Examples for Analysis Jan LaRue

JAN LARUE MODELS FOR STYLE ANALYSIS

EDITED BY MARIAN GREEN LARUE

HARMONIE PARK PRESS Michigan

In memory of Jan LaRue (1918–2004) and For Bathia Churgin, exemplary scholar and dear friend

CONTENTS

MODEL 1 MODEL 2 MODEL 3 MODEL 4 MODEL 5 MODEL 6 MODEL 6A MODEL 7 MODEL 8 MODEL 9 MODEL 10 MODEL 11

DEDICATION

iii

EDITOR’S PREFACE TO THE EXPANDED SECOND EDITION

vii

INTRODUCTION

1

Gregorian Chant Kyrie IX (Liber Usualis 40)

7

Latin Motet Dominator – Ecce – Domino (School of Notre Dame) (c.1225)

10

Isorhythmic Motet Guillaume de Machaut, S’il estoit nulz (c.1350)

13

Madrigal Giovanni da Florentia, Nel mezzo (c.1350)

19

Chanson Gilles Binchois, De plus en plus (c.1440)

22

Motet Josquin de Prez, Tu pauperum refugium (after 1505)

25

Motet [parallel model] Giovanni Palestrina, Sicut cervus (1581)

32

Dompe for Keyboard Anonymous, My Lady Carey’s Dompe (c.1525)

33

Sonata Giovanni Gabrieli, Sonata pian’e forte (1597)

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Sonata Arcangelo Corelli, Sonata in E minor, Op. 5, No. 8/I (1700)

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Air G.F. Handel, Ev’ry Valley (Messiah) (1742)

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Sonata F.J. Haydn, Sonata, No. 4, Hob. XVI/G1 (before 1766)

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MODEL 11A MODEL 12 MODEL 12A MODEL 13 MODEL 13A MODEL 14 MODEL 15

Sonata [parallel model] F.J. Haydn, Sonata, No. 6, Hob. XVI/10 (before 1766)

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Lied Robert Schumann, Das verlassne Mägdelein, Op. 64, No. 2 (1847)

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Lied [parallel model] Hugo Wolf, Das verlassne Mägdelein (1888)

67

Prelude Claude Debussy, Des pas sur la neige (Preludes, Book I/6) (1916)

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Prelude [parallel model] Claude Debussy, Des pas sur la neige (Preludes, Book I/8) (1916)

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Piano Variation Anton von Webern, Piano Variation, Op. 27, No. 2 (1936)

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Piece for Solo Flute Edgard Varèse, Density 21.5 (1936, rev. 1945)

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EDITOR’S PREFACE TO THE EXPANDED SECOND EDITION

In 1946 Jan LaRue returned from the War to resume his teaching career at Wellesley College. With little time for transition to civilian life (a former student remembers his arrival at their first class in army uniform) he plunged immediately into a heavy teaching schedule. Along with Music History 101 there were specialized period courses, running the gamut from medieval to contemporary music. He needed to devise an analytic framework that would help organize his thoughts about the varied music he was discussing. Thus the fivecomponent structure, SHMRG (Sound, Harmony, Melody, Rhythm, Growth) was born and later became the basis and essence of Guidelines for Style Analysis. LaRue spent the years from 1946 to 1970, when the first edition of Guidelines was published (W.W. Norton & Co.), refining, expanding, redefining terms, and polishing analytic technique. He accomplished this through classroom work as well as discussions with students, assistants, and colleagues. At the same time, he was actively publishing articles on various aspects of analyzing musical style. Finally, in 1970, LaRue was ready to introduce his full approach to the wider musical world. The second edition (Harmonie Park Press, 1992; fifth printing, 2008) (see pp. xvii ff), clarifies some of the most complex ideas set forth in the first edition, perhaps most notably his views on rhythmic theory. Also in this edition LaRue shares with his readers suggestions for clear, articulate, musicological prose writing, which he had taught in his classes and which his students found immensely valuable. These additions appear in the latter pages of the edition (see pp. 248 ff). From the beginning of his work on Guidelines, LaRue had planned a companion volume, Models for Style Analysis, containing detailed analyses of Western music from all style periods. This volume would serve as concrete illustration of the theories and methods discussed in Guidelines. At first, he also planned an accompanying workbook with questions and problems to be used in the classroom and with a teacher’s manual, the material drawn from his own classroom notes (see Preface to the first edition, p. xxiii). Unfortunately this never came to pass, but perhaps someone in the next generation of analysts will produce one. LaRue had completed the analyses that now comprise Models in Style Analysis in the mid-1970s, but he postponed publishing the volume, because he could never decide on a final format that suited him. His primary problem was finding a way to display the music on an opening directly across from the analysis, so the student could see both simultaneously, without turning pages. LaRue considered many versions, including ones with tear-out or fold-out pages, all of which found their way to the “circular file.” None was totally satisfactory, and years passed without completion of Models. Now, the available modern technology has solved his quandary. Inside the back cover of this expanded second edition, the reader will find Models for Style Analysis produced on a compact disc. The music and/or text can thus be read and studied on a computer and/ or printed out, to suit the reader’s needs. Finally, under the generous auspices of Harmonie Park Press, LaRue’s vision for the project is complete: Guidelines and Models published together for the first time. However, some editorial comments need to be

viii

Editor’s Preface to the Expanded Second Edition

recorded here, with regard to the versions of music used for the analysis. Particularly with pieces from the earlier stylistic periods (Models 1–10), the editions are not the most up-to-date. Many of these were adapted from Archibald T. Davison and Willi Apel, Historical Anthology of Music I (Harvard University Press, 1949; reprinted, 1972), the volume used in LaRue’s style analysis course. After much thought and discussion with several of LaRue’s former students and colleagues, the decision was made to print the music and analyses unchanged from those left by LaRue. The rationale was the following: these models are not to be considered definitive analyses of specific pieces, but rather illustrations of LaRue’s analytic approach, based on the music then at hand. It will be left for others to take his methods and apply them to the latest editions of pieces. This volume, then, stands as a sort of historical document in the annals of style analysis and valuable in itself for the uniform approach it provides for studies of individual pieces and repertories from all style periods. One of the ways LaRue used Models was to study each model in class, then have the student write a prose summary of conclusions, and further to produce an analysis of a parallel piece, to be compared with the original model. Several of these parallel pieces have been included in this edition of Models: for Model 6, a Josquin motet and Model 6a, a Palestrina motet; for Model 11, a Haydn sonata and Model 11a, another Haydn sonata; for Model 12, a Schumann Lied and Model 12a, a Lied by Wolf on the same text; and for Model 13, a Debussy Prelude and Model 13a, another Debussy Prelude. LaRue writes in the Introduction to Models (see compact disc, p. 2) that the pieces need not be used in chronological order, but rather in some conceptual sequence to fit a particular teacher’s or student’s purposes. In introductory music history or style analysis courses however, I and other instructors have found that a chronological sequence is in fact most useful. The student has the chance to become more adept at analytic technique before attempting to deal with more complex later compositions.

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Over the course of nearly a half-century, LaRue interacted with numerous students and colleagues, all of whom contributed directly or indirectly to the evolution of Guidelines and Models. He recorded his debt to those most important to him in the Prefaces to the first and second editions of Guidelines. You will see the names of some of them mentioned again here. LaRue was fiercely loyal to his musicological friends, and that loyalty continued to be reciprocated by them throughout his lifetime. Sandra Rosenblum, the noted scholar of performance practice and the music of Chopin, was one of his earliest students at Wellesley, and they corresponded on analytic topics over the entire fifty-year period. Bathia Churgin, professor emerita at Bar Ilan University, well-known for her brilliant work on Sammartini and Beethoven, met LaRue while she was a Ph.D. candidate at Harvard and he was teaching at Wellesley. The close relationship that developed then only intensified over the years. Churgin championed the cause of style analysis with her students, many of whom have become prominent scholars in their own right. In 1980, Churgin sponsored a graduate seminar at Bar Ilan, taught by LaRue, based on Models for Style Analysis, which was received with much success. Her frequent conversations with LaRue, in person or by telephone from Vassar and Israel stimulated, encouraged, and cheered him, even in the difficult days of his last illness. Their copious correspondence fills a large dossier in his files and would make a fascinating volume in itself. I would not have been able to complete this edition without her ever-present emotional support, and thus, I dedicate Models to her. The late Eugene Wolf, professor at University of Pennsylvania, specialist in Stamitz and eighteenthcentury manuscript studies, was LaRue’s first graduate assistant at New York University and worked closely with him during the gestation of Guidelines. Their friendship deepened while Wolf and his wife Jean, another


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LaRue student, accompanied him on a year-long research trip to Europe. Once home the relationship continued full force until Wolf’s untimely death. Lawrence Bernstein, professor emeritus at University of Pennsylvania, known for his work on the Parisian chanson and the works of Haydn, was in some of LaRue’s earliest classes at NYU and became one of the most fervent disciples of LaRue’s style-analytical approach. Bernstein’s impeccable scholarship and sharp editorial eye were appreciated by LaRue, who consulted with him on Guidelines, Models, and other projects and was always grateful for Bernstein’s abiding interest and concern. Floyd Grave, professor at Rutgers University, noted for his studies of Mozart, Haydn, and eighteenthcentury theorists, arrived at NYU as a graduate student in 1966 and became LaRue’s third assistant. As an instructor at University College of NYU he taught LaRue’s analytic method in all his courses, and his doctoral dissertation on Mozart piano concertos was an inspired example of style analysis in full action. Grave and his wife, Margaret Grupp, also a LaRue student, continued conversations, correspondence, and visits with him that stimulated and sustained him till the end of his life. David Cannata, professor at Temple University, a noted Rachmaninoff scholar and pianist, came to NYU from San Francisco in the 1980s to continue his graduate career. He became LaRue’s assistant and closest student ally from that time forward. Sharing an aberration for bow ties and fine wine, their friendship deepened and LaRue depended on Cannata’s clear-eyed advice, unswerving enthusiasm, and rapier wit, during the completion of the Catalogue of 18th-Century Symphonies (Indiana University Press) and ever afterward. Cannata’s frequent visits during LaRue’s illness were a remarkable tonic and reassuring bond. Rena Charnin Mueller, professor at New York University, a specialist in the music of Liszt, began the graduate program at NYU in 1965. At that time and for many years afterward she served as department assistant and then administrator. She helped LaRue in more ways than one can adequately recount throughout the writing of Guidelines and Models. Along with her husband, David Cannata, she provided emotional and practical support throughout LaRue’s life. The late A. Peter Brown, professor at Indiana University, known for his fine work on the eighteenthcentury symphony and concerto, was never a formal student of LaRue. However, he traveled from his home in Hawaii to study with LaRue in summers and became one of the staunchest proponents of style analysis. Many of his suggestions were incorporated both into Guidelines and Models. LaRue cherished their relationship. Michael Campbell, professor emeritus at Western Illinois University, writer on popular music and jazz and a brilliant pianist, was also not a formal LaRue student. However during an NEH seminar given by LaRue at NYU in the late 1970s, they began a collegial relationship and close friendship that continued to stimulate and inspire LaRue as long as he lived. He often said that Campbell knew more about Guidelines than he did.

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Now we come to an editor’s dilemma: Lawrence Bernstein, a pre-eminent editor of journals and books once told me that an editor should stay in the background and not intrude on the work at hand. I remembered this and tried to follow the precept during my editorship of The Journal of Musicology. Now, however, the situation is somewhat different. I am editor of this version of Models, as well as one of LaRue’s early students, his second assistant at NYU (1966), later a colleague, and finally his wife. Therefore, I’ve decided it is not inappropriate to write a few words from my own perspective. During my first year in the Ph.D. program, I took LaRue’s Style Analysis course. As it progressed, I was amazed at how powerful a tool it provided for gaining a truly comprehensive view of individual pieces, oeuvres, composers, and repertories of all historical

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periods. Once the style analytic routine became second-nature, I was able to use it not only in class assignments, but also in preparation for exams, including my Ph.D. comprehensives, in paper- and later, article-writing, and most important in any success I achieved during my teaching career. It has without a doubt been the most valuable concept I learned in graduate studies. I am grateful for the opportunity I had to help with and to witness the creation of Guidelines and Models. It was Jan’s greatest wish to see Models in print, and I am glad finally that has come to pass, even if not in the state of near-perfection that marked all his other work. I hope he and you will forgive any of the imperfection herein and will celebrate the availability of this invaluable tool for the deeper understanding of all music.

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Copious thanks are due to the several people directly connected with the publication of Models for Style Analysis. Jenny Beck, an advanced graduate student in composition at Rutgers University has transformed a sometimes nearly illegible manuscript into clear final copy. Her expert preparation of the music examples and difficult diagrams has been stellar, and I am grateful for her willingness to help with this project. Dr. Susan Parisi, series editor at Harmonie Park Press, has with a firm but gentle hand shepherded me through the publication process. I am unendingly appreciative of her expertise and of her friendship. I express my thanks also to Colleen McRorie, who skillfully set the volume in type and from whose careful attention to detail the volume benefited significantly. Last, I should like to bestow a medal of honor on Elaine Gorzelski, president of Harmonie Park Press, who has enthusiastically supported Models as she did the second edition of Guidelines. Without her confidence in the project and her generous encouragement, publication would not have been possible. She has my heartfelt gratitude.

MARIAN GREEN LARUE Lawrenceville, New Jersey September, 2010

INTRODUCTION

Many of us believe that of all the fine arts, music most powerfully affects the human spirit. Less immediate than visual appeals, less definable than poetry and literature, more open to individual response than film, music seems to move in complexly related channels that closely parallel the processes of human psychology and physiology. As we listen to a piece of music, we sense an indefinable similarity to bodily rhythms in the sequencing and timing of the musical experience. We feel a kinship to the motions of heart, breathing, gesture, and even the interplay between ideas. Music mirrors the fundamental actions of starting, acceleration, deceleration, and stopping. Most strikingly, the interrelationships we experience in listening to music mysteriously parallel many emotional currents encountered in the general flow of life. The primal appeal of music lies in these unspecifiable connections to the stream of human consciousness. In exploring the mysteries of music one quickly senses the limits of rational analysis to explain the tides of emotion. Nevertheless, knowledge underlies much of our emotional response and augments our pleasure in perceiving the definable aspects of musical experience. In learning to play an instrument we deepen our appreciation of great performers; sitting in a chamber group we become more sensitized to the miraculous coordinations of symphony orchestras. All such experiences help to expand the musical ear, but the advance of our aural sophistication needs an organizing principle. Though musical theory includes many types of analysis, a single principle must serve as our constant point of reference: music is a complexly interrelated whole, not a series of separate subjects, such as harmony or orchestration. While every type of analysis makes its special contribution, these aspects must be related to the whole web of musical experience. Only in this way can we achieve a genuinely comprehensive analysis. Folk wisdom tells us that theory is easier than practice, and anyone who has tried both will certainly agree. In theorizing, the writer need only attempt to control and organize his own imagination—admittedly not always an easy task. In practice, however, he must deal with two other imaginations, those of the composer and the performer/reader/listener—the ultimate consumer. The time lapse between this book and its predecessor, Guidelines for Style Analysis (W.W. Norton, 1970; second edition, Harmonie Park Press, 1992) bears witness to the time-consuming difficulties encountered in attempts to explain the composer to the consumer in terms that are both comprehensive and comprehendible, i.e. wide-ranging in applicability but sufficiently simple in basic principles so that many levels of experience can be served. Toward this goal, most of the Models have passed through numerous cycles of classroom testing, rethinking, and rewriting, and then further testing. The Guidelines enabled many musicians to discover unsuspected depths and complexities in their own perceptions of a piece of music, sometimes an almost embarrassing wealth of observations. These rewarding discoveries, however, quickly uncovered a complementary need to organize musical perceptions in a logical order, both for fuller understanding and for communication to other musicians and music-lovers. In devising a fruitful approach to this age-old analysis/synthesis problem, the Models follow a strategy of immediate

2

Models for Style Analysis

grouping of SHMRG1 perceptions, channeling related phenomena already in the observational phase to relevant categories, the “quadrant” framework described below. In this way related points fall naturally together, conveniently ready for the determination of central characteristics that will be emphasized in the conclusions. It cannot be overemphasized that the Guidelines and the Models do not present any rigid methods whatever but rather, an open-ended framework intended to help any persons interested in music to extend and deepen their musical experience. The idea that analysis can damage the subjective experience has not been verified by any research known to the writer, nor in any aspect of his own work or that of any pupil or associate who has taken the trouble to do careful and extended work in analysis. It should be noted that persons who make negative statements about analysis have often so carefully avoided contamination that they have no knowledge or experience of analysis on which to base their statements. A person with true reverence for music will not fear damage from greater understanding, nor will he feel satisfied to stop with purely instinctive reactions.2 To the contrary, the fuller analytic understanding of the works of music, great or small, can raise the level of their emotional impact to almost painfully exquisite heights. No approach to analysis, of course, can yet reach into the secret recesses of subjective responses. Though the Models, therefore, make no attempt to reflect these responses, every outline of conclusions includes at the end a heading, “00. Special Personal Impression,” in recognition of the vitality and ultimate authority of our subjective responses beyond all the avenues of rational exploration. The wide applicability of the categorical framework recommended in the Guidelines has repeatedly been demonstrated in the experience of music majors who go on to graduate work in fields other than music. Here they find that translations or adaptations of SHMRG and even of Shape and Movement can provide startlingly good results in fields as diverse as art history and law. In art one must remember that Shape is actual while Movement is imaginary, the reverse of music; but dimensions, color, dynamics, line, and even rhythm translate easily into art-critical concepts. In law the idea of a controlling large-dimensional concept, to which a series of evidential facets contribute, seems completely usual to any disciple of SHMRG. The present Models for Style Analysis are intended as a complement to the Guidelines for Style Analysis. Branching out from Chapter 9 of the earlier book (“Style Analysis in Full Action”), each project here includes a group of analytic procedures—timelines, observation charts, and prose outlines for commentary—carried out with respect to one example so as to furnish a direct working model for completing assignments on a parallel piece or problem. These guided exercises provide constant direct involvement with actual music, illustrating the general principles laid down in the Guidelines more fully by means of a broad chronological spread in the selection of examples. Though arranged for convenience in chronological order, the fifteen Models (all complete pieces or movements) can be used as the basis for a semester course or for reference with regard to a particular period. They are not necessarily intended to be approached in historical order, but rather in some conceptual sequence

1

SHMRG (pronounced “Shmerg”) is the mnemonic used in the Guidelines to refer to the elements of music: Sound Harmony Melody Rhythm and Growth. The order of SHMRG emerged from many actual listening experiments as an approach most likely to generate useful observations and help us remember the piece as a total context for these observations. An alternation between complexity and simplicity seems to facilitate this process. Sound is easiest to notice and remember; specifics of Harmony, however, require intense concentration and tenacious ear memory; Melody is easier, a relief before we attempt to untangle the layers of Rhythm, the eternal ambiguity between regularity of meter and competing irregularities from other perspectives. Finally, Growth Processes clearly come last because they survey the total musical progress, including interactions among other perspectives. 2

Even the concept of instinctive reactions may be challenged on the ground that all music is a learned response. As an obvious example one may cite the differences between occidental and oriental scale patterns, which cannot be explained as instinctive.

Introduction

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that fits the particular instructor’s or student’s needs. At New York University I changed the order every year to attempt to avoid falling into stereotypes. For example, one year the order was as follows: 1. Introduction to style-analytic thinking: Haydn, Kyrie, Varèse. 2. Representative periods: Josquin, Binchois, Corelli, Handel, Schumann, Debussy, Webern. 3. Supplementary models: Latin motet, Florentia, Machaut, English Dompe, Gabrieli.

The Quadrant Framework and the New Cue Sheet The most significant additional thinking that has emerged during the course of building the Models is the Quadrant Framework, a distinctive and helpful simplification. By using the original cue sheet (Guidelines, endpapers), one can generate a large number of observations about almost any piece. This causes some complications when we move to the phase of making conclusions and committing these to prose. Since the cue sheet is arranged simply by S-H-M-R-G, the observations will naturally follow this order of elements. Yet often this sequence does not represent the most appropriate emphasis for a particular piece, and the process makes no clear distinction between large and small dimensions, one of the essential insights of style analysis. Furthermore, the repeated use of any single framework for a series of musical commentaries soon produces an unattractively rigid effect. Finally—and possibly most important—a cue sheet should somehow suggest not only the separation of ideas characteristic of analysis, but also the synthesis required to draw helpful conclusions. What we need, therefore, is a plan of sufficient generality to subsume a great variety of interior details without losing track of the main headings, Shape and Movement, which are necessary for any direct and orderly comparison between pieces. This broad scheme also permits flexible arrangements and emphases of analytic interpretation to reflect changes in the music itself. Luckily, too, if we follow the musical flexibilities, we usually can avoid rigidity of prose. These somewhat complicated requirements can be satisfied by a quadrant format (nos. 1 to 4 below), which brings related dimensional observations together in logical groupings that prepare directly for conclusions—and from the start in an outline form useful in organizing the final prose comment: LARGE DIMENSIONS

Shape

Movement

1. Main divisions and materials.

2. General sources of change and intensification. SMALL–TO–MIDDLE DIMENSIONS

3. Smaller punctuations; relationships of continuation.

4. Details of intensification.

The new Cue Sheet takes the above quadrant format as its basic framework and re-arranges the details of the original cue sheet accordingly. The observations from the New Cue Sheet clearly should be maintained in quadrant formation: the Observation Sheet should be a direct reflection of this format; but since many short cues lead to more extended observations, it will often be more practical to reserve one observation sheet for large-dimension characteristics and a second sheet for small-to-middle dimensions.

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It has been found useful to group at the top of the Cue Sheet (and hence on the Observation Sheet) various kinds of information (“General”) that do not necessarily concern Shape or Movement, but which nevertheless may be needed for purposes of identification, statistics, and other bibliographical matters. These include title, library location, manuscript description or imprint data, key, meter, instrumentation, vocal components, author of the text, poetic form, and the like.

New Cue Sheet Composer (dates): Title of Piece (Source) GENERAL: Genre (conventional form), medium, idiom, key, mode, range; general text comments. Points not easily included under Shape/Movement, i.e. pre-determined basis of growth, such as ostinato, school fugue, isorhythm; or indeterminate (chance, improvisation). LARGE DIMENSIONS

Shape (punctuation and material)

Movement (motion and direction)

Textural plan: range, tessitura, textural types (mono/poly/homophonic).

S

Textural changes; extremes; directions. Contrapuntal textures and devices.

Finals, tone centers, keys; migratory/ modulatory plans.

H

Tonal relationships—tension, relaxation. Levels of activity in modulation, dissonance frequency.

Main thematic structure (see G).

M

Array of peaks and underpoints.

Rhythmic vocabulary; meter changes; proportions of parts; pervading rhythmic ideas.

R

Rhythm of modulation (key Rhythm); activity levels; characteristic figures.

Growth options (continuations): response, recurrence, change/Contrast. NB: thematic material

G

Coordination (concinnity) of elements; intensification/detensification.

MIDDLE – SMALL DIMENSIONS

Typical or thematic textures, timbres, dynamics; timbre, texture, dynamics for punctuation and sectional contrast.

S

Activity from: indicated/implied dynamics; imitative entries; timbre concentration; change in textural basis.

Vocabulary: chords, dissonance, ficta; interior keys, finals, cadence types.

H

Tension/stability relations; modulation speed, dissonance level, chord rhythm, direction.

Vocabulary: steps, skips, leaps, Melodic types; contour and excursion.

M

Interval tension, progression, direction. Line development—all parts. Peak and underpoint locations.

Introduction

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Vocabulary: phrase modules, patterns, punctuation; thematic rhythms.

R

Surface-rhythmic activity and direction, stretto; phrase rhythms. Contour Rhythm.

Concinnities: section, sentence, phrase, motive designs.

G

Relative densities of activity; concinnities of intensification.

TEXT DETAILS: Coordination of affect; word setting; meter and rhythm; punctuation; climax.

The Outline of Conclusions Over a period of years it has become clear that the most difficult aspect of style analysis is not observation, but rather the drawing of well-arranged conclusions from the Observations Sheet. To assist the reader in developing this skill, the Models also include a page headed “w,” to show the final stage of preparation for a prose essay on the piece being studied. To minimize this organizational task, the quadrant format should be retained, with the addition of “General” remarks above, as follows: 0. I. II. III. IV. 00.

General Large Shape Large Movement Small Shape Small Movement Brief final summary, general impression, or particular feature.

The final rubric above (“00”) has been added to the quadrant as an effective way of bringing the essay to a close. Often the selection of a particular passage for special comment will form a natural thematic thread for the final paragraph. The problem of arranging observations in order of importance within each quadrant can be made somewhat easier by marking “A” opposite the most important points, “B” opposite the next most important, and “C” opposite details of lesser significance. In this way the final outline for conclusions in each quadrant (which will not necessarily be in SHMRG order, and may not even include all elements in all quadrants) will be comparatively easy to construct.

MODEL 1 – Gregorian Chant

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MODEL 1 ___________

Kyrie IX (Liber Usualis 40) IX. – In Festis B. Mariae Virginis. I.

Gregorian Chant

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Observations GENERAL: Gregorian chant for male choir on a Greek-derived Latin text. Mode 2 (Hypodorian) in its range (note low A in phrase 2) though numbered “1” in the Liber usualis, i.e. Dorian. LARGE

Shape

Movement

Three parts broadly determined by triple acclamations within the Kyrie-Christe-Kyrie text and confirmed by higher tessitura in Christe.

S

Low and high tessituras parrallel text divisions with a cumulative rise: Low, Low, Low / High, Low, High / High, Low; High-high-low. See diagram.

Recurrent pattern of finals: DDD/ADA/AD; A-A-D.

H

Tension: more A than D finals in third sent.

New material opens each sentence.

M

Mainly neumatic setting; peak D1 in third sent.

Dotted notes (double length) mark ends of sentences and phrases.

R

Sudden shortness of Christe phrase gives feeling of broad change and activity; change between phrases also greater in Christe: 22–17–22 / 12–21–12 / 20–21–18,17,20.

Unification by recurrent eleison cadences (1K SK on timeline); progressively interlocking effect of 1K returning in Christe 2, then 2K reappearing in the final Kyrie sentence; similar results from successive derivations: 1P-2S-4P.

G

Subtle crescendo of interest toward third sentence produced by rising tessitura, peak D1 (emphasized by repetition in Kyrie 6), then smoothly winding down by means of prolonged melismatic treatment of the final “e.”

NOTE: Owing to the small size of the piece, the material within the parts is already of

small dimensions. Middle dimensions, therefore, do not apply here. SMALL

Each sentence makes a contrasting start at a higher level than the preceding eleison, then recedes in the second phrase to a lower tessitura. [Speculation: does this relate to a general tendency in plainsong to rise quickly and energetically, fall back more slowly and gradually?]

S

Progression of interest at beginning from soloist to chorus at asterisk: implied dynamics from this expansion and also from rise and fall of line.

Each phrase moves in a different tessitura than the contiguous phrases, and many finals confirm these changes; falling lines signal most phrase cadences; reciprocal arrangement of rising G-A cadences (Christe 1 and 2) compared to falling E-D cadences (Kyrie 4 and 5); skips or leaps confirm punctuations, occurring more often between a cadence and the following phrase than within a phrase.

M

Controlled impression from largely stepwise motion, surrounding the relatively few skips and leaps with opposing seconds, ornamenting more contours with neighbor seconds or thirds (e.g., C-E-C); middle phrases of Kyrie 2 and Christe 2 contribute some action by moving from A to D between incipit and final note. General balanced tendencies: active, often rising beginnings lead to smoother more gradually falling continuations;

MODEL 1 – Gregorian Chant

9 melismatic beginnings tend to continue with syllabic eleisons; Kyries that begin syllabically may end neumatically or even melismatically.

Even flow of short, approximately equal notes, prolonged by agogic accents (episema) or by dots at phrase ends (occasionally also in midphrase).

R

Small punctuations are similar in weight to those in large dimensions = uniform effect throughout. Piece continues by contrast and recurrence rather than repetition or variation (except for internal repet., final Kyrie).

G

Outline of Conclusions [Large Shape]

[Large Movement]

[Small Movement]

[Small Movement]

0. General (see observation sheet) 1. (a) Three main parts, text-determined (Kyrie-Christe-Kyrie), basic contrast/ recurrence pattern. (b) Confirmation by longer cadence notes; D-A-D pattern of finals; higher Christe tessitura and shorter opening Christe phrase. (c) Unification by successive derivations (1P 2S 4P); recurrent eleison cadences (1K, 2K); interlocking (1K returns in Christe, 2K in final Kyrie). 2. (a) Crescendo of interest toward third sentence from rise in tessitura toward peak D1. (b) Final climactic emphasis from high activity in third sentence (peak stressed by insistent repetition of 3P) followed by gradual settling on final syllable. 3. (a) Individualization of phrases by contrasting lengths (22–17–22 / 12–21–12 / 20–21–18,17,20); alternating tessituras (see diagram); different finals; skip to beginning of new phrases. (b) Reciprocal cadence feeling: rising Christe (G-A), falling Kyrie (E-D). 4. (a) Quick rise, slow fall pattern of many subphrases, confirmed by skip and step distribution, leap/step balance. (b) Controlled effect: mainly stepwise motion, frequent neighbor note ornamentation; consistent eighth-note surface rhythm maintains free flow by variety of neume lengths and contour rhythms. SPECIAL FEATURE: Understated sense of power from reserved mood, modality (lack

of tension), balanced melodic activity, and consistent, steady rhythmic flow.

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MODEL 2 ___________

Latin Motet Dominator – Ecce – Domino (Motet)

School of Notre Dame (c.1225)

11

MODEL 2 – Latin Motet

Observations GENERAL: 13th-century Latin motet based on a plainsong tenor melisma (“Domino”—see HAM 28a) which has been cut into 5-note segments to fit the basic patterning (ordo: h q) of the first rhythmic mode (trochaic). Two upper parts with riming Latin texts have been added, also in first mode, but with more flexible patterns. The texts are unified in praising God and the Virgin Mary, both ending with the tenor word, “Domino.” LARGE

Shape Tenor A2-A1; duplum

D1-D

Movement 1;

triplum

C1-E1.

S

(Range included in Large/S because of its rigid, stabilizing effect.)

Hint of upper-4th imitation (24–25): identical motive on “termino.” Traces of parallel organum (2, 11) but much opposite motion and voice crossing of upper parts. Tessitural development in one voice may be neutralized by reciprocal action in one of other parts = curious sameness of total effect.

Firm D tone-center.

H

Basic line highly ornamented by overrun and turn-back figure. Triplum phrase peaks: Bb, C, D/E; D, E.

M

Unfolding of tenor up to A1 and down to A2. Triplum balances contour between phrases (cf. 1–4 down vs. 5–7 up), longer phrases balance internally. Recurrent peak E1+ octave descent to D1 (cf. 9–14 vs. 24–31). Duplum is less directional.

Tenor = 1st R mode (trochaic: 2nd ordo = two units + cadence: h q h q h g). Many variants in upper parts, most in duplum; most complex: q q q q q. Highly consistent activity: ! 95 impacts in 1–15, 98 in 16–31 = sameness.

R

Faster notes (mode fractions) in cadence.

Melisma (color) repeats at 16, omits 2 plainsong notes at cadence (14).

G

Fewer rests in 2nd part.

Limping continuity: sudden textural gaps, phrase ends never coincide fully. SMALL

Textural span of 5th commonest, 8ve next.

S

Consonance reckoned from tenor. Downbeat mainly perfect consonances (1, 5, 8), occasional 3rds (3, 9, 13, 28), 4th (9); appoggs. (15, 18, 29, 30).

H

Occasional sharp offbeat diss. (3, 6, 7, 10) increase in 2nd part (18, 20, 23–25, 27–30).

12 S

Models for Style Analysis M

Mainly stepwise, most skips between phrases or involving consonant notes (exc. 26). Some 4th-fills (triplum 8, 12).

Outline for Prose Summary 0. I.

Introduction (General Observations, plus range from Large/S and consonance from Small/H). (a) Tenor-controlled, three-level motet. 1. Tenor melisma (“Domino”) presented twice in 5-note trochaic segments (2d ordo) omitting 5 lesser cadential notes of the original plainsong (14). 2. Unclear punctuation because duplum and triplum phrases overlap tenor and each other. 3. Consistent, unvarying (somewhat dull) effect (despite II. below) because of steady flow of impacts (95/98 in the two parts), repetitive tenor patterns, nearly identical range of upper voices, oscillation around D tone-center, neighbor embellishments.

II. (a) Fine directional movement of individual voices. 1. Melodic balance particularly skillful (plainsong background?): tenor expands gradually from D to upper and lower A; duplum and triplum balance contours between short phrases, within larger phrases; balanced recurrence of peak phrase and descent of triplum (cf. 9–14 vs. 24–31). Triplum phrase peaks: Bb, C, D/E; D, E. 2. General activity increase in 2nd part: fewer rests, longer phrases (triplum 4 3 7 8 9 duplum 4 4 4 4 4 5 6), more offbeat dissonance. (b) Lack of coordination between parts masks interest of individual lines. 1. Reciprocal movement of duplum and triplum within same range tends to neutralize both lines. 2. Dissonance not effectively related to phrasing—seems random. 3. Phrase overlap vs. sudden textural gaps (4, 11) = overcontinuity vs. undercontinuity. III. Vestiges of parallelism (2, 11) vs. hints of imitation (24–25) and independent motion. IV. (a) Individual phrases of upper parts show some cadential drive (mode fractions). (b) Considerable variety gives general, unorganized sense of motion. (c) Strong stabilization of 1st beat by perfect consonances and limited textural choices—mainly 5th and 8ve; this treatment emphasizes the bar unit unduly. 00. Summing-up: special personal impression.

MODEL 3 – Isorhythmic Motet

13

MODEL 3 ___________

Guillaume de Machaut S’il estoit nulz – S’amours – Et gaudebit

Isorhymthic Motet

continued on next page

14


MODEL 3 — continued ___________


15


16


Observations GENERAL: French isorhythmic motet, three parts (vocal superius C1-D2 and duplum B1-C2; instrumental tenor G1-D1), based on mixolydian mode plainsong. Superius text = 10-syllable couplets separated by a third line (eleven or twelve syllables) and recurring rime: 112 332 332 / 552 552 662. Duplum text = two riming 7-syllable lines in a nearly symmetrical arrangement: 12 1221/*1221 121 (*repetition of the color at the center of the piece splits this line). LARGE

Shape Isostructure: two parts, each 3 phrs; color (M line of tenor) rpts at midpt (49), tenor R pattern (talea) rpts (16, 31), then after only one unit of a 3rd repeat, changes at midpt to a variant (t1), with rpts.

G

Movement Overlaps = continuity: sup phr precedes, dup follows talea puncts. Peak, long note, wide spread coincide (37).

15-bar cycles in upper pts with exact pattern recurrence at ends. “Fleck” unification: irreg recurrent small M & R figs. H

Tenor color circles A-C area more than mode final (G at midpoint and end).

2+1 texture emph by tenor long notes and lower range, broader meter (3/2 vs 6/8).

S

Protoimitation: R 3–4, 21–22; M+R 10–11.

R rime at phrase ends (offbeat figs).

R

Dead spot (41–43) when rests of isostructure coincide.

MIDDLE – SMALL

Puncts thin momentarily to 1 vc (sup/ten. in 15/16, 30/31, 45/46).

S

Each talea phr expands and contracts texture.

Stepwise tenor and isor pts limit vertical choices.

H

Consistent flow from small diss: PT (some accented, neighbor notes; Apps more rare (26 dup) Parallel 5ths rare (35–37); 4ths. Linear diss (9).

Consistent M texture from recurrent repet small figs (CBCA esp Machaut char.).

M

Conserv tenor possibly infls stepwise upper lines: few skips as lg as 4ths/5ths. Many NN progressions; rptd notes t beg and end of phrs. Skillful rise-fall balances (dup 34–42).

Common R phrase profile: slow-faster-long (q. q e\ q e q e\ h). Long notes, rests, rhythmic tags signal phr puncts.

R

Rich vocab, w. to q; contiguous bars rarely rpt rhythms, great variety.


17

Antecedent/conseq effects: sup 19–22, 23–26, 34–37, 38–41.

G

Timeline

(mixo.)

Superius Text: Line rime 1... [Pt. I] 2 3 4 5 [Pt. II] 6 7

Rimes deust retraire enamourer rejoir prison eusse respité

Pattern

112 332 442

Duplum Text: Line rime 1... 2...

552 662 772

Rimes

Pattern

joir faisoit

12 1221

1221 121

S = Superius M = Motetus T/C = Tenor talea/color

Outline of Conclusions 0. I.

General (see Observations) (a) Complex rhythmic/melodic organization of tenor; line derives from plainsong Et gaudebit; basic central punctuation between repetitions of the color (plainsong quote), each of which includes three statements of the talea (R pattern): (b) Confirmation of 3+3 phrase structure 1. Duplum and triplum carry out 3+3 R patterns marked by exactly recurring long rests and striking offbeat figures in triplum.

18

Models for Style Analysis 2. Texture thins momentarily to one voice (triplum) before each repeat of talea (15, 30), expands within talea. 3. Three-line text stanzas match triplum phrases; symmetrical “-oit/-ir” rime schemes match some duplum phrases, overlap others. (c) “Fleck” unification: random homogeneity from irregular recurrences of small R & M figs (a) Coordinated climax (37): peak, longer note, wider textural expanse. (b) Tenor circling around A and C more imp than G final. (c) Continuity from overlap of puncts (triplum 16–17), but curious dead spots in mid-talea (12, 27, 41– 43) leave activity gaps. (a) Effective phrase organization from R profiles (slow – faster – long note – rest). (b) Protostructures: antecedent/consequent in triplum (19–20 vs. 23–26; 34–37 vs 38–41); R imitation 3–4, 21–22; M+R imitation 10–11. (a) Short bursts of motion in recurrent, stepwise M figs (characteristic: CBCA, CDBC); wide variety of durations in successive bars, often directional. (b) H continuity less developed—vertical structures inconsistent. Parallel 5ths rare (35–37); linear diss (9); consonance rules treated rather freely.

MODEL 4 – Madrigal

19

MODEL 4 ___________

Giovanni da Florentia (fl. c.1350) Nel mezzo

Madrigal

20


Observations GENERAL: Italian 11-line madrigal. 2 vcs, tenor (G1-A1) and bass (C1-D1). No overlap or crossing. N,Fixed End words Line rime Music Bar Harmonic Center

Verse A bianco Lr 1 Pa A

penna 2 b 13

spenna 2 c 28

A

AD

a bellezza Lr 3 Pa1 A

colore 4 b1 13

amore 4 c1 28

A

AD

a guardando Lr 5 Pa2 A

parte 6 b2 13

arte 6 c2 28

Ritornello B b canto manto Lr 7 7 Sa a1 43 43

A

AD

DA

DA

LARGE

Shape

Movement

Text and music puncts conflict.

S

Begins of last 3 phrs = peak and greatest spread.

Centers: Verse-D; Ritornello-A.

H

Continuous contrast and mixture of parallel and opposite motion.

Alternation of neumatic/syllabic vs. melismatic.

M

Melismas predominate at line-ends.

4/4 Verse; 3/2 Ritornello

R

Alternation produces running/coasting effect.

Bass line = repeated elaboration of A1-D1-A1 framework.

Ritornello = climax: bass rises, repeated peaks in T.

MIDDLE – SMALL

Tess. expands/contracts in phrs 1, 2; 3–5 begin wide open, contract toward cad.

S

Occasional hints of part-exch. in bass = links between phrs (52, 26–28).

H

Bass motion prepares melisma: sense of rapid Chord R (7–8; 20–21). Cads. consistent: 3–1, 6–8. Diss. rather free betw. perfect consonances. Odd parallels (35– 36); at most phrase starts, one vc holds from cad. = smooth.

Fleck unification (e.g. recurring EFED figure) may be general cliché of whole repertory. Approx. Seqs. [23, 36–37, 39–40].

M

Mainly steps, fewer thirds; 5, 6, 8, betw. phrs; only 3 skips in Bass. Strongly directional Ten. line, constant NN orn./elab., “churning” (36– 40), retreading [2–6].

Patterning and seqs. [23, 39–40].

R

Variety and direction, quite exact in Bass (13– 21); Pulsation from altern. of active/stable bars. R seqs. and freer patterning: (23, 39–40).

MODEL 4 – Madrigal

21 G

Variation techs on several levels: motivic chains, R variants, seqs, activity crescendos, cycling betw. tone centers (A-D-A).


General: include whole of multi-level timeline. (a) Early madrigal form (Aaa Bb) shaped by 1. Repetitions of two segments of music (A, B) with new lines of text. 2. Harmonic outline: A-D verse movement balanced by D-A in ritornello. 3. Duple meter in verse (4/4), triple in ritornello (3/2). 4. Variety from large-scale tessitural plan: phrases 1–3 expand, then contract; phrases 4–5 begin in wide position, then contract toward cadence.

II. (a) Directionality: increasing expressivity from progressively longer and more complex phraseend melismas (most active: 34–42 = end of verse); extremes of texture: bass range extended up to D1 (51). (b) Strong motion from alternation of active syllabic/neumatic areas with melismas = pumping/coasting effect. III. (a) Consistent phrase shape w/effective activity profile: held note(s), short melisma, syllabic area, longer melisma. Phr differentiation by expansion/contraction of tess.; (b) Long text lines carry through several music phrases, producing some conflicts of punctuation (25). (c) M & R patterning: free and exact sequencing (23, 36/37, 39/40, 53/54). (d) Fleck unification, esp recurrent double NN (EFED), cadence R (3/4, 5/6). (e) Hints of part exchange (28-filler), bass 52 vs tenor 53½ . IV. (a) Quasi-ostinato bass: elaboration of A1-D1-A1 framework in verse section, D1-B1-D1-D1-A1 (b) Highly elaborated, “churning” stepwise line (34f).

22


MODEL 5 ___________

Binchois De plus en plus

text music

Chanson (c.1440)

MODEL 5 – Chanson

23

Observations Rondeau text, fixed form AB aA ab AB (AB = 998-89 syllable-line scheme, two rimes (-elle, -ir). 3 voices, superius G1-C1, tenor and contra both C1-E1. 6/4 with some 3/2 (see Large R).

BACKGROUND

LARGE

Shape

Movement

5 phrases, 3+2, central cadence punct. heavier, no break between phrs 4 and 5, melismas middle and end; mirror symmetric tendency in syllables, contour types (M).*

S

Oscillation between C and D centers.

H

Superius /wide range gives strong phr contrast.

M

Early peak too sudden, variety of later peaks (AAGBb) insuff. to balance. 6/4; 3/2 in ten. 3, 6, all vcs 10–15.

R

Greatest textural spread in first phrase. Curious octave leap to melismas in final phrs (two-level effect, b.11 and 16).

Superius most active, T and CT approx. equal.

G Fleck unification by small recurrent motives such as fourth fillers (CT sounds like diminuted imitation of S in 5/6, 10/11) and desc. triad (CT 1&5; T&CT 16). These flecks may all be coincidental results of recurrent motivic vocab. of 15th century. MIDDLE – SMALL

CT octave leap to cadence provides room to maneuver back down.

S

Textural action, not necessarily directional. Partcrossing may obscure lines: S is lowest voice in 9, 16. Upward leaps 11, 16 give disconnected effect.

Desc. 6th chords and double leading-tone cadences, varied with some single leading tones and échappées. Astounding modern effect of VofV, V, I 3–4.

H

Fine motion from alternate active-stable chord rhythm 1–2, 3–4 breaks down to general rise in motion towards cadences.

High proportion of chords with 3rds = rather rich effect. Rudimentary imitation marks 2nd part [13].

* . . .renouvelle. . .veir :: . . .désir. . .nouvelle high. . .low ::

low. . .higher

Good flow from passing diss., more linear than harmonic: free éch. in filled fourths. Remnant of parallel 4th motion 11. Most expressive dissonance (d7 susp. of Bb peak = coord.

24


Nicely balanced rise-fall contours in each phrase Part II inverts procedures of Part I: fall/rise contour, stepwise beginning, more activity.

S and T are stabilized in cads.

M

Average 2 surges per phrase, skip/leap up, coast down. Inventive line ornamentation and motivic expansion: 1 GE opens to GFD, 5 EAE expands to DAD . . . A1 in 6–7.

R

No dead beats; clever playoff of 6/4 vs. 3/2. Drive to most cads. 6–8, 18–20. Intriguing small reciprocal motivic plans: *onbeat 1, 5 vs. offbeat 3, 6; offbeat 18 vs. onbeat 19. *onbeat = q. e q

offbeat = q q. e


II.

III.

IV.

00.

General Strong central punctuation separates 3 “A” phrases from 2 “B” phrases (“A/B” symbols from French formes fixes), confirmed by: (a) line rimes (see Florentia TL schemes); (b) final open-fifth “B” cadence vs. upper third “A” cadence; (c) general rise-fall contour of “A” vs. fall-rise of “B”; (d) balancing areas of low superius range; (e) similar terminal phrases: split-level (low-high) contour. (f ) consistent C/Dm tone-centers (modal, non-directional – see TL). Somewhat erratic movement (a) first two charming, skillful phrases (early peak C2, greatest spread, profiled CR, V/V-V vs. I: response) overbalance remainder of piece. (b) Confusion of textural and melodic orientation when superius crosses below (9, 16) Advanced internal structure of phrases: (a) Coordination of M and R activity, approx. two surge/retract cycles per phrase. (b) Unusually clear definition by cadence stabilization. (c) Differential punctuation (long notes vs. CT movt.) = modest phrase hierarchy. Remarkable liveliness from: (a) Cons/diss cords. with strong/weak beats = smooth flow (also in chord R). (b) Cadence elaboration = special focus 1. M+R “drive to cadence” (note desc 6th chords—fauxbourdon remnants). 2. Many types: 7–6–1, LT/DLT, open/close, stable/active. (c) Inventive line devel: unfolding (1, 5–6); playoff 3/2 vs. 6/4 pre-hemiolic); reciprocal motives (onbeat q. e q vs. offbeat q q. e: 1–3, reversed in 18–19). (d) High proportion of full chords gives new dissonance opportunities, richer effect. (e) Only rudimentary imit (S+T: 13) Special impression

MODEL 6 – Motet

25

MODEL 6 ___________

Josquin des Prez Tu pauperum refugium

Motet (after 1505)


26



MODEL 6 – Motet

27

Four-voice motet, Part II of Magnus es Tu, Domine. Chain process with many internal connections (cf. lf/34f; 1ff/50ff). For such chain processes, thematic function is not sufficiently definite to justify symbols such as PTSK. Internal connections would justify Pa. . .b. . .c. . ., but Josquin’s strong punctuations make A. . . B. . .C. . . (capital letters) best choice to express the independent phrasing. Small letters alone (a, b, c) would be somewhat inaccurate, since they suggest parts of some larger function such as P or S.

4 Em Tone-Center 4

Am

Em

Tu pauperum refugium, Tu languorum remedium, spes exsulum, fortitudo laborantium, via errantium, veritas et vita. Et nunc redemptor Domine, ad Te solum confugio, tu verum Deum doro, in Te spero, in Te confugio, salus mea, Jesu Christe Adjuva me, ne unquam obdormiat in morte anima mea.

3 Em 2

2 Am 2

Am

Em

28


Overview On first sight the motet apparently divides by time-signatures into three main sections, but actually the first section, in 2/2 time, occupies nearly half of the piece (33 of 69 bars). After two interior cadences on the 4th degree (A, 10–11 & 20–21) the piece moves back to the E-minor area with less decisive cadences (26–27, 32, 33) at the same time tapering down to three voices (15) and then paired voice (SA, TB). The central reduction to a unison makes clear that despite the E-minor environment, the piece is not finished. The 3/2 continuation then starts like a recap, with a strong cadence. The 4/4 section, after one more paired exchange, moves back in a series of short interjections from A to the E center, harmonically closing where the motet started. Despite the changing time-signatures, the Shape evolved by these three sections is not convincingly described as three-part (ABA) but rather as two-part (A: A1 A2) in a 2:1:1 relationship of lengths: a statement followed by echoes, variants, and developments of earlier material (compare 24–27 with 46–50; 17–19 with 64-66.).

EDITOR’S NOTE: There is no extant outline of observations in LaRue’s manuscript. Instead he has written observations in the style of a prose summary. See the following pages.

Observations S

Voice ranges: S: C-D2, A: D1-A, T: C1-D, B: A2-A1. Restrained effect of voices in low and limited ranges: Alto down to D1 (22), S never above D2 (24). Josquin makes effective use of homorhythmic chord progressions, first to establish general moods—the melancholy minor environment at the beginning of this motet; then more specifically to bring out the structure and sentiment of the text by contrasting homorhythmic against contrapuntal settings (11&17) or full chorus vs. paired voices (41&46) in response format.—Great variety of textures maintains constantly new interest: color-contrast from open and close spacing of voices: the rising B (3–4) to a fresh major chord may express the hopeful text (“refuge of the poor”). In a larger dimension, the ear-catching reduction from 4 to 2 paired voices: S&A opening wide (21–22) answered by T&B (27), ends in a low unison (33), an ultimate reduction to one line that marks the conclusion of the first section.—Striking effects: T&S octave leaps in parallel 10ths (8–9) or close imitation (61–62) = “spotlighted textures” or “vocal italics”; parallel thirds (S&T 60–61) emphasize first point of imitation, accentuated entries on offbeats after rest and leap (A23, S24).—Strategic rests set off phrases, greater frequency of rests intensifies chains of short subphrases (46, 50).

H

Predominantly minor environment, modal progressions and cadences, few leading tones except in main cadences, final cadence plagal (A, E). Lean harmonies (17–18, 24–26, 30–33) support reserved mood. —Harmonic centers confirm the time signature divisions:

—Dissonances are carefully prepared, especially the 4–3 suspensions in leading-tone cadences.

MODEL 6 – Motet

29

M

Mainly smooth, stepwise motion often coordinated with homorhythmic texture (1–5; 34–37); incremental line development: two steps up or down, then one back (S24–26). Larger skips and leaps also turn back (S8–9), regaining balance before continuing. Impressive example of MR coordination T6–11: the falling 4th is recycled with added motion, finally stretching to peak D, relaxing more slowly downward. Many phrases follow a general pattern of increasing motion balanced by slower punctuation (7–10, 27–33).

R

Changing metrical proportions (interpreted as modern time-signatures: 4/4, 3/2, and 2/2) confirm the three-section but two-part Shape (see Overview). Josquin’s extensive rhythmic vocabulary includes 8ths, quarters, halves, wholes, and longae.—Upbeat and offbeat entries highlight points of imitation (11–12, 23–24).—Rests of different sizes play an important rhythmic role, differentiating the pace of phrases: after the steady half-note punctuation of 4-bar phrases (34–45), notice the quickening effect of 2-bar subphrases separated by quarter rests. There is a further undercurrent: an inspection of phrase groups reveals a general infrastructure, short groups punctuated by one longer: Phrase and Phrase-Groups: |||5 6 | 2 2 5 | 7 7 || 4 4 5 || 2 2, 2 2 2, 4, 9 ||| Smaller units communicate the grammar of a rhythmic language easily, and the longer phrases indicate the irregular syntax of a higher, phrase-group dimension. The boldface number 9 marks a long extension. Josquin makes very sure that we know where the piece ends.

G

Growth Processes. Contrasting to the rather closely-knit counterpoint of Part One, Part Two of this double motet establishes an individual identity by its frequently chordal setting, which Josquin exploits to clarify a pervasive mood of resignation and a sensitive treatment of text. Within this quiet melancholy, Tu pauperum refugium develops an A: A1 A2 structure, somewhat like a statement with two variations (lengths in a 2:1:1 relationship). These segments are marked out by changes in proportional rhythmic signs, transcribed as modern time-signatures: 4/4, 3/2, and 4/4. Phrases and motives emerge with equal clarity, succinctly defined by rests (6, 11, etc.), textural change (11, 20: 4 parts dividing into a dialogue between paired upper and lower voices), and well-developed cadences (10–11, 19–20). This complex regulation of musical flow nevertheless provides opportunities for matching text and music. Scholarly writings often refer to Josquin’s ability to express his texts with music eloquence. The subject of text expression is an ambiguous area, however, since perceptions can different considerably from person to person. People can often agree with respect to generalities, such as the predominant mood. Specific reaction, however, such as my phrase in the discussion of S above, “a fresh major chord may express the hopeful text” could be criticized as subjective, despite the cautionary word “may.” In one unforgettable performance the effect of sun after cloud seemed unmistakable. Less ambiguous (perhaps) is the phrase “via errantium” (erring path,” expressed in hesitant neighbor-notes 21–26). Can we stretch credibility to include the focus on a single word? Is the time-space of “vita” (life) convincingly simulated by an extended melodic development (11)? Despite all difficulties, personal responses that are properly identified as possibilities rather than facts can add a dimension of suggestion valuable as part of analysis. The discussion below of the “sigh motive” (4–5) validates this conclusion. After the death of Okeghem, Josquin was widely recognized as the supreme master of his time. Then and now, however, it has not been easy to say just where this mastery lies. An answer emerging from the analysis above: in Tu pauperum refugium his range of expression encompasses all of SHMRG, a wealth of resource that enables him to confirm the effect of any style point from several other perspectives. It is the sum of these many convergences that so deeply yet clearly communicates his oeuvre to the listener, a music

30

Models for Style Analysis so naturally artful that it conceals his art. As an example, look at the important punctuating cadence at 32–33: it occurs near the temporal midpoint of the motet, creating a formal balance between sections of 33 and 36 bars, also signaled by diminishing rhythmic activity and textural reduction almost to a vanishing point, the low E unison (T&B 33). At the changes of time-signature the punctuation is thrown further into relief by a textural re-expansion to all four parts, coupled with the almost exact return of the opening phrases of the motet, translated into triple time. The central cadence is thus confirmed by (1) midpoint location; (2) textural reduction to one line; (3) rhythmic action reduced by 50%; (4) change to 3/2; (5) textural re-expansion; (6) return of opening material. Josquin fully insures himself against misunderstanding. Even more impressively, he sets the melancholy mood by seemingly countless references to the poignant falling motive (S4–5). Certainly Josquin’s contemporaries occasionally used recurrent material, but few can match the intensity of his saturation technique: there are numerous recurrences of the 4-note figure in different voices and pitches. It is both motive and motif. And noting the preoccupation of composers c.1500 with devices, we should also consider inversions (S43; A9; T84, 62; B15), and a motley variety of variants (S46, 64; T48) and derivants such as S54 (rhythmic variant + melodic compressant); T61–66 (rhythmic diminution + two variants—T&S—that overlap in 63–64); and three skeleton-motives that outline the well-worn melodic interval (B50–56). Toward the end Josquin forecasts termination by grouping motives into successively longer chains repeatedly descending from C (46: 2 motives; 50: 3 motives; 57: culmination [after a significant rest]) by augmentation of the motive in solemn, repeated half-notes (57—much like the opening bars of the motet), all included as part of the longest continuity in the piece (13 bars, 56–69), on the text “ne unquam obdormiat in morte anima mea” (repose in death, my soul). Here all voices recede to lower range and close position (DFAD, 65), concluding with an open 5th + 8ve (EBE, 66), open primary consonances, considered the most stable sounds at that time. Rhythmically the textural refolding after high activity (60–61) parallels a carefully graduated stabilization by successively longer motion-units: 8ths and quarters (60–62), quarters (63), halves (64), wholes (65), and an extended final cadence (64– 69), with parallel 5ths and octaves (65–66, a subtle textural and harmonic reduction, not a beginner’s mistake) leading to double longae (S&T, 66–69 kept alive by a brief imitation and a flicker of rhythm (A&B, 66–67), which soon expires:

Outline of Conclusions 0.

I.

General (a) SATB motet, ltd range and tess (S peak D2, esp low A: D1-F1), Pt II of Magnus es Tu, Domine. (b) Josquin makes a striking—not merely faithful or competent—expression of the text as a whole, creating a compassionate melancholy based on innumerable small sighs (the falling 4-note figure over plagal or Phrygian cadences). At the same time he gives sensitive attention to the nuances of individual words. Exceptionally clearly defined, sectional motet structure: (a) Puntuation by sharp changes in meter; partial to full and back to partial textures; contrast of phrase rhythms, esp reg phrasing in 3/2, then accel/decel of section 3.

MODEL 6 – Motet

31

(b) Unity from pervasive falling Phrygian lines and plagal (iv-i) harmonies; return of duple meter and material from beginning (cf. 11 vs 46); consistent E-A modal centers; many recurrent subpeaks C2 (3, 9, 11, etc.) but only one D2 peak (24) felt more as affective stress than structural climax. II. (a) Richly varied flow of ideas, despite strong unification: 1. Exceptional feeling for choral color: instant appeal and text communication of opening block chords suddenly dissolving into cpt and later re-crystallizing on key words; duetting SA vs. TB; register changes esp brilliant effect of naturally emergent lines highlighted by octave leaps (B + S 8–9) enhanced by sudden textural gaps (24–25, 60–62); effective voice crossing (61); antiphonal treatment (45–40). 2. Great variety of cadences, despite overwhelming repet of A-E chords, obtained by linear and textural invention (fascinating archaism 32–33). 3. Increased momentum: no rest on return at 46. (b) Expansions of earlier material 1. Compare return of opening 2 phrases with expansion of 41–46. 2. Powerful settling effect of 11–20 becomes four-fold descent from C2 (45, 50, 57, 62). III. Linear control of top line creates convincing phrases in concinnity with rests, texture, long notes, chord rhythm. Clear phrases and subphrases. IV. (a) Projection of exceptionally long lines by strong direction (esp descending) that overcomes interruption of rests and subphrases; integration by structural devices, e.g. sequences, imitation, and balanced parabolic curves. (b) Text treatment constantly refreshed by 1. Alternation of syllabic and melismatic areas. 2. Highlighting of individual words (pathetic but effective bass rise and F6 chord on “refugium” (4); “via errantium” waffles aimlessly: 21–27; extended life of “vita”: 25–33; and even syllables receive careful setting (“languorum” stretches out: 7–8).

32


MODEL 6A _____________

Giovanni Palestrina Sicut cervus

Motet (1581)

MODEL 7 – Dompe for Keyboard

33

MODEL 7 ___________

Anonymous My Lady Carey’s Dompe

Dompe for Keyboard (c.1525)

34


Timeline

MODEL 7 – Dompe for Keyboard

35

Observations GENERAL: Keyboard variations on a ground (4-bar ostinato). Source: British Library, Royal App. 58 (HAM 103). LARGE

Shape

Movement

RH single line over broken-chord (open fifth and octave) ostinato.

S

F1-F2 octave expands downward (29: G1) to peak A2 at end.

“Tonic-dominant” alternation: GGDD. Complete harmonic stability.

H

More onbeat dissonance 2nd part (37–38, 42).

M

More flection and ornamentation of line 2nd part.

Decisive termination: sudden slow notes (45), repetition of cadence in higher octave (43, 47).

R

R crescendo in 2nd part: no rests, fewer halves, quarters, nearly continuous 8ths, some 16ths; more unbroken linkage of ostinato pattern; shorter phrase groups (see Timeline and M/Shape below).

12 variations on a 4-bar ground + optional da capo. Strong central punctuation (29: rest, low point). Some rondo feeling (also fleck unification from recurrent 4-note fall pattern and cadence figures (see motivic chart below Timeline).

G

SMALL – MIDDLE

Phrase contours confirm grouping of ostinato segments: (see timeline) 4 4 4 / 4 4 4 4 // 4 4 / 4 4 / 4 //.

M

Constant flow of ingenious variants, mostly of patterns deriving from original 4-note fall (2, 4) to produce sequence (37) and irregular contour rhythms that bridge and conflict the LH continuum (29–34). Expansions of gesture (cf. upbeats in 12 vs. 15–16). Occasional division-like technique (cf. 15–17 vs. 36–37).

R

Pulsation: rest-action pattern of bars 1–2, 3–4 of ostinato, sometimes involving larger segments (cf. action in 13–20 vs. rest in 21–29). Variety of surface durations (q to x) and occasional reversal of prevailing long-short patterns by short-long (12–14, 42) (q. e q q q q vs. q q q q q q)

36


Outline of Conclusions O. Introduction (General points) I. (a) 12 variations on a 4-bar ostinato divided by a strong central punctuation (29: rest and low point). 1. Consistent open fifth & octave broken-chord texture of GGDD alternations in left hand, relieved by flexible linear right hand. 2. Decisive termination by sudden slow notes (45) and repetition of cadence in higher octave (43, 47); da capo option, possibly for dancing? (b) Unification by flexibly recurrent 4-note fall and cadence figures (see motivic chart below Timeline). II. Well-coordinated and carefully graded activity crescendo (a) Expansion of range from F1-F2 octave downward (29: G1) to peak A2 at end. (b) Rhythmic crescendo especially after 29: no rests, fewer halves/quarters, almost continuous 8ths + more 16ths; closer linkage of ostinato patterns; more flection and linear ornamentation; shorter phrase groups (see Timeline and III below). (c) More onbeat dissonances as piece progresses (37–38, 42). III. Some middle-dimension organization: interior grouping of ostinato patterns: 4 4 4 / 4 4 4 4 // 4 4 / 4 4 / 4 // frequently confirmed by broad sweep of right hand line. IV. Surprisingly varied impression despite rigid ostinato: (a) Constantly ingenious variants/derivants, diminuents of original 4-note fall-motive, inc. sequence (37), divisional-like technique (cf. 16–19 vs. 36–37); complicated contour rhythm (29–34). (b) Pulsation: melodic/rhythmic rest-action pattern approx. every two bars of ostinato; some longer pulsation (cf. action 13–20 vs. rest 21–29). (c) Variety of surface durations (w to x) and patterns (long-short q. e occasionally interrupted by shortlong (12, 42: q q q). (d) Left-hand chord stability apparently stimulates inventive right-hand linear dissonance, incl. accented passing tones (12) combined with échappées (13); cambiata groups (FGBbA, 3–4). w

MODEL 8 – Sonata

37

MODEL 8 ___________

Giovanni Gabrieli Sonata pian’e forte

(1597)


38



MODEL 8 – Sonata

39

Timeline

finish timeline:

Observations GENERAL: Polychoric canzona-sonata for two 4-part instrumental groups with low and middle tessituras, F2-A1 vs. Bbs-F2. First specified instruments: Choir I = cornetto + 3 trombones, Choir II = violin + 3 trombones. First dynamic markings: pian (single choir) and forte (tutti). LARGE

Shape Forte closing tuttis mark off 3 sections (1–30, 31–54, 55–80); see Timeline. Effective brass idiom: many repeated-note note figures.

Movement S

Sections differ in rate and type of motion: (1) Choirs respond in long, motet-like multiphrased sentences; (2) quickening to single phrases and overlapping motivic exchange; (3) progressively more rapid alternation of single choirs vs. tuttis.

40


Gm tone center, balanced section goals: IV(C) & V or v(Dm); C-F-Bb regional migrations. Imposing stability of final double cadence: V-I, iv-i.

H

Overall acceleration of chord rhythms.

Broad motivic recurrence: see motivic chart below Timeline (cf. 5 vs. 17; 14 vs. 31, 55; 10 vs. 37–41, 62, 71; 26 vs. 45, 76).

M

Stepwise, level motives shift in later sections to skips and more directional motives; phrases become shorter overall.

Canzona cliché opening (h q q) activated by contrast rhythms: h. q h î q. e q î q. q q q î q. q q h

Frequent offbeat entries focus attention on new ideas (45–46, 59–61; 70–74) and dramatize tuttis (40, 62, 67). Progressive shortening of syncope figure: 31, 37, 45, 59, climaxing in stretto entries (71–75) at one 8th distance with 3/4 motive displaced in 4/4 bars. Fine coordination (concinnity): piano areas move stepwise in slower notes; forte introduces faster, skipping motives. Peak (53) emphasized by dim.4th skip, cadence broadening, fresh key area.

SMALL & MIDDLE

Fine sonority from open positions in lower range, few doubled thirds.

3/2 cadential inserts in 4/4 continuum give pseudo-hemiole effect (30, 44).

S

Counterpoint often gives chordal, homorhythmic feeling even at points of imitation (17–18). Telescoping of entries (cf. 17–18 vs. 21–22) intensifies motion between phrases.

H

Little dissonance except for passing tones and slow, conventional but effective suspensions. Exciting accel of chord R within sections 2–3: 43–46, 62–67, 68–72).

R G

Phrase-rhythmic accel within sections: II (31–40) = 4*4*2*2 (*=overlapping entries) III (55-60) = 2*2*1*1.

Owing to the influence of the continuum, many partial bars have the effect of full bars: all the “round-numbers” above are technically short by one or more beats.

MODEL 8 – Sonata

41


Introduction (General points, stressing “firsts,” dramatic, polychoric style). Large-scale, superbly controlled shape (a) Three main sections defined by weighty forte cadences (30, 54) 1. Punctuations confirmed by their closely related harmonic goals: C (IV) and D (V), reconfirmed in the impressive double cadence at the end (77–80): V-I; iv-i. 2. Unification from loose but effective motivic recurrence (see chart below Timeline) and directional (fifth movement) harmonic migrations within the G-D-C-F-Bb regions. (b) Dramatic effect of the dignified instrumental idiom 1. Sonorous voicing of chords: resonant open octaves and fifths in lower range, thirds skillfully placed, rarely doubled. 2. Crisp, repeated-note figures well-suited to brass. 3. Striking dynamic contrasts coincide with texture: forte = tutti + full range. II. Overall impression of rising excitement (a) Canzona cliché activated by contrast rhythms (see Observations, Large R); long-term accel of chord rhythm and expansion of total sound. (b) Sophisticated coordination of activity-parameters: piano areas move slower & stepwise; forte introduces faster, skipping motives. Peak (53) emphasized by dim.4th skip, cadence broadening, fresh key area.—Frequent offbeat entries focus attention on new ideas (45–46, 59–61, 70–74) and dramatize tuttis (40, 62, 67).—Telescoping of entries (cf. 17–18 vs. 21–22) intensifies motion between phrases. (c) Progressive shortening of syncope figures: 31, 37, 45, 59, climaxing in tight stretto entries (71–75) at one-8th distance, with 3/4 motive displaced on various beats of 4/4 bars. III. Advanced middle-dimension structure: sections contrast in rates and types of motion. (a) First section: choirs respond in long, motet-like, multi-phrased sentences; counterpoint often gives chordal, homorhythmic impression even at points of imitation (17–18). (b) Second section: quickening to single phrases and more overlapping melodic exchanges. (c) Third section: progressively more rapid alternation of single choirs with tuttis, more bars set in tutti texture. IV. Mixture of advanced and conservative devices of progression: (a) Texture includes few untested ideas—wide gaps, darkly lower concentrations, etc. rare. Harmony moves to closely related goals; little dissonance except for passing tones and slow, conventionally prepared and resolved suspensions (nevertheless highly effective). (b) High development of larger aspects of R: note phrase-rhythmic acceleration within sections: II (31–40) = 4*4*2*2 (see Observations, Small G) III (55–60) = 2*2*1*1.

42


MODEL 9 ___________

Arcangelo Corelli Sonata VIII – Preludio

Op. 5, No. 8 (1700)

MODEL 9 – Sonata

43

Observations GENERAL: Sonata V/8, Preludio from a dance sonata, Largo 3/4. V=D1–E3; B=E2–A1. LARGE

Shape

Movement

V+fig. B spread for RH chord; non-idiomatic, conservative.

S

More active range after d bar, higher and lower.

Bifocal touches (17–19) but mainly unified, symmetrical: I III V }] V iv i.

H

B stepwise in Pt I, skips/leaps in Pt II. Pts of imit closer in Pt II; bass leads in 30. More diss (susp 33) and chord tension (d7: 31). CR somewhat faster in Pt II; strongly directional mod seq (Em, Am, Dm, Am) 23–30.

Broadly symmetrical arr of mel material a: 1–8 stepwise, desc 8ths b: 9–22 skips, triads b: 23–28 skips, triad frags a: 29–42 stepwise (+ some skips)

M

Strong basic line governs both individual phrases and complete parts.

R

Cadence hemiolas (15–16, 28–29, 40–41) = stabiliz. Smooth alternation of downbeat and sarabande syncope. (q h)

Unification by “family resemblances” (recurrence, combination, variance): K idea (15, 20, 28, 40); 31–32 derives from 3+inv of 23; 23 = displacement of 13–14.

MIDDLE – SMALL

Phrases differentiated by spacing and tessitura: note contraction of 1st phr, level 2nd phr, high tess after double-bar.

S

Phrases differentiated by spacing and tessitura: Note contraction of 1st phrase, high tess in 23f.

H

Control of modulatory accel: strongly directional mod seq Em, Am, (Dm), Am 23–30 Great variety of CR.

Motivic rather than thematic.

M

Many finely balanced rise-fall motives and phrases. Careful building to peaks (14, 25, 34).

Basic 2-bar module expanding to 4 or contracting to 1+1 effect from imitative entries (1–2 and 23–26).

R

Modular accel 9–15 (2 2 1 1); general accel tendency in phrases. Continuity from changing energy sources: 30–33 = surf R; 34–37 = CR. Elisions (17, 30, 38) aid continuity.

44

Models for Style Analysis G

Phrases differentiated by spacing and tessitura: Note contraction of 1st phrase, high tess in 23f.

Timeline


General (a) Binary framework (I III V }] V iv i) confirmed by 1. Broadly symmetrical arr of mel material a: 1–8 stepwise, desc 8ths b: 9–22 skips, triads b: 23–28 skips, triad frags a: 29–42 stepwise (+ some skips) 2. Balance of interior secondary excursions (III, iv) around middle dominant tension. 3. Large balance: three main phrases in each part. 4. Recurrence of k material. (b) Unification by “family resemblance” in recurrences, variants, recombinations; see particularly k idea (15, 20, 28, 40); derivation of 31–32 from comb of 3+inv of 23; 23 = 1-beat shift of 13–14; imitative participation of bass line.

II. (a) Masterly control of musical flow by 1. Alternation of textures, ranges, stable vs. ambiguous (elided) punctuations; first vs. second-beat (sarabande) accentuation. 2. Harmonic advancement: logical chord progression and modulation, unified tonality from direct chord relationships to one center. 3. Heightened interest of Part II by more active range, increased bass motion and participation; directional modulatory sequence (23–30); more dissonance (susp: 33) and tensional chords (d7: 31). III. (a) Concinnity between elements often clarifies phrase profile and main punctuations. Note more frequent skips, accelerated surface and chord rhythm, increased dissonance in comparing 10–12 with 13–17.

MODEL 9 – Sonata

45

(b) Differentiation of phrases by spacing and tessitura: Phrase 1 contracts, but Phrase 2 remains open; much higher range and tessitura after double-bar. (c) Melodic material is motivic rather than thematic; flexible 2-bar module expands and contracts by chains of motivic variants (cf. 1–2 vs. 23–26). IV. (a) Effective continuation from 1. Changing sources of activity (30–33 = surface R; 34-27 = chord R). 2. Varied punctuations: hemiolas (15–16, 28–29, 40–41); elisions (17, 30, 38); deception in resolution (7, 38). 3. Exquisite reciprocation between lyric stepwise figures and broad, expressive leaps. 4. Rising levels of excitement in many phrases: modular accelerations 9–15 (2 2 1 1).

46


MODEL 10 ____________

G.F. Handel Air. – Ev’ry Valley Shall Be Exalted

Messiah (1742)

MODEL 10 – Air

47

MODEL 1 0 — continued ____________


48


MODEL 10 — continued ____________

MODEL 10 – Air

49


50


Timeline

MODEL 10 – Air

51

Observations GENERAL: Tenor aria with orchestral accompaniment; approaches a small classic concert aria/concerto design except full ritornello at end. Text affect a Handel specialty: affirmative grandeur. Highly effective word treatment with “Biblical naïveté” (i.e. universal appeal): “exalted” 20, “made low” 26, “crooked” 27, “plain” 30. Realism: “crooked” = awkward vocally. LARGE

Shape

Movement Effective handling of resources creates variety and direction: additive orchestration supports implied crescendo of repetition (4–7, 79–84), fine contrast woodwinds (8); natural emphasis on voice (enters entirely along, 10; sounds thru strategically placed orchestral “loopholes” on “be” 14, “-alt” 19; climax notes arrive with inevitability after long sequences 19, not extreme range – G#1).

Logical tonal plan contrasts main areas: ritornello (I), solo exposition (I-V), development (IV), and reprises (I-I).

H

Structural tension: modulation to V supplies motivation for remainder of piece. Bass less active than typical late Baroque. Chord rhythm gives profile to many phrases (63–68: q q h \h h \h h \w \q q q q q = action/rest/action

M

Well-placed long notes give opportunity for display of vocal quality, dynamics, ornaments.

Voice differentiated by additional activity and long notes (wider R spectrum).

R

Typical Baroque action/rest figures (q q q) also at bar dimension (2: q q q q q q. q q; Classic = rest/action/rest parabola).

Coordination of thematic motives: “Ev’ry” & “crooked” in V (25–26).

G

Broader treatment in analogous passages of reprise: cf. “plain” 40–41 vs. 67–70; “Ev’ry” subphrase repetition more unified: cf. divided motives 10–13, continuous line of 53–56.

More peaks for tenor in expo (G#) generate strong local momentum (classic more longrange).

)

S

) ) )

Maintenance of consistent sound levels (solo, tutti, string tutti, special woodwind textures) provides for structural clarity and emphasis.

SMALL

S Vocal phrases develop by motivic repetition and accumulation for emphasis and climactic effect in performance.

Effective imitation (2) is dramatized counter-point, sound-orientated more than linear. (antiphonal)

52


Subtle phrase activations by change in ends of sequence chain: 18 eliminates the suspension, 23 also compresses module, h h q q.

“Crooked” becomes more crooked, 27 vs. 33; “plain” becomes more plain, 30 vs 34.

Thematic coloratura: sequential expansion of “exalted” (13 vs. 15–19). Exciting tension of typical split-level melody: lower level rises, upper holds, builds tension, finally breaks away 56–58. G Advanced control of phrase contour and punctuation by coordination of elements: opening M/R surge confirmed by chord rhythm: A

q. q q

Chord rhythm q q q q. Effect:

q q q q q q. q q

)

Melodic stress Surface rhythm q q

e q A

q

h A

Subphrase punctuation 27–28: coord. of long note, rest, IV-I6 more stable than ii6-i6.


Introduction (from General Observations) Control of the Whole Piece in Many Parameters (a) Preclassic coordination of tensional tonal plan with main divisions of piece an essential thematic motives (“Ev’ry valley” and “crooked”). (b) Significant punctuations confirmed by contrasts among unusually well-diversified sound levels: solo, tutti, string tutti, duetting winds, mixed timbres. (c) Uniquely effective Handelian ending: fermata, long notes, magnificent Adagio leaps. (Many Baroque works show no special termination, simply repeat ritornello.)* (d) High energy of tenor exposition (brilliant 16th coloratura, G# peaks) creates momentum for following sections (classic tends to build climaxes in each section). II. Directional enhancement of recurrent material rather than routine repetition/variance (a) Basic structural tension of modulation of V for “crooked.” (b) Pyramiding of orchestral blocs = built-in crescendos (4–7, 79–84). (c) Strategic orchestral loopholes permit tenor to “shine through” (14, 19). Well-placed long notes encourage display of vocal tone and improvisatory technique. (d) Reprises of analogous passages receive broader treatment (see Observations). III. Phrase profile exploits several parameters (a) Punctuation clarified by coord. of stabilities: long note, rest, IV-I (27–28).

* Cadence of introductory ritornello/returns only at ends of main divisions (42-43, 71-72, 83-84).

MODEL 10 – Air

53

(b) Baroque action/rest sequence penetrates both motive & phrase; chord rhythm = shaping force. (c) Increased emphasis from repetition and sequencing of motives. (d) Coloratura is thematic: sequential expansion of “exalted” (cf. 13 vs. 15–19). IV. Excitement emerges even from details of movement: (a) Coloratura endings achieve additional action: 18 eliminates susp.; 23 also compresses module: h h to q q. (b) Word repetitions intensify: “crooked” becomes more crooked, 27 vs. 33; “plain” becomes more plain, 30 vs. 34. (c) Split-level melody: lower level rises; upper level holds, builds tension, finally breaks away, 56–58. (d) Advanced concinnity of phrase action (see Observations—Small G).

54


MODEL 1 1 ____________

F.J. Haydn Sonata No. 4, Hob. XVI/G1

(before 1766)

MODEL 11 – Sonata

55

MODEL 1 1 — continued ___________


56


MODEL 1 1 — continued ___________

MODEL 11 – Sonata

57

Observations GENERAL: Miniature sonata form, also limited in range, use of keyboard, non-idiomatic figures. Allegro 2/4. LARGE

Shape

Movement

Exp/Rec = extremely varied textures; Dev is more uniform, consistent.

S

Quick Dev modulations (vi = main focus) contrast broadly to Exp/Rec directionality. Note conservative goals of Dev (IV, V, vi).

H

Exp/Rec = elab. motivic play; Dev = more consistent modules (2 from 1+1), less internal contrast = more sense of flow.

M

Inventive motivic variants give feeling of almost systematic progress.

R

Constantly varied contrast-rhythm upbeats (r vs e) supply strong forward push and also unify whole movement.

G

Contrast in motion of parts: Exp/Rec + start/ stop, Dev = more regular flow.

Main divisions: d bar and return of P in I. Contin. rels more var than resp or contr: confirms stress on continuity (R flow, unification by thematic deriv) rather than sectional contrast.

Alternation of full and thin textures contributes to general sense of motion.

MIDDLE

P = mel + accomp, S inverts: mel/accomp and new 16th activity.

S

See Large R – 3-pt texture changes to 4-pt, b.18.

Closely knit relationships: T is a variant of P but reverses direction of triplet 16th; S transfers 8th note desc fig from bar 1 to bass, compresses the overall 6th descent (compare 1–3 with 13–14).

M

See Large G. Peak B2 (24) concinn w/R buildup. Rising triplet of P (2) less active than T (9).

Graded punct in Exp: 4 over bass before T; complete 8th rest before S; elision S-K. Syncopated Chord R (13: e q.) emphs S.

R

Progressive accel: mainly 8ths until 13; then mainly 16ths until 22; then triplet 16ths and 1-bar module to d bar.

Unusual: punct before retrans = heavier than before Rec (binary holdover?).

G

Gen intensif from concinn use of S, M, R. Modular accel/decel of Dev highly org: 33 222222 11 234.

SMALL

Texture expands at cads = emphasis.

S

58


Motivic emph, imaginative variants (see 4 variants of falling upbeat in 1–5).

Typical additive extensions (a b b1 or m m1 m1) in bars 1–3: end-developed phrases.

H

Chord vocab rather neutral; gallant vii and vii7 (11, 63) instead of full dominant. Variety in ChordR, sometimes concinn w/cad drive (4–5, 6–7).

M

Flection increases toward cad: exs. above.

R

Vigorous contrast R, but also much undiff e and q q (more subtlety in middle dim modules). Upbeat stress creates strong metrical feeling = opportunity for syncopes and modular permutations.

G

More evolved than Large of Middle: clear punct and well-coordinated activity (see ChordR) Main basis for Growth: R direction confirmed by S and M in progressive array of variants, mainly at the motivic level.

Outline of Conclusions [Large Shape]

[Large Movement]

[Sm-Mid Shape]

[Sm-Mid Movement]

0. General I. (a) Strong Exp:Dev punctuation (dbar, V cad, textural expansion in Dev); Rec semi-concealed in end of long mod seq. (b) Dev = mild contrast: more reg flow from consistent texture and steady small module Px var; quick modulations; conventional, heavily punctuated goal (vi). II. (a) Emphasis on continuity: variance rather than response or contrast; alternation of thin and richer textures; varied upbeats including contrast Rs (nonadjac vals: q q q q \ e) III. (a) Thematic Unity: T derives from T; S = P var, inverted texture of P; K = new exc P upbt. (b) Graduated punctuation: before T; complete rest and syncopated chord R confirm S modulation to V; elision (22) speeds up effect of K. Texture expands to emphasize cads. (c) Conservative aspects: chord vocab, range, surface rhythm undifferentiated exc upbts. IV. (a) Exp accel: P basis = 8th, S = 16th, K = triplet 16th and 1-bar module

MODEL 11 – Sonata

59 (b) Dev = R intensification coord w S, M: module accel/decel (29-Rec) = 33 22 22 22 11 234.

SPECIAL FEATURE: sophisticated R control despite general apparent simplicity: surface R speed-up of Exposition and Recapitulation; modular acceleration in Development.

60


MODEL 1 1A ______________

Haydn Sonata No. 6, Hob. XVI/10

(before 1766)

MODEL 11A – Sonata [parallel model]

MODEL 1 1 A — continued _____________

61

62


MODEL 1 2 ____________

Robert Schumann Das verlassne Mägdelein

Op. 64, No. 2 (1847)

MODEL 12 – Lied

63


64


Timeline

Observations GENERAL: Strophic lied (four 4-line stanzas) for mezzo voice (D1-Eb2), text by Eduard Mörike. Folk-like poem set with modest texture (piano doubles voice) and initial 2+2 simplicity of phrasing, but Schumann encloses stanzas in a larger plan: two parts (1–12, 13–26) each including 1½ text stanzas, the final stanza as a reprise in the form of an extended cadence: V-iv-I.

MODEL 12 – Lied

65 LARGE

Shape Unusually restrained voice and piano, limited range and texture. Piano augments 3-part texture only for special emphasis: 11: sf; 23–25: cresc.

S

Movement Two long structural expansions caused by falling bass, 1–12, 13–26.

Structural importance of piano: it begins part II alone (13). Strong basic plan: Gm Eb Cm Gm complicated by frequent chromatic voice-leading that hints at other tonalities (2–3: F, Bb), somewhat unsettling in 31–32 after long V ped.

H

Harmonic evasions: Gm confirmed only in bar 5, drifts downward chromatically to Eb (12); part II (13–26) descends thru Cm to V ped. of Gm (26). Chord and diss. complication often result from chrom. passing tones; some structural alterations also (11: Bb D F# Ab).

Mainly stepwise line with some chromatics from underlying bifocal oscillations (Gm/Bb, Eb/Cm). Haunting melodic pathos; simplicity.

M

Chrom. motion occasionally for rhythmic continuity (4: Cb).

Masterly coordination of strophic and catastrophic plans (see Timeline).

G

Punctuations relatively large or heavy for size of units involved: tends to emphasize regularity of phrase rhythms.

SMALL

H

Short imitations (26) more intended to fill texture and maintain motion, sometimes potentially misleading (octave slur 12/13 = vertical reinforcement, not linear).

Fine melodic balance of the 4-bar phrases: fall, partial rise, full rise.

M

Surprisingly varied R patterns despite folksimulated style.

R

Rest/action/rest module or merely action/rest every 2 bars, nicely extended to 4 in 9–12, 23–26.

G

Regularity of module usually prevented from repetitive effect by subtlety of punctuations and overlapping connections.

Small-motive basis evident despite anticipations and extensions.

TEXT EXPRESSION: Fine mood setting: restrained beginning (pre-dawn), partial chord, thin texture, hushed dynamics, pathetic falling line, short subphrases, simple rhythmic module (skillfully varied), but underlying impression of anxiety from chromatic 8th-note motion, elusive shifts in tonality. Thickened texture for important

66


words (11: “springen”–sf). Melodic peak (15: Eb2) curiously not coordinated with text, instead fulfills musical function of descending sequence following piano; but most significant word (24/25: “geträumet”) brings together highest vocal activity, crescendo, the only two 16ths in the lied, bass octaves and fuller chords. Squareness of the simple stanzaic form is relieved not only by the superimposed musical design but also by numerous anticipations in the piano both of vocal subphrases (6/7, 18/19) and main punctuations (12/13, 26/27). Fascinating variety produced by piano taking first subphrase of part II (13–14); text thus arrives 2 bars “late,” requiring an equivalent extension (25/26) to complete stanza III. Extremely subtle variant reprise: 27–34 (= 1–8) enters over the extended V pedal that leads into the final iv-I cadence (major third at end a debatable solution).

Outline of Conclusions 0.

Introduction: miniature romantic lied; folksong-derived, simple strophic poem, 4-line stanza romantic concern with servant girl instead of shepherdess; wistfully tragic emotion; sophisticated simplicity of musical design: does not match poetic form. I. Masterly music plan that avoids the curse of stanzaic repetitions. (a) Design of two parts and a reprise/cadence splits second strophe in half; fourth strophe enters on V pedal not as a balancing part but as text of a cadential extension. (b) Internal musical organization also independent: begins as if matching each line with a two-bar subphrase, but each part repeats 3rd and 4th subphrases (ab cd cd), completing first two lines of strophe II. Musing character of poem permits this deliberate lack of phrase/strophe coordination without sense of distortion. II. Convincing movement despite 8 repetitions of 2+2 module. (a) Strong tonal motion: Part I = Gm-Eb; Part II = Cm-Gm (extended cadence = V ped.-iv-I). (b) Two long, unbroken descents of bass line define the two parts, unite subphrases. (c) Surprise setting of main punctuation (12/13) shows structural importance of piano: it begins Part II with transposition of opening bars to Cm. III. Forsaken subject matter suggests severe restraint of means. (a) Restricted range, texture, dynamics, melodic movement, tempo. (b) Occasional affective words call forth sudden activity in harmony, melodic line, dynamics, texture (11: “springen”; 24/25: “geträumet”). IV. Many sensitive and skillful details generate consistent interest. (a) Considerable rhythmic variety within the rigid 2+2 format. (b) Simple but satisfying fall-rise balances in melodic line. (c) Restless chromatic motion, mainly 8th-note motion, reflects emotional mood. (d) Squareness of punctuation avoided by anticipations and overlaps of accompaniment between subphrases and phrases of voice, also by welding 2+2 into 4 (10/11, 24/25).

MODEL 12A – Lied [parallel model]

67

MODEL 1 2A ______________

Hugo Wolf Das verlassne Mägdelein

(1888)


68


MODEL 1 2A — continued _____________

MODEL 13 – Prelude

69

MODEL 1 3 ____________

Claude Debussy Des pas sur la neige (Preludes, Book I/6)

(1916)


70




71

Observations 0. GENERAL: Short descriptive genre piece, more mood-setting than specific. Dm modal, 4/4. LARGE

Shape

Movement

Main source of punctuation: thinning of texture, dynamics; exploitation by limitation: much in central range, pp. (reaction to romantic excesses).

S

Expansion of dynamics (pp-p!), range, texture.

H

Movt. from color contrast, not tensional relations. Sensitive hierarchy of complex chords (altered 7ths/9ths common) and unresolved dissonance.

M

Progressive enlargement of melodic gesture: cf. 2–4 vs. 5–7; peaks: E2–3&7; Ab2–14; Cb3-F3–32. Underpoints: D2–6; Bb3–15; D3 at end. Special mode affects M and H both: alternate A/Ab, B/Bb, C/C#.

Note on music below bar 1: “this rhythm should have the sonority of the depths of a melancholy, frozen countryside.”

R

Diffident quality from sycope and larger offbeat figures: indirection, quiescence.

Variation string with two returns and many subvariants of a 3rd (mostly m).

G

Opening stepwise 1-bar ostinato generates a m3 that in turn generates both mel & accomp of most of piece.

Strong concinnity in punctuation: rests, textural thinning, register change, dynamic recession, tempo relaxation (“cédez”: 13), deceleration (“retenu” 15), quiescent, static. SMALL – MIDDLE

Debussy takes time to let us listen to single sounds for their unique beauty. Emphasis on “thematic sound.”

S

Antiphonal, bell-like dialogue of sounds focuses the ear on timbres, changing tapestry of sound.

H

Non-functional: chords often replicate M line. Progression from harmonic shading rather* than relative tension. Weak movement to G, Gm, Em blurred by unresolved apps, plagal effects = “neighbor” (ornamental) excursions, not real modul; extension/retraction effect. * See “alternates” in Large M above.

72


Small evocative motives with striking intervals, harmonies, timbres, rhythms; the Debussy double-play: almost every motive immediately repeats.

M R G

Many gaps create a weak continuity without momentum; continuation depends on freshness of each new figure and careful unfolding toward more complex derivations from one or two small, central ideas.

Timeline inv. dimin.

a1

a 5

D m

a0.1 16

D m

a2.2 aug. 26

G m

a2

a2.1

8

(Em)

(G)

a1.1 20

(G)

texture inv. 3 a

32

36

D m


General

(a) Broad, leisurely unfolding of phrases based on a minor 3rd generated by the ostinato accompaniment. Successive variants and subvariants (see Timeline) interspersed with two returns of the initial motivic idea (16, 26). (b) Strongly concinnous punctuation: rests, thinning of texture, register changes, dynamic recession, tempo relaxation and deceleration (13–15). Debussy’s subtle control of silences delicately incremented approaches and departures. II. Gradual, coordinated enlargement of the thematic gesture (2–4): (a) Expansion of dynamics, range, texture (underplayed: dynamics expand from p to pp!) (b) Increasing complexity of color chords and structural dissonance (14) (c) More expressive variants of the Dm mode (A/Ab, B/Bb, C/C-sharp) in new combination. (d) Peaks rise: E2-Ab2-Cb3 (3, 14, 30); lows sink: D2-Bb3-D3 (6, 15, end).


73

III. Seemingly brief, casual material is scrupulously conceived and organized: (a) Small, evocative motives with striking facets: memorable intervals, harmonies, timbres, rhythms (note the emphasis on rhythm in Debussy’s mood-setting comment below bar 1); the concept of “thematic sound,” i.e. a timbre or texture (with various elaborations) as the main point of a whole section. (b) Unexpectedly tight intervallic relationships between thematic variants. (c) One cliché in a whole style devoted to avoiding the obvious: the Debussy double-play; almost every idea immediately repeats. IV. Principle of understatement affects movement, too: pieces on the brink of dissolution somehow survive. (a) Relatively weak continuity: gaps, changes prevent accumulation of momentum to carry through the articulations and punctuations. Fragmentation without shattering. (b) Strong continuation nevertheless, in subtle ways, because of the constantly fresh presentations of elusively, tangentially related material; sophisticated gradation of activity and variance in the process of unfolding exploits many parameters of SHMRG. (c) Harmony replaces tensions with a color hierarchy (spectrum) of simple to complex chords and structural dissonance, hints at polytonality (really polychordality). Tendency of melody to emerge from chords, then reverse the process by recondensing into vertical structures.

74


MODEL 1 3A ______________

Claude Debussy Preludes, Book 1/8

(1916)

MODEL 13A – Prelude [parallel model]

MODEL 1 3A — continued _____________

75

76


MODEL 1 4 ____________

Anton von Webern Piano Variation

Op. 27, No. 2 (1936)

MODEL 14 – Piano Variation

77

Table Useful for Identifying the Tone Rows (Pitch Sets or Collections) TRANSPOSITIONS OF THE PRIMARY ROW (Po) & RETROGRADE (Ro)

11 10 9 8 7 6 5 4 3 2 1 Po

D# D C# C B Bb A G# G F# F E

E D# D C# C B Bb A Ab G F# F

C B Bb A G# G F# F E Eb D C#

D C# C B Bb A G# G F# F E Eb

B Bb A G# G F# F E Eb D Db C

C# C B Bb A G# G F# F E Eb D

G F# F E Eb D C# C B Bb A G#

G# G F# F E Eb D C# C B Bb A

Po

A G# G F# F E D# D Db C B Bb

F E D# D C# C B Bb A G# G F#

F# F E Eb D C# C B Bb A Ab C

Bb A G# G F# F E D# D C# C B

11 10 9 8 7 6 5 4 3 2 1 Ro

R

Interrelationships of Primary, Inverse, Retrograde, & Retrograde-Inverse INVERSE (1) (read downward)

0 11 3 1 4 2 PRIMARY (P) (read rightward) 8 7 6 10 9 5

0

1

2

11

8

10

4

5

6

2

3

7

E D# G F G# F# C B Bb D C# A

F E Ab F# A G Db C B Eb D Bb

C# C E D F Eb A Ab G B Bb Gb

Eb D F# E G F B Bb A Db C Ab

C B Eb Db E D Ab G F# Bb A F

D C# F Eb F# E Bb A G# C B G

G# G B A C Bb E Eb D Gb F Db

A Ab C Bb C# B F E Eb G F# D

Bb A Db B D C Gb F E Ab G Eb

F# F A G Bb G# D C# C E D# B

G F# Bb Ab B A Eb D C# F E C

B Bb D C D# C# G F# F A G# E

0

1

9

11

8

10

4

5

6

2

3

7

RETROGRADE-INVERSE (RI) (read upward)

RETROGRADE

0 (read leftward) 11 3 1 4 2 8 7 6 10 9 5

78


Timeline

Observations GENERAL: A new kind of music in which the time continuum seems to be fundamentally circular rather than linear, so that shape is cyclic rather than goal-oriented and terminal. The rarified, fragmented character of sound, melody, and rhythm enhance the originality of Webern’s approach. The tone rows derive from Movement I.


79 LARGE

Shape Structural use of dynamics: constant p-f change within a large pattern: 2nd half nearly duplicates 1st (exc. one reversal, two louder dynamics—see Timeline).

Movement S

Structural use of surface articulation: five patterns, I (slur) returns before double bar and at end; V (accents on chords) recurs (3/4, 8/9, 15, 19/20; other patterns irregular).

Movement in all parameters (SHMRG) consists of recycling of largely independent patterns. Little sense of direction.

Fixed extremes of range (B2-G3 & all other notes are equidistant from recurrent central A1; floor/ceiling emphasized by repetition 12/13). Maximally dissonant chords = non-tonal, treated as timbres/textures, recur with articulation pattern V; row reads vertically within chords.

H

Each hand plays two successive rows in each part; hands alternate notes. Rows derive from Mvt. I: see permutation squares.

M

Elusive, jagged, flitting pitch events, mainly aug/ dim. intervals, non-thematic, non-directional.

Steady eighth-note continuum; interest and variety from rests (functional silence), unexpected locations. Longest silence just before end (rest/action here reverses conventional cadence (=action/rest).

R

Characteristic two-impact micromotives accumulating to four and six events (12–13, 14–15).

G

2nd part slightly more emphatic: repetition 12–13, some longer note-groups, more loud dynamics, longest rest, Movement results from complex oscillations and longer repetition patterns that give a cyclic, non-progressive impression related to isorhythm.

Recurrent Bb-G# figure (beginning, middle, end) and irregular returns of A-A and F-C# as well as chord splashes give feeling of cyclic, non-directional unity. Piece does not end: merely suspends action.

SMALL

H

Combination of P and I rows (see permutation squares) gives continuous mirror counterpoint.

M

Slight intensifications from f-p-ff dynamics, expanding range, and forceful grace-note rhythms mark row ends (5–6, 16–17), which

80

Models for Style Analysis overlap one note with following row, both using same register spread (D2-E3; cf. 6 & 17). G

Hyperactivation by constant, nearly total change: inventive variants, short but sharp contrasts of range, dynamics, durations, entries, & articulations.


II.

III. IV.

00.

Introduction: Martian scherzo character: miniature planetary orbits of notes. Fundamental emphasis on a new type of shape: cyclic patterning. (a) Structural use of sound: recurrent patterns in dynamics, surface articulation, and range (motion around fixed points: A1 and extremes B2 and G3). (b) Melodic equilibrium: every row is combined with an inverted form. (c) Brief rhythmic submotives (mainly two impacts) direct attention to pattern continuity rather than line, modulation, or rhythmic density. Webernian movement reverses the whole principle of earlier music: (a) Piece makes an almost total change every two eighth notes (dynamics, range, texture, articulation, register, duration, metrical position; no other music even approximates such an amount of change). (b) Paradoxically this change never develops any clear direction, because it recycles multiple, different, overlapping patterns so that no controlling coordinations or long-range goals can accumulate (note analogies to isorhythm). Significant absence of crescendo/diminuendo, acceleration/deceleration, which for most music are essential directional indicators. (c) Pervasive ticking eighth notes contribute to the paradox of total contrast producing cyclic uniformity. Extremely skillful row manipulation maintains all notes equidistant from the central A1 and within the stable extremes of B2 to G3 emphasized just after the double bar. Redefinition of many detailed assumptions: chords are textures, not harmonies; dissonance is timbre, not tension; pitches are register patterns, not melodies; rests are active; motion is stabilized by pattern recycling. Special personal impression.

Serial Music One detects twelve-tone style by recurrent phenomena (not pitch alone) within an apparently heterogeneous flow. Look for the reappearance of characteristic intervals (not necessarily the original pitch sequence) of the controlling row at major points of division, such as double bars, endings and “cadences” of all sorts, tempo changes, and general shifts in dynamic level or textural combination. Small dimension clues to serial structure may be found in pitch sets segregated by rests, rhythmic patterning, or special ranges and sonic effects. In the Webern example one should immediately suspect that there are two simultaneous unfoldings of variants of the row because of the careful separation and free mirror-arrangement of material. Once serial arrangement


81

is suspected, the following procedures should prove helpful. Watch for overlaps (Webern, b.6) and crossovers (b.5). (1) Under a chromatic scale, C-B, write the numerical order in which the 12 tones appear. (2) Recopy the tone-row in proper numerical order, 1 through 12, to form the principal row P. (3) List all of the intervals in the row. (4) The secondary rows may be derived as follows: (I) Inverse: change all the signs, i.e. P: Bb -1 (=A) +4 (=C#) (R) Retrograde: Reverse from the end of row, changing all signs, i.e. . . . (=G#)-1 (=G) -4 (=D#) :P R: D# +4 (=G) +1 (=G#) . . .

(RI) Retrograde-inverse: Reverse from end of row without changing signs, i.e. . . . (=G#) -1 (=G) -4 D# :P R: D#-4 (=B) -4 (=Bb) . . .

*SCALES DERIVED FROM ABOVE PROCEDURES (1) (2) (3) (I) (R) (RI)

Chrom. Scale Row No. Intervals Inverse Retrogr. Retrogr.-Inverse

C 6 0 0 0 0

C# 3 -1 +1 +4 -4

D 5 +4 -4 +1 -1

D# 12 -2 +2 -4 +4

E 9 +3 -3 +1 -1

F F# 8 7 -2 ±6 +2 ±6 +1 ±6 -1 ±6

G 11 -1 +1 +2 -2

G# 10 -1 +1 -3 +3

A 2 +4 -4 +2 -2

A# 1 -1 +1 -4 +4

B 4 -4 -4 +1 w-1

(1) (2) (3) (I) (R) (RI)

82


MODEL 1 5 ____________

Edgard Varèse Density 21.5

(1936, rev. 1945)

MODEL 15 – Piece for Solo Flute

83


84


Observations GENERAL: Compositional essay for solo flute, written to celebrate Georges Barrère’s platinum instrument (chemical density 21.5). Three-part: unfolding, concentrated development, return (see double-bars). LARGE

Shape

Movement

Two-way expansions of dynamics: mf to fff and back to pp near end (55). Experimental effect: key-clapping (25).

S

Initial level of three parts declines (mf-p) but peak intensities grow; progressively longer, louder crescs., “molto cresc.” (56), more sustained p and ff, more fff, more sharp contrasts (spf – 51).

Avoidance of chord implications by stepwise chromaticism, emphasis on dim. and aug. intervals; plateaus (32–36, 46–50) briefly suggest chords but break back immediately to line. Structural importance of range: lowest not “saved” for final gesture (C1–56).

H

Counterpoint occasionally hinted by split-level line (29–30, 49–55).

Overwhelming emphasis on line. Permutation of 3 basic intervals: m/M2, d5, m3.

M

Constant rise (at varying rates) of line, tessitura, peaks: Part I = G3, Part II = A3, Part IV = D4.

De-emphasis of meter by changes, offbeats; continuum also weakened by unusual beat ä fractions and rests (6: q q). Main phrases £ begin on downbeats, become elusive.

R

Main coordination: line and dynamics. Basic procedure = incremental unfolding with frequent restarting (ratchet, inchworm effect) Three parts confirmed by line and dynamic peak (17), peak and sharp regression (35–41).

G

;

Part I introduces pitch collection; Part II intensifies selected figures; Part III = varied return: 1/2 tone higher; new extremes of register, dynamics, gesture. Last 4 bars contain 9 of original 12 pitches; end notes: 1 and 12.

SMALL – MIDDLE

S Many detailed dynamics, including short crescendos and unexpected accents, usually increasing during phrase, then re-trenching. M Sensitive wedge-form line development. Intensification by extended, more insistent repetition, re-cycling; extension of neighbor-note oscillation (29–30: 9th). Phrase-cadences often marked by long cresc. or cresc./diminuendo notes.

R

Rhythmic elongation rather than intensification.

Part I = exposition of full pitch set except no. 12 (B1), saved to begin Part II (18).

G

Basic surges: quick action/longer reaction in rhythmic flow and rate of exposition: 3 notes

MODEL 15 – Piece for Solo Flute

85 exposed in bar 1, 2 in bar 2, then none until 2 in bar 7 and 1 in bar 8, 2 in bar 11 and 1 in bar 12, then none until bar 18. Line action frequently reverses the quick/slow R surges: begins stepwise (slowly) then increases interval size (quickening).


General (from Observations). (a) Three parts marked by double-bars and confirmed by 1. Fresh starts after dynamic climaxes and peaks (18, 41) 2. Contrasting sectional character: Part I = exposition of pitch collection; Parts II-III = development by variance and intensification; special key-clapping effect and stress on m3 in Part II; some feeling of return in Part III: original tempo and register (but 1/2 tone higher and p vs. mf earlier). (b) Strong sense of unity from 1. Single controlling process: incremental unfolding (see II.). 2. All linear development derives from three intervals: m2, d5, and m3. 3. Recurrence at end of 9 of original pitch collection (1 and 12 at very end). (c) Main coordination = line + dynamics. De-emphasis of rhythm by tempo and metric changes, offbeat entries; continuum weakened by unusual beat fractions and rests (see Observations); quick initial action dissolves into elusive rhythms.

II. (a) Wedge-form unfolding (up and down from start) of line and dynamics on three levels: 1. Piece as a whole grows in dynamic intensity, rises in tessitura and peaks: Part I – G 3; II – A3; III – D4 and end B3. Lengthening of intensifications: compare 11–13, 32–35, 46–50. Long-term goal of low C saved for end (56). 2. Parts each rise to peaks and ff or fff climaxes; more extended and eloquent repetitions; more dramatic variants. 3. Individual phrase and single gestures (subphrases) progress constantly to new highs and lows. (b) Vitality maintained by retrenchments that prepare for new and greater climaxes: 24, 55; also on a smaller scale: 15. III. Well-coordinated phrase punctuation by breath marks, rests, longer notes, changes of register and dynamics. IV. (a) Subtle reciprocity of flow between 1. Basic surges of quick action/slower reaction in rhythmic flow and rate of exposition (see Observations). 2. Opposite tendency of line continuations: beginning stepwise (slowly) and expanding to larger intervals (quickening). (b) Superb linear, dynamic, and rhythmic invention: no repetition of details except for deliberate purposes of intensification. 00. Summing-up: Special Personal Impression.

Examples for Analysis Jan LaRue

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