Gigout’s “Toccata” incorporates many different styles of countless diverse composers, including the slender and rapid movement in the hands brought upon by J.S. Bach’s “Toccata und Fuge in D-Moll” and the lively and eccentric development of the piece, which is an outcome of the compositions of Saint-Saëns. The piece begins with a functional chord progression in the key of B minor, although a few retrogressions are introduced in measures 8 and 9. When the pedal enters, it serves as a foundation, which gives more structure to the chords that are beginning to become a theme of the piece. After the expansive V chord arpeggiation on page 15, the pedal enters with the main melody of the piece that was also outlined in the chords at the beginning of the piece. The next section, measures 119 to 130, consists of different chords that are outlined by the manuals and pedals leading to the modulations that eventually takes the piece into the key of D-flat major, which occurs in measure 131. In this next section, usually referred to as the “transition”, the piece modulates a few more times, before outlining a German augmented sixth chord, which functions as a pivot chord that modulates the piece back to B minor.
Figure A (measures 153-157):
Figure B (measures 185-189):
Figure D (measures 210-215):
This analysis has not largely affected my performance of “Toccata.” Gigout wrote this piece to be played very rapidly and the performance should not be affected by the chords that are shown. The performer has the option of accenting notes on this piece if they desire, but that does add in another level of difficulty for the piece. On organ, in order to accent a note, the organist must hold that one note longer than the normal specified length of the note written. This is normally called “pulsating.” It is difficult to do, but the transformation of the piece after doing this is incredible. After tackling this piece this semester, I can say that even though the analysis has not helped or hindered my performance, it has made memorization and actually learning “Toccata” so much easier. I was able to memorize by what chord came next and how it sounded in relation to the entire phrase. This was definitely the fastest that I have ever learned a piece of this difficulty and I cannot wait to experiment with this technique as I progress with organ later in life.
Cummings, Robert. "Eugène Gigout | Biography | AllMusic." AllMusic. Complex Music, n.d. Web. 03 May 2015. <http://www.allmusic.com/artist/eug%C3%A8ne-gigout-mn0002167380/biography>.