AN ANALYSIS OF MOTIVIC CONNECTIONS IN
GUSTAV HOLST’S FIRST SUITE IN E-FLAT
Corey Seapy
In his revolutionary First Suite in E-Flat for Military Band, Gustav Holst
generates continuity between three contrasting movements by deriving melodic material
from the well-known opening theme of the first movement. Many connections to this
theme’s initial motive lie beneath vivid aesthetic differences throughout the Chaconne,
Intermezzo, and March. Each movement contains original melodies that evoke the
English folksong style, beginning with the unaccompanied statement of the Chaconne
theme at the outset of the piece. Examining the subsequent settings of this theme in the
first movement and its relationship to melodies in the succeeding movements reveals
numerous correlations to the theme’s opening motive. Its intervallic structure and basic
architecture permeate the contrapuntal material that surrounds the theme’s repetitions in
the Chaconne and the thematic transformation that occurs midway through this
movement. The Intermezzo and March each feature two themes, all four of which are also
intrinsically linked to the initial motive. Finally, this motive influences an important local
harmonic progression at the end of the Chaconne and key areas over the course of the
entire work.
The first movement Chaconne is a continuous variation form that consists of
sixteen surface-level statements of the 8-bar theme shown in Example 1.1
Example 1: Unaccompanied Chaconne theme featuring opening motive (Mvmt. 1, mm. 1-8)
euph, tuba, bass
1 5
After this initial iteration, which implies Eb major, eight consecutive variations take place
featuring strict thematic repetitions in Eb major (mm. 9-72). The ninth and tenth
variations (mm.73-88), in C minor and C Aeolian respectively, contain the primary theme
in inversion and mark a distinct change in character. When the Chaconne theme regains
its original profile, it arrives in the trombones up a major third (G Phrygian; mm. 89-96)
before returning to Eb major and strict repetitions for variations 12-14 (mm. 97-121). The
final variation (mm. 122-131) transcends the home key to appear in Bb Mixolydian and
includes a concluding cadential extension.
The repetition of the theme in its original form (mm. 9-72) provides a structural
basis for continuity within the movement, as expected in a chaconne, while presenting
many possibilities for motivic connections on the surface level. One such example occurs
in the first variation (mm. 9-16), in which the countermelody draws heavily upon the
opening motive of the Chaconne theme (Eb-F-C-Bb; highlighted in Example 1). As
Example 2 demonstrates, the primary contrapuntal voice (1st cornet) contains two
structural suspensions (G-F, Bb-Ab) and a metrically accented escape tone (Bb-Eb).
Example 2: Primary countermelody over chaconne theme (Mvmt. 1, mm. 9-16)
The first suspension resolves stepwise down to F, reflecting the inversion of the
theme’s opening interval, while the second suspension begins on the Bb that the opening
motive achieves, and resolves by step again. These two suspensions are separated by the
very Eb-F that begins the theme, all of which reinforces the importance of the Chaconne
theme’s initial stepwise motion. In lieu of a third suspension, Holst resolves the cornet’s
2nd/3rd tbn
1st cornet
9 13
lingering Bb in mm. 12-13 down a fifth to the tonic Eb, reflecting the inversion of the
middle interval of the thematic motive (F-C) and the motive’s overall motion from Eb to
Bb. Thus, in the work’s first three structural contrapuntal motives, Holst utilizes the three
intervals contained in the theme’s initial motive (second, fifth, second), rearranging their
order and employing inversion to accomplish effective voice leading.
An expanded version of this countermelody reappears in the triumphant
fourteenth variation (Maestoso; mm. 114-121), as shown in Example 3. It begins with the
same G-F suspension, followed this time by a structural chord tone Eb that moves
stepwise to D and through a passing C to the Bb escape tone. The Bb resolves again by
descending fifth (and ascending fourth in the lower 1st cornet part) to Eb before the
countermelody concludes with a suspended Eb moving to D.
Example 3: Primary countermelody over chaconne theme (Mvmt. 1, mm. 114-120)
Here descending seconds and a fifth drive the counterpoint again, but this time the
entire opening motive is also embedded in the structural pitches of the countermelody.
Though it resolves a local suspension, the countermelody’s F in m. 114 can be heard as
an abrupt departure from the tonic Eb chord that has been anticipated by a dominant Bb
pedal spanning the entirety of the twelfth and thirteenth variations that precede this
section (mm. 97-113). The Eb from the opening motive appears out of order in the
countermelody, but can be heard as a distinct arrival, emphasized by the leap in register
and the fact that it represents new material when compared to the parallel countermelody
1st cornet
low brass/ww 114 117
in mm. 9-16. After the countermelody descends to D, prolonged by a neighboring C as
anticipated according to its sequential nature, it unexpectedly moves through C to get to
its destination Bb. This C marks an important departure, breaking the sequence (a half
note D would be expected) in order to arrive at the Bb via stepwise descent. This Bb is
also reinforced as a strong arrival through voicing (the extreme high register of the
piccolo, flute, and trumpet) and octave doubling. It completes its local function as an
escape tone by skipping down a fifth to Eb, which will become a suspension at the end of
this countermelody and a pedal tone under the final variation.
Throughout these two parallel countermelodies, Holst relies on the basic
architecture of the opening motive (and much of the Chaconne theme), alternating
stepwise motion with dramatic skips, to achieve his contrapuntal goals. Moreover, he
manipulates the motive’s intervallic content, seconds and a fifth, to relate the
countermelodies back to the motive from which they are derived and over which they are
layered. In the expanded countermelody that occurs during the penultimate Chaconne
variation, he integrates the pitches of the initial motive and preserves their basic
functions: departure to F, arrival of Eb (displaced), departure from C, and arrival of Bb.
The structural importance of the opening motive is also revealed in the
Chaconne’s ninth and tenth variations (mm. 73-88), both of which feature the theme in
inversion as shown in Example 4. They arrive in sharp relief, following nine
uninterrupted strict iterations of the Chaconne theme (mm. 1-72) and the work’s first
closed cadence in Eb (mm. 71-72). Variation nine occurs in C minor and introduces the
new melodic contour, while variation ten sounds in C Aeolian over a plodding hemiola
bass line, concluding with the first rhythmic modification to the theme.
Example 4: Inverted chaconne theme (Mvmt. 1, mm. 73-80)
These diatonic inversions begin on Eb and maintain the exact intervallic
relationships of the original theme until the final skip: a descending 5th instead of the
expected 4th. By modifying this interval only, Holst derives a new melody that begins and
ends with the same succession of intervals found in the opening Chaconne motive
(second, fifth). The two resulting patterns, Eb-D-G and C-D-G highlighted in Example 4,
have important implications.
The pattern that concludes this melody arrives on a G (m. 79 and m. 87) that
serves multiple connective purposes. Most immediately it functions as the root of the
dominant chord in the local C minor, moving authentically to the C minor chord that
initiates the second inverted statement in C Aeolian (mm. 79-80). At the end of this
variation, the same G functions as a common tone with the first pitch of the subsequent
melody: the chaconne theme, no longer inverted, in G Phrygian, as shown in Example 5.
Example 5: Common tone G connecting Variations 10 and 11 (Mvmt. 1, mm. 85-90)
Variation 11 (mm. 89-96), with G as its starting point and tonal center, resumes
the non-inverted contour of the original theme and concludes on D, which leads easily
back to Eb by step (mm. 95-96). Thus, by modifying the final interval of the inverted
variations to reflect the intervals in the opening motive of the Chaconne theme, Holst
1st/3rd cl, alto sax, 1st/2nd horn
cornet, euph
tbns
73 76
85 89
generates seamless transitions within the contrasting middle section of the first movement.
In doing so, he further reinforces the pervasive influence of the motive’s intervallic
content and its initial gesture, a second followed by a fifth.
The structural implications of the inverted theme’s opening three notes (Eb-D-G
in mm. 72-73 and mm. 80-81) are no less significant, but an exploration involves moving
beyond the Chaconne. The introduction to the final movement, March, includes this
motive three consecutive times, sounding one octave lower each time, as displayed in
Example 6.
Example 6: Introduction and beginning of first theme (Mvmt. 3, mm. 1-8)
The jarring bass drum solo that punctuates the introduction is followed by the first
of two main themes in the movement: a pronounced C minor melody in the 1st cornet that
begins G-F-C (mm. 4-5). This initiation relates to the introduction on the surface, and to
the Chaconne inversion, due to its familiar architecture of a descending step followed by
a descending skip. Further investigation reveals direct tonal connections to the original
Chaconne motive as well. Like the motive, the March melody moves from its anacrusis
(in this case G) to F then C, while the bass line and corresponding harmony move from
Eb to F before arriving on Bb in m. 6, as highlighted above in Example 6. In a short span,
Holst sets a new theme in motion while relating it to both the inverted and original
versions of the Chaconne motive.
cornet, tpt
horn, tbn
low brass bd
1st cornet
tuba
1 5
Comparing the two primary themes of the Intermezzo and the Trio in the March
to the opening Chaconne theme reveals some of the suite’s most easily heard and
meaningful motivic connections. The Intermezzo begins abruptly in C minor, yet the first
tune starts exactly as the Chaconne motive does, with a pickup Eb ascending to F, then C,
only to arrive eventually at Bb, as emphasized in Example 7.
Example 7: Introduction and beginning of first theme (Mvmt. 2, mm. 1-6)
Holst masks this relationship by immediately establishing C minor to contrast
with the implied Eb tonality at the outset of the Chaconne and the definitive return of Eb
major that concludes it. It is interesting to note that his autograph score requests that
performers play the suite “right through without a break” because “each movement is
founded on the same phrase”.2 Following this instruction seems to further accentuate the
abrupt shift in tonality, meter, tempo, articulation style, and orchestration when the
Intermezzo arrives, all of which obscure the quotation of the motive that begins the new
melody. It is only the pitches themselves, the first three of which are played with accents
and reinforced by tambourine, that recall the Chaconne motive.
The lyrical second theme in the Intermezzo (L’istesso tempo; mm. 67-98) is also
related to the Chaconne motive. Like the first theme, it shares the Eb-F-C initiation and a
delayed arrival on Bb, as shown in Example 8.
Example 8: Beginning of second theme (Mvmt. 2, mm. 67-71)
brass
Eb cl
oboe, 1st cornet 1 4
67 70
solo cl
This legato melody has more in common with the Chaconne stylistically, but Holst
conceals its motivic connection when it is first heard by adding two additional pickup
notes that precede the Eb (C and D in mm. 67) and rearticulating the F before the
ascending fifth to C. The Bb is also delayed even longer than it is in the first theme by a
scalar passage that prolongs C. Ensuing statements omit the extra pickups and begin with
the Eb that recalls the Chaconne motive more directly.
Holst’s crafting of this theme, loosely based on the English folk tune “I Love My
Love”, bears further investigation. The sixteen-bar tune is evenly divided into four
phrases of four measures each: A-Ai-B-Aii. The three ‘A’ phrases begin with the Eb-F-C
motive shown in Example 9, and are derived from the Chaconne motive in this regard.
The ‘B’ phrase also relates to the motive, containing its second-fifth interval succession,
followed immediately by a step-skip-step line featuring the familiar pitches Eb-F-C-Bb,
as revealed in Example 10.
Example 9: Third phrase of second theme (Mvmt. 2, mm. 75-79)
The final melody to appear in the suite bears the most striking resemblance to the
original Chaconne theme. The trio of the March arrives at the pickup to mm. 41 and
unfolds gently over the next thirty-one measures, facilitating both the return of a lyrical
style and the primary motive in its original, non-inverted form. Example 11 shows the
similarities between the beginning of the trio (transposed from Ab into Eb for the sake of
comparison) and the Chaconne theme, which include the opening motive along with a
similar descent to Bb, contour, and phrase groupings.
75 78
solo fl
Example 10: Second theme - Trio (Mvmt. 3, mm. 40-47) and Chaconne theme (Mvmt. 1, mm. 1-8)
One of the most masterful moments of the piece occurs at m. 123 of the March,
where Holst layers the trio theme (now in Eb major) under the initial March tune, as
shown in Example 11. Doing so reveals that the two melodies are well-suited
contrapuntal compliments due to their motivic similarities and mutual derivation from the
Chaconne motive. Contrary and oblique motions prevail because the first theme is based
on the inverted Chaconne motive while the trio theme is based on its original profile.
Parallel phrase structure and arrival moments also contribute to the effectiveness of this
juxtaposition.
Example 11: Juxtaposition of first and second themes (Mvmt. 3, mm. 123-131)
Before this section, in mm. 89-108, Holst passes an ascending second-fifth motive
between the horn, euphonium, and trombone beneath the reappearance of the first March
theme in flute, clarinet, and trumpet, propelling this transition section foreshadowing the
merger of the two themes at m. 123. In mm. 111-112, he recalls the introduction and a
descending second-fifth motive in the horns and low brass before expanding it into a
second-sixth motive to build tension that leads up to the simultaneous arrival of both
cl, bsn, sax, horn
euph, tuba, bass
40 45
1 5
123 127
fl, cl, 1st cornet
bari sax, 2nd cornet, tpt, tbn, euph
themes. The two melodies finally coalesce in m. 153, as the second half of the trio theme
sounds in grand chorale fashion in the home key of Eb.
The primary material of the ensuing coda (mm.169-179) consists of the familiar
ascending Eb-F-C motive in the trombone and euphonium, a descending step-skip answer
in the trumpet, and a final gesture in the trombone and euphonium that descends (step-
skip) then ascends to the penultimate Eb chord via one final second-fifth motive in the
first trombone. Connections to the Chaconne motive are apparent even in these melodic
fragments throughout the transition and conclusion of the last movement.
The pervasive influence of the Chaconne motive also extends into the harmonic
realm. It guides the harmony in the first movement as it repeats, often in a predictable
manner with each pitch functioning as the root of a diatonic triad (I-ii-vi-V as in mm.
114-115). The climactic ending of the first movement, however, features a unique
harmonic progression with a hidden connection to the motive. The cornet and trombone
begin the final statement of the theme on Bb in the Mixolydian mode (with one altered
pitch, a Db in m. 123) over a pedal Eb. The tension generated by the transposed theme
against the tonic pedal is resolved through a three-measure cadential extension (mm. 128-
130) as shown in Example 12.
Example 12: Harmonic motion at the end of the Chaconne (Mvmt. 1, mm. 126-131*) *Some octaves omitted in example for clarity
126 130
ww, horn
low ww, euph, tuba
tbn, 1st cornet
cornet tutti
melody: unison thirds cm7 fm Bb Ab dø7 Eb pedal Eb
ANT APP
Six measures before the end of the movement, Holst employs the entire ensemble
on the pedal Eb with the exception of the cornet and trombone sections. While the Eb is
represented in six octaves, the thematic material builds from unison in m. 126, to parallel
thirds in m. 127, to four-part harmony in m. 128 with the return of the 2nd cornet. This
moment also marks the beginning of the cadential extension, coinciding with the
expected end of the Chaconne theme. However, instead of immediately arriving at Eb,
Holst moves through a C minor seventh chord and an F minor chord in mm. 128, framed
on either side by massive accented re-articulations of the pedal Eb. In doing so, he works
backwards through the Chaconne motive (originally Eb-F-C-Bb, now Bb-C-F-Eb) to
move from the thematic statement based on Bb to the Eb resolution in the last measure.
The movement concludes with a dramatic V-IV-viiø7-I cadence over the tonic pedal, but it
is the unique vi7-ii progression in m. 128 that initiates this extension and provides
harmonic intrigue.
Finally, connections can be made between the Chaconne motive and key area
relationships throughout the work. The first movement features tonal centers of Eb (m. 1),
C (m. 73), G (m. 89), Eb (m. 97) and Bb (m. 122). Its overall journey from Eb to Bb
reflects not only the scope of the Eb-F-C-Bb motive, but also that of the entire Chaconne
theme. The Intermezzo begins in C minor and ends in C major, while its secondary theme
appears in F Dorian (mm. 67-98). Over the first two movements of the suite, the primary
tonal centers in order of duration are Eb, C, F, and Bb, again reflecting the Chaconne
motive. The March is primarily in Eb major and C minor with the exception of the trio
(mm. 37-88), which occurs in its customary subdominant key (Ab in this case). Though
Ab has no connection to the motive, it is interesting to note that it is the only diatonic
pitch that does not appear in the original Chaconne theme. The resounding arrival of the
trio melody in the tonic key at the pickup to m. 123, however, begins with the four
familiar pitches of the Chaconne motive.
The widespread and deeply integrated prevalence of the Eb-F-C-Bb Chaconne
motive unifies the First Suite in Eb, affecting much of the melodic and harmonic content
that follows these first four notes. Holst uses the motive to derive countermelodies and
new themes, then presents and combines them in an ever-evolving manner that propels
the piece forward. Connections to the Chaconne motive are embedded beneath changes
in tonality, orchestration, tempo, meter, and style over the course of three unique
movements. The motive appears frequently in inversion and occasionally in retrograde or
a scrambled order, further disguising its influence. The intricate manner in which Holst
establishes connections to the Chaconne motive amidst contrast and variety on the
surface throughout the First Suite in Eb for Military Band is one of the salient features of
this great work.
Notes
1. Holst, Gustav. First Suite in Eb for Military Band, Op. 28a, No. 1: Revised Full
Score based on the autograph manuscript. ed. Colin Matthews. London: Boosey
& Hawkes, 1984. All excerpts in this analysis are taken from this score.
2. Holst, Gustav. First Suite in Eb for Military Band, Op. 28a, No. 1. Autograph
manuscript score, 1909. British Library, London.
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