Listening Journal 4

Ben Johnston

4^th String Quartet: Amazing Grace

Ben Johnston is an American composer known for his work in microtonality. Having studied with John Cage, Harry Partch, and Darius Milhaud, Johnston benefited from the American music education system in place during the mid-20^th century. His works span the second half of the 20^th century. Written in various just tuning systems, 4th String Quartet (Amazing Grace), written in 1973, is perhaps Johnston’s most famous piece. Johnston creates a world of sound evoking many strong emotions that simultaneously convey Johnston’s masterful composition techniques.

One could say that Harry Partch was the prime influence on Johnston due to the appearance of microtonality in Johnston’s works. Partch was apioneer in justly tunedmicrotonality and often could be heard dividing an octave into more than 43 unique tones. Although Johnson used this many divisions in some of his other works (the 3^rd String Quartet employs 53 divisions per octave), the 4^th String Quartet achieves a fairly tonal sound, with five to twenty-two divisions per octave. This tonal sound contrasts well with the serial 3^rd String Quartet, a work Johnston designated to be played before the 4^th String Quartet and separated by a period of silence. The resulting juxtaposition is entitled Crossings.

Johnston seeks to create a more pure sound (describe what you mean by “pure soundd”) based on mathematical ratios of pitches developed by early thinkers such as Pythagoras. Although the idea is hardly new, Johnston does not merely employ these ancient tuning systems, he combines them at different points throughout the work to achieve perfect consonances and grinding dissonances of less than a half-step. The overtone series figures heavily into Johnston’s procedures, as he places special emphasis on the 2:1 ratio of the octave, 3:2 ratio of the fifth, 5:4 ratio of the major third, and the 9:5 ratio of the minor seventh. Johnston utilizes certain combinations of these constant ratios to create a unique pitch system to fit the requirements of his music. The sound is different from what we are used to hearing in the equal temperament system, as all half steps are not equal. An example of this occurs during the first statement of the tune, which includes a violin playing the melody using Pythagorean tuning, which is based on perfect fifths. Different tuning schemes are used throughout, including Johnston’s creation of a 13- and 22-tone set of pitches spanning one octave.

The 4^th String Quartet is a set of Theme and Variations on the tune “Amazing Grace.” The piece itself can be appreciated on a superficial level for its ability to set this tune in such a manner that the melody, when stated, lies in the forefront while the harmonic and rhythmic undercurrents create a whirlwind of motion underneath. On a more involved level, one may notice the intense complexity of the seemingly unrelated rhythmic motifs. Johnston has parts simultaneously playing in different time signatures, with some of these parts playing in 27/32 for periods of time!

The work itself begins with a seemingly straight-ahead string quartet setting of the tune. This first statement strongly suggests the harmonies that could be heard during the early colonial times of America. Lots of open fifths are unisons are used to create this colonial sound. There is no dissonance as a result of the intended harmonies, but Johnston makes sure that his just tuning system can be recognized by highlighting some of the dissonances (semi tones, quarter tones, etc.) unique to his series of pitches. The next variation adds more motion and dynamics while still maintaining a relatively standard string quartet feel. After two more variations in which there is constant polyphony, texture changes, and few cadence points, Johnston shifts to a minor mode. During this time, the presence of a plucked cello becomes more prominent. Johnston creates this texture in which the cello stands out by having it play in a completely different time signature than the other three instruments. This creates somewhat of a hemiola effect for the listener.

Next, Johnston transitions into a middle section where a cello ostinato keeps the motion continuous. The ostinato does not line up with the constant meter of the rest of the instruments and the violin states the tune in a harmonic mode closely resembling the Phrygian mode. A brief lyrical interlude similar to the first variations is followed by quiet and eerie flurries of strings. This flurry of motion continues while the viola plays an unadorned version of the melody. The cacophonous accompaniment of high strings juxtaposes against the melody until another lyrical section serves as a transition to the more lyrical ending section. The coda section continues with evermore increasing chromatic harmonies that continued stressing the dissonances created by the tuning system. The final rendition of “Amazing Grace” uses jazz-influenced chromatic chord substitutions and ends with an anticlimactic plagal cadence. Overall, the piece invokes uneasy, yet familiar feelings for the listener. The recognizable theme is permutated in ways that are difficult for the average person to comprehend.

At this point in time, it seems as if Johnston’s legacy consists of his experimentation with new tuning systems. This work, although highly structured with intertwining complex rhythms, does not contain aspects of serialism that can be found in Johnston’s previous works. (i.e. 3^rd String Quartet) Johnston hints at nationalism with his choice of a standard American hymn for the subject of this work. This dedication to the American folk idiom compares with certain works by Charles Ives. Such close connections with fellow composers prove Johnston worthy of a place in musical history reserved for composers of the highest regards.

This piece should belong in the Canon. Although it has been composed in the last 50 years, the magnitude of this almost 12 minute work is quite large. Johnston combined many different elements of rhythm, tuning, American folk song, and the classical genre of the string quartet to create this unique work. Due to the popular appeal of containing a well-known song and the sheer magnitude of this piece, its conclusion in the Canon should not be considered premature or ill-informed. Johnston’s techniques are continuing the legacy of the American avant-garde composers. For this and other reasons stated above, this work should be a part of the Canon.

I enjoyed this work because it contained a melody I already knew. This aspect makes an enormous difference when I am trying to follow along and connect with a song. Johnson’s variations are fresh and ridiculously dense. His harmonies are likewise quite modern and hip. I think that a modern work such as this will need to be re-examined after a span of time so that it can be seen with older eyes. Because it is so modern, it is difficult to know if this string quartet will stand the test of time. I hope that it will and audiences will be able to enjoy this work for many years to come.

Shinn, Randall. “Ben Johnston’s Fourth String Quartet.” Perspectives of New Music 15, no. 2 (Spring-Summer 1977): 145-173.

I used this article to view a copy of the score and obtain more detailed and esoteric insights into the tuning ratios and metric derivations that could not possibly have been determined by just listening to the piece. And on a personal note, I am not related to this author

John Zorn

Cat O’ Nine Tails

To say that John Zorn is an eclectic musician and composer would be a crass understatement. Known in the jazz world for his incredible alto saxophone talents, his music styles span almost every genre imaginable. He has been affiliated with jazz, free jazz, metal, klezmer, avant-garde, contemporary, improvised, punk, and many other styles of music. Cat O’ Nine Tales (1988) is a string quartet composed in the contemporary classical vein. This is one of Zorn’s first instances writing for a classical ensemble. Bearing this in mind, one can begin to identify the extreme experimental nature with which he has approached this work.

Much like its composer, Cat O’ Nine Tails brings together an assorted combination of musical ideas. As a listener, it is extremely difficult, if not entirely impossible, to distinguish any type of musical form. Zorn shifts textures so rapidly and at a seemingly random rate that it is tricky to follow along. If one were to describe a generic pattern, however, it seems as if Zorn tries to switch back and forth between serene, lulling textures to disjunctive, chaotic sections that go beyond description.

Before discussing the work in more detail, it is important to describe some of the unconventional sounds that Zorn employs to achieve his composition. On many occasions, the string players are scratching along their strings to create a sliding, scrapin noise. Zorn also has the lower string players slap the strings against the neck of the instrument. Zorn frequently uses glissandos and also adds a section where the four strings combine together to create the sound of a squeaky door hinge.

A work such as Cat O’ Nine Tails is difficult to describe It lacks a clearly defined form and its musical ideas are eccentric. The piece begins in a frenetic cacophony. After a few seconds, a calm section is played followed by this alternating formula for basically the entire duration of the piece. Most of the hectic sections are extremely virtuosic and seemingly lacking in clear tonality. Zorn creates a world of sound in which it seems as almost anything is possible. Each small episode is so different from the others that it seems they are unrelated. This is refreshing and exciting for the listener because what comes next is always something unexpected.

Among these episodes, Zorn weaves in passages of tonality. He plays at least two snippets of a hoedown and also quotes “Tea for Two” in one of these episodes, showing his background in jazz music. He also briefly plays what sounds like a sounding-off at the end of a cartoon show. Zorn had already composed lots of film music for documentaries and cartoons, so this little Looney Tunes-esque segment again highlights Zorn’s eclectic musical involvement.

Bearing in mind Zorn’s previous involvement with writing music for cartoons, one can begin to see how this influence pervades Cat O’ Nine Tails. This string quartet could almost be seen as program music. It seems to be conveying a cartoon-like story and would fit perfectly with a screened adaptation. Various effects, including the squeaky door hinge already mentioned, are communicated throughout the duration of this piece. Images of explosions, cartoon animals running around, and moping characters are conjured in the mind of the listener throughout the piece.

For all the energy and tenacity expressed within the piece, it ends in a relatively feeble manner. During the last minute of the piece, Zorn chooses to sustain chords and ends without a true resolution. Similar to the Johnston work discussed before, this piece ends anticlimactically.

Having reviewed two string quartets written within 15 years of each other, a general comparison would help define each work in respect to other contemporary works in a similar genre. The organizational concepts of each composer varied greatly. While Johnston’s string quartet maintained a theme which the audience could easily follow, Zorn’s composition is random but keeps the listener engaged by continually coming up with fresh ideas that seem to come out of nowhere. Whereas Johnston created his own variety of tuning systems, Zorn stayed fairly close to the established equal temperament system. One final major difference is the feeling of pulse generated by each selection. Johnston had clearly defined sections that remained at one tempo while Zorn seemed to change tempos every few seconds.

As for the inclusion of Cat O’ Nine Tails in the Canon, I would have to say not at this point in time. The piece is simply too modern to be able to tell if a place in the Canon is warranted. If the inclusion in the Canon would be based on creativity alone, then this work would rightfully deserve a place. But since it lacks a clearly identifiable form, the difficulty of trying to follow the piece aurally supersedes its creative merits.

I enjoyed Cat O’ Nine Tails because it kept me in a constant state of suspense. The stunning virtuosity was impressive, although not too entirely necessary at times. In general, certain passages were simply too confusing and difficult for the listener to clearly follow along. All in all, Zorn is an incredible visionary who never seems to run out of musical ideas. I would recommend this piece to anyone who wants a fresh take on music.