técnicas composição

7/25/2019 Tcnicas Composio

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Composing a Melody


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Terminology

Monophony

Polyphony

Homophony

!Texture

!Contour

Conjunct (e.g., scalar)

Disjunct (e.g., chordal)

!Accent

Dynamic

Agogic

TonicMetric

!Text setting

Syllabic

Melismatic

!Phrase

Antecedent

Consequent

!Period

!Cadence

!Climax

!Balance

!Unity vs. Variety

!Range

!Tessitura !Word painting


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Anatomy of a Melody

Contour

The Star Spangled Banner

Conjunct motion

Disjunct motion

Range

Tessitura


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Anatomy of a Melody


Phrase 1(antecedent) Phrase 2(consequent)

Period

Harmonic

implications: I

V

I

Cadence(imperfect authentic/

half-cadence)

V

I

Cadence(perfect authentic)

Rhythmic motive:

augmentation

variation


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Anatomy of a Melody


Agogic accents

Dynamic accents

Tonic accents

Metric accents


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New Melodic Resources


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From David Cope, Techniques of theContemporary Composer, p. 27.

Various types of nontonal scales: modes, synthetic, and non-Western scales


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!Balinese gamelan and"African drummers.

Impressionism/ExoticismInfluences

Precedents:

!Paris Exposition (1889)

!Chicago World Fair (1892)


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Claude Debussy(1862-1918)

Impressionism/Exoticism


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Maurice Ravel(1875-1937)

Igor Stravinsky(1882-1971)

Impressionism/Exoticism


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Bla Bartk(1883-1945)recording and transcribing folksongs of Hungarian peasants.

Folk Music


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Folk MusicCharacteristics

!

Unusual phrase lengths (not restricted to 2, 4, 8, etc.)

! Metric variety: frequent use of mixed and additive meters

! Temporal fluidity: use of irregular rhythmic subdivisions and tempo changes.

! Modal rather than tonal melodies; not bound to the tyrannical rule of the

major and minor keys(Bartk).

! Not restricted by equal temperament: use of microtonal pitch inflections andscales based on natural tuning systems.

! Free from the expressive pretensions of 19th-century artmusic.


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Folk tune transcribed by Bla Bartk.

Irregular phrases

Flexible tempoIrregular rhythmic subdivisions

Microtonal pitch inflection


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Diatonic Modes

White note

version:

Starting on C:Mode name:

Ionian

#

Dorian#

#

Phrygian#

#

Lydian #

#

Mixolydian#

#

Aeolian#

#

Locrian


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Diatonic Modes

Lydian:

Maurice Ravel: String Quartet in F (1903)

Phrygian:

Ralph Vaughn Williams: Variations on a Theme of Thomas Tallis(1910)


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Pentatonic Scales

Derivation from diatonic scale:

The most familiar variety of pentatonic scale is the anhemitonic(I.e., without

semitones); it may be easily realized by playing on the black keys of the piano.


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Pentatonic Scales

Anhemitonic variety:

Claude Debussy:Nuages

from Nocturnes(1899)

Maurice Ravel: String Quartet in F (1903)


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Claude Debussy: String Quartet (1893)

Pentatonic Scales

Other varieties:

Igor Stravinsky: Le Sacre du Printemps(1913)

m2

M3

m2P4


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Claude Debussy: Pagodesfrom Estampes (1903)


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Maurice Ravel: Ma mre loye (1908)Laideronnette


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Whole-Tone Scale

Claude Debussy: Canopefrom PreludesBook II (1913)

A

B


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Claude Debussy: Voilesfrom Preludes, Book I (1910)


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Bla Bartk: MikrokosmosNo. 136Whole-Tone Scales


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Octatonic Scale

Three transpositions:

Two versions:

A

B

Major

(whole-half)

Minor(half-whole)

1

2

3


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Octatonic Scale

Two nested diminished 7th chords

Structure:

Four overlapping [013] pitch cells

Igor Stravinsky: Octet(1922)


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Bla Bartk:MikrokosmosNo. 99

Crossed Hands

Octatonic pentachord 1 (RH):

Octatonic pentachord 2 (LH):

These two octatonic pentachordscombine to form a single octatonic

collection.


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Olivier Messiaen

s Modes of Limited Transposition

From David Cope, Techniques of the

Contemporary Composer, p. 27.

Mode 1: 6 pitches, 2 transpositions(whole tone)

Mode 2: 8 pitches, 3 transpositions(octatonic)

Mode 3: 9 pitches, 4 transpositions Mode 4: 8 pitches, 6 transpositions

Mode 5: 6 pitches, 6 transpositions Mode 6: 8 pitches, 6 transpositions

Mode 7: 10 pitches, 6 transpositions

2 2 2 2 2 2 1 2 1 2 1 2 1 2

2 1 1 2 1 1 2 1 1 1 1 3 1 1 3 1 1

1 1 1 2 1 1 1 1 2 1

1 4 1 1 4 1 2 2 1 1 2 2 1 1

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