HYMN TUNES & ANALYSIS

Transcription

1 Example 1: Hypothetical FirstYear Tonal Theory Sequce Revolng around Hymn Tunes and nalysis Model Composition Figurated Textures Nonchord Tones Formal analysis Modulation (Common chord Direct) Figured Bass Outervoice Frameorks Cons. vs. Diss. HYMN TNES NLYSS Sequces pplied (Harmonic Melodic) Chords Harmonic analysis (RN s) oice Leading/Td. Tones Cadce Types Harmonic Paradigms Harmonic Function/Syntax

2 Example : Overe of. S. Bach s ToStage Pedagogical Method and Source Types STGE 1 STGE STDENT RECEES Chorale, Bassline, and Figures Chorale only STDENT PRODES nner voices Bassline, Figures, and nner voices PEDGOGCL FOCS Texture Harmony Tooice Counterpoint TYPES OF SORCES SingleBass Sources MultipleBass Sources Example : Bach s Method as Bridge ete To Styles of Chorale Harmonization Choraluch Style (homophonic) Choralgesang Style (ornamted) more triadic, consonant, disunct, diatonic, vertically orited, has a halfnote pulse, is oft improsed at the keyoard, is used for congregational accompanimt here only the chorale is sung more dissonant figures, suspsions, faster values (nonchord tones), is more conunct, chromatic, horizontally orited, has a quarternote pulse, is ritt out for concerted music here all four voices are sung

3 Choraluch Style (homophonic) Example : Nun laßt uns Gott Herr for keyoard from the Siley Choraluch (anon. ms., likely Dresd, c. 10) Tune Source: Selnecker's Christliche Psalm (Leipzig, 1) C 1 Nun 1 eg Gott, sein 1 er 1, Ga B Herr Ë 1 uns 11? laßt? C on Dank sag 1, 1 Die und ir emp ehr fang ihm 0 ha Ä "No let us give thanks to the Lord and honor him on account of his gifts hich e have received." Example :. S. Bach s vocal setting of Nun laßt uns Gott Herr from Cantata BW 1, O heilges Geist und Wasserad Choralgesang Style (ornamted) S.. c Nun c Nun T. B. c Nun Original Key: G maor. Text replaced for comparison ith XXa. 1 laßt uns Gott, laßt uns Gott, laßt uns Gott,? c Nun Herr laßt uns Gott, Herr Herr Herr, Dank sag, Dank sag und ihm und ihm und ihm, Dank sag ehr on eg sein er, Dank sag und ihm Ga, Die ir emp fang ha. ehr on eg sein er Ga, Die ir emp fang ha. ehr on eg sein er Ga, Die ir emp fang ha. n ehr on eg sein er Ga, Die n ir emp fang ha.

4 Example : Five Ways of sing Hymn Tunes in Today s ndergraduate Theory Classroom TYPE DFFCLTY STDENT S GEN STDENT PRODES 1 Preparatory Four voices only Figures and Roman Numerals Easier Outer voices ith Figures and Roman Numerals nner voices Target ctity Outer voices ith Figures Roman Numerals and nner oices dvanced Extsion (required of composers) Soprano only lto, Tor, Bass, Figures, and Roman Numerals n/a (solution) Four voices, RN s, figures, formal laels Nothing (for modeling, correction, and singing) HOMOPHONC Example : Type 1 Studt supplies figures and roman numerals (optional: form analysis)?? n 1 Tune: MORGNSGTE n

5 Example : Type Studt is giv outer voices, figures, and RN s; studt supplies the inner voices (optional: form analysis) Tune: MORGNSGTE? F Maor:? n i 1 n C: F: Example : Type Studt is giv outer voices and figures; studt supplies RN s and inner voices (optional: form analysis) Tune: MORGNSGTE?? 1 n n

6 Example 10: Type Studt is giv the melody only and supplies the loer three voices, figures, and RN s (optional: form analysis) Tune: MORGNSGTE?? n 1 Example 11: Type Full solution (for modeling, correction, singing, and playing) (stce)? Function Symols: T1 (stce) a '? T1 D S Pedal / S a'' T1 D TS D oice Exchange StepiseBass Cad. Dec. Motion D T1 a' T1 D 10ths 10 Long Way Parallel (reversed) P in a''' T1 S T D TS D T1 SS D T S T1S i i n S n S S S D T1S D C: ' sequce 1 Tune: MORGNSGTE sequce D T1 Cad. / n F: S S T1D S D PC in D PC in T1

7 Example 1: Simplified ocal Ranges for Part Writing Soprano: lto: Tor:? pper three voices (S,, T) are invertile.? C Maor: oice Exchange/Passing Cadtial pper three voices (S,, T) are invertile. oice Exchange/Passing? Bass: Example 1: Three Primary oiceleading Paradigms Example 1: Three Types of / chords (Bonet 00, ) Neighor (Pedal)? C Maor: Parallel 10ths 10 the Long Way Example 1: The Big (Primary chords in commonpractice style model composition is limited to these in Step, Ex. )* FNCTON Best Progressions: 1. T S D T. T D T. T S T (ut not ) BSS SCLE DEGREE 1 TONC (T) (, i, ), SBDOMNNT (S) (,, ) DOMNNT (D) (, io) *n the minor mode, only chord qualities change., i, io,,,,,,,,,,

8 Modulation (h in a ne key) Example 1: Categorization and Description of Cadce Types CDENCE TYPE PHRSE ENDS WTH FNLTY Perfect uthtic (PC) () ith 1 in soprano mperfect uthtic (C) () ith or in soprano More conclusive (gerally) Plagal Cadce (PC) () StepiseBass Cadce (SBC) () ith either chord in inversion Tonicization Tonicized Half Cadce (Ton. ) () NONCHORD TONES / EMBELLSHMENTS (applied chord may e inverted) iv Phrygian Half Cadce (P) Half Cadce () Example 1: Types of NonChord Tones Ornamts () (preceding chord not specified) pplied Chords * () Deceptive (DC) / Dec. Motion (DM) ()? not (usually ) Less conclusive (gerally) RYNG FCTORS Neighor (N) ccted/ naccted Diatonic/ Chromatic Passing (P) ccted/ naccted Diatonic/ Chromatic Suspsion (SS) Consonant/ Dissonant Prepared/ nprepared Pedal Point (PED) (usually) tonic or dominant Chordal Leap (CL) Complete/ ncomplete pper/ Loer n/a pard/ Donard Resolng n/a soprano, inner, or (most oft) ass voice (By definition these are chord tones, ut are included as emellishmts.) *Not actually cadces ecause they occur ithin phrases. Example 1: ThreeTiered Form Hierarchy for Hymn Tune nalysis NME SZE LBEL DESCRPTON Period: phrases; usually + or + ; a + a (ant. + cons.) or a + Period, Stce, or Phrase Group Larger,,, B, C Stce: phrases; either + + or Phrase group: phrases (i.e., neither of aove) Periods, stces, and phrase groups: last cadce is usually the strongest ariants: Doule Period ( phrases) and Nested Stces Primary Formal nit Phrase Suphrase Smaller a, a, a,, c to ar grouping ding ith a cadce ( idtify phrases ith slurs.) x, x, x, y, z (Melodic) suunits ithin phrase that may or may not d ith cadce (oft 1 or ars)

9 SNGLELNE MEODY OTER OCES Example 1: Hypothetical Model Composition Prompt (Miniature Rounded Binary Form) a B must tonicize,, or in this phrase vailale rhythms: q, h, iq, q. e a PC in 1 a PC in Example 0: Hypothetical Realization of Ex. 1 (Step 1) a B must tonicize,, or in this phrase 1 Example 1: Bassline and ntervals dded to Ex. 0 (Step ) B? n must tonicize,, or in this phrase PC in PC in 1,,,, are consonant;,,,, aug./dim. are dissonant C in a only dissonance? a 1 Tonicized PC in PC consecutive s PC in

10 ORNMENTED HOMOPHONC Example : Middle voices, figures, and RN s added to Ex. 1 (Step ) Parallel 10's? D Maor: e: i iv (Direct modulation)? i 1 1 t 1 PC This: PC in i P S R PC in ny donard step:...ecomes a suspsion. n Parallel 10's ny third:...adds a passing note. Example : Complex Ornamtation Figurated nstrumtal Trio from Ex. (Step ) Dec. Ton. Motion : 10 Long Way Example : Simple Ornamtation (Step ) 10 Long Way D: C in? nn n (Hidd) D sequ. B ny repeated note:...is connected. etc....could ecome any of these (suspirans figure): etc. Œ?

11 Example : Ex. Transposed to Suit Studt s Primary nstrumt (here, cello) (Step ) Note the alternate formal analysis ith ar phrases compared to preous verisons. (Doule Period)? a a out of range B? n d n n n C in n n d 1 out of range n a PC Ton. c n n PC in PC in n Example : Patterns for Singleline Ornamtation using N, P, and CL s (see Ex. 1) applied to the first chord of Ex.? 1 Original: Ornamted: (a)? 1 Contour: () (c) (d) (e) ONRMENTED Example : Hypothetical pplication of an Ornamtation Pattern to Ex. (Step ) note that some chords are omitted? llego Original: Ornamted:??? q = 0 mf etc.

12 Example : Wagner, Tannhäuser Song of the Eving Star (ct, Sce, ars after reh. ) Fourvoice Hymnlike Reduction? Wolfram (Baritone) Reduction (Doule Period) G: p n chr. P pp? O! du mein hol strings pizz./harp n? 1 i sie, n? chr. N ( n ) sie? SS dort n n? er N ohl grüßt ich n n (Period) 1 im dir (Stce) pp p P n sie un poco ritard. arco/trem. Œ mer P t schet so gern; n sie C m: (direct modulation) più p Tal cross relation ppp c H m: Tal der P s! SS Er n G d, E: ein D u i iv sel' n ger n poco cresc. più ritard. P s! n Œ SS SS der Er d, Promise of E Maor...dashed! n n n n n H T H En gel n cross relation p ein sel' > dort n n pizz. Lto ver riet, P Em: iv m: i T ger inc. N gel (Only!) PC dim.n zu Œ Œ iv G: En ar (extded) consequt d p SS nie T G: i i chr. P 1 n sie n n DC (no mixture) n n n n i t schet C Her z, das D p DC (ith mixture) ( P ) > > vom n N E Œ (¼ ) a' dich G: zieht, C d, Œ B DC (no mixture) G: Em: SS zu d stern, C n i vor ei ( ) inc. N (appoggiatura) DC (no mixture) n n n? SS n n H B ße D ' P n n n n n n Œ Œ n? grü der m DC (ith mixture) P pp n n N E? (¼ ) a er Œ Œ SS () d. a tempo Œ