Carl Orff (10/7/ 1895- 29/3/1982)3 was an artist and educator famous for one particular series of compositions. Orff was born into a well- to do military family, however his family allowed him to follow his musical talents and interests rather than a career as a soldier, although he did serve as a soldier for a short period of time in World War Two.1 Carl Orff’s Carmina Burana, his first composition to attract world- wide attention, is considered one of the enduring masterpieces of the 20th Century. 1 O Fortuna was written in 1935- 1936, a short time before the happenings of World War II, and premiered in Frankfurt, Germany.10
Orff also is a noted musical educator and major influence on the teachings of music to children. His school was his chief enthusiasm in his musical work and many of those he taught possessed no instrumental skills or talents.
Orff also is a noted musical educator and major influence on the teachings of music to children. His school was his chief enthusiasm in his musical work and many of those he taught possessed no instrumental skills or talents.
Carl Orff (10/7/ 1895- 29/3/1982)3 was an artist and educator famous for one particular series of compositions. Orff was born into a well- to do military family, however his family allowed him to follow his musical talents and interests rather than a career as a soldier, although he did serve as a soldier for a short period of time in World War Two.1 Carl Orff’s Carmina Burana, his first composition to attract world- wide attention, is considered one of the enduring masterpieces of the 20th Century. 1 O Fortuna was written in 1935- 1936, a short time before the happenings of World War II, and premiered in Frankfurt, Germany.10
Orff also is a noted musical educator and major influence on the teachings of music to children. His school was his chief enthusiasm in his musical work and many of those he taught possessed no instrumental skills or talents.
The piece ‘O Fortuna’ from Carmina Burana, composed by Carl Orff, is most famous as the ‘most overused musical piece in history’10 , and for its bold and extreme reduction and increasing of volume through from amplified vocal melodies and accompaniment to contrasting extreme pianissimo and chanting. The piece itself can be described as Neo- Medieval (Papas, E. 2014) due to its medieval characteristics and elements of folk songs.10 The song begins in the key signature of D minor and the vocal parts (soprano, alto, tenor and bass) sing in an octave lower than written in the score provided below. Also according to the analysed score, the accompaniment is an orchestral reduction for the piano. The original instruments used in ‘O Fortuna’ are;
- Three Flutes
- Three oboes
- Three clarinets (Bb and A)
- Two bassoons
- One Contrabassoon
- Four horns (F)
- Three trumpets (Bb and C)
- Three trombones
- One Tuba
- Percussion section- five timpani, two snare drums, bass drum, triangle, cymbals, suspended cymbals, antique cymbals, ratchet, castanets, tambourine, sleigh bells, tam- tam, tubular bells, three glockenspiels, gong, xylophone
- Two pianos
- One celesta
- Strings
- Two SATB mixed choirs small and large)
- One boys’ choir
- Soprano, tenor and baritone soloists
10
Tempo
In the first section of the piece (Bars 1-9) the tempo marking reads as three semibreves a bar and one minim = 60. There is also the marking ‘Pesante’- meaning ‘Heavy and Ponderous’ and above bar 3 ‘Poco stringando’- prompting the players of the piece to ‘gradually get slowly faster’2
In bar 5 the tempo changes to minim = 120- 132 and three minims to a bar
At bar 62 the tempo changes to minim = 144
In bar 93 the tempo changes for the last time to minim = 160
Tonality
The piece begins in the key of D minor and the beginning chords create a D minor 2chord.
In bar 13, the accompaniment creates a tonic chord (D, A) and then a dominant chord ( C ) that in turn creates D natural minor, giving the piece an essential medieval feel.
In the last two sections of the piece, from bar 93, the tiers de piccardie created by the accompaniment by adding an F sharp creates a D major key, the last key change of the piece.
Structure
The piece O Fortuna is a verse and chorus piece.
Duration
The piece O Fortuna is 101 bars in length
Timbre
The timbre of the piece is wild, colourful and chaotic. The piece contains frequent deliberate chord and melodic clashes and also varied textures as the chorus is amplified and chaotic whilst the hushed chanting of the verses are more structured and create a more tense mood than the chaotic atmosphere that the chorus creates.
Expressive Devices
- ff (fortissimo)
- pp (Pianissimo)
- sompre pp (Always pianissimo)
- caesura ('train tracks' pause before the chorus)
- f (forte)
- crescendo
- pause
Texture
The piece has a primitive quality, the rhythms used are simple, yet repeated obsessively and polyphonic textures are virtually non- existent. (Papas, E. 2014)
The chorus of the piece is noticeably layered and thick as the melodic parts chant in unison whilst the harmonic parts play a contrary pattern of notes repetitively, creating a sense of chaotic harmony. Compared to this, the hushed chanting of the verses is smoother and create a suspenseful atmosphere whilst the melodic and harmonic parts are still in contrast to one another. A particular section where the melody becomes smoother is bar 90 as the piece enters the final stretch and builds up towards the ending chorus.
The piece moves in block harmonies, in particular the amplified chorus, where each note is harmonised so that all the vices have an identical rhythm.11 An example of this is bar 62 and 63 when the vocal parts enter the second amplified chorus.
Within the melody, the parts are almost always monophonic. The melody and harmony move in parallel motion.
Melody
The first phrase of the composition is centred around D minor and first appears in bars 1 to 2 and then repeated from bar 3 to 4. The vocal parts then dramatically pause to then drop to a hushed chanting in the space between bar 4 and bar 5. In bar 5 there is a noticeable a tempo change where a minim now has the value of 120- 132. The chanted parts are repeated in different steps, descending at first, and are the same musically. The three vocal parts are all in unison.
(Figure 1 and 2)
At bar 10 (Marked by a large ‘1’) the melody is still simple and moving by step, each part’s notes are in a range of three to emphasize the hushed sense of tension and grim mood that is the concept behind the piece, and at bar 13- after a two beat rest- the hushed chanting repeats the melody from bar 5, remaining the same. The Accompaniment, however, introduces tonic and dominant notes D, A and C into the harmony to emphasise the intended medieval feel in D natural minor, also muddying the beat and creating note confusion between the parts.
(Figure 3)
In bar 21, the vocal parts divide so that the soprano and tenor parts differ from the alto and bass parts by a third. This change between parts creates a rudimentary harmony by the alto and bass vocals. Whilst this divide in the vocal melody is occurring, the harmony also adds notes to the progressions and in doing so adds a slightly hurried atmosphere underlying the otherwise steady chanting of the vocal melody. (This divide is highlighted in the score sample below)
(Figure 3 and 4)
At bar 25 all the parts return to a slower pace. Continuing from this change at bar 29 the vocals return to as they were before, in unison, and are reduced again in volume, although this time with a slightly thicker texture. Throughout this section, the parts remain the same as the previous section changed only in density, creating a building sense of tension and excitement in anticipation of the upcoming chorus.
(Figure 4 and 5)
As the piece enters bar 40, the vocal notes begin to slip into holding their notes for longer than the written value, creating a slight lapse in timing with the accompaniment, and the texture becomes thicker in bar 46, where the melody builds up in thirds to create a teasing atmosphere as it approaches the next amplified chorus. The vocal notes are still in harmony.
(Figure 6)
Until bar 59 all parts remain the same, at bar 59 all melodic parts end on a tonic note; D, and at the conclusion of following bar pause for a breath (as written with a caesura) before “The Powers of darkness are unleashed” (Papas, E. 2014) and the melody erupts into the amplified chorus as prompted by a change of tonality (minim = 144) and the dynamics ascend from pianissimo to forte (and fortissimo for the accompaniment) Throughout the entirety of the next 12 bars of the next section, the melody remains the same, however the melodic parts have again expanded up an octave. This happens again at ending of this chorus as the vocal parts expand into thirds.
(Figure 8)
From bar 64 onwards to bar 76 the melody remains the same, but expanded up an octave. However, at bar 77 the vocals again expand into thirds, creating more tension and underlying need for release with the ascension of the volume and pitch.
This remains unchanged until bar 89 where the alto and bass vocals begin to sing pedal notes (the same note sung repeatedly) and at bar 90 the melody becomes smooth and more even. At bar 93 all vocal parts sing slurred pedal notes in unison that are extended whilst the accompaniment plays a hurried, staccato rhythm below the melody’s drawn out pedal notes.
(Figure 9)
Finally, on the concluding bar, all parts end in a massive ending chord- drawn straight with no pause for breath as indicated by term ‘attacca’ (Go straight on)2, creating a conclusive feeling with an amplified and held chord.
(Figure 10)
Harmony
As the melody does, the accompaniment begins on a Dm2 chord. The two upper parts of the accompaniment play in unison with the harmony whilst the lowest part of the accompaniment provides the underlying chords, creating a dense sound below the repeated amplified melodies of the other parts. From bar 1 to 2 the bottom harmony plays a tonic chord, and then follows in the next two bars with a dominant chord.
(Figure 1)
When the melody changes into the hushed chanting at bar 5, the top harmony rests, later to be retracted so the accompaniment contains only two parts. The remaining high harmonic part plays an ostinato (pattern of notes) in contrast to the hushed repetitive chanting of the melodic parts whilst the lower accompaniment changes to a slower staccato pattern.
(Figure 2)
In bar 10 the accompaniment has been reduced to two parts, both are now bass clef.
At bar 13, the accompaniment again switches briefly to a tonic chord for one bar, then a dominant chord in the following bar before once more returning to the ostinato pattern.
In bar 21, along with the division of the melodic parts, the higher accompaniment reverts to treble clef and drops an octave, adding notes to the ostinato pattern played repetitively.
(Figure 3)
In bar 29, as the melody reduces, the dynamics of the accompaniment change to ‘sompre pianissimo (meaning ‘always pianissimo’) 11, but remains otherwise unchanged.
At bar 34, the top accompaniment changes to bass clef and then at bar 46 reverts to treble clef.
At bar 58, before the ascension to the amplified chorus, the harmony expands into three parts once more. The harmony also begins the amplified chorus two beats before the melody begins its part, providing an underlying contrasting accompaniment to the chorus.
(Figure 8)
During the chorus, the middle harmony part develops an ostinato that is repeated throughout the entirety of the chorus and until the end. Contrary to this, the two other harmonic parts play a pattern of notes in unison but at a different pitch to each other.
(Figure 8)
At bar 93 the harmony is reduced again to two parts. Also at this bar, the top harmony develops an accidental F sharp to the first note of every bar, creating a tiers de piccardie and making the key signature a D major. Whilst this is occurring, the bottom harmony plays a D natural minor chord, creating a medieval feel relevant to the genre of O Fortuna.
(Figure 9)
Finally on the concluding bar, the harmonic part joins the melodic parts in unison to create an ending chord and create a feeling of finality.
(Figure 10)
Orff also is a noted musical educator and major influence on the teachings of music to children. His school was his chief enthusiasm in his musical work and many of those he taught possessed no instrumental skills or talents.
The piece ‘O Fortuna’ from Carmina Burana, composed by Carl Orff, is most famous as the ‘most overused musical piece in history’10 , and for its bold and extreme reduction and increasing of volume through from amplified vocal melodies and accompaniment to contrasting extreme pianissimo and chanting. The piece itself can be described as Neo- Medieval (Papas, E. 2014) due to its medieval characteristics and elements of folk songs.10 The song begins in the key signature of D minor and the vocal parts (soprano, alto, tenor and bass) sing in an octave lower than written in the score provided below. Also according to the analysed score, the accompaniment is an orchestral reduction for the piano. The original instruments used in ‘O Fortuna’ are;
- Three Flutes
- Three oboes
- Three clarinets (Bb and A)
- Two bassoons
- One Contrabassoon
- Four horns (F)
- Three trumpets (Bb and C)
- Three trombones
- One Tuba
- Percussion section- five timpani, two snare drums, bass drum, triangle, cymbals, suspended cymbals, antique cymbals, ratchet, castanets, tambourine, sleigh bells, tam- tam, tubular bells, three glockenspiels, gong, xylophone
- Two pianos
- One celesta
- Strings
- Two SATB mixed choirs small and large)
- One boys’ choir
- Soprano, tenor and baritone soloists
10
Tempo
In the first section of the piece (Bars 1-9) the tempo marking reads as three semibreves a bar and one minim = 60. There is also the marking ‘Pesante’- meaning ‘Heavy and Ponderous’ and above bar 3 ‘Poco stringando’- prompting the players of the piece to ‘gradually get slowly faster’2
In bar 5 the tempo changes to minim = 120- 132 and three minims to a bar
At bar 62 the tempo changes to minim = 144
In bar 93 the tempo changes for the last time to minim = 160
Tonality
The piece begins in the key of D minor and the beginning chords create a D minor 2chord.
In bar 13, the accompaniment creates a tonic chord (D, A) and then a dominant chord ( C ) that in turn creates D natural minor, giving the piece an essential medieval feel.
In the last two sections of the piece, from bar 93, the tiers de piccardie created by the accompaniment by adding an F sharp creates a D major key, the last key change of the piece.
Structure
The piece O Fortuna is a verse and chorus piece.
Duration
The piece O Fortuna is 101 bars in length
Timbre
The timbre of the piece is wild, colourful and chaotic. The piece contains frequent deliberate chord and melodic clashes and also varied textures as the chorus is amplified and chaotic whilst the hushed chanting of the verses are more structured and create a more tense mood than the chaotic atmosphere that the chorus creates.
Expressive Devices
- ff (fortissimo)
- pp (Pianissimo)
- sompre pp (Always pianissimo)
- caesura ('train tracks' pause before the chorus)
- f (forte)
- crescendo
- pause
Texture
The piece has a primitive quality, the rhythms used are simple, yet repeated obsessively and polyphonic textures are virtually non- existent. (Papas, E. 2014)
The chorus of the piece is noticeably layered and thick as the melodic parts chant in unison whilst the harmonic parts play a contrary pattern of notes repetitively, creating a sense of chaotic harmony. Compared to this, the hushed chanting of the verses is smoother and create a suspenseful atmosphere whilst the melodic and harmonic parts are still in contrast to one another. A particular section where the melody becomes smoother is bar 90 as the piece enters the final stretch and builds up towards the ending chorus.
The piece moves in block harmonies, in particular the amplified chorus, where each note is harmonised so that all the vices have an identical rhythm.11 An example of this is bar 62 and 63 when the vocal parts enter the second amplified chorus.
Within the melody, the parts are almost always monophonic. The melody and harmony move in parallel motion.
Melody
The first phrase of the composition is centred around D minor and first appears in bars 1 to 2 and then repeated from bar 3 to 4. The vocal parts then dramatically pause to then drop to a hushed chanting in the space between bar 4 and bar 5. In bar 5 there is a noticeable a tempo change where a minim now has the value of 120- 132. The chanted parts are repeated in different steps, descending at first, and are the same musically. The three vocal parts are all in unison.
(Figure 1 and 2)
At bar 10 (Marked by a large ‘1’) the melody is still simple and moving by step, each part’s notes are in a range of three to emphasize the hushed sense of tension and grim mood that is the concept behind the piece, and at bar 13- after a two beat rest- the hushed chanting repeats the melody from bar 5, remaining the same. The Accompaniment, however, introduces tonic and dominant notes D, A and C into the harmony to emphasise the intended medieval feel in D natural minor, also muddying the beat and creating note confusion between the parts.
(Figure 3)
In bar 21, the vocal parts divide so that the soprano and tenor parts differ from the alto and bass parts by a third. This change between parts creates a rudimentary harmony by the alto and bass vocals. Whilst this divide in the vocal melody is occurring, the harmony also adds notes to the progressions and in doing so adds a slightly hurried atmosphere underlying the otherwise steady chanting of the vocal melody. (This divide is highlighted in the score sample below)
(Figure 3 and 4)
At bar 25 all the parts return to a slower pace. Continuing from this change at bar 29 the vocals return to as they were before, in unison, and are reduced again in volume, although this time with a slightly thicker texture. Throughout this section, the parts remain the same as the previous section changed only in density, creating a building sense of tension and excitement in anticipation of the upcoming chorus.
(Figure 4 and 5)
As the piece enters bar 40, the vocal notes begin to slip into holding their notes for longer than the written value, creating a slight lapse in timing with the accompaniment, and the texture becomes thicker in bar 46, where the melody builds up in thirds to create a teasing atmosphere as it approaches the next amplified chorus. The vocal notes are still in harmony.
(Figure 6)
Until bar 59 all parts remain the same, at bar 59 all melodic parts end on a tonic note; D, and at the conclusion of following bar pause for a breath (as written with a caesura) before “The Powers of darkness are unleashed” (Papas, E. 2014) and the melody erupts into the amplified chorus as prompted by a change of tonality (minim = 144) and the dynamics ascend from pianissimo to forte (and fortissimo for the accompaniment) Throughout the entirety of the next 12 bars of the next section, the melody remains the same, however the melodic parts have again expanded up an octave. This happens again at ending of this chorus as the vocal parts expand into thirds.
(Figure 8)
From bar 64 onwards to bar 76 the melody remains the same, but expanded up an octave. However, at bar 77 the vocals again expand into thirds, creating more tension and underlying need for release with the ascension of the volume and pitch.
This remains unchanged until bar 89 where the alto and bass vocals begin to sing pedal notes (the same note sung repeatedly) and at bar 90 the melody becomes smooth and more even. At bar 93 all vocal parts sing slurred pedal notes in unison that are extended whilst the accompaniment plays a hurried, staccato rhythm below the melody’s drawn out pedal notes.
(Figure 9)
Finally, on the concluding bar, all parts end in a massive ending chord- drawn straight with no pause for breath as indicated by term ‘attacca’ (Go straight on)2, creating a conclusive feeling with an amplified and held chord.
(Figure 10)
Harmony
As the melody does, the accompaniment begins on a Dm2 chord. The two upper parts of the accompaniment play in unison with the harmony whilst the lowest part of the accompaniment provides the underlying chords, creating a dense sound below the repeated amplified melodies of the other parts. From bar 1 to 2 the bottom harmony plays a tonic chord, and then follows in the next two bars with a dominant chord.
(Figure 1)
When the melody changes into the hushed chanting at bar 5, the top harmony rests, later to be retracted so the accompaniment contains only two parts. The remaining high harmonic part plays an ostinato (pattern of notes) in contrast to the hushed repetitive chanting of the melodic parts whilst the lower accompaniment changes to a slower staccato pattern.
(Figure 2)
In bar 10 the accompaniment has been reduced to two parts, both are now bass clef.
At bar 13, the accompaniment again switches briefly to a tonic chord for one bar, then a dominant chord in the following bar before once more returning to the ostinato pattern.
In bar 21, along with the division of the melodic parts, the higher accompaniment reverts to treble clef and drops an octave, adding notes to the ostinato pattern played repetitively.
(Figure 3)
In bar 29, as the melody reduces, the dynamics of the accompaniment change to ‘sompre pianissimo (meaning ‘always pianissimo’) 11, but remains otherwise unchanged.
At bar 34, the top accompaniment changes to bass clef and then at bar 46 reverts to treble clef.
At bar 58, before the ascension to the amplified chorus, the harmony expands into three parts once more. The harmony also begins the amplified chorus two beats before the melody begins its part, providing an underlying contrasting accompaniment to the chorus.
(Figure 8)
During the chorus, the middle harmony part develops an ostinato that is repeated throughout the entirety of the chorus and until the end. Contrary to this, the two other harmonic parts play a pattern of notes in unison but at a different pitch to each other.
(Figure 8)
At bar 93 the harmony is reduced again to two parts. Also at this bar, the top harmony develops an accidental F sharp to the first note of every bar, creating a tiers de piccardie and making the key signature a D major. Whilst this is occurring, the bottom harmony plays a D natural minor chord, creating a medieval feel relevant to the genre of O Fortuna.
(Figure 9)
Finally on the concluding bar, the harmonic part joins the melodic parts in unison to create an ending chord and create a feeling of finality.
(Figure 10)