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example, in measures 4-5 of the third movement of The Key, there is a reminiscence of
the pentatonic scale in the trumpet part (see Example 29).23
In addition, the arpeggiated figure of the melody is one of the most important
characteristics of ragtime music; the contour of the melody is in a disjunct motion. It
appears much more frequently in the right hand part of the piano, rather than in the
trumpet part, in the third movement of The Key. Furthermore, the figure often contains
not only third intervals but also fourth and fifth intervals.
Musical Language
James Wintle's music has a great deal of connection to traditional concepts of
music, in that his musical ideas of harmony, melody, rhythm and form are derived from
traditional classical music. Even though his works are almost free atonal music, they
have a focus and unity without being in a key in the traditional sense.
Although Wintle frequently used musical material in a similar manner to Bart6k or
ragtime, his actual compositional musical ideas are unique and creative. He composed
most of his music based more on sound, rather than pre-determined or systematic
techniques.24
In terms of harmony, James Wintle utilizes no hint of serialism or electronic
acoustic technique that would deny tonality. At the same time, none of his works is in a
key. They are freely atonal music, which does not center around just one single pitch.
However, even though he does not clearly use functional tonality, there are many tonal
elements throughout his works.
23 James Wintle, Interview by author, transcript and tape recording, 2 February 2008.
24 Wintle, 23 December 2007.
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