Grande Étude d’Arpégiation

Grande Étude d’Arpégiation > inspired from < “Clair de Terre” >

Music by Guy Pelletier < written for the pedal harp > by Caroline Lizotte

Among the compositions of Guy Pelletier and his collaborations with singer Emmanuelle Orange-Parent, “Clair de Terre” (Earthshine) is a powerful song both musically and vocally. The Great Study of Arpeggiation is an étude de concert for harp, in tribute to this skillfully musical and rigorously mathematical work. Its lyrical phrasing evokes, with some variations, the vocal material and harmonic structure of the song completed in 2011.

Arpeggiation is a common term in Schenkerian analysis. According to Heinrich Schenker, a theorist of Viennese music: “arpeggiation is an ascending linear progression that extends in anticipation the lead note to which it leads. It can take on considerable proportions and carry a great deal of dramatic tension.” Clair de Terre perfectly follows the arpeggiation process from all angles. Whether chromatic, harmonic or poetic, its arpeggiation weaves a canvas that always follows the same pattern between two points, thus creating phrases and melodic calls of great beauty.

But arpeggiation is also a common term in the writing and playing of the harp. The harp is a well-known instrument for its beautiful arpeggios and arpeggios chords. Many composers have used it as an “arpegging instrument”. In addition to arpegging, La Grande Étude presents different types of arpegging chords that are becoming more and more nourished and powerful. It is particularly suitable for the harp, constantly challenging control of articulation and concentration. Keeping track without falling into hypnosis is a tour de force!