Tintinnabuli is a technique invented by the Estonian composer Arvo Pärt (*1935)
The basic principle of tintinnabuli is very simple. Tintinnabuli is to make sound simultaneously a church mode based melody and a constant broken triad of the tonic.

We take a look at the modes Pärt uses for his melodies. The modes are here in the Aeolian mode, but another church mode is also possible. Mode 1 & 2 or 1 &3 are combined often. A combination of 1 & 4 or 2 & 3 occurs less.

 

 

Now we examine the 4 positions of the tintinnabuli in relation to the melody notes.

The first position superior:
 

The voice below are the melody-notes. The voice above, the red notes are the tintinnabuli. The tintinnabuli can be transposed to different octaves and that goes for the melody too. The tintinnabuli is here the first note of the triad that lies above the melody-note.

In the second position superior the tintinnabuli is the second note of the triad that lies above the melody-note:

In the first position inferior the melody-notes are above the tintinnabuli. The tintinnabuli here is the first note of the triad that lies under the melody-note. Pärt uses the first positions superior and inferior very often. They cause spicy sounds in stead of the consonant sound of the second positions.

In the second position inferior the tintinnabuli is the second note of the triad that lies under the melody-note.
Another possibility is to alternate superior and inferior position.

For the rhythm, especially for his vocal works, Pärt uses medieval rhythmic modes like trochee or iambus.

Enough theory now! We are going to subject a Gregorian chant song to Parts’ tintinnabuli-technique. The Kyrie is number XI.

In next example the alto performs the melody, straitjacket in a trochee-rhythm. The soprano sings the tintinnabuli, alternated in the first position superior and inferior. Click with your mouse on the example to listen to a midi-file of the music.

Now we are going to make a four part setting with the same melody. The soprano and alto performs the same as previous example. The tenor has the inversion of the melody, mirrored in the note e. But in the Eleison the melody is mirrored in the note a, the tonic of the piece. The bass alternate the tintinnabuli in first superior as inferior position.

Pärt uses often the medieval hocket technique. Let us try this technique in a 3 part setting. The soprano perform the tintinnabuli first position superior, the tenor perform the first position inferior. The alto produces a hocket by taking a rest at the first beat of the measure, and perform the kyrie-melody we used before.

Finally a last remark. You can thicken the texture by using a long drone in the lowest part or accompaniment.

More information about Arvo Pärt and some music of Pärt you can found here on this interesting website.

 

 

When you use something of this techniques in a composition, let us know! Please send us a midi or mp3 file and a score. Maybe we publish your piece and have you a world wide audience!