We will play through this whole thing again, the four movements, but I want to spend just a minute on the first and last movement. They both based on folk songs. The first movement is from the folk song that I lived when I first encountered as a young boy. I moved from Shanghai to Qinghai. Qinghai used to be called Eastern Tibet. What we know now as Tibet is in Chinese calls Western Tibet. The Qinghai used to be the Eastern Tibet in part. That was a few 100 years ago. Then because there's many ethnic groups living there, and life was very poor, so the only entertainment was singing folk songs. Folk songs not only has a very strong, it has a very strong social function. Young men and women have to fall in love, find their dates through folk songs singing. So you must have a good voice if you want to have lots of dates. Every year they have these competitions and festivals. So people get together and people sing it together. So one of the phenomenons is they all sing together. Men, women, young, and old, they sing together, they sing the same tune. But they not trained musicians. They knows how the melody goes, but none of them is really measured or counted, they just feel whatever they felt like. So the melody veers off, although everybody is singing the same melody. This phenomenon in music, we have a name for it. It is called the heterophony, which means the simultaneous variations of a single melodic line. So what I tried to do is it starts with a piano, being the lead singer in this group, and it sings the line and these two guys try to help me, and then we start to move around and start to veer off. We reach a overwhelming climactic situation, and then we have echo. Harmonically, this movement is very static because it's a heterophony, it you just have one folks song, one paragraph of folk song. Then the last movement which is also based on the Xiang Zhi folk song. Very well known across 30 miles village and a tune you probably recognize. So it's going something like [inaudible]. It's very simple song. A lady is singing, missing somebody from, apparently, her lover who's not here. So I have a title for this called The Nostalgia because I had, by then, left China. For many years, I was living in New York, so I was homesick. So I wrote this, pictured myself staying a desert and just have this atmosphere. But it was a sad feeling for this song. The song is sad and I maked it sadder by putting another key that is very far away in conflict constantly. The way I put them together, it is sound sad, and they don't quite resonate. Can we look at the Example 7. The measure when you have two keys. The left-hand goes, and then goes further away. Right-hand goes. If I play those things together, quite dissonant. But the way that I textured it, so to speak, it makes a very spare, actually, very sad and I try to be quite beautiful. At the very end, the music resolves but there is a node hanging. So the music resolves to this. We have this D, which is on the harmonic and on the violin. So it's not completely a happy ending for the piece. This is what I did. We talked about it. So that's the folk song. I still have this clash. I use that quite constantly to create tension in the first movement. Now, before we play through again, I would like to show you the whole harmonic structure of those movements. We talked about the first movement based on the D-flat. Second movement, we talk about, it's E-Flat. So second movement is E-flat. Third one is the sola sola, which we resolved. Then you have a D hanging, and then base that was to A-Flat. So if you look at the D-flat, E-flat, and A-flat, those are the first three notes appears in the melody. You hear this [inaudible]. D-flat, A-flat, and E-flat, those are the three nodes which I used for the foundation, harmonic hierarchy of movement one, two, and four. The third movement, as a climax and a contrast, we go to G and A, which is further away. Can you see that? This is a harmonic design, and now it's time to play through the whole thing.
