitone, tone, this aligns with the key signature of no sharps or flats. The time signature also changes from 6/8 to 4/4. The first nine bars of this new section shows the lower Strings (Viola and Cello) to have the melody. This is where the second folk song is introduced as Lovely Joan. This folk song showcases simple rhythms and a simple melody. Also, this folk song has a range of a 9th, from Middle C to a high D. At this point the Harp drops out, and Violin 1 and 2 tremolo on open notes as a harmony to highlight the melody.
The 'Lovely Joan' folk song has two parts to the melody. The first part has the chord progression D Minor, A Minor, D Minor, F Major, C Major, D Minor and G Major. This shows the end of the first phrase ending on the subdominant. This progression is reflected in the Violin 1 and 2 tremolo chords, however some of these create discord. In the second part of the melody, the chord progression is A Minor, E Minor, F Major, E Minor, G Major and D Minor. This shows not a perfect cadence, but a plagal cadence, as it goes from the subdominant to the tonic.
At bar 40 the melody is taken up by the first Flute, and is joined by a second Flute. The first Flute has the same melody previously heard in the Cello through bars 32 - 40, whilst the second Flute has a counter melody/harmony. The second Flute has more quavers, which gives the feeling of a constant tempo, as the melody in the first Flute has quavers. The start of the B section signalled the end of the Harp part, however this instrument returns with the return of the A section. The string accompaniment in this section is all pizzicato instead of tremolo. From bar 41 there is a wave of sound coming from the Strings, as each instrument fills in the silence created by other instruments, from highest sounding instruments to lower sounding ones. These interweaving String pizzicato parts are fragments that support the melody in the Flutes. These two Flutes represent a duet between two people. The melody in the first part of this section has a lower pitch (Viola), therefore represents the gentleman who is keen to woo Joan. The melody in the second part of this section has a higher pitch (Flute), therefore represents the response of lovely Joan. However, in the third part of this section, the melody is with the Violin 1 (higher pitch) whilst the lower Strings provide a lower pitch. This could represent Joan in the Violin 1 still responding to the gentleman's remarks, however at bar 48 it may represent her as she rides away with the gentleman's riches, as the lower Strings could represent the gentleman calling out to her as their accompaniment becomes more insistent. These two voices are equally as strong. The Solo Cadenza in the Flute for three bars has a rall., and leads into page 853 where the Lento Moderato section returns.
These eight bars are very similar to the Introduction, however there are a few subtle differences aka. an extra bar. Also, the time signature returns to 6/8. As the A section returns, the Viola and first Cellos have the melody, whereas in the first A section the second Violins had the melody (they now have harmony parts). This shift in the instruments with melody creates a deeper, richer sound although the pitch is constant (this just shows a change in timbre). The Harp returns with rolled chords, and the first Violins continue to add harmony.
These eight bars are very similar to the Introduction, however there are a few subtle differences aka. an extra bar. Also, the time signature returns to 6/8. As the A section returns, the Viola and first Cellos have the melody, whereas in the first A section the second Violins had the melody (they now have harmony parts). This shift in the instruments with melody creates a deeper, richer sound although the pitch is constant (this just shows a change in timbre). The Harp returns with rolled chords, and the first Violins continue to add harmony.
In the last system (page 854), the melody in the first Violin is an octave higher than before. The ending of the Greensleeves folk song is a Tierce De Picardie.