272 01

PRE-TEST

HW 1

Pp. 259-60
Due Friday, ask questions Wed.

Go over last semester's FINALS

Go over last semester's PP TESTS

Review

Altered dominants
Extended tertian harmonies
Coloristic chord successions
Resurgence of contrapuntal writing
Increased emphasis on NCTs
Blurring of tonal center by various means
Expansion and modification of form

Book provides a detailed analysis of the opening of Tristan, but let's try to do it on our own first
Burkhart and Turek (p. 359)
Let's listen and class analyze and then see what the book has to say

272 02

Pp. 259-60
Due Friday, any questions yet?

Scriabin and what book has to say on pp. 464-5 regarding nontraditional chord sturcutures blurring tonality

Good item to keep at your fingertips regarding Scriabin:  the Mystic Scale/Chord

One manifestation is {0, 2, 4, 6, 9, T}--translate into pcs for them at this point
The interval pattern is 1 - 1 - 1 - 1&1/2 - 1/2 - 1

Treatment of dominant harmony stuff

See and hear Example 27-6

What is that reminiscent of?

Linear fully dim 7th chords
 Perhaps these are linear Mm7 chords, why and how?

272 03

Pp. 259-60

272 04

P. 261: C. 2
Due Friday, ask questions Wed.

Omnibus

Seems to feature contrary motion between two voices while the others remain stationary
Everything stepwise or common tones as far as voice leading is concerned
Let's compare what K&P have to say (pp. 470-2) with what Gauldin has to say (pp. 599-602)
Can we analyze more of the chords in the K&P models to see if they're what Gauldin says they should be (augmented 6th, o7)?
Let's all play through on the piano, one person hold the common tones, the other two take the contrary motion lines

Put on board except for analysis

Tell them it begins in c:
What is harmonic analysis?

Implied key change in m. 2--what is analysis?
Implied key change in m. 3--what is analysis?

Let's continue and write 2 more mm--implied keys?

e :  and c:
Why?  Because implied keys are related by m3
Play it

Note that the Ger+6's do not resolve completely

Put on board #2 from Burns' Week IX MS except for analysis

Tell them it begins in C:
Play it
What is harmonic analysis?

Implied key change on beat 3 if they don't catch it--what is analysis?

What's the pattern?

Implied key changes to a half step higher each time

272 05

P. 261: C. 2
Due Friday, any questions?

P. 262 in workbook (guide them through)

272 06

P. 261: C. 2

272 07

P. 261: C. 2
Go over potential accidentals choices in detail from melodic perspective then from harmonic

HW 3

PP. 265-7, do a harmonic analysis (play CD)
Due Friday, ask questions Wed.

Achieved by obfuscating primary tonal center of the piece
Tell them to make sure to go over text examples in detail, but play Exx. 27-13 through 15
Double chromatic mediant relationships help to achieve the end since they cannot be in the same  diatonic key--review
Discuss nonconcentric as opposed to concentric or centric tonality

Tell them to go over the Mahler Exx. 27-17 and 18, but play the CD for them

We're talking about the period of approximately 1880-1920:  post-Romantic era
Contrapuntal manipulation
Sequence
Less traditional chord and key associations
Emphasis on color above function
Irregular treatment of dominant harmony

272 08

P. 261 in workbook, C. 3

272 09

PP. 265-7, do a harmonic analysis

Don't forget Self-Test materials

272 10

Introduction

Elements of music to undergo development

Scale
Chord structure
Harmonic succession
Rhythm and meter
Texture

Two paths emerged early

One towards serialism
One towards Impressionism

Term from the French artistic movement typified by Monet (1840-1926)
Most significant musical proponent:  Claude Debussy (1862-1918)
Play example 28-1 from text

Elements listed in New Harvard

Finely graded instrumental colors
Static, nonclimactic melodies, often circling around a single pitch
Coloristic harmony (not so functional)
Complex textures
Continuously evolving forms without sharp sectional divisions

K&P emphasize

Obfuscation of tonic often
Planing--parallel motion of harmonies

I include

Use of particular scalar materials such as modes, whole-tone scale, pentatonics
Harmonic shapes
Overall contours

Know the spelling of Schuman (William)

Due Friday, ask questions Wed.
Take notes as to what you hear and see as different in the following pieces than prior music.  These may be characteristics of French Impressionism.  Write an essay that describes French Impressionism according to what you hear and see in these pieces.

"The Sunken Cathedral" also (421)
"Prelude to the Afternoon of a Faun"

Analyze the Wolf ("The Forsaken Maiden") in light of what we have discussing

P. 394 in Burkhart
There are some Impressionistic touches
Use the simultaneities style harmonic analysis until you can get back to "Roman numeral" analysis where reasonable

272 11

Answer the questions to exercise G in workbook pp. 269-70

272 12

Preliminary sketch materials due Monday
Any questions?

272 13

Preliminary sketch materials due today

Topics:  modes, hybrids, pentatonics [diatonic (anhemitonic), Hirajoshi], arificial (synthetic) including whole-tone and octatonic (dimished) and half-step minor 3rd scale, dodecaphonic
 
 

Introduction

The diatonic modes are scales which have interval patterns that are rotations of one another.  They are called diatonic because the rotations are derived from the interval pattern represented by the successive white keys on the piano.  Thus, the different diatonic modes are related in much the same way as the different rotations of a pentatonic scale.  However, notice that unlike the rotations of the pentatonic scales, each rotation of these seven ordered pitch classes (each diatonic mode) has its own special name, as shown in the chart in the table:

Which of the modes produced in such a chart are relative?

The interval patterns for the traditional modes are shown below.  The interval pattern listings are positioned in such a way as to reflect the rotational relationships:

Play the following example, adapted from Dave Wheeler's "Short & Long."

 This is an excellent example of modal melody.  To determine whether or not a melody is modal, you might use the following procedure:

• Determine which pitch class sounds like the tonic.
• Next, observing the key signature and any other accidentals, construct a scale with the pitch   classes found in the melody.  Start and end the scale on the tonic pitch class.
• Identify the scale's interval pattern and match it to the appropriate mode or scale.

Diatonic (anhemitonic)
Hirajoshi

Whole-tone
Octatonic (diminished)
Half-step minor 3rd scale

They are transposable
Explore interval patterns of each
Explore characteristic harmonic structures associated with each

Pentatonic scales are literally scales consisting of five tones, that is, five different pitch classes.  Technically speaking, any combination of five pitch classes can constitute a pentatonic scale, but some are more common than others.  You should at least become familiar with the more frequently used pentatonic scales.  The first one we will discuss is the frequently used diatonic pentatonic.

Except for the ornamental C, the melody in the figure is based on the diatonic penatonic scale on E.

We have one fundamental interval pattern for the diatonic pentatonic scale.  With respect to steps, this interval pattern is 1&1/2, 1, 1, 1&1/2, 1.  With respect to intervals, it is m3, M2, M2, m3, M2.  This interval pattern can be rotated so that the diatonic pentatonic scale can begin on any of its five members.  That is, any of its five pitch classes can be regarded as tonic, depending on context.  The five different possibilities for the ordering of intervals in the diatonic pentatonic scale form do not have standard designations; however, the New Harvard Dictionary of Music refers to each of these possibilities as a "mode" (Randel, page 618).

Different authors present different rotations of the diatonic pentatonic scale interval pattern.  In Tonal Harmony (Kostka and Payne, page 458), the authors give us the following succession of intervals for the diatonic pentatonic scale:  1, 1, 1&1/2, 1, 1&1/2.  In the second edition of the Harvard Dictionary (Apel, page 652), the interval succession is "Properly speaking" 1, 1&1/2, 1, 1, 1&1/2.   These are all rotations of the same interval pattern.  From a musical standpoint, all five rotations are valid.  Each provides a different tonic for a rotation of the same diatonic pentatonic scale.

Do you recognize the following melody?  Which pitch class is tonic?  Write the scale and note the interval pattern.

Octatonic (diminished)--lets look at "Diminished Fifth"

Burkhart p. 458

The whole-tone scale has often been used to symbolize the supernatural. Take for example the   following excerpt from Mikhail Ivanovich Glinka's fairy tale opera Russlan and Ludmilla   (1842):

RATMIR

Glinka, Russlan and Ludmilla, Act IV, No. 22, rehearsal number 42

This is thought "to be the earliest use of the whole-tone scale in European music."

Il transverso, mm 1-9 (except for A which is a chromatic passing tone)

272 14

EXAM 1--pp. 275-6 in wkbk.

Continue with Day 13 notes

272 15

Continue with Day 14 notes

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272 16

HW 6

Pp. 285-6:  H. 1 & 3; p. 287:  I. 1
Due Friday, ask questions Wed.

Increased use of extended tertian harmonies (tall chords) in functional and nonfunctional contexts

Play Ex. 28-13

Show example from "Magical Mystery Tour"

Example.  Lennon-McCartney, "Magical Mystery Tour," Magical Mystery Tour, track 1, 0:32-  0:39, excerpt

Lyrics:                                          The magical mystery tour is coming to take you away
Rhythm section harmonies: D                            D7                    G                             B
Trumpet harmonies:             D                            D                      D                             D

Split-third chord "represents both major and minor quality built on the same root" (K&P 504)

Play Ex. 28-17 and read the paragraph right before it

Example.  "Blue Jay Way," Magical Mystery Tour, Track 4, 2:01-2:05

Quartal/quintal harmonies--play Ex. 28-20 and 21

Secundal harmonies--play Ex. 28-22

Clusters (three or more pitches in secundal relationship)--play Ex. 28-23

Of simple intervals as well--play Ex. 28-29 and 30

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272 17

QUIZ 4

Continue with Day 16 notes

Let's go over some extra workbook exercises in class

272 18

Pp. 285-6:  H. 1 & 3; p. 287:  I. 1

272 19

Pp. 285-6:  H. 1 & 3; p. 287:  I. 1

M. 1, 3 and 4 on pp. 294-6

"The technique of pandiatonicism represents an attempt to equalize the seven pitches of the    diatonic scale so that no single pitch is heard as tonic" (K&P p. 514).

Randel:
Nicolas Slonimsky's term for the predominance in some 20th-century music of the pitches of the diatonic scale, as distinct from the chromaticism of late 19th-century music and of 20th-century atonal and twelve-tone music.  Such music, including some associated with neoclassicism, often employs dissonant diatonic harmonies such as added sixth, seventh, and ninth chords.  Composers cited include Prokofiev...and Stravinsky..." (New Harvard,605).

Our example of pandiatonicism is K&P ex. 28-32

Stravinsky, "Danse russe," from Petrouchka, mm 1-24

Top number not divisible by 2 with the result of whole note integers

5/4, 7/8, et al

Play "The Fish" for them off of Fragile (431)

Ex.:  3+3+2/8
Results in additive rhythm

". . . the effect on the listener is one of unequal groupings of subdivisions being added     together" (K&P, p. 521)

". . . the aural phenomenon of simultaneous rhythmic streams" (K&P, p. 525)
Eg.--"Soldier's March," p. 474 in Burkhart, see bass and trombone (mm. 14-20)

Rapidly changing meter signatures
Also found in "Soldier's March"

". . . the notation of two or more meters at once" (K&P, p. 525)
Ex.  "Mean Mr. Mustard"--Abbey Road

Metric modulation

Term coined by Elliott Carter

". . . a method of changing tempo by equating a particular note value to a proportional value of that, or another, note value" (K&P, p. 525)

See example at bottom of p. 525 and see if we can ta and conduct

E.g.:  Carter. Canaries from Eight Pieces for Four Timpani

"creates rhythmic irregularity through the addition of a note, a dot, a tie, or a rest to what otherwise appears to be a perfectly regular rhythmic pattern" (K&P, p. 526)
See examples on bottom of p. 526

Let's do as a class exercise the self-test on p. 28-3

272 20

Pp. 285-6:  H. 1 & 3; p. 287:  I. 1

HW 7

M. 1, 3 and 4 on pp. 294-6
Any questions?  Due Friday

272 21

Pass up HW 7

M. 1, 3 and 4 on pp. 294-6