Mie.

P17

Analytical notes
on selected piano music of

Martha Mier
Red Rose Rendezvous
Serenity of the Heart
Surfboard Boogie
Tahitian Sunset
Tuxedo Jazz
The Whispering Wind
Wild Honeysuckle Rag

by
Ross A Hamilton
B.Mus.[Hons], M.Mus.[Mus.Ed.], A.Mus.A., L.Mus.A.

Intellectual property notice: the intellectual property rights of these notes are
vested in the author. The notes may not be photocopied.
Disclaimer: these notes represent one interpretation of the works discussed,
and are not necessarily the only possible interpretation.

www.rosshamilton.com.au

Prepared for Shu Yi Chan. Order: 16178

 Red Rose Rendezvous
(Martha Mier)

Martha Mier is a contemporary American composer who writes in a popular style. She was
born in 1936 and studied at Florida State University. She currently teaches piano in Florida,
in addition to her work as a composer, church musician, accompanist, adjudicator and workshop
presenter.

A “rendezvous” is a meeting that has been prearranged; the title of this piece indicates that it
would be a meeting of lovers.

Red Rose Rendezvous is in D minor, in ternary (AABA) form. It is a jazz waltz. A waltz is a
ballroom dance in triple time. Waltzes typically have one chord per bar, and an “oom-pa-pa”
accompaniment, though the accompaniment rhythm is altered in a jazz waltz.
b.1-4Introduction, left hand only, using chords i (D-F-A) and IV (G-B-D) of D minor.
The rhythm is syncopated (with long notes on weak beats).
A 5-22 Main theme, D minor. The melody ends on the dominant note/chord in b.11-12 and
the tonic note/chord in b.19-22.
The melody is based entirely on the “blues scale”: D F G Ab A C D.
The left hand continues to use the rhythm from the introduction, and the right hand
rhythm is also sometimes syncopated (e.g. accents on weak beats in b.13 and b.15).
The bass descends chromatically in b.14-17, with chord VI7 (Bb-D-F-Ab) in b.16
leading to the dominant note in b.17-18, then a perfect cadence in b.18-19.
A 23-38 Main theme, slightly varied, but still based entirely on the blues scale, coming to rest
with a pause on the tonic triad in b.38.
B 39-54 Episode, remaining in D minor, but no longer using the blues scale.
Sequences are used in b.39-42 and b.47-50, creating brief hints of F major
(the relative major key) in b.40-41 and b.48-49, without settling in that key.
The bass notes descend chromatically in b.51-54 (G-F#-F-E), leading to the return
of the main theme.
A 55-74 Main theme returns - very similar to b.5-22, but slightly extended.
The bass descends chromatically in b.70-72, leading to chord VI7 (Bb-D-F-Ab)
in b.72, followed by a tonic 13th (D-F-A-[C]-E-[G]-B) in b.73-74.

rit[enuto] means hold back the speed (i.e. immediately slower); molto means much.
a tempo means return to the former speed.
A fermata or pause (U) means hold for longer than written.

Red Rose Rendezvous is a jazz waltz, characterised by:

• simple triple time, using one chord per bar.
• syncopation (accents and long notes on weak beats, rests or tied notes on strong beats).
• use of the blues scale.
• some use of 7th and 13th chords.

Copyright © 2006 by R. A. Hamilton. These notes may not be photocopied without permission
Prepared for Shu Yi Chan. Order: 16178
 Serenity of the Heart
(Martha Mier)

Martha Mier is a contemporary American composer who writes in a popular style. She was
born in 1936 and studied at Florida State University. She currently teaches piano in Florida,
in addition to her work as a composer, church musician, accompanist, adjudicator and workshop
presenter.

Serenity is a state of deep calm. Serenity of the Heart is in D major, in ternary (ABA) form.

b.1-2 Introduction, D major, arpeggiating the tonic chord; the Es are passing notes.
A 3-10 Main theme, D major, with a perfect cadence in b.5-6 and an imperfect cadence in
b.9-10.
The melody has a lilting feel, with occasional syncopation (ties across strong beats).
The G# in b.4 is a chromatic passing note. There is a brief hint of B minor in b.6-7,
but no modulation yet.
11-18 Main theme, slightly varied, but remaining in D major, ending with a perfect cadence
in b.17-18.
B 19-22 Episode, beginning as if in B minor (the relative minor key), but returning to
D major in b.20, ending with a perfect cadence in b.21-22.
23-26 All in B minor, ending with an imperfect cadence in b.25-26.
27-30 The same as b.10-22, with a perfect cadence in D major in b.29-30.
31-34 Begins in a similar way to b.23, in B minor, but the bass descends chromatically in
b.31-32, leading to a return of D major. There is a diminished 7th chord in b.32
(F#-A-C-Eb) and a perfect cadence in b.33-34.
A 35-52 Main theme returns - similar to b.3-18, but with rhythmic variations (additional
semiquavers in b.35, block chords in crotchets in b.26, etc.).
The ending is elongated (bars 17-18 are now extended to four bars), with a perfect
cadence in b.50-51 and a tonic chord with added 2nd (or 9th) in b.52.

Moderato means at a moderate speed; cantabile means in a singing style.

The suggested tempo is 88 crotchet beats per minute.
rit[enuto] means hold back the speed (i.e. immediately slower).
a tempo means return to the former speed.
g indicates that the chord should be arpeggiated.
8va means play an octave higher than written.

Serenity of the Heart is in a ballad style, characterised by:

• unhurried tempo.
• lyrical melodies.
• frequent 7th and 9th chords.
• lilting, gently syncopated rhythms.

Copyright © 2006 by R. A. Hamilton. These notes may not be photocopied without permission
Prepared for Shu Yi Chan. Order: 16178
 Surfboard Boogie
(Martha Mier)

Martha Mier is a contemporary American composer who writes in a popular style. She was
born in 1936 and studied at Florida State University. She currently teaches piano in Florida,
in addition to her work as a composer, church musician, accompanist, adjudicator and workshop
presenter.

Surfboard Boogie is in an up-tempo blues style, characterised by:

• fast tempo and driving energy.
• swing rhythms (the quavers are played unevenly, in long-short pairs).
• twelve-bar blues chord patterns (I - I - I - I IV - IV - I - I V - IV - I - I).
• syncopation (ties across strong beats and long notes on weak beats).
• “walking bass” accompaniment (left hand mostly in single crotchets).
• the use of flattened 3rd and 7th scale degrees.

Surfboard Boogie is in the key of C major. Sometimes the 3rd and 7th notes of the scale are
flattened (i.e. Eb and Bb, rather than E and B); this gives the piece a jazzier sound, but does not
alter the key. There is no modulation.
The 12-bar blues pattern is heard twice, in a slightly altered form to the one quoted above.
The lowest bass notes show which chord in the pattern is being used (I = C, IV = F, V = G).

b.1-12 12-bar blues progression.

b.13-26 12-bar blues progression, with a slightly extended ending.

The suggested speed is 160 crotchet beats per minute.

rit[enuto] means hold back the speed (i.e. immediately slower).
A pause or fermata (U) means to hold the note for longer than the written value.

Copyright © 2006 by R. A. Hamilton. These notes may not be photocopied without permission
Prepared for Shu Yi Chan. Order: 16178
 Tahitian Sunset
(Martha Mier)

Martha Mier is a contemporary American composer who writes in a popular style. She was
born in 1936 and studied at Florida State University. She currently teaches piano in Florida,
in addition to her work as a composer, church musician, accompanist, adjudicator and workshop
presenter.

Tahiti is a tropical island in the Pacific Ocean. The calm, restful feel of sunset on the island is
depicted through:
• moderate tempo.
• gentle, slightly syncopated melodies.
• ostinato (repeating pattern) accompaniments.
• absence of dramatic dynamic contrasts.

The main key is G major. The piece often alternates between G major and C minor.
The form is ternary (AABA) with an introduction and coda.

b.1-4 Introduction, G major, introducing the left hand ostinato.

Bars 2 and 4 are in C minor.1
A 5-14 Main theme, alternating between G major (the odd-numbered bars) and C minor
(the even-numbered bars).
The melody is gently syncopated (with some rests or tied notes on strong beats
(e.g. b.6 and b.8).
The ostinato continues in the left hand.
A 15-22 Main theme repeated, ending on the tonic chord of G major in b.21-22.
B 23-30 A contrasting episode, all in G major, ending on the dominant 7th chord in b.29-30.
A 31-40 Main theme - the same as b.5-14.
41-44 Coda, ending on the tonic chord of G major in b.43-44.

Moderato means at a moderate speed.

espressivo means expressively.
simile means similarly (i.e. continue pedalling in a similar way).
rit[enuto] means hold back the speed (i.e. immediately slower).
U (fermata or pause) means hold the note for longer than its written value.

1
The chord in these bars contains notes that are a semitone removed from the tonic chord of G major - so the
bass D becomes Eb, treble G becomes Ab and treble B becomes C, while the treble D remains the same.
In a sense, these bars are simply a decoration of the tonic chord of G major.

Copyright © 2006 by R. A. Hamilton. These notes may not be photocopied without permission
Prepared for Shu Yi Chan. Order: 16178
 Tuxedo Jazz
(Martha Mier)

Martha Mier is a contemporary American composer who writes in a popular style. She was
born in 1936 and studied at Florida State University. She currently teaches piano in Florida,
in addition to her work as a composer, church musician, accompanist, adjudicator and workshop
presenter.

A tuxedo is a dinner jacket that is worn on formal occasions. There is also a jazz standard from
the swing era titled Tuxedo Junction (composed in 1939 by Hawkins, Johnson and Dash).

Tuxedo Jazz is in an up-tempo swing jazz style, characterised by:

• lively tempo and jaunty character (cheerful and self-confident).
• swing rhythms (the paired quavers should be played unevenly, in long-short patterns).
• syncopation (off-beat accents and rests or tied notes on strong beats).
• twelve-bar blues chord patterns (I - I - I - I IV - IV - I - I V - IV - I - I).
• the use of the blues scale: C Eb F F#/Gb G Bb C.
• the use of short “riffs” (repeating patterns).
• many 7th or added 6th chords.
• grace notes, resembling the “pitch bends” of singers or wind instrumentalists.
Tuxedo Jazz is in the key of C minor, using the blues scale. The form is ternary (ABA).

A b.1-12 Main theme, or “head”. In big band music of the swing era, this section would be
played by the whole band.
It uses a 12-bar blues progression in C minor; the lowest bass note of each bar
shows which chord is used (I = C, IV = F, V = G).1
Chords I and IV often contain an added 6th (e.g. C-Eb-G-A in bars 1, 3, 7 and 11;
F-Ab-C-D in b.5).
The left hand has 2-bar “riffs”, based on the blues scale. The right hand melody
also uses this scale. In b.5-6, the blues scale on F is used (F Ab Bb Bn/Cb C Eb F).
B 13-20 Episode, F minor, coming to rest on the dominant 7th chord in bars 14, 16 and 20.
This section represents the improvised solos of big band music. The right hand
melody is based entirely on the F blues scale.
21-24 Returning to C minor, using the 2-bar riff on chord IV6 (b.21-22) and V7 (b.23-24).
A 25-36 Almost identical to b.1-12.
37-39 Coda. Ends on a tonic chord with no 3rd in b.39.

The suggested speed is 120 crotchet beats per minute.

A triplet indicates a group of three notes that are played in the time of two.
The grace notes (… ) are acciaccaturas (crushed notes).
rit[enuto] means hold back the speed (i.e. immediately slower).
a tempo means return to the former speed.
8va means play an octave higher or lower than written.
> (accent) means play the note with emphasis.
1
The traditional pattern is slightly altered in b.9-10, embellishing chord V7 (G-B-D-F) with VI7 (Ab-C-Eb-Gb).

Copyright © 2006 by R. A. Hamilton. These notes may not be photocopied without permission
Prepared for Shu Yi Chan. Order: 16178
 The Whispering Wind
(Martha Mier)

Martha Mier is a contemporary American composer who writes in a popular style. She was
born in 1936 and studied at Florida State University. She currently teaches piano in Florida,
in addition to her work as a composer, church musician, accompanist, adjudicator and workshop
presenter.

The sound of the gentle wind is depicted through:

• crescendo and diminuendo.
• short scale passages.
• ostinato (repeating patterns).
• absence of dramatic dynamic contrasts.
The key is C major. There is no modulation.

The form is ternary (ABA), with an introduction.

b.1-2 Introduction. C major, but does not begin on the tonic chord.
Contains descending triads (minor and major) in the left hand, with the dominant
note of C major in the right hand.
A 3-18 Main theme, all in C major.
The accompaniment consists mostly of triads, beginning on the tonic chord.
The bass line moves by semitone steps, like a chromatic scale, in b.11-14,
but there is no modulation here.
There is an imperfect cadence in b.9-10, and a perfect cadence in b.16-17.
B 19-26 A contrasting episode, containing some more unusual chords,2 but remaining in
C major.
A 27-42 Main theme - almost the same as b.3-18.
The melody is slightly altered in b.37-38, and the tempo is slower in b.39-42.
Ends with a perfect cadence in C major in b.40-41.

simile means similarly (i.e. continue pedalling in a similar way).

8va means play an octave higher than written.
U (fermata or pause) means hold the note for longer than its written value.

2
A “half-diminished 7th” chord in b.20 and b.24 (D-F-Ab-C), and an augmented chord in b.25 (G-B-D#).
Copyright © 2006 by R. A. Hamilton. These notes may not be photocopied without permission
Prepared for Shu Yi Chan. Order: 16178
 Wild Honeysuckle Rag
(Martha Mier)

Martha Mier is a contemporary American composer who writes in a popular style. She was
born in 1936 and studied at Florida State University. She currently teaches piano in Florida,
in addition to her work as a composer, church musician, accompanist, adjudicator and workshop
presenter.

Rag or ragtime is a style of popular music which flourished at the turn of the 20th century. Its
most famous proponent was Scott Joplin. It is characterised by:
• syncopated (ragged) rhythms - accents on weak beats, or ties across strong beats.
• duple or quadruple time signatures.
• phrases of regular length, which are repeated.
• “stride” style of accompaniment (bass note then chord).
• frequent use of 7th and 9th chords.
Wild Honeysuckle Rag is in C major, in ternary (ABA) form.

b.1-4 Introduction, C major, ending on a dominant 7th chord in b.4.

The sharps in the first two bars indicate chromatic passing or auxiliary notes, which move by
semitone step and which do not change the key.
A 5-12 Main theme, mostly in C major, ending with an imperfect cadence in b.11-12.
There are some more chromatic passing or auxiliary notes, as in the introduction. The chord in
b.11 is a secondary dominant 7th (the “dominant of the dominant”). There is no modulation.
13-20 Main theme continues, beginning in C major as before, and modulating to D minor
in b.15-16.
There is a diminished 7th chord at the end of b.17 (F#-A-C-Eb), and a cycle of 5ths chord
progression in b.18-20 (with the bass notes falling a 5th or rising a 4th: A - D - G - C).
Ends with a perfect cadence in C major in b.19-20.
B 21-28 Episode. A new theme, beginning in a similar way to the Main Theme, all in
C major, with an imperfect cadence in b.23-24 and a perfect cadence in b.27-28.
29-36 Episode continues, modulating briefly to D minor again in b.30-31, then returning
to C major, ending with a perfect cadence in b.34-35.
There is a diminished 7th chord in b.32, and a secondary dominant 7th chord at the start of b.34.
A 5-20 Main theme as before (Dal Segno).
37-42 Coda. All in C major, ending with a perfect cadence in b.41-42.
The bass descends in semitones to the dominant in b.37-39, and there are some more chromatic
passing or auxiliary notes, but there is no modulation.

D[al] S[egno] al Coda means play from the % sign to the fi sign, then play the Coda.
> indicates an accent.

Copyright © 2006 by R. A. Hamilton. These notes may not be photocopied without permission
Prepared for Shu Yi Chan. Order: 16178