e-workbooktkoozin/workbook_part_4.pdf · 2015. 1. 18. · 4 tertian harmony 5 5 the diatonic...

e-Workbook for

TECHNIQUES AND MATERIALS OF

MUSIC From the Common Practice Period Through the

Twentieth Century

ENHANCED SEVENTH EDITION

Part IV: Twentieth-Century Materials

Assignments in worksheet format by

Thomas Benjamin Michael Horvit Timothy Koozin Robert Nelson

Part IV: Twentieth-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

8 Quartal and Secondal Harmony 35

9 Polyharmony and Polytonality 41

10 Intervals in Twentieth-Century Music 47

11 Twelve-Tone Serialism 53

12 Additional Contemporary Procedures 59 Blank Score Paper 61

Which examples above are equivalent in their interval content? (There are two such pairs.)

__________________________

2. Write transpositions for Examples 1a–1d above that each yield an entirely new collection of notes.

It is not possible to do this for Examples 1e and 1f. Why? ________________________________

Hint: For help on this exercise, read about the transposition factor in Part IV, Unit 1.

b. c. d.

e-Workbook for Techniques & Materials of Music Name _______________________

Part IV, Unit 2. Twentieth-Century Materials: Further Concepts for Analysis

1. Analyze the folowing chords employing the Hanson, Persicheti, and Hindemith (root designation) systems

as well as pitch- and interval-class theory. Be sure to play and listen to the qualities of each chord.

a. (3 + 2) (2 + 3)

b. (4 + 3) (3 + 4)

c. (3 + 3 + 2 + 2 + 2)

œb .œn

2. Apply bar lines and metric indications as appropriate to the following examples. Consider the use of

changing meters.

œ#œ#

œ œœ œ

œ œœ

œ .˙

Part IV, Unit 3. Twentieth-Century Materials: Rhythmic and Metric Devices

1. Create your own melodies following the given metrical patterns. Be sure to include all necessary musical

markings (tempo, articulation, dynamics, etc.) so that the melodies are ready to perform.

œœœ

#œœœ

˙˙˙

œ œ ˙

g.˙˙

œbœb

With lighly swung eighths

œ œb

9 C9 #

Fmaj7 F9 b9

b5 Bbmaj9 D9 b

G9 b5 Cb

5 Fmaj9

Part IV, Unit 4: Tertian Harmony

1. Identify the given chords, using lead sheet chord symbols.

2. Complete the melody in the same style using the chords given.

Wolfishly

œ œ#

œœ œb

.˙ œœ

œb œ

œbœb œn

œ# œœ

œ œ# .˙œ#

œn œ

œœ œ#

Tertian Harmony Name _______________________

3. Add an accompaniment to the following melody.

Con amore

˙ œ œ

cresc.

˙# œ œ

Bbmaj7

cresc.

œœ œ#

Ebmaj7

œNœ œ#

Bbmaj7

4. Complete the accompaniment based on the given chords.

Avec movement et sans poire

œ˙˙

˙˙˙

˙˙˙˙

5. Analyze the harmonic content of the accompaniment, then complete the melody.

Andantino

˙˙˙

œ œœ

œœ œ

6. Complete the accompaniment in the same style as the opening measures.

Mit Sehnsucht

œ#˙˙

˙ œ#

bb œn

simile

Moderato

œ œbœ

œnœ œ#

œn œœ

7. Analyze the harmony, then complete the upper parts.

8. Complete the accompaniment and analyze fully.

a. Phrygian

b. Mixolydian

c. Aoelian

d. Dorian

e. Lydian

f. Locrian

g. Dorian

h. Mixolydian

i. Phrygian

Part IV, Unit 5: The Diatonic (Church) Modes

1. Construct the indicated modes on the given tonic pitches. Use key signatures.

Con animaa.

cresc.

˙ .œ

The Diatonic (Church) Modes Name _______________________

2. Harmonize the following melodies using modal harmony.

Tempo di Valseb.

œ.œ#

.œnœ

œnœ .œ

Melancoliquea.

œœœ

œ.˙ .˙

3. Complete the following exercises in the same style as the opening measures.

b. Gracieuse

œœœ

.œ œœ

œœœ

.œ œœ .œ œ

b œœ

œ .œ œœ

.œ .œ

Moderatoc.

œœœ

œ .œœ

œœ .œ

œ .œœ

œ .œ

Comodod.

bœœœ

lu iah,

˙œœ

lu iah,

(etc.)

- - - - - -

.˙ .˙

Allegro lunaticoe.

œœœ

œœœœ# œœ

œœœ

œ#œœ œœ

œœœ

œ œœ

œœœœœ

œœœœ

simileœ

œœœœ

˙˙˙˙

Andantino

œ .œ

œœ.œ

œœ œ

œœœ.œ

œœœœœœœœ

œœœ˙

œœ.œ

œœœ .œ

œœœœœœœ

œœœœ œ

œœœœœ

œœœ˙

Con moto

p(SATB)

.˙œb

˙ œ œœ

œb wb

Andantino

2. Provide accompaniment for the given melody.

œ œœ

Part IV, Unit 6: Pandiatonicism

1. Complete the lower voices in the texture and style of the opening measures.

Maestoso

3. Complete the example in the texture and style of the opening measures.

œœ œ

œ .œ

Pandiatonicism Name _______________________

Languidly

œœœ

˙˙˙

œœœ

˙˙˙

œœœ

˙˙˙

œœœ

˙˙˙

4. Continue in the same style for at least 20 additional measures.

Like a fanfarea.

‰œœœ

œœ œ

œœ œœ œœ

œ œœœ

.œœœ œ œ œ œ

œœ œ

œœœœœb˙

Pesante

5. Complete the given music in the same style.

Con brioc.

.œ œ

œ. .˙

Con forzaa.

6. Continue in the same style for 10 to fifteen measures.

Glissantb.

˙˙˙

Joyeuxc.

œ œ œœ

œœ. œ œ

a. whole tone

b. octatonic

c. pentatonic

d. Hungarian minor

e. octatonic

f. pentatonic

g. whole tone

h. Hungarian minor variant

i. whole tonew#

e-Workbook for Techniques & Materials of Music Name _______________________Part IV, Unit 7: Exotic (Artificial, Synthetic) Scales

1. Construct the indicated scales on the given tonic (center) pitches.

a. Heftig

œbœb .œn

œ œbœb

œ#œ œb

œbœb

Exotic (Artificial, Synthetic) Scales Name _______________________

2. Determine the scale of the given melodies, then write accompaniments. Experiment with different

harmonic structures and different textures.

b. Amabile

œ .˙

Assez lentc.

œb˙b

.˙b .˙

Andantea.

œœœ

œ œœ˙

‰œœœœœœœœœ˙

‰œœœœœœœ œœœœ

œœœœœœœœœœ œœ˙

b. Poco agitato

œ#œœ

œœ œbœb

poco a poco cresc.

œ#œœ

œb œ œn œbœb

œ#œœnœ

œœœœnœœbœb

˙ œœbœœ

3. Continue the accompaniment in the same style as the opening measures.

Avec élan

4. Continue the pattern as indicated.

(bass line given)

(same pattern continues)

(Ab pentatonic)

(C pentatonic)

Allegro barbarossab.

> œœ

(same pattern continues)

(C whole tone scale) (G whole tone scale)

(C whole tone scale)

5. Continue the music in the same style.

a. Feierlich

˙bœb

.˙ .˙

Part IV, Unit 8: Quartal and Secondal Harmony

1. Harmonize the following melodies using quartal and secondal harmony.

b. Lebhaft

œbœb

œœb œ

œ œ# œœ#

Quartal and Secondal Harmony Name _______________________

Largamentec.

œ˙œœ.œ

˙œbœ .œb

˙bœœb

.˙n ˙

œbœb œn

œn .œj

œœ œ#

œ# .œj

œœœbœ

.˙ ˙

Steadily

œœ.œb

œbœ.œb

œ œ#œ# .œ œ

œ .˙n Œ

œœb .œ

œœ œ#

œ# .œn œbœ œ#

œnœœb

-œb-w

2. Complete the following exercises in the style and texture of the opening measures.

b. Maessig Bewegt, mit Kraft

‰ .r

œ .œ œ

.œ œ .œœœ

Ó ‰ . R

œ.œœ

œ.œœ˙

Slowly, moodilyc.

(pitch collection: C D Eb F F# G# A B)

# œœ

poco rit.

Leicht bewegt

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.

œœ œ

Langsam, aber nicht schleppend

œ.œb

.œœb

œb.œ

4. Continue for ten to fifteen measures.

Tanguettea.

œ# œœ œ

œ œœ

simile

œ.œb

œœœœ

Part IV, Unit 9: Polyharmony and Polytonality

1. Analyze the following chords with any appropriate system, then resolve.

2. Complete the exercise in the same style as the opening measures.

Con fuocob.

œbœn

(left hand chords)

(maintain pattern and continue same type of harmony in both hands)

˙˙˙

Polyharmony and Polytonality Name _______________________

Pesantec.

Œœœœ

œœœb

œœœ

œœœb

œœœ

˙˙˙˙

˙˙˙˙b

˙˙˙

nggggggggg

Con forzaa.

œœœ

>œœœ

œœœ

> œœ

3. Continue the examples in the same style for 10-15 measures.

b. Allegro ma non troppo

œ œœ

c. Siciliano

œœœ

Schizando

Part IV, Unit 10: Intervals in Twentieth-Century Music

1. Extend the exercise in the same style for 10-15 measures.

Lightly, lyrically

‰ Œ ‰

Œ ‰J

Intervals in Twentieth-Century Music Name _______________________

2. Continue the exercise by alternating and layering set A with set B. End with a retrograde of the original

pitch material. set A: D F F# A Bb Db set B: G# B C D# E G

(source set)

Brutishly

3. Continue the exercise, using the source set and its transpositions and mirror sonorities. Conclude with a

strong cadence.

Sehr langsam und innig

œ# ˙ .œœb

Œ ‰

œ#œ#

œn ˙

4. Continue in the same style, using similar sonorities derived from each set. End with a clear cadential

gesture. set A: F A Bb G F# G# set B: E C B D Eb Db

Langsam

Solo Bb clarinet.˙ œ#

œb œœb .œ

5. Continue the exercise for 10-15 measures.

& wnwb wn

6. Compose a short piece using the following set:

A la vienne

Œ Œœ

œnœb

Part IV, Unit 11: Twelve-Tone Serialism

1. Extend the exercise for another 10-15 measures, incorporating basic principles of serialism. The opening

row forms are given.

Solo trombone.œ

œb œ œœb

œb œ œ

œœb ˙N

Twelve-Tone Serialism Name _______________________

2. Using serial techniques, continue the exercise for 10-15 measures.

Mit Kraft

œbœb .œ

(retrograde)

œbœb

œ ≈

3. Compose a brief work for piano or instruments in your class based on this all-interval row and its associated

row-forms, continuing the opening given below.

wb wnw

molto legato

Mesto e misterioso

una cordaπ

Œ œœ

œœœ

œœœ-

Œœœ

œœœ

4. Compose a brief work for piano using this row and its associated row-forms, based on the given opening.

w#w# wn

w w#wb

5. Compose a short piece using this row and its associated row-forms.

wnwb wn

ww# wn

6. Analyze the inner structure and combinatorial properties of the following all-combinatorial row by

Webern. Then compose a brief work for piano or instruments in your class.

e-Workbook for Techniques & Materials of Music Name _______________________Part IV, Unit 12: Additional Contemporary Procedures

1. Using the examples below as models, compose original music for instruments available in class.

a. With abandon

b. Hysterically

œ #œ #

œ#œ#

œbœb

Additional Contemporary Procedures Name _______________________

2. The Compleat Canon

This canon may be performed by an infinite number of people, each voice entering at any time interval.

Each voice determines the clef to be used and the durations of the individual notes. It is suggested that a

maximum variety of rhythmic values and articulations be employed. The various canonic voices may

imitate earlier voices freely or may ignore the others entirely. The pitch sequence may be read forwards,

backwards, upside-down, or upside-down and backwards. The canon is to be terminated when a

predetermined threshold of boredom is attained.

3. Listen to, perform, and study such controlled-improv, open-form, "process" works as Riley's "In C." Then

compose a group-improv work for the class, using this approach. Experiment with varying degrees and

methods of controlling various musical elements. Be sure to shape the piece in some way.

4. Listen to and study one or more classic examples of "minimalism," including works by Glass, Reich,

Eno, and Adams. Write a piece, experimenting with small musical cells, phase-shifting, drones,

subtly-shifting consonant harmony and various color elements. Some controlled improv might be used. All

or most of the piece may be pre-planned. Be sure to shape the work.

e-workbooktkoozin/workbook_part_4.pdf · 2015. 1. 18. · 4 tertian harmony 5 5 the diatonic...

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