e-workbook TECHNIQUES AND MATERIALS OF MUSIC Part IV: Twentieth-Century Materials

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1 e-workook for TECHNIQUES AND MATERIALS OF MUSIC From the Common Practice Period Through the Tentieth Century ENHANCED SEVENTH EDITION Part IV: Tentieth-Century Materials Assignments in orksheet format y Thomas Benamin Michael Horvit Timothy Koozin Roert Nelson

2 Part IV: Tentieth-Century Materials 2 Further Concepts for Analysis 3 3 Rhythmic and Metric Devices 4 4 Tertian Harmony 5 5 The Diatonic (Church) Modes 11 6 Pandiatonicism 19 7 Exotic (Artificial, Synthetic) Scales 27 Quartal and Secondal Harmony 35 9 Polyharmony and Polytonality Intervals in Tentieth-Century Music Telve-Tone Serialism Additional Contemporary Procedures 59 Blank Score Paper 61

3 e-workook for Techniques Materials of Music Part IV, Unit 2. Tentieth-Century Materials: Further Concepts for Analysis 1. Analyze the foloing chords employing the Hanson, Persicheti, and Hindemith (root designation) systems as ell as pitch- and interval-class theory. Be sure to play and listen to the qualities of each chord. a.. c. # #n d. e. # # f. ## # Which examples aove are equivalent in their interval content (There are to such pairs.) 2. Write transpositions for Examples 1a 1d aove that each yield an entirely ne collection of notes. It is not possile to do this for Examples 1e and 1f. Why Hint: For help on this exercise, read aout the transposition factor in Part IV, Unit 1. a.. c. d. 3

4 e-workook for Techniques Materials of Music Part IV, Unit 3. Tentieth-Century Materials: Rhythmic and Metric Devices 1. Create your on melodies folloing the given metrical patterns. Be sure to include all necessary musical markings (tempo, articulation, dynamics, etc.) so that the melodies are ready to perform. a. ( ) (2 + 3). ( ) (3 + 4) c. ( ) d Apply ar lines and metric indications as appropriate to the folloing examples. Consider the use of changing meters. a. n. R # # # # # n.. 4

5 e-workook for Techniques Materials of Music Part IV, Unit 4: Tertian Harmony 1. Identify the given chords, using lead sheet chord symols. a.. 6 N c. # d. N e. # # f. g. h. # ## N i.. Ó # # # 2. Complete the melody in the same style using the chords given. With lighly sung eighths c Fma7 D9 # n G9 # # 9 C9 5 n Fma7 F9 9 5 B ma9 D9 5 G9 5 C 9# 5 Fma9 5

6 Tertian Harmony 3. Add an accompaniment to the folloing melody. Wolfishly c # # F c #. n # # #. # # n # # n F 6

7 Tertian Harmony 4. Complete the accompaniment ased on the given chords. Con amore 4 3 p 4 3 n Dma7 # cresc. Gma7. P Ama7 #. dim. Cma7 Fma7. p B ma7. E ma7 # cresc. Gma7 n # P B ma7 N # dim. Dma7. p 7

8 Tertian Harmony 5. Analyze the harmonic content of the accompaniment, then complete the melody. Avec movement et sans poire # # 4 3. P # # # #. # # # # # # # # # #.

9 Tertian Harmony 6. Complete the accompaniment in the same style as the opening measures. 4 3 Andantino Π4 3 p 9

10 Tertian Harmony 7. Analyze the harmony, then complete the upper parts. c Mit Sehnsucht # #. n # F c g g g simile. Complete the accompaniment and analyze fully. Moderato C # n P # # n # n C C ΠΠ## n n n P # 10

11 e-workook for Techniques Materials of Music Part IV, Unit 5: The Diatonic (Church) Modes 1. Construct the indicated modes on the given tonic pitches. Use key signatures. a. Phrygian. Mixolydian c. Aoelian d. Dorian e. Lydian f. Locrian # g. Dorian h. Mixolydian i. Phrygian # 11

12 The Diatonic (Church) Modes 2. Harmonize the folloing melodies using modal harmony. a. # # Con anima 7 f # # cresc. ƒ # # -. f. F 12

13 The Diatonic (Church) Modes. # # Tempo di Valse 3 P 3 #. #. # # # # n. # #. n. # 13

14 The Diatonic (Church) Modes 3. Complete the folloing exercises in the same style as the opening measures. a. Melancolique 4 3. p

15 The Diatonic (Church) Modes. Gracieuse 3 3 P

16 The Diatonic (Church) Modes c. 6 Moderato 6 p d. Comodo p Al - le - lu - iah, Al - le - lu - iah, (etc.).. 16

17 The Diatonic (Church) Modes e. 4 5 Allegro lunatico 4 5 F # # simile. 17

18 The Diatonic (Church) Modes f. Andantino 4 3. P

19 e-workook for Techniques Materials of Music Part IV, Unit 6: Pandiatonicism 1. Complete the loer voices in the texture and style of the opening measures. c Con moto Π(SATB) p c ΠOooo Provide accompaniment for the given melody. Andantino c c 4 3 c 4 3 c 19

20 c c f Maestoso. 3. Complete the example in the texture and style of the opening measures... Pandiatonicism 20

21 Pandiatonicism 4. Continue in the same style for at least 20 additional measures. Languidly 4 3 Πp

22 Pandiatonicism 5. Complete the given music in the same style. a Like a fanfare f R r R Pesante c c ΠΠf. 22

23 Pandiatonicism c. 5 Con rio Œ

24 c c ƒ Con forza a. Œ Œ Œ Œ Pandiatonicism 6. Continue in the same style for 10 to fifteen measures. 24

25 Pandiatonicism. Glissant ΠP 25

26 Pandiatonicism c. oyeux c f c... 26

27 e-workook for Techniques Materials of Music Part IV, Unit 7: Exotic (Artificial, Synthetic) Scales 1. Construct the indicated scales on the given tonic (center) pitches. a. hole tone. octatonic c. pentatonic d. Hungarian minor e. octatonic f. pentatonic g. hole tone h. Hungarian minor variant i. hole tone # 27

28 Exotic (Artificial, Synthetic) Scales 2. Determine the scale of the given melodies, then rite accompaniments. Experiment ith different harmonic structures and different textures. a. Heftig 4 2 f 4 2 n. # # #. # # F P 2

29 Exotic (Artificial, Synthetic) Scales. Amaile 6 # 6 # #. # # # #. 29

30 Exotic (Artificial, Synthetic) Scales c. 4 3 Assez lent #

31 Exotic (Artificial, Synthetic) Scales 3. Continue the accompaniment in the same style as the opening measures. a. Andante c F c. Poco agitato 4 2 # P 4 2 # poco a poco cresc. n # F # n n dim. P # p 31

32 Exotic (Artificial, Synthetic) Scales 4. Continue the pattern as indicated. a. Avec élan 4 3 P 4 3 (same pattern continues) r (ass line given) r r (A pentatonic) n n n n r n n n n r (C pentatonic) r r r 32

33 Allegro ararossa. ƒ # # # n # n n n n (same pattern continues) (C hole tone scale) (G hole tone scale) (C hole tone scale) Exotic (Artificial, Synthetic) Scales 33

34 Exotic (Artificial, Synthetic) Scales 5. Continue the music in the same style. 4 2 Lento 4 2 p # # # # # 34

35 e-workook for Techniques Materials of Music Part IV, Unit : Quartal and Secondal Harmony 1. Harmonize the folloing melodies using quartal and secondal harmony. a. Feierlich 4 3. f n ƒ. n f 35

36 Quartal and Secondal Harmony. Lehaft f. # #. 3 36

37 Quartal and Secondal Harmony c. Largamente 4 5. F n. f. n n. # #.. F 2. Complete the folloing exercises in the style and texture of the opening measures. a. Steadily c. P c. # #. n. Œ. # # n. # n

38 Quartal and Secondal Harmony. Maessig Beegt, mit Kraft c c. r... f... Ó. R n c. Sloly, moodily c c Œ P Œ (pitch collection: C D E F F # G # A B) # Œ # n # #.. # #. n ## poco rit. n# n # n n n n Œ # # 3

39 Quartal and Secondal Harmony 3. Analyze the given music, then continue for another 6-12 measures, ending in a strong cadence. Continue the canon as long as is practical. Leicht eegt 4 2 P

40 Quartal and Secondal Harmony 4. Continue for ten to fifteen measures. Langsam, aer nicht schleppend 6.. p

41 e-workook for Techniques Materials of Music Part IV, Unit 9: Polyharmony and Polytonality 1. Analyze the folloing chords ith any appropriate system, then resolve. # # # n 2. Complete the exercise in the same style as the opening measures. a. Tanguette 4 2 # # P n.... simile # U 41

42 Polyharmony and Polytonality Con fuoco f n # n n n n # n (maintain pattern and continue same type of harmony in oth hands) # #.. (left hand chords) n #... n... n # n... n.. # # #... 42

43 Polyharmony and Polytonality c. c Pesante Πn n n c f Πn 4 3 n 4 3 c 4 3 c c n n n n 4 3 n n c g 43

44 Polyharmony and Polytonality 3. Continue the examples in the same style for measures. a. c Con forza ƒ c

45 Polyharmony and Polytonality. Allegro ma non troppo # 4 2 p # # # 45

46 6 6 c. Siciliano P. Polyharmony and Polytonality 46

47 e-workook for Techniques Materials of Music Part IV, Unit 10: Intervals in Tentieth-Century Music 1. Extend the exercise in the same style for measures. 4 3 Schizando ƒ 4 3 Œ. - - # Œ.. # - - # # # Œ. #- -. Œ - -. # # # # 47

48 Intervals in Tentieth-Century Music 2. Continue the exercise y alternating and layering set A ith set B. End ith a retrograde of the original pitch material. set A: D F F # A B D set B: G # B C D # E G Lightly, lyrically c set A. p c Œ. #. Œ. # Œ Œ. Œ set B #.. 4

49 Intervals in Tentieth-Century Music 3. Continue the exercise, using the source set and its transpositions and mirror sonorities. Conclude ith a strong cadence. n (source set) # n Brutishly 4 n ƒ 4 # 3 3 n n n ## n # n 4 4 n n # n 49

50 Intervals in Tentieth-Century Music 4. Continue in the same style, using similar sonorities derived from each set. End ith a clear cadential gesture. set A: F A B G F # G # set B: E C B D E D Sehr langsam und innig set A 4 # #. π set B 4 Œ n - Œ Œ #. Œ 4 4 Œ set A # # n set B - n - 50

51 Intervals in Tentieth-Century Music 5. Continue the exercise for measures. Langsam c π Solo B clarinet. # Œ Œ.. 51

52 Intervals in Tentieth-Century Music 6. Compose a short piece using the folloing set: n n n # 52

53 e-workook for Techniques Materials of Music Part IV, Unit 11: Telve-Tone Serialism 1. Extend the exercise for another measures, incorporating asic principles of serialism. The opening ro forms are given. 4 3 A la vienne 4 3I 0 P 0 ΠΠF #. N n # # n 53

54 Telve-Tone Serialism 2. Using serial techniques, continue the exercise for measures. Stark B 4 3 P 0 Solo tromone. f #. # B. N B B B B B 54

55 Telve-Tone Serialism 3. Compose a rief ork for piano or instruments in your class ased on this all-interval ro and its associated ro-forms, continuing the opening given elo. # # # n # Mit Kraft f 4 3 n #. # n n (retrograde) # 3 n 55

56 Telve-Tone Serialism 4. Compose a rief ork for piano using this ro and its associated ro-forms, ased on the given opening. # n Mesto e misterioso c Ó 3 Œ # # 3 # 3 # 3 n π una corda c molto legato Œ - # - - # - 56

57 Telve-Tone Serialism 5. Compose a short piece using this ro and its associated ro-forms. # # n # n # 57

58 Telve-Tone Serialism 6. Analyze the inner structure and cominatorial properties of the folloing all-cominatorial ro y Weern. Then compose a rief ork for piano or instruments in your class. # # # n n n # n 5

59 e-workook for Techniques Materials of Music Part IV, Unit 12: Additional Contemporary Procedures 1. Using the examples elo as models, compose original music for instruments availale in class. a. With aandon. Hysterically 59

60 Additional Contemporary Procedures 2. The Compleat Canon This canon may e performed y an infinite numer of people, each voice entering at any time interval. Each voice determines the clef to e used and the durations of the individual notes. It is suggested that a maximum variety of rhythmic values and articulations e employed. The various canonic voices may imitate earlier voices freely or may ignore the others entirely. The pitch sequence may e read forards, ackards, upside-don, or upside-don and ackards. The canon is to e terminated hen a predetermined threshold of oredom is attained.. # # n # # # # # # # # # # # # # n. 3. Listen to, perform, and study such controlled-improv, open-form, "process" orks as Riley's "In C." Then compose a group-improv ork for the class, using this approach. Experiment ith varying degrees and methods of controlling various musical elements. Be sure to shape the piece in some ay. 4. Listen to and study one or more classic examples of "minimalism," including orks y Glass, Reich, Eno, and Adams. Write a piece, experimenting ith small musical cells, phase-shifting, drones, sutly-shifting consonant harmony and various color elements. Some controlled improv might e used. All or most of the piece may e pre-planned. Be sure to shape the ork. 60

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