An Introduction to America’s Music

CHAPTER 19 | CLASSICAL MUSIC IN THE 1970s 493

timing section comments

0:00 theme

fi rst statement

Two statements of the “Amazing Grace” melody in Pythagorean tuning, using

only the notes of the pentatonic scale (fourths and fi fths are pure, major thirds

are quite wide—listen to the interval between the second and third notes of

the tune). The fi rst statement is played by the upper three instruments without

vibrato, sounding medieval.

0:42 second

statement

First violin plays an octave higher; cello adds depth; the setting is slightly fl orid,

more like folk fi ddling, and light vibrato adds warmth.

1:22 variation 1 Still using only the pentatonic scale, rhythmic complications are introduced:

2-against-3 cross-rhythms at various rates of speed (3:2 is the frequency ratio of

the pure fi fth, the basis of Pythagorean tuning).

2:03 variation 2 The fi rst violin plays the tune using the complete major scale, and the whole

ensemble switches to just intonation, with the sweet sound of pure thirds and

sixths. Added to the 3-against-2 rhythms are 5-against-4 rhythms (5:4 is the

frequency ratio of the pure major third).

2:45 variation 3 The rhythm is simplifi ed as the pitch material expands to include the seventh

partial, which sounds a bit like a blue note (as in the second bar).

3:14 variation 4 Rhythm becomes extremely complex, with all four instruments playing in

different tempos. For example, the viola and cello are playing in two tempos with

the strict ratio 35:36.

4:16 variation 5 The rhythm settles down as the instruments explore the very small intervals

(microtones) created through the overlay of multiple tuning schemes. A minor-

key version of the melody is audible in the second violin.

5:16 variation 6 Again the rhythm is simplifi ed as the pitch material expands, now to introduce

“undertones.” First violin’s melody is based on an inversion of “Amazing Grace.”

5:52 variation 7 An eerie blur of soft, rapid notes in rhythmic ratios such as 7:8:9:10. At 6:29 the

cello plays “Amazing Grace” in high-pitched harmonics.

7:42 variation 8 All twenty-two pitches of the previous scales are combined in a rapturous

fi nal variation, with trills and tremolos. At 9:02 the pitch material is simplifi ed

to a diatonic scale, while the cross-rhythms refl ect the frequency ratios of a

dominant seventh chord (2:3:5:7). The fi nal statement of “Amazing Grace” (9:34)

is in sweet-sounding just intonation fl avored with seventh-partial blue notes on

the IV chords (“Amazing Grace, how sweet the sound”).

date: 1973

performers: Kepler Quartet

genre: microtonal music

meter: changing

form: theme and variations

Listening Guide 19.6 String Quartet no. 4, “Amazing Grace” BEN JOHNSTON

WHAT TO LISTEN FOR

• “Amazing Grace” melody in all variations,
  more recognizable in some than in others


• different resonance of different tuning
  systems used


• complex cross-rhythms, multiple
  simultaneous tempos, and metric modulation

CD 4.5

(continued)

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