The interrelation of rhythm and pitch in Bartók’s first Piano Concerto

Abstract

The central hypothesis of this paper is that rhythmic patterns in Bartók’s melodies correlate with intervallic structure. Recognition of a motif or phrase as a distinct musical idea depends on its rhythmic character as well as its ordering of pitches. Rhythmic asymmetry is also significant to the rhythm-pitch interrelation theory. In Bartók’s music, rhythm often varies while the melodic identity is retained. Equally, his use of chromaticism and inversion as forms of melodic variation often occur with the rhythmic identity intact. Many rhythmic patterns form phrases that undergo such extreme changes of pitch that the phrase is defined by rhythm. The analysis of the first movement’s exposition of the Concerto no. 1 for Piano and Orchestra (1926) examines the extent to which rhythm is organised according to melody.