So, while avoiding the stark obviousness of just modulating to the parallel major, it also avoids any overall effect of sinking. But the third time, “While clouds dance Across the vast eternal sky,” begins on G–the third of E-flat major. “Snowy patches strewn, Anchored to the craggy earth” in the second section, starting on G. “Of green and white and granite grey,” in the first section, starting on A. I think the answer comes from the main theme. But after the modern, down-one-step modulation, why would a composer to go down another third and change mode? Then there’s another key change right at the very end to E-flat major–nothing surprising there: chromatic mediants have been our friends since Haydn. But in the midst of all that wide, vast, expanse, we also have a sense of weight, of gravity. And that fits the text and the affect of the music overall, which is expansive and broad of girth, oceanic. More subjectively, I think it evokes grounding. The modulation is a large-scale reflection of the stepwise descending lines of the introduction’s vocal lines and of the piano’s left hand half notes in mm.
That’s not a typical, common-practice-era-style key change, so what’s it for?įirst of all, stepwise descent is a thing throughout the whole song. 29 of 57), which sinks from A minor to G minor. The primary structural axis seems to be the big key change in the middle (m. Now that I’m looking at it like a conductor, I’m looking at the structure to see how it really works. Now I actually get to prepare it for myself, which requires rather more decisions. So, I’ve already been leading sectional rehearsals in Women’s Choir and begun preparing it with the women of Concert Choir, but I was preparing it for someone else to conduct it. The Baylor University recording is, in my opinion, the best on YouTube by far: It turns out I’m going to get to conduct it, which is fabulous because I really dig it. A smaller needle size (e.g.: 2.5mm / US size 1.5) could be substituted for the second set if necessary.Women’s Choir and the women of Concert Choir will be combining to sing Ola Gjeilo’s “Tundra” on the final concert of the semester–my final concert at UConn. The sample has been worked using Grundl’s Hot Socks (75% Wool / 20% Polyamide / 5% Cashmere 200m / 219yds per 50g) as the main colour (colourway #10) and The Urban Purl’s Namaste Sock base (60% Superwash Merino / 20% Silk / 20% Yak 366m / 400yds per 100g) as the contrast colour (colourway Mantra Mill).Ģx 2.75mm / US size 2 circular needles (cable length ~18”/45cm, or use a longer cable and magic loop). The cowl design requires fingering / sock weight yarn. Using 2.75mm / US size 2 needles, or needle size required to meet gauge, 30 stitches over 44 rounds in stockinette stitch, blocked, creates a 4x4”/10x10cm square. This accessory is available in one size, although both circumference and length are customisable.Ĭowl Length / Circumference Around Neck: 25.5” / 63.5cm. Stranded colourwork is used on alternate rounds to form a geometric pattern. A provisional cast on is used to start with so that once the cowl is complete, the ends can be grafted together using kitchener stitch for a neat and seamless finish. The cowl is worked in the round to form a long, straight tube. The repeating individual stitches mimic the two-note ostinatos that continue throughout the composition and the flowing shapes created through the larger combined clusters of stitches reflect the more lyrical vocals. With this in mind, the colourwork patterns are deliberately sparse themselves, creating patterns from small clusters of stitches worked on alternate rounds. I wanted to create a sense of the barren and sparse landscape of the tundra that inspired Gjeilo’s music whilst also capturing the beautiful and atmospheric music he composed. The music of Tundra is Gjeilo’s homage to the Hardangervidda mountain plateau from his homeland Norway. This colourwork cowl is inspired by a piece of music called Tundra by Ola Gjeilo.
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