G R A D U S
I
AN INTEGRATED APPROACH TO HARMONY, COUNTERPOINT, AND ANALYSIS Second Edition by L e o K r a f t PROFESSOR E M E R I T U S OF MUSIC, T H E AARON COPLAND S C H O O L OF MUSIC, Q U E E N S C O L L E G E O F T H E C I T Y U N I V E R S I T Y OF NEW Y O R K
W-W-Norton & Company-Inc New York • London ESTE MATERIAL NO SAI.F. D E LA RIRUOTKC»
CONTENTS ACKNOWLEDGMENTS
x
PRELUDE T O T H E SECOND EDITION
1
PART ONE: MELODY 1 2 3 4 5 6 7 8 9 10
Introduction Tonality I :T h e Major Mode I n t e r v a l s a n d t h e M a j o r Scale T o n a l i t y 2: T h e M i n o r M o d e T o n a l i t y 3: O t h e r M o d e s Melodic Elaboration 1 Melodic Structure: A n Introduction T h e Musical Phrase Rhythm, Meter, T e m p o Writing Simple Melodies
3 4 5 7 9 15 18 20 24 28
PART T W O : NOTE-AGAINST-NOTE CONSONANCE 11 12 13 14 15
Introduction S o m e Practical Considerations Two-Part Counterpoint Three-Part Counterpoint Four-Part Counterpoint
29 30 30 34 38
PART THREE: DIATONIC DISSONANCE 16 17 18 19 20 21
Introduction Passing a n d N e i g h b o r M o t i o n : T w o Parts Suspensions: T w o Parts Diatonic Dissonance: T h r e e Parts M o r e o n Diatonic Dissonance Writing a Simple Bicinium
41 42 43 45 46 48 v
PART FOUR: BASIC H A R M O N Y 22 23 24 25 26 27 28 29 30 31
Introduction M o r e about Triads Chords in Motion Cadenees G r o u p i n g the Chords A Few Chromatic Notes Harmonizing Simple Melodies F i g u r e d Bass S t u d y o f a P i e c e : I s a a c ' s Innsbruck \2\ Diatonic Chord Functions: A S u m m a r y
49 50 51 5 3
5 6
59 61 6 3
64 67
INTERLUDE ONE: A L O O R A H E A D
73
PART FIVE: EXTENSIONSOF MELODY, COUNTERPOINT, A N D H A R M O N Y 32 Introduction 33 34 35 36 37 38 39
PART SIX: BINARY 40 41 42 43 44 45 46
79
Melodic Elaboration 2 Two-Part Counterpoint with Elaborated Melodies T h e Extensión o f L i n e s i n M u s i c a l S p a c e Continuous Variations 1 Continuous Variations 2 Extensions o f C h o r d s i n Musical T i m e and Space S o m e F r e e - F o r m Pieces
80 83 85 92 95 97 101
FORM
Introduction M o t i o n away f r o m the T o n i c M o d u l a t i o n to a Cadenee Binary Form M o r e M o d u l a t i o n s i n B i n a r y Pieces Melodic Design in Binary F o r m A l l e m a n d e f r o m B a c h ' s F r e n c h S u i t e N o . 3 [30]
107 108 109 110 112 113 114
P A R T SEVEN: F U R T H E RS T U D I E S I N H A R M O N Y , C O U N T E R P O I N T , A N D F O R M 47 48 49 50 51 52 53 54 55
Introduction T h e Dominant 7th Chord %Chords Diatonic 7th Chords Cadenees 2 A R e p e r t o r y o f Basic P o l y p h o n i c M o t i o n s M o r e Extensions o f T o n i c and Dominant H a r m o n y Secondary Tonics and Dominants A n o t h e r L o o k at B i n a r y F o r m
vi
117 118 123 128 132 135 141 149 158
INTERLUDE T W O :A LOOK
BACK
161
W h y Study Counterpoint? Music and the Rules
165 167
MUSICIANSHIP A T T H E KEYBOARD
169
INTRODUCTORY EXERCISES FOR SIGHT SINGING
173
STUDIES I N MELODY IMPROVISATION
189
MUSIC
H D
A N T H O L O G Y Josquin des Prez
E t i n c a r n a t u s e s t f r o m t h e M a s s Pange Lingua
195
H e i n r i c h Isaac
Innsbruck, I Now Must Leave Thee
196
Jacques Arcadelt
C h a n s o n , Men All Are Such Great Lovers
198
Pierre Certon
C h a n s o n , Happy I Daré Not Be
200
Raspar Othmayr
B i c i n i u m , A Mighty Fortress Is Our God
202
Claude Gervaise
Allemande for four instruments
203
Baldassare D o n a t o
V i l l a n e l l a , May She Rule in Every Season
204
Giovanni Pierluigi d a Palestrina
B e n e d i c t u s f r o m t h e M a s s Repleatur os meum laude
206
Palestrina
Veni Sánete Spiritus ( e x c e r p t )
208
C l a u d e le J e u n e
Blessing Before the Meal
208
O r l a n d o d i Lasso
Benedictus
210
m
Lasso
C h a n s o n , Good Day, My Heart
211
¡m
Giovanni Gastoldi
B a l l a t a , Love's Pursuit
213
M
Michael Praetorius
There Is a Rose
216
|15A|
Praetorius
Gaillarde
217
|15B|
Praetorius
T w o Sarabandes
218
\m
Giralomo Frescobaldi
T o c c a t a f r o m Fiori musicali
219
\m
H e i n r i c h Schütz
Psalm 78
220
\m
Samuel Scheidt
O r g a n B i c i n i u m f r o m Tabulatura Nova
221
m
J o h a n n Pezel
Sarabande f o r brass i n s t r u m e n t s
222
[201
Johann
Chaconne for organ (excerpt)
223
na
Pachelbel
Organ Toccata in E m i n o r
225
m
a m n s
Pachelbel
vii
[22]
Arcangelo Corelli
T r i o Sonata Op. 4 ,N o . 2, Preludio
227
|23|
Henry Purcell
D u e t f r o m Come, Ye Sons of Art
228
|24|
Francois C o u p e r i n
P r e l u d e N o . 3 f r o m LArt de toucher le clavecín
|25|
Couperin
L a Lúgubre f o r h a r p s i c h o r d
231
|26A|
Johann Caspar Ferdinand Fischer
Prelude in C f r o m Partita for Clavier
232
|26Bj
Fischer
P r e l u d e i n E f o r o r g a n f r o m Ariadne musicale
233
[27]
Johann Mattheson
Sarabande and Double
234
[28]
Jean-Philippe Rameau
Gavotte and Variations for harpsichord
235
[29A|
Georg Philipp Telemann
O d e , To Doris
240
[29B]
Telemann
O d e , To Sleep
241
[29C]
Telemann
O d e , Plain Cooking
242
[3Ü]
J o h a n n Sebastian B a c h
Allemande from French Suite N o . 3
243
[3Í]
Bach
Gigue from Violin Sonata N o . 6
245
[32]
Bach
A i r f r o m Suite N o . 3 for orchestra
246
[33]
Bach
P r e l u d e N o . 1 f r o m 77i« Well-Tempered Clavier, B o o k I
248
[34]
George Frideric Handel
Passecaille f r o m S u i t e N o . 7
250
[35]
Handel
Courante f r o m Suite N o . 4
253
[36]
Handel
" S e e , t h e c o n q u e r i n g h e r o c o m e s " f r o m Judas Maccabeus
255
[37]
Handel
T h r e e E n g l i s h recitatives
256
|38|
D o m e n i c o Scarlatti
Sonata in E
259
[39]
Cari Philipp E m a n u e l Bach Sonata i n F, second m o v e m e n t
263
[40]
Christoph Willibald Gluck
264
|41|
J o h a n n P h i l i p p K i r n b e r g e r B o u r r é e f r o m Dance Pieces
266
[42]
D a n i e l G o t t l o b Türk
267
[43]
Wolfgang Amadeus MozartPiano Sonata in A , K.331, theme
269
[44]
Ludwig van Beethoven
T h r e e Contradanses for orchestra
270
[45]
Cari Maria von Weber
When Our Dear Child Can Find No Rest
273
]46]
Franz Schubert
T h r e e Waltzes a n d a n Ecossaise
274
|47|
Stephen Foster
Gentle Annie
276
[48]
H e n r y Clay W o r k
Grandfather's Clock
278
|49A[
Johannes Brahms
How Darkly the Water FLows f o r v o i c e a n d p i a n o
280
|49B|
Brahms
How Darkly the Water Flows f o r c h o r u s
282
[50[
Béla B a r t ó k
F o u r R u m a n i a n Dances for piano
283
[51]
Igor Stravinsky
M a r c h f r o m Renard
288
[52[
Paul Hindemith
A Swan f r o m Six Chansons
290
[53]
Aaron Copland
" S t o r y o f O u r T o w n " f r o m Our Town Suite
293
A i r f r o m Orpheus
T h r e e P i a n o Pieces
viii
230
-|
[54]
William Schuman
Symphony for Strings, s e c o n d m o v e m e n t ( e x c e r p t )
295
[55]
B u r t o n Lañe
Oíd Devil Moon f r o m Finían s Rainbow
296
[56]
J
o
n
n
Lennon and
-
Paul
McCartney
IFeelFine
298
[57[
Leonin
T w o - p a r t o r g a n u m (excerpt)
300
[58]
N o t r e D a m e school
Conductus
301
[59]
Perotin
C o n d u c t u s ( o p e n i n g section)
302
[60]
Guillaume de Machaut
Motet
304
[61]
Francesco Landini
Ballata
307
[62]
Guillaume Dufay
Magníficat ( e x c e r p t )
308
APPENDICES Music Notation Continuo Music Cantus Firmi
310 311 313
GLOSSARY
315
WORKSHEETS
321
INDICES S u b j e c t s a n d P r o p e r Ñames Music
417 419
ix
ACKNOWLEDGMENTS a s e m b o d i e d i n t h e first e d i t i o n o f Gradus, h a v e helped shape the second edition. T h e y provided a testing g r o u n d f o rm e that a l l o w e d m e t o recast m y ideas u n t i l t h e y r e a c h e d t h e present f o r m . I n t h e endless search f o r t h e perfect music e x a m p l e I h a v e b e n e f i t t e d f r o m t h e ideas o f E d w a r d Lerner, Paul Maynard, a n d M a r k Lindley. Raym o n d E r i c k s o n read the section o n M e d i e v a l music and offered m a n y constructive comments. Rosette L a m o n t provided t h e translation o f t h e difficult Machaut text. I m u s t also express m y t h a n k s t o t h e m u s i c e d i t o r o f W . W . N o r t o n , m y oíd f r i e n d C l a i r e Brook. H e r understanding o f the particular nature o f Gradus a n d h e r t i r e l e s s w o r k i n finding t h e b e s t forms i n which t o embody itscontent have cont r i b u t e d g r e a t l y t o t h e success o f t h e b o o k .
I t is a pleasant d u t y t o a c k n o w l e d g e t h e h e l p o f m a n y friends a n d colleagues whose suggestions have been useful t om ei n w r i t i n g this book. T h e d e t a i l e d c o m m e n t s o n t h e first e d i t i o n t h a t I received f r o m Genevieve C h i n n were particularly h e l p f u l , as w e r e h e r r e a c t i o n s t o parts o ft h e seco n d . Susan Goldstein also used some o fthe n e w m a t e r i a l i n class a n d a d d e d p r a c t i c a l a d v i c e . O t h e r suggestions f r o m instructors i n various institutions c o n t r i b u t e d t o m y store o fk n o w l e d g e a b o u t subject matter a n d presentations; these colleagues are too n u m e r o u s t o m e n t i o n , b u t m y gratitude t o t h e m is n o n e t h e less l i v e l y . A g a i n I have t o saythat m a n y years o f contact w i t h m u s i c i a n s s u c h a s C h a r l e s B u r k h a r t , Saúl Novack, George Perle, Cari Schachter, H e n r y W e i n b e r g , a n d H u g o W e i s g a l l have been educational for m ei n m o r e ways t h a n I can recount. T h e reactions o f m y students at T h e A a r o n C o p l a n d S c h o o l o f M u s i c t o m y ideas a n d m e t h o d s ,
Leo Kraft
)
x
PRELUDE T O T H E SECOND EDITION processes o f m u s i c t h r o u g h exercises o f m a n y kinds a n d t h r o u g h t h e best exercise o f a l l — w r i t i n g your o w n music; l e a r n i n g s k i l l s — h o w t o l e a r n f r o m a n e x e r c i s e and a piece o f m u s i c ; p e r f o r m i n g skills—projecting the aesthetic content o f a piece i n a stylistically v a l i d p e r f o r m a n c e . A l t h o u g h Gradus d o e s n ' t d e a l w i t h p e r f o r m a n c e d i r e c t l y , m u c h o f w h a t y o u study here can have a direct bearing on your performance.
T h e s e c o n d e d i t i o n o f Gradus r e t a i n s t h e b a s i c principies o f the hrst, while incorporating a n u m ber o f n e w ideas a n d methods. T h e philosophy o f the b o o k — a n d o f the a u t h o r — i s steadfastly m a i n tained. G r e a t e r c o n c e n t r a t i o n o n f e w e r topics, m o r e focus o n h a r m o n y , considerable i m p r o v e m e n t i n the exercises, a n d c a r e f u l r e e v a l u a t i o n o f t h e pieces in t h e A n t h o l o g y have resulted i na n edition that is t r u l y r e v i s e d . Gradus i s d i f f e r e n t f r o m c o n v e n t i o n a l b o o k s o n "music t h e o r y . " I ttakes a holistic view o f W e s t e r n music, m a k i n g little o f the t i m e w o r n distinctions b e t w e e n h a r m o n y , c o u n t e r p o i n t , a n danalysis. R e a l music k n o w s n osuch divisions. W h i l e at any given m o m e n t w e m a y focus o n o n e aspect o f m u s i c o r another, w ealso m a k e a consistent effort t o keep that aspect w i t h i n t h e perspective o f t h e w h o l e . Yes, w e m u s t study details, b u t w e a i m t o reach b e y o n d those details t o the study o f phrases, groups o f phrases, a n d c o m p l e t e pieces. Y o u r g o a l as a s t u d e n t is t o l e a r n as m u c h as y o u c a n a b o u t m u s i c , a n d Gradus c a n h e l p y o u t o w a r d t h a t goal. B u t k e e p i n m i n d t h a t a n y t e x t b o o k is s i m p l y a t o o l , a n d m u s t b e p u t t o u s e intelligenüy. T h e goal can o n l y be reached b yy o u r o w n efforts. T o b e c o m e a m u s i c i a n m e a n s t o d e v e l o p specific musical skills, i n c l u d i n g :
I t is y o u r r e s p o n s i b i l i t y as a m u s i c i a n t o acquire those skills; i tist h e responsibility o f this book and o f t h e instructor t o present t h e material i n the m o s t e f f e c t i v e w a y . Y o u s h o u l d k n o w t h a t Gradus is a p r a c t i c a l b o o k , n o t a t r e a t i s e . W r i t t e n i n a n a r r a t i v e s t y l e f o r r e a d y c o m p r e h e n s i o n , i t is o r g a n i z e d i n s h o r t sections, e a c h d e v o t e d t o a single topic. M o s t sections a r e f o l l o w e d b y Worksheets, w h i c h o f f e r p r a c t i c e i n d e v e l o p i n g s p e c i f i c skills. W h i l e t h e a c q u i s i t i o n o f s u c h skills is necessary, skills t h e m s e l v e s a r e n o t s u f f i c i e n t t o m a k e a total m u s i c i a n . F o r t h a t y o u n e e d t o m a k e m a n y connections b e t w e e n t h e skills a n d t h e k n o w l e d g e that y o u gain. T h i s takes a certain a m o u n t o f experience. T h e m o r e y o u practice y o u r i n s t r u m e n t o r voice, p e r f o r m , listen t o music, r e a d a b o u t it, and talk about i t w i t h y o u r friends, t h e m o r e experience y o u a r e a c c u m u l a t i n g , a n dt h es o o n e r you'll be o n t h e w a y t o b e c o m i n g a n a l l - r o u n d musician. R e m e m b e r : a m u s i c s t u d e n t m u s t b e saturated with music.
listening s k i l l s — r e c o g n i z i n g t h e sounds a n d processes t h a t y o u h e a r i n a piece; analytic s k i l l s — u n d e r s t a n d i n g h o w a piece w o r k s , b o t h f r o m h e a r i n g i t a n d f r o m s t u d y i n g the score; w r i t i n g skills—developing mastery o f the materials and 1
pedagogical t h o u g h t t h a t lies b e h i n d this b o o k , read the s h o r t sections " W h y S t u d y C o u n t e r p o i n t ? " (page 165) a n d " M u s i c a n d t h e Rules" (page 167). These m a y be read at any time, but you'll probably get t h e m o s t o u t o f t h e m i f y o u read t h e m n o w , t h e n r e r e a d t h e m a t t h e e n d o f t h e first s e m e s t e r . T h e y a r eincluded because o f the author's convict i o n t h a t a n i n t e l l i g e n t m u s i c s t u d e n t is i n t e r e s t e d n o t o n l y i n t h e subject m a t t e r b u t also i n h o w i t is presented.
T h r o u g h Gradus a n d t h r o u g h y o u r o w n e x p e r i ence you'll l e a r n that t h es t u d y o f m u s i c is m o r e t h a n t h e g a t h e r i n g o f i s o l a t e d facts o r t h e s t u d y o f pieces o n e a t a t i m e : i t is t h e discovery o f basic p r i n c i p i e s w i t h w i d e applicaüon. Y o u ' l l s o o n r e a l ize t h a t t h e r e a r e e l e m e n t s a n d techniques i n c o m m o n b e t w e e n m a n y pieces o f music, e v e n those t h a t s e e m a t first t o b e q u i t e d i s p a r a t e . Gradus points o u t these c o m m o n elements. Gradus i n c l u d e s a l a r g e A n t h o l o g y o f m u s i c . S i n c e the discussions i n t h e text a r e always based o n specific pieces o f m u s i c , i t is absolutely essential that y o u k n o w t h e m u s i c as well as y o u possibly can. T h i s means playing the music a t the keyboard ( w h i c h m a y i n v o l v e i m p r o v i n g y o u r k e y b o a r d skills, a g o o d idea i n itself), singing whatever c a n be sung, a n d u s i n g records as n e e d e d . T h e better y o u k n o w t h emusic, t h em o r e you'll benefit f r o m t h e explanations i n t h e text. T h e m u s i c itself is w h a t the b o o k isall about. T h o s e interested i n t h epedagogical m e t h o d o f this b o o k w i l l s o o n realize t h a t a c o r e o f basic ideas is i n t r o d u c e d i n P a r t O n e , t h e n a p p l i e d t o c o n t e x t s o f gradually increasing complexity. T h e principies o f P a r t O n ea r e t h e s a m e p r i n c i p i e s o f t h e last page. T h i s is t h e " s p i r a l o f l e a r n i n g , " l o n g t h e basis o f g o o d t e a c h i n g i n a n y field. T h e r e ' s n o t m u c h r o o m i n this approach f o r "rules" (not t o m e n t i o n exceptions) o rironclad definitions. Rather, y o u are encouraged t o think for yourself, putting principies i n t o practice w i t h g u i d a n c e f r o m the text. F o r a better understanding o fthe musical a n d
Finally, comprehensive musicianship must include the historical dimensions, f o rn o h u m a n activity exists i n isolation. W h i l e t h e course isn't o r g a n i z e d along historical lines, discussion o f historical a n d stylistic aspects o f m u s i c is i n t e g r a t e d i n t o t h e text. You'll see h o w one t h i n g led t o another, and h o w h a r m o n y , c o u n t e r p o i n t , a n d c o m p o s i t i o n carne t o be w h a t t h e y are. T h e d o m i n a n t 7 t h c h o r d isn't treated like some k i n d o f musical artifact that d r o p p e d f r o m t h e sky, b u t as t h e result o f a historical process that's n o t v e r y difficult t o trace. T h e development o f harmony, counterpoint, and comp o s i t i o n , first w i t h i n t h e f r a m e w o r k o f t o n a l i t y , then gradually e m e r g i n g f r o m that f r a m e w o r k i n o u r c e n t u r y , is a n e s s e n t i a l p a r t o f t h e g r a n d s w e e p o f m u s i c ' s h i s t o r y . Gradus d e a l s w i t h t h i s i n a s i m p l e way, offering y o u ways o f understanding "theory" as p a r t o f t h e l a r g e w o r l d o f m u s i c . All this is but the beginning o f a lifelong study, for t h ea r to f m u s i c is a n inexhaustible universe, o f f e r i n g limitless possibilities f o r personal g r o w t h and development.
N u m b e r s i n this book are used i n the following way: [6] 6 6 6th VI VI 6
means A n t h o l o g y selection n u m b e r 6. m e a n s t h e s i x t h d e g r e e o f a scale. means measure n u m b e r 6 in a music example. means the interval o f a sixth. m e a n s t h e t r i a d b u i l t o n t h e s i x t h d e g r e e o f a scale. m e a n s t h e first inversión o f t h a t t r i a d , a l s o k n o w n a s the I position.
2
PART ONE MELODY
1 Introduction O n e w a y t o b e g i n t h e s t u d y o f m u s i c is w i t h m e l ody. M a n y o f t h e most i m p o r t a n t concepts a n d definitions i n this b o o k m a y b e s h o w n i n simplest f o r m t h r o u g h t h e study o f m e l o d y . T h e ideas presented i n Part O n e will be taken u p i n m o r e advanced f o r m s i nsubsequent parts. M e l o d y begins as a h e i g h t e n e d f o r m o f h u m a n speech. W h e n w o r d s a r einadequate t oexpress o u r feelings w e m a y raise o u r voices a n dshout, cry, o r sing. W h e n w e speak emphatically, t h e exaggerated rise a n d fall o fo u r voices is o n t h e w a y t o becoming a melody. A n d a whole world o f meaning can b eexpressed i nm e l o d y alone. Part O n e begins with a brief look at t h e connecüon b e t w e e n m u s i c a n d h u m a n s p e e c h . T h e n c o m e s o m e basic ideas a b o u t t o n a l i t y , t h e rrfain o r g a n i z i n g forcé i n m o s t óf t h e m u s i c y o u k n o w . P a r t O n e lays t h e g r o u n d w o r k f o r t h e study o f m e l o d i c structure, w h i c h is taken f u r t h e r i nseveral o t h e r p a r t s . I n t h i s p a r t y o u w i l l a l s o find a n i n t r o d u c t i o n to t h es t u d y o fr h y t h m . A tt h e e n d o f P a r t O n e you m a y w r i t e simple melodies that p u tt ouse t h e concepts a n d techniques o f this introductory study. 3
T h e m u s i c o n w h i c h P a r t O n e is based consists of folk music a n d sacred chant. These melodies are rather simple a n dstand b y themselves, requiring n oaccompaniment. W o r k i n g with these melodies gives y o u t h e o p p o r t u n i t y t o observe i m p o r t a n t aspects o ft o n a l i t y a n d r h y t h m i n m u s i c t h a t poses n o great problems. A tt h esame time you'll find that t h e melodies a r e quite beautiful a n d expressive. T h e y m a y also s e r v e as t h e basis f o r l a r g e r musical compositions. F O L K MUSIC F o l k s o n g s a n d d a n c e s a r e t h e w o r k o f m a n y h a n d s , a n d t h e i r o r i g i n is u s u a l l y u n k n o w n . Such music belongs t o t h e people w h o use i t a n d who constantly refashion i t .T h i s r e w o r k i n g process o c c u r s n a t u r a l l y w h e n m u s i c i s h a n d e d d o w n f r o m o n e generation t oanother b yoral tradition. As s o o n as a m e l o d y is w r i t t e n d o w n i t b e c o m e s fixed i n o n e versión a n d b e c o m e s p a r t o f h i s t o r y rather than a living cultural organism. CHANT T h o s e m e l o d i e s used i n t h e service o f d i f f e r e n t f a i t h s a n d k n o w n as r e l i g i o u s songs o r
T h e chant m o s t f a m i l i a r t oW e s t e r n ears is that o f t h e Román C a t h o l i c C h u r c h . K n o w n as p l a i n chant o rG r e g o r i a n chant, it has played a n i m p o r t a n t r o l e i n W e s t e r n m u s i c . T h e o f f i c i a l versión o f p l a i n c h a n t m a y b e f o u n d i n t h e Líber Usualis, a collection o fmelodies f o rt h e liturgical year.
chants also o r i g i n a t e d i n t h e distant past, p r o b a b l y taking o n different f o r m s a t different times. B u t t h e t e n d e n c y o f a n instituüon i s t o c o d i f y i t s m a t e rial into a h x e d f o r m . T h u s w e have w r i t t e n forms o f m a n y religious chants, some o f w h i c h a r e quite ancient.
2 Tonality 1: The Major Mode T H E T O N I C A s y o u s i n g t h e m a r v e l o u s oíd W e l s h tune below, ask yourself: does a n y o n e note stand out f r o m t h e others? T h e first w o r d s , " H o w l o v e l y t h e a s h g r o v e , " f o r m a short unit, a n d so d o t h e notes that a r e s u n g t othose w o r d s . T h e last n o t e o f t h e g r o u p is C . T h e first t w o n o t e s , G a n d C , h a v e a p a r t i c u l a r r h y t h m : weak beat t o strong. T h i s emphasizes C , t h e n o t e o n t h e s t r o n g b e a t ( o r downbeat). W h i l e 3 a n d 4 (measures three a n d four) move away f r o m t h e C ,that note ishighlighted again i n 5 . T a k e n a s a w h o l e , t h e first e i g h t m e a s u r e s f o r m a m u s i c a l u n i t , aphrase. I t s e n d i n g e m p h a s i z e s C . T h e second p h r a s e is t h e literal r e p e t i t i o n o f t h e first. T h e t h i r d m o v e s a w a y f r o m C , b u t t h e f o u r t h is t h e s a m e a s t h e first. T h i s p u t s C i n t h e p o s i t i o n o f b e i n g t h e last n o t e o f t h e m e l o d y , t h e n o t e t h a t stays w i t h u s a f t e r t h e m e l o d y is e n d e d . W e s a y t h a t t h e last n o t e is t h eg o a l o f m o t i o n f o r t h e entire melody.
Overall, C is t h e note that stands o u t f r o m t h e others. I tis t h e center o f musical gravity; a l l t h e o t h e r notes i n t h e m e l o d y take t h e i r places a r o u n d i t . S u c h a c e n t r a l n o t e i s c a l l e d t h e tonic. T h i s m e a n s t h a t t h e t o n a l i t y o rk e y o f t h e piece is based o n that note. T H E MAJOR S C A L E C a n w e a r r a n g e t h e p i t c h e s o f The Ash Grove i n a n y k i n d o f o r d e r ? I f w e s t a r t w i t h t h e t o n i c n o t e , w e c a n list t h e pitches i n ascending order until t h e tonic is reached again. B u t w h a t shall w e d o about Fq a n dF f , both o f which appear i nt h e melody? W h i c h o n e goes o n o u r list? L o o k i n g t h r o u g h t h e t u n e , y o u s e e t h a t F)t i s h e a r d b u t o n c e , w h i l e F q a p p e a r s f r e q u e n t l y t h r o u g h o u t t h e melody. W e therefore choose Fq f o r t h e list, s e t t i n g aside Fjt f o r l a t e r a t t e n t i o n . A t t h e t o p o f t h e p a g e , y o u w i l l find t h e p i t c h e s o f The Ash Grove a r r a n g e d i n a s c e n d i n g o r d e r , s t a r t i n g w i t h t h etonic. T h i s k i n d o f a r r a n g e m e n t o f pitches
The Ash Grove
WALES
m
PÜU
# — #
1. H o w l o v e - l y the_ ash grove, the breeze makes i t _ mur-mur, I hear through i t s _ branch-es the sound of a harp. 2. Yet glad-ness for-sakes me, and sor - row_ my_ heart filis, the sound of sweet- mu - sic can - not cheer my
10
15
'2.
soul.
When
I
see
the
light through
the
branch-es come
stream-ing,
I
think
of
dear friends who no
long - er
are
20
r here,
They whis-per
nr
ucr
and_ mur-mur, their mem-'ry_ i s _
0—# mu-sic, The ash grove sings. soft-ly
of those who are gone.
Solfa syllables
tonic
supertonic
mediant
subdominant
dominant
1
2
3
4
5
6
7
(8)1
O
°
mi
fa
sol
la
ti
do
do
re
is c a l l e d a scale ( I t a l i a n : scala, l a d d e r ) . T h e p a r t i c u l a r scale t h a t y o u see a b o v e is t h e C - m a j o r scale. A scale is u s e f u l i nt h a t i t s h o w s t h e m o s t i m p o r t a n t pitches i n a piece o f m u s i c , i n a specific o r d e r . Observe that each letter-name appears once i n t h e scale u n t i l t h e t o n i c is d u p l i c a t e d .
submediant leading tone
tonic
p i t c h e s f o r m t h e chromatic scale. H e r e i s t h e c h r o m a t i c scale s t a r t i n g o n C . I t ' s w r i t t e n i n t w o ways: a s c e n d i n g , w i t h s h a r p s , a n d d e s c e n d i n g , w i t h fíats. I
T
SCALE-DEGREES T h e v a r i o u s steps o ft h e "ladd e r " a r e k n o w n a s degrees o f t h e s c a l e . T h e y a r e customarily identified i nthree different ways:
fl
b y ñames, s t a r t i n g w i t h " t o n i c " ; b y n u m b e r s , 1 t h r o u g h 7 ; 8 is o f t e n u s e d f o r t h e u p p e r tonic; by sol-fa syllables.
t
i
,
i
I
•
t
t
I
t
M
»
t
A l l three a r es h o w n above, a n d y o u s h o u l d k n o w a l l t h r e e . I n Gradus, s c a l e d e g r e e s a r e i n d i c a t e d b y n u m b e r s . F o r e x a m p l e , " T h e m e l o d y begins o n5 " means " T h e m e l o d y begins o n scale-degree five."
T h e s e v e n d i a t o n i c notes o f t h e C - m a j o r scale a r e m a r k e d o n t h i s e x a m p l e ; t h e r e m a i n i n g five a r e t h e chromatic n o t e s . N o w y o u s e e t h a t t h e Fj o f The Ash Grove i s a c h r o m a t i c n o t e . I t i s n ' t i n t h e C m a j o r scale, b u t i t c e r t a i n l y is i n t h e m e l o d y .
DIATONIC AND CHROMATIC T h e notes t h a t a r e p a r t o f a p i e c e ' s s c a l e a r e t h e diatonic notes. I n t h e m a j o r scale t h e r e a r e s e v e n d i a t o n i c notes. T h e system o ft u n i n g used i n W e s t e r n music divides the octave into twelve equal parts. T h u s there a r e twelve different pitches i n o u rsystem. T h o s e twelve
TONAL AND ATONAL W h e n t h e notes o f a piece gravitate a r o u n d o n e central note, t h e tonic, t h e m u s i c i s s a i d t o b e tonal. T h e r e i s a l s o m u s i c t h a t h a s n o t o n i c ; t h i s m u s i c i s atonal. T h e p r i n c i pies a n d practices o f a t o n a l m u s i c a r e e x p l a i n e d i n Gradus, B o o k T w o .
3 Intervals and the Major Scale ÑAMES O F T H E I N T E R V A L S A n o t h e r w a y t o label i n t e r v a l s is b y t h e usage t h e y have a c q u i r e d i n t o n a l m u s i c . F o l l o w i n g this c o n v e n t i o n , h e r e isa list o f i n t e r v a l distances w i t h i n t h e m a j o r scale f r o m smallest t o largest:
Is i t possible t o e x p r e s s t h e distance b e t w e e n pitches in a specific w a y ? Y e s : t h e r e is a u n i t o f m e a s u r e f o r t h a t p u r p o s e . T h i s m u s i c a l yardstick ist h e interval. T h e s m a l l e s t i n t e r v a l t h a t y o u h e a r i n W e s t e r n m u s i c i s t h e semitone, o r half step. A l l o t h e r intervals m a y b e measured b y t h e n u m b e r o f half steps t h e y i n c l u d e .
from 3 to4 5
m i n o r 2 n d o r h a l f step o r semitone
1 2 1 1 4 7 1 3 1 2 1 1
to2 to4 to3 to4 to7 to4 to5 to8 to6 t o8 to7 to8
m a j o r 2 n d o r w h o l e step minor 3rd major 3rd perfect 4 t h augmented 4th diminished 5th perfect 5 t h minor 6th major 6th minor 7th major 7th octave
S i n c e t h e f o u r fíats a r e u s e d c o n s i s t e n t l y , w e w r i t e t h o s e f o u r fíats a t t h e b e g i n n i n g o f e a c h l i n e o f m u s i c . T h e fíats a p p l y t h r o u g h o u t t h e l i n e . T h e g r o u p o f fíats i s c a l l e d t h e key signature. E a c h k e y has itso w n signature. T h esignature o f A b :
and/or
Since these intervals a r e f o u n d i n a diatonic s c a l e , t h e y a r e c a l l e d diatonic intervals. T h e r e a r e a l s o chromatic intervals, i n v o l v i n g a t l e a s t o n e c h r o m a t i c n o t e . Augmented i n t e r v a l s a r e a s e m i t o n e l a r g e r t h a n t h e d i a t o n i c ; diminished i n t e r v a l s a r e a s e m i t o n e smaller. T h u s a m a j o r 2 n d plus a s e m i t o n e is an augmented 2nd; a perfect 5 t h m i n u s a semitone is a d i m i n i s h e d 5 t h . T H E MAJOR S C A L E Y o u s a w t h a t a m a j o r scale consists o f pitches a r r a n g e d i n a specific order. T h a t o r d e r i s b e s t e x p r e s s e d a s a fixed s e r i e s o f i n t e r v a l s t h a t w i l l a p p l y t o a n y m a j o r scale b u i l t o n a n y o f t h e twelve pitches. W e need u s e b u t t w o intervals, t h e w h o l e step ( W ) a n d t h e half step ( H ) , in t h e following order: scale-degrees: 1
2
3
4
5
6
7 8 ( 1 )
V W W H W W W H I n t h e m a j o r scale t h e h a l f steps o c c u r b e t w e e n 3 and 4 a n d between 7 a n d 8. A l l other intervals b e t w e e n adjacent scale-degrees a r e w h o l e steps. KEY AND SCALE T h e r e is a d i f f e r e n c e b e t w e e n t h e t e r m s key a n d scale. Key i s a l a r g e c o n c e p t . T o s a y t h a t a p i e c e i s in the key of A\> i s t o s a y , a m o n g o t h e r things, that A b is t h e center o f gravity a n d goal o f m o t i o n f o r t h e piece; a l l t h e notes a r e related t o A b .T h e concept o f k e y involves a netw o r k o frelationships, w h i c h y o uhave just begun t o s t u d y . B y c o n t r a s t , a scale i s s i m p l y a l i s t o f t h e d i a t o n i c n o t e s i n a fixed r e l a t i o n s h i p t o o n e a n o t h e r . K E Y ÑAMES A k e y i s n a m e d f o r i t s t o n i c n o t e . A piece w h o s e c e n t e r o f g r a v i t y is A b is " i n A k " T h e scale o f t h a t k e y is t h e A^-scale ( A ^ - m a j o r scale). B u t h o w c a n y o u tell t h e k e yo fa piece? KEY SIGNATURE I fy o u w a n t e d t o w r i t e o u t t h e scale o fA b m a j o r , o n e w a y w o u l d b e : ,
o
A m u s i c i a n is expected t o k n o w t h e k e y signat u r e s o fa l l keys. F o r a c o m p l e t e list, see t h e G l o s sary u n d e r t h e h e a d i n g Circle o f 5ths, page 316. SIMPLE AND COMPOUND I N T E R V A L S A n i n t e r v a l o f l e s s t h a n a n o c t a v e i s a simple interval. A n i n t e r v a l o f a n o c t a v e o r m o r e i s a compound interval. A c o m p o u n d i n t e r v a l i s f o r m e d b y a d d i n g an octave t o a simple interval. F o r example, a m a j o r 3 r d a d d e d t oa n octave is a m a j o r l O t h . major 3 r d
+
octave
major lOth
- 4 * —
INVERSION I f w e c a n a d d a n octave t oa s i m p l e interval, can w esubtract a simple interval f r o m a n octave? Y e s , q u i t e easily. Since a n octave contains twelve semitones, w e m a y subtract f o u r semitones f r o m i t .T h e i n t e r v a l o f eight semitones results. A n o t h e r w a y t o s a y t h a t i s " T h e inversión o f a m i n o r 6 t h i s a m a j o r 3 r d . " T h e inversión o f a m a j o r i n t e r v a l is always a m i n o r i n t e r v a l , a n d vice v e r s a . H o w e v e r , t h e inversión o f a p e r f e c t i n t e r v a l is a l w a y s a p e r f e c t i n t e r v a l . octave
I
-
major 3rd = minor 6th
O o
. 8
o °
:
TRANSPOSITION A n o t h e r i m p o r t a n t m u s i c a l p r o c e d u r e i s transposition. T h i s m e a n s t h a t a g r o u p o f notes, a m e l o d y , a piece, o r e v e n part o f a piece is m o v e d u p o r d o w n b y s o m e i n t e r v a l , s o t h a t i t appears i n a different k e y . T h e relationships between t h e notes don't change w h e n music is transposed. W h e n y o u transpose a melody i t will s o u n d h i g h e r o r l o w e r , b u t i t w i l l still b e t h e s a m e melody.
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O * Worksheet 1
4 Tonality 2: The Minor Mode The
Violet r
n
SPAIN
.
.
=
4
— v — t -1
Vi-o-let, O
^
so mod-est
1J 1 J J', Try-ing t o b e
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-
How d< ) you hidí your bloc m?
*~~f
1
m
m
un-no-ticed, try-ing to hide your face,
r -
* • p **
j
J
*
M * j Off in the gar - den cor - ner, Far from the re >s - e s bn ght.
— T
m
0
W~m—
- L - T r Pr Your love-ly scent
J
^
J • —0
m
1
1
r-i /
i re-veals you, Tells me your hid • ing place.
1
The E-minor scale Scale degrees
a
tonic 1
supertonic 2
mediant 3
subdominant 4
dominant 5
submediant 6
subtonic 7
tonic 8
o Solfa syllables
do
fa
sol
le
te
do
A D I F F E R E N T SOUND T h e S p a n i s h m e l o d y above sounds different f r o m t h e major-mode melo d i e s w e a l r e a d y k n o w . T h e r e a s o n is t h a t t h e s o n g is b a s e d o n a m i n o r s c a l e . T h e t o n i c n o t e i s E . T h e pitches t h a t c o m p r i s e t h e e - m i n o r scale a r e s h o w n b e l o w t h e m e l o d y itself.
scale d e g r e e 1 2 3 4 5 6 7 8 (1) major W W H W W W H minor W H W W H W W
T H E MINOR S C A L E T h e ñames o f t h e scaledegrees are t h e same i nmajor a n d minor, with the s i n g l e e x c e p t i o n o f 7 . T h e d i f f e r e n c e is s i g n i f i c a n t . T h e major's 7 has a strong tendeney t o lead t o t h e tonic, w h i c h is w h y i t is called t h e leading note. T h e minor's 7, t h e subtonic, has a decided d o w n ward tendeney. I f y o u hear music i nwhich t h e subtonic moves u pa w h o l e step rather t h a n a half step, y o u m a y c o n c l u d e t h a t t h e m u s i c is i n n e i t h e r t h e m a j o r ñor t h e m i n o r m o d e . T h e differences i n sol-fa syllables reveal t h e diff e r e n c e s b e t w e e n m a j o r a n d m i n o r scales. T h e list shows that 3,6, a n d 7 have t h e vowel sound "ee" or "ah" i n t h e major, b u t "ay" i n t h e minor. Y o u c a n c o m p a r e whole-step a n d half-step dist r i b u t i o n i n t h e m a j o r a n d m i n o r scales b y s t u d y i n g the following:
AN A B B R E V I A T I O N S i n c e w e r e f e r t o m a j o r a n d m i n o r a g o o d d e a l i n Gradus, y o u w i l l find t h e following abbreviations useful:
I n s u m m a r y , 1, 2, 4, a n d 5 are t h e same i n both modes, while 3, 6 , a n d 7 are a half step l o w e r i n minor than i n major.
m a j o r key o r scale—capital letter; m i n o r k e y o r scale—lower-case letter. Some examples: 'C-scale" m e a n s " C - m a j o r scale." 'c-scale" m e a n s " c - m i n o r s c a l e . " 'C-triad" means "C-major triad." 'c-triad" means "c-minor triad." ' T h e m e l o d y i s i n e " m e a n s " T h e m e l o d y is i n t h e k e y of e minor." H e r e a r e t h r e e topics i n v o l v i n g d i f f e r e n t aspeets of t h e relationships between major a n d m i n o r modes.
T h e m e l o d y is i n g . A l l t h e notes o f t h e m e l o d y a r e m e m b e r s o f t h e g-scale e x c e p t o n e . Ffl is a n o t e i n t h e p a r a l l e l m a j o r scale. I t i s t h e l e a d i n g n o t e , a scale-degree t h a t t h e m i n o r m o d e lacks. Since t h e l e a d i n g n o t e isa n essential e l e m e n t i n t o n a l music, it a p p e a r s i n t h e m i n o r s o f r e q u e n t l y t h a t i t is considered a n o r m a l usage. Just about all o ft h e m u s i c t h a t w e cali m i n o r is i n fact a m i x t u r e o f ( p r e d o m i n a n t l y ) m i n o r w i t h a f e w notes f r o m t h e m a j o r . T h e l e a d i n g n o t e is t h e o n e t h a t a p p e a r s i n minor most often. M o d e m i x t u r e i n v a r i a b l y resülts i n t h e a p p e a r ance o f chromatic notes. Indeed, w h e n t h e large t o p i c o f c h r o m a t i c i s m i s p r e s e n t e d i n Gradus, B o o k T w o , the concept o f m o d e m i x t u r e will be o n e o f the best tools f o r e x p l a i n i n g t h e ways i n w h i c h c h r o m a t i c n o t e s opérate.
R E L A T I V E MAJOR AND MINOR T h e r e i s a cióse c o n n e c t i o n b e t w e e n a m a j o r k e y a n d t h a t m i n o r k e y w h o s e t o n i c lies a m i n o r 3 r d b e l o w t h e major's. T h e y both have the same k e y signature, thus t h e s a m e diatonic notes. W e say that each is t h e r e l a t i v e o f t h e o t h e r . T h u s e i s t h e relative minor o f G ; B b i s t h e relative major o f g . S i n c e r e l a t i v e keys have the same k e y signature, t h e only w a y t o tell w h e t h e r a piece o f m u s i c is i n t h e m a j o r o r m i n o r is t o e x a m i n e t h e piece. P A R A L L E L MAJOR AND MINOR A m a j o r a n d m i n o r k e y t h a t h a v e t h e same t o n i c a r e s a i d t o b e parallel. T w o k e y s t h a t a r e p a r a l l e l d o n ' t h a v e t h e same k e y signature. T h e difference i n k e y signatures always involves t h e n u m b e r three: i tm a yb e three sharps ( B m a j o r has 5 sharps; b m i n o r has 2 s h a r p s ; 5 — 2 = 3 ) ; t h r e e fíats ( F m a j o r h a s 1 flat; f m i n o r h a s 4 fíats; 4 - 1 = 3 ) ; o r a c o m b i n a t i o n o f s h a r p s a n d fíats w h o s e s u m i s t h r e e (D m a j o r h a s 2 s h a r p s ; d m i n o r h a s 1 flat; 2 + 1 = 3 ) . T h e following illustrates the difference between relative a n d parallel m i n o r :
Natural minor
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o S o m e theorists contend that there are three m i n o r scales. W h a t is g a i n e d b y t h i s d i s t i n c t i o n ? C a n i t b e said that a piece is i n t h e h a r m o n i c m i n o r m o d e ? N o t a t all. A piece is i n t h e m i n o r m o d e . M u s i c i n the m i n o r a l m o s t always uses notes f r o m t h e parallel m a j o r , starting w i t h ( b u t n o t limited to) t h e leading note. I tisn't necessary t o i n v e n t d i f f e r e n t scales t o e x p l a i n t h e t w o v e r s i o n s o f 6 a n d 7 , since they c a n b e easily u n d e r s t o o d as t h ep r o d u c t o f m o d e m i x t u r e . A n d it's i m p o r t a n t t o realize that that " h a r m o n i c " a n d "melodic" are purely descriptive t e r m s that have little application, w h i l e t h e concept o f m o d e m i x t u r e is o n e o f t h e m o s t f r u i t ful i n music theory.
Is every piece l i m i t e d t o t h e notes o f a single mode? MODE MIXTURE A n i m p o r t a n t c o n c e p t i n m u s i c t h e o r y i s mode mixture, m e a n i n g t h a t i n a n y p i e c e notes f r o m m o r e than o n em o d e m a y be heard o v e r t h e s a m e tonic. A piece o f m u s i c need n o tb e limited t ot h e notes o f o n e mode, b u t m a y include n o t e s f r o m a p a r a l l e l m o d e . T h e first p h r a s e o f this folksong illustrates t h e most c o m m o n u s e o f mode mixture.
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5 Tonality 3: Other Modes The Dorian mode
Most o f the music y o u k n o w , written between 1700 a n d 1900, as well as m u c h o f today's p o p u l a r music, uses either t h e m a j o r o r t h e m i n o r m o d e . But there isa large body o fmusic that does not. M u c h o f t h e music written before about 1600, some popular music, some folk melodies, and m a n y chants are based o n other modes. T h e most i m p o r tant o f these are i n t r o d u c e d i n this section.
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A n obvious difference between t h e Dorian mode a n d t h e d-scale is i n t h e p l a c e m e n t o f 6. I t is a h a l f step above 5 i nm i n o r , but a w h o l e step above 5 i n Dorian. B u t a m o d e is m o r e t h a n a scale. A m o d e c o n tains a n u m b e r o f melodic impulses, a n d each m o d e has its o w n c h a r a c t e r . C o n s i d e r this c h a n t :
HOW T O TELL T H ETONIC K e y signatures won't always bea good guide t othe tonic i n modes other than major a n d minor. W eneed another w a y o f finding t h e c e n t r a l n o t e b e f o r e l o o k i n g a t those modes. Y o u can't d e p e n d o n t h e leading note, since i tis absent f r o m m a n y modes. I n t h e melodies studied thus f a r y o ucould make a n i n f o r m e d guess a b o u t t h e t o n i c , a n d this will also be t r u e o f s o m e m o d a l melodies. B u t t h e r e is a surer way.
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THE 5TH T h e o n e i n t e r v a l that h a s t h e p o w e r to d e f i n e a t o n i c is t h e perfect 5 t h . W h e t h e r h e a r d successively o r s i m u l t a n e o u s l y , t w o notes a 5 t h apart convey t h esense that t h el o w e r o n e is t h e tonic, t h eu p p e r o n e t h ed o m i n a n t . T h i s applies not o n l y t om a j o r - a n d m i n o r - m o d e m u s i c , b u t also to c e r t a i n o f t h e m o d e s w e w i l l b e discussing h e r e . Since n o tevery m e l o d y includes a perfect 5th, its inversión, t h e p e r f e c t 4 t h , m a y d o a l m o s t a s w e l l in defining the tonic. M a n y melodies begin with a n u p w a r d s k i p o f a 4 t h , f r o m 5 t o 8 . R e v i e w The Ash Grove a n d The Violet, w i t h p a r t i c u l a r a t t e n t i o n t o the perfect 4ths a n d5ths that point t o t h e tonic note. W e n o wconsider t h emost important modes other than major a n dminor. T h e examples a r e d r a w n f r o m c h a n t as well as folk music.
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T h e m e l o d y h a s a m i n o r sound, b u ti t isn't i n d . T h e diatonic 6 is B q n o tB k M o r e i m p o r t a n t , C , the subtonic, moves u p t oD . T h e tonic makes itself felt n o tt h r o u g h t h e leading note, b u t t h r o u g h a m o t i o n t h a t circles a r o u n d D : E - D - C - D . T h a t m e l o d i c t u r n is characteristic o f t h e D o r i a n m o d e , not the m i n o r . H e r e t h e first t h r e e n o t e s i n c l u d e t h e p e r f e c t 5 t h that defines the tonic. T h o s e notes tell y o u that the c h a n t is i n a k e y based o nD , b u t y o u can't b e sure o f t h e m o d e u n t i l t h e p h r a s e is c o m p l e t e d . I n a s o m e w h a t d i f f e r e n t vein, h e r e is a n A m e r i can sea chantey.
DORIAN O n eo f t h e oldest m o d e s w e k n o w is the D o r i a n . M a n y chants a n d folk melodies a r e b a s e d o n t h e D o r i a n m o d e . H e r e i t is:
9
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U.S.A.
T h e t o n i c is D . I st h e m o d e D o r i a n o r m i n o r ? T h e presence o f B b m i g h t suggest m i n o r . B u t f o u r f a c t o r s argüe i n f a v o r o f t h e D o r i a n m o d e :
de
T h e m e l o d i c c i r c l i n g a r o u n d t h e t o n i c , D - C - D , is t y p i c a l o f the D o r i a n m o d e (subtonic t o tonic again). T h e r e is n o l e a d i n g n o t e . I n c h a n t , w h e n e v e r B a p p e a r s b e t w e e n t w o A s , t h a t B is a l w a y s flatted n o m a t t e r w h a t t h e m o d e . T h e r e a r e n o chants i nt h e m i n o r m o d e .
When I was a lit-tle boy my moth-er al-ways told me:
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haul a - way, Joe. She said,
T a k e n t o g e t h e r , these faets m a k e i tclear t h a t t h e c h a n t is i n t h e D o r i a n m o d e . If I did not kiss the girls, my lips would grow all mold-y,
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MIXOLYDIAN H e r e is t h e scale o f t h e M i x o l y d i a n m o d e .
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The Mixolydian scale T h e o p e n i n g 4 t h suggests t h a t C is t h e tonic, a n d this isc o n f i r m e d b y t h e descent t oC a t t h e e n d o f t h e p h r a s e , i n 4 . B u t i f t h e t o n i c is C a n d t h e s o u n d i s m i n o r , w h y a r e t h e r e o n l y t w o fíats i n t h e k e y s i g n a t u r e ? W e w r i t e o u t t h e scale d r a w n f r o m t h e piece, s t a r t i n g o n C .
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T h e m o d e is D o r i a n , t r a n s p o s e d t o C . J u s t as m a j o r a n d m i n o r scales m a y b e g i n o n a n y n o t e , s o m a y t h e scales o f o t h e r m o d e s . I n p r i n t e d collections, folk music m a y appear i n just about a n y key. T h e choice is m a d e b y t h e collector o r b y t h e editor. Plainchant always appears i n itsoriginal key, since transposition w a s u n k n o w n i n t h e M i d dle Ages. T h a t t h e 7 t h degree (here B b )isn't t h e decisive factor i n t h e D o r i a n m o d e m a y be seen f r o m t h e next example: Kyrie
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The c-Dorian Scale
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C o m p a r i n g t h e M i x o l y d i a n scale w i t h t h a t o f G , y o u see t h a t t h e r e is a d i f f e r e n c e o f o n e note. W h e r e t h e m a j o r - m o d e versión o f 7 i s t h e l e a d i n g n o t e , t h e M i x o l y d i a n versión o f 7 i s t h e s u b t o n i c . Y o u have just seen h o wsignificant such a differe n c e c a n be. W e t u r n t o a c h a n t t o see t h e m o d e i n action. Veni
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O f t e n i n m o d a l t o n a l i t y t h e t o n i c isn't i n as c o m m a n d i n g a position as i t is i n m a j o r - m i n o r t o n a l i t y . T h i s i s t h e c a s e i n Veni Creator Spiritus. T h e chant does begin a n d e n d o n G , a n d that note is t h e t o n i c . B u t t h e 5 t h G - D i s n ' t e m p h a s i z e d , w h i c h m a k e s t h e t o n i c less o b v i o u s t h a n i n m e l o dies w h e r e t h e 5 t h is s t r o n g l y p r e s e n t e d . A t t h e very b e g i n n i n g t h e subtonic, F , is part o f a m o t i o n that circles a r o u n d t h e tonic. T h i s s u g -
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note appears, t a k e n f r o m t h ep a r a l l e l m a j o r , D . T h a t is t h e o n l y u s e o f t h e l e a d i n g n o t e i n t h e melody; t h e s u b t o n i c ish e a r d i n e v e r y o t h e r case. M o r e s u r p r i s i n g l y , i n 7 , t h e diatonic F f gives w a y t o F\\. T h e m e a n i n g o f t h i s i s n ' t c l e a r u n t i l t h e m e l o d y finds i t s w a y b a c k t o t h e t o n i c i n t h e l a s t measure. T h e n w e hear that t h eclosing o f t h e melody is D o r i a n . T h e m i x t u r e o f M i x o l y d i a n , major, a n d D o r i a n is u n u s u a l , a n d particularly beautiful here.
gests t h a t w h i l e G is t h e t o n i c n o t e , t h e m o d e is Mixolydian rather than major. Another Mixolydian feature ist h eemphasis o n 4 rather than 5, i n t h e first a n d t h i r d p h r a s e s . O b s e r v e , t o o , t h a t o f the f o u r resting points i nt h emelody two areo nC, one o n D ,a n do n l y o n eo nG . A n o t h e r M i x o l y d i a n chant illustrates t h e use o f the flatted B between two As. Credo
LYDIAN Cre-do in u-num De-o
The Lydian scale
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T h i s chant w a sused b y J . S. B a c h i n t h e C r e d o o f his Mass i nB m i n o r . Despite t h e absence o f t h e u p p e r D , t h e m e l o d y is s t r o n g l y centered a r o u n d G . B b appears o n l y b e t w e e n t w o A s , as i t w o u l d i n any m o d e . A n di f y o u have observed that the only c h r o m a t i c note ever used i nchant is B b ,y o u a r e quite right. C a n there b em i x t u r e o fmodes other than major a n d m i n o r ? T h e n e x t m e l o d y answers t h e question. As I Walked
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T h e f o l l o w i n g c h a n t is described as L y d i a n i n t h e Líber Usualis.
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T o o u r e a r s t h e m e l o d y is i n F . B u t M e d i e v a l m u s i c theory didn't a c k n o w l e d g e a m a j o r m o d e . W a s F t h e first m a j o r m o d e ? I n c h a n t , y e s . Q u i t e p o s s i b l y there w a s f o l k m u s i c i n t h e m a j o r b e f o r e t h e chant, but w e h a v e n o r e c o r d o f it.
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T h e first t h r e e i n t e r v a l s o f t h e s c a l e a r e w h o l e steps (trítone). S i n c e t r i t o n e s a r e f o r b i d d e n i n c h a n t , m u s i c i a n s e l i m i n a t e d t h e m b y flatting t h e B . I n effect, t h e r e s u l t is a n F-scale.
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The Phrygian scale y
T h e t o n i c n o t e is D . W i t h b u t o n e sharp i nt h e k e y signature, t h e m o d e is M i x o l y d i a n . T h e m e l o d y is diatonic until 4 .T h e n ( m o d e m i x t u r e ) t h e leading
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T h e r e i s a s i g n i f i c a n t d i f f e r e n c e b e t w e e n t h i s scale a n d t h o s e s t u d i e d p r e v i o u s l y . I n t h e o t h e r scales t h e first i n t e r v a l i s a w h o l e s t e p , n o m a t t e r w h a t i n t e r v a l s f o l l o w . I n t h e P h r y g i a n t h e first i n t e r v a l is a h a l f s t e p . T h i s h a s s o m e i n t e r e s t i n g i m p l i c a tions f o rmelodies i n t h e P h r y g i a n mode. A chant illustrates s o m e o f t h e m .
D o r i a n a n d M i x o l y d i a n . A l li n a l l , this m i n o r s o u n d i n g m o d e is quite different f r o m t h e m i n o r with which w ea r e familiar. I n m o d a l tonality, t h e tonic does n o t hold t h e c o m m a n d i n g position i t assumes i n later music. T h e P h r y g i a n i s e v e n less d e f i n i t e t h a n t h e o t h e r m o d e s i n c o n v e y i n g a sense o f tonic; that's part o f its c h a r m .
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PENTATONIC SCALES F i v e - n o t e scales a r e a m o n g t h e w o r l d ' s oldest. I t is possible t o f o r m m a n y s u c h s c a l e s , f o r t h e r e i s n o s u c h t h i n g a s the p e n t a t o n i c s c a l e . T h e f a m i l i a r five-note s c a l e t h a t corresponds t o t h e black keys o ft h e piano is a n anhemitonic pentatonic scale—that i s , a five-note s c a l e w i t h n o h a l f steps (there a r equite a f e w o f this
J ) j ) J i J l J * J 'c r r i c r p p p p Pan-ge lin-gua glo-ri - o - si Cor-po-ris mys-te-ri-um,_ J
San-gui-nis-que p r e - t i - o - s i , Quem in mun-di pre-ti-um_
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Anhemitonic pentatonic scale
Fruc-tus ven-tris ge-ne-ro-si, Rex ef-fu-dit-gen-ti-um.
O b s e r v e that F is barely m e n t i o n e d i nt h e melody. T o g e t h e r w i t h t h e lack o f emphasis o nB so characteristic o f t h e P h r y g i a n m o d e , this means that t h e t r i t o n e F — B will n o tappear. W e also look in vain f o rt h e perfect 5 t hthat m i g h t help identify the m o d e . Instead, t h e m o t i o n s that circle a r o u n d the central note ultimately define t h e tonic. T h e melodic notes that come t ot h e fore are G , A , a n d C . D ,t h e s u b t o n i c , also plays a r o l e , as i t d i d i n
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t y p e o f scale, t o o ) . T h e a n h e m i t o n i c p e n t a t o n i c scale h a s n o b u i l t - i n t o n i c . T h e m u s i c i t s e l f establishes t h e tonic, o f t e n v i at h e perfect 5 t h . T h e t w o e x a m p l e s b e l o w ¡Ilústrate t h e p o i n t . B o t h m e l o d i e s u s e t h e s a m e five p i t c h e s , F , G , A , C , a n d D . Y e t t h e first i s i n F a n d t h e s e c o n d i n d . C l e a r l y t h e a n h e m i t o n i c p e n t a t o n i c scale d o e s n ' t d e f i n e a k e y . W h a t does, i neach m e l o d y ?
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this har-vest
I'm
al
to
the
R.
ground,
Sin-ner
please
don't- let
R-
S
Oh,
yes,
p—p pass,-
Sin-ner
please
don't
let this
har-vest
3
this
Lord.
U.S.A.
10
pass, _
the
har - vest
12
pass,
— • And
die
and
^—~—* lose_ your soul at
pass,
15
last.
har-vest
I n Nobody Knows, F s o o n a s s e r t s i t s e l f a s t h e m a i n note. E v e n t h o u g h t h e5 t h doesn't s o u n d i n the first p a r t o f t h e m e l o d y , t h e 4 t h , C — F , i s s t r o n g e n o u g h t o i m p l y t h a t F is tonic. T h e later appearance o f t h e 5 t h confirms this. W e say that the m e l o d y isi n F , u s i n g o n l y t h e notes o f t h e a n h e m i t o n i c p e n t a t o n i c scale. T h e Revival Song b e g i n s w i t h t h e n o t e s D — F - A . T h i s tells y o u t h a t t h etonic is D a n d t h e s o u n d m i n o r . W i t h t h esubtonic m o v i n g t ot h etonic, the m o d e is D o r i a n r a t h e r t h a n m i n o r . O n l y t h e notes o f t h e a n h e m i t o n i c p e n t a t o n i c scale a r e used. I n s u m m a r y , b o t h m e l o d i e s u s e t h e s a m e pitches, b u t t h e k e y s a r e d i f f e r e n t . I n Nobody Knows, C - F d e f i n e s F a s t o n i c . I n t h e Revival Song, D — A t e l l s y o u t h a t D is t h e t o n i c n o t e .
0
o
Why can I not rest? Birds
must dis-turb my sleep.
fly-ing past my.guard house
No, it is not the bird cries
10
Sor - row dis - turbs
my
heart,
my rest.
S C A L E S W I T H A U G M E N T E D 2NDS T h e interval o fa n a u g m e n t e d 2 n ddoes n o t t u r n u p i n Western music until the middle o f the eighteenth century. I n y o u r early h a r m o n y a n d counterpoint exercises y o u ' l l b e advised t o a v o i d t h a t i n t e r v a l i n any m e l o d y . B u t t h e a u g m e n t e d 2 n d plays a n important role i n Arabic music a n d i n musical cultures influenced b y it. T h e r e is a w h o l e family o f scales t h a t u s e t h i s e x o t i c i n t e r v a l i n m u s i c o f the M i d d l e East, N o r t h Africa, m u c h o f t h e B a l kans, S p a i n , a n dGreece. I talso plays a n i m p o r t a n t role i n s o m e J e w i s h music, b o t h sacred a n d secular. Scales c o n t a i n i n g t h e a u g m e n t e d 2 n d h a v e d i f f e r e n t ñames i n d i f f e r e n t c u l t u r e s :
NON-WESTERN MODES W h i l e t h e f o c u s o f Gradus i s o n W e s t e r n m u s i c , w e ' d a l s o l i k e t o i n t r o d u c e t w o m o d e s t h a t c o m e f r o m o t h e r parts o f the world. Each has some similarity t o major o r minor, b u t each also h a s i n t e r e s t i n g differences. A JAPANESE SCALE A scale h e a r d i n Japanese music is this:
1
frequently
Jewish: A h a v a Rabah, n a m e d after a prayer Arabic: Hejaz, n a m e d after a city Rumanian: chromatic Phrygian
T h i s i s a n o t h e r p e n t a t o n i c scale. U n l i k e t h e scale o n page 1 2 ,i tincludes t w o semitones. T h e interv a l s o f t h i s scale, n o t l i m i t e d t o steps, a r e h a l f step, m a j o r 3 r d , w h o l e step, h a l f step. T h i s u n u s u a l c o n f i g u r a t i o n o f intervals isj u s t o n e e x p l a n a t i o n f o r t h e fact t h a t t h e m u s i c o f J a p a n isq u i t e different f r o m W e s t e r n music. A b o v e r i g h t is a melody t h a t uses t h e scale.
I n order t o indicate t h eaugmented 2 n d i n a scale a n u n u s u a l k e y s i g n a t u r e m a y b e r e q u i r e d ( s e e Sabbath Hymn b e l o w ) . A s i n m o s t m e l o d i e s w h o s e scale begins w i t h a h a l f step, there's a t e n deney t o w a r d 4 rather t h a n 5. L e a r n i n g t ohear D as t o n i c r a t h e r t h a n G i n a m e l o d y s u c h a s t h e Sabbath Hymn i s p a r t o f l e a r n i n g t o h e a r t h e m o d e . JEWISH
Peace,
peace
grant. us _ peace,
10
Fine
0 on this
And may it be your will, Lord to
Sab - bath day.
r
grant. us a bless - ing up - on
15
this
Sab - bath_
D . C. a l F i n e
o day,
For
in the
light.
of_
Thy coun-te-nance,
13
peace
and
bless - ing
dwell.
T h i s excerpt f r o m a n ancient Biblicalcantillation (something between speech a n d song) centers a r o u n d F . A l t h o u g h F i s t h e t o n i c n o t e , t h e final phrase ends w i t h F—C. Such a falling gesture, corresponding t o the fall o f the h u m a n voice a t the e n d o fa statement, is heard i n m a n y examples o f cantillation.
A COMPARISON T h e t h r e e scales t h a t b e g i n with a semitone a r e here transposed t o E so that you may compare them. Phrygian
Ai TRANSPOSED MODES I n p r i n c i p i e , a n y m o d e m a y b e transposed s o as t o start w i t h a n y pitch. W h e n modes w e r e transposed i n Renaissance music only o n e transposition was used: u pa 4 t h , t o b r i n g the music i n t o a higher register. T h i s w a s accomplished b y w r i t i n g a flat a t t h e b e g i n n i n g o f each line. T h a t flat m a y l o o k like a k e y signature, b u t i t is a c t u a l l y a s i g n t e l l i n g y o u t h a t t h e m o d e h a s b e e n transposed u pa 4th. W h a t mode? T h e only way t o tell ist o l o o k a tthe m u s i c . T o b e sure, that's equally true o f music w i t h o u t t h e transposition sign. O n e e x a m p l e i n t h e A n t h o l o g y i s P a l e s t r i n a ' s Veni Sánete Spiritus, [9]. I t ' s i n t h e D o r i a n m o d e , t r a n s p o s e d u p a 4 t h s o t h a t t h e t o n i c is G . T h e flat after t h e c l e f tells y o u t h a t s o m e m o d e h a sb e e n transposed. Y o u h a v e t o figure o u t t h e r e s t f o r y o u r s e l f .
'Augmented 2nd"
-it fJfK
•
o
*>
*•*
"
°
m
Japanesee _ ü 3H
o
NONTONIC ENDINGS W e a r e n ' t surprised w h e n a melody begins o n a note other than t h e tonic, but a n o n t o n i c e n d i n g can be a bit o f a shock. #—0Ear-li-er
to - night,
at
a
par - ty
bright,
0—0 At
a
p a r - t y _ bright,-
gos-sip-ping
ga-lore.
This song was used b y Igor Stravinsky i n his b a l l e t Petrushka. T h e m e l o d y b e g i n s o n t h e d o m i nant and soon reaches the tonic. T h e 5th f r o m t h e first n o t e o f J . t o t h e l a s t n o t e d e f i n e s G a s t o n i c . T h e first i s t h e o n l y m e a s u r e t o e n d o n t h e t o n i c . T h e entire m e l o d y ends o n 5 , characteristic o f m a n y Russian folksongs. Hebrew cantillation
And the earth
was un-form'd and void, and
J
dark-ness
J=5J
was up-on the face_ of the deep; and the spir -
it of
3 0 God_
hov-er'd
0
o-ver the face
of the wa-ters.
14
D u r i n g t h ecourse o ft h e sixteenth century t h e flat s i g n c a r n e t o h a v e t h e m e a n i n g t h a t i t h a s t o d a y , a n d o n e flat b e c a m e t h e first k e y s i g n a t u r e . I n t h e s e v e n t e e n t h c e n t u r y s h a r p s a s w e l l a s fíats began t o appear i n key signatures. B u t groups o f m o r e t h a n t w o fíats o r s h a r p s w e r e u n u s u a l u n t i l the eighteenth century. I n m o d e r n editions o ffolk m u s i c melodies a r e transposed t oa n y pitch level, a t t h e discretion o f the editor. A F T E R T H O U G H T D u r i n g t h e first p a r t o f t h e s e v e n t e e n t h c e n t u r y t h e oíd m o d e s g a v e w a y t o t h e newer major a n dminor, a n important turning point i n t h ehistory o fmusic. A s t h eleading note replaced t h e subtonic, t h e D o r i a n lost its identity and became t h eminor. A curious notational quirk resulted. D u e t o t h econservatism o f musicians, there are m a n y Baroque works i nm i n o r that have the "key signature" o ft h e D o r i a n mode. B u t t h e m u s i c isn't D o r i a n , it's m i n o r . A n e x a m p l e i n y o u r A n t h o l o g y i s t h e P r e l u d e b y C o u p e r i n , [24]. T h e " s i g n a t u r e " says D o r i a n t r a n s p o s e d t o G , b u t t h e m u s i c i s a c t u a l l y i n g . T h e m i s s i n g flat i s E t , a n d t h e flat s i g n i s a d d e d t o E w h e n e v e r i t ' s n e e d e d . T h e M i x o l y d i a n was absorbed b y the major. T h e P h r y g i a n retained its i n d e p e n d e n t existence longer t h a n a n y o f t h e o t h e r oíd m o d e s , s i n c e t h e h a l f step between 1 a n d 2 couldn't b e reconciled w i t h either major o r m i n o r . B y 1700 the two modes that w e k n o w as m a j o r a n d m i n o r w e r e used almost
e x c l u s i v e l y . N o d o u b t a g o o d deal o f v a r i e t y w a s sacrificed, b u t t h e attraction o f the m o r e m o d e r n m o d e s w i t h t h e i r h a r m o n i c possibilities w a s t o o great t o resist. E a r l y i n t h e t w e n t i e t h c e n t u r y c o m posers w h o were seeking a fresh approach t o tonal-
ity rediscovered t h e m o d e s a n d p u t t h e m t o n e w c r e a t i v e u s e s . T h e R u m a n i a n D a n c e s o f Béla B a r tók, | 5 0 | , a r e b u t o n e e x a m p l e o f t h i s d e v e l o p m e n t . E F Worksheet 2
6 Melodic Elaboration 1 SKIPS AND STEPS O n e n o t e o f a m e l o d y c a n m o v e t o t h e n e x t i ne i t h e r o ft w o ways:
organized i n a particular way. T h e lowest note, o n w h i c h t h e triad is built, is t h e root. A 3 r d above that is t h e3 r d o f t h e t r i a d . A n o t h e r 3 r d above that, a n d a 5 t h above t h e root, is t h e 5 t h o f t h e triad.
W h e n t h e i n t e r v a l b e t w e e n t h e n o t e s is a s t e p ( w h o l e o r h a l f ) w e s p e a k o f stepwise
motion,
o r conjunct
motion.
W h e n t h e i n t e r v a l b e t w e e n t h e notes is l a r g e r t h a n a s t e p w e s p e a k o f a skip o r disjunct
motion.
Major triad
M o s t m e l o d i e s c o n t a i n a m i x o f skips a n d steps. T h e m i x varíes f r o m o n e m e l o d y t o a n o t h e r , a n d that m i xis p a r t o f each melody's character. M a n y folksongs a n d chants begin with a nu p w a r d skip. W e c o m p a r e s u c h s k i p s t o t h e rise o f t h e h u m a n voice a t t h e b e g i n n i n g o fa sentence. A n u n d e r l y i n g i d e a o f m u s i c t h e o r y i n Gradus i s that certain notes a r e m o r e i m p o r t a n t t o t h e struct u r e o f m u s i c t h a n others, I n t h estudy o f m e l o d y , t h i s m e a n s t h a t t h e r e a r e main notes a n d o t h e r s t h a t elabórate t h e m . H o w d o w e d e t e r m i n e w h i c h a r e t h e m a i n n o t e s ? O n e w a y is t o start w i t h a n e l e m e n t y o u o f t e n find i n m e l o d y , t h e t r i a d , a n d s e e h o w i t is e l a b o r a t e d i n s p e c i f i c w a y s . A b a s i c c o m p o n e n t i n t o n a l m u s i c i s t h e triad. A s t h e ñame i m p l i e s , i t is a g r o u p o f t h r e e notes
Minor triad
Major Triad
J¿B
o
-_ M3rd
J^m3rd
Minor Triad
1
—
m3rd
M3rd
THE TRIAD IN T H E MELODY T h e illustration shows t w otypes o f triads, m a j o r a n d m i n o r . E a c h t a k e s i t s ñ a m e f r o m t h e first i n t e r v a l a b o v e the root. T h e study o ftriads aschords (simultaneous sounds) is very m u c h a part o ft h e study o f h a r m o n y a n d c o u n t e r p o i n t . T r i a d s m a y also b e expressed i n melody. Each o f t h e triads s h o w n above m a yappear i n a m e l o d y i n three different ways (see below). I n o t h e r w o r d s , i n a m e l o d y , t h e notes o ft h e triad m a y appear i na n y order.
Three ways of stating a major triad melodically
o
1
o
^"»
°
o
o
V}
~
Three ways of stating a minor triad melodically root 4V }•
o
3rd
5th
...
*•>
root i *>
3rd *>
15
5th O
5th 1i
root o
3rd 1
THE TONIC TRIAD A t this p o i n t w e focus o n t h e t r i a d w h o s e r o o t is t h e t o n i c n o t e o f a scale. T h i s c h o r d , c a l l e d t h e tonic triad, i s a p o w e r f u l u n i f y i n g forcé i n m e l o d y . F o r t h a t r e a s o n y o u h e a r it i n m a n y t u n e s . A f t e r l o c a t i n g t h e t r i a d i n t h e m e l o d y y o u can g o o n t o i d e n t i f y a t least s o m e o f the notes that aren't part o f the triad. A n o t h e r l o o k a t a f a m i l i a r t u n e , The Ash Grove, o n p a g e 4 . T h e triad is i nthe background o f the entire first phrase. All notes that are members o f the triad are m a r k e d . T h e o t h e r n o t e s a r e embellishments o r elaborations o f t h e t r i a d n o t e s . E l a b o r a t i v e n o t e s p l a y a n i m p o r t a n t p a r t i n c o u n t e r p o i n t as w e l l as i n t h e study o f melody. H o w c a nw e understand such notes? T h e r e are c e r t a i n specific techniques f o r m e l o d i c elaboration, w h i c h we will introduce here in their simplest forms. A s y o u proceed t h r o u g h the study o f h a r m o n y a n d c o u n t e r p o i n t y o u ' l l find m a n y applications o f these techniques. T h e i r uses will g r o w i n c o m p l e x i t y , but the principies established now will r e m a i n valid. P A S S I N G N O T E S T h e first n o t e i n t h e m e l o d y above that's n o t a m e m b e r o f the t r i a d is F . I t c o n n e c t s o r filis t w o t r i a d n o t e s , G a n d E . S i n c e t h e m e l o d y " p a s s e s t h r o u g h " t h e F , w e c a l i t h i s a passing note ( a b b r e v i a t e d P ) . O c c a s i o n a l l y t w o P s m a y fill a 4 t h , b u t m o s t o f t e n a P filis a 3 r d .
first
INCOMPLETE N T h e N is n o r m a l l y part o fa three-note group: m a i n note, N , m a i n note again. This may be shortened t o a two-note group, the incomplete neighbor ( I N ) .Either the m a i n note or t h e N m a y b e first. Neighbor notes
N
Incomplete neighbor notes II N N_ ñA N II N
4
Kyrie
The
D I A T O N I C A N D C H R O M A T I C Ns A l l o f t h e Ns h e a r d sofar have been diatonic notes. B u t even in m u s i c as s i m p l e as f o l k s o n g t h e r e a r e a few chromatic notes. I n the e x a m p l e below, the second note does just w h a t w e expect a N t odo: it elabor a t e s a m a i n n o t e , G ) t . B u t F f t t i s n ' t p a r t o f t h e cáscale. T h a t n o t e is c h r o m a t i c , a n d w e d e f i n e i t as a chromatic N. T h i s p a r t i c u l a r o n e r e t u r n s t w i c e i n the course o f the melody.
Complete neighbor group
NEIGHBOR NOTES A n o t h e r t y p e o f elaborat i o n i s t h e neighbor note o r auxiliary note ( T h e a b b r e v i a t i o n f o r t h i s is N ) .
Ky
Bb. A r e t u r n s i m m e d i a t e l y . W e say t h a t A is t h e main note a n d B b t h e neighbor note. T h e f o u r t h n o t e o f the m e l o d y , G , isa n o t h e r N . I n these few notes you see t h e t w o possible ways o f placing t h e N either a step above the m a i n note (upper N ) o r a s t e p b e l o w ( l o w e r N ) . I n b o t h cases, t h e N r e t u r n s i m m e d i a t e l y t o its m a i n n o t e . Later i n t h e phrase there is another N , B k B e f o r e A t h e r e is a P a n d a f t e r i t a P . A t t h e e n d o f the phrase the m a i n note is the tonic, D , w i t h the s u b t o n i c , C , as a N . H o w v e r y D o r i a n !
Revival Song
-
ri-e
e
-
-
-
le- i - son
n o t e , A , is f o l l o w e d b ya n adjacent
T h e t r i a d i n t h e m e l o d y is p r o m i n e n t i n t h e i n i t i a l p h r a s e . T h e first n o n t r i a d n o t e , G , i s a P . T h e n e x t
note,
Young M a n ' s Song
What a girl,
HUNGARY
Jj
IJJJ J U i
is my girl,
Pret- ti - er than an - y.
10
Ap-ples grow, peach-es grow,
•c _ r r
n n\¡.i ev-'ry-where you look, But,
16
Hap-py me,
i c j r luck-y me,
hap-pi-er than
an - y.
15 Si no-where else
+ is a girl,
1
é—•— who's as sweet as
my girl.
G comes f r o m i t s n e i g h b o r F , b u ti t skips away without r e t u r n i n g t o the m a i n note. W e say that the n e i g h b o r is i n c o m p l e t e ( I N ) . A n o t h e r t e r m for t h i s e l a b o r a t i v e n o t e i s ¿chapee. DOUBLE NEIGHBOR NOTE note group: D - E b - D - C - D . A
N
N
Imagine a
with a P,A . T a k e n together, the four-note group consists o f a s k i p a n d p a s s i n g n o t e ( S P ) . S U M M A R Y A n o t h e r m e l o d y reveáis s e v e r a l d i f ferent elaborative techniques.
fiveThe Vicar
of B r a y
DN
In
W e can easily u n d e r s t a n d w h a t holds the g r o u p together. D is t h e m a i n n o t e , E b is a N , D is t h e m a i n n o t e a g a i n , C is a n o t h e r N , a n d D closes t h e g r o u p a s t h e m a i n n o t e . T h e five-note g r o u p m a y be s h o r t e n e d to a f o u r - n o t e g r o u p by o m i t t i n g the m i d d l e ( m a i n ) n o t e . T h e f o u r - n o t e g r o u p is called t h e double neighbor, D N . I t c o m p r i s e s t h e o p e n i n g o f this m e l o d y : Sabbath H y m n
Peace,
JEWISH
peace,
grant u s _ peace and
grant us
peace,
ENGLAND
grant
bless
on this
-
us
ing
good King Charles
J J J J loy - al - ty
no
's
gold - en
days, When
)¿fp crime
meant,
T h r o u g h o u t t h e first t h r e e m e a s u r e s , w e f e e l t h a t A is a c o n t r o l l i n g n o t e a r o u n d w h i c h t h e o t h e r s gravitate. B u t j u s t h o w does A direct the melodic flow?
peace,
Peace,
T h e melody begins with a skip o f a 4 t h u p , suggesting that D is t h e tonic note a n d A t h e d o m i n a n t . T h e s k i p i s filled a t o n c e w i t h t w o P s . T h u s t h e first g r o u p h a s five n o t e s , a n d i s a S P . T h i s is a n e x a m p l e o f a S P c o v e r i n g t h e i n t e r v a l o f a 4th. T h e m a i n note is A . T h e fifth n o t e o f t h e m e l o d y , A , b e l o n g s t o t w o g r o u p s . N o t o n l y i s i t p a r t o f t h e first g r o u p ( S P ) , b u t it's a l s o p a r t o f t h e s e c o n d g r o u p , a D N . N o t s u r p r i s i n g l y , A is t h e m a i n n o t e i n b o t h g r o u p s . A remains t h em a i n note i n t h ethird group, a n o t h e r S P . T h i s s k i p is d o w n w a r d a n d is a 3 r d . Y o u see t h a t t h r e e d i f f e r e n t e l a b o r a t i o n s o f a m a i n n o t e b u i l d t h e o p e n i n g o f the m e l o d y . I n 3—4 t h e melody descends f r o m 5 t o 1,closing the circuit. T h e D confirms the tonic and brings the melody t o i t s first r e s t i n g p o i n t . W i t h this t y p e o f analysis y o u b e g i n t oget b e y o n d the one-note-at-a-time approach t o music. B y g r o u p i n g notes y o u can see larger units and find t h e u n i t y i n a m u s i c a l p h r a s e . W e w i l l continué t h i s approach t om e l o d y i n the next section.
peace,
Sab-bath day.
T h e f a c t t h a t t h e first n o t e o f t h e g r o u p i s r e p e a t e d d o e s n o t a f f e c t its i d e n t i t y as a D N . SKIP AND PASSING N O T E I n t e r v a l s l a r g e r t h a n a step m a y also b e used i n melodic elaboration. This m a y involve a small skip i n o n edirection, filled i n a t o n c e w i t h s t e p w i s e m o t i o n i n t h e o p p o site d i r e c t i o n f o r a r e t u r n t ot h e m a i n n o t e . SP
Vi-o-let, O, so mod-est, How you do hide your bloom?
T h e first f o u r n o t e s f o r m a g r o u p a r o u n d t h e m a i n n o t e , B . T h e s k i p d o w n t o G i s i m m e d i a t e l y filled
O " Worksheet 3
17
7 Melodic Structure: An Introduction A BASIC P A T T E R N Isthere some kind o f consistent p a t t e r n i n t h e w a y t h em a i n notes follow each o t h e r i n a m e l o d y ? T h e r e certainly is. M a i n notes a r e n o t strung together i n a n arbitrary way. T h e y fall into a f e w identifiable patterns, starting f r o m a note o f t h e tonic triad a n d descending t o t h e tonic. E a c h o f these basic patterns c a n b e ( a n d has been) elaborated i n a n infinite n u m b e r o f ways. O n e such pattern is 5 - 4 - 3 - 2 - 1 . Y o uwill see t h a t i t lies b e h i n d s o m e o f t h e m e l o d i e s a l r e a d y studied, including this English folksong:
MELODIC STRUCTURE T h r o u g h t h e study o f the triad i n t h e melody y o u have been introduced to a f u n d a m e n t a l idea o fm u s i c t h e o r y : s o m e o f the notes i n a piece o f m u s i c m a yb e considered t o be m a i n notes w h i l e o t h e r s ( t h e m a j o r i t y ) a r e embellishing notes. T h o s e m a i n notes, taken t o g e t h e r , a r e w h a t w e d e f i n e a s t h e melodic structure. W h e n w e speak o f m a i n notes, w e a r e n o t suggesting that they are m o r e i m p o r t a n t o rm o r e expressive t h a n t h e elaborative ones. W e m e a n that t h e notes that are structural a r e t h e f r a m e w o r k f o r t h e pitch organization o ft h e melody.
The QUICK ASCENT I s t h e first n o t e o f a m e l o d y a l w a y s t h e first m a i n n o t e ? N o t n e c e s s a r i l y . M a n y m e l o d i e s b e g i n w i t h a quick ascent. T h i s c o n s i s t s o f a note, o rt w o o r three notes, that rise f r o m some l o w p o i n t t o t h e first m a i n n o t e . O n c e a g a i n t h e r e ' s a parallel with h u m a n speech, because m a n y spoken sentences also begin w i t h a n u p w a r d inflection. T h e K y r i e o n page 1 1begins w i t h a quick ascent t o t h e first m a i n n o t e , 5 ( C ) .
V i c a r of B r a y (first phrase) ^
A
Melody
|
[
Pitch groups
MELODIC ANALYSIS W e analyze a melody t o learn what holds it together. W e ask which are the m a i n notes a n d w h i c h a r e t h eelaborative ( a n d c o n n e c t i n g ) ones. M e l o d i c analysis is a c o m p l e x matter, r e q u i r i n g years o fstudy t o master. Y o u are not expected t o p e r f o r m such analysis here. B u t the ability t o read a simple analytic sketch, like those i n this section, will b eh e l p f u l i ny o u r f u r t h e r studies. E a c h sketch t h a t f o l l o w s consists o f t h r e e l i n e s . T h e first i s t h e m e l o d y i t s e l f ; t h e s e c o n d i s simply a l l t h e melody's pitches, w i t h repetitions e l i m i n a t e d . T h i s i s t h e pitch content o f t h e m e l o d y , w h i c h is bracketed i n t o g r o u p s m a d e o f neighbor a n d passing motions. T h u s t h e m a i n notes a r e revealed o n t h e t h i r d line. T h e procedure b y w h i c h t h e m a i n notes a r e e x t r a c t e d f r o m t h e p i t c h c o n t e n t i s c a l l e d reduction. It is a p o w e r f u l a n duseful analytic tool, which enables y o u t o discover t h e f o u n d a t i o n below t h e surface o ft h e melody.
T h e groupings s h o w n o n t h e second line are familiar t o y o u f r o m t h e discussion i n t h e p r e v i o u s section. T h e t w o SPs, w i t h skips i n opposite directions, a r eseparated b y a D N . A is t h e m a i n note u n t i l t h e b e g i n n i n g o f 3. T h e s k i p d o w n t o D m a y be t a k e n as f u r t h e r e l a b o r a t i o n o fA . T h i s skip also presents t h e 5 t h that confirms t h e tonic, anticipates the closing D , a n d h a st h e effect o f "stepping o n the brakes," slowing d o w n t h e melodic energy i n p r e p a r a t i o n f o r t h e first p h r a s e e n d i n g . A f t e r t h a t , 4 — 3 - 2 — 1 f o l l o w i n r a p i d succession. I n t h e n e x t e x a m p l e , 5 i s t h e first n o t e a n d a l s o t h e first m a i n n o t e . I t c o n t r o l s m o r e t h a n h a l f t h e phrase. We'll c o m p a r e its d u r a t i o n w i t h that o f m a i n notes i nsubsequent melodies.
18
Kyrie
Kyrie Melody
Melody
Pitch group N
I
I
P i t c h groups N 1
S+(P)
l
1
'
S+(P) N 'i 1 0
T r i a
d
z£z= i
i • N
M a m notes
i
(triad partly filled in)
i quick ascent M a i n notes 5 5
N 4
3 2 1
N 4 3 2 1
2C
±x¡z
T h e first m a i n n o t e i s 5 , e x t e n d e d b y N s a t t h e outset. T h e n t h em e l o d y skips d o w n a 5 t h a n d r e t u r n s t h r o u g h t h e triad. T h a t t r i a d isused as a n e m b e l l i s h i n g device, w i t h A as t h e m a i n note. T h e t r i a d i s p a r t l y filled w i t h a P , G . A s t h em e l o d y rebounds f r o m t h e skip d o w n o f a 5 t h , t h e largest skip i n this chant, u p w a r d m o m e n t u m carries i tt h r o u g h A a n d t oanother N , Bb. T h e r e t u r n t oA completes another N group a n d starts t h e descent t o t h e tonic, 5 - 4 - 3 - 2 - 1 . A g a i n , 5 is stretched o u t f o r o v e r h a l f the m e l o d y , while 4 , 3 , a n d 2 appear as m a i n notes b u t once each. T h e concluding 1 is embellished with aN , the subtonic. A b o v e right is another example, a b i t m o r e sophisticated t h a n t h e preceeding one, b u t based o n t h e s a m e p r i n c i p i e . T h i s c h a n t is i n F . T h e t o n i c triad plays a n i m p o r t a n t r o l e i n t h e m e l o d y , a n d i t s 5 t h i s t h e m a i n n o t e , b u t n o t t h e first n o t e . T h e chant begins w i t h a quick ascent t o 5.T h a t ascent moves t h r o u g h t h e notes o f t h e tonic triad, with o n e P , Bb. T h e u p w a r d m o m e n t u m carries t h r o u g h 5 t o6 , a N . N os o o n e r ist h eu p p e r N h e a r d t h a n t h e l o w e r f o l l o w s . T h i s k e e p s 5 i n its c o m m a n d i n g position. T h e s k i p u p t o F b r i n g s t h e m e l o d y t o its h i g h e s t point. T h a t skip iselaborative, w i t h a r e t u r n t o t h e
19
m a i n n o t e t h a t ' s p a r d y filled. S u c h a p a r t i a l r e t u r n f r o m a s k i p i s a n o t h e r versión o f t h e S P . T w o m o r e N s a r et h e same as t h e t w o i n t h e earlier part o f the chant, but i n reverse order. Preparing for the end, t h e melody moves d o w n t h r o u g h the triad t otouch the tonic note. C o m p a r e t h e f o u r - n o t e g r o u p h e r e w i t h t h e first f o u r n o t e s o f the melody. W h a t d o you find? 3rd
2nd
2nd
3rd
2nd
2nd
T h e s e c o n d s h a p e i s t h e inversión o f t h e first. T h a t is, ascending intervals a r e replaced b y d e s c e n d i n g i n t e r v a l s o f t h e s a m e size, u s i n g d i a t o n i c n o t e s o n l y . T h e t e c h n i q u e i s c a l l e d melodic inversión. T h e ending follows naturally. Just before t h e final 1, 2 i s r e p e a t e d , s o t h a t t h e m e l o d y s e e m s t o h o v e r a m o m e n t b e f o r e a r r i v i n g a tits g o a l . T h e sketch shows the structure o f the melody: a q u i c k a s c e n t t o t h e first m a i n n o t e , a n extensión o r p r o l o n g a t i o n o f5 t h r o u g h most o f the melody, a n d a descent that's p r e p a r e d b y a d o w n w a r d gesture. T h e tonic ist h ebeginning, t h eend, a n d t h e g o a l o f moüon, e v e n t h o u g h i t ' s h e a r d o n l y f o u r times i n t h e m e l o d y .
8 The The
Musical Phrase
Violet cadenee
Vi-o-let, O,
so mod-est,
How you do hide your bloom?
m
cadenee
Off in the gar - den cor - ner, Far from the
cadenee
é
cadenee
r P r J'i J Jj J j j> j
* é •
Try-ing to be
ros - es bright.
un-no - ticed, try-ing to hide your face,
Your love-ly scent
T h e t h i r d c a d e n e e is t h e s a m e as t h e o t h e r s , transposed u pa 5th.
A SENTENCE I N MUSIC A s w e s i n g a m e l o d y , we pause to breathe f r o m t i m e t o time. W h y do w e stop i n o n e place r a t h e r t h a n another? S o m e t h i n g in t h e music makes u s sense that o n e note is a resting p o i n t a n d a n o t h e r isn't. W e m a y feel that a statement has been c o m p l e t e d , o ra fall o f the line s u g g e s t s a p a u s e . A phrase i s a c o m p l e t e m u s i c a l statement. S o m e phrases e n d m o r e conclusively than others, but all have some k i n d o f ending that d e f i n e s t h e i r d u r a t i o n . A m u s i c a l p h r a s e is r o u g h l y analogous to a sentence i n spoken language. HOW L O N G IS T H E PHRASE? W h i l e m o s t musicians will agree o nthe length o f phrase i n a g i v e n piece, there's n o h a r d a n d fast r u l e o n e can follow. T o some extent, determining a phrase length is a m a t t e r o f m u s i c a l j u d g m e n t , w h i c h y o u c a n develop t h r o u g h experience. T h e sense o f a r r i v i n g at a r e s t i n g place isa g o o d g u i d e t ot h e l o c a t i o n o f a phrase ending, a n dthus t o t h elength o f t h e phrase.
but
MOTIVE W h a t makes it possible f o r the listener t o g r a s p a m e l o d y i s i t s motive, a g r o u p o f n o t e s with a definite r h y t h m a n d intervallic shape, r e p e a t e d a n d d e v e l o p e d . A cióse l o o k a t s e v e r a l melodies will s h o w w h i c h aspect o f t h e m o t i v e , pitch o rr h y t h m , ism o r e i m p o r t a n t . T h e m e l o d y o n page 16 consists o f f o u r phrases, each f o u r measures long. T h e phrases seem t o resemble each other, even t h o u g h the intervals o f the second phrase are quite different f r o m those o f t h e first. T h e r e a s o n i s t h a t t h e r h y t h m o f t h e m o t i v e is repeated exactly. T h i s suggests that the r h y t h m i c aspect o f t h e m o t i v e (we'll cali i t t h e rhythmic motive) c o n t r i b u t e s m o r e t o m e l o d i c u n i t y t h a n t h e p i t c h aspect. I n this m e l o d y the f o l l o w i n g r h y t h m i c m o t i v e is h e a r d f o u r times w i t h o u t a n y change: Motive of Young
PHRASE ENDINGS T h e n o t e s t h a t f o r m a p h r a s e e n d i n g a r e c a l l e d t h e cadenee. ( L a t i n : cadere, t o f a l l . I n d e e d , the voice o f t e n does fall a t the e n d o fa phrase, sung o r spoken.) A t the top o f the page isa f a m i l i a r melody, w i t h t h e cadenees m a r k e d . E a c h c a d e n e e tells y o u w h e r e a phrase ends. T h e r e a r e f o u r cadenees and f o u r p h r a s e s . T h e first, s e c o n d , a n d f o u r t h c a d e n e e s a r e identical, contributing t o the unity o f the melody.
II
re-veals you, Tells me your hid - ing place.
é*
M a n ' s Song
c;ric;r
O n l y i n v e r y s i m p l e m u s i c w i l l y o u find a m o t i v e repeated soliterally t h r o u g h a song. There's m o r e v a r i e t y , f o r e x a m p l e , i n Red River Valley.
20
Red River
Valley
m u s i c b e i n g p l a y e d is a collection o f f r a g m e n t s w i t h n o u n i t y . A m o r e m u s i c a l a p p r o a c h is t o stretch f o r larger groups, rather t h a n smaller ones. I n The Ash Grove, o u r p r e f e r e n c e i s f o r e i g h t m e a s u r e phrases. T h e m e l o d y is m a d e u po f f o u r s u c h p h r a s e s , t h e first, s e c o n d , a n d f o u r t h o f w h i c h are identical. A s f o r t h e m o t i v e , w e d e f i n e it by its r e p e t i t i o n s , varied o r not. I f a g r o u p o f notes isn't repeated, i t ' s n o t a m o t i v e . T h e u n i t t h a t ' s r e p e a t e d i n The Ash Grove i s t w o m e a s u r e s l o n g ; t h a t i s t h e m o t i v e . Its r h y t h m r e m a i n s constant even w h i l e the pitches c h a n g e . A s i n Red River Valley, t h e u p b e a t i s a characteristic feature o f the motive. I n t h e first p h r a s e t h e m o t i v e i s h e a r d t h r e e times. T h e d i f f e r e n c e s b e t w e e n t h e t h r e e statements a r e apparent, b u tthey aren't very large. T h e i n t e r v a l s o f t h e m e l o d y v a r y w i t h e a c h versión o f the m o t i v e . B u t t h e r e is s o m e similarity t o the rise a n d fall o f the pitches w i t h each statement o f t h e m o t i v e , a n d t h e f a l l i n g 3 r d k e e p s its place a t the phrase end, in_2, 4, a n d 6. So the pitch contour contributes to the melodic unity.
0—0 From this val-ley they say you are go-ing._ We will
miss
m
your bright eyes
f—w and sweet smile,
ÉL say
you are tak - ing the
bright - ens our path - way
v
sun-shine,
a
For they
That
while.
T o show the different versions o f the motive, here is a n o u t l i n e o f t h e r h y t h m , p h r a s e b y p h r a s e . T h e phrases are aligned vertically for comparison. Motive
PHRASE GROUPS Phrases u s u a l l y c o m e i n groups; a single p h r a s e is rare. T h e melodies i n P a r t O n e consist o f several phrases s t r u n g together, often i n groups o f f o u r . Pairs o f phrases are quite the n o r m a l thing.
varied
varied
ANTECEDENT AND CONSEQUENT T h e p h r a s e p a i r f o u n d m o s t o f t e n is e x e m p l i f i e d i n t h i s tune:
varied
H a u l A w a y , Joe T h e p h r a s e is t w o m e a s u r e s l o n g ; s o i s t h e m o t i v e . T h e r h y t h m i c m o t i v e i s s t a t e d i n l_-2. I n t h e s e c o n d p h r a s e it's v a r i e d j u s t a bit. T h e t h i r d p h r a s e i s a l m o s t t h e s a m e a s t h e first, a n d t h e f o u r t h closely resembles the second. T h e changes in r h y t h m combine with larger changes i n pitch t o créate a g o o d d e a l o f v a r i e t y f r o m p h r a s e t o p h r a s e . Recognizable repetition o f the rhythmic motive provides unity. W h i l e the length o f the motive may bethe same as t h a t o f t h e p h r a s e , i t ' s a l s o p o s s i b l e f o r t h e m o t i v e to b e stated m o r e t h a n once w i t h i n a phrase. W e ask t w o questions about the m e l o d y o n page 4: h o w l o n g is t h e p h r a s e ? h o w l o n g is t h e motive? It may be tempting t o divide a melody into smaller a n d smaller units, a n d t o decide that the s m a l l e s t is t h e p h r a s e . A p e r f o r m e r w h o t a k e s s u c h an approach will convey the impression that the
21
First period:
antecedent
fe When I was a lit - tle boy my moth-er al-ways toldóme:
consequent
Way,
5É3
haul a-way,
Second period:
0
0*
m 1
we'll haul a-way, Joe.
0
0
She said,
antecedent
" i If I did not kiss the girls, my lips would grow all mould-y,
consequent
fe
0 Way,
haul a - way, we'll
0
haul a - way, Joe.
T h e measures o f this lusty D o r i a n m e l o d y a r e so l o n g that i t takes o n l y t w o o f t h e m t o m a k e a p h r a s e . T h e first e n d s o n 5 , d e f i n i t e l y a r e s t i n g point b u tn o t a full stop. B ycontrast, t h e second phrase drops a 5 t ht o 1, t h e e n d o fa u n i t . S u c h a g r o u p o f t w o p h r a s e s i s c a l l e d a period. T h e first p h r a s e i s t h e antecedent, m e a n i n g t h a t i t c o m e s first a n d l e a d s t h e l i s t e n e r t o e x p e c t m o r e . T h e s e c o n d p h r a s e i s t h e consequent; i t f l o w s n a t u r a l l y f r o m t h e first, w h i c h i t m a y r e s e m b l e i n a n y n u m b e r o fways, a n d comes t oa full stop. T h e first a n d s e c o n d p h r a s e s o f Haul Away, Joe f o r m a period, a n d so d o t h ethird a n df o u r t h phrases. T h em e l o d y as a w h o l e has this o u t l i n e : First period antecedent phrase consequent phrase Second period antecedent phrase consequent phrase There's a slightly irregular element i n t h e f o r m w h i c h a d d s t o t h e m u s i c a l i n t e r e s t . W h i l e t h e first p e r i o d begins o n t h e downbeat, t h e second begins early, w i t h a n upbeat o f t w o eighth notes a t t h e e n d o f 4 . T h i s l i n k ties t h e t w o p e r i o d s t o g e t h e r quite effectively. MELODIC STRUCTURE J u s t as a single p h r a s e m a y have as itsf o u n d a t i o n 5 - 4 - 3 - 2 - 1 , so m a y the antecedent—consequent phrase pair be built o n the descent f r o m 5 t o 1.T o b e sure, t h e antecedent phrase does n o t descend a l lt h e w a yt o 1 . I t stops on 2 ,creating t h e expectation o fa second descent t h a t w i l l i n d e e d l e a d t o 1 . T h e o v e r a l l p a t t e r n is 5 4 - 3 - 2 ; 5 - 4 - 3 - 2 - 1 . T o show this i n action w e d r a w o n melodies f r o m d i f f e r e n t style periods, s h o w i n g t h e u n d e r l y i n g similarity o f their backgrounds.
I n t h e heroic m e l o d y below, t h e tonic triad has a s t r o n g p r e s e n c e . T h e first p i t c h g r o u p i s a S P , w i t h D a s m a i n n o t e . A f t e r t h e s k i p o f a 3 r d i s filled, a skip o f a 5 t hcompletes t h e triad. T h a t skip, too, is filled. Y o u see t h a t 5 is still i n c o n t r o l . T h e n t h e m e l o d y descends t o 2 a n d pauses. T h i s ends t h e antecedent phrase. T o start t h e consequent H a n d e l reasserts 5. It's the m a i n note f o rt w o m o r e measures. T h eskip t o G is a n o t h e r elaboration. G is t h e highest note i n the melody, reached b y a striking skip o f a4 t h . T h e descent follows quickly. Built o n t h e same ground plan, t h e Romantic opera aria atthe t o po fpage 23, evokes a different w o r l d o fmusic f r o m t h eH a n d e l air.T h e m e l o d y s t a r t s w i t h t h e m a i n n o t e , 5 . T h e first e m b e l l i s h i n g n o t e is A | t , w h i c h is a N .S i n c e there's n o A f i nt h e key o f e, this is a c h r o m a t i c N . A S P follows, k e e p i n g B as m a i n n o t e . T h e n t h e m e l o d y descends, m o r e gradually than i n t h eprevious examples. W h e r e 5 was t h em a i n note f o r f o u r measures, 4 has t h a t r o l e f o rt w o , w h i l e 3 a n d 2 have a m e a s u r e each. 4 also h a s its o w n c h r o m a t i c N , G|f, as w e l l as a SP. 3 has b u t a pair o f N s t oembellish it, while 2 is s t a t e d p l a i n . T h e consequent phrase begins b yrepeating t h e first s i x m e a s u r e s o f t h e a n t e c e d e n t , t h e d i f f e r e n c e b e t w e e n t h e p h r a s e s b e i n g i n t h elast t w o m e a sures. Since t h e goal o f t h e consequent is 1, n o t 2 , the c o m p o s e r squeezes 3 - 2 - 1 i n t o t h e space ( t w o measures) occupied b y 3 - 2 i n t h e antecedent. T h e r e , 3 a n d 2 each h a d a full measure. N o w they a r e b o t h i n o n e m e a s u r e , 15. T h i s l e a v e s o n e m e a s u r e f o r t h e last n o t e , 1 .L i k e its c o u n t e r p a r t at t h e e n d o f t h e a n t e c e d e n t , t h e consequent's goal note isn't embellished. T h etonic stands o u t clearly as t h e g o a l .
'See, the conquering hero comes" from J u d a s M a c c a b e u s M e l o d y (antecedent)
HANDEL
(consequent) •
Pitch groups
4
s p
I
I
m •
m
* '
»
=
=
5
1
r
SP triad
JM a i n n o t e s
N
e-
ascent triad 4
3
2;
4 n
22
3
2
1
O
U
n
trovatore
"Stride la vampa" from / / Melody
VERDI
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T h e i n s t r u m e n t a l m e l o d y b e l o w uses skips as its chief means o felaboration. T h edescending line 5 - 4 - 3 - 2 - 1 is p a r a l l e l e d b y a n o t h e r l i n e a3 r d lower, indicated o n t h et h i r d U n eo ft h e sketch. T h e m e l o d y skips back a n d f o r t h between t h e t w o levéis. A f t e r t h e i n i t i a l N , t h e m e l o d y filis t h e i n t e r v a l o f a 3 r d , w i t h E as m a i n note. T h e next t w o 3rds a r e n ' t filled, a p p e a r i n g a s s k i p s . W h e n t h e m e l o d y reaches 2 , B is embellished w i t h Ns. T h e c o n s e q u e n t p h r a s e is i d e n t i c a l w i t h t h e a n t e -
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cedent f o r t w oo f its f o u r measures. A g a i n , t h e necessity o f i n c l u d i n g 1 t o c o m p l e t e t h e m e l o d y brings some tightening u p o ft h e pitch distribution. I n t h e antecedent, 3 a n d its embellishing notes h a d a w h o l e measure t o themselves. I n t h e c o n s e q u e n t , t h e y s h a r e a m e a s u r e (T) w i t h 2 a n d a n e w e m b e l l i s h m e n t : a skip d o w n t o E . T h i s frees 8 for t h e tonic note a n d its embellishment. T h e u p w a r d skip contrasts w i t h t h ed o w n w a r d skips so p r e v a l e n t i nt h erest o f the m e l o d y .
A M i d s u m m e r N i g h t ' s D r e a m (excerpt)
MENDELSSOHN
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Rhythm, Meter, Tempo MUSIC AND TIME M u s i c exists i n t i m e . T i m e is t h e d i m e n s i ó n i n w h i c h m u s i c m o v e s . T h e w a y i n w h i c h m u s i c m o v e s t h r o u g h t i m e is w h a t w e cali rhythm. T h i s s e c t i o n oí Gradus i s d e v o t e d t o e x p l a i n i n g t h e m o s t i m p o r t a n t aspects o f r h y t h m . A n u n d e r s t a n d i n g o fthis subject is essential t o y o u r studies i n h a r m o n y a n d counterpoint, f o r there is a r h y t h m i c aspect t o every part o f music.
Simple Meters a n d Their T i m e
Signatures
c (until t h e late n i n e t e e n t h c e n t u r y ) 4 four J to the measure 4
three
4
t w o J to the measure
J to the measure
^ "alia breve" t w o J t o t h e measure 2 2
THE BEAT A s w e listen t omusic m o v e t h r o u g h t i m e w e t r y t o catch h o l d o fi t i n s o m e w a y , f o r n e i t h e r m u s i c ñor t i m e w i l l stop a n d w a i t f o r u s . T h e most direct w a y i n which w e grasp sound p a t t e r n s i s b y finding a beat o r pulse. T h o s e a r e terms f o rt h e gesture that recurs regularly. W e respond t ot h e beat b y physical m o v e m e n t : tapping the foot, m o v i n g the hand, nodding the head. A l ldurations—long a n d short—relate to the beat that w e feel u n d e r l y i n g t h e musical surface. U P B E A T , D O W N B E A T A s s o o n a s w e find t h e pulses w et r y t o organize t h e m i n t o groups. T h e simplest consists o ft w o beats, o n e s t r o n g e r t h a n t h e o t h e r . S t r o n g e r doesn't necessarily m e a n l o u d e r ; r a t h e r it's a m a t t e r o f e m p h a s i s . W e cali t h e s t r o n g b e a t t h e downbeat, r e c a l l i n g t h e c o n d u c t o r ' s g e s t u r e (the s t r i n g player's, t o o ) . T h e w e a k beat is called t h e upbeat. E v e n a s s i m p l e a p a t t e r n a s a l t e r n a t i n g upbeats a n d downbeats has provided the rhythmic f r a m e w o r k f o ra great deal o f music.
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to the measure
COMPOUND METERS I t h e beat is d i v i d e d b y t h r e e find t h e n u m b e r o f b e a t s i n t i m e s i g n a t u r e ' s u p p e r figure
na compound meter rather than two.T o a measure, divide the by three.
Compound Meters and Their T i m e Signatures
METER O n t h e basis o f s t r o n g a n d w e a k w e g r o u p beats i n t o r e g u l a r patterns, w h i c h w e cali meters. W h i l e t h e r e a r e m a n y d i f f e r e n t m e t e r s , e a c h is e s s e n t i a l l y d u p l e ( t w o - b e a t ) o r t r i p l e ( t h r e e - b e a t ) . T h e m e t e r o f a c o m p o s i t i o n is i n d i c a t e d b y t w o n u m b e r s o r a s y m b o l c a l l e d t h e time signature ( o r meter sign). SIMPLE METERS I n a s i m p l e m e t e r , t h e t i m e s i g n a t u r e tells y o u t h e n u m b e r o f beats i n each m e a s u r e ( u p p e r figure) a n d t h e valué o f a s i n g l e beat (lower figure).
24
6 8
t w o beats t o t h e m e a s u r e
J- = 1 b e a t
9 8
t h r e e beats t o t h e m e a s u r e
J- = 1 b e a t
12 8
f o u r beats t o t h e m e a s u r e
J- = 1 b e a t
6 4
t w o beats t o t h e m e a s u r e
J- = 1 b e a t
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three beats t o t h e m e a s u r e
1 = I beat
It's i m p o r t a n t t o clarify t h e difference b e t w e e n \ a n d %. T a k e n a s f r a c t i o n s , t h e r e i s n o d i f f e r e n c e , and they are equivalent. B u t they are n o t fractions. I n I t i m e , t h e q u a r t e r note ( J ) gets o n e beat a n d there are three o f t h e m i na measure. I n% time, t h e d o t t e d q u a r t e r ( J, ) r e c e i v e s o n e b e a t a n d t h e r e a r et w o o ft h e m i na m e a s u r e . T h u s \ is a t r i p l e m e t e r a n d § is a d u p l e m e t e r . There's o n e point to add. I n much o fthe music i n t h e first p a r t o f y o u r A n t h o l o g y , t h e h a l f n o t e represents o n e beat. T h e sign 2 that appears w h e r e
the t i m e s i g n a t u r e is f o u n d i n later m u s i c doesn't indícate a m e t e r ; i t j u s t t e l l s y o u t h a t t h e h a l f n o t e is t h e b a s i c b e a t . H o w m a n y t h e r e a r e i n t h e g r o u p ings will have t o b e discovered f r o m t h e music itself.
T h e s m a l l e s t n o t e valué i s t h e e i g h t h n o t e . T h a t level appears i n t h eanalysis o n l y w h e n there is a c t u a l l y a n e i g h t h n o t e i n a m e a s u r e . T h e first e i g h t h note, a n A b , is o nt h e w e a k p a r t o fa beat. T h i s is t h e weakest r h y t h m i c p o s i t i o n i n t h e m e l o d y . T h es a m e is t r u e o f t h e e i g h t h n o t e i n 5a n d 9. I n J O y o u see that t h e second Eb is weaker t h a n t h e first b u t s t r o n g e r t h a n t h e G o n t h e l a s t p a r t o f t h e s e c o n d b e a t . I n J _ 3 , e i g h t h n o t e s fill t h e m e a s u r e . T h e y a r e e q u a l i n duraüon b u t n o t i n r h y t h m i c stress. T h e analysis s h o w s t h e i r r e l a t i v e s t r e n g t h : t h e first B b i s i n t h e s t r o n g e s t p o s i t i o n ; C i s o n t h e w e a k e r p a r t o f t h e second beat. T h e second B b is w e a k e r t h a n t h e first, b u t s t r o n g e r t h a n t h e n o t e s t h a t fall o n t h esecond part o fe i t h e r beat. T h e f o u r t h n o t e , t ob e sure, is i n t h e weakest p o s i t i o n o f all. A r e t h e r e s t r o n g a n d w e a k m e a s u r e s as w e l l as beats? I f y o u take a large view o fthe m e l o d y , you'll see t h a t t h e m e a s u r e s o f this s o n g fall i n t o t h e i r o w n p a t t e r n o f s t r o n g a n d w e a k . T h i s is s h o w n o n the t o p line o fthe analyses, w h e r e y o u c a n see that t h e r e s t i n g p o i n t s o f t h e first t h r e e p h r a s e s ( i n 4 , 8 , a n d 12) f a l l o n w e a k m e a s u r e s ; o n l y t h e c a d e n e e o f t h e f o u r t h phrase ends o n a strong measure. T h i s is o n e reason that t h ef o u r t h phrase ends m o r e conclusively t h a n t h eprevious three. A n o t h e r reason ist h a t t h ef o u r t h ist h e o n l y p h r a s e t o e n d on t h etonic note.
RHYTHM L E V E I S T h e note that represents o n e beat m a yitself b e divided i n t o strong a n d weak parts. T h i s m e a n s that there's m o r e t h a n o n e level o f r h y t h m i c action i n a piece o fmusic. A n understanding o ft h e strong—weak relationship o n each level will b eh e l p f u l t o y o u n o to n l y i n t h e study o f melody, but, before long, i n the study o f h a r m o n y and counterpoint. T h e basic p r i n c i p i e is simple: I n a t w o - b e a t p a t t e r n , t h e first b e a t i s s t r o n g a n d t h e s e c o n d is w e a k . I n a t h r e e - b e a t p a t t e r n , t h e first b e a t is t h e s t r o n g e s t . T h e s e c o n d b e a t is u s u a l l y w e a k e r t h a n t h e first b u t s t r o n g e r t h a n t h e t h i r d . T h e n o r m a l p a t t e r n is s t r o n g weak-weaker. Y o u find e a c h o f t h e s e p a t t e r n s i n g r o u p s o f b e a t s , in divisions o ft h e beat, a n d even i n groups o f measures. T o s h o w t h e patterns, t w osigns a r e used. A d o p t e d f r o m poetic scansion, they a r e for a s t r o n g beat a n d u f o r a w e a k beat (see e x a m ple below). T h e m e t e r sign tells y o u t h a t t h e r e a r e t w o quarter notes t o t h e measure. Consider t h e level o f t h e q u a r t e r - n o t e b e a t first: i t s h o w s a r e g u l a r a l t e r n a t i o n o f s t r o n g a n d w e a k beats. M a n y notes of the melody are p u tinto their proper rhythmic perspective b y this l i n e o ft h e r h y t h m i c analysis. The
COMMENT ON BARLINES T h e b a r l i n e s t h a t you seei n folksongs a n d m u c h o fthe choral music o f t h e A n t h o l o g y h a v e been a d d e d t o t h e score.
P i n e s : rhythmic analysis
CZECHOSLOVAKIA
R h y t h m i c analysis
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Barlines evolved during t h eseventeenth century. T h e y d i d n ' t exist i n e a r l i e r m u s i c , s u c h as chant. I n the A n t h o l o g y , barlines have been added where they are i m p l i e d b ythe accent o f words and music. O f t e n those barlines a n d t h emeasures they define a r e n ' t as r e g u l a r as t h o s e y o u a r e a c c u s t o m e d t o seeing. I n such a piece as t h e Mass excerpt b y J o s q u i n |T|, t h e a d d e d b a r l i n e s s h o w m e a s u r e s t h a t are q u i t e u n e q u a l i n l e n g t h . T h i s tells y o u t h a t t h e n a t u r a l accent o f the music doesn't fall into regular patterns.
RHYTHM IN CHANT W h i l e folksongs a r e associated w i t h m e t r i c a l p o e t r y a n d t h er h y t h m o f the dance, chant springs f r o m t h edeclamation o f prose, i n w h i c h there a r e few regular patterns o f a n y k i n d . A sa result, n o m e t e r predominates i n a c h a n t . Y o u find s h o r t g r o u p s o f n o t e s , c o n s t a n t l y s h i f t i n g i n l e n g t h t o a c c o m m o d a t e o r elabórate t h e syllables o f the text. WORDS AND MUSIC I N C H A N T T h e r e a r e three ways i n w h i c h w o r d s a r e set t o music i n chant.
TEMPO T h e speed a t w h i c h m u s i c is p e r f o r m e d i s c a l l e d i t s tempo. T h e c h o i c e o f t h e a p p r o p r i a t e t e m p o i s p r o b a b l y t h e m o s t i m p o r t a n t decisión a performer has t omake. Quite purposely, there are no tempo markings added t o t h e folksongs a n d c h a n t s i n Gradus. T h e i r a b s e n c e g i v e s y o u t h e o p p o r t u n i t y t o start developing a n i m p o r t a n t m u s i c a l s k i l l , n a m e l y , t o find t h e s u i t a b l e t e m p o f r o m t h e m u s i c itself. I n t r u t h , musicians d o n ' t always follow printed t e m p o indications. M a n y prefer t o look at t h e music, decide o n a tempo, and then look at what's printed. T h e r e ' s n o s u c h t h i n g as t h eo n e " r i g h t t e m p o " f o r a n y piece, a n d certainly n o tf o r t h e folksongs i n t h i s collecüon. Y o u c a n g e t s o m e i d e a s a b o u t t h e effect o f d i f f e r e n t tempos o n music b y singing a folksong at different speeds a n d observing t h e musical differences. Since t h elate seventeenth century tempos have been specified b y t h ecomposer, usually i n Italian terms that a r e fairly standardized. T h o s e used i n Gradus a r e e x p l a i n e d i n t h e G l o s s a r y .
T h e t e r m syllabic i s s e l f - e x p l a n a t o r y a n d c a n b e applied t o a good deal o fvocal music other than c h a n t . A neume i s a s y m b o l u s e d i n M e d i e v a l n o t a tion t o indicate a g r o u p o fu p t o f o u r notes sung t o a s i n g l e s y l l a b l e . A melisma i s a l o n g e r , m o r e florid melodic unit. IRREGULAR RHYTHMS T h e treatment o f r h y t h m i n chant a n dcantillation suggests a n o t h e r w a y o f o r g a n i z i n g a succession o f beats. I n these a n c i e n t f o r m s o f v o c a l m e l o d y y o u find n o r e c u r r i n g pattern o f beats a n d n o t h i n g that can be called "meter." T h e music follows t h ewords, which a r e in prose rather than the metric poetry o f folksong. There's a similar approach t o r h y t h m i na good deal o f sixteenth- a n d seventeenth-century music written f o rcongregational singing. M a n y h y m n s ( c a l l e d chórales) f r o m t h e e a r l y y e a r s o f t h e R e f o r m a t i o n a r e n ' t i n a n y fixed m e t e r . T h e n o t e s f a l l i n t o g r o u p s o f t w o a n d t h r e e beats, f o l l o w i n g t h e s t r o n g a n d w e a k syllables o f t h e text. O n e e x a m p l e is t h e f a m o u s c h ó r a l e m e l o d y A Mighty Fortress. W h i l e t h e versión s e t b y J . S . B a c h i s i n C , t h e o r i g i n a l t u n e is n o t . T w o versions o f t h e o p e n i n g phrases a r e s h o w n at t h e t o p o f page 2 7 . T h e r e y o u can see the difference b e t w e e n the r h y t h m s o f the same m e l o d y i n t h e Renaissance a n d t h e Baroque periods.
WORDS AND MUSIC IN FOLKSONG I n s i n g i n g f o l k s o n g s y o u h a v e e x p e r i e n c e d t h e cióse c o n nectíon b e t w e e n w o r d s a n d m u s i c . T h a t c o n n e c t i o n is p r i m a r i l y r h y t h m i c . T o a l a r g e e x t e n t , t h e r h y t h m o f the words influences the r h y t h m o f the melody. T h e natural accent o fthe text shapes t h e pattern o f strong a n d w e a k beats i n the m e l o d y . F o r e x a m p l e , w h y d o e s Red River Valley b e g i n w i t h t w o u p b e a t s ? B e c a u s e t h e first t w o s y l l a b l e s o f t h e t e x t are weak, w h i l e t h e t h i r d is strong. T h i s suggests upbeat—downbeat. n \
syllabic—one note t o o n e syllable neumatic—-two, three, o r f o u r notes to o n e syllable melismatic—longer g r o u p s o f notes t oo n e syllable
J
from this val-
Read t h r o u g h t h e song again (page 2 1 ) a n d observe h o w t h e stressed syllables fall o nthe s t r o n g b e a t s , t h e first a n d t h i r d i n \ .
26
T h e o r i g i n a l versión i s t h e b a s i s f o r a bicinium ( t w o - p a r t p i e c e ) , [5], t h a t y o u ' l l s o o n s t u d y . O b s e r v e t h a t i n t h e s i x t e e n t h - c e n t u r y versión, t h e h a l f n o t e is o n e b e a t , w h i l e t h e b e a t w a s r e p r e s e n t e d b y t h e quarter note i n t h e seventeenth century. I nt h e e a r l i e r versión, s t r o n g a n d w e a k b e a t s f o l l o w n o consistent pattern. T h e organization o fmeters i n regular patterns l e dt o t h esecond formulation o f the melody.
A Mighty Fortress in our God Original v e r s i ó n (J=beat) U «i U •" U — U u
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Y o u ' l l have m a n y occasions t o study hemiolas, since t h e y a r e f o u n d i n m u s i c f r o m t h e Renaissance into the n i n e t e e n t h century.
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GAILLARDE A n o t h e r interesting r h y t h m is associated w i t h a Renaissance dance, the gaillarde. H e r e , too, the t i m e signature doesn't tell the w h o l e s t o r y . T h e m e t e r i s g i v e n a s 2, b u t i n f a c t s o m e o f t h e m e a s u r e s a r e i n %. O u r e x a m p l e , | 1 5 A | , i s b y Michael Praetorius, a seventeenth-century comp o s e r w h o s e m u s i c y o u ' l l find i n s e v e r a l p l a c e s i n this book. W e show the changing patterns by adding different t i m e signatures i n this excerpt.
r j j , f i o f , r f i ° '
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Another example, taken from t h e Anthology, shows t h a t the h e m i o l a affeets the h a r m o n y as well as t h e m e l o d y .
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God,
H E M I O L A T h e hemiola i s a n i n t e r e s t i n g r h y t h m i c device. T h e t e r m isused i n this situation: i n triple meter, approaching a cadenee, t w o measures o f 4 a r e c o m b i n e d t o f o r m o n e m e a s u r e o f ¡. ( T w o measures o f § m a y also b e c o m b i n e d i n t o o n e m e a s u r e o f 1, e t c . ) M e n t a l l y w e e l i m i n a t e o n e b a r l i n e . T h e h e m i o l a is h e a r d , n o t seen. I f w e r e w r o t e a f a m o u s l i n e i n H a n d e l ' s Messiah, w e w o u l d s e e
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27
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10 Writing Simple Melodies W r i t i n g y o u r o w nm e l o d i e s gives y o u t h e o p p o r t u n i t y t o p u t i n t o practice m a n y o f t h e topics covered i n Part O n e .First, however, t h e element of r h y t h m needs a bitm o r e attention.
PENTATONIC F o l l o w i n g this p r e l i m i n a r y exerc i s e , y o u r first v e n t u r e i n t o m e l o d y w r i t i n g w i l l make useo f limited pitch material. Using only G , A, B , D ,a n d E , write t w oshort melodies. I n t h e first t h e t o n i c i s G . I n t h e s e c o n d , t h e t o n i c i s E . H o w will y o u establish t h e tonic?
PRELIMINARY EXERCISE IN RHYTHM T o e x p l o r e t h e r h y t h m i c possibilities o f a text, w r i t e different settings o f a p o e m w i t h r h y t h m only.B y finding different rhythms f o rthe same words you may open your mind t o more than o n e way o f c o m b i n i n g w o r d s a n d music. H e r e isa m o d e l .
W R I T E A SONG W r i t e a s o n g f o r s o l o v o i c e using o n e o fthese poems o r a similar p o e m o f y o u r c h o i c e . T h e first c o u p l e t m a y b e s e t t o a n antecedent—consequent phrase period. T h e same m a y b e done w i t h t h esecond couplet. Give some t h o u g h t t ot h en a t u r a l accent o f t h e w o r d s before starting t h e musical setting.
I stárt-ed éaríy, tóbk m y d o g , A n d vis-it-éd t h e sé~a, T h e m e r - m a i d s tñ t h e base-mént C a r n e o ü t t o lóbk a t m e . —Emily Dickinson
M y t r u e love h a t h m y heart a n d I have his, By just exchange o n e for theother given; I h o l d hisdear, a n d m i n e h e cannot miss, T h e r e never w a sa better bargain driven. —Philip Sydney
T h e p o e m h a s b e e n scanned, that is, analyzed for s t r o n g a n d w e a k beats. T h e stressed beats i n t h e p o e t r y will cali f o r s t r o n g beats i n t h e music, w h i l e w e a k beats m a y c o r r e s p o n d as well. B u t w h a t a b o u t d u r a t i o n ? H o w l o n g a r e t h el o n g beats a n d how short a r e t h e short beats? W h i l e considering that aspect o f t h e r h y t h m ,w e m u s t also consider t h e fact that t h e lines o f t h e p o e m a r e o f u n e q u a l l e n g t h . T h e first l i n e s e e m s to establish e i g h t syllables as t h e n o r m , b u t t h e n e x t line h a so n l y six.T h e t h i r d line h a s seven, w h i l e t h e f o u r t h line, again, has six. W e ' l l m a k e a l lt h e musical lines equal i n length b y s t r e t c h i n g o u t t h e syllables asn e e d e d . W e ' l l also set t h e p o e m i n b o t h d u p l e a n d t r i p l e m e t e r , s h o w ing b o t h possibilities. B e l o w a r e three different r h y t h m i c settings o f t h e p o e m . I n all three, strong a n d w e a k beats a r e m a t c h e d i n w o r d s a n d music. I
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T h e n w h y o n e a r t h d o I continué t o complain? Since y o u d o n o t love m e , that's all there is to that, A n d since I d o n o t w a n t m y s u f ' f r i n g t o b e known, IT1 s u f f e r b y m y s e l f , m y spirit resolute. — P a u l V e r l a i n e (trans. L e o Kraft) M u s i c , w h e n soft voices die, Vibrates i nthe m e m o r y — O d o r s , w h e n sweet violets sicken, L i v e w i t h i n t h e sense they quicken. —Percy Shelley
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PART T W O NOTE-AGAINST-NOTE CONSONANCE
11 Introduction C o n v e n t i o n a l w i s d o m h a s i t t h a t c o u n t e r p o i n t is t h e s t u d y o f l i n e s , w h i l e h a r m o n y is t h e s t u d y o f c h o r d s . A s i s o f t e n t h e case, c o n v e n t i o n a l w i s d o m is w r o n g . C o u n t e r p o i n t i s t h e s t u d y o f l i n e s i n a controlled relationship t o each other. A l l parts o f that s t a t e m e n t are i m p o r t a n t . It's also i m p o r t a n t to realize that the relationship o f chords to each other in a piece o f music isd e t e r m i n e d by linear considerations m o r e than b y "chordal" ones o r b y root movements. Y o u will begin y o u r study o f elementary coun-
terpoint w i t h s o m e practical considerations. A f t e r that, the procedures for two-part counterpoint— note against n o t e — w i l l b e arrived at by studying a Renaissance piece. T h e n a t u r e o f the c o u n t e r p o i n t e x e r c i s e s is e x p l a i n e d i n d e t a i l , a f t e r w h i c h y o u w i l l begin writing t h e m . Since t h estudy o f counterp o i n t is a p r e p a r a t i o n f o r the s t u d y o f h a r m o n y , i t ' s n o t s u r p r i s i n g t o find t r i a d s e x p l a i n e d i n t h e discussion o f three-part counterpoint. Four-part counterpoint, note-against-note, concludes Part Two.
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12 Some Practical Considerations Treble
W r i t i n g c o u n t e r p o i n t e x e r c i s e s f o r v o i c e s i s a n oíd t r a d i t i o n t h a t is still v a l i d . W h e n a l i n e is s u n g it's easy t o f o c u s o n t h e s h a p e o f t h e m e l o d y , a n d it's also easy to h e a r t h e intervallic relationships b e t w e e n the parts. T h e r e f o r e , w ebegin b y e x a m i n i n g the range o f the voices.
Mezzo-soprano
Soprano
w Alto
V O I C E R A N G E S H u m a n voices d i v i d e i n t o f o u r groups. T h e h i g h e r f e m a l e voice is the soprano; the lower, the alto. T h e h i g h e r m a l e voice is the t e n o r ; t h e l o w e r , t h e bass. T h e n o r m a l r a n g e o f e a c h is:
Tenor
Baritone
Bass -©-
F o r a m o d e r a e d i t i o n o f a c h o r a l piece, t u r a t o pages 255, 282, o r 290 i n the A n t h o l o g y . T h e s e a r e a l l open scores, e a c h v o i c e s h o w n o n a s e p á r a t e s t a f f . T h e s o p r a n o p a r t is w r i t t e n i n t h e G o r t r e b l e c l e f ( t r e b l e i s a n oíd E n g l i s h w o r d f o r s o p r a n o ) , a s is t h e a l t o p a r t . T h e t e n o r i s w r i t t e n i n t h e G c l e f , b u t s o u n d s a n o c t a v e l o w e r . T h e bass p a r t is i n t h e F o r bass clef. I n o r d e r t o r e a d a score a n d l e a r n w h a t it contains, y o u m u s t read all the lines a t the same t i m e . T o d e v e l o p this skill, b e g i n w i t h c h o r a l scores, w h i c h are s i m p l e r t h a n o r c h e s t r a l scores.
B
T H E C L E F S U n t i l fairly recent times, each voice was n o t a t e d i n i t s o w n clef. T h e c l e f sign w a s m o v e d t o a different position o n the staff and i t w a s g i v e n a d i f f e r e n t ñame, d e t e r m i n e d b y t h a t p o s i t i o n . T o d a y , t h e bass a n d treble clefs serve all voices; o n l y s o m e orchestral i n s t r u m e n t s u s e the o l d e r C clef. T h i s is h o w m i d d l e C l o o k s i n each clef:
H O W T O S T U D Y A S C O R E T h e best w a y t o study a score is t o play i t a t t h e piano. L i s t e n carefully, correcting any errors y o u m a y hear. I f y o u can't play a piece u p t o t e m p o , y o u can still study it effectively by playing it slowly.
13 Two-Part Counterpoint A few general observations introduce the study o f two-part counterpoint, note-against-note consonance.
TYPES OF M O T I O N I ndescribing the way i n w h i c h t w o parts o r voices r e l a t e t o e a c h o t h e r , w e speak o f three types o f m o t i o n . T h e y are:
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1. Direct motion—two l i n e s m o v e i n t h e s a m e d i r e c t i o n : a. Parallel motion—two l i n e s m o v e t h e s a m e d i s t a n c e in the same direction. b . Similar motion—two l i n e s m o v e i n t h e s a m e d i r e c t i o n b u t d i f f e r e n t distances. 2 . Contrary motion—two l i n e s m o v e i n o p p o s i t e d i r e c tíons. 3 . Oblique motion—one l i n e h o l d s ( o r r e p e a t s ) a n o t e while the other moves. DIRECT
similar
CONTRARY
CONSONANCE AND DISSONANCE K n o w i n g t h e d i f f e r e n t t y p e s o f m o t i o n eñables y o u t o d e s c r i b e t h e r e l a t i o n s h i p b e t w e e n voices i n a general way. B u t w h a t , specifically, controls that relationship? Y o u c a n b e g i n t o find a n a n s w e r b y s t u d y i n g t h e first t w o p h r a s e s o f t h e b i c i n i u m b y O t h m a y r , below. T h e text has been replaced by figures between the parts, s h o w i n g the simultaneous intervals that y o u hear. T h e y include a l lt h e diatonic i n t e r v a l s : unisón, 2 n d , 3 r d , p e r f e c t 4 t h , p e r f e c t 5th, 6 t h , a n d 7 t h . E a c h i n t e r v a l generates a sense o f e i t h e r s t a b i l i t y o r actívity. W h e n t h e s o u n d s a r e r e l a t i v e l y s t a b l e w e c a l i t h e m consonant; w h e n t h e y a r e a c t i v e w e c a l i t h e m dissonant. T h e s e a r e r e l a t i v e terms, n o t absolutes. Actually, w e m a ys h o w t h e intervals o n a c o n t i n u u m , f o r t h e m o s t stable t o t h e least a c t i v e (see b e l o w ) .
OBLIQUE
parallel 3E
3E
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All types o f m o t i o n a r e used i n music, b u t they serve d i f f e r e n t purposes. C o n t r a r y m o t i o n e m p h a sizes t h e d i f f e r e n c e b e t w e e n t w o voices, m a k i n g f o r the greatest independence o f line. Oblique m o t i o n also s h o w s t h e d i f f e r e n c e b e t w e e n t h e voices b u t less t h a n c o n t r a r y m o t i o n . W h e n t w o l i n e s m o v e i n parallel m o t i o n they blend smoothly a n dtheir differences a r em i n i m i z e d . W h i l e a h e a l t h y a m o u n t o f c o n t r a r y m o t i o n is essential t o g o o d c o u n t e r p o i n t , it's n o tpossible a l l t h e t i m e , ñor w o u l d y o u w a n t t o h e a r o n l y o n e k i n d o f m o t i o n i n a piece o r exercise. V a r i e t y i n types o f m o t i o n keeps b o t h exercise a n d piece interesting. Parallel 3rds a n d 6ths sound euphonious, but i fc o n t i n u e d beyond three o r f o u r sounds they can become tiresome. Oblique motion m a y not seem very p r o m i s i n g , b u t actually it's quite useful.
L I N E AND C H O R D T w o p o w e r f u l t e n d e n c i e s , pulling i n w h a t m a y seem t obe opposite directions, are held i n balance i n tonal music. O n o n e hand, w e w a n t e a c h l i n e t o h a v e as m u c h i n d i v i d u a l i t y as possible. O n t h e o t h e r h a n d , w e w a n t t h e c o m b i n e d s o u n d s t o b e as b e a u t i f u l as w e c a n m a k e them. Each note must be part o fa n independent l i n e , y e t e a c h n o t e is d e p e n d e n t o n o t h e r s f o r s o m e o f its m e a n i n g . T h e greatest c o m p o s e r s w e r e able to reconcile t h e t w oimpulses so that c h o r d a n d line have t h e u t m o s t f r e e d o m o f play. P A R A L L E L 5THS AND O C T A V E S T h e m o s t stable s o u n d s — u n i s o n s , perfect 5ths, a n d perfect 4 t h s — a r e n o t h e a r d i n succession i n t o n a l music. OTHMAYR
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consonant intervals S T A B I L I T Y
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major 7th minor 7th
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minor 2nd
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A C T I V I T Y
Parallel unisons clearly m a k e n o sense i n music t h a t h a s i n d e p e n d e n c e o f l i n e as o n e o f its desirable features. Similarly, parallel octaves don't serve t h e p u r p o s e , a s y o u c a n find o u t f o r y o u r s e l f b y p l a y i n g scales a n o c t a v e a p a r t a t t h e p i a n o a n d observing h o wcompletely they blend into o n e . Parallel 5ths destroy t h e independence o f t h e lines a l m o s t as m u c h as octaves, b u t a r e a b i t m o r e difficult t o hear i n a four-part context. Y o u c a n check y o u r c o u n t e r p o i n t exercises f o r parallel 5ths by playing t w o lines at a time, listening carefully t o the intervals.
TYPES OF MOTION W h a t types o f m o t i y o u h e a r b e t w e e n t h e voices? A l l t h r e e types. ^° a good deal o fsimilar a n doblique m o t i o n w i ^ c o n t r a r y m o t i o n is h e a r d a t t h e cadenee. 0 r i
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SKIPS AND STEPS I n t h e s e v e r y s i n g a b l e \ stepwise m o t i o n predominates. Skips a r e l i m i t e , ^ ' 3rds a n d 4ths. T h o s e skips a r e almost ¡ answered b ym o t i o n i n t h e opposite direction T u ^ creates t h e balance that characterizes most R ^naissanee vocal lines. t 0
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R A N G E T h e r a n g e o f e a c h p a r t is l i m i t e d f o r t h e s o p r a n o , a n o c t a v e f o r t h e chórale m l6 t h i n t h e a l t o . T h e c o m b i n e d r a n g e is a 1 2 t h T \ J shows y o u that a good deal can be o m p l i j in a limited spatial f r a m e w o r k . a
HARMONY AND COUNTERPOINT H a r m o n y a n d counterpoint aren't t w o very different topics. T h e y a r e closely related, w h i c h is w h y they a r e p r e s e n t e d i n a n i n t e g r a t e d w a y i n Gradus. W e have already stated o u r disagreement with t h e conventional idea that h a r m o n y deals w i t h chords a n d c o u n t e r p o i n t s i m p l y w i t h lines. S u c h a position o v e r l o o k s s o m e basic facts o f m u s i c a l life: lines flow together t o f o r m chords, w h i l e t h e best w a y t o u n d e r s t a n d t h em o t i o n o f o n e c h o r d t o a n o t h e r is to u n d e r s t a n d t h elines that guide t h e m . T h e linear aspect o f m u s i c is f u n d a m e n t a l t o a n y serious u n d e r s t a n d i n g o f t o n a l m u s i c a n d is e m p h a s i z e d i n Gradus.
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L I N E AND C H O R D E v e n t h o u g h t h e r e a r t w o parts, w e m u s t consider t h e chordal a s p e c t o t h e m u s i c . I n t h i s m u s i c , y o u h e a r t w o - n o t e c h °^ c a l l e d dyads. T h o s e d y a d s a r e m o s t l y 3 r d s a n d fi^' w i t h 5ths a n d octaves at b e g i n n i n g a n d e n d ' few dissonances. T h e r e ' s considerable v a r i . the choice o f simultaneous sounds. A t t h e ^ t i m e , t h e l i n e s a r e s m o o t h a n d flowing. A l t h m o d e s t i n scope, t h i s piece satisfies t h e dem° o f b o t h t h el i n e a r a n dc h o r d a l aspeets o f ^ . w h i c h is w h a t c o u n t e r p o i n t is all about. e
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T h e s e general observations a r en o wapplied t o a specific piece. R e f e r t o t h e excerpt f r o m O t h m a y r ' s b i c i n i u m o n p a g e 3 1 . T h e sign 2 tells y o u that t h e h a l f n o t e represents o n e beat. T h e n u m b e r o f b e a t s i n a u n i t is v a r i a b l e , as y o u s a w w h e n t h e chórale m e l o d y w a s d i s c u s s e d o n p a g e 2 7 . B a r l i n e s have been added t o suggest t h e groupings o f two, three, a n d f o u r beats. F i g u r e s s h o w t h e intervals b e t w e e n voices. First y o u h e a r a unisón, d e f i n i n g F a s t o n i c . A f t e r s e v e r a l c o n s o n a n c e s , a d i s s o n a n c e i s h e a r d . Figures of dissonant intervals are encircled i n e x a m p l e s a n d i n y o u r exercises; dissonance will b e t h e subject o f P a r t T h r e e . A t this p o i n t o u r discussion focuses o n consonant intervals.
s
THE COUNTERPOINT EXERCISE T o h e l m a k e t h etransition f r o m t h estudy o f a pie g c o u n t e r p o i n t exercise, h e r e is a n excerpt f ° Oltl F u x ' s Gradus ad Parnassum. I t ' s i n t h e t r a d i t i tonal f o r m : a g i v e n m e l o d y , t h e cantus firrnus, [ voice a n d t h e counterpoint i n another. H e r c a n t u s firmus i s i n t h e a l t o . C
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C A D E N C E A t t h e e n d o f t h e first p h r a s e , a m a j o r 6 t h o p e n s o u t i n t o a n octave. T h a t m o t i o n is a cadenee, o n e t h a t ' s h e a r d a g o o d d e a l i n t w o - p a r t m u s i c o f t h e period. T h e melodic cadenee, t h e fall o f t h e voice that y o u h e a r d so o f t e n i n folksong a n d chant, is h e a r d i n t h ealto. T h e c o u n t e r p o i n t t o t h a t is i n t h e s o p r a n o , l e a d i n g n o t e t o t o n i c . T h e c o n v e r g e n c e o f t h e l i n e s o n t h e g o a l n o t e , C, e r e ates a sense o f arrival. T h e second cadenee, at t h ee n do ft h e excerpt, i s t h e s a m e a s t h e first.
STUDY T H E EXERCISE T h e same t o p i w e r e discussed i n relation t ot h e bicinium a r ^ ^ investigated here. L i s t e n t o t h e intervals bet ^ ^ en the voices a n dt o t h e ways i nw h i c h they a r What's the tonic? t h e mode? Compare ther^j ^" • • ., . ».„ . de w i t h t h e t w o i n O t h m a y r . W h a t types o f m o t i e n c e i y o u h e a r b e t w e e n t h e voices a t each point? í l ^ are skips a n d steps treated? What's ther a n ° ge o f each voice? t h e c o m b i n e d range? C s
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T H E C O U N T E R P O I N T E X E R C I S E — A SUMMARY T h es u m m a r y o f c o u n t e r p o i n t procedures that f o l l o w s isbased i np a r t o n t h emusic j u s t s t u d i e d , i n p a r t o n observatíons a b o u t s i m i l a r p i e c e s . A l l generalizations reflect n o r m a t i v e musical practice. T h i s s u m m a r y deals w i t h c o n s o n a n t s o u n d s only; dissonant usages a r e explained i n Part T h r e e . T h e p u r p o s e o f w o r k i n g c o u n t e r p o i n t exercises is t o d e v e l o p s k i l l i n w r i t i n g t o n a l m u s i c , t o b e t t e r u n d e r s t a n d t h e pulí b e t w e e n c h o r d a n d l i n e i n t h a t music, a n d t o gain first-hand knowledge o f how tonality functions. T h ep r o p e r execution o f these exercises requires that y o u w r i t e simultaneous lines that combine harmoniously. B o t h t h e individual lines a n dt h e resulting p o l y p h o n y require u n i t y and variety t o b e musically satisfying. H e r e a r e g u i d e l i n e s t h a t w i l l h e l p y o u achieve those goals.
Polyphony T o achieve u n i t y : Establish t h e t o n a l i t y w i t h t h e first s o u n d , u s i n g a p e r f e c t c o n s o n a n c e (unisón, p e r f e c t 5 t h , o c t a v e ) o v e r t h e l o w est v o i c e . Confirm t h e tonality at t h e end, t h etonic i n t h e lowest voice. K e e p t h e l i n e s cióse t o g e t h e r s o t h a t t h e y a r e h e a r d as one e n t i t y . T o achieve variety a n d interest: Aim for independence o f the parts. C o n t r a r y m o t i o n is best f o r t h a t p u r p o s e b u t : A good m i x o f p a r a l l e l , c o n t r a r y , a n d o b l i q u e m o t i o n is desirable. A v o i d p a r a l l e l p e r f e c t c o n s o n a n c e s (unisón, 5 t h , o c t a v e ) . V a r y the i n t e r v a l s b e t w e e n voices. The Cadenee A n exercise m u s t n o t m e r e l y stop, b u tm u s t c o m e to a c o n v i n c i n g e n d . T h e c a d e n e e e f f e c t i v e l y b r i n g s t h e m u s i c a l m o t i o n t o a conclusión b y d i r e c t i n g b o t h lines t o goals, w i t h ^ t h e t o n i c i n t h e bass. B e l o w are s o m e cadenees i n t w o voices. A l l s h o w c o n t r a r y m o t i o n i n t o t h e final s j o u n d , e x c e p t f o r o n e t h a t uses o b l i q u e m o t i o n . O b s e r v e t h a t t h e l e a d i n g n o t e , originating i n t h em a j o r m o d e , is a n essential part of all cadenees except i n t h e Phrygian. I n that mode t h em o t i o n f r o m F t oE s o m e w h a t resembles the m o t i o n l e a d i n g - n o t e - t o - t o n i c , p u l l i n g d o w n a half step t o t h etonic. S o m e cadenees i n m i n o r type m o d e s m a y e n d w i t h a m a j o r t r i a d (raised 3 r d or Picardy 3 r d ) , a n o t h e r u s e o f m o d e m i x t u r e .
Line T o achieve unity each line should: Stay w i t h i n t h e range o f one octave. End w i t h t h e note o n w h i c h i tbegan, o r a 3 r d o r 5 t h away. Use stepwise m o t i o n p r e d o m i n a n t l y . Use small skips r a t h e r t h a n large ones. Fill t h e skips w i t h m o t i o n i n t h e opposite direction. A v o i d any skip larger than a 6th, a n dany augmented o r diminished interval. T o achieve variety: V a r y t h e stepwise m o t i o n w i t h a t least o n e skip. D o n ' t repeat t w o - n o t e units, either literal o r transposed.
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THE CANTUS FIRMUS T r a d i t i o n a l c o u n t e r p o i n t exercises consist o f a g i v e n m e l o d y , t o w h i c h the student writes o n e o r m o r e o t h e r melodies, as in the F u x exercise o n page 32. T h e given m e l o d y is t h e cantus firmus; t h e m e l o d i e s w r i t t e n a g a i n s t t h a t a r e t h e c o u n t e r p o i n t ( s ) , f r o m t h e L a t i n punctus contra punctum, n o t e a g a i n s t n o t e . N o t o n l y a r e exercises w r i t t e n w i t h a cantus firmus, but compositions have been created b y the s a m e m e t h o d . T h e b i c i n i u m b y O t h m a y r , \5\, i s o n e e x a m p l e , t h e chórale m e l o d y s e r v i n g a s c a n t u s firmus. T h e technique o f w o r k i n g with a given melody originated i n t h e Middle Ages a n d persisted t h r o u g h t h e Renaissance a n d , t o s o m e extent,
t h e B a r o q u e . E x p l a n a t í o n s o f c a n t u s firmus t e c h niques i n exercises a p p e a r i n t h r e e i m p o r t a n t books: Counterpoint, b y G i o s e f f e Z a r l i n o ( 1 5 5 8 ) ; A Plaine and Easie Introduction to Practica!! Musicke, b y T h o m a s M o r l e y ( 1 5 7 9 ) ; a n d Gradus ad Parnassum, b y J o h a n n J o s e p h F u x ( 1 7 2 5 ) . T h a t b o o k s a s oíd a s t h e s e s h o u l d still h a v e s o m e t h i n g t o tell u s a b o u t m u s i c shows the continuity o f musical tradition. Y o u may i d e n t i f y y o u r s e l f w i t h t h a t t r a d i t i o n , a n d Gradus offers y o u a w a y t od o j u s t that. A c o l l e c t i o n o f c a n t u s firmi i s i n A p p e n d i x 4 .
O * Worksheets 5, 6
14 Three-Part Counterpoint W e begin b y studying t h e Response by MarcA n t o n i o I n g e g n e r i , a n Italian c o m p o s e r o f the late Renaissance, r e p r o d u c e d at the top o f the page. I f singing this music gives y o u the impression that i t has m a n y 3rds a n d 6ths, y o u a r e correct. T h o s e e u p h o n i o u s s o u n d s h e l p créate t h e b e a u t y o f t h e m u s i c . I n m o s t cases t h e y a d d u p t o triads.
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THE TRIAD Y o u a l r e a d y k n o w t h e t r i a d as a three-note structure. I n y o u r study o f the triad i n a m e l o d y , notes o f t h e t r i a d w e r e h e a r d i n succession. I npolyphonic music they a r eheard simultan e o u s l y as w e l l as i n succession. I n simplest f o r m , t h et r i a d consists o f t w o 3 r d s stacked up. T o g e t h e r the 3rds add u p t oa 5th. I n
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the Response, the hrst notes that are s u n g f o r m a t r i a d . F r o m t h e b o t t o m u p , t h e ñames o f t h e t r i a d ' s m e m b e r s are: root (lowest), 3 r d (middle), and 5th (highest).
v o i c e t h e bass, w h e t h e r o r n o t a bass voice sings i t ) , t h e i n t e r v a l s o v e r t h a t bass a r e a 5 t h a n d a 3 r d . T h e t r i a d i s t h e r e f o r e i n t h e | o r root position. B u t the lowest note i n the t r i a d n e e d n o t always be the r o o t . S o m e t i m e s t h e 3 r d o f t h e t r i a d i s i n t h e bass. I n t h a t case, w h e n y o u m e a s u r e t h e intervals f r o m t h e bass u p , w h a t d o y o u find?
Components of the triad
5th 3rd root
C-triad
T h e r e a r e t h r e e different types o ftriad i n t h e Response. W e will discuss t w o o f t h e m n o w . C o m pare the o p e n i n g t r i a d w i t h the one that starts 4 . T h e r e a r e similarities a n ddifferences; listen f o r t h e m ! B o t h c h o r d s fit w i t h i n a 5 t h , b u t t h e 3 r d s are a r r a n g e d differently. Major triad
I
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first inversión
root position
M i n o r triad
k
m3rd
T h e triad w i t h a m a j o r 3 r d above the r o o t (C—E— G ) i s c a l l e d a major triad. T h e t r i a d w i t h a m i n o r 3 r d a b o v e t h e r o o t ( E — G — B ) i s a minor triad.
5th-
6th-
both are consonant
positions
T h e i n t e r v a l s o v e r t h e bass E are a 6 t h a n d a 3 r d . W h a t type o f 6 t h a n d 3 r d isn't i m p o r t a n t here, because b o t h major a n d m i n o r 3rds and 6ths are c o n s o n a n t . T h e versión o f t h e t r i a d i s t h e r e f o r e s e e n h e r e i n t h e f p o s i t i o n , o r first inversión. T h e e x a m p l e above represents a comparison o f the t w o consonant positions o f a C-triad. THE 4TH T h e f position includes the interval o f a 4 t h b e t w e e n t h e t w o u p p e r voices. T h a t interval, c o n s i d e r e d d i s s o n a n t i n t w o - p a r t w r i t i n g , is considered c o n s o n a n t i nt h r e e - p a r t chords. H o w can t h a t be? T h e a n s w e r d e m o n s t r a t e s t h e i m p o r t a n c e o f t h e b a s s i n t o n a l p o l y p h o n y : w h e n a 4 t h is h e a r d
Í AND | POSITIONS W h e n t h e r o o t o f t h e t r i a d is i n t h e l o w e s t v o i c e ( i n p o l y p h o n y w e c a l i t h a t
35
o v e r t h e bass i t is a dissonance. A l l i n t e r v a l s a r e h e a r d o v e r t h e bass i n t w o - p a r t m u s i c , s o t h e 4 t h is always a dissonance. B u t w h e n heard between t w o u p p e r voices, t h e 4 t h is a c c e p t e d asa c o n s o n a n c e . L o o k again a t t h eO u t l i n e o fRelative Degrees o f Dissonance o n page 3 1 . Y o u c a n see that t h e 4 t h is t h e least active dissonance o f all. T h a t ' s w h y i t c a n b e p u s h e d a c r o s s t h e b o r d e r i n t o ( m o r e o r less) c o n s o n a n t status b y r e m o v i n g i tf r o m a n y connect i o n w i t h t h e b a s s . F o r t h i s r e a s o n , t h e 4 t h i n _1 isn't circled, as a r e t h e dissonant intervals i n t h e score. B y contrast, t h e 4 t h is 5 is h e a r d w i t h t h e bass a n d is c i r c l e d . I t r e m a i n s t o a d d t h a t t h e 3 p o s i t i o n is a b i t m o r e c o n s o n a n t t h a n t h e3p o s i t i o n , a fact t h a t we'll m a k e use o fi n t h e study o f h a r m o n y . DIMINISHED TRIAD S o f a r w e h a v e discussed four consonant chords: m a j o r a n d m i n o r triads m a y b e heard i neither 3 o r 3 position. A n o t h e r t y p e o f t r i a d h a s as its o u t s i d e i n t e r v a l n o t a p e r f e c t 5 t h b u t a d i m i n i s h e d 5 t h . I t i s c a l l e d t h e diminished triad, a f t e r t h a t o u t s i d e i n t e r v a l , a n d c o n s i s t s o f t w o m i n o r 3rds stacked u p . I n 3 p o s i t i o n it's a dissonance, n o tavailable i nthis study a n d rarely heard in a n y music. B u ti n 3 position it's considered consonant, o r p e r h a p s m o r e c o n s o n a n t t h a n dissonant. T h i s gives y o u o n e m o r e t r i a d t ow o r k w i t h in three-part counterpoint.
I
3 position or first inversión
another 3 position or first inversión
—tí
augmented 4th but consonant to lowest voice
RANGE T h e r a n g e o f e a c h v o i c e - p a r t is l i m i t e d . T h e bass h a s t h e largest span, a 7 t h , w h i l e s o p r a n o a n d alto b o t h encompass only a 6 t h . T h e total r a n g e o f t h e piece is a p e r f e c t 1 2 t h .
Gñ
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diminished 5th dissonant in relation to lowest voice
TONALITY C o n t i n u i n g with o u r observations concerning t h e Response, w e note that t h e k e y is G, t h eMixolydian mode. (Both key and m o d e were established before t h e beginning o f this excerpt.) T y p i c a l o f t h e m o d e , t h e emphasis iso n 4 r a t h e r than 5. Each o ft h e t w o phrases begins with a C triad. C isalso t h e highest n o t e i n each phrase. G is c o n f i r m e d a s t o n i c b y t h e c a d e n e e s , b o t h o f which bring i ntheleading note. SPACING T h e voices k e e p cióse together t h r o u g h o u t . T h e largest interval between t h e outer voices is a l O t h . O f t e n s o p r a n o a n d bass a r e w i t h i n a 5 t h o r a 6 t h o f each o t h e r . T h e y a r e closest t o g e t h e r o n t h e last beat o f 4 , w h e r e o n l y a 3 r d separates t h e m . T h e closeness o f t h e voices contributes m u c h t o t h e w a r m , blended sonority o f this music.
Diminished triad:
i or root position
t h i s , w e s a y t h a t t h e F i s doubled. T h e r e s u l t i s c a l l e d a n incomplete triad, o f t e n h e a r d i n t h r e e - p a r t m u s i c . A d i f f e r e n t t h r e e - n o t e s o u n d is h e a r d f o r a m o m e n t o n t h e last beat o f 9 . T h i s f o r m o f t h e triad lacks a 3 r d b u t includes a 5 t h . Since t h e i n t e r v a l s f r o m t h e bass a r e a n o c t a v e a n d a 3 r d , w e c a l i t h i s t h e f posiüon o f t h e t r i a d . W h i l e i t ' s u n u s u a l t o find t h i s p o s i t i o n i n t h e s i x t e e n t h c e n t u r y , i t i s heard a good deal i nearlier music.
diminished 5th but consonant to lowest voice
W h a t about t h e a u g m e n t e d 4 t h i nt h ef position o f t h e d i m i n i s h e d triad? L i k e t h e perfect 4 t h ,it's accepted asa consonance w h e n n o th e a r d w i t h t h e bass. A n o t h e r s p a c i n g o f t h e voices j s also s h o w n above. I t tells y o u t h a t t h e d i m i n i s h e d 5 t h , t o o , m a y b e treated as a consonance w h e n n o t h e a r d w i t h t h e bass. INCOMPLETE TRIADS M o s t o f t h e s o u n d s i n the Response a r e c o m p l e t e triads, w i t h three different notes. B u t there a r e t w oother consonant c h o r d s as well. T h e s e c o n d c h o r d i n 2 consists o f two Fs a n d o n e A . It'sa three-note sound, b u t t h e r e a r e o n l y t w o d i f f e r e n t n o t e s . I n cases l i k e
36
V O I C E CROSSING I n 4 t h e s o p r a n o s k i p s d o w n to its lowest note, E ,crossing u n d e r t h e alto G . T w o b e a t s l a t e r t h e s o p r a n o m o v e s i n t o a unisón w i t h t h ealto, b u tdoesn't regain t h eu p p e r position u n t i l a f t e r t h e first c a d e n e e ( 6 ) . V o i c e c r o s s i n g i s a familiar technique i npolyphonic music, offering more opportunity for flexibility. S P E C I A L F U N C T I O N O F T H E BASS Y o u m a y have observed that w h i l e t h e u p p e r voices m o v e s t e p w i s e m o s t o ft h e t i m e , t h e bass h a s m a n y skips. T h e r e a r e several reasons f o r this, b u t t h e most s i g n i f i c a n t is t h a t t h e bass s u p p o r t s t h e c h o r d s ; that's its special f u n c t i o n . T h e opening o f t h e excerpt clearly shows t h e bass d o i n g i t s j o b . T h e s o p r a n o m o v e s G - A - G . T h e A is a c o n s o n a n t N . T h e bass skips t o s u p p o r t the consonant chord u n d e r the A . W h i l e the soprano has m o v e d stepwise a n d t h e alto has kept i t c o m p a n y i n 3 r d s , t h e bass h a s t w o skips. T h e bass skips
i n c o n t r a r y m o t i o n t o t h eu p p e r voices, displacing the independence s odesirable i n tonal music. CADENCES T h e r e are t w o p h r a s e s i n the e x c e r p t , e a c h b r o u g h t t o a conclusión b y a c a d e n e e . T h e first p h r a s e c o m e s t o a p a u s e a t t h e b e g i n n i n g o f 6. T h e l e a d i n g n o t e , Fjt, is i n v o k e d t o lead f r o m t h e e n d o f 5 i n t o t h e g o a l c h o r d , t h e first G - t r i a d in t h emusic. M u c h the same thing happens i n t h e second cadenee, 9—10. DISSONANCE O u r d i s c u s s i o n h a s focused o n the consonant sounds i n t h e music. T h e r e a r e dissonant sounds as well, as s h o w n b y t h e circled figures. These will beexplained i n Part Three.
C O M M E N T ON S T Y L E T h e R e s p o n s e b y I n g e g n e r i shows many i m p o r t a n t characteristics o f t h e late Renaissance style. S i m p l e lines, m o v i n g s t e p w i s e f o r t h e most p a r t ( e x c e p t f o r t h e bass), genérate a succession o f c o n s o n a n t c h o r d s . T h e s e a r e a l l t r i a d s i n 1 a n d jj p o s i t i o n . T h e m u s i c f l o w s effortlessly from o n e sound t o t h e next. E v e n t h o u g h t h e r e are only three voices, t h e s o u n d is u n f a i l i n g l y rich and b e a u d f u l . E a c h line, t o o , h a s a s h a p e o f its o w n ; c h o r d a n d l i n e a r e i n balance. It's not surprising to learn that f o r m a n y years t h e responses o f Ingegneri were attributed t othe leadi n g c o m p o s e r o f sacred m u s i c i n R o m e , P a l e s t r i n a . B e f o r e proceeding t o exercises i n t h r e e parts, s t u d y t h e cadenees below.
Cadenees in three parts Major Z3SZ
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Four-Part Counterpoint part music. I n four-part music, every chord must h a v e a d o u b l e d m e m b e r (as l o n g as w e ' r e d e a l i n g w i t h triads). I n t h e J o s q u i n e x a m p l e , d o u b l i n g is i n d i c a t e d b y a figure o r l e t t e r b e t w e e n t h e a l t o a n d t e n o r l i n e s . R, 3 r d , o r 5 t h tells y o uw h e t h e r t h e r o o t , 3 r d o r 5th o ft h e t r i a d is d o u b l e d . R e a d i n g t h r o u g h those indications, y o u c a n see t h a t t h e r o o t is d o u b l e d m o r e o f t e n t h a n e i t h e r t h e 3 r d o r t h e 5 t h . T h i s is true i nmost four-part tonal music. W h e n t h e 3 r do r 5 t h isd o u b l e d , t h e r e is usually a g o o d r e a s o n . I n _2, s o p r a n o a n d b a s s m o v e d o w n i n p a r a l l e l l O t h s . H o w t o créate c o n t r a r y m o t i o n w i t h a n u p w a r d line? T h e answer: place alto a n d tenor l o w so that they c a nthen move u p . T h e t e n o r reaches d o w n t oF , f r o m w h i c h i t c a n rise i n c o n t r a r y m o t i o n t o t h e u p p e r voices. T h a t F is t h e 3 r d o f a t r i a d . Since F is also s u n g b y t h e s o p r a n o , t h e 3 r d is d o u b l e d . I n 6—.7 t h e r o o t i s n ' t j u s t d o u b l e d ; i t ' s t r i p l e d . H e r e is t h e o n l y i n c o m p l e t e t r i a d i n t h e excerpt. H o w t o a v o i d parallel octaves c o m i n g o u t o f a l l those Gs? Josquin sends each o n e i n a different direction. T h e s o p r a n o repeats itsG (that's part o f t h e c h a n t ) . A g a i n s t t h a t , t h e bass skips u p a n dt h e
FOUR PARTS I nt o n a l m u s i c , f o u r p a r t s is t h e n o r m . N o t o n l y is m o s t choral music w r i t t e n i n f o u r parts; it's also t r u e that m u c h i n s t r u m e n t a l m u s i c is i n f o u r parts. M a s t e r y o ff o u r - p a r t w r i t i n g is a n e s s e n t i a l p a r t o f y o u r t r a i n i n g a s a m u s i c i a n . T h a t mastery begins with t h e study o f four-part counterpoint. A short Mass excerpt b y a great composer o f t h e early Renaissance h a s m a n y instructive features (see b e l o w ) . T h i s s c o r e i s i n y o u r A n t h o l o g y , [T], t o g e t h e r w i t h t h e t e x t . T h e e n t i r e M a s s is b a s e d o n t h e c h a n t Pange Lingua, w h i c h y o u find o n p a g e 12. F r o m n o w on, w e will n o tindicate all t h e intervallic relationships b e t w e e n t h e voices. Instead, w e will show t h e content o f each chord with either § or 3 u n d e r t h e bass line. I f y o u k n o w t h a t t h e t r i a d is i n first inversión o r r o o t p o s i t i o n , y o u c a n r e a d i l y d e t e r m i n e all t h e intervals b e t w e e n t h e voices. DOUBLING A s w e k n o w , a triad has o n l y three d i f f e r e n t notes. H o wa r e these notes distributed a m o n g f o u r voices? T h ea n s w e r is that o n e o f t h e triad's notes is h e a r d i n t w o d i f f e r e n t voices, o r doubled. Y o u h e a r d a f e w s u c h d o u b l i n g s i n t h r e e Et Incarnatus Est from the Mass P a n g e L i n g u a Triad member m soprano S
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tenor skips d o w n . T h e y a r e i ncontrary m o t i o n t o each o t h e r a n di n oblique m o t i o n t o t h e soprano. T h e alto moves u p stepwise. There's every k i n d o f motion b u t parallel. A t t h e final c a d e n e e , 1 1 — 1 2 . t h e B i s d o u b l e d i n t h e n e x t - t o - l a s t c h o r d . T h e d o u b l e d B is t h e l e a d ing note. I nk e e p i n g w i t h t h e chant, t h e soprano B m o v e s d o w n t o G. B u t i t s e e m s t h a t J o s q u i n also wanted t o hear t h e leading note m o v e t o t h e tonic. H e a d d e d a n o t h e r B i nt h e tenor, a n octave before the s o p r a n o B .T h i s doubles t h e leading note. T h e tenor B moves u p , t h esoprano's moves d o w n , a n d the voices a r e i n c o n t r a r y m o t i o n . C o n v e n t i o n a l w i s d o m cautions against d o u b l i n g the 3 r di na m a j o r triad. Instead o ffollowing such a d i c t u m blindly, w e suggest that y o u t h i n k about w h a t a c t u a l l y h a p p e n s w h e n a 3 r d is d o u b l e d . I f b o t h t h e d o u b l e d n o t e s m o v e u p a step, p a r a l l e l octaves will s u r e l y result. B u t i f t h e d o u b l e d notes proceed i ncontrary m o t i o n there will be n o parallel octaves, a n d t h u s there's n o o b j e c t i o n t o t h e doubling.
r e a f f i r m e d as t h e g o a l o f m o t i o n . T h e notes o f t h e t r i a d figure l a r g e l y i n t h e m e l o d y , w h i l e C a n d G a r e i m p o r t a n t i n t h e bass. T H E BASS A g a i n t h e bass h a s m a n y s k i p s ; i t i s fulfilling its special f u n c t i o n , as w e c a n see i n a l m o s t e v e r y m e a s u r e . A bass s k i p is p a r t o f t h e first c h o r d c h a n g e , w h i c h a l t e r s t h e r o l e o f t h e melody E from 3 r d to 5th. W h e n the melody m o v e s b y N , E - F - E , t h e bass skips t o s u p p o r t those m e l o d y notes w i t h consonance. T h e fall o f a 5 t h i n t h e final p a i r o f c h o r d s i s a n i m p o r t a n t p a r t of the cadenee. RANGE T h e total r a n g e o f t h e piece is f r o m t h e l o w G o f t h e bass t o t h e C o f t h e s o p r a n o , t w o octaves a n da 4 t h . T h eo n l y voice w i t h a range o f o v e r a n o c t a v e is t h e bass, w h i c h stretches f o r a 9th.
R O O T , 3RD, 5 T H O n e t h i n g t h a t a f f e e t s t h e s o u n d o f a c h o r d is w h e t h e r t h e s o p r a n o h a s t h e root, 3rd, o r 5 t h o ft h e triad. T h i s hasnothing t o do with doubling; it'sa question o f which triad m e m b e r is t h e m e l o d y n o t e . A b o v e t h e s o p r a n o p a r t i n t h e J o s q u i n e x c e r p t y o u ' l l find i n d i c a t i o n s o f R, 3 r d , a n d 5 t h , s h o w i n g t h e r o l e o f t h e s o p r a n o note i n t h e triad. M o s t o f t e n , t h e 3 r d o f t h e t r i a d is t h e h i g h e s t n o t e . T h e 5 t hplays s o m e r o l e as m e l o d y n o t e , b u t t h e r o o t r a r e l y d o e s . S i n c e t h e r o o t is i n t h e bass most o ft h e t i m e , t h e presence o fthe 3 r do r 5 t h i n t h e t o p l i n e m e a n s t h a t m e l o d y a n d bass a r e u s u a l l y d i f f e r e n t n o t e s . T h i s is a w a y o f c r e a t i n g s o m e richness a n dcolor i n t h e chords, w h i c h b y t h e m selves a r e q u i t e s i m p l e . F r o m t h e v e r y b e g i n n i n g , w e see h o w a musical effect c a n b e created b y c h a n g i n g t h erole o f t h e m e l o d y n o t e . I n t h e first c h o r d , t h e m e l o d y E i s t h e 3 r d o f a t r i a d . I n t h e s e c o n d c h o r d , E is still the m e l o d y note, b u t it's n o w t h e 5 t h o f a triad. This, combined with t h edifference between a major triad a n d a m i n o r o n e , changes t h e sound a n d c o l o r o f t h e E . I t ' s t h e s a m e n o t e a s i n t h e first chord, y e tthere's a difference y o u can hear. TONALITY T h e k e y is c l e a r l y C . T h e r e a r e n o c h r o m a t i c n o t e s . T h e t o n i c t r i a d i s t h e first c h o r d heard, a n d it'spresent m u c h o f t h e time. After o t h e r c h o r d s pass b y i n 6 — 1 1 , t h e t o n i c t r i a d is
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REGISTER T h em u s i c lies i n a l o w register, a n d has, as a result, a r a t h e r d a r k color. A l t h o u g h t h e voices m a y seem u n u s u a l l y l o w t o u s , this is a n o r m a l way o fwriting vocal music i nt h e fifteenth century. A cióse l o o k a t 9 s h o w s a n i n t e r e s t i n g d e t a i l . O n t h e first b e a t t h e a - t r i a d i s q u i t e s p r e a d o u t , c o v e r ing t w o octaves a n da 3 r d . T h e n s o m e t h i n g u n e x p e c t e d h a p p e n s : t h e bass skips u p a n octave, a n d the alto a n d t e n o r skip u p too. T h e voices r e t u r n t o t h e l e v e l o f t h e first m e a s u r e s . T h e d i f f e r e n c e b e t w e e n t h e t w o statements o ft h e a-triad i n 9 is a difference i n range a n dregister, n o t pitch. N o n e theless, it'sa m u s i c a l event, a n d is used h e r e t o l a u n c h t h e final p h r a s e o f t h e e x c e r p t . I m p o r t a n t things h a p p e n i n music besides pitch changes. FOLLOW-UP T h i s is a g o o d t i m e t o p e r f o r m a n d listen t o three pieces i n t h e A n t h o l o g y . A l l consist o f consonant triads i n §a n df positions. T h e v i l l a n e l l a b y D o n a d , [7], i s a c h e e r f u l c a r n i v a l s o n g f r o m Venice, very m u c h note-against-note conson a n c e . Innsbruck, I Now Must Leave Thee, [2], i s a f a m o u s ( a n d v e r y beauüful) c h o r a l s o n g o f t h e mid-Renaissance. Finally, a p o w e r f u l setting o f P s a l m 7 8 b y H e i n r i c h Schütz, [ 1 7 ] s u g g e s t s a s p e e t s o f t h e transition f r o m Renaissance t o Baroque styles. A l l o f these pieces m a y b e s u n g b y voices alone, o r with instrumental doubling, o r even played by instruments alone. B e l o w a r e some cadenees t o be used i n y o u r c o u n t e r p o i n t exercises.
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PART THREE DIATONIC DISSONANCE
16 Introduction As y o u listen t o t o n a l music a n d focus o n t h e s i m u l t a n e o u s s o u n d s , y o u w i l l find t h a t t h e y s e e m to h a v e d i f f e r e n t i m p u l s e s : s o m e sounds s e e m active a n d m o v e f o r w a r d , o t h e r s a r e r e l a t i v e l y stable. T h e sounds that agree w i t h each other and contain n o a c t i v e e l e m e n t a r e t h o s e w e ' v e c a l l e d consonant. T h o s e sounds that i n some w a y disagree w i t h each o t h e r a n d d e m a n d f u r t h e r m o v e m e n t we've called dissonant. D i s s o n a n c e m a k e s s e n s e t o t h e e a r b e c a u s e it's " e x p l a i n e d " b y s u b s e q u e n t c o n s o n a n c e . T h e reléase o f t h e tensión c a u s e d b y d i s s o n a n c e i s f e l t in the consonance that follows. C o m p o s e r s l e a r n e d t o manipúlate t h e d i s s o nance-consonance interaction early in t h e Renaissance. T h e y t r e a t e d dissonance carefully, p r e p a r i n g a n d r e s o l v i n g i t b y s t e p i n m o s t cases. E v e n w i t h i n these limitations, t h o u g h , they made good musical use o fdissonance. T h i s is o n e reason w h y Renaissance m u s i c provides such a g o o d m o d e l f o r y o u r early exercises. T h e discipline o fcounterpoint offers a system-
atic w a y o fs t u d y i n g t h e i n t e r p l a y o f consonance a n d dissonance. T h e c o u n t e r p o i n t exercises o f P a r t T w o , concerned w i t h consonance only, gave y o u a starting point. I nPart T h r e e y o u will study consonance—dissonance i n t w o , three, a n df o u r parts. T h e r e a r e three m a i n types o f dissonance i n a l l tonal music. T h e y are: P a s s i n g m o t i o n ( P ) : T h i s t y p e o f m o t i o n filis i n t h e m e l o d i c i n t e r v a l o f a 3 r d (less o f t e n , a 4 t h ) , c a u s i n g a t e m p o r a r y dissonant relationship w i t h another voice as i t m o v e s . M o t i o n t o a n d f r o m t h e P is s t e p w i s e i n o n e d i r e c t i o n . W h e n a passing t o n e falls o n a w e a k b e a t o r a w e a k p a r t o f a b e a t , w e indícate i t w i t h a P . W h e n i t falls o n a s t r o n g beat o r a s t r o n g p a r t o f a beat, w e a d d a n accent (P). Neighbor-note m o t i o n ( N ) : T h i s embellishes a m a i n note w i t h stepwise m o v e m e n t u p o r d o w n , causing a disson a n c e w i t h a n o t h e r v o i c e as i t m o v e s . W h e n a n e i g h b o r n o t e falls o n a w e a k beat o r t h e w e a k p a r t o f a b e a t , w e indícate i t w i t h N . W h e n i t f a l l s o n a s t r o n g beat o r a s t r o n g p a r t o f a beat, w e a d d a n accent ( N ) .
Suspensión ( S U S ) : A S U S i s t h e d e l a y e d r e s o l u t i o n o f a n o t e , w h i c h creátes a d i s s o n a n c e w i t h a n o t h e r v o i c e . T h e s u s p e n d e d n o t e m o v e s t o a consonance, t h e resolution.
ways i n w h i c h they relate t o other notes heard s i m u l t a n e o u s l y . T h e S U S is n e w . Since all o f these dissonances u s e o n l y t h e notes o f t h e scale ( w h a t e v e r t h e k e y a n d m o d e ) , o u r t o p i c i s diatonic dissonance.
T h e p u r e l y m e l o d i c aspects o f P a n d N w e r e introduced i n Part O n e . N o w y o u will study t h e
17 Passing and Neighbor Motion: Two Parts (e) A s i n (c), t h e P f a l l s o n t h e s t r o n g e r p a r t o f t h e b e a t . T h e n o t e t o w h i c h i t passes is o n t h e w e a k e r part. B is a n P .
T h e e x e r c i s e b e l o w f r o m T h o m a s M o r l e y ' s A Plaine and Easie Introduction to Practicall Musicke c o n t a i n s useful i n f o r m a t i o n about diatonic dissonance. T h e key is G , t h e m o d e a m i x t u r e o fm a j o r a n d M i x o lydian. T h e h a l f n o t e represents o n e beat. T h e exercise is i nt h e t r a d i t i o n a l f o r m o f cantus firmus and counterpoint. Figures have been added to s h o w i n t e r v a l s b e t w e e n t h e voices. M o s t o f t h e sounds i n t h eexercise a r e consonant, b u tw e will concern ourselves w i t h those that a r e dissonant. F i g u r e s s h o w i n g dissonance a r e circled; each diss o n a n c e is lettered.
RHYTHM T h i s short exercise illustrates another i m p o r t a n t point: every interaction o f dissonance a n d c o n s o n a n c e takes place i n a specific r h y t h m i c framework. T o understand a n y consonance-dissonance action, y o u must identify t h estrong a n d w e a k beats, as w e l l as t h e s t r o n g a n d w e a k parts o f a beat. E v e n i n a n e x e r c i s e as s i m p l e as M o r l e y ' s , t h e r e a r e t h r e e levéis o f r h y t h m . T h e p u l s e i s r e p r e sented b y a half note; slightly m o r e than half the n o t e s i n t h e e x e r c i s e h a v e t h a t valué. T h e b e a t i s divided into quarter notes several times. Here, too, s t r o n g a n d w e a k altérnate a n d m o s t p a s s i n g a n d n e i g h b o r m o t i o n is f o u n d o n this level. T h e cantus firmus m o v e s i n w h o l e notes, a n d t h e last n o t e o f the counterpoint hasthe same duration. T h e long n o t e a t t h e e n d c r e a t e s a s e n s e o f finality; i t i s a double w h o l e note o r breve. R e v i e w i n g t h e exercise, y o u c a n easily i d e n t i f y the r h y t h m level o f each dissonant note.
(a) E , a 4 t h b e l o w A , i s a d i s s o n a n t P . I t filis i n t h e melodic 3 r d between F and D , both consonant. T h e d i s s o n a n c e is o n t h e w e a k p a r t o f t h e beat. (b) G l i e s b e t w e e n t w o A s a n d i s r h y t h m i c a l l y w e a k e r t h a n b o t h . I t is a N . (c) E i s d i s s o n a n t w i t h t h e D i n t h e c a n t u s . S i n c e E filis t h e 3 r d b e t w e e n F a n d D , this is passing m o t i o n . S i n c e t h e E is r h y t h m i c a l l y s t r o n g e r t h a n t h e D t o w h i c h i t l e a d s , i t is a n P . (d) F|t is d i s s o n a n t w i t h t h e C i n t h e c a n t u s firmus. F i l l i n g t h e space o f a 3 r d b e t w e e n t h e c o n s o n a n t E a n d C , F# is a n o t h e r P .
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(a) P o n t h e q u a r t e r - n o t e l e v e l ; o n t h e w e a k p a r t o f a b e a t ( r e m e m b e r t h a t t h e h a l f n o t e is o n e b e a t ) (b) N o n t h e q u a r t e r - n o t e l e v e l ; w e a k p a r t o f a beat (c) P o n t h e q u a r t e r - n o t e l e v e l ; s t r o n g p a r t o f a b e a t (d) P o n t h e h a l f - n o t e level; w e a k beat (e) P o n t h e q u a r t e r - n o t e l e v e l ; s t r o n g p a r t o f a b e a t
the voices, a n d t h e m o d e r a e d i t i o n doesn't s h o w t h a t . T h e first p h r a s e i n t h e versión b e l o w f o l l o w s the n a t u r a l accent o f w o r d s a n d music i n each part. H e r e is t h e e x p l a n a t i o n o feach dissonance ( t h e h a l f note represents o n e beat): A l t o D is a P, o n t h e w e a k p a r t o f a beat. A l t o F is a P . S o p r a n o C is a P . T h e l o n g s o p r a n o E is a S U S , e x p l a i n e d i n t h e n e x t section. T h e s o p r a n o D is a P . T h e s o p r a n o E is, a g a i n , a S U S . T h e a l t o E is a n P . H e r e i t ' s p a r t o f t h e e l a b o r a t i o n i n a cadenee, i n a typical Renaissance pattern. T h e s o p r a n o D is a S U S .
W e conclude that i n this music P m a y b e placed e i t h e r o n a w e a k beat o r t h ew e a k p a r t o fa beat. Less o f t e n , i t m a y b e placed o n the s t r o n g p a r t o f a beat. N w i l l fall o n t h e w e a k p a r t o fa beat, n o t o n a full beat. T h e s e observations h o l d t r u e i n Renaissance a n d early B a r o q u e music, including the w o r k s i ny o u r A n t h o l o g y . Use this paragraph as a g u i d e i n w r i t i n g c o u n t e r p o i n t e x e r c i s e s i n w h i c h t h e c a n t u s firmus c o n s i s t s o f w h o l e n o t e s . T o study t h e consonance—dissonance interplay in a piece o f m u s i c w e t u r n t o t h eo p e n i n g o f L a s s o ' s B e n e d i c t u s , [ T T | . T h e versión i n t h e A n t h o l o g y s h o w s y o u t h e w a yi n w h i c h such m u s i c is usually p r i n t e d i nm o d e r a editions. B u t Lasso was very interested i nt h e rhythmic independence o f
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O n c e a g a i n , p a s s i n g m o t i o n is a l l o n t h e q u a r t e r n o t e level. T h i s m a k e s possible t h e f l o w i n g melismas ( m a n y notes t oo n e syllable).
E F Worksheet 12
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18 Suspensions: Two Parts I n h i s Gradus ad Pamassum F u x s h o w s h o w t h i s series o f consonances
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T h e u p p e r voice is delayed b y o n e beat. T h e delay i n t r o d u c e s a dissonance. E a c h dissonance is p r e pared b y a consonance a n d resolves t o a consonance, w i t h a step d o w n . T h i s type o f dissonance is a suspensión ( S U S ) . T h e r h y t h m i c p l a c e m e n t o f each note is a n essential feature o f the S U S . T h e succesion consonance—dissonance—consonance takes place i n a specific f r a m e w o r k o f s t r o n g a n d w e a k beats. H e r e is t h e r h y t h m i c s h a p e o f a S U S . preparation consonance
resolution consonance
suspensión dissonance
I n t h ecadenee, a nP leads i n t o t h eoctave A , s o that a 3 r d precedes the 7th. T h e r e are t w o r h y t h m levéis i n p l a y . T h e S U S a n d r e s o l u t i o n a r e o n t h e h a l f - n o t e level. Passing m o t i o n is o n t h e quarternote level. B o t h c o n f o r m t o t h e n o r m s y o u have seen i n o t h e r pieces a n d exercises. W i t h t h eS U S y o u have completed t h estudy o f dissonant notes. B e f o r e proceeding t o t h e exercises, w e ' l l t a k e a l o o k a t a t e c h n i q u e t h a t h a s l o n g been associated w i t h vocal m u s i c a n d w i t h counterp o i n t , a n d w h i c h y o u m a y find u s e f u l i n y o u r exercises.
T h e S U S i s parücularly effecüve b e c a u s e i t p l a c e s the dissonant e l e m e n t o n a s t r o n g beat, highlighting t h e dissonant relationship. Because o f their e x p r e s s i v e valué y o u find m a n y S U S s i n R e n a i s sance a n d B a r o q u e music. O f t e n t h eS U S is used in such a w a y that t h e resolution (astep d o w n ) is t o t h e l e a d i n g n o t e . T h u s y o u f r e q u e n t l y find a S U S a tthe cadenee. H e r e is a list o f S U S s i n t w o p a r t s .
S U S in upper voice
S U S in lower voice
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A t ". . . o u r G o d " y o u h e a r t h e m o s t c o m m o n S U S , i n w h i c h a 7 t h resolves t o a 6 t h . T h e dissonance resolves t o a leading note. T h e cadenee is the n o r m a t i v e 6 t h t o octave. A t ". . . - v i l f o e " t h e i n i t i a l c a d e n e e i s i n v e r t e d . Instead o f 6th-7th-6th y o u hear 3rd-2nd-3rd. W h e r e t h e first c a d e n e e o p e n e d o u t f r o m a 6 t h t o a n o c t a v e , t h i s o n e c l o s e s i n , 3 r d t o unisón. B o t h h a v e a strong drive t oa goal. O n "(wick)-ed way" y o u hear a Phrygian cadenee. It's transposed u p t h e (customary) 4 t h so that its goal is A . T h i s is a n elaborated cadenee, f o u n d i n m u c h Renaissance vocal music.
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O b s e r v e t h a t a l l resolve d o w n w a r d b y step, r e l e a s i n g t h e tensión o f t h e d i s s o n a n c e i n t o t h e stability o f t h e consonance. U p w a r d resolution o f a S U S is o n l y f o u n d later, a n d t h e n t h e s u s p e n d e d note is often a leading note, w i t h itso w n u p w a r d tendeney. I n exercises, t h etie is t h e sign o ft h e S U S . B u t i n a r e a l piece o f m u s i c , t h i s i s n o t a l w a y s so. F o r a v i e w o f S U S s i n a t w o - p a r t piece, refer t o t h e b i c i n i u m , \5¡. T h e r e a r e s i x p h r a s e s i n t h e p i e c e a n d six cadenees. S U S s a r e used i n every cadenee. T h r e e are explained here.
44
IMITATION I na n exercise a l l t h e voices m a y begin together. B u ti n m u c h Renaissance music the voices usually enter o n e a t a t i m e . O n e voice m a y sing o n l y a f e w notes, w h i c h a r e t h e n taken u p (imitated) b y the n e x t voice a ta different pitch l e v e l , w h i l e t h e first c o n t i n ú e s . I m i t a t i o n i s n o t o n l y a w a y o f i n t r o d u c i n g t h em u s i c a l m a t e r i a l b u t also a w a y o f i n t r o d u c i n g the voices themselves a n d the registers i n w h i c h they'll b e heard. T h e best w a y t ostudy i m i t a t i o n is t o e x a m i n e a c o m p l e t e piece that uses t h e technique t h r o u g h o u t . I n C e r t o n ' s c h a n s o n , [4], t h e r e a r e s e v e r a l places o t h e r t h a n the b e g i n n i n g w h e r e i m i t a t i o n is h e a r d . A l l t h e i m i t a t i o n s take place w i t h i n t h e f r a m e w o r k o f the tonic triad, t h e t w o voices t a k i n g t u r n s a t l e a d i n g a n d f o l l o w i n g . It's s u r p r i s i n g t o s e e h o w m u c h artífice t h e r e i s i n t h i s l i g h t h e a r t e d work. O * Worksheet 13
19 Diatonic Dissonance: Three Parts (<0
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T h e three types o f dissonance—passing motion, (d) n e i g h b o r m o t i o n , a n d suspensión—are readily u n d e r s t o o d i n t h r e e parts ase x t e n s i o n s o f two-part p r o c e d u r e . Y o u c a n a l w a y s d e t e r m i n e t h e type o f (e) d i s s o n a n c e i n p l a y b y e x a m i n i n g t w o p a r t s at a t i m e . A n y n o t e t h a t i s d i s s o n a n t w i t h e i t h e r o f the (f) o t h e r notes h e a r d s i m u l t a n e o u s l y is considered dissonant. A t h r e e - n o t e s o u n d m a y c o n t a i n two c o n s o n a n c e s , o n e c o n s o n a n c e a n d o n e dissonance, (g) or t w o dissonances. A n o t h e r e x a m p l e f r o m M r . M o r l e y ' s b o o k , above, is i n s t r u c t i v e . T h i s t i m e t h e q u a r t e r n o t e i s t h e beat a n d p a s s i n g m o t i o n i s i n e i g h t h s . T h e k e y is a n u n e q u i v o c a l F . T h e r e i s n o c a n t u s firmus. Dissonances a r elettered i nthe illustration. (a) F i n t h e a l t o is s u s p e n d e d . I n t r o d u c e d a s a conson a n c e o n t h e p r e v i o u s ( w e a k ) b e a t , i t becomes a d i s s o n a n c e o n t h e d o w n b e a t o f 2. T h e F f o r m s a 4th w i t h t h e s o p r a n o a n d a 7 t h w i t h t h e bass. T h e outer v o i c e s d o n ' t h o l d t h e i r n o t e s , w a i t i n g f o r t h e resolut i o n , as t h e y m i g h t i n a n e x e r c i s e . I n s t e a d t h e y move o n . B o t h o f t h e i r n e w n o t e s a r e c o n s o n a n t w i t h the a l t o ' s r e s o l u t i o n o f t h e S U S t o E . T h e dissonance is o n t h e level o f t h e beat, t h e q u a r t e r n o t e . ( b ) S o p r a n o a n d a l t o m o v e t h r o u g h P s a t t h e eighthn o t e l e v e l , o n t h e w e a k p a r t o f t h e b e a t . T h e Ps are c o n s o n a n t w i t h e a c h o t h e r a n d d i s s o n a n t w i t h the bass. (c) T h e a l t o C i s d i s s o n a n t b o t h w i t h t h e s o p r a n o D and t h e bass G . I n r e s o l v i n g o n e i t r e s o l v e s b o t h , as s o p r a n o a n d bass w a i t f o r t h e r e s o l u t i o n , which completes a major triad.
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O n t h e w e a k p a r t o f a w e a k b e a t t h e a l t o filis t h e 3 r d C — E w i t h a P . I t ' s d i s s o n a n t w i t h t h e bass, a l t h o u g h c o n s o n a n t w i t h t h e s o p r a n o . T h i s i s as m i l d a d i s s o n a n c e as y o u ' l l find. Repeats (a), w i t h t h e difference that h e r e t h e o u t e r voices w a i t f o r t h e S U S t o resolve. T w o P s i n t h e bass, i n e i g h t h n o t e s , f o r m d i s s o nances o n t h e weak parts o f the t h i r d a n d f o u r t h beats. A s y o u m i g h t expect, a S U S resolves into the leading note a t t h e cadenee. M o r l e y adds a n interesting decail t o t h e s t a n d a r d f o r m u l a . T h e s o p r a n o reaches the tonic n o t e a t t h e e n d o f the exercise. S u r p r i s ingly, t h e a l t o crosses t h e s o p r a n o a n d e n d s i n t h e h i g h e r p o s i t i o n . T h e last dissonance resolves i n t o a complete triad. T h e o n l y w h o l e note o f the exercise filis t h e last m e a s u r e .
IMITATION I m i t a t i o n i n t h r e e parts picks u p w h e r e t w o - p a r t i m i t a t i o n leaves o f f . T h e t h i r d e n t r a n c e i s o f t e n a t t h e s a m e p i t c h l e v e l a s t h e first, o r a n o c t a v e a w a y . P a l e s t r i n a ' s B e n e d i c t u s , \8\, i s imitative throughout. T h e short excerpt o n page 4 6 t h a t l e a d s t o t h e e n d is j u s t o n e s a m p l e o f t h e m a s t e r f u l w r i t i n g i n t h e piece. B o t h t h e i m i t a t i v e procedures a n d the consonance—dissonance intera c t i o n a r e w o r t h a cióse l o o k . T h e b a s s l e a d s o f f w i t h a f o u r - n o t e idea, g i v i n g t h esense o f t h r e e upbeats a n d a downbeat; t h emusic moves t o a goal. T h e soprano imitates at t h e octave, starting as t h e b a s s r e a c h e s i t s f o u r t h n o t e . T h e a l t o i m i tates j u s t as closely b u t a 5 t h b e l o w t h e s o p r a n o . B e f o r e t h e a l t o h a s finished i t s s t a t e m e n t t h e b a s s
45
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enters again, intensifying t h edrive t ot h e C-triad. T h e n a l l voices j o i n i na c h o r d a l texture, a sure s i g n t h a t t h e m u s i c i s d r a w i n g t o a cióse. T h e dissonance—consonance interplay unfolds i n a r h y t h m i c c o n t e x t i nw h i c h t h e h a l f n o t e is t h e beat. W h e n n o h a l f n o t e is h e a r d o n t h e f o u r t h beat o fthe excerpt's f o u r t h measure, w esense that t h e m u s i c i s c o m i n g t o a cióse. (a) T h e preparatíon f o r t h e S U S s o u n d s f o r m o r e t h a n o n e beat. T h e alto doesn't w a i t f o r t h e s o p r a n o t o resolve t h e S U S , but meets t h e note o f resolution, B , with a consonant E .
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( b ) T h e bass B , a P , i s d i s s o n a n t w i t h b o t h s o p r a n o a n d alto. R e a c h i n g C , i t is c o n s o n a n t w i t h t h e s o p r a n o but: (c) T h e a l t o is s u s p e n d e d a c r o s s t h e b a r l i n e . H e r e i s t h e standard S U S procedure, consonant preparation a n d d i s s o n a n t i m p a c t o n t h e s t r o n g beat. T h e a l t o F is d i s s o n a n t w i t h b o t h t h e s o p r a n o G a n d t h e bass F . A g a i n , t h e r e s o l u t i o n filis u p a t r i a d . (d) T h e r e s o l u t i o n is e m b e l l i s h e d w i t h a N , D . T h i s p a r t i c u l a r e m b e l l i s h m e n t is associated n o t o n l y w i t h t h e m u s i c o f Palestrina b u t also w i t h m u c h C a t h o l i c church music. O * Worksheets 14, 15
20 More on Diatonic Dissonance DN
W e h a v e discussed t h ebasic dissonance t y p e s — passing m o t i o n , neighbor m o t i o n , a n d suspensions—in their simplest forms. Let us n o w examine a f e w o f t h e m o r e elabórate f o r m s f o u n d i n R e n a i s sance music. O t h e r f o r m s typical o f later music a r e explained i nPart Five. T h e r e a r et w oadditional versions o f neighbor m o t i o n . O n e is l o n g e r a n d o n eis s h o r t e r t h a n t h e basic t h r e e - n o t e g r o u p .
A n e x a m p l e f r o m a dance, |15B|, illustrates t h e D N i na four-part context. DN
DOUBLE NEIGHBOR T h eD Nw a s i n t r o d u c e d in t h e study o f m e l o d y . T h e t w om i d d l e notes o f the four-note g r o u p m a y b o t h be dissonant. T h i s r e p r e s e n t s t h e first s k i p t o o r f r o m a d i s s o n a n c e i n y o u r study.
46
continué u p , a s a P w o u l d . Ñ o r d o e s i t r e t u r n a t o n c e , a s a N w o u l d . I t ' s a s t r e t c h e d - o u t versión o f a N , taking u p b o t h a w e a k a n da s t r o n g beat. T o see w h a t p u s h e s t h e G b a c k t o F U w e m u s t l o o k a t the soprano. T h e A i n that voice b u m p s i n t o t h e G, i n a S U S . T h a t presses t h e alto line d o w n , back t o F j t . T h e 4 t h a t t h i s c a d e n e e i s c a l l e d a consonant 4th, f o u n d i n m a n y R e n a i s s a n c e c a d e n e e s . T h e e l a b o r a t e d n o t e is a l w a y s t h e l e a d i n g n o t e .
I n t h e D N , b o t h F a n d D a r e dissonant with t h e b a s s C , a n d w i t h C s i n t h e o t h e r v o i c e s as w e l l . I f y o u i m a g i n e t h e D N replaced b y its m a i n note, E , y o u h a v e t h e c o n s o n a n t b a c k g r o u n d f o rt h e dissonant elaboration. IN T h e I N is a w a y o f c o n t r a c t i n g a three-note g r o u p i n t o t w o . T h e dissonant note m a y precede the m a i n note o r follow it.
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VOICE EXCHANGE F o r w a r d m o t i o n c a n b e created w i t h o u t c h o r d change b y a simple device: t w o voices e x c h a n g e notes. T h e result m a y b e entirely consonant. B u t often voice exchange has interesting possibilities f o rt h e u s e o f dissonance, as i n t h e f o l l o w i n g , f r o m [2].
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I n t h e e x a m p l e above, w e see (a) P a r a l l e l t h i r d s , q u i t e c o n s o n a n t . ( b ) T h e first n o t e e l a b o r a t e d b y a N . (c) A t w o - n o t e g r o u p , i n w h i c h t h e I N s k i p s away f r o m t h e d i s s o n a n c e . T h i s i s a l s o k n o w n as a n escapeé note o r échappée.
(d) A skip t o dissonant n o t e f o l l o w e d b y the main note. S i n c e t h e B is s t r o n g e r t h a n t h e note t o w h i c h i t r e s o l v e s , i t ' s a n I N , a l s o c a l l e d a n appoggiatura. E x a m p l e s o f a n y k i n d o fI N a r e rare i n Renaiss a n c e m u s i c . O n e i n y o u r A n t h o l o g y is i n t h e b i c i n i u m , |5]. I n t h e s o p r a n o p a r t , t h e second q u a r t e r n o t e f o r m s a 2 n d w i t h t h e l o w e r voice. O n t h e w e a k p a r t o f t h e beat, G is a n I N . CONSONANT 4TH T h e 4 t h is such a m i l d diss o n a n c e t h a t i t s t r e a t m e n t is s o m e t i m e s d i f f e r e n t f r o m t h a t o ft h e o t h e r , s t r o n g e r dissonances. Y o u have already seen that w h e n it's n o t heard i n r e l a t i o n t o t h e bass i t passes f o r a semiconsonance. H e r e is a n o t h e r w a y o f u s i n g t h e 4 t h . I t comes f r o m a n illustratíon o f c a d e n e e s i n M o r l e y ' s f a m o u s book.
As t h e s o p r a n o skips f r o m A t o C , t h etenor skips f r o m C t o A ,i n contrary motion. I n t h e illustrat i o n , voice e x c h a n g e is s h o w n b y a r r o w s . T h e activity w i t h i n t h e F - t r i a d , t o g e t h e r w i t h t h e bass m o v e f r o m F t o A , c r e a t e s a l m o s t as m u c h o f a sense o f m o t i o n as w o u l d a c h o r d c h a n g e .
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I n t h e e x a m p l e a b o v e , f r o m [9¡, s o p r a n o a n d tenor exchange notes at the beginning o f the meas u r e . T h e i r m o t i o n s o f a 3 r d a r e filled w i t h P s i n contrary m o t i o n . T h e t w oPs f o r m a consonant
C o n s i d e r t h e a l t o a n d b a s s first. T h e y m o v e i n p a r a l l e l 3 r d s f o r f o u r n o t e s . T h e n t h e alto steps u p , f o r m i n g a 4 t h w i t h t h e bass. T h e G doesn't
47
octave with each other; they a r e dissonant o t h e r voices.
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T h e v i l l a n e l l a , \7\, o p e n s w i t h a n e x c h a n g e o f n o t e s b e t w e e n s o p r a n o a n d t e n o r . A g a i n , a n octave is h e a r d b e t w e e n t h e P s t h a t fill t h e 3 r d s . B u t h e r e t h e c h o r d s c h a n g e t o fit t h e o c t a v e , s o t h a t a l l t h r e e triads a r e consonant. P
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T h e r e are t w o instances o f voice exchange i n Psalm 7 8 , [77], o n e as s i m p l e as c a n b e , t h e o t h e r q u i t e elabórate. I n t h e first e x a m p l e , v o i c e e x c h a n g e i s all that h a p p e n s . I t propels t h e music o n t o t h e next chord. T h e skips o f a 3 r d aren't filled. A l l the examples o f voice exchange thus far have used a m o t i o n o fa 3rd. T h e striking exchange o f v o i c e s i n t h e final c a d e n e e o f t h e l a s t e x a m p l e involves t h e i n t e r v a l o fa 4 t h . T h e result is h i g h l y dissonant. I n c o n t r a r y m o t i o n , t h e m e l o d i c 4 t h is filled by b o t h soprano a n d tenor, each w i t h a n P a n d a P . T h o s e e i g h t h notes clash w i t h each o t h e r before resolving into t h econsonance o fa perfect 5th. H e r e is a s u m m a r y o f d i s s o n a n c e techniques studied thus far: p p N N IN
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passing m o t i o n o f - (weak beat o r w e a k part o f a beat) passing m o t i o n o n — (strong beat o r strong part o f a beat) neighbor motion on neighbor motion on — incomplete neighbor o n - , either before o r after main note incomplete neighbor o n — (appoggiatura) suspensión, a l w a y s d i s s o n a n t o n — double neighbor, with one o r both o f the middle notes dissonant
O* Worksheet 16
21 Writing a Simple Bicinium A g o o d w a y t od e v e l o p w r i t i n g skill ist o apply w h a t y o u have l e a r n e d i n y o u r exercises t o w r i t i n g a s i m p l e b i c i n i u m . A h y m n that's suitable f o r t h e p u r p o s e is o n W o r k s h e e t 1 7 . T h e t u n e m a yb e f a m i l i a r t o y o u . I t i s s o m e t i m e s c a l l e d "Oíd H u n d r e d t h " a n d is o n eo f the b e s t - k n o w n melodies i n E n g l i s h a n dA m e r i c a n c h u r c h services. W r i t t e n b y the H u g u e n o t composer Louis Bourgeois, the melo d y w a s first p r i n t e d i n t h e G e n e v a P s a l t e r i n 1 5 5 1 . T h e r e h a v e b e e n m a n y h a r m o n i z a t i o n s since.
U s e t h e b i c i n i u m b y O t h m a y r as a m o d e l f o r two-part writing. A i m for a cadenee at t h ee n d o f each phrase, a n dtry t ointroduce the leading note as t h e r e s o l u t i o n o f a S U S . G i v e s o m e t h o u g h t t o the r h y t h m o f t h e words a n d music. Decide o n barline placement before y o u start t o write y o u r counterpoint.
O" Worksheet 17
PART FOUR BASIC H A R M O N Y
22 Introduction for w h i c h y o u r p r e v i o u s s t u d y h a sp r e p a r e d y o u . T h e next three sections a r e d e v o t e d t o connecting and g r o u p i n g c h o r d s . E v e n t h e d i a t o n i c pieces that form the background o f this discussion have a few chromatic notes, a n dthese interesting notes a r e the subject o f a s h o r t section t h a t lays t h e g r o u n d work f o r later studies i n chromaticism. Y o u a r e then i n t r o d u c e d t o s o m e basic types o f exercises i n harmony a n d voice leading, f o u n d i nm a n y later p a r t s o f Gradus. F o l l o w i n g t h i s , y o u w i l l find a study o f a c o m p l e t e piece b y H e i n r i c h Isaac. A summary o f diatonic chord functions brings Part F o u r t o a conclusión.
T h e s t u d y o f h a r m o n y fiows n a t u r a l l y f r o m t h e study o f counterpoint. H a r m o n y and counterpoint aren't t w o d i f f e r e n t topics; t h e y a r e t w o d i f f e r e n t ways o f l o o k i n g a tthe same topic, polyphonic tonal music. H a v i n g b e g u n w i t h studies o f t h e linear aspect o fmusic (in w h i c h y o u developed chords o u t o f lines), y o u n o w focus o n t h e chordal aspect, i n w h i c h lines play a very i m p o r t a n t part. Y o u ' l l find t h a t v o i c e l e a d i n g , w h i c h i s t h e l i n e a r a s p e c t of harmony, hasm u c h i nc o m m o n with counterpoint. P a r t F o u r begins w i t h a detailed discussion o f the m o s t i m p o r t a n t c h o r d i n tonal music, the triad,
49
23 More about Triads CHORD VOCABULARY C h o r d s m a y b e c o m pared with words: they make u p t h e vocabulary w i t h w h i c h w e créate o u r s t a t e m e n t s . T h e b a s i c c h o r d a n d n o r m a t i v e s o n o r i t y o f t o n a l m u s i c is t h e triad; a l l o t h e r s o u n d s r e l a t e t o i t . Thére are f o u r types o f t r i a d . W e will r e v i e w the ones already studied and introduce another here. inside
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THE M U S I C W e will beusing the same music i n Part F o u r that w e did i n Parts T w o a n d T h r e e . However, y o u will n o w look atthat music f r o m the point o f view o f h a r m o n y (and voice leading). A s a l w a y s , f a m i l i a r i t y w i t h t h e m u s i c i t s e l f is e s s e n t i a l to y o u r u n d e r s t a n d i n g o f t h e issues a n d techniques under consideration. I n all t h e pieces w e are n o w studying, t h e r e are e x a c t l y five d i f f e r e n t c h o r d s :
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Cióse p o s i t i o n
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CLOSE POSITION, OPEN POSITION T h e list a b o v e s h o w s t i r a d s w i t h t h e i r n o t e s p l a c e d a s cióse t o g e t h e r as possible. B u t t h e r e can b e m a n y o t h e r spacings. I nf o u r parts, w h e n the t o p t h r e e voices a r e a s cióse a s t h e y c a n b e , w e s a y t h a t t h e c h o r d i s i n cióse position. I f a c h o r d i s a r r a n g e d i n a n y o t h e r w a y i t ' s i n open position. T h e f o l l o w i n g , a l l r e p r e s e n tations o f the same triad, shows some ways a triad may b e spaced.
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V perfect \ diminished \ augmented\ \ 5 -\ 5th_ } • 5 t ht h ¡J „ 5 t h minor major major minor 3 r d 3rd 3rd 3rd
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c h o r d i n music ( w h a t i tdoes a n d h o w it relates t o o t h e r c h o r d s ) , t h o s e román n u m b e r s b y t h e m s e l v e s will b e o f limited usefulness. A s i nthe study o f a language, vocabulary alone c a ntake y o u only so far.
6
O f w h a t valué a r e t h e r o m á n n u m b e r s ? T h e y s i m ply i d e n t i f y t h e scale d e g r e e o n w h i c h t h e c h o r d is built. T h i s is basic i n f o r m a t i o n a n d will b e useful in t h e early stages o f y o u r s t u d y o f h a r m o n y . B u t since t h e y tell y o u n o t h i n g about the f u n c t i o n o f a
The a m o u n t and quality o fmusic that has been m a d e o u t o f these c h o r d a l resources is t r u l y impressive. E F Worksheet 18
50
24 Chords in Motion Having looked at t h eindividual chords that make up thevocabulary o ftonal music, w ewill g oo n t o study h o wo n e c h o r d m o v e s t o a n o t h e r a n d h o w chords are grouped into coherent units. W e might compare that with g r a m m a r a n d rhetoric. T h e m o v e m e n t o f t h e several lines (voices) shapes the m o t i o n f r o m each c h o r d t o t h enext. I n this, however, a l lvoices aren't equally i m p o r t a n t . I n general, various voices have d i f f e r e n t roles i n leading f r o m o n ec h o r d t o another.
d i s t r i b u t i o n o f skips a n dsteps is characteristic o f four-part harmony.
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CHORD PROGRESSIONS W e d o n ' t h e a r c h o r d s one ata time, any m o r e t h a n w ehear spoken words one a ta t i m e .Just as g r o u p s o f w o r d s f r o m phrases and sentences, groups o f notes f o r m units o f vari o u s k i n d s . G r o u p s o f c h o r d s a r e c a l l e d progressions, an i n f o r m a l t e r m that is u s e f u l i n this early stage of study. W estudy chords i n m o t i o n b yl o o k i n gat several o f t h e progressions f r e q u e n t l y f o u n d i n tonal music. E a c h isillustrated i nm a j o r a n d m i n o r m o d e s . T h e first s o p r a n o n o t e m a y b e t h e r o o t , 3rd, o r5th o fthe triad.
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There's a difference o fonly o n enote between this progression a n d t h e previous o n e i n C major. I n t h e s e c o n d c h o r d , t h es o p r a n o ' s 1 is replaced b y 2, m a k i n g a I I o u t o f w h a t was a I V . I nt h e m a j o r , t h e I I is a m i n o r t r i a d a n d this o n e is i n f p o s i t i o n . T h e t e n o r starts w i t h t h e 3 r do f t h e triad, a n d its line isa D N a r o u n d that note. T h e o t h e r voices a r e the same as i n I - I V - V - I . S o p r a n o a n d t e n o r m o v e i n parallel 6ths. H o w m u c h difference o n e note can make! 6
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I n m i n o r ( o p e n p o s i t i o n ) t h es o p r a n o starts w i t h 3. T h el e a d i n g n o t e m u s t b e b r o u g h t i n f r o m t h e parallel m a j o r i f t h e p r o g r e s s i o n is t o s o u n d m i n o r . T h e d o m i n a n t triad that includes t h eleading note i s V». S o p r a n o a n d b a s s b e g i n i n s i m i l a r m o t i o n , continué i n c o n t r a r y ; c o m m o n n o t e s a n d s t e p w i s e m o t i o n a r e i n t h ei n n e r voices.
T h e soprano i s t h e m e l o d y , t h e first p a r t t o catch t h e ear's a t t e n t i o n a n d t h e l e a d i n g p a r t i n m a n y cases. T h e bass g u i d e s t h e h a r m o n y a n d s u p p o r t s mer the u p p e r voices. v o i c e s " | Alto a n d tenor c o m p l e t e t h e c h o r d s .
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I n t h e m a j o r m o d e (cióse p o s i t i o n ) t h e s o p r a n o starts w i t h t h e r o o t o f t h e t r i a d . T h e o u t e r voices proceed i n oblique, then contrary motion. Soprano and alto m o v e stepwise. T h etenor has o n e skip, part o f a D N . T h e bass skips t w i c e , steps once. T h e
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T h i s i s a m i n o r - m o d e versión o f t h e s a m e p r o gression, t h e s o p r a n o starting o n t h e triad's 3 r d . S o p r a n o a n d t e n o r m o v e i n parallel lOths, each a D N . A g a i n , t h e l e a d i n g n o t e is p a r t o ft h e n o r m a l p r o c e d u r e i n t h e m i n o r . I n m i n o r , I I is a d i m i n ished triad. Observe that I - I V - V - I a n d I - I I - V - I have t h e s a m e bass line. 6
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T h e bass h a s a n i n t e r e s t i n g m o t i o n : i t d i v i d e s the 5 t h between 8 and 4 into t w o 3rds, generating 6 as a bass n o t e . T h a t n o t e , A , b e c o m e s t h e r o o t o f V I . J u s t as t h e bass n o t e A is a c o n n e c t i o n b e t w e e n C a n d F ,so t h e V I c h o r d is a connection between I and I V .
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T h e r e are n o p a r a l l e l 5ths o r octaves. Parallel 3rds and 6ths are used freely. T h e o u t e r voices are m o s t l y i n c o n t r a r y m o t i o n . T h e i n n e r - v o i c e m o t i o n is p r e d o m i n a n t l y s t e p w i s e . T h e bass s k i p s t o s u p p o r t t h e c o n s o n a n t t r i a d s . W h e n t h e s a m e n o t e a p p e a r s i n t w o successive c h o r d s , i t u s u a l l y s t a y s i n t h e s a m e v o i c e . I t i s t h e common note, m e a n i n g that it's a note i n c o m m o n between t w o chords, heard i n one voice.
I n t h i s m i n o r m o d e versión, t h e b a s s m o v e s u p f r o m 1 t o6 rather than d o w n . Observe that the I V c h o r d h a sbeen replaced b y I I .
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In m i n o r , I I does not appear i n root position. I t o f t e n a p p e a r s i n first inversión, h o w e v e r , a s i n t h i s example. Observe the m o t i o n o f the alto i n the V * V I m o v e . I t d o e s n ' t f o l l o w t h e s a m e p a t h w a y as i n t h e ( p r e v i o u s ) m a j o r - m o d e versión o f t h e s a m e progression. I f i t d i d , t h e alto's notes w o u l d b e Gjt-Fl], f o r m i n g the intervalo f an augmented 2nd. T h a t is n o t u s e d i n basic h a r m o n y a n d c o u n t e r point. B y m o v i n g G ( t - A t h e alto avoids t h e augm e n t e d 2 n d . I t s A i s i n unisón w i t h t h e s o p r a n o , d o u b l i n g t h e 3 r d o f V I . T h i s is t h e n o r m a t i v e procedure.
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Y o u also see that voice l e a d i n g (the linear aspect o f h a r m o n y ) is a n o t h e r v i e w o f c o u n t e r p o i n t . E F Worksheet 19
n
52
25 Cadenees 1 I n s t u d y i n g m e l o d y y o u h e a r d m a n y phrases e n d w i t h a fall i n p i t c h . W e c o m p a r e d t h a t with t h e fall o f t h e h u m a n v o i c e a tt h e e n d o f a sentence, calling it t h e c a d e n e e . A p p l y i n g this i d e a i n c o u n t e r p o i n t , w e u s e d t w o - c h o r d patterns t o b r i n g each exercise or phrase t oa convincing end. S p e a k i n g i n t e r m s o f h a r m o n y , a cadenee i s a p a i r o f c h o r d s t h a t e n d s a m u s i c a l p h r a s e . It's s h o r t e r t h a n a p r o g r e s s i o n . I n a p i e c e , c a d e n e e s s e r v e as t h e p u n c t u a t i o n m a r k s , separatíng o n e p h r a s e f r o m another. B e y o n d that, t h e concluding chord o fa cadenee ist h egoal o fm o t i o n f o r t h eentire phrase. E a c h o f t h e t w o c h o r d s i n a c a d e n e e has a definite p u r p o s e : t h esecond is t h e goal chord; i t is p r e c e d e d b y a n o t h e r , w h i c h leads t o that goal. N o t a l l m e l o d i c c a d e n e e s e n d o n 1 , ñor d o a l l h a r m o n i c cadenees e n d o n I . Different kinds o f cadenees express d i f f e r e n t degrees o f closure. T h e r e are f o u r types o f cadenee: authentic cadenee semicadence o r half cadenee plagal cadenee deceptive cadenee
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AUTHENTIC CADENCE T h e m o s t conclusive c a d e n e e i n t o n a l m u s i c is b u i l t o n t h e m o t i o n f r o m d o m i n a n t h a r m o n y t o tonic. T h estandard t e r m f o r t h a t c h o r d p a i r i s authentic cadenee. A l m o s t e v e r y t o n a l piece e n d s w i t h a n a u t h e n t i c cadenee, a n d s o d o m a n y p h r a s e s . W h a t e v e r t h e o t h e r voices Chórale No. 14
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I n discussing each w e consider content a n d t h evoice leading.
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d o , t h e bass e i t h e r d e s c e n d s a 5 t h ( 5 - 1 ) o r rises a 4th ( 5 - 8 ) . T h e p l a c e m e n t o f t h e s o p r a n o o n t h e last c h o r d a f f e e t s t h e d e g r e e o f finality o f t h e c a d e n e e . F o r t h e máximum s e n s e o f c l o s u r e t h e s o p r a n o m u s t e n d o n t h e t o n i c , a g r e e i n g w i t h t h e bass. I n t h a t c a s e w e s p e a k o f a perfect authentic cadenee. W h e n the soprano ends o n t h e 3 r d o r 5 t ho ft h e goal c h o r d w e h a v e a n imperfect authentic cadenee. T h e only difference between t h et w o versions o f t h e a u t h e n t i c c a d e n e e is i n t h e t o p l i n e , b u t t h a t d i f f e r ence is significant.
In t h eillustration t h e chords that comprise a cadenee a r e u n d e r l i n e d . T h i s p r o c e d u r e is f o l l o w e d i n a l l i l l u s t r a t i o n s a n d e x a m p l e s i n Gradus. T o hear t h e musical difference between perfect and imperfect authentic cadenees, w ecompare t w o p h r a s e s . T h e o p e n i n g o f t h e B a c h chórale b e l o w illustrates t h e p o i n t clearly. C o m p a r e t h e d e g r e e of closure i nt h e t w o cadenees. B o t h have t h e same BACH
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c h o r d content; b o t h a r e authentic cadenees. B u t chords aren't all there ist o h a r m o n y . Consider t h e m e l o d y . I n t h e first c a d e n e e , t h e s o p r a n o r i s e s 2 — 3 o v e r V — I . T h e r i s i n g inflection tells y o u t h a t this is o n l y a t e m p o r a r y r e s t i n g p o i n t . T h e c a d e n e e i s imperfect. B ycontrast, i nt h esecond cadenee t h e s o p r a n o descends 2—1 o v e r V — I . T h e falling pitch a n d t h e stop o n 1 a r e conclusive. Y o u hear that t h e s e c o n d p u n c t u a t i o n m a r k i s m o r e final t h a n t h e first. O c c a s i o n a l l y y o u find a m i l d f o r m o f t h e a u t h e n tic c a d e n e e , V I I — I . T h e s t e p w i s e m o t i o n i n a l l p a r t s m a k e s f o r a s m o o t h e n d i n g . T h i s versión o f the authentic cadenee is m o r e useful i n t h e m i d d l e o f a piece t h a n a t t h e e n d . 7
(a) (b) (c) (d) (e) (f) (g)
semicadence i nopen position, I - V semicadence i n m i n o r , I—V* I V is n o w t h e c h o r d t h a t a p p r o a c h e s V the same i n m i n o r I V is a g o o d a p p r o a c h t o t h e d o m i n a n t t h e same i n m i n o r d o u b l i n g t h e 3 r d o f V I m a k e s possible m o t i o n as V I m o v e s t o V (h) t h e s a m e i n m i n o r 6
The musical difference between a perfect authentic cadenee a n d a semicadence is s h o w n i n t h e first t w o p h r a s e s o f a B a c h chórale. Chórale No. 233
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D E C E P T I V E C A D E N C E T h e first c h o r d i n a deceptive cadenee i s V . T h e s e c o n d i s a n y c h o r d b u t I . T h e p u r p o s e o f this c a d e n e e is n o ts o m u c h t o deceive t h e l i s t e n e r as t o p r o v i d e a n o p e n e n d i n g so t h a t m o r e m a y c o m e . O f a l l c a d e n e e types, t h e deceptive h a s t h e least d e g r e e o f closure. The pattern most o f t e n heard i n deceptive cadenees is V - V I . I n t h e pieces studied i n Part
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PLAGAL CADENCE T h e a p p r o a c h t o I f r o m I V i s t h e plagal cadenee. T h i s t y p e o f c a d e n e e i s heard occasionally i n Renaissance music, i n which the dominant—tonic polarity h a dn o t yet crowded out other relationships. T h e t w o phrases o n page 5 5 f r o m a response b yI n g e g n e r i s h o w typical usages. T h e first s h o r t p h r a s e , i n C , h a s a d e s c e n d i n g t o p l i n e a n d b a s s . I n n e r v o i c e s fill o u t t h e c h o r d s ; t h e l a s t t w o a r e I V — I . T h i s p l a g a l c a d e n e e fits i n t o t h e d o w n w a r d flow o f t h e lines quite smoothly, a n d w e ' r e h a r d l y a w a r e o fi t . Y e t i t closes t h e p h r a s e c o n v i n c i n g l y . T h es a m e is t r u e i n t h e second, e v e n shorter phrase, which moves t o A .
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T h e first p h r a s e e n d s w i t h a s e m i c a d e n c e . T h e h a r m o n y reaches V a n d t h e m e l o d y stops o n2 . A n a n s w e r i n g phrase is needed. T h e second phrase ends w i t h a perfect authentic cadenee. T h e soprano's 2-1 combines with t h eharmony's V - I f o r complete closure. T h et w o phrases f o r m a coherent group.
SEMICADENCE T h e d o m i n a n t is t h e goal o f m o t i o n i nm a n y phrases. A cadenee o nV means a temporary pause, after which another phrase will b e g i n . S u c h a p u n c t u a t i o n m a r k i s a semicadence o r half cadenee. I t ' s a n a l o g o u s t o a s e m i c o l o n i n p r o s e p u n c t u a t i o n ; after t h e pause, there's m o r e t o come. Any chord m a y precede t h edominant a n d f o r m part o ft h e cadenee. I fV is preceded b yeither I V or V I , parallel 5ths o r octave c a nresult. T h e best way t o p r e v e n t t h e m is t h r o u g h c o n t r a r y m o t i o n b e t w e e n t h e o u t e r voices. K e e p t h a t i n m i n d as y o u study these examples. (b)-
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F o u r y o u find f e w e x a m p l e s o f t h e d e c e p t i v e c a denee, b u ti t will play a larger role i n later music. O n e e x a m p l e f r o m t h e early Renaissance is i n t h e M a s s e x c e r p t b y J o s q u i n , [JJ. T h e p h r a s e e n d i n g o n t h e first b e a t o f 9 h a s t h e c a d e n e e V - V I , w h i c h p r e p a r e s t h e c o n c l u d i n g p h r a s e o f t h e piece.
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CADENCES IN A PIECE T obetter u n d e r s t a n d the differences i n strength o f the various cadenees we will n o w study a short w o r k that h a s a variety of phrase endings. There's a n important difference between a n exercise a n d a piece. A n exercise is u s u a l l y s h o r t , a n d i t s t o n i c is t h e o n l y g o a l o f m o t i o n i n m o s t cases. I n a piece o f m u s i c , n o m a t t e r h o w s h o r t , t h e r e w i l l p r o b a b l y b e o t h e r scale d e g r e e s as goals of m o t i o n f o rphrases. A n y consonant triad m a y serve that purpose. A t this point, however, w e will l i m i t o u r discussion t o cadenee types, n o t keys. L o o k i n g back at t h e I n g e g n e r i e x a m p l e above w e were able t odefine the cadenees w i t h o u t considering j u s t h o w t h em u s i c g o tf r o m C t o a. T h e s a m e will b e t r u e i n the piece y o u ' r e about t o e x a m i n e .
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Consider t h e handsome setting o f Psalm 7 8by H e i n r i c h Schütz, [ T 7 | . B a r l i n e s m a r k t h e p h r a s e s i n this score; there are six. W h a t type o f cadenee ends each phrase?
t e n o r h a s t h e c o m m o n n o t e , and t h e bass s k i p s d o w n a 4 t h . T h e s o p r a n o rests o n 2. T h i s i s a m i l d versión o f the a u t h e n t i c c a d e n e e , V I I - I . H e r e t h e a l t o crosses the t e n o r . I f t h e a l t o m o v e d t o the nearest note, E t , parallel octaves w i t h t h e bass w o u l d r e s u l t . B y crossing v o i c e s Schütz a v o i d s t h e p a r a l l e l s a n d gains c o n t r a r y m o t i o n a t t h e same time. T h e g o a l o f t h e f o u r t h phrase is a c - t r i a d . I t ' s p r e c e d e d by its o w n d o m i n a n t . T h u s the cadenee m o v e s d o m i n a n t - t o n i c . S i n c e t h e soprano e n d s w i t h t h e r o o t o f t h e c - t r i a d , t h i s is a perfect a u t h e n t i c c a denee. B y t h e e n d o f t h e fifth p h r a s e we h e a r E t as t o n i c o n c e a g a i n . T h a t d o e s n ' t mean that t h e p h r a s e m u s t e n d w i t h a n E t - t r i a d . A c t u a l l y , the p h r a s e e n d s w i t h a B t - t r i a d , t h e d o m i n a n t o f E t . T h e g o a l c h o r d is p r e c e d e d b y V I . T h u s t h e phrase e n d s w i t h a s e m i c a d e n c e , w h i c h w i l l l e a d i n t o the final p h r a s e o f t h e piece. T h e s i x t h p h r a s e e n d s w i t h a perfect a u t h e n t i c cad e n e e w i t h E t as its g o a l . It's the o n l y s u c h c a d e n e e i n t h e t o n i c . I t ' s a l s o t h e m o s t elabórate c a d e n e e i n t h e p i e c e . T h e c o m b i n a t i o n o f voice e x c h a n g e , w i t h its s t r i k i n g d i s s o n a n c e , a n d t h e c o n s o n a n t 4 t h is explained o n page 48.
T h i s i s a p a r t i c u l a r l y g o o d piece w i t h w h i c h t o survey cadenee types, because no t w o are q u i t e t h e s a m e . T h e first i s a p e r f e c t a u t h e n t i c c a d e n e e w h o s e g o a l is V ; t h e second, a semicadence, I - V ; t h e t h i r d , a m i l d versión o f t h e a u t h e n t i c c a d e n e e ; t h e f o u r t h i s a p e r f e c t a u t h e n t i c cadenee w h o s e g o a l is V I ; t h e fifth, a d i f f e r e n t s e m i c a d e n c e , V I - V ; t h e sixth isa n elaborated perfect authentic cadenee o n t h e t o n i c . T h e v a r i e t y o f cadential t r e a t m e n t s i n such a short w o r k shows the hand o f a master composer.
(a) T h e first p h r a s e e n d s o n a B t - t r i a d . D o e s t h a t c h o r d f u n c t i o n i n t h e c a d e n e e as t o n i c o r d o m i n a n t ? Y o u find t h e a n s w e r b y l o o k i n g a t t h e c h o r d t h a t p r e cedes it. A s the s u s p e n d e d B t i n the t e n o r resolves to A l l y o u h e a r t h e d o m i n a n t o f B t . T h e goal t r i a d serves as a t o n i c t o a p r e c e d i n g d o m i n a n t . T h e cadenee moves dominant—tonic; t h etop line o f the g o a l c h o r d a g r e e s w i t h t h e bass. W e c o n c l u d e t h a t the phrase e n d s w i t h a perfect authentic cadenee. (b) T h e s e c o n d p h r a s e e n d s w i t h a s e m i c a d e n c e , I - V . S o p r a n o a n d alto m o v e d o w n i n parallel 3rds, t h e
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26 Grouping the Chords INTRODUCTION I n t h estudy o f melody w e w e r e able t o g e tb e y o n d a one-note-at-a-time view o f music b yg r o u p i n g notes. W e f o u n d m a i n notes a n d subordínate o n e s , a n d c o n s i d e r e d t h e m a i n notes t obe o na deeper level o fmusical structure t h a n t h e embellishing notes. T h a t helped us t o understand the groups. T h e same principie is applied t o chords: there a r e m a i n c h o r d s a n d subordínate c h o r d s . T h i s l i n e of thought canhelp you t og o beyond the chordby-chord approach o fconventional h a r m o n y a n d to d e v e l o p a b r o a d e r v i e w o f the subject. H o w a r echords grouped? I nseveral different ways. S o m e o f t h e ways a r e introduced i n this section, w h i l e o t h e r s a r e t a k e n u p as y o u r c h o r d v o c a b u l a r y g r o w s . B u t i n a l l cases y o u w i l l b e expected t o consider t h e linear aspect o f t h e g r o u p i n g j u s t as m u c h as t h e p u r e l y c h o r d a l aspect. I n p a r t i c u l a r , s o p r a n o a n d bass p l a y a decisive r o l e in grouping chords.
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N I N T H E B A S S I n (c) a b o v e , a N i n t h e bass cooperated with a N i n t h e soprano t o f o r m a n e i g h b o r c h o r d . T h e bass c a n a c t i n d e p e n d e n t l y i n a n e i g h b o r m o t i o n ,j u s t as t h e s o p r a n o can.
C H O R D EXTENSION W h e n o n e c h o r d is t a k e n as t h e m a i n c h o r d a n d o t h e r s a r e g r o u p e d a r o u n d it w e s a y t h a t t h e c h o r d is e x t e n d e d . W e r e f e r t o b o t h t h e p r o c e s s a n d t h e g r o u p a s chord extensión; o t h e r t e r m s a r e expansión a n d prolongation. I n s u c h a s i t u a t i o n , w e say t h a t t h e m a i n c h o r d c o n t r o l s t h e o t h e r s . T h e extensión o f c h o r d s i n m u s i c a l t i m e i s a m a j o r topic i nthe study o f tonal h a r m o n y ; we'll r e t u r n t oit o n several o t h e r occasions. B e f o r e w e s t a r t e x p l a i n i n g h o w c h o r d extensión works, bear i n m i n d : a dissonant P o r N connects o r elaborates a m a i n n o t e , a n d m a y also connect o r elabórate c h o r d s . B u t a c o n s o n a n t P o r N m a y a c t u a l l y b e p a r t o f a c h o r d w h o s e f u n c t i o n is determ i n e d b y t h e P o r N , as y o u w i l l see below.
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first c o m p o s e r s t o g r a s p t h e n e w p o s s i b i l i t i e s w a s H e i n r i c h Schütz. S o m e o f t h e d i f f e r e n t t e c h n i q u e s introduced above a r ecombined i nt h e opening o f his P s a l m 3 3 , b u t t h e m o s t i m p o r t a n t u n i f y i n g element i n t h e p h r a s e is t h e t r i a d i n t h e m e l o d y .
5-3 T O 6-3 A s i m p l e t y p e o f extensión i s t h e m o v e f r o m t h eroot position o fthe tonic triad to t h e first inversión. B o t h p o s i t i o n s h a v e t h e s a m e tonic function. I tm a y seem that m o t i o n f r o m o n e position o f a t r i a d t o a n o t h e r isn't v e r y p r o m i s i n g , b u t i n fact this m o t i o n is t h e basis f o r m a n y i n t e r esting m u s i c a l gestures. H e r e is t h e m o v e i n its simplest f o r m .
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T h i s is t h e n o r m a t i v e u s eo fV I I , clearly a subordínate c h o r d . S i n c e b o t h s o p r a n o a n d bass h a v e Ps, w em a y cali this V i l a passing c h o r d . 6
LINEAR CHORDS T h e difference between chords f o r m e d b y neighbor m o t i o n a n d those f o r m e d b y passing m o t i o n isn't very i m p o r t a n t . T h e i m p o r t a n t t h i n g is t o u n d e r s t a n d t h a t b o t h are t h e result o flines m o v i n g . A l lsuch chords will b e r e f e r r e d t o a s linear chords f r o m t h i s p o i n t o n unless w e particularly wish t o show t h e neighbor or passing aspect o fthe voice leading. THE TRIAD IN T H E MELODY A n o t h e r type o f c h o r d extensión i s b u i l t o n t h e t o n i c t r i a d i n t h e melody. Y o u saw that t h e triad has a definite u n i f y i n g p o w e r i n p u r e l y m e l o d i c t e r m s . I t ' s also important i n t h e relation between melody a n d harmony. W h a t h a r m o n y fits w i t h t h e m e l o d y ' s t o n i c t r i a d ? M u s t every note o fthat triad be met with a I ? H o w d o e s t h i s t o p i c r e l a t e t o c h o r d extensión? W e w i l l look f o r answers t o those questions i n a musical p h r a s e i n w h i c h a t r i a d i n t h e m e l o d y is u s e d t o b u i l d a c h o r d extensión. T h e w o r k i n q u e s t i o n w a s written i nt h eearly seventeenth century, w h e n the possibilities o f o n e c h o r d e x t e n d i n g over longer periods o ftime were being explored. O n e o f the 57
T h e p h r a s e d e m o n s t r a t e s s i m p l e c h o r d extensión created b y t h e t r i a d i n t h e m e l o d y ; i t also s h o w s h o w t o créate v a r i e t y w i t h i n t h e u n i t y i m p o s e d b y that triad. Most o f t h e notes i n t h e m e l o d y belong t ot h e tonic triad. W e l o o k t o see i ft h e y a r e all h a r m o nized w i t h a I c h o r d . A n d w h a t a b o u t the t w o notes that aren't m e m b e r s o ft h e triad? A t t h e o u t s e t Schütz c r e a t e s a s e n s e o f f o r w a r d motion without a n ychange o fchord at all, simply by m o v i n g s o p r a n o a n d alto w i t h i n t h e c h o r d . T h e i r u p w a r d gesture starts t h em u s i c o n its w a y . Then themelody C (common note between Ia n d V ) changes f r o m 5 t h o f I t o r o o t o f V . T h e n e x t m e l o d y note, A , is a m e m b e r o f t h e t o n i c t r i a d b u t i s n ' t s e t w i t h I . I n s t e a d , Schütz u s e s V I . T h a t ' s a c o m m o n substitute chord f o r I , m e a n i n g t h a t i t fits into tonic h a r m o n y , p r o v i d i n g a change o f color but not a change o f f u n c t i o n . T h e m e l o d y B t is a c o n s o n a n t P . I t ' s p a r t o f a subordínate c h o r d , I I , w h i c h w i l l l e a d b a c k t o I . O b s e r v e t h e unisón b e t w e e n b a s s a n d t e n o r ; i t makes possible t h e r i s i n g l i n e i n t h e tenor, i n parallel l O t h s w i t h t h e s o p r a n o . I t also sets u p contrary m o t i o n b e t w e e n t h eo u t e r voices m o v i n g into the I .T h e last N i nt h e s o p r a n o is set w i t h I V . We n o w have a w a yt o describe t h e tonal u n i t y o f t h e p h r a s e : i t ' s a n extensión o f t o n i c h a r m o n y . T h e m a i n o r g a n i z i n g e l e m e n t i n t h e s o p r a n o is t h e triad. M o s t notes o ft h e t r i a d a r e h e a r d w i t h tonic chords. I n a m u s i c a l w o r k , m o r e t h a n o n e techn i q u e o f c h o r d extensión m a y b e f o u n d i n a p h r a s e . T h e Schütz e x a m p l e s h o w s y o u t h i s . T o g a i n a better u n d e r s t a n d i n g o f h o w c h o r d e x t e n s i o n s w o r k in pieces, s t u d y t h e n e x t e x a m p l e s a n d t h e i r e x p l a nations. C h o r d g r o u p s a r e discussed i n t e r m s o f voice l e a d i n g as w e l l as c h o r d c o n t e n t . A l l e x a m ples a r e t a k e n f r o m t h e A n t h o l o g y .
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(a) I n t h e k e y o f C , i m a g i n e a t o p l i n e E — F — E . E i s t h e m a i n n o t e a n d F is a N . A bass t o t h a t s o p r a n o m i g h t be C—D—C, f o r m i n g p a r a l l e l l O t h s b e t w e e n t h e o u t e r voices. (b) F i l l i n g i n t h e i n n e r v o i c e s w e h a v e I — I I — I , t o g e t h e r w i t h parallel 5ths a n d octaves. (c) N o w V I p r o v e s u s e f u l . I t b r e a k s u p t h e p a r a l l e l s between I and I I . T h e V Ialso d o e s s o m e t h i n g else that's nice: i t changes the color o f the melody E. Y o u hrst heard t h a t n o t e as t h e3 r d o f a m a j o r t r i a d . O v e r V I y o u h e a r E as t h e 5 t h o f a m i n o r t r i a d . I f a m o v e f r o m I t o I I will produce parallels, so will a m o v e f r o m I I t o I .T h e c o m p o s e r deals w i t h this i n a n interesting way. I nt h e I I , alto and tenor are sent t o l o w e r notes t h a n those s h o w n i n (b). T h e alto sings A , n o t D . T h e t e n o r has F , d o u b l i n g the 3 r d i n t h e soprano. T h e r e a r e n o parallels. T h e r e is instead c o n t r a r y m o t i o n , b e t w e e n t h e ascending i n n e r voices a n d t h e descending outer ones. T h e addition o fa P i n t h e tenor, leading back f r o m I I t o I , gives u s the o p e n i n g o f Josquin's Mass excerpt. E x c e r p t f r o m [TJ
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T h e m e l o d i c s t r u c t u r e consists o f t w o m a i n notes, 3 a n d 2 . 3 is e l a b o r a t e d t h r o u g h m o s t o f t h e phrase, m o v i n g t o 2 as t h e goal. T h e t e c h n i q u e s o f elaboration are familiar: N , SP, another S Pi n t h e opposite direction, all circling a r o u n d 3. Y o u may also observe t h e t r i a d b e h i n d t h e m e l o d y . H o w does all this relate t othe h a r m o n y ? I n the example b e l o w , y o u see t h a t e v e r y 3 is s e t w i t h 1 i n t h e bass a n d thus w i t h I i nthe h a r m o n y . W h e n the m e l o d y t o u c h e s 1 t h e bass h a sa d i f f e r e n t n o t e , v a r y i n g t h e color a n d avoiding closure too early i n the phrase. B u t t h e I V c h o r d i s subordínate t o t h e l a r g e r t o n i c . T h e m e l o d y ' s 5 is set w i t h I . Ps a n d N s i nt h e m e l o d y are setw i t h passing a n d neighbor chords.
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I n t h e large v i e w , 3 i n the m e l o d y combines with I i n t h e h a r m o n y . T h e m a i n m e l o d y n o t e i s part o f t h e m a i n c h o r d a t e v e r y p o i n t . I t w o u l d b e difficult t o find a c l e a r e r e x a m p l e o f t h e cióse r e l a t i o n between melody and harmony. O u r final e x a m p l e a b o v e s h o w s a c h o r d e x t e n sión i n f o u r p a r t s . H e r e ' s a n o t h e r p i e c e t h a t begins w i t h m o t i o n w i t h i n t h e t r i a d r a t h e r t h a n chord c h a n g e o f a n y k i n d . A f t e r t h e initial sound, with d o u b l e d 5 t h , t h e i n n e r v o i c e s m o v e d o w n i n parall e l 6 t h s , c r e a t i n g a c t i v i t y b e f o r e t h e c h o r d change.
5 - 6 - 5 i n t h e s o p r a n o is t h etop l i n e o f I - I V - I , w i t h I V i n its f a m i l i a r r o l e as n e i g h b o r c h o r d . T h e role o f C i n t h e c h o r d changes f r o m 5 t ho f I t o root o f V , after which w e don't hear I b u t V I . A n o t h e r I V uses t h e m e l o d y B t as a N , w h i c h returns t o I .T o n i c h a r m o n y has been i n c o n t r o l o f most o f the phrase. A f t e r that, there's m o t i o n away f r o m t h e tonic t o w a r d t h e d o m i n a n t a n d t h e cadenee. 0
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Worksheet 2 1
27 A Few Chromatic Notes W h e n w e s a yt h a t t h es i x t e e n t h - a n d seventeenthc e n t u r y pieces u n d e r s t u d y a r e d i a t o n i c w e mean t h a t t h e y a r e prevaüingly d i a t o n i c , n o t c o m p l e t e l y s o . C h r o m a t i c n o t e s a r e f o u n d i n a g r e a t deal o f p o l y p h o n i c m u s i c a f t e r 1 5 0 0 o r s o . T h e Josquin M a s s e x c e r p t , [ T ] , a n d t h e d a n c e b y G e r v a i s e , [6], are exceptions i n t h a t t h e y i n c l u d e n o chromatic notes at all. A l l t h eother w o r k s i n t h eAnthology c o n t a i n a t least a f e w c h r o m a t i c n o t e s , w h i c h add h a r m o n i c c o l o r a n d i n t e r e s t . T h e r e a r e t w o ways i n w h i c h c h r o m a t i c n o t e s m a y b e b r o u g h t i n t o the largely diatonic language o f this music:
m o n y , t h e d o m i n a n t o f a m i n o r is a m a j o r triad, V». Y o u have already seen that n o t all t h e cadenees i n a piece h a v e I as t h e i r goal. A n y scale d e g r e e o n which you can build a major o r m i n o r triad may be t h e goal o f m o t i o n f o r a phrase. A n authentic cadenee requires a leading note, w h i c h f o r m a n y scale d e g r e e s is a c h r o m a t i c n o t e . F o r e x a m p l e , t h e l e a d i n g n o t e o f t h e d o m i n a n t is t h e 4 t h d e g r e e s h a r p e n e d (4jt) i n b o t h m a j o r a n d m i n o r . T h i s is a chromatic note. A n o t h e r l o o k a t t h e c a d e n e e s i n t h e Schütz P s a l m 7 8 , | I7j, w i l l s h o w t w o c h r o m a t i c n o t e s as l e a d i n g notes o f scale d e g r e e s o t h e r t h a n 1 .
as l e a d i n g n o t e s o f scale d e g r e e s o t h e r t h a n 1 through mode mixture L E A D I N G N O T E S O n e c h r o m a t i c n o t e with w h i c h y o u ' r e f a m i l i a r i n t h e m i n o r m o d e results f r o m m i x t u r e : t h e l e a d i n g n o t e . I n t e r m s o f har-
I n t h e first p h r a s e , A\ is t h e l e a d i n g n o t e o f B t . I n t h e f o u r t h p h r a s e , Bb, i s t h e l e a d i n g n o t e o f C , first as a N i n t h e bass, t h e n i n t h e c a d e n e e .
59
P s a l m 7 8 , [ 7 7 ] . W h a t ' s t h e n o t e D\> d o i n g i n t h e k e y o f El>? I t ' s t a k e n f r o m t h e M i x o l y d i a n m o d e , a n d u s e d f o r its s t r o n g color. I n t h e L a s s o c h a n s o n , 112|, m o d e m i x t u r e e x p l a i n s those c h r o m a t i c notes that aren't leading notes. F r o m t h e u p b e a t t o 9 t h r o u g h 12 b o t h t h e k e y o f d a n d t h e D o r i a n m o d e a r e i n play. T w o clashes r e s u l t , C f a g a i n s t C t | a n d Bl> a g a i n s t B t | . H o w m u c h c o l o r t h e p o l y p h o n y gains as a result! O f this g r o u p o f w o r k s , t h epiece w i t h t h e m o s t c h r o m a t i c notes is t h e B e n e d i c t i o n b y C l a u d e l e J e u n e , |10|. It's i n t h e k e y o f a, b u t n o p h r a s e e n d s w i t h a n a-triad. Each phrase either ends with a n A - t r i a d ( m i x t u r e ) o r w i t h a c a d e n e e o n a scale degree other t h a n 1. Such cadenees m a y involve t h e use o f c h r o m a t i c notes as l e a d i n g notes. A b r i e f s u r v e y o f all t h e c h r o m a t i c notes i n this s h o r t piece will provide a review o f the entire topic. T h e second c h o r d includes the leading note, Gjt, h a n d l e d w i t h t h e c u s t o m a r y care. Just w h e n w e expect t o hear a m i n o r triad, o n "us" there's a rich m a j o r s o u n d i n s t e a d . N o s o o n e r is C f h e a r d t h a n Cl] f o l l o w s , t a k i n g f u l l a d v a n t a g e o f t h e c o n t r a s t o f modes. T h e n F fappears, the leading note o f G. A f t e r t h e rest, V * is a n o t h e r v i v i d c o n t r a s t , as G f follows Gl| i n t h e soprano. T h e second phrase m o v e s t h r o u g h I I I , r e q u i r i n g n o chromatic notes. T h e phrase ends with a semicadence i n w h i c h alto and tenor exchange the leading note, G f . M o d e m i x t u r e colors t h e third phrase at t h e o u t s e t : C f p l a y e d o f f a g a i n s t Cí|. T h e n G f a n d G t | a r e h e a r d i n cióse p r o x i m i t y . T h e s o u n d s a r e n ' t j a r r i n g because t h e d i r e c t i o n o f each n o t e is so clear: G f m o v e s u p t o A a n d G ^ d o w n t o F . T h e phrase ends with a V I I — I (mild) cadenee. T w o c h r o m a t i c notes h e a r d i n that cadenee a r eC f , leading note o fD , a n dF f , w h i c h turns m i n o r into m a j o r . T h e goal c h o r d is I V * . I n t h e f o u r t h a n d final p h r a s e , F f i s t h e l e a d i n g note t o G . T h eBenediction ends w i t h a perfect authentic cadenee, w h i c h includes t h e obligatory l e a d i n g n o t e a n d a m a j o r 3 r d i n t h e last t r i a d . T h e m a j o r 3 r d i n t h e last c h o r d o f a m i n o r - m o d e piece is t h e P i c a r d y 3 r d .
B o t h chromatic notes a r e treated carefully, a p p r o a c h e d a n d left b y step. T h e s a m e is t r u e o f t h e c h r o m a t i c n o t e s i n t h e L a s s o c h a n s o n , [72]. H e r e a r et h e c h r o m a t i c notes i n that piece: 5 8 9-12 14 17-18 17 23. 2 6
Ctt i s t h e Fjt i s t h e C|t i s t h e Gjt i s t h e F|t i s t h e C f is t h e Fjt i s t h e
leading leading leading leading leading leading leading
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A m o n g other things, this survey shows y o u that a g o o d piece doesn't always sit o n t h e tonic. O n l y t o w a r d t h e e n d d o e s Fjt as l e a d i n g n o t e o f G t a k e c o n t r o l . S o m e o f t h e s h i f t i n g a b o u t is r e l a t e d t o t h e m o d a l aspect o f t h e m u s i c , since M i x o l y d i a n isn't as r i g i d a f r a m e w o r k a s t h e k e y o f G . T h e list s h o w s t h e l e a d i n g notes. B u t c h r o m a t i c notes m a y also e m e r g e t h r o u g h m o d a l variability. M I X T U R E T h e play o f two modes with the same tonic attracted c e r t a i n c o m p o s e r s i n t h e late sixteenth a n d early seventeenth centuries, w h e n t h e older modes were giving way tothe m o d e r n major a n d m i n o r . Y e t D o r i a n a n d M i x o l y d i a n w e r e still in the ears a n d m i n d s o f musicians. T h e availability o f notes f r o m m o r e t h a n o n e m o d e provided a r i c h r e s o u r c e f o r c r e a t i v e m u s i c i a n s , as t h e f o l l o w ing discussion, based o n examples f r o m t h e Anthology, demonstrates. Y o u m a y h a v e n o t i c e d a n o d d n o t e i n t h e first phrase o f Arcadelt's chanson, H o w canw e u n d e r s t a n d t h e Cl) i n t h e a l t o , i n 4 ? ( R e m e m b e r t h a t t h e piece is t r a n s p o s e d a n d t h a t t h e c h r o m a t i c note was originally E t , i n the key o f F.) T o be sure, Cl] a v o i d s a t r i t o n e w i t h t h e s o p r a n o , w h i c h w o u l d e n s u e i f t h e d i a t o n i c C(t w e r e h e a r d . B u t w h a t m a k e s the subtonic available is t h e existence o f the Mixolydian mode. T h e subtonic comes f r o m that m o d e . T h e c h r o m a t i c n o t e is t h e r e s u l t o ft h e mixture o f major and Mixolydian. Exactly the s a m e p r o c e d u r e gives a n u n e x p e c t e d t u r n t o t h e f a m o u s c o n c l u d i n g c a d e n e e i n Schütz's
6
60
28 Harmonizing Simple Melodies W e will n o w t u r n t o t w o types o ftraditional harm o n y a n dv o i c e - l e a d i n g exercises: the h a r m o n i z a t i o n o f a s i m p l e m e l o d y a n d , i n t h e next section, t h e r e a l i z a t i o n o f a figured b a s s . Y o u c a n l e a r n a good deal o f h a r m o n y a n dcounterpoint f r o m exercises like these, f o r t h e y h e l p prepare y o u f o r t h e m o s t valuable exercise o f all, writing y o u r o w n music.
m o n y l a s t s u n t i l t h e final c a d e n e e , w h e n w e p l a c e a n F b e f o r e t h e final B t .
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STUDY T H E MELODY T h e first s t e p i n h a r m o n i z i n g a m e l o d y i s t o l e a r n i t well. S i n g i t , o b s e r v e i t s r i s e a n d f a l l , p a y cióse a t t e n t i o n t o t h e b e g i n n i n g a n d t h e e n d , a n d l o o k f o r the m e l o d i c triad. S K E T C H A B A S S L I N E A g o o d bass l i n e i s t h e most important part o f a good harmonization. F i r s t w r i t e a bass t o t h eg i v e n melody, i n w h i c h e a c h bass n o t e r e p r e s e n t s a c h o r d . T h i s starts t h e p r o c e s s o f s h a p i n g t h e h a r m o n y t o fit the m e l o d y . D o n o t g o t h r o u g h t h e m e l o d y o n e note at a t i m e , p l a c i n g a c h o r d u n d e r each n o t e . Instead, s u p p o r t t h e m a i n n o t e s o f t h e m e l o d y w i t h suitable c o n s o n a n t chords a n d p l a n the cadenees. W o r k i n g i n t h e m a n n e r j u s t described, h a r m o nize this s i m p l e m e l o d y , i n f o u r parts.
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T h e h a r m o n y agrees with t h e m e l o d y c o m pletely; t h eresult will b e quite dull. W h a t o t h e r resources d o w e have? W e accept t h e o p e n i n g I (starting point) a n d t h eclosing I (goal). T h e n w e l o o k f o r a l t e r n a t i v e s t o t h e o t h e r B t s i n t h e bass. W h a t n o t e s o f t h e t r i a d c a n b e set w i t h bass n o t e s o t h e r t h a n B t ? D c a n b e m e t i n t h e bass w i t h G , r e s u l t i n g i n V I , t h a t v a l u a b l e c o l o r c h o r d . T h e bass m a y a l s o r e a c h D u n d e r t h e first F , i m p l y i n g I . The second F m a y beheard over a B t , but perhaps a l o w e r versión o f t h a t t o n i c w i l l g i v e t h e b a s s l i n e more r o o m i nw h i c h t o move. T h e D just before t h e c a d e n e e m a y b e p a r t o f I i f t h e bass also h a s D. 6
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I A f t e r o b s e r v i n g t h a t t h e m e l o d y i s i n the k e y o f B t a n d i n \ , w e a l s o n o t e t h a t t h e t u n e rises f r o m 1 t h r o u g h 5 , t h e n d e s c e n d s 5—4—3—2—1. T h e m o t i o n is e n t i r e l y s t e p w i s e . T h e t r i a d i n t h e m e l o d y c l e a r l y expresses the key. S owill the harmony. T a k i n g t h e t r i a d i n t h e m e l o d y as our p o i n t o f d e p a r t u r e , w eb e g i n w i t h a bare-bones sketch i n w h i c h each n o t e o f t h e t r i a d issetwith I , indicated b y a B t i n t h e bass. F o r t h e m o m e n t we d o n ' t t a k e advantage o fthe t w o possible placements o f B t i n t h e b a s s , b u t w e m a y find u s e f o r t h e m l a t e r o n . T h e b a s s B t s a y s t h a t t h e extensión o f t o n i c h a r -
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N o w a d e f i n i t e s h a p e f o r t h e bass l i n e e m e r g e s . It descends against t h esoprano rise a n d climbs back u pagainst t h e soprano's fall: c o n t r a r y m o t i o n in the o u t e r voices. T h e m o s t i m p o r t a n t n o t e s i n t h e bass h a v e b e e n set o u t , t o g e t h e r w i t h t h e i r i m p l i e d c h o r d s . N e x t we a d d t h e c o n n e c t i n g bass n o t e s a n d t h e i r c h o r d s . T h e i n i t i a l b a s s s k i p o f a 3 r d i s r e a d i l y filled w i t h A . T h e bass c a n t h e n r e p e a t t h e G . T h e r i s i n g 3 r d s a r e filled w i t h C a n d E t , a n d t h e b a s s u n e i s complete. O ris it? Perhaps t h e r e will b e a chance t o elabórate i t a b i t a t t h e e n d o f o u r t a s k .
61
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R O O T , 3 R D , 5 T H Since simple diatonic melodies c o n t a i n s o f e w n o t e s , it's h e l p f u l t o t h i n k a b o u t ways i n w h i c h t h e setting o f those notes m a y b e varied. Keep i n m i n d that a n ymelody note may take the role o f root, 3rd, o r5 t h o f a triad. H e r e is a m e l o d y b y M i c h a e l P r a e t o r i u s .
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H e r e is a c o m p l e t e h a r m o n i z a t i o n , w i t h i n n e r voices filling i n t h e c h o r d s i m p l i e d b y t h e bass line.
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Listening t o t h eentire setting, w e m a y feel that t h e acüon s t o p s i n t h e s e c o n d m e a s u r e . J u s t b e c a u s e t h e m e l o d y consists o f t w o h a l f notes doesn't m e a n that t h e o t h e r voices m u s t d o exactly t h e same. T h e alto can a d da N before m o v i n g t o B t . T e n o r a n d bass m a y also e x c h a n g e notes, i n quarters. G o i n g further, a S U S o nthe eighth-note level may add interest t othe beginning o f the t h i r d measure, a n d t h e t e n o r c a n a d d a P t o fill i t s c o n c l u d i n g 3 r d . Each o f these elaborations adds interest t o t h e i n d i v i d u a l l i n e s . H e r e i s a m o r e e l a b ó r a t e versión of the harmonization.
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T h e first G i s t h e r o o t o f a t r i a d . T h e s e c o n d G i s the 3rd, the sound changing f r o m major t o minor. T h e t h i r d G is t h e 5 t h o f a m a j o r triad. A l s o o b s e r v e t h a t w h e n t h e bass r e t u r n s t o G t h e s o p r a n o is s o m e p l a c e e l s e , k e e p i n g t h e p o l y p h o n y i n a c t i o n . T h e s e c o n d p h r a s e b e g i n s w i t h t h e u p b e a t t o _5. I t i s s i m i l a r t o t h e first, b u t n o t i d e n t i c a l . T h e r e a r e o n l y t w o w r i t t e n Gs, b u t i n fact G sounds o n three d i f f e r e n t beats. O n each there's a d i f f e r e n t placem e n t o f t h e m e l o d y note. T h i s t i m e t h e o r d e r is 3 r d , r o o t , 5 t h , a l l i n b. A g a i n t h e e m p h a s i s i s o n t o n i c h a r m o n y , a n d a g a i n w h e n t h e bass r e t u r n s t o G t h e s o p r a n o h a s m o v e d a w a y . S h o r t as i t is, t h i s example clearly shows h o w changing the role o f a s o p r a n o n o t e c a n créate a g o o d v a r i e t y o f s o u n d , even within the overall control o f tonic h a r m o n y .
i 6
1
i
O n e m o r e p o i n t : t h e first c h o r d i n o u r h a r m o n i z a t i o n i s i n cióse p o s i t i o n . T h i s m a k e s p o s s i b l e t h e máximum c o n t r a r y m o t i o n b e t w e e n s o p r a n o a n d b a s s . T h e c h o i c e o f t h e first c h o r d ' s p o s i t i o n m a y affect t h e e n t i r e p o l y p h o n y , s o consider i t carefully. We've shown a method o f harmonizing a melody in some detail i norder t ob r i n g u p several i m p o r t a n t i s s u e s . I n y o u r first e f f o r t s , f o l l o w t h i s p r o c e d u r e closely. W i t h m o r e experience y o u m a y find quicker ways o f arriving at a good harmonization.
O* W o r k s h e e t 2 2
62
I
29 Figured Bass REALIZATION I n a figured b a s s e x e r c i s e , t h e figures u n d e r t h e g i v e n bass l i n e tell y o u w h a t notes a r e i n t h e u p p e r three voices. B u t t h e figures don't directly represent notes: they represent i n t e r v a l s o v e r t h e b a s s . Y o u r t a s k i s t o realize, t h a t is, t o m a k e r e a l w h a t i s i m p l i e d b y t h e figures. H i s t o r i c a l l y , figured b a s s o r i g i n a t e d i n t h e s e v e n t e e n t h c e n t u r y as part o f B a r o q u e p e r f o r m a n c e p r a c t i c e . M u s i c i a n s l e a r n e d t o r e a l i z e figured basses at t h e k e y b o a r d as p a r t o ft h e i r n o r m a l t r a i n i n g . ( F o r m o r e h i s t o r i c a l b a c k g r o u n d o n this subject, see A p p e n d i x 2 , C o n t i n u o M u s i c . ) I n t h e s t u d y o f h a r m o n y t o d a y , figured b a s s i s realized i n w r i t t e n exercises. Essentially, t h e y a r e exercises i n voice leading, i n w h i c h the c h o r d cont e n t i s p r o v i d e d b y t h e figures. Y o u r t a s k i s t o s e t out t h e three u p p e r parts i n a musically convincing way. T h e m a i n emphasis will b e o n constructing a t o p l i n e t h a t h a s a g o o d m u s i c a l flow. I t i s a l s o i m p o r t a n t t h a t t h e i n n e r v o i c e s m o v e as s m o o t h l y as p o s s i b l e . Y o u m i g h t say t h a t r e a l i z i n g a figured bass is t h e r e v e r s e o f h a r m o n i z i n g a m e l o d y .
T H E F I G U R E S T h e figures u n d e r t h e b a s s n o t e s indícate s i m p l e i n t e r v a l s , w h i c h a r e r e a d f r o m t h e bass u p . I n t e r v a l s i m p l y c h o r d s a n d suggest voice l e a d i n g . A f e w figures w i l l r e p r e s e n t m a n y i n t e r vals. T h e s e s t a n d a r d i z e d abbreviations a r e e x p l a i n e d below. Y o u have already c o m e across o n e such bit of musical shorthand: instead o f 3 you've been r e a d i n g a n d w r i t i n g I . T h e 3 i s u n d e r s t o o d a n d is o m i t t e d . T h i s is precisely t h e type o f abbreviation f o u n d i n figured b a s s . B u t b e f o r e t h e e x p l a n a t i o n , a warning:
E x p l a n a t i o n o fF i g u r e d Bass S y m b o l s Chords symbol no
figure
explanation 1 p o s i t i o n o f a t r i a d ; t h e bass i s t h e root o f the triad
6
3 p o s i t i o n o f a t r i a d ; t h e bass is t h e 3rd o f t h e triad
6 4
4 p o s i t i o n o f a t r i a d ; t h e bass is t h e 5 t h of the triad 7
7
5 p o s i t i o n o f a 7 t h c h o r d ; t h e bass i s the root
6 5
5 p o s i t i o n o f a 7 t h c h o r d ; t h e bass i s the 3 r d
4 3
< position o f a 7 t h chord Embellishing Notes
3-4 6-7 8-9 8-7 7-6 4-3 9-8
4 is a P 7 is a P 9isaP 7isaP SUS a n d resolution SUS a n d resolution SUS a n d resolution Other Symbols
tt
6
6or0
t
T h e figures d o n ' t s h o w t h e v o i c e i n w h i c h a n y n o t e i s t o appear, a n d they don't show doubling. Intervals m a y be r e a l i z e d i n t h e i r c o m p o u n d f o r m ( a d d a n octave, o r e v e n t w o ) a s r e a d i l y as i n t h e s i m p l e versión o f t h e figures. A l l n o t e s o f t h e realización a r e d i a t o n i c ( f o l l o w t h e k e y s i g n a t u r e ! ) u n l e s s y o u find a tt o r a \> i n t h e figure.
7t 6
63
.
Raise (sharpen!) t h e 3 r d . T h i s doesn't a l w a y s r e s u l t i n a jt i n t h e m u s i c . I n a flat key, f o r e x a m p l e c, t h e s y m b o l tt r a i s e s t h e 3 r d a b o v e t h e bass C f r o m Et t o E t S h a r p e n ( r a i s e ) t h e 6 t h a b o v e t h e bass one h a l f step. T h e s h a r p m a y b e a p p l i e d t o a n y figure. Flatten ( l o w e r ) t h e 3 r d by a h a l f step. T h i s doesn't always result i n t h e appearance o f a k I n a sharp key,f o r e x a m p l e D , t h e s y m b o l l> o v e r D l o w ers t h e 3 r d f r o m Fjt t o F l | . Flatten (lower) the 7 t h by a semitone. T h e flat m a y b e a p p l i e d t o a n y figure. Sustain the c h o r d f o r t h e length o f the horizontal line ( n o c h o r d change).
ILLUSTRATION H e r e i s a s i m p l e figured b a s s exercise. T h e r e a l i z a t i o n is w o r k e d o u t b e l o w .
i
W~9
J'f
r'rr
1
4-3
6
6
6
6
^
m
1
m
4-3
rnrr 6
6
6
6
N o t i c e t h a t t h e r e a l i z a t i o n is w r i t t e n w i t h t h r e e voices i n t h e t r e b l e c l e f a n d o n l y o n e i n t h e bass clef. T h i s is s t a n d a r d p r o c e d u r e f o r t h e w r i t t e n r e a l i z a t i o n o f figured b a s s , t o b e f o l l o w e d i n y o u r exercises. T h e p l a c e m e n t o f t h e first s o p r a n o n o t e d e t e r m i n e s t h e s p a c i n g o f t h e first c h o r d . T h i s a g a i n suggests that y o u should be careful i ndeciding o n t h a t first n o t e . A l s o d o u b l e t h e r o o t i n t h e first c h o r d . T h e i n n e r voices l o o k f o r t h e nearest notes in m o v i n g f r o m o n ec h o r d t o t h e next. Use c o m m o n notes w h e r e they a r e available. Observe t h e notation o f the 4 - 3 , S U S and resolution. T h e p a r a l l e l | c h o r d s i m p l i e d b y t h e figured b a s s a r e c o m m o n t o t h i s t y p e o f e x e r c i s e . T h e y créate a p r o b l e m that's n o t difficult t o solve: h o w t o a v o i d parallel 5ths a n doctaves. H e r e s o p r a n o , alto, a n d bass m o v e t o g e t h e r o v e r t h e 6—6. T h e t e n o r p r o vides contrary a n d similar m o t i o n , alternatively, b y skipping f r o m the 3rd o f the triad t othe root.
S k e t c h a m e l o d y first. B y o u t l i n i n g t h e s o p r a n o y o u créate t h e e s s e n t i a l p o l y p h o n y b e t w e e n t h e o u t e r voices. T h e notes o f the s o p r a n o a r e t a k e n f r o m chords implied b ythe figures.
íftrlírrrl'
4-3
5*5
i
6 6 6
T h e soprano—bass f r a m e w o r k mixes contrary, similar, a n d parallel m o t i o n . T h e i n n e r voices a d d some oblique m o t i o n (with their c o m m o n notes) and contrary m o t i o n t o offset t h e parallel m o t i o n i n s o p r a n o a n d b a s s . W e fill i n t h e a l t o a n d t e n o r .
O * Worksheet 23
30 Study of a Piece: Isaac's Innsbruck, I Now Must Leave Thee By" s t u d y i n g this c o m p l e t e piece y o u w i l l r e v i e w a n d s u m m a r i z e t h e topics o f Part F o u r . A t t h e same t i m e y o u will see h o w the techniques d e m o n strated i n musical excerpts c a n w o r k o n a larger s c a l e . Innsbruck, I Now Must Leave Thee, [2], i s a m i d Renaissance w o r k by a Flemish composer, o n e o f the most r e n o w n e d o f his day for b o t h sacred and secular music.
64
T h e m e l o d y o fthis piece soon achieved a striking degree o f popularity. I t became a h y m n a n d w a s o n e o f t h e chórale m e l o d i e s t h a t J . S . B a c h s e t several times. T h e continuing appeal o f the m e l o d y c a n b e s e e n f r o m i t s a p p e a r a n c e i n t h e final Chórale P r e l u d e f o r o r g a n , O p . 1 2 2 , b y J o h a n n e s B r a h m s , completed i n 1897.
OVERVIEW T h e piece is b u i l t o f seven phrases, s o m e r e p e a t e d , w i t h rests s e p a r a t i n g t h e p h r a s e s . T h e f o u r p a r t s l i e r a t h e r cióse t o g e t h e r . T h a t , p l u s the fact t h a t t h e m u s i c was m e a n t t o b e s u n g b y m a l e voices, results i n the r a t h e r d a r k s o u n d f a v o r e d by m a n y composers f r o m n o r t h e r n countries. T h e basic n o t e - a g a i n s t - n o t e c o n s o n a n c e is e m b e l l i s h e d by passing m o t i o n a n dw i t h S U S s a t t h e cadenee. T h e h a l f n o t e represents o n e beat, a n d barlines have b e e n a d d e d t o t h escore. Notice, h o w e v e r , that all measures don't have t h esame n u m b e r o f beats. I n discussing t h eh a r m o n y o f older music, such as Innsbruck, w e u s e m o d e r n t e r m s a n d c h o r d i d e n tifications. T h e s e didn't exist a t the time the music w a s w r i t t e n : r o m á n n u m b e r s w e r e first u s e d t o i d e n t i f y c h o r d s i n t h e n i n e t e e n t h century. Isaac, Josquin, a n d Palestrina u n d e r s t o o d music as a c o m b i n a t i o n o f l i n e s t h a t fitted t o g e t h e r i n a c c o r d ance w i t h t h eprincipies o f consonance a n d dissonance. T h e normaüve s i m u l t a n e o u s s o u n d w a s t h e t r i a d . D e s p i t e t h e d i f f e r e n c e i n theoretícal a p p r o a c h , we can understand a good deal about older music in o u rterms, because that music follows some o f the s a m e n o r m s o f m o r e recent music. T h i s is particularly true o fthe cadenee, which developed early i n the period o f m o d a l tonality. W e now examine themelody andharmony o f each phrase.
3E
1¿ i
5
7
Second phrase J*
5
W h e r e t h e first p h r a s e w a s s t r o n g l y t o n i c , t h e second turns t o thedominant. B u tn o t until a f u r t h e r t o n i c extensión i s c o m p l e t e d i n t h e m i d d l e o f t h e s e c o n d phrase. P a r t o f t h a t t o n i c is b u i l t o n a N i n t h e b a s s . T h e n o t e El» i s t a k e n f r o m t h e M i x o l y d i a n m o d e . A b o v e i t is t V I I ( t h a t is, a t r i a d built o n the flatted-seventh degree). Just as t h e m e l o d y reaches F , the h a r m o n y swings away f r o m I . T h e phrase ends with another mild c a d e n e e , w h o s e goal is V . T h e r a n g e o f t h e voices is n o w a 4 t h l o w e r t h a n i t w a s a t t h e o u t s e t o f t h e piece. T h i r d phrase
First phrase
/
T h e lovely S U S in the alto c o m b i n e s w i t h the voice exchange between tenor a n d soprano. Also notice t h e s m a l l b u t s t r i k i n g P i n t h e bass. T h e p h r a s e closes w i t h t h e m i l d V I I — I .
S
33C
ff U vi vn
*> •e-
6
i
6
O
rrrt i ¿J
3£
sus \
vn
n
6
5
v i v n
J 6
v i
T h e setting remains i n t h elower part o f t h e r a n g e f o r t h e t h i r d p h r a s e . T h e h a r m o n y also stays a w a y f r o m t h e tonic, c i r c l i n g a r o u n d I I f o r t h e entire phrase. A l l but o n e o f the triads used here are m i n o r .
T h e m e l o d y b e g i n s w i t h a n u p b e a t , as d o a l l t h e o t h e r phrases i n t h e piece. T h eupbeat i m p a r t s f o r w a r d m o t i o n t oeach phrase a n d contributes t o the r h y t h m i c life o f the music. I n the initial phrase, the clear shape o f the triad in t h em e l o d y is coordinated w i t h tonic h a r m o n y . T h a t h a r m o n y is built u p gradually, a n dw e o n l y h e a r i t c o m p l e t e i n t h e m i d d l e o f _2. T h e o p e n i n g i c h o r d is a puré, b a r e s o u n d , a m a r v e l o u s s t a r t i n g p o i n t . T h e n t h e c o l o r c h o r d V I does its j o b i n v a r y i n g t h e s o u n d o f the m e l o d y F .V I I leads back to the complete I . W i t h i n t o n i c h a r m o n y t h e bass m o v e s t h r o u g h a SP. T h e c o u n t e r p o i n t above that is quite elegant.
Fourth phrase 10
r 18= vn
65
^
n l
6
v i vn ,i
6
•o
first is i m p e r f e c t a u t h e n t i c , w i t h t h e m e l o d y o n 3 ; the goal o fthe second is V ; t h et h i r d breathes o n I I ; t h e f o u r t h ends again w i t h t h e imperfect versión o f t h e a u t h e n t i c c a d e n e e ; t h e fifth a g a i n e n d s o n t h e d o m i n a n t , a n d o n l y t h e sixth concludes with a perfect authentic cadenee.
W h i l e t h e initial notes o f the melody return, t h e h a r m o n y doesn't g o back t o I at t h e same d m e . T h e extensión o f I I continúes f o r j u s t o n e m o r e b e a t . T h e n V I f a l l s i n t o p l a c e i n t h e flow o f c h o r d s that does lead back t oI . F r o m that point (mid-10) t h e f o u r t h p h r a s e i s t h e s a m e a s t h e first. I t ' s interesting t o see h o w Isaac h a s w o r k e d h i s w a y back t othe exact range o f the o p e n i n g at the same time that the h a r m o n y returns t o the tonic. T h e fifth p h r a s e i s t h e s a m e a s t h e s e c o n d p h r a s e .
FOLLOW-UP A p p l y what y o ustudied i n Part F o u r t o t h efollowing three works i nt h e A n t h o l ogy, w h i c h have features somewhat different f r o m Innsbruck b u t w h i c h u s e e x a c t l y t h e s a m e t e c h niques o f h a r m o n y and counterpoint. T h e a l l e m a n d e b y C l a u d e G e r v a i s e , [6], t h e b e s t k n o w n c o m p o s e r o f Renaissance dances, is a n e x a m p l e o fearly i n s t r u m e n t a l music. I n this period i n s t r u m e n t s w e r e n ' t specified, a n d the pieces c o u l d be played b y m a n y d i f f e r e n t combinations. T h e d a n c e is i n t h e M i x o l y d i a n m o d e puré a n d s i m p l e . W h y might you want t o e n dwith a repetition o f t h e first p h r a s e ? W h y d o e s t h e m e l o d y s t a n d o u t so c l e a r l y f r o m t h e l o w e r parts? C o m p a r e t h e u s e o f t h e s c a l e i n t h e first h a l f o f t h e p i e c e w i t h t h a t o f the second.
Sixth phrase 16
m
3 v
6
v rv n 1 ,rv
6
6
4
n v r v , v -
3
O i
rv T h e last p h r a s e , w h i c h is r e p e a t e d , is t h e l o n g e s t o f t h e p i e c e . F o r t h e first t i m e , I V p l a y s a n i m p o r tant role. Y o u see that subdominant h a r m o n y is s p r e a d o v e r t w o m e a s u r e s . I f I - I i s a n extensión o f t o n i c h a r m o n y , t h e n I V - I V i s a n extensión o f s u b d o m i n a n t h a r m o n y . T w o subordínate c h o r d s fill t h e s p a c e b e t w e e n I V a n d I V : I I a n d V a r e the connecting links. Observe that 1 7 - 1 8 a r ei ntriple meter. While t h e t o t a l n u m b e r o f beats i n 1 7 - 1 9 is eight, t h e y don't follow the prevailing pattern o f two and four. Rather, t h e n a t u r a l accent o f t h e music is three plus three plus t w o . T h a t g r o u p i n g is frequently f o u n d near t h e cadenee i n Renaissance music. I t breaks u p t h er e g u l a r i t y o fthe r h y t h m a n d leads to the goal chord. I n t h eperfect authentic cadenee t h e resolution of the S U S introduces the leading note. A n d , looki n g a t t h e w h o l e piece, w erealize that s o p r a n o a n d bass a g r e e o n t h e t o n i c n o t e a t o n l y t w o places, t h e first s o u n d a n d t h e l a s t . T h e m u s i c e n d s o n t h e bare sonority w i t h w h i c h i t began. 6
6
6
6
CONTINUITY O n e p h r a s e flows i n t o t h e n e x t effortlessly. I n p a r t this is d u e t o t h e upbeats, w h i c h l i n k t h e p h r a s e s r h y t h m i c a l l y . B u t also t h e cadenees a v o i d a strong sense o fclosure until t h e very end. R e v i e w i n g the cadenees y o u see that t h e
Veni Sánete Spirito, [9], i s a s e t t i n g o f a h y m n b y o n e o f t h e great masters o f t h e Renaissance, Palest r i n a . W h a t d o e s t h e flat ( a f t e r t h e c l e f s i g n ) m e a n ? W h a t is t h e k e y ? t h em o d e ? W h a t r h y t h m i c device is u s e d i n J J , ? W h e r e i s t h e r e v o i c e c r o s s i n g ? T h e l i v e l y b a l l a t a b y G a s t o l d i , | 1 3 | , i s i n five p a r t s . T h e r i c h n e s s o f a five-part t e x t u r e w a s a t t r a c t i v e to late sixteenth-century composers, a n d that prefe r e n c e continúes w e l l i n t o t h e s e v e n t e e n t h . T h e t e r m Q u i n t o s i m p l y m e a n s t h e fifth p a r t . I t m a y b e a n y voice; h e r e i tis e q u a l w i t h t h e s o p r a n o . W h e n t w o voices oceupy t h es a m e range there's likely t o be a fair a m o u n t o f voice crossing. F o l l o w t h e t w o u p p e r voices t h r o u g h the piece a n d observe all the crossings. L o o k a t the r e p r o d u c t i o n o f the o r i g i n a l m u s i c o n t h e f a c i n g p a g e . W h a t n o t e valué r e p r e sents o n e beat? W e r e there barlines i n the original? T h e h a r m o n y o f t h e first p h r a s e i s i n t e r e s t i n g . I t begins i n a; w h e r e does i t e n d ? I n6 , w h a t device is h e a r d i n soprano—bass? W h a t type o fcadenee d o y o u h e a r i n 6 — 7 ? T h e first p h r a s e , 1 — 7 , i s r e p e a t e d in 8—14. W h y does 7 seem like a full stop while 14 s e e m s l i k e a n i n v i t a t i o n t o k e e p g o i n g ? B e t w e e n w h i c h t w o v o i c e s i s t h e r e a S U S iñ 41_? W h a t i s t h e t e r m f o rt h e m a j o r 3 r d i n t h e last t r i a d o f this m i n o r - m o d e piece? C F Worksheet 24
66
31 Diatonic Chord Functions: A Summary I N T R O D U C T I O N T h e conclusión o f P a r t F o u r o u t l i n e s t h e basic f u n c t i o n s o f all t h e diatonic triads. I n studying this section, y o u l o o k ahead t o music o f the e i g h t e e n t h a n d n i n e t e e n t h centuries. W h i l e a román n u m b e r i s a h a n d y label f o r a t r i a d , i t tells y o u little a b o u t t h a t chord's f u n c t i o n in a piece o fmusic. W h a t does each triad actually d o i n a p i e c e ? H o w d o e s a c h o r d fit i n t o t h e m u s i c a l flow? T h e a n s w e r is always f o u n d b y r e l a t i n g a triad t o w h a t e v e r carne before i t a n d whatever c o m e s n e x t , t h a t i s , b y d e f i n i n g t h e t r i a d ' s context. T h e n w ec a n u n d e r s t a n d t h e triad's role. Each o ft h e seven diatonic triads i na k e y c a n p e r f o r m m o r e t h a n o n e task. It's possible t o describe e a c h o f those f u n c t i o n s q u i t e specifically, a n d that's w h a t this section is about. T h e n o r m a l functions o f each triad a r eexplained, w i t h musical examples. O n e o f t h e r e m a r k a b l e aspects o f m a j o r - m i n o r t o n a l i t y is t h a t a s i n g l e t r i a d m a y b e g i v e n d i f f e r e n t m e a n i n g s b y d i f f e r e n t contexts. T h e possibility o f interpreting a s o u n d i nm o r e t h a n o n eway enriches y o u r resources greatly. M a n y o fthose possibilities will b e c o m e a p p a r e n t i nt h e f o l l o w i n g discussion. W h i l e t h e e x p l a n a t i o n s concéntrate o n 3 - p o s i t i o n chords, occasional c h o r d s w i l l b e m e n t i o n e d as well.
Once again, i nt h ediscussion o fh a r m o n y w e m u s t reckon w i t h m e l o d y . T h e m a i n note i nt h e m e l o d y is B , w h i l e C i s a N . T h e t r i a d u n d e r B i s V * , t h e main chord. T h e triad u n d e r C is I , here a neighbor chord. Y o u c a n hear that t h e m a i n c h o r d receives a l l t h e r h y t h m i c e m p h a s i s , o n b o t h t h e h a l f - a n d q u a r t e r - n o t e levéis. T H E V C H O R D In authentic cadenee: M o s t t o n a l pieces i n c l u d e a n u m b e r o f a u t h e n t i c c a d e n e e s , p u n c t u a t i n g t h e m u s i c a s i t flows t h r o u g h t i m e . The d o m i n a n t triad (or V ) plays a vital role i n this type o f cadenee, m o v i n g decisively t o I .W e cali t h e d o m i n a n t i n t h e c a d e n e e t h e cadential dominant. Here, too, examples a r et ob e f o u n d i nevery piece in t h e A n t h o l o g y . In semicadence: V i t s e l f m a y b e t h e g o a l o f m o t i o n in a m u s i c a l p h r a s e . I n m i n o r , V * is t h e ñame o f the d o m i n a n t that includes t h e leading note. A p h r a s e f r o m a B a r o q u e concertó s h o w s t h e d o m i n a n t as g o a l . T h e t y p i c a l s e m i c a d e n c e I V — V * p r o vides a sense o fp a r d a l closure. 7
6
Concertó Grosso, Op. 6, No. 8
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T H E I C H O R D T h e t o n i c t r i a d c a n e x p r e s s máxi m u m stability. I t serves as m a i n c h o r d m o r e o f t e n t h a n a n yo t h e r t r i a d . I t ' salso t h e n o r m a l goal o f m o t i o n i n t o n a l pieces a n d ,i na shorter view,t h e g o a l o fm a n y p h r a s e s w i t h i n a piece. A n y w o r k i n the A n t h o l o g y will provide a n example o f the tonic triad i n itsrole as musical center o f gravity. As N: I m a y a l s o p l a y a s u b o r d í n a t e r o l e . String Quartet, O p . 18, No. 4, I
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As passing chord: T h e s a m e e x a m p l e i l l u s t r a t e s a n o t h e r w a y o f u s i n g V , w i t h i n a t o n i c extensión. T h e m e l o d y rises 1 - 2 - 3 , a n d2 is a P . H e r e 1 a n d 3 a r esetw i t h I . T h e c h o r d that connects t h e t w o s t a t e m e n t s o f I i s V». W e c o n s i d e r i t a p a s s i n g c h o r d because it's u n d e r t h e ( c o n s o n a n t ) P i n t h e m e l o d y . I nsimplest f o r m : £2.5-
B o t h I V a n dV a r eelaborative chords i n t h e next example.
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T h e Corelli excerpt also shows a w a y t ou s eV ( n o t V ) i n t h em i n o r . T h e d e s c e n d i n g bass 8 - 7 - 6 - 5 o f t e n leads t o a semicadence. I n this m o t i o n , 7 is t h e bass t o V . O f t e n , as h e r e , t h a t c h o r d is f o l l o w e d b y I V , t h e first c h o r d o f t h e s e m i c a d e n c e . As neighbor chord: V i s a n e i g h b o r c h o r d i n t h i s extensión o f t o n i c h a r m o n y .
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String Quartet, Op. 18, N o . 4 , 1
I n t h e first m e a s u r e , 6 i s a N t o 5 a n d I V i s a n e i g h b o r c h o r d t o I . I n t h e n e x t m e a s u r e I V is subordínate o n c e a g a i n , e v e n t h o u g h t h e m e l o d i c N is n o t as o b v i o u s as i twas. T h e n , as t h e t o p line rises 1 - 2 - 3 across t h e b a r l i n e , t h e h a r m o n y supports i twith I — V — I . I n3 t h e parallel 3rds o f1 a r e inverted, becoming parallel 6ths i n t h e I — I V — I m o v e . A l l o f t h i s t a k e s p l a c e w i t h i n a n extensión o f tonic h a r m o n y . I V isa n e i g h b o r c h o r d i nthis phrase.
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U n d e r t h e (consonant) N Bl| i n t h emelody you hear a neighbor chord, V f . Here t h e rhythmic e m p h a s i s i s o n t h e m a i n c h o r d , I , first o n t h e h a l f n o t e level, t h e n o n the quarter.
VI
THE I V CHORD T h e I V c h o r d m a y f u n c t i o n i n at least t w o d i f f e r e n t w a y s : i tm a y e m b e l l i s h a m a i n chord o ri tm a y m o v e away f r o m the tonic. As neighbor chord: T h e m e l o d i c m o t i o n 5 — 6 — 5 lends itself t o t h eprogression I — I V — I . A famous e x a m p l e illustrates.
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B e t w e e n t w ostatements o f V * , t h e o u t e r voices step i nc o n t r a r y m o t i o n . T h e c h o r d generated b y those lines is I V ,a n e i g h b o r c h o r d . As passing chord: R e f e r t o t h e C o r e l l i e x a m p l e o n p a g e 6 7 . T h e n e x t - t o - l a s t c h o r d is I V . H e r e i t passes f r o m V t o V . O n c e a g a i n y o u s e e t h a t t h e 6
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m e a n i n g o f a c h o r d d e p e n d s n o t u p o n its type, but u p o n its c o n t e x t . Motion away from the tonic: T h e S c a r l a t t i e x a m p l e also s h o w s a d i f f e r e n t f u n c t i o n o f I V . Following the tonic i n 7 (here I ) I V leads t h ee a r away from that stable s o u n d a n d t o w a r d t h e d o m i n a n t . T h e t w o d i f f e r e n t functions o f I V m a ybe o b s e r v e d i n t h i s s h o r t p h r a s e f r o m a c o m i c opera.
moves t h e h a r m o n y away f r o m t h e tonic a n d prepares t h e dominant. " W i t h verdure ciad" f r o m The Creation
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T h e first m e a s u r e i s t a k e n u p w i t h a n extensión o f tonic h a r m o n y . I nthis, I - V - 1 again supports t h e melodic ascent 1 - 2 - 3 . T h e n I I moves away f r o m t h e t o n i c a n d sets u p V , w h i c h i s h i g h l i g h t e d b y the/ marking. M o r e o f t e n t h a n I Io r I V , I I is t h e c h o r d that follows t h e tonic a n d prepares t h e w a y f o r t h e d o m i n a n t . W i t h 4 i n t h e bass, this c h o r d is i n a strong position t om o v e t oV . 6
I n _1, 6 i s a N t o 5 a n d I V i s a n e i g h b o r c h o r d t o I . I n 2, I V h a s i t s o t h e r r o l e , l e a d i n g a w a y f r o m t h e t o n i c t o t h e d o m i n a n t . T h e t h i r d m e a s u r e repeats t h e s e c o n d a n d e n d s t h e s h o r t p h r a s e . T h e same c h o r d , I V , m e a n s t w o d i f f e r e n t t h i n g s i n o n e phrase.
S y m p h o n y N o . 92, I I
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T H E I IC H O R D I I i n r o o t p o s i t i o n i s n ' t as useful as I I . I n d e e d , I I is h e a r d o n l y i n t h e m a j o r , a n d e v e n there i t plays a limited role. As neighbor chord: I n s i x t e e n t h - c e n t u r y m u s i c I I was u s e d as a n e i g h b o r c h o r d . 6
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T h e c o n t r a r y m o t i o n o f t h e o t h e r v o i c e s is t h e c o n t r o l l i n g f a c t o r . B o t h s o p r a n o a n d bass have Ns. Motion away from the tonic: M o r e o f t e n , I I i s t h e first c h o r d a f t e r a t o n i c extensión. A s s u c h , i t
Here i na nutshell a r e t h ethree main harmonic functions. Tonic—subdominant—dominant—tonic forms o n eo f t h e great h a r m o n i c plans o f tonal music. I I o f t e n plays a part i n this progression. 6
T H E V IC H O R D V I is a n interesting chord, W i t h o u t a n y s t r o n g d i r e c t i o n o f its o w n , i tm a y b e interpreted i n different ways according t o the chords that precede a n d follow it. V I m a y b e used w i t h i n a n extensión o f I o r V , o r i t m a y b e g i n a m o t i o n a w a y f r o m t h etonic. T h e c h o r d isv a l u a b l e i n b o t h major a n d minor. As neighbor chord: V I i s o f t e n h e a r d a s a n e i g h b o r c h o r d t o V o r V». ( S e e e x a m p l e b e l o w . ) T h e p o l y -
Piano Sonata K . 280, I I
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the e a r t oexpect tonic h a r m o n y . B u t t h e entrance o f Fjt i n t h e bass m o v e s t h e h a r m o n y a w a y f r o m the tonic. V Idoes this j o b well, leading, i n this case, t oI I . As tonic substitute: V I m a y b e i n c l u d e d w i t h i n a t o n i c extensión a s a n a l t e r n a t i v e t o I , w i t h w h i c h i t has t w o notes i n c o m m o n . T h eh a r m o n y o f W a g ner's P i l g r i m s ' C h o r u s takes advantage o f the color gained b ythe substitution.
p h o n y reaches V * b y t h e third measure, rather early i nt h e eight-measure phrase. T h e h a r m o n y keeps m o v i n g b y using V I as a neighbor c h o r d t o V*. H e r e t h e bass is decisive, t h e D t - C m o t i o n s t a n d i n g o u t clearly against t h e m o v i n g u p p e r voices. V I m a y also b e a n e i g h b o r c h o r d t oI . A beautiful m o t i v e f r o m a R o m a n t i c opera illustrates. Prelude to Act I of L o h e n g r i n
6
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H e r e t h e N m o t i o n is i n t h e m e l o d y . I tbegins o n E , a n d i s first e l a b o r a t e d w i t h a s k i p t o A a n d b a c k . T h e N , Fjt, f o l l o w s . T h ebass (the l o w e s t part, n o matter h o w high) supports t h eN m o t i o n w i t h a skip t o p r o v i d e consonance. T h e c h o r d is V I . Refer t o t h eC h o p i n example o n page 68. I n t h e bass, a t t h e c a d e n e e , C is a N b e t w e e n t w o B t s . T h e c h o r d over that C isV I , a neighbor chord. If V I canbe a neighbor chord over a N i n the bass, c a n i talso b e p a r t o f a D N i n t h el o w e s t voice? Clarinet Quintet, I V
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T h e m e l o d y begins w i t h t w o Ds, a challenge t o t h e h a r m o n i s t t o créate s o m e v a r i e t y . T h i s B a c h d o e s by f o l l o w i n g t h einitial I w i t h V I . H e r e ist h e same color change that y o uheard at t h e beginning o f Innsbruck, [ 2 ] , a n d t h e J o s q u i n M a s s e x c e r p t , [JJ. T h e bracket s h o w s t h a t t h e V I is i n c l u d e d i n t h e t o n i c extensión, h e a r d u n d e r t h e s o p r a n o ' s m o t i o n within t h etonic triad. T h e s e c o n d V I , i n _3, m o v e s t h e h a r m o n y a w a y f r o m t h e tonic a n d t o w a r d t h e subdominant. Again, the same chord means different things.
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Chórale No. 334
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T h e triad controls t h e melody for three measures, and tonic h a r m o n y predominates f o r that time. W h e n t h em e l o d y reaches G#, t h e3 r d o fthe triad, I isr e p l a c e d b y V I . I tdoesn't i n t e r r u p t t h e c o n t r o l o f the tonic, b u ti tdoes a d d t h e s o u n d o fa m i n o r triad t ot h e phrase. T w o different ways o fusing V I a r e found i na single phrase.
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S t a r t i n g w i t h t h elast n o t e o f 2 t h e bass m o v e s E F j t — D — E , E b e i n g t h e m a i n n o t e . T h e D N figure supports f o u r chords, V — V I — I I — V . V ist h e m a i n c h o r d , a n d t h e o t h e r t w o a r e subordínate. Motion away from the tonic: T h e s a m e e x a m p l e illustrates a n o t h e r possible u s e o f V I . I nt h e very first m e a s u r e t h e t r i a d i n t h e m e l o d y m i g h t l e a d 6
THE I I I CHORD I I I plays quite d i f f e r e n t roles in m a j o r a n dm i n o r . I n m a j o r i t h a s n o strong direcüon, b u t i s u s e f u l a s a c o l o r c h o r d . I n t h e
70
Symphony No. 9
DVORAK
Dvofák e x c e r p t a b o v e , I I I f o l l o w s V I . T h e b a s s i s o n its w a y d o w n t h r o u g h a n octave, t h e f r a m e w o r k f o r a t o n i c extensión. I n t h e m i n o r m o d e , I I I represents t h e relative m a j o r , a n i m p o r t a n t p o i n t w i t h i n t h e m i n o r scale. I n m i n o r , I I I is o f t e n a goal o f m o t i o n , as you'll see i n l a t e r s t u d i e s . A s t r i k i n g u s e o f I I I o r i g i n a t e d in t h e late Renaissance a n d w a sp u tt o g o o d use by J. S. Bach. Chórale No. 25
Chórale No. 215
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In both major a n d m i n o r , V I I is another matter. M o r e c o n s o n a n t t h a n dissonant, i t w a s w i d e l y used i n Baroque music. Its n o r m a l function was t o l i n k I a n d I i n a t o n i c extensión. 6
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Concertó Grosso, Op. 6, No. 9
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T h e first p h r a s e e n d s w i t h a s e m i c a d e n c e , i n w h i c h El) i s t h e l e a d i n g n o t e . A f t e r a b r e a t h , t h e m u s i c r e s u m e s w i t h I I I . E t c o n t r a d i c t s Ei] w i t h d r a m a t i c effect, t h e n I I I m o v e s back t o V .
5
6
The five-measure p h r a s e is a n i n t r o d u c t i o n t o a concertó m o v e m e n t . T h e r e ' s a d e f i n i t e r h y t h m a n d n o m e l o d y t o s p e a k o f . O v e r a l l , t h e m o t i o n is f r o m I t o V . First the tonic is stabilized, w i t h V I I l i n k i n g I a n dI . Subdominant a n ddominant follow i n t h e semicadence. 6
6
T H E V I I C H O R D I n t h e m a j o r m o d e , V I I is a d i s s o n a n t c h o r d a n d is r a r e l y u s e d i nr o o t position. I n m i n o r , t h e r o o t o f V I I lies a 5 t h a b o v e t h e root o f I I I . Y o u w i l l h e a r V I I acting as t h ed o m i n a n t o f I I I w h e n y o u hear i t at all.
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A p r e l i m i n a r y versión o f t h e d e c o r b y M . F . L a r i o n o v f o r B r o n i s l a v a N i j i n s k a ' s b a l l e t , L e Renard, p r e m i e r e d i n París o n M a y 18, 1922. (Courtesy D a n c e Collection, T h e N e w Y o r k Public L i b r a r y at L i n c o l n Center, Astor, L e n n o x and Tilden Foundations).
INTERLUDE ONE A LOOK AHEAD R U M A N I A N F O L K D A N C E S O n e such point o f contact stems f r o m the increased interest i n folk music early i n the twentieth century. T h e Hungari a n c o m p o s e r Béla B a r t ó k w a s o n e o f t h e p i o n e e r s in t h e serious study o f w h a t h e called peasant music. H i s investigations extended beyond t h e frontiers o f hiso w n country, a n d t h e R u m a n i a n Dances, |50|, a r eevidence o f that w i d e interest. T h e m e l o d y o f t h e Stick Dance i s i n t h e D o r i a n mode, w i t h t w oversions o f 6 ( F a n d F f ) .T h e melody has a n unusual shape: a n eight-measure phrase, repeated, followed b y a sixteen-measure phrase, also repeated. T h e r h y t h m is s t r i k i n g , s h o r t notes i n strong contrast t o longer ones. T h e h a r m o n y takes advantage o f b o t h versions o f 6. I t also puts m o d e m i x t u r e t o g o o d u s e , arriving at a n A - t r i a d at t h e e n do feach cadenee. E a c h m a j o r t r i a d is i m m e d i a t e l y f o l l o w e d b y a contrasting chord o f o n e kind o r another. T h e m e l o d y r e p e a t s e n t i r e phrases, b u t t h e h a r m o n y is varied with the melodic repetition. T h e m e l o d y o f t h e Waistband Dance i s p u r é D o r i a n . F o u r short units o f f o u r measures each comprise a long phrase with light punctuations. T h e h a r m o n y uses b o t h v e r s i o n s o f 6 (Bt] a n d B t ) . T h e l e a d i n g n o t e i s h e a r d a t t h e final c a d e n e e . I n Dance in Place, t h e m e l o d y i s b u i l t o n o n e o f t h e scales w h o s e f e a t u r e is a n a u g m e n t e d 2 n d . T h e scale:
I N T R O D U C T I O N I n f o l k s o n g a n d chant you h e a r d a simple k i n d o f tonal music that relied o n stepwise m o t i o n i n a diatonic context. Modes other t h a n m a j o r a n d m i n o r played a n i m p o r t a n t part in this music. R h y t h m s w e r e rather straightforward. Renaissance p o l y p h o n y s h o w e d m a n y o f the same t e n d e n c i e s , t h e c h o r d a l dimensión flourishing w i t h i n a l a r g e l y d i a t o n i c c o n t e x t . I n succeeding periods the importance o f the d o m i n a n t and subdominant g r e w , a i d e d b yt h e increasingly c o m p l e x extensions t h a t w e r e first d e v e l o p e d i n B a r o q u e k e y b o a r d music. M a j o r a n d m i n o r , often mixed, were the o n l y m o d e s , a n d t h e l e a d i n g n o t e was a n i m p o r t a n t e l e m e n t i n h a r m o n y . T h e steady development o f chromaticism i nt h e nineteenth century continued u n t i l i tbegan t o w e a k e n the f r a m e w o r k o f tonality itself. E a r l y i n t h e t w e n t i e t h c e n t u r y some composers p u s h e d those tendencies t o t h e p o i n t w h e r e all the r e s o u r c e s o f t h e c h r o m a t i c scale became equally available, w i t h o u t reference t o a tonic. T h e music t h a t r e s u l t e d w a s c a l l e d atonal. A t t h e same t i m e , o t h e r composers sought out n e w possibilities w i t h i n tonality. T u r n i n g away f r o m c h r o m a t i c i s m , they f o u n d ways o f using a tonal center without relying u p o n the dominant, the l e a d i n g note, o r h i g h l y dissonant chords. T h i s d i r e c t i o n m a y b e d e s c r i b e d a s t h e extensión of traditional harmony. B y s u r v e y i n g a f e w a p p l i c a t i o n s o f extended tonality i n t w e n t i e t h - c e n t u r y p i e c e s y o u c a n l o o k a h e a d t o m u s i c that's a g o o d deal m o r e mode r n i n style t h a n w h a t y o u h a v e seen t h u s far, yet has s o m e i n t e r e s t i n g p o i n t s o f contact.
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T h e a c c o m p a n i m e n t suggests the bagpipes that are so m u c h a p a r t o f B a l k a n f o l k m u s i c . A g a i n s t t h e clearly articulated m e l o d y t h e a c c o m p a n i m e n t sways back a n d f o r t h between a 5 t h a n da n upper note. T h e first h a l f o f t h e p i e c e i s b u i l t o n t h e t o n i c , b . W h e n t h e m e l o d y begins t o repeat, at 2 1 , t h e h a r m o n y moves u p t o D . A st h e melody nears t h e e n d t h e h a r m o n y slips back t o b . B u t i t does n o t simply cover t h e m i n o r 3rd f r o m t h e original B t o D . I n s t e a d t h e bass m o v e s d o w n t h r o u g h C f , A , G f , G l | , d r o p s a 4 t h t o D , a n d t h e n steps d o w n t o a lower B .T h e setting is i n a h i g h register, settling d o w n b e l o w m i d d l e C o n l y i n t h e last t h r e e m e a sures. T h e m e l o d y o f t h e Hornpipe Dance i s b a s e d o n t h e scale t h e R u m a n i a n s cali t h e c h r o m a t i c P h r y gian, a n d t h e tonic is A : aug. 2 n d 2
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A f o u r - m e a s u r e p h r a s e is repeated, t h e n a n o t h e r f o u r - m e a s u r e p h r a s e i s h e a r d t w i c e . Bartók b e g i n s w i t h a two-measure i n t r o d u c t i o n , i n t h e piano's m i d d l e register. W h i l e t h e bass is a n c h o r e d o n A f o r e i g h t measures, t h e i n n e r voices color the m e l ody with a variety o fchords, ending with t h e A triad. T h e second h a l f o fthe setting takes advantage o fthe semitone above A ,so characteristic o f the mode. Each phrase ends with a major triad, three o f which areA-triads. O U R T O W N Although the melody o f Aaron C o p l a n d ' s m u s i c f o r t h e m o v i e Our Town, [ 5 3 ] , i s quite simple, it'sn o t a folk melody. T h e t u n e is based o n m a j o r triads, starting w i t h the G-triad. Is the music i n G ? L i s t e n i n g t o t h e e n t i r e piece, o n e is left w i t h a clear sense t h a t G is t h e t o n i c n o t e . B u t i t isn't t h e same k i n d o f tonic that y o u f o u n d i n earlier music. H e r e i s a d i f f e r e n t k e y s e n s e , a n extensión o f t r a d i t i o n a l t o n a l i t y . W e m a y say t h a t t h e piece is i n G, i n the language o f extended tonality. W h i l e this t o p i c is discussed i n d e t a i l i n t h e l a t t e r p a r t o f Gradus, B o o k T w o , s o m e o b s e r v a t i o n s a r e u s e f u l a t t h i s p o i n t . W e c o n c é n t r a t e o n t h e first e i g h t m e a sures. Y o u m a y have noticed s o m e t h i n g i n this music t h a t y o u d o n ' t find e a r l i e r : t h e l o w e r s t a f f s h o w s a stream o f parallel 5ths f o r eight measures. T h e objection t o such parallels i n earlier music was that t h e y destroyed t h e i n d e p e n d e n c e o f t h e l i n e s , b u t here t h e lines aren't independent at all. T h r e e n o t e s , s t a r t i n g w i t h C — G — E , a c t as a s i n g l e u n i t .
T h e line has been thickened a n d t h e resulting c h o r d is t r e a t e d as a line. W e d o n ' t h e a r f o u r - p a r t w r i t i n g , b u tt w o - p a r t w r i t i n g . O n e part is t h e m e l o d y , o n e p a r t is t h es t r e a m o f t h r e e notes t h a t lies below t h e m e l o d y (upper-staff stems d o w n plus l o w e r - s t a f f notes). S u c h t h i c k e n i n g o f lines is characteristic o f m u s i c i n t w e n t i e t h - c e n t u r y tonality. W i t h that i n m i n d , follow t h e m o t i o n o ft h e chords-as-lines t o w a r d G , away f r o m G , a n d back to it. I n c o u n t e r p o i n t , t h e m e l o d y projects triads that c o m b i n e w i t h t h e l o w e r stream o f triads. T h e C - t r i a d m o v e s t o a G - t r i a d ; t h a t is h e a r d s o o f t e n as t o b e c o m e a n o r m a l m o t i o n i n t h i s p i e c e . A f t e r we've heard that twice w e hear a B t - t r i a d i n t h e l o w e r part, w h i c h t h e n m o v e s t o its n e i g h b o r i n g C triad before t a k i n g t h e n o r m a l path back t o G . I n contrary m o t i o n t h e melody outlines a n A-triad, clashing w i t h t h e B t - t r i a d . B o t h chords step i n t o the next, n o w - f a m i l i a r sound, w h i c h leads back t o the tonic. T h i s completes a short opening phrase. It also demonstrates Copland's w a y o f stretching o u t a motive t o build a phrase. T h e four-beat m o t i v e is h e a r d t w i c e , t h e n is e x p a n d e d t o six beats to complete the phrase. A s e c o n d p h r a s e continúes a n d d e v e l o p s t h e i d e a s o f t h e first. I n o b l i q u e m o t i o n , t h e b a s s s t a r t s f r o m G ' s n e i g h b o r F , w h i l e t h e m e l o d y stays w i t h the tonic. T h eneighbor moves u p t h e expected s t e p t o finish t h e m e a s u r e . I n _5 t h e E t - t r i a d i s combined with the G-triad, and the El?-triad moves to t h eF . T h a t c h o r d t h e n skips u p t o C , p o i n t i n g back t o t h etonic. T h e path o fthe melody's triads is G , n e i g h b o r c h o r d A , a n d b a c k t o G , a l l a r t f u l l y blended with the triads i n the lower stream. A t h i r d , s h o r t p h r a s e c l o s e s t h e first s e c t i o n . B e g i n n i n g pp, t h e f o u r - b e a t m o t i v e i s s t r e t c h e d a g a i n t o s i x , h e l p i n g t o créate a s e n s e o f c l o s u r e . T h e D-triad might be dominant i n another cont e x t ; h e r e it's a n e i g h b o r t o t h e C - t r i a d . T h e fact t h a t it's a n e i g h b o r is s o m e w h a t d i s g u i s e d b y a n octave shift, but i n this music the d o m i n a n t has n o r o l e . T h e first C - t r i a d i s a m o m e n t a r y g o a l ; t h e second leads back t o G , closing the phrase. T h e c h o r d v o c a b u l a r y o f t h e p h r a s e consists o f seven m a j o r triads: w i t h G as t h er e f e r e n c e p o i n t , t h e s e a s c e n d b y 4 t h s — G , C , F , B\>, E\>—while these descend b y 4 t h s — G , D , a n d A . T h e triads a r e combined i n various ways, b u t neighbor-chord m o t i o n directs the flow m o s t o f the t i m e . S Y M P H O N Y F O R S T R I N G S W h e n y o ulisten to t h ebeginning o fthe second m o v e m e n t o f W i l l i a m Schuman's Symphony for Sirings, [ 5 4 ] , you h e a r a marvelous sonority: m u t e d , divided strings play t w o s u p e r p o s e d t r i a d s ff. T h i s d o e s n ' t r e p r e s e n t
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H e r e is m u s i c t h a t is m a d e o u t o f m a j o r triads, and y e tthere's n o tonal center. I s there such a t h i n g as t r i a d i c a t o n a l i t y ? T h e S c h u m a n piece suggests t h a t t h a t m a y b e o n eo f t h e possibilities o f twentieth-century music.
eight parts, t ob e sure. T h e r e are t w o c h o r d streams, e a c h t r e a t e d as a l i n e . C h o r d as l i n e is t h e m e t h o d o f t h e o p e n i n g phrase, a concept introduced i n o u r discussion o f t h e C o p l a n d piece. C o m p a r i s o n w i t h Our Town reveáis s o m e i n t e r e s t i n g d i f f e r e n c e s . C o p l a n d ' s m u s i c is clearly centered o n G , w h i l e i n the S c h u m a n there's n o definite tonal center. I nCopland, most o f the triads a r e i n root position, while Schuman's sonority combines r o o t - p o s i t i o n t r i a d s i n t h e u p p e r register w i t h second-inversion triads i n t h e lower. T h a t position doesn't m e a n t h esame t h i n g here that i t d i d i n tonal music, w h e r e it was a dissonant chord requiri n g a specific r e s o l u t i o n . N o w it's s i m p l y o n e m o r e versión o f t h e m a j o r t r i a d . T h i s t e l l s y o u t h a t t h e 4 t h o v e r t h e bass h a s lost its special status, a s u r e sign that w e a r e o u t o f t h e w o r l d o f traditional tonality. T h e o p e n i n g s h o w s t h a t c o n t r a r y m o t i o n still h a s its uses, a s t h e t w o c h o r d - l i n e s m o v e i n o p p o s i n g d i r e c t i o n s t o a m o m e n t a r y g o a l . T h e first u n i t i s extended a n dreaches a goal i n 4 . T h e chord at that p o i n t isb u i l t o ft w o superposed m a j o r triads, t h e s a m e s o u n d t h a t began t h e C o p l a n d piece. T w o measures o f transition lead t oa l o n g phrase that constitutes t h e rest o f the excerpt. T h e opening chords (upper stream) repeat, t h e n m o v e o n t o other m a j o r triads. T h a t becomes t h e accompanim e n t for a long-breathed melody that hasn o regu l a r p a t t e r n b u t iss p u n o u t i n a spacious arch. T h e h a r m o n y finally a p p r o a c h e s a n A l > - t r i a d t h r o u g h a n e i g h b o r , a G t - t r i a d . S i m p l y b y repeaüng t h e c h o r d pair f o u r times S c h u m a n creates a sense o f stability a n d a r r i v e s a t a g o a l . W h i l e t h e r e p e t i t i o n is d o i n g its w o r k t h e m e l o d y w o r k s i t s w a y s l o w l y t o B k T h i s combines w i t h the A t - t r i a d t of o r m (most o f ) another c h o r d built w i t h t w o m a j o r triads.
A SWAN I f t h e C o p l a n d a n d S c h u m a n pieces live i n t h e w o r l d o f twentieth-century A m e r i c a , Paul H i n d e m i t h ' s music suggests t h e E u r o p e a n past, p a r t i c u l a r l y t h eRenaissance a n dB a r o q u e . A Swan, [ 5 2 ] , t a k e s y o u b a c k t o t h e S A T B f o r m a t . I t s tonality h a s m o d a l aspects, a n o t h e r p o i n t o f c o n tact w i t h t h e past. W e s u r v e y t h e t o n a l m o v e m e n t o f t h e entíre piece b e l o w , t h e n l o o k f o r w a y s i nw h i c h t h e c o m p o s e r h a s t a k e n t h e p o e m as his g u i d e l i n e i n w r i t i n g t h e m u s i c . T h e r e a r e five p h r a s e s .
Phrase one, l—5_: A l a r g e - s c a l e e x a m p l e o f o b l i q u e motion. T h e soprano remains o nB , embellishing t h a t m a i n n o t e w h i l e t h e b a s s filis t h e o c t a v e f r o m B t o B .M o s t o ft h echords y o u hear a r ebuilti n 4ths, b u ttriads a r enot excluded. Notice h o w t h e bass o v e r s h o o t s t h e g o a l B , r e b o u n d s o f f t h e l o w G , a n d m o v e s u p t h r o u g h A t o its d e s t i n a t i o n . T h e s o u n d t h a t concludes t h e p h r a s e isa m a j o r t r i a d . Phrase two, 6—11: T h e m a j o r i s i m m e d i a t e l y c o n t r a d i c t e d b y t h e m i n o r as t h e t e n o r sings D i ] . E is the center both melodically a n d harmonically, e m e r g i n g g r a d u a l l y as t h e p h r a s e a p p r o a c h e s its goal. W em i g h t e x p e c t t h e bass t oa r r i v e a t E i n 9 , b u t instead i tsidesteps t oa lovely E k T h e E k t r i a d falls back t o a d - t r i a d , s o o n l e a d i n g t o E l | . T h e c a d e n e e s o u n d s m o r e P h r y g i a n t h a n a n y t h i n g else. T h i s c o n c l u d e s t h e first s t a n z a o f t h e p o e m a n d t h e first h a l f o f t h e p i e c e .
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Phrase three, 12-mid-14: T h eopening melody r e t u r n s i n t h e m a l e voices i na short phrase. T h e t o n a l i t y is a g a i n E , b u t is m o r e a m b i g u o u s t h a n i n t h e first m e a s u r e s . Phrase four, mid-14-17: T h e c l i m a x o f t h e p i e c e . T h e p h r a s e b e g i n s o n a unisón. I n c o n t r a r y m o t i o n , the voices are l e d t o J 6 , w h e r e t h e y are as f a r apart a s t h e y g o i n t h i s p i e c e . T h e first s o u n d s i n t h e p h r a s e a r e a unisón E o p e n i n g t o a 3 r d , D - F . A t the h i g h point o fthe phrase t h esoprano F meets t h e bass D , a n d t h e y b o t h m o v e t o E . A t t h e s a m e time, t h edynamics build along with t h e density and complexity o f texture. T h e phrase ends with a d i m i n u e n d o a n d a c h o r d i n w h i c h F plays a n important role. Fifth phrase, 18-22: T h i s p h r a s e r e m i n d s u s o f t h e first t w o w i t h o u t b e i n g a n e x a c t r e p e t i t i o n o f either. T h e melody's repeated B s a r efamiliarb y n o w , a n d t h e t u r n t o t h e E t - t r i a d is welcome. A g a i n , t h e E t serves t o d e l a y t h e bass a r r i v a l a t E , a n d again a cadenee that's nearly P h r y g i a n does a r r i v e a t E . T h i s t i m e t h e goal triad is major, t h e o n l y E - t r i a d i n this piece i n the key o f E . T h e musical imagery grows o u to f t h e poem. T h e c a l m o ft h e o p e n i n g s o p r a n o m e l o d y refleets the swan m o v i n g serenely t h r o u g h the water, while his image unfolds below. T h e suggestion o f"a l o v e d o n e " inj¡S-9 i s c o l o r e d b y t h e w a r m E t - t r i a d . T h e emptiness o f t h e c h o r d w i t h n o 3 r di n J J . expresses " m i g r a t i n g space." W h e n t h e image is "redoubled" the reflection o f the soprano's melody is h e a r d i n t h e l o w e r v o i c e s . T h e e m o t i o n a l c l i m a x o f t h e p o e m finds e x p r e s s i o n i n t h e c o n t r a r y m o t i o n , the increased r h y t h m i c activity, a n d t h e linear expansión w i t h i n a g r o w i n g m u s i c a l s p a c e . T h e p i c t u r e o f t h e s w a n a n d its r e f l e c t i o n , seen t o g e t h e r , is s e t t o m u s i c t h a t g r o w s q u i e t e r a s t h e s c e n e disappears. T h e p o e m h a s shaped n o tonly t h e line-by-line setting o f t h e music, b u talso t e x t u r e a n d sonorities t h r o u g h o u t t h e piece. T h e v e r y fact t h a t w e c a nspeak o fgoal triads shows a connection with traditional tonality. T h e bass l i n e still h a sa c e r t a i n d e g r e e o f c o n t r o l o v e r the tonal m o v e m e n t here. T h e suggestion o f m o d a l t h i n k i n g is a n o t h e r s u c h p o i n t o fcontact. C o n t i n ued u s e o f t h e S A T B format, n o tf o u n d i n t h e t w e n t i e t h - c e n t u r y pieces studied previously, shows a n o t h e r facet o f H i n d e m i t h ' s l i n k w i t h h i s past. Clearly this music couldn't have been w r i t t e n b y any but a composer o f the early twentieth century. Y e t this particular composer w r o t e w i t h a strong awareness o f the m u s i c that h a d p r e c e d e d his. R E N A R D A b r i e f m a r c h , [5"T], s e r v e s a s t h e i n t r o d u c t i o n t o Renard, a s t a g e p i e c e t h a t ' s s u n g a n d
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acted. S t r a v i n s k y invents a little orchestra i n c l u d ing piccolo, soprano clarinet, oboe, bassoon, t w o h o r n s , t r u m p e t , c y m b a l , bass d r u m , t a m b o u r i n e , and c i m b a l o m (aH u n g a r i a n i n s t r u m e n t m u c h like a d u l c i m e r ) . T h e A n t h o l o g y shows a reduced score in w h i c h all transposing instruments are notated a t concert pitch except f o r the piccolo, w h i c h sounds (as u s u a l ) a n o c t a v e h i g h e r . T h e piece is i n t h r e e sections, t h e t h i r d o f w h i c h is i d e n t i c a l t o t h e first. T h u s w e s a y t h a t t h e M a r c h is i n t e r n a r y f o r m . T h e d i f f e r e n t i a t i o n b e t w e e n sections couldn't b e clearer: they a r econtrasted i n key, m o d e , meter, texture, register, a n d timbre. T h e pulse is constant t h r o u g h o u t t h e piece a n d t h e d y n a m i c level isl o u d f r o m b e g i n n i n g t o e n d . T h e t o n a l c e n t e r o f t h e first p a r t i s A , a b o u t a s definite ( o r i n d e f i n i t e ) as m o d a l pieces that y o u h a v e h e a r d . A n F f o f f e r s a D o r i a n flavor; b o t h B t ) a n d B t a r eh e a r d as 2 . C f puts i na n a p p e a r a n c e as 3 i n a f e w s p o t s . T h e c a d e n t i a l g e s t u r e c o n s i s t s o f a d e s c e n d i n g a-scale. O n l y a t t h a t m o m e n t d o e s t h e unisón t e x t u r e o f t h e m u s i c c h a n g e t o t w o parts. A n u p p e r part accompanies t h e descending scale, a d d i n g c h r o m a t i c n o t e s B t a n d F f . T h e subtonic a t the e n d preserves the m o d a l flavor. T h e center o fthe second part is a tritone away f r o m t h e A o f t h e first p a r t . A t t h e s a m e t i m e , t h e u p p e r l i m i t o f t h e first p a r t i s D ( a b o v e m i d d l e C ) , while t h el o w e r limit o f the second part is t h e E t j u s t a b o v e . T h e s c o r i n g ( t h u s t h e timbre) o f t h e second part isq u i t e d i f f e r e n t f r o m that o f the first; the o n l y i n s t r u m e n t they have i n c o m m o n is t h e h o r n . W h e r e t h e m e t e r o f t h e first p a r t w a s a \ t h a t s h i f t e d c o n s t a n t l y f r o m thre.es t o t w o s , t h e s e c o n d p a r t sits d o w n i n d u p l e m e t e r a n d n e v e r m o v e s . T h e u n i s ó n o f t h e first p a r t i s a n s w e r e d b y c h o r d s in the second part. A n d w h e n the lowest part goes b e y o n d t h e b o u n d a r y E t i n _ 3 5 , it's a signal t h a t t h e section is o v e r . T h e piece is a lesson i n contrasts b e t w e e n sections. T w o songs f r o m t h e w o r l d o f popular music s h o w h o w a n oíd m o d e c a n b e u s e d i n n e w w a y s . OLD DEVIL M O O N T h e k e y s i g n a t u r e o f [55] w o u l d lead y o u t o t h i n k t h a t t h e piece is i nG . B u t a look at t h epage shows Fq i nalmost every measure, w i t h a clear F f i n a V j u s t once, i n 27, a n d a p a s s i n g F f i n 50. T h e s c a l e o f t h e p i e c e i s t h a t o f the Mixolydian mode. T h e i n t r o d u c t i o n is t h e o n l y p a r t o f t h e s o n g that's clearly i n G . I t ' s based o n s u b d o m i n a n t , dominant, a n d tonic harmonies, expressed i n 9th and l l t h chords. O n e chromatic note, E t , comes f r o m the parallel m i n o r (mode mixture).T h a t note will be heard again. 7
T h e p o l y p h o n y o f t h e first p h r a s e ( 5 - m i d - 1 2 ) is i n t w o p a r t s . T h e u p p e r p a r t c o n s i s t s o f a G t r i a d w i t h a n F - t r i a d b o t h as n e i g h b o r a n d p a s s i n g chord. Against this the l o w e r part alternates G and D . F o r t h e m o s t p a r t t h i s is a n a r p e g g i o b a s s , w i t h n o c h a n g e o f c h o r d i m p l i e d . B u t i n a few spots the D seems to be a m e m b e r o f the chord. 12 leads i n t o t h e n e x t p h r a s e w i t h the d o m i n a n t o f I V . T h e s u b d o m i n a n t h a r m o n y o f 1 3 — 1 5 is intensified i n the n e x t t w o measures t h r o u g h the a d d e d e l e m e n t o f t h e flat 6, E t . T h e n , w h e n the m e l o d y r i s e s t o E t i n J_7, t h e h a r m o n y i s s h i f t e d u p a s u r p r i s i n g h a l f s t e p , s o t h a t A t is t o n i c i z e d f o r a m o m e n t . E t leads back d o w n to D a n d the dominant-to-tonic cadenee ends the phrase. Notice t h a t t h e l e a d i n g n o t e is a b s e n t f r o m t h e c a d e n e e , despite the V - I h a r m o n y . A c o n t i n u a t i o n begins i n m i d - 2 0 . T h r e e meas u r e s a r e s i m i l a r t o t h e first p h r a s e i n h a r m o n y , b u t t h e n t h e F - t r i a d slides d o w n a h a l f step a n d E is s e c o n d a r y t o n i c f o r a m e a s u r e a n d a h a l f . T h e E - t r i a d m e l t s i n t o a n e-triad. T h a t m o v e s i n t o the d o m i n a n t o f t h e d o m i n a n t i n _26, a n d t h e d o m i n a n t e n d s t h e p h r a s e i n 2 7 - 2 8 . N o t i c e h o w F|t s t a r t s t h e d o m i n a n t a n d is p h a s e d o u t i n t h e c h r o m a t i c P s . T h e first p h r a s e s a r e t h e n r e p e a t e d . A short c o n c l u d i n g phrase begins i n m i d - 4 7 . T h e notes a d d u p to a c h o r d that m a y be called V but has n o c o n n e c t i o n w i t h the standard c h o r d o f t h a t ñame. W i t h o u t a l e a d i n g n o t e , t h e d o m i n a n t f u n c t i o n doesn't exist. T h e r h y t h m o f the music stems f r o m the natural accent o f A m e r i c a n speech, w i t h m a n y syncopations. B u t t h a t a c c e n t i s n ' t f o l l o w e d l i t e r a l l y t h r o u g h t h e s o n g . T h e v e r y first w o r d , a w e a k b e a t i n s p e e c h , is d e l i b e r a t e l y s t r e s s e d a n d l e n g t h e n e d , a n d so are o t h e r w o r d s ( a n d syllables) that w o u l d n o r m a l l y b e u n a c c e n t e d . T h e e f f e c t is o n e o f e x a g g e r a t i o n , fitting i n n e a t l y w i t h t h e " m o o n m a d n e s s " that u n d e r l i e s the sense o f the song. T h e h a r m o n y i n f l e e t s t h e m e l o d y , as i t d i d i n R o m a n t i c m u s i c . T h a t m e l o d y consists o f activated c h o r d n o t e s , a n d d e p e n d s o n t h o s e c h o r d s f o r its m e a n i n g . T h e h a r m o n y is c o l o r e d b y t h e s u b t o n i c , measure after measure. F u n c t i o n a l h a r m o n y isn't f a r away i n this song, a n d y e t t h e m o d a l quality p r o v i d e s a special sound that's d i f f e r e n t . T h e t w o elements are combined successfully i n a n i d i o m that's m o d e r n , yet grows o u t o f t h e classical t r a d i t i o n .
I FEEL FINE A d i f f e r e n t a p p r o a c h is f o u n d i n t h e B e a t l e s s o n g , |56|. A s y o u c a n see i n t h e i n t r o duction, the melody dominates the h a r m o n y , w h i c h is k e p t t o a m i n i m u m . T h e t w o - m e a s u r e m o t i v e circles a r o u n d D , C , a n d G . T h o s e n o t e s i n t h e bass s e r v e n o t s o m u c h t o s u p p o r t as t o c o n f i r m w h a t t h e m e l o d y is s a y i n g . N o c h o r d s a r e i m p l i e d , a n d none are necessary. T h e f o u r - m e a s u r e v o c a l p h r a s e is b u i l t o n t h e tonic triad, w i t h N s a n d a skip to (and back f r o m ) F. T h e bass a l t e r n a t e s b e t w e e n G a n d D . A t t h e end o f the phrase the D-triad returns to the very opening o f the song. T h a n k s to the introduction, we k n o w that the D - t r i a d isn't d o m i n a n t , a n d that it w i l l s t e p d o w n t o a C - t r i a d . T h a t m o v e is e l a b o r a t e d w i t h c h r o m a t i c P s i n _ 1 5 , a n d t h e g o a l a t first s e e m s t o b e g . B u t B i | i s r e s t o r e d i n _17 a n d t h e phrase ends with the expected major sound. A c o n t i n u a t i o n b e g i n s i n 19, a n d i t s o u n d s q u i t e d i f f e r e n t f r o m w h a t y o u ' v e h e a r d so f a r : Fq has b e e n r e p l a c e d b y F j t , s o t h a t t h e k e y is G . T h e first c l u e t o t h i s is i n 2 0 , w h e r e I I I p r o v i d e s a n u n e x pected c h a n g e o f color. I t also c h a n g e s the m e a n ing o f t h e m e l o d y D : 5 t h o f t h e t r i a d i n 19 b e c o m e s 3 r d o f t h e t r i a d i n _ 2 0 . A n oíd d e v i c e i s p u t t o n e w use. T h e p h r a s e e n d s w i t h d o m i n a n t h a r m o n y , i n 26. After the repetition o f the opening material there's a s h o r t coda. I t consists o f t h e last m e a s u r e s o f the p r e v i o u s phrase, stretched so t h a t it fades at the end.
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O B S E R V A T I O N S O n e observation you might m a k e is t h a t t h e r e a r e m o r e d i f f e r e n c e s a m o n g twentieth-century composers than a m o n g Renaissance c o m p o s e r s . F r o m t h a t y o u m i g h t c o n c l u d e t h a t e x t e n d e d t o n a l i t y i s n ' t as u n i f i e d a s u b j e c t as is m o d a l t o n a l i t y o r m a j o r — m i n o r t o n a l i t y . A t t h e s a m e t i m e y o u c a n see s o m e o f t h e p r i n c i p i e s o f the older m u s i c at w o r k : n e i g h b o r - n o t e m o t i o n , o f t e n as n e i g h b o r - c h o r d m o t i o n ; e s t a b l i s h i n g a t o n i c and m o v i n g away f r o m a n d back to it; a diatonic approach rather than a chromatic one. A l lo f which is t o s a y t h a t t w e n t i e t h - c e n t u r y m u s i c h a s i t s r o o t s in the past, a n d t h a t t h e m o r e y o u u n d e r s t a n d o f that past the better p r e p a r e d y o u are to deal w i t h the music o f extended tonality.
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Chamber music in the conservatory, e n g r a v i n g b y D a n i e l N i k o l a u s C h i s a c c o m p a n y i n g t h e s i n g e r s t a n d i n g t o h e r l e f t ; t h e i n s t r u m e n t a l i s t d o u b l i n g t h e bass l i n e r e a d s d i r e c t l y f r o m continuo part.
the
PART FIVE EXTENSIONS O F MELODY, COUNTERPOINT, AND HARMONY
32 Introduction Y o u r i n t e g r a t e d study o f m u s i c b e g a n w i t h melo d y . I n P a r t O n e y o u d i s c o v e r e d basic concepts of tonality, intervals, r h y t h m , a n d musical shape. After l e a r n i n g f u n d a m e n t a l aspects o f m u s i c f r o m folksong and chant, y o u began to w o r k in counterpoint a n d h a r m o n y . W h a t k i n d o f melodies w e r e heard i n t h e Renaissance a n d early B a r o q u e pieces you studied? T h o s e melodies were quite simple. They m o v e d s t e p w i s e m o r e o f t e n t h a n n o t , u s u a l l y balancee! t h e i r f e w skips w i t h m o t i o n i n t h e opposite direction, had fairly u n i f o r m rhythms, and keptto one register. I n m u c h o f t h e m u s i c w e cali B a r o q u e , melody is m o r e c o m p l e x a n d p l a y s a m o r e c e n t r a l r o l e i n
the music itself. W ewill begin P a r t Five w i t h a study o f that type o f melody. Y o u m a y gain a n impression o f w h a t Baroque melodies are like b y s c a n n i n g [16] t h r o u g h [37] i n t h e A n t h o l o g y . T h e r e y o u w i l l find q u i t e a f e w s k i p s , a g o o d d e a l o f rhythmic variety, a n d m o t i o n f r o m one register t o another. T h e melodies o f the earlier period are vocal i n character; they a r e shaped b y w h a t t h e h u m a n voice does n a t u r a l l y . T h e melodies o f later times are m o r e likely t ob e s h a p e d b y t h e w a y a h u m a n hand touches a ni n s t r u m e n t . T o b e sure there isa vocal aspect t o i n s t r u m e n t a l m e l o d y . B u t e v e n a vocal m e l o d y b y H a n d e l will have m a n y m o r e
skips, m u c h m o r e r h y t h m i c variety, a n d certainly m o r e registral m o t i o n t h a n a melody b y Palestrina. M u s i c changed f r o m a n essentially vocal art t o a largely instrumental one a r o u n d 1600, a date that marks o n e o f t h e great watersheds i n history. B y t h a t t i m e t h e p e r i o d w e k n o w as t h e Renaissance h a d r u n its course, a n d a n e we r a w a sevolving. O n e o f t h e m o s t i m p o r t a n t aspects o f t h e n e w B a r o q u e style was a n emphasis o n m e l o d y , w h i c h was n o longer simply t h et o pline o fthe h a r m o n y or t h e highest note o f t h e counterpoint, b u ta n element that contained a n e w kind o f expressivity. Melody became a powerful means o f musical expression. As p a r t o f t h e s a m e g i a n t step, c o m p o s e r s b e g a n t o e x p l o r e m u s i c a l s p a c e . Musical space i s o u r w a y o f describing t h e total r a n g e o f a piece, f r o m t h e highest t o t h e lowest note. T h edevelopment o f instrumental playing and writing enabled composers t o g o b e y o n d t h e l i m i t a t i o n s i m p o s e d b yt h e S A T B format. M e l o d y stretched into higher a n d
l o w e r registers, and, m o r e i m p o r t a n t , m o v e d rapidly f r o m o n eregister t o another. A new kind o f melody, polyphonic melody, wast h eresult o f the exploration. Since counterpoint involves t h ecombination o f m e l o d i e s , y o u find m o r e c o m p l e x a n d c h a l l e n g i n g counterpoint i n Baroque music. However, t h e complexities a r elargely rhythmic. T h e interaction of consonance a n d dissonance remains the guiding forcé i n t h e r e l a t i o n b e t w e e n n o t e s , a n d t h e t r i a d remains the normative sonority. Baroque counterp o i n t is v e r y m u c h a n o u t g r o w t h o f Renaissance practice, a n d d o e s n ' t c o n t r a d i c t a n y o f its basic principies. I n P a r t F i v e y o u w i l l s t u d y e l a b o r a t e d m e l o d y as a starting point, t h e n discover the concept o f music a l s p a c e , f o l l o w u p w i t h t h e expansión o f c h o r d s in that space, a n dlead t o t h e e x a m i n a t i o n o f cont i n u o u s v a r i a t i o n f o r m s as w e l l as s o m e i n t e r e s t i n g f r e e - f o r m pieces.
33 Melodic Elaboration 2 of musicians until quite recently. Books o n perform a n c e a r e o u r best source o f i n f o r m a t i o n not o n l y a b o u t p e r f o r m a n c e practice b u t also a b o u t i m p r o v isadon and composition. W e c a n ' t e x p e c t t o find e x a c t l y t h e s a m e t e r m s that w e use today w h e n w e read a b o o k several c e n t u r i e s oíd, b u t i t ' s n o t d i f f i c u l t t o transíate f r o m t h e o l d e r t e r m i n o l o g y t o o u r s . Y o u find t h a t t h e c o n c e p t o f s t r u c t u r a l levéis, a p p l i e d s o o f t e n i n Gradus, u n d e r l i e s m u c h o f t h e i n s t r u c t i o n i n improvisadon a n d composition f o u n d i n older b o o k s , s u c h a s F u x ' s Gradus ad Parnassum. O n e instruction book will provide y o u with m u c h o f what you need t o k n o w i n order t o understand elaborated melody. O u r l e s s o n c o m e s f r o m The División Viol, b y t h e E n g l i s h m u s i c i a n C h r i s t o p h e r S i m p s o n , first p u b lished i n 1659. I n t h e example o n page 8 1 , t h e b a s i c m e l o d y , c a l l e d t h e ground, i s p r i n t e d i n l o n g notes. T h e m e t h o d o f e l a b o r a t i o n is called "break-
T h e t e r m melodic elaboration i m p l i e s t h a t t h e r e i s s o m e t h i n g t o b e e l a b o r a t e d . I n d e e d t h e r e is. B e h i n d e v e r y m e l o d y there's a basic s t r u c t u r e o f a f e w m a i n notes. I n Part O n e y o u saw h o w those notes m i g h t be discovered b y t h e process o f reduction. N o w y o u reverse t h e process. Starting w i t h a few n o t e s o f l a r g e r h y t h m i c valué, y o u elabórate t h e m into melodies w i t h s h o r t e r notes. I nd o i n g this y o u develop c o m p o s i n g skills, w h i l e g a i n i n g insights into the nature o f instrumental melody. But d i d musicians o fthe past t h i n k i n terms o f m a i n n o t e s a n d elaboraüve o n e s ? D i d t h e y k n o w about starting with large notes and breaking t h e m u p into small, active ones? T h e y certainly did. W e find d i r e c t i o n s f o r i m p r o v i s i n g a f a s t e r m e l o d y o n t h e basis o f a s l o w e r o n e i n m a n y b o o k s o f m u s i c a l instrucdon, going back t o t h e sixteenth century. Now, w h y d o books o n performance concern themselves w i t h improvisadon? Because learning to i m p r o v i s e w a s p a r t o f t h e s t a n d a r d i n s t r u c t i o n
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ing," a procedure b y w h i c h l o n g notes a r e divided i n t o s h o r t e r o n e s t o genérate n e w m e l o d i e s . ( S i m p s o n c a l i s t h i s p r o c e s s "división.") H e r e y o u s e e t h e technique o f elaboration that makes u p the n o r m a l language o f Baroque melody. T h e example shows a g r o u n d bass a n d t h r e e e l a b o r a t i o n s o r d i v i s i o n s , l e t t e r e d (a), (b), a n d (c). F i r s t , l i s t e n t o t h e g r o u n d . H o w d o e s S i m p s o n elabórate i t ?
TECHNIQUES T h e technical devices that S i m p s o n uses t o b r e a k u p t h e g r o u n d bass a r e : P : A s k i p i n t h e g r o u n d m a y b e filled w i t h p a s s i n g m o t i o n . T h i s is p r e c i s e l y w h a t h a p p e n s t o t h e first t w o notes o f the g r o u n d . I n (a), G a n d B t a r e connected w i t h a P o n a w e a k beat. N: A n o t e o f t h e g r o u n d m a y b e e l a b o r a t e d w i t h n e i g h b o r m o t i o n . I n (a), t h e g r o u n d ' s F , i n 5 , is e l a b o r a t e d with a N. O c t a v e s h i f t : A p i t c h r e t a i n s its i d e n t i t y w h e n t r a n s p o s e d u p o r d o w n a n o c t a v e . T h i s s i m p l e f a c t is t h e basis f o r a t e c h n i q u e o f e l a b o r a t i o n characteristíc o f m u s i c f r o m the B a r o q u e t o the present day. A l o n g note m a y be b r o k e n i n t o t w o s h o r t e r notes, o n e a n octave away f r o m t h e o t h e r . See the b e g i n n i n g o f (b): the o r i g i n a l G is elaborated b y a n octave skip, after w h i c h t h e m e l o d y r e t u r n s t o its i n i t i a l p o s i t i o n .
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T h e 3 r d : A n o t h e r t e c h n i q u e o f e l a b o r a t i o n consists o f a m o t i o n to a n o t e a 3 r d a b o v e o r b e l o w t h e m a i n n o t e , then a return. T h i s m a y take any o f f o u r forms: S: A s i m p l e s k i p o f a 3 r d ( n o t i n S i m p s o n ' s e x a m Pie). S P : T h e r e t u r n t o t h e m a i n n o t e is f i l l e d w i t h a P . Simpson seems t o p r e f e r : P S : Stepwise m o t i o n t o t h e 3 r d , t h e n a s k i p b a c k t o the m a i n n o t e . O n e e x a m p l e is i n (b), 4 , w h e r e t h e P S c o m b i n e s w i t h a n o c t a v e s k i p t o elabórate D . T h e m o t i o n o f a 3 r d i s c o m p l e t e l y filled i n , s o t h a t t h e r e are n o s k i p s . T h i s i s h e a r d o n c e , i n ( b ) , 7_. Melodic triad: A s y o u saw i n folk m u s i c a n d chant, all t h r e e notes o f a t r i a d m a y b e u s e d t o elabórate a n y o n e o f t h e m . T h e first n o t e o f t h e g r o u n d i s e m b e l l i s h e d i n this w a y a t t h e b e g i n n i n g o f ( c ) . T o b e s u r e , this involves n o t o n l y a m e l o d i c t r i a d , b u t a n octave s h i f t as w e l l . Scale: A n octave m a y b e c o m p l e t e l y filled w i t h a s t e p w i s e m o t i o n , r e s u l t i n g i n a scale. W e s t a r t w i t h t h e i d e a t h a t a n octave s k i p is t h e e l a b o r a t i o n o f o n e n o t e ; t h e scale c a r r i e s t h a t e l a b o r a t i o n o n e s t e p f u r t h e r b y filling t h e o c t a v e w i t h Ps. S i m p s o n s h o w s u s o n e e x a m p l e , i n (c), 7 . T h e first e i g h t n o t e s o f t h e m e l o d y a r e a n e l a b o r a t i o n o f o n e n o t e , D , i n t h e f o r m o f a scale. N o w s t u d y t h e first t h r e e d i v i s i o n s o f t h e g r o u n d . As i n any good lesson, the examples p r o c e e d f r o m
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t h e s i m p l e t o t h e c o m p l e x . Y o u see t h a t (a) h a s t h e longest notes, m o v i n g gradually f r o m quarters t o eighths. T h e n (b) has m o r e eighth-note activity. Finally (c) c o m b i n e s eighths a n d sixteenths i n a m e l o d y that brings t o m i n d the bustling activity o f so m u c h B a r o q u e i n s t r u m e n t a l w r i t i n g . (a) T h e o n l y w a y t o u n d e r s t a n d t h e c o n n e c t i o n b e t w e e n t h e first m e a s u r e s o f t h e g r o u n d a n d t h e división i s t o u s e t h e c o n c e p t o f o c t a v e s h i f t . A f t e r the initial l o n g note a n da P , Simpson inverts t h e 4th B t — F b y shifting t h e F u p a n octave. T h e 5 t h t h a t r e s u l t s i s filled w i t h P s . T h e s h i f t o p e n s u p m o r e musical space f o r the m e l o d y , w h i c h will have a m u c h larger range than the ground. J u s t as F w a s s h i f t e d u p a n octave, s o G is s h i f t e d d o w n a n o c t a v e i n 3. T h e m e l o d y h a s c o v e r e d almost t w o octaves i n three measures. I n 4 t h ee l a b o r a t i o n o f D is s i m p l y a r e p e t i t i o n , a d d i n g a b i t o f r h y t h m i c Ímpetus. T h e t w o h a l f n o t e s o f 5_ a r e e l a b o r a t e d i n a s i m p l e m a n n e r , t o o , w i t h r e p e t i t i o n s a n d a N . R e p e t i t i o n is also h e a r d a t t h e b e g i n n i n g o f _6. T h e n C i s e m b e l l i s h e d w i t h a PS. S l o w i n g d o w n for t h eend, S i m p s o n returns to q u a r t e r - n o t e m o t i o n , w i t h a N a n d a n octave skip. ( b ) T h e first m e a s u r e i n t r o d u c e s a r h y t h m i c p a t t e r n o f six notes, w h i c h a r e repeated i n t h e n e x t measures. Such a repeated pattern, f o u n d often i n B a r o q u e m e l o d i e s , i s a figure. I t s t r e a t m e n t i s i n t e r esting: t h e t w o q u a r t e r notes a r e associated w i t h an octave skip, while t h e f o u r eighth notes m o v e (mostly) stepwise. I n J_ t h e N F j t i s c h r o m a t i c , i n i t s c u s t o m a r y r o l e o f l e a d i n g note. T h e P , A , retains t h eplace i t h e l d i n (a), b u t is n o w a n e i g h t h n o t e . O c t a v e shift is a t w o r k i n t h e m o v e f r o m t h e g r o u n d ' s B t t o F ,as i n (a), b u t i n a d i f f e r e n t w a y . N o w t h e F a n d G a r e b o t h s h i f t e d . T h e q u a r t e r n o t e s t h a t filled t h e 5 t h in (a)a r e n o w eighth notes, part o f t h e r h y t h m i c figure. S i m p s o n continúes t o u s e i d e a s f r o m (a) as he moves ahead. Y o u c a n see that t h e third meas u r e s o f (a) a n d (b) a r e s i m i l a r , w i t h (b) a d d i n g N s in eighth notes. S t a r t i n g i n t h e second h a l f o f 4 S i m p s o n uses t h e l a t t e r p a r t o f h i s figure a n d w o r k s w i t h t h e P S i n t o 7 . E a c h o f t h o s e filis a 3 r d a b o v e t h e m a i n n o t e e x c e p t f o r o n e d o w n w a r d m o v e i n 7_. (c) I f y o u k n o w t h a t a m e l o d i c t r i a d c a n e m b e l lish a m a i n n o t e y o u can u n d e r s t a n d the b e g i n n i n g o f t h i s división: t h e g - t r i a d i s s p r e a d o v e r a f u l l o c t a v e ; t h e r o o t o f t h e t r i a d i s h e a r d o n t w o levéis
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a n o c t a v e a p a r t ; t h e first s i x n o t e s o f t h e m e l o d y add u p to a n elaboration o fthe note G . B u t look a t t h e p l a c e m e n t o f t h e first n o t e ! I t ' s a n o c t a v e h i g h e r t h a n t h e first n o t e o f t h e g r o u n d . U s i n g o c t a v e shift, it's possible f o r S i m p s o n t o b e g i n w i t h t h e h i g h e s t n o t e o f t h e división. T h e r e f o l l o w s a long descending gesture f r o m t h e opening G t o the lowest note, D , i nm i d - 4 . T h i s striking melodic shape is typically B a r o q u e . A g a i n , a c l e a r - c u t figure u n i f i e s t h e m e l o d y . I t ' s o n e m e a s u r e l o n g a n d t h e r h y t h m i c p a t t e r n is h e a r d f o u r times. T h e n t h esecond h a l f is b r o k e n off and heard twice i n a measure, a f o r m o f intensification. I n t h e last m e a s u r e t h e s i x t e e n t h s give way t o the eighths t o prepare for the ending. S i n c e t h e first G i s a n o c t a v e h i g h e r t h a n t h e g r o u n d ' s G , t h e r e i s n o w a 6 t h t o b e filled i n s t e a d o f a 3 r d (inversión). T h a t m a k e s r o o m f o r t h e sixteenth notes. B u t there's n o te n o u g h t i m e f o r t h e f a s t n o t e s t o r e a c h F a t t h e b e g i n n i n g o f 3. S o S i m p s o n uses t h e n o t e a 3 r d h i g h e r t h a n t h e F , a n d m a r k s i t " 3 r d . " T h i s e l a b o r a t i o n is s o o n followed b y the m a i n note. Simpson's m a r k i n g shows h o w conscious h e w a s o f a 3 r d u s e d as a t y p e o f elaboration. G o i n g o n i n 3, y o u find a n o t h e r lessorí i n i n v e r sión. T h e 2 n d o f t h e g r o u n d i s i n v e r t e d a n d t h e r e s u l t i n g 7 t h filled w i t h s i x t e e n t h n o t e s . A l l t h e r e m a i n i n g steps i n t h e g r o u n d a r e elaborated i n the same way. T h e y ' r e inverted into 7ths, and that l a r g e i n t e r v a l i s filled w i t h P s . T h e o n e t i m e t h a t a c o m p l e t e scale is h e a r d is i n 7 . D i s e l a b o r a t e d first w i t h a s c a l e ( f i l l e d o c t a v e ) , t h e n w i t h a C t h a t w a s a N i n (b) a n d n o w is a n I N . Y o u find t w o c h r o m a t i c n o t e s i n t h e s c a l e : E l ] i s n e e d e d t o a v o i d a n a u g m e n t e d 2 n d w i t h Fjt. S U M M A R Y T h e standard techniques o f melodic e m b e l l i s h m e n t a r e f o u n d i n these t h r e e exercises. T h e o n l y o n e that's n e w t o y o u is octave shift. I n each exercise, a m e l o d y i nl o n g notes is elaborated into a m e l o d y i n shorter notes, full o f r h y t h m i c life. T h e short notes, f a rf r o m being r a n d o m , a r e u n i f i e d b y figures. T h e s e e x a m p l e s g e t t o t h e h e a r t of melodic elaboration i n t h eBaroque instrumental style. N o w o n d e r t h a t M r . S i m p s o n w a s a w i d e l y r e s p e c t e d t e a c h e r i n his o w n d a y ; w e c a n still l e a r n much from him.
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34 Two-Part Counterpoint With Elaborated Melodies T h e c o m b i n a t i o n o f t w o elaborated melodies leads to a c o m p l e x type o f counterpoint. T h e most developed examples o fsuch writing a r e f o u n d i n the i n v e n t i o n s a n d fugues o fJ . S. Bach. A t this stage, y o u a r e p r e p a r e d t o study elaborated t w o part c o u n t e r p o i n t i n t w o types o f exercises:
T h e f e w N s a r e also m o r e i m p o r t a n t f o r t h e i r m e l o d i c valué t h a n f o r c r e a t i n g a n y k i n d o f tensión b e t w e e n parts. E v e n t h e Pso f 1 9 pass b y t r a n q u i l l y . A s t r i k i n g a s p e c t o f t h e p i e c e i s t h e meíody's d e c i s i v e figure i n t h e first f o u r m e a s u r e s . B y m o v i n g t h e figure u p a n d d o w n a n o c t a v e t h e c o m p o s e r covers t h e t e n o r a n d bass r a n g e s w i t h a single melody. T h e chorale's second phrase hasa calmer counterpoint, i n e v e n eighth notes. W h e n t h e cantus firmus r e a c h e s C i n 1 0 t h e C - t r i a d is e l a b o r a t e d below, a n d t w osixteenth notes a r e heard. T h e c o u n t e r p o i n t s h o w s still a n o t h e r r h y t h m i n t h e t h i r d p h r a s e , a figure o f t w o e i g h t h n o t e s a n d f o u r s i x t e e n t h n o t e s . T h i s figure, t o o , i s t o s s e d f r o m o n e octave t oa n o t h e r a n d occupies alto, tenor, a n d bass ranges. T h e r h y t h m i c b u i l d u p brings a steady stream o f s i x t e e n t h s i n t h elast phrase. A N plus octave s k i p m a k e s a f o u r - n o t e figure t h a t f o r m s p a r t o f t h e melody. Scheidt's b i c i n i u m is a s t r a i g h t f o r w a r d e x a m p l e o f t w o - p a r t c o u n t e r p o i n t o f a specific type: o n e p a r t i s a c a n t u s firmus i n l o n g n o t e s , w h i l e t h e o t h e r is a n e l a b o r a t e d m e l o d y i n a v a r i e t y o f s m a l l n o t e valúes, o f t e n u n i f i e d b y t h e u s e o f a figure. T h e procedures o f counterpoint are just what they w e r e i n t h e Renaissance; it's t h e r h y t h m a n d t h e registral f r e e d o m that have changed.
O n e m e l o d y is e l a b o r a t e d , t h e o t h e r is a c a n t u s firmus in l o n g notes. B o t h melodies are elaborated, but to a limited extent. W I T H CANTUS FIRMUS Early Baroque organ m u s i c c o n t a i n s m a n y e x a m p l e s o f chórale m e l o d i e s combined with other, m o r e elaborated melodies. O n e s u c h e x a m p l e (see b e l o w ) is i n a n o r g a n w o r k b y S a m u e l S c h e i d t , ¡TS], a s t u d e n t o f t h e g r e a t D u t c h composer Sweelinck. Scheidt's music w a s part o f t h e heritage o f J . S. Bach, w h o b r o u g h t B a r o q u e o r g a n c o m p o s i t i o n t o its greatest h e i g h t s . T h e piece is a b i c i n i u m . W h i l e t h e Renaissance bicinium studied earlier h a d t h e same type o f m e l o d y (vocal) i n b o t h parts, t h e early B a r o q u e piece b e f o r e y o uc o u n t e r p o i n t s a n i n s t r u m e n t a l m e l o d y i n small notes against t h e l o n g notes o f a chórale m e l o d y . I n b o t h t y p e s o f b i c i n i u m , t h e chórale m e l o d y i s n ' t u s u a l l y e l a b o r a t e d . T h e s c o r e s h o w s a l l i n t e r v a l r e l a t i o n s h i p s i n figures. S o m e large c o m p o u n d intervals a r e reduced to s i m p l e intervals. It's a p p a r e n t a t once that dissonance plays a small role here. T h e purpose o f the n u m e r o u s Ps, o n both eighth- a n d sixteenthn o t e levéis, i s t o c o n t r i b u t e t o t h e f l o w o f t h e l i n e s .
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the minor. A l t h o u g h t h eelaboration o fthe melodies isn't v e r y great, t h e lines a r e definitely i n s t r u m e n t a l i n character. T h e exercises w e r e i n t e n d e d for t w oviols; f o r study purposes they m a y b e played b yalmost a n y two string o r w i n d instruments. A l l i n t e r v a l s a r e figured. T h e s o u n d s a r e p r e v a i l i n g l y c o n s o n a n t . T h e i n t e r v a l h e a r d m o s t is t h e l O t h . Perfect consonance is h e a r d o n l y a t phrase beginnings and endings. Dissonances are the small notes that help the melodic flow. Y o u find a n i c e b a l a n c e o f p a r a l l e l a n d c o n t r a r y m o t i o n i n this exercise. T h e r h y t h m i c vocabulary, while limited t o half, quarter, a n d eighth notes, is varied f r o m o n emeasure t o another. T h e regular r h y t h m hasa dancelike quality. A n o t h e r interesting feature is t h e u s e o f imitat i o n i n t h esecond h a l f o fthe exercise. T h e imitat i o n s d o n ' t continué f o r v e r y l o n g , b u t t h e y a d d s o m e t h i n g t o t h e c o n v e r s a t i o n o f t h e t w o voices. T h e o n e c h r o m a t i c n o t e , B q , is t h e l e a d i n g n o t e o f t h e d o m i n a n t ( C ) , t h e g o a l o f t h e first p h r a s e .
EQUAL PARTS Simple examples o f instrumental w r i t i n g w i t h t w o parts that are m o d e r a t e l y elaborated arefound i nanother book by Christopher S i m p s o n , t h e Compendium o f 1 6 6 7 . T h e y w e r e w r i t t e n as m o d e l s f o r c o m p o s i t i o n , a n dwe'll u s e t h e m for exactly that purpose. W e study t w o o f S i m p son's exercises, o n e i n t h em a j o r m o d e a n d o n e i n
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T h e o t h e r exercise is i n t h e m i n o r m o d e . Y o u find h e r e a f e w m o r e c h r o m a t i c notes, easily e x p l a i n e d b y t h e k e y s h i f t s i n t h e m u s i c . T h e first two measures, i ng, include t h e customary leading n o t e . T h e Fjt d o e s n ' t r e s o l v e u p , h o w e v e r , because t h e t o n a l i t y shifts t o I I I ( B t ) i n ü, h e n e e t h e F q . T h i s is t h e s a m e u s e o f I I I f o l l o w i n g V that w a s
e x p l a i n e d o n p a g e 7 1 . T h e second h a l f o f the piece b e g i n s i n I I I a n d m o v e s t h r o u g h V back to I . H e r e t h e a u g m e n t e d 2 n d i s a v o i d e d b y t h e use o f E q . T h e e x e r c i s e b e g i n s w i t h i m i t a t i o n b y inversión. T h i s is f o l l o w e d f o r o n l y a f e w notes, b u t that's e n o u g h t o créate t h e e f f e c t o f o n e p a r t a n s w e r i n g t h e other. T h e s a m e p r o c e d u r e begins the second h a l f o f the piece. T w o dissonances n o t f o u n d i n the previous e x a m p l e a r e t h e P o f 2 a n dt h e A N (Anticipation) t h a t p r e p a r e s t h e l e a d i n g n o t e i n both cadenees. O n t h ewhole, dissonances a r e unobtrusive and d o little t o d i s t u r b t h e e u p h o n y o f t h e lOths that domínate t h e s o u n d . T h e s e exercises a r e a valuable transition f r o m the vocal style o f e l e m e n t a r y counterpoint t o t h e i n s t r u m e n t a l style o f elaborated counterpoint. E v e r y t h i n g y o u l e a r n h e r e c a n b e applied b e y o n d B a r o q u e m u s i c t o C l a s s i c a l a n d R o m a n t i c styles as well.
C F Worksheet 27
35 The Extensión of Lines in Musical Space o f t h e h u m a n voice. U n t i l t h e e n d o f the sixteenth c e n t u r y each p a r t k e p t p r e t t y m u c h within its o w n t e r r i t o r y , w i t h a l i m i t e d a m o u n t o f voice crossing. T h e l i m i t s o f t h e h u m a n v o i c e w e r e literally t h e spatial limitations o f music.
W H A T IS M U S I C A L SPACE? W e u s e t h i s t e r m as a n a n a l o g y , c o m p a r i n g t h e d i s t a n c e f r o m t h e h i g h e s t t o t h e lowest notes o f a piece w i t h the space available o n a painter's canvas. A l t h o u g h t h e m u s i cian's space is c o n t i n u o u s , w e d i v i d e i t i n f o r m a l l y i n t o s e g m e n t s , c a l l e d registers. I n s o m e m u s i c , t h e w a y s i nw h i c h notes a r ed e p l o y e d i n m u s i c a l space is o f c o m p o s i t i o n a l i m p o r t a n c e . I n R e n a i s s a n c e m u s i c , s p a c e w a s filled i n a r a t h e r c o n s i s t e n t a n d h o m o g e n e o u s w a y . C h a n g e s o fregister played little p a r t i n t h e m u s i c a l process. S t a r t i n g w i t h t h e d e v e l o p m e n t o f i n s t r u m e n t a l t h i n k i n g i n t h e seve n t e e n t h c e n t u r y composers began t o u s e spatial m o v e m e n t purposefully.
BEYOND T H E SATB FORMAT N o w we sean a l a t e B a r o q u e h a r p s i c h o r d p i e c e , t h e Bourrée b y K i r n b e r g e r , [iT]. T h e m e l o d y is e n t i r e l y i n s t r u m e n t a l i n s t y l e . W i t h i n t h e first f o u r m e a s u r e s i t c o v e r s two full octaves, e n c o m p a s s i n g b o t h soprano a n d a l t o registers. T h e bass c o u n t e r p o i n t s that m e l o d y w i t h o n e o f its o w n . I n t h e s e c o n d h a l f o f the piece t h e l o w e r p a r t m o v e s i n t o t h e a l t o register. Still t h e bass o f t h e p o l y p h o n y , it's h e a r d i n a higher register t h a n i n t h e b e g i n n i n g . B o t h melodies have large ranges, a n d b o t h a r e e l a b o r a t e d melodies.
THE SATB FORMAT I n f o u r - p a r t m u s i c , t h e s i m p l e s t u s e o f m u s i c a l space is t o f o l l o w t h e ranges
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characterized b y p r e d o m i n a n t l y stepwise m o t i o n in a single register. A l lt h evocal parts i nt h e earlier music studied a r e lines.. Y o u r e l e m e n t a r y counterpoint exercises c o m b i n e d lines. M e l o d y , h o w e v e r , is a l a r g e r t e r m , w h i c h e n c o m p a s s e s o t h e r t y p e s . A m e l o d y c a n b e t h ecenter o fmusical interest i n a w a y that a line can't. T h e first e x a m p l e o f p o l y p h o n i c m e l o d y w a s taken f r o m a w o r k f o rsolo cello. Since that farr a n g i n g type o f m e l o d y is particularly suited t o a single string i n s t r u m e n t , y o u w o n ' t be surprised t o learn that m a n y examples a r e f o u n d i n Bach's solo violin a n d solo cello sonatas. B u t h o w does polyp h o n i c m e l o d y w o r k i na piece f o r m o r e t h a n o n e instrument? T w o different examples show h o w polyphonic melody m a y be combined with other p a r t s . T h e P e z e l S a r a b a n d e , [ 7 9 ] , i s f o r five b r a s s instruments. M o s t o f t h e f o u r - p a r t h a r m o n y is i n t h e l o w e r f o u r l i n e s . T h e s e a r e , i n d e e d , fines, m o v i n g s t e p wise w h e r e v e r possible. T h e highest part, h o w e v e r , is d i f f e r e n t f r o m t h e o t h e r s . I t ' s q u i t e m e l o d i o u s a n d c o m m a n d s o u rattention, while t h eother parts recede i n t o t h eb a c k g r o u n d . T h e highest p a r t isa polyphonic melody.
RANGE, REGISTER, T E X T U R E B e f o r e c o n t i n u i n g w i t h this topic, w eobserve three i m p o r t a n t d i f f e r e n c e s b e t w e e n t h e K i r n b e r g e r Bourrée ( a s well as o t h e r pieces i n this part o ft h e A n t h o l o g y ) a n d t h e Renaissance pieces studied earlier. 1. T h e r a n g e o f t h e m u s i c i s c o n s i d e r a b l y e x p a n d e d , t a k i n g advantage o f t h e fact t h a t i n s t r u m e n t s c a n reach b o t h h i g h e r a n d l o w e r t h a n voices. 2. T h e r e ' s a clearer d i s t i n c t i o n between t h e registers that a r e i n play. 3 . T h e texture o f m o s t o f t h e R e n a i s s a n c e p i e c e s is e i t h e r strictly c h o r d a l o r l i n e a r . T h e r e is m u c h m o r e t e x t u r a l v a r i e t y i n B a r o q u e pieces: t w o - p a r t elaborated counterpoint i n the Kirnberger; chordal with a melo d y o n t o p i n C o u p e r i n ' s s a r a b a n d e , [25]; a m i x t u r e o f a n i m a t e d melodies a n d chords i n Scarlatti's sonata, |38|; e l a b o r a t e d t h r e e - p a r t c o u n t e r p o i n t i n H a n d e l ' s c o u r a n t e , |35|; a n d m e l o d y a n d a c c o m p a n i m e n t i n t h e T e l e m a n n o d e s , [29]. A n d t h e n t h e r e ' s t h e t y p e o f m e l o d y t h a t i m p l i e s m o r e t h a n o n e l i n e , as i n Bach's violin sonata m o v e m e n t , |31|. POLYPHONIC MELODY T o u n d e r s t a n d i n strumental melody m o r e fully y o u need t o be familiar w i t h o n e m o r e concept. I twill help y o u t o grasp t h e f o l l o w i n g passage. Menuet I I from Suite No. 1 for Solo Cello
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A l l t h e notes o f t h e excerpt, h e a r d i n succession, constitute t h emelody. Y o u hear t h e immediate connection o f o n e note t o another, b u ty o u m a y also observe o t h e r connections. C a n y o u hear t h e first B t o f t h e m e l o d y c o n n e c t e d t o ( o r g o i n g t o ) A in t h e second measure, a n do nt o G i nt h e third a n d F f i n t h e f o u r t h ? C a n y o u h e a r a bass l i n e descending f r o m G t o D ? Listen again. These aren't t h e note-to-note connections; they are longrange connections. T h e y help y o u t o hear t h e entire phrase as a unit. W h e n those long-range connections a r espelled o u ty o u hear:
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T h e m e l o d y expresses three lines. T h i s type o f m e l o d y i s a polyphonic melody. I t i s o n e o f t h e g r e a t technical advances o ft h e Baroque period. MELODY AND L I N E W e assign different m e a n i n g s t o t h e t e r m s melody a n d line. A l i n e i s
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T h i s melody doesn't express t h e complete polyp h o n y , as d i d t h e m e l o d y i nt h e B a c h cello sonata. H e r e , o t h e r voices state w h a t e v e r notes t h e m e l o d y doesn't include. B u t t h e m e l o d y is polyphonic because it'sm a d e u p o fnotes taken f r o m m o r e t h a n o n e voice. T h e first n o t e o f t h e m e l o d y i s t h e first n o t e o f the polyphony's t o pline. T h e n t h e m e l o d y moves u p t h r o u g h a P t o G , t h e alto's n o t e transposed u p an octave. A f t e r t h e m e l o d y skips d o w n t ot h e Co f the t o p line i tagain moves u p , leaving t h e top-line B(_4) t ot h e second part. T h e a l t e r n a t i o n o f notes f r o m t h e polyphony's t o pline with inner-voice n o t e s continúes o n e m o r e t i m e , a n d t h e m e l o d y ends with notes that are part o ft h e polyphony b u t not top-line notes. T h e second h a l f o f t h e piece uses a d i f f e r e n t approach t o polyphonic melody. Rising parallel lOths a r e t h ef r a m e w o r k f o r t h ephrase, u pt o t h e c a d e n e e . O n t h e first b e a t o f e v e r y m e a s u r e f r o m 9 t h r o u g h J_3 t h e m e l o d y s t a r t s w i t h t h e m a i n n o t e o f t h e t o pline. I t t h e n elaborates that note b y
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s k i p p i n g u p t o s o m e i n n e r - v o i c e n o t e t h a t has been transposed u p a n octave. T h e r e ' s a slight change o f pattern i n 14, but the m e l o d y remains i n parallel l O t h s w i t h t h e bass all t h r o u g h t h e octave rise. T h a n k s t o octave shift, t h e m e l o d y i n t h e second h a l f o f t h e s a r a b a n d e is q u i t e j a g g e d a n d h a s a s t r i k i n g c h a r a c t e r o f its o w n . A g a i n t h e m e l o d y d o e s n ' t h a v e t o state all t h e notes o f the h a r m o n y . I t does state t w o o f the three chord notes i n most measures, a n d t h e complete t r i a d i n _1_3. T h i s i s a k i n d o f p o l y p h o n i c m e l o d y that's m a d e o fs o m e notes o fthe h a r m o n y . Y o u ' l l find t h i s a p p r o a c h i n m o s t i n s t r u m e n t a l m e l o d i e s .
T h e e x a m p l e a t t h e t o p o f t h e page is m o r e c o m p l e x , b u t t h e p r i n c i p i e is t h e s a m e . T h e p o l y p h o n i c m e l o d y is d i v i d e d between t w o solo violins. B u t t h e r e a s o n t h e m e l o d y is c o n s i d e r e d p o l y p h o n i c is because i tembodies these lines:
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T h e a c c o m p a n y i n g cello p a r t is also p o l y p h o n i c . It's s i m p l e r t h a n t h e u p p e r m e l o d y ( l o w e r p a r t s usually are). T h e t w o polyphonic melodies comb i n e t o delinéate f o u r l i n e s :
T h e u p p e r line descends chromatically f r o m 8 t o 5, a w e l l - t r o d d e n p a t h i n B a r o q u e m u s i c . T h e lower line descends f r o m 5 t o 2 before dropping d o w n t o t h e 5 that leads t o 1. T h em e l o d y expresses a complete polyphonic motion.
T h e violin m e l o d y expresses a good deal o f t h e h a r m o n y , a n d t h ecello m e l o d y states t h e r e m a i n ing notes w h i l e d o u b l i n g s o m e o ft h e violin's notes. A l l this is standard procedure i n B a r o q u e instrumental music. SPECIAL FUNCTION OF T H E TRITONE The tritone (augmented 4 t ho r diminished 5th) w a s éxcluded f r o m l i n e a r w r i t i n g a s l o n g a s m u s i c m o v e d i n ( p r e d o m i n a n t l y ) stepwise lines. ( T h e r e was n ow a y t oassimilate this active i n t e r v a l into t h e linear now.) Polyphonic melody proved t o bet h e n a t u r a l place t o u s e t h e t r i t o n e , w h i c h is particularly effective i n d i v i d i n g t w o elements o fa m e l o d y i n t o sepárate l i n e s . T h e r e a s o n t h a t t r i t o n e s w e r e o u t o f place i n e l e m e n t a r y c o u n t e r p o i n t is n o w clear: tritones b r e a k u p stepwise lines, t h e v e r y lines that a r e t h e material o f linear counterpoint. Just h o w tritones p e r f o r m t h e i r task m a y b e seen in t h enext example, b y t h emaster o f polyphonic melody. M e i n e Seele
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SATB VS K E Y B O A R D T E X T U R E S L e t u s n o w c o m p a r e t h eS A T B f o r m a t w i t h i n s t r u m e n t a l textures. Fortunately f o ro u r purpose, there a r e quite a f e wearly Baroque keyboard transcriptions o f Renaissance c h o r a l pieces available. T h e s e s h o w h o w t h es a m e basic p o l y p h o n y m a y t u r n o u t quite differently i n different hands. W e will compare t h e u s e o f m u s i c a l space a n d register i n Lasso's Good Day, My Heart a n d a t r a n s c r i p t i o n m a d e o n l y a f e w years later. I n those f e w years m u s i c a l style was u n d e r g o i n g m a j o r changes. T h e transcription is b y P e t e r P h i l i p s , o n e o f t h e E n g l i s h c o m p o s e r s w h o w e r e a m o n g t h e first t o d e v e l o p t h e n e w k e y b o a r d s t y l e . I t c o m e s f r o m t h e Fitzwilliam Virginal Book, o u r m o s t i m p o r t a n t s o u r c e o f l a t e s i x teenth-century keyboard music. I n theexample o n page 8 9 Lasso's c h o r u s isp r i n t e d o nt w o staves a n d aligned with t h e corresponding measures o f t h e transcription, f o rready comparison. Barlines have been a d d e d t ot h e chorus t ocorrespond w i t h those in t h e transcription. Since barlines aren't entirely r e g u l a r i z e d i n t h e Fitzwilliam Virginal Book, s o m e measures contain m o r e beats t h a n others. W e l o o k f o rapplications o f t h e topics o f Part F i v e : m e l o d i c e l a b o r a t i o n , t h e expansión o f l i n e s i n m u s i c a l space, a n d p o l y p h o n i c m e l o d y . Y o u r first i m p r e s s i o n m a y b e t h a t t h e c h o r a l m u s i c h a s b e e n e x p a n d e d n o t o n l y i n space b u t also i n time. T h e t r a n s c r i p t i o n stretches o v e r m o r e m u s i c a l space, o f course, b u ti t also takes m o r e t i m e t o p e r f o r m than t h e chorus. T h e r e a r e m a n y m o r e notes i n t h e k e y b o a r d versión t h a n i n t h e o r i g i n a l . W h a t a r e those notes a n d h o w a r e t h e y r e l a t e d t o Lasso's piece? A l l o f t h e notes i n t h e keyboard transcription are elaborations o f t h e notes i n t h e chorus. T h e ways o f elaborating those notes a r e precisely t h e techniques that you've been studying: passing a n d n e i g h b o r m o t i o n c o m b i n e d w i t h octave shift. The first s o u n d i n t h e c h o r u s is t r a n s c r i b e d l i t e r a l l y i n t h e k e y b o a r d versión, b u t t h e s o l i d c h o r d is i m m e d i a t e l y b r o k e n u p w i t h a w r i t t e n - o u t drill. T h i s r a p i d a l t e r n a t i o n o f t w o n o t e s uses a N . I t w i l l t a k e l o n g e r t o p l a y t h e first m e a s u r e o f t h e
O u r g e n e r a l o b s e r v a t i o n i s t h e s a m e as. i n t h e s o l o cello example. Y o u h e a r n o t o n l y t h e note-to-note connection o f a l l t h e sounds that comprise t h e m e l o d y , b u t also a larger connection. T h e m e l o d y implies t w olines. W h a t separates t h em e l o d y into two lines? T h etritone, h e a r d f o u r times i n this s h o r t p h r a s e . T w o o f t h e t r i t o n e s a r e p a r t i a l l y filled w i t h 3 r d s , b u t t h e i r effect is felt nonetheless. T h e t w o sepárate l i n e s a r e c h r o m a t i c . A s k e t c h s h o w s how t h etritones (marked with arrows) divide t h e p o l y p h o n i c m e l o d y into its c o m p o n e n t lines, indicated b ystem direction.
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^ r r k e y b o a r d versión t h a n t o s i n g t h e first m e a s u r e o f the chorus. T h e r e ' s a c h a n g e t o a b r o k e n t e x t u r e i n 2, t h e t e n o r e l e a b o r a t i n g its C w i t h a t r i a d . A t t h e e n d o f t h e m e a s u r e M r . P h i l i p s a d d s P s i n a l t o a n d bass, i n p a r a l l e l lOths. I t ' s t h e alto's t u r n t o h a v e t h e a c t i v i t y i n 3, w i t h a l i t t l e h e l p f r o m t h e t e n o r . A l l the elaborative notes are Ps a n dN s related t o t h e triads. T h e s u d d e n flurry o f t h i r t y - s e c o n d n o t e s i n 4 — 5 r u n s t h r o u g h a n octave a n d a step, o c c u p y i n g
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t h e alto's s p a c e as w e l l as t h e s o p r a n o ' s . A D N i n m i d - 5 elaborates E , w h i c h isn't a m e l o d y n o t e b u t is a m e m b e r o f t h e t r i a d . I f t h e e l a b o r a t i o n o f t h e bass i n . 6 l o o k s s o m e w h a t f a m i l i a r , there's a r e a s o n : j u s t as i n S i m p s o n ' s g r o u n d , t h e ascent o fa 4 t h i s elaborated (inverted) into the descent o f a 5th, and t h e s p a c e filled w i t h P s . T h e s e c o n d o f t h e s i x t e e n t h notes, C , is a P f r o m a D t h a t ' s p a r t o f t h e c h o r d b u t n o t i n t h e same register. T h i s is a n imaginative use o f octave shift. M o t i o n i n s i x t e e n t h notes is c o n t i n u o u s , b u t it's
way i n w h i c h t h e notes o f t h e theme a r e m o v e d about i n the variations we had better look carefully at t h e i r p o s i t i o n i n t h e initial statement. T h e first p h r a s e - p a i r i s s e t i n t h e m i d d l e r e g i s t e r , i n f o u r p a r t s t h a t a r e f a i r l y cióse t o g e t h e r . T h e third phrase spreads t h e sounds o u t a n d introduces a different accompaniment. W e m i g h t expect the f o u r t h t o r e t u r n t o t h etexture and spacing o f t h e first. I n s t e a d , i t m o v e s u p a s u r p r i s i n g o c t a v e (16—17), o p e n i n g u p a new, h i g h e r register. T h i s l e a d s t o a final A t h a t ' s a n o c t a v e h i g h e r t h a n t h e first A o f t h e g a v o t t e . T h e s p r e a d o f t h e g a v o t t e ' s first c h o r d i s j u s t o n e o c t a v e , w h i l e t h a t o f t h e l a s t c h o r d reaches t h r e e full octaves. T h e r e ' s a steady expansión o f r e g i s t e r t h r o u g h o u t t h e t h e m e .
not always i none voice. I n t h elatter half o f 6 t h e r u n s pass t h r o u g h t h e s o p r a n o a n d alto ranges, w h i l e t h e r u n i n 7_-8 b e g i n s i n t h e b a s s t e r r i t o r y a n d moves u p t o t h ealto. T h a t r u n begins, again, w i t h a P f r o m a n o t e that's i m p l i e d b ythe h a r m o n y b u t n o t p r e s e n t i n t h e s a m e register as t h e P . I t ' s i n t e r e s t i n g t o s e e h o w L a s s o ' s F - t r i a d i n 1_ i s e l a b o r a t e d . P h i l i p s takes t h e bass m o t i o n o f a 5 t h a n d simply adds a n octave t o it. T h a t provides t h e space f o r t h e sixteenth notes, a n d they m o v e t h r o u g h i t quickly t o the m i d d l e C i n8. 1 0 , 1 1 . a n d J_2 a r e t r i a d s i n L a s s o a n d e l a b o r a tions o f those triads i n Philips. T h e techniques are m u c h t h e s a m e as i n t h e p r e v i o u s measures. SUMMARY T h e r e ' s n o t h i n g u n u s u a l a b o u t t h e t h i n g s t h a t P h i l i p s d o e s . T h a t is precisely w h y t h e t r a n s c r i p t i o n is v a l u a b l e : i t d e m o n s t r a t e s t h e n o r m s o f early Baroque keyboard music. T h e broken t e x t u r e o f t h e k e y b o a r d versión c o n t r a s t s w i t h t h e strictly c h o r d a l t e x t u r e o f t h e S A T B piece; musical space is used i na creatiVe w a y w i t h m e l o d i e s m o v ing t h r o u g h m o r e t h a n o n e register; l o n g notes are b r o k e n into m a n y short ones; r h y t h m s a r e m o r e irregular. These are the standard techniques of melodic elaboration. I n Simpson's ground you saw t h e m a p p l i e d t o a single line. H e r e y o u see them applied t o a four-part model. T h e comparis o n b e t w e e n Lasso's c h a n s o n a n d the t r a n s c r i p t i o n offers a clear illustration o f the difference between the S A T B format and a keyboard texture. R A M E A U ' S V A R I A T I O N S T h e Fitzwilliam Virginal Book r e p r e s e n t s a n e a r l y s t a g e i n t h e e v o l u t i o n o f k e y b o a r d music. T o see t h e late B a r o q u e i nall its b r i l l i a n c e w e t u r n t o t h e G a v o t t e a n d V a r i a t i o n s f o r h a r p s i c h o r d b y J e a n - P h i l i p p e R a m e a u , |28|. T h e techniques introduced i n a simple w a y i n S i m p s o n and i n a m o r e complex way i n Philipsare n o w developed t o a high degree. Registral movem e n t , i n particular, is t r e a t e d w i t h a k i n d o f v i r t u osity that shows a m a t u r e style. W h i l e this piece has m a n y i n t e r e s t i n g aspects, w e concéntrate o n r e g i s t e r a n d t e x t u r e , t h a t is, o n t h e ways i n w h i c h t h e notes a r e deployed i n musical space. M o s t gavottes a r e i n § , b u t there a r e some F r e n c h g a v o t t e s i n f , a n d t h i s is o n e . T h e d i f f e r ence between t h et w o is m o r e visual t h a n aural: a gavotte i n 0 begins w i t h t w o quarter-note upbeats; Rameau's gavotte begins w i t h a n upbeat measure o f t w o quarter notes. T h e gavotte that serves as t h e t h e m e f o r t h e variatíons i s s t r a i g h t f o r w a r d : t w o f o u r - m e a s u r e p h r a s e s c o m p r i s e t h e first s e c d o n ; t w o e i g h t - m e a s u r e phrases m a k e u p the second. I f we're t o follow the
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F I R S T D O U B L E I n t h e first v a r i a t i o n , c a l l e d double, R a m e a u l e t s u s k n o w t h a t h e c o n s i d e r s C t o b e t h e first m a i n n o t e o f t h e m e l o d y b y o m i t t i n g the ascent A - B . T h e same will be true o fmost o f the succeeding variations. T h e bass a n d s o p r a n o o f t h e gavotte, a l O t h apart a t t h e start, a r e compressed i n t o a 3 r d b y octave shift. Similarly, all t h ec o m p o u n d intervals b e t w e e n the o u t e r voices are reduced b ya n octave. T h e left h a n d n o w h a s this condensed outer-voice framework. Over that a new melody i n sixteenth notes is s p u n o u t . Since this m e l o d y is m a d e o f n o t e s f r o m t h e i n n e r voices o f t h e g a v o t t e , it's a polyphonic melody. H o w are the quarter notes and h a l f notes o fthe gavotte elaborated into sixteenth n o t e s ? A c o m p a r i s o n o f t h e first t w o m e a s u r e s o f the double with those o f the gavotte shows Rameau's m e t h o d clearly. 1 2
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A a n d E (circled) a r e inner-voice notes i n t h e first t r i a d . I n t h e first d o u b l e , A i s h e a r d first, f o l l o w e d b y t w o R s t h a t lead t o E . T h e n E is elaborated w i t h a D N . I nthe second m e a s u r e F, D , and C are heard i n that order. Connected with a P, E , each is t h e n f o l l o w e d b y a n I N . T h i s is a r t f u l elaboration indeed. S i m i l a r t e c h n i q u e s fill t h e first e i g h t m e a s u r e s . R a m e a u breaks t h e pattern just once, e x t e n d i n g t h e t o n i c t r i a d i n t h e b a s s a t t h e e n d o f t h e first four-measure phrase, thereby opening u p the lower register a bit. T h e second m e a s u r e o f the second e n d i n g begins the next phrase.
T h e third phrase introduces a different pattern. T a k i n g a d v a n t a g e o f t h e fact that a single n o t e m a y b e e l a b o r a t e d i n t o a n o c t a v e scale (as M r . S i m p s o n s h o w e d y o u ) , R a m e a u begins a string o f b r i l l i a n t scales. T h e y a r e c l e a r l y b u i l t o n t h e n o t e s o f t h e t h e m e , as a c o m p a r i s o n o f 9 - 1 6 w i t h 3 4 4 0 s h o w s . A t t h e s a m e t i m e t h e bass is e x t e n d e d s p a t i a l l y b y j u m p i n g t h e first n o t e o f e a c h m e a s u r e d o w n a n octave. A tt h e e n d o fthe phrase (40) t h e sixteenth notes have almost r u no f f t h e keyboard, a n d a t t e n t i o n is focused o n t h e lowest register o f the harpsichord. T o a p u r p o s e : t h e octave skip o f 16—17 is enorm o u s l y stretched t o three octaves i n 4 0 - 4 1 . T h i s r e m a r k a b l e u s e o f musical space launches t h e t h i r d phrase, w h o s e m e l o d y h a s n o place t og o b u t d o w n . A n d that m e l o d y certainly does descend, ending in t h e m i d d l e register, n o t t h e higher o n e that ends t h e gavotte. SECOND DOUBLE T h ec e n t e r o f a c t i v i t y shifts to t h elower register f o rt h eentire variation. T h e left h a n d e l a b o r a t e s t h e m a i n n o t e s o ft h e bass l i n e w i t h octave runs. M o s t o fthose ascend, i n contrast to t h e scale r u n s o f t h e p r e v i o u s d o u b l e . A f e w changes o f pattern a r e heard i n t h em o v i n g part, b u t t h e s i x t e e n t h - n o t e figure o f a r i s i n g s c a l e p r e dominates. T h e right h a n d follows that o ft h e gavotte closely. THIRD DOUBLE T h e center o f activity has been t h e h i g h e s t a n d l o w e s t áreas; n o w i t ' s t h e m i d d l e . T h a t activity takes t h e f o r m o f t h e very same m e l o d y t h a t y o u h e a r d i n t h e first d o u b l e . S o p r a n o a n d bass a r e spaced f a r e n o u g h a p a r t t o m a k e r o o m f o r t h e m o v i n g melody i n between. T h e s o p r a n o i s a s i m p l i f i e d versión o f t h e g a v o t t e m e l o d y i n e v e n n o t e s , m u c h l i k e a c a n t u s firmus, w h i l e t h e bass uses o c t a v e skips t o increase t h e s o n o r i t y . T h e sixteenth-note action shifts t o a l o w e r level at t h e first c a d e n e e ( 8 1 ) . b u t t h e t h r e e - t i e r e d t e x t u r e is m a i n t a i n e d f o r t h r e e p h r a s e s . I n t h e first h a l f o f t h e c o n c l u d i n g p h r a s e ( 9 0 ) there's a n a b r u p t change o f texture. T h e t w o u p p e r voices b e g i n a duet, e m b o d y i n g all t h e notes i n t h e r i g h t h a n d o f t h e g a v o t t e . T h i s is d o n e i n a w a y that emphasizes t h e SUSs that were concealed i n t h e a p p o g g i a t u r a s o f t h e g a v o t t e . T h e bass p r o vides s u p p o r t f o rt h e duet. T o w a r d t h e e n d o f t h e d o u b l e t h e e l a b o r a t e d m e l o d y r e t u r n s a n d finds i t s way back into t h ei n n e r voice. T h evariation ends i n t h e s a m e f o r m a t w i t h w h i c h i t began, as t h e u p p e r v o i c e closes w i t h t h e h i g h A . F O U R T H DOUBLE T h i s v a r i a t i o n is t h e c e n t e r o f t h e e n t i r e c o m p o s i t i o n . T h e t e x t u r e is e n t i r e l y
different f r o m that o fthe preceding a n d following variations, for the chords are arpeggiated throughout. I n contrast t o t h e o t h e r variations, the notes are n o w l i m i t e d t o t h e m i d d l e register, a n d t h e c l o s i n g A is i n t h e l o w e r p o s i t i o n . W h i l e t h e basic p o l y p h o n y is u n c h a n g e d , a subtle r h y t h m i c shift c r e a t e s a n e w d i s s o n a n c e . T h e s o p r a n o is d e l a y e d at t h e b e g i n n i n g o f 1 0 0 , s e t t i n g u p a quiet S U S , a leading note that resolves u p . I n t h e first p h r a s e - p a i r , o n e n o t e a t a t i m e i s played until t h e goal V * . T h ethird and fourth phrases begin w i t h single notes, t h e texture thicke n i n g as e a c h p h r a s e p r o c e e d s . T h i s is a w a y o f building a crescendo o n t h e harpsichord, a n d i t m a k e s f o r s t r o n g e n d i n g s t o t h e latter two phrases. F I F T H D O U B L E A n a r p e g g i a t e d figure s t r e t c h i n g b e y o n d a n octave, o n e m e a s u r e long, r u n s t h r o u g h allt h e registers. T h e polyphonic melody embodies three lines. W h e r e ' s t h eoriginaltop line? It isn't t h e highest line i nthis polyphonic melody, A—F—E; those a r ei n n e r - v o i c e notes transposed u p a n octave. T h e g a v o t t e m e l o d y is concealed i n t h e m i d d l e o f t h e figure. Y o u k n o w t h a t y o u h e a r i t , yet i t isn't w h e r e i t used t o be. I n the f o u r t h m e a s u r e o f t h e d o u b l e t h e m e l o d y n o t e s G(t—A a r e u n c o v e r e d a n d s o u n d as t h e h i g h e s t notes. A t t h e s a m e p o i n t t h e bass picks u p the arpeggiat i o n , so that there isa c o n t i n u o u s flow o f sixteenth n o t e s . I n 1 2 6 t h e c o v e r u p r e s u m e s , a n d continúes t h r o u g h t h e p h r a s e . A g a i n t h e b a s s uses o c t a v e skips t o increase t h e overall sonority. I n t h e second a n d t h i r d phrases the gavotte m e l o d y is o f t e n c o n c e a l e d a g a i n , b u tf r o m t i m e t o t i m e i t c o m e s t o t h e t o p . T h e m e l o d y ends o n t h e lower A . S I X T H D O U B L E T h e final v a r i a t i o n b r i n g s t h e p i e c e t o a b r i l l i a n t conclusión. T h e f o u r - n o t e figu r e h e a r d i n t h e p r e v i o u s v a r i a t i o n is m o d i f i e d a n d p u t t o w o r k i n t h e left h a n d . F u l l chords i n t h e r i g h t h a n d fill o u t t h e h a r m o n y . T h e final c h o r d i s a l m o s t identical w i t h t h a t o f t h e gavotte, a n d t h e melody ends t r i u m p h a n t l y with t h ehigh A. COMMENT M a n y different techniques o f B a r o q u e keyboard writing a r e f o u n d i n Rameau's G a v o t t e a n d V a r i a t i o n s . T h e s e t e c h n i q u e s créate m o s t o ft h e contrast between t h e variations. T h u s , t e x t u r e a n d registral m o t i o n a r e essential elements i n t h e f o r m o fthe piece.
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36 Continuous Variations 1 T h e w o r k o f t h e p r e c e d i n g sections leads t o t h e study o fa n i m p o r t a n t Baroque type: continuous variations. In general, there a r e two different kinds o f v a r i a t i o n sets. T h e t y p e f a m i l i a r t h r o u g h m a n y examples i n the literature istheme a n d variations, such as the R a m e a u w o r k j u s t studied. A n earlier a n d s i m p l e r t y p e i s continuous variations, i n w h i c h t h e r e a r e n o p a u s e s b e t w e e n v a r i a t i o n s as t h e r e a r e in theme a n dvariations. Moreover, t h e material o n w h i c h c o n t i n u o u s v a r i a t i o n sets a r e b a s e d i s n ' t a self-contained unit but simply a pattern o f chords or a single line. O n ev a r i a t i o n follows a n o t h e r w i t h o u t pause u n t i l the piece is completed. B o t h t y p e s o f v a r i a t i o n sets h a v e a l o n g h i s t o r i c a l association with improvisadon atthe keyboard. Officially there are t w o types o f continuous vari a t i o n s , passacaglia a n d chaconne. B o t h aróse i n t h e l a t e s i x t e e n t h c e n t u r y , first a s d a n c e s , t h e n a s frameworks for improvisadon o n guitar, lute, o r h a r p s i c h o r d . A t first, e a c h t y p e h a d i t s o w n m e l o d i c a n d h a r m o n i c patterns, but before l o n g each took over some o f the other's traits. I nm a n y Baroque pieces t h e o n l y w a y t o tell o n e f r o m t h e o t h e r is f r o m the title. W e m a k e a distinction b e t w e e n pieces based o n bass p a t t e r n s a n d pieces b a s e d o nc h o r d patterns. I n this section y o u will s t u d y pieces built o n t h e f o r m e r ; i n C h a p t e r 37 y o u will t u r n t opieces built on the latter. I f y o u a r e familiar with theme a n d variations you m a y expect t o hear a definite theme at t h e b e g i n n i n g o f a v a r i a t i o n set. B u t m o s t c o n t i n u o u s variations don't begin w i t h a "theme." Some, such as t h e P a c h e l b e l C h a c o n n e , [20], a r e c o n s t r u c t e d o n a bass p a t t e r n that's n e v e r stated a l o n e , as a t h e m e w o u l d be. Y e t t h e bass p a t t e r n isw h a t t h e piece is built on. W e w i l l e x a m i n e t h e first s e v e n v a r i a t i o n s , w h i c h c o m p r i s e a c o m p l e t e section o f t h e piece. T h e C h a c o n n e b e g i n s w i t h t h e first v a r i a t i o n . W h a t i s i t v a r y i n g ? T h e basic p o l y p h o n y o f t h e piece. T h i s may b e f o u n d b ythe process o f r e d u c t i o n .
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Pachelbel Chaconne: basic polyphony
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T h e bass l i n e d e s c e n d s f r o m 8 t o 5 , a s t a n d a r d s e v e n t e e n t h - c e n t u r y p a t t e r n (associated w i t h t h e passacaglia!). T h e t o p line m o v e s i n p a r a l l e l l O t h s w i t h t h e bass, a n d this l i n e is r e t a i n e d f o r m u c h o f t h e p i e c e . A t h i r d , i n n e r v o i c e , i s subordínate t o t h e o t h e r s . T h e C h a c o n n e is b u i l t o n a bass line, b u t t h e r e is also a t h r e e - p a r t p o l y p h o n i c f r a m e work. Typical o f early chaconnes, most o f the fourmeasure units are repeated, so that each variation is e i g h t m e a s u r e s l o n g . T h e s k e t c h e s o f t h e first s i x v a r i a t i o n s s h o w o n l y t h e first h a l f o f e a c h , s k i p p i n g t h e r e p e t i t i o n . B u t t h e r e is n o r e p e t i t i o n i n t h e seventh variation because Pachelbel recomposes the second half, a n d the sketch shows that. V A R I A T I O N 1 T h e basic p o l y p h o n y is d r a w n f r o m t h e first v a r i a t i o n . C o m p a r e t h e r e d u c t i o n above a n d the m u s i c t o seeh o w the f r a m e w o r k is elaborated. T h e m e l o d y begins w i t h a quick ascent t o t h e first m a i n n o t e , e x a c t l y a s i n t h e b e g i n n i n g o f t h e R a m e a u Gavotte. H e r e , too, p r e l i m i n a r y notes 1 and 2 will b e omitted i nm a n y o fthe variations. T h e i n n e r voice rises, t o o , r e a c h i n g its C o n l y o n t h e t h i r d beat. I n 2 a n expressive octave skip frees t h e m e l o d y f r o m t h e c o n f i n e s o f t h e basic p o l y phony's vocal registers. T h e m e l o d y t h e n incorpor a t e s C f r o m t h e i n n e r v o i c e a n d El» f r o m t h e b a s s . T h i s t e l l s y o u t h a t t h e m e l o d y o f t h e first v a r i a t i o n is p o l y p h o n i c , f o r i t i n c l u d e s n o t o n l y n o t e s f r o m t h e t o p l i n e o f t h e basic p o l y p h o n y b u t also notes f r o m the o t h e r voices.
A t t h e b e g i n n i n g o f _3 t h e S U S i n t h e i n n e r v o i c e is a l o v e l y d e t a i l . T h e m e l o d y t a k e s a d v a n t a g e o f a n o t h e r f a m i l i a r d e v i c e , t h e filled-in 3 r d , t o elabórate t h e m a i n note F . I n 4 t h eC-triad is activated by skips i n t o p a n di n n e r voices. E a c h m e a s u r e o f the v a r i a t i o n isd i f f e r e n t , w i t h itso w n r h y t h m . W h i l e 5.-8 e s s e n t i a l l y r e p e a t 1_—4, t h e r e a r e a f e w differences. T h e m o s t i m p o r t a n t is t h e shift o f the F (3) t oa position a n octave higher (7), thereby changing t h eshape o fthe melody.
s k e t c h a l s o reveáis t h a t Al», t h e first n o t e o f t h e basic p o l y p h o n y ' s t o p line, h a s b e e n lost. ( I t will b e f o u n d i nt h e next variation.) B ya gradual b u i l d u p — t w o n o t e s s o u n d i n g t o g e t h e r i n J _ 7 , t h r e e i n 18, a n d f o u r i n 1 9 - 2 0 — t h e fullest sonority o f t h e piece thus f a r is achieved. Variation 4
Variation 2: voice leading 41
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V A R I A T I O N 2 T h e i n n e r voice o f t h e basic p o l y p h o n y is transposed u p a noctave. B u t there's m o r e t o t h em e l o d y t h a n a simple octave shift. E x a m i n e t h e i n n e r voice o fthis v a r i a t i o n . It's m o r e a r e i n f o r c e m e n t o f t h e bass t h a n a n i n d e p e n d e n t voice. T h e n w h e r e is t h e original t o pline? I n t h e melody, together w i t h t h enotes o ft h e original i n n e r voice a n octave higher. T h e polyphonic melo d y incorporates b o t h t o p a n dm i d d l e lines o f t h e basic p o l y p h o n y . T h e r e d u c t i o n above shows t h e original i n n e r voice i n w h o l e notes, t h e original m e l o d y i nblack noteheads. T h e polyphonic m e l ody o fVariation 2 includes both. T h e 4ths between t h e l i n e s a r e filled w i t h P s i n t h e m e l o d y . A o n e m e a s u r e figure h e l p s t o articúlate t h e m e l o d y o f t h i s v a r i a t i o n . T h e first f o u r m e a s u r e s a r e r e p e a t e d without change.
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V A R I A T I O N 4 A l lthree lines a r e elaborated. A s t h e c h a c o n n e bass m o v e s u p o u t o f t h e o r g a n ' s p e d a l o n t o a m a n u a l , t h e bass p a t t e r n itself is e l a b o r a t e d f o r t h e first t i m e . T h e first t h r e e n o t e s o f t h e b a s s a r e e m b e l l i s h e d w i t h filled 3 r d s ; t h e f o u r t h is u n a d o r n e d . A g a i n t h et o p line o f t h e basic p o l y p h o n y is h e a r d inside t h e m u s i c a l fabric. It's also v a r i e d b y I N s that follow each m a i n note. H e r e , t o o , t h e o r i g i n a l i n n e r voice is transposed u p a n octave a n d h e a r d i n t h e highest register. T h i s line is elaborated w i t h a chain o f S U S s , an e w e l e m e n t i n t h e piece. I n contrast t o t h e ( s o m e w h a t ) b r o k e n t e x t u r e o fV a r i a t i o n 3,t h e texture o f V a r i a t i o n 4 is c o n t i n u o u s , w i t h o u t a single rest.
10
VARIATION 3 There's a striking change i n t h e t e x t u r e ast h e m e l o d y m o v e s i n t o t h eu p p e r octave. W h i l e t h ei n n e r voice pauses, t h et o p voice begins w i t h a t h r e e - n o t e figure, C — F — G . T h e i n n e r v o i c e h a s a n a p p r o x i m a t e i m i t a t i o n i n J_8 a n d f u r t h e r i m i t a t i o n i s s u g g e s t e d i n J_9. I n t h e s k e t c h a b o v e , t h e o c t a v e s h i f t is s h o w n b y t h e c u r v e d a r r o w . T h e
93
VARIATION 5 T h e c h a c o n n e bass r e t u r n s t o the organ pedal a n d regains itsoriginal shape. Interest n o w centers o nt h emelody. I n continuous variations there is often a speeding u p o f t h e r h y t h m i c activity f r o m o n e variation t o t h e next. T h e melody, w h i c h h a dt w o t o f o u r notes t o a measure i n t h e preceding variations, n o whas six eighth notes t o a measure, a n d even t w o sixteenth notes i n 3 f ia n d 4 0 .I tranges across a w i d e span, c o m b i n i n g t h e registers o fall t h emelodies h e a r d i n t h e first f o u r v a r i a t i o n s a n d s t r e t c h i n g a f u l l t w o octaves. A l l t h e lines o f t h e basic p o l y p h o n y c o n tribute t othe polyphonic melody.
GROUND B A S S E v e r y piece b u i l t o n a g r o u n d bass isn't necessarily a c h a c o n n e o r passacaglia. Seventeenth-century Italian opera composers l e a r n e d h o w t o u s e a r e p e a t e d bass p a t t e r n t o organize a song o r aria. T h e English composer H e n r y Purcell applied this device i n h i svocal music, a fine e x a m p l e o f w h i c h i s t h e d u e t , | 2 3 [ , f r o m Come Ye Sons of Art, a c e l e b r a t o r y c a n t a t a . O u r discussion focuses o n w h a t t h e E n g l i s h called t h e ground bass. I t c o n s i s t s o f s i x t e e n n o t e s , q u i t e d i f f e r e n t f r o m Pachelbel's b a r e - b o n e s bass p a t t e r n . W e m a y suspect that some o f those notes a r e e l a b o r a t i v e , a n d , i n d e e d , t h ebass i t s e l f is a p o l y phonic melody. W e m a y hear:
Variation 6
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10
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V A R I A T I O N 6 A r h y t h m i c figure o f a n e i g h t h and t w o sixteenth notes drives t h e m e l o d y on. T h e inner-voice c o u n t e r p o i n t m o v e s i n steady e i g h t h notes. T h e c h a c o n n e bass h a s a single e l a b o r a t i o n , a n octave skip that helps m o v e t h eline f o r w a r d a n d m a r k s its m i d p o i n t . T h i s variation shows t h e m o s t r h y t h m i c i n d e p e n d e n c e o fvoices that we've seen thus f a r . Variation 7
VARIATION 7 T h e s e v e n t h v a r i a t i o n is t h e c u l mination o f t h e rhythmic crescendo a n d o f t h e C h a c o n n e ' s first s e c t i o n . T h e first f o u r n o t e s o f t h e basic p o l y p h o n y ' s t o p l i n e a r e c e n t r a l t o t h e sixteenth-note melody, b u tthey don't all appear i n t h e s a m e r e g i s t e r , a n e w t w i s t . T h e first t w o n o t e s , A\> a n d G , a r e h e a r d i n t h e l o w l e v e l . B u t i n 50 a n abrupt octave shift (seesketch above) brings t h e m e l o d y t o t h e upper level. T h ei n n e r voice resemb l e s i t s o r i g i n a l f o r m , b u t t h e S U S s first h e a r d i n Variation 4 a d d depth a n d color t ot h e polyphony. T h e second f o u r measures o f Variation 7 don't s i m p l y r e p e a t t h e first f o u r ; t h e y c o n t i n u é t h e action. T h e t o p l i n e o ft h e basic p o l y p h o n y starts in t h e i n n e r voice, a n octave below its original position (see a r r o w ) . T h e n t h eline shifts u p , n o t o n e b u t t w o octaves. F a n d E r e t u r n t ow h e r e they w e r e i n t h e first h a l f o f t h e v a r i a t i o n . T h e polyphonic m e l o d y pushes t o its goal, e m p h a s i z i n g t h e t o n i c n o t e as i tn e a r s t h ee n d . T h e last t w o m e l o d y n o t e s i n 5 6 o u t l i n e a t r i t o n e , clearly separadng t h e t w o strands o f t h e polyphony. W e require t w o notes t oresolve t h e tritone to a 6th. T h e r e t w o notes a r e heard simultaneously t o cióse t h e v a r i a t i o n a n d t h e e x c e r p t .
94
T h e t w onotes i n brackets a r e t h ecompletion o f the t o p line, w h i c h w o u l d be part o f t h e continuo realization. T h e piece is a n a c c o m p a n i e d duet, a t e x t u r e f o u n d i n m u c h vocal a n d instrumental music o f the B a r o q u e . ( A n i n s t r u m e n t a l e x a m p l e is t h e m o v e m e n t f r o m C o r e l l i ' s T r i o S o n a t a , [22].) T h e u p p e r voices, t w o altos, have equal i m p o r t a n c e ; t h e y cross m o r e t h a n o n c e . T h e bass, o n t h e o t h e r h a n d , supports t h e voices. W h i l e t h evocal parts are rhythmically varied, following a n d extending t h e n a t u r a l accent o f t h e w o r d s , t h e bass m o v e s i n continuous eighth notes. T h e d u e t is i n t w o sections, separated b y a d o u ble b a r . E a c h section is repeated. T h e divisison s u g g e s t s b i n a r y f o r m , a n d i n t h e s e c t i o n o f Gradus w h e r e w e discuss that subject we'll r e t u r n t o this piece. T h e v e r y first t i m e t h e g r o u n d b a s s a p p e a r s i t i s a s a n i n t r o d u c t i o n . T h e n w e find t h e t w o - m e a s u r e pattern repeated seven times before t h e double b a r . T h e v o i c e s e n t e r , a n d t h e g r o u n d continúes. Including t h e repeat (the introductory statement i s n ' t r e p e a t e d ) , t h e r e a r e fifteen s t a t e m e n t s o f t h e g r o u n d i n t h e first s e c t i o n o f t h e d u e t . I n t h e s e c o n d section t h e g r o u n d is transposed, first t o A , t h e n t o b , a f t e r w h i c h i t r e t u r n s t o D f o r t h e conclusión. S o m e i n t e r e s t i n g t h i n g s h a p p e n w h e n t h e g r o u n d is t r a n s p o s e d . O n t h e d o w n b e a t o f J_5 ( s e c o n d e n d i n g ) t h e b a s s lands o n a D that's l o w e r t h a n a n yh e a r d u p t o that p o i n t . T h i s is a s i g n a l t h a t t h e bass p a t t e r n w i l l s h i f t . T h r e e P s l e a d t o A , a n d t h e bass p a t t e r n starts o f f a g a i n i n t h a t k e y . T h i s t r a n s p o s i t i o n o f
the g r o u n d is h e a r d b u t twice. I n mid-l_9 t h e expected note, A ,iselaborated w i t h a PS. T h e n a short connection leads t h e line t oB a n d the key t o b. I n t h a t k e y (mid-_20) t h eg r o u n d begins a n e w a n d i s h e a r d t w i c e m o r e . I n m i d - 2 4 t h e bass r e a c h e s B a n d elaborates i tw i t h a skip o f a 3rd. T h e n aP , C|t, leads n e a t l y back t o t h e tonic. T h r e e m o r e statements o f the g r o u n d r e a f f i r m D a n d lead back to the reprise o f the second part, o rt othe end. I n all this P u r c e l l s h o w s a n a d m i r a b l e sense o f tonal direction, managing t h e motion from o n e key t o another effortlessly. A tt h e same time, h e j u g g l e s m e a s u r e s a n d h a l f m e a s u r e s s o as t o v a r y the r h y t h m . W e hear t h e starting note o f t h e g r o u n d as a d o w n b e a t , w h e t h e r it's w r i t t e n o n t h e first beat o f t h e measure o r t h e third. Purcell
moves t h e p a t t e r n a b o u t , s o t h a t i t starts o n t h e third beat several times. T w i c e t h e g r o u n d is stretched b yh a l f a measure, b r e a k i n g the regularity i m p o s e d b y t h e basic p a t t e r n . A n o t h e r aspect o f the d u e t is Purcell's avoidance of the m a i n pitfall o f continuous variations, t h e stop a t t h e e n d o f e a c h s t a t e m e n t o f t h e bass pattern. W h i l e t h eg r o u n d stops a n dbegins again (almost) r e g u l a r l y , t h e vocal parts o v e r l a p t h e t w o measure u n i t a n dm a i n t a i n a n o n g o i n g continuity in each s e c t i o n . I m i t a t i o n is u s e f u l i n t h i s , f o r it's a natural w a y t o overlap parts. Finally, o n e o f t h e joys o f t h e d u e t is Purcell's m a r v e l o u s w a y o f setting t h e E n g l i s h language. E F Worksheet 29
37 Continuous Variations 2 T h e s e c h o r d s a r e t h e basis o f t h e piece. T h e y m a y appear i n 3 p o s i t i o n as w e l l as 3. I n o t h e r w o r d s , there's n o " r i g h t " bass l i n e , as t h e r e w a s i n P a c h e l b e l . I n p a r e n t h e s e s y o u find a l t é r n a t e b a s s n o t e s used f r e q u e n t l y . N o t i c e a m o n g t h o s e t h e A t h a t precedes t h e last D . C a n i t b e t h e r o o t o f a t r i a d ? T h e I I i n m i n o r is a d i m i n i s h e d t r i a d , a n d H a n del's v o c a b u l a r y d i d n ' t i n c l u d e t h a t d i s s o n a n t c h o r d . T h e dissonance w o u l d be a tritone, A - E k We'll watch t oseeh o w t h e c o m p o s e r f o u n d ways t o u s e t h e A w h i l e a v o i d i n g t h e El> a b o v e i t . T h e a d v a n tage o f t h e A i s t h a t i t m a i n t a i n s t h e p r o g r e s s i o n o f 5ths i n t h e bass.
C o n t i n u o u s v a r i a t i o n s m a y b e b u i l t o n c h o r d patt e r n s as w e l l as bass patterns. T h e c h o r d c o n t e n t o f each v a r i a t i o n is t h esame, b u tt h e i n d i v i d u a l lines a r e c h a n g e d . T o c o m p a r e t h et w o types o f c o n t i n u o u s variations w en o w t u r n t oa w o r k based o n a c h o r d p a t t e r n , H a n d e l ' s Passecaille ( F r e n c h f o r Passacaglia), |34|. I tresembles Pachelbel's C h a conne i nitstechniques o felaboration; t h e differences b e g i n w i t h t h e basic m a t e r i a l o nw h i c h each is b u i l t . A g a i n there's n o " t h e m e . " A s t h e basic m a t e r i a l o f t h e piece H a n d e l uses o n e o f t h e e l e m e n t a l m o t i o n s o f t o n a l music, t h e circle o f 5ths. T h e versión t h a t s e r v e s a s t h e b a c k g r o u n d i s :
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V A R I A T I O N 1 T h e Passecaille begins w i t h t h e heroic " d o t t e d r h y t h m " i n v e n t e d by J e a n Baptiste Lully f o rt h ecourt o f L o u i s X I V ,a r h y t h m that echoes t h r o u g h B a r o q u e m u s i c . T h e t o p t w o voices m o v e i n r e s o n a n t 3 r d s a n d 6 t h s . T h e first n o t e o f the t o p l i n e is elaborated w i t h a D N , others w i t h Ns. T h e t h i c k five-part t e x t u r e creates a g r a n d sound. I nt h e last m e a s u r e t h e bass reaches d o w n an octave t oh e l p p u s h V t o I .
n (n?)vS i 5
95
V A R I A T I O N 2 A s i m p l i f i e d versión o f V a r i a d o n 1. T h e d o t t e d r h y t h m m o v e s t w i c e a s s l o w l y as i t did, a n d e l a b o r a t i o n is m i n i m a l . T h e bass, d o u b l e d i n o c t a v e s , a l t e r n a t e l y filis t h e 5 t h s w i t h P s a n d elaborates m a i n notes w i t h PSs. T h e octave d o u b l i n g is f o r t h e s a k e o f s o n o r i t y , a p r o c e d u r e t y p i c a l of instrumental writing i ntonal music. VARIATION 3 T h e r i g h t h a n d expresses t h e basic c h o r d s i n t h e f o r m o f a p o l y p h o n i c m e l o d y . I n e a c h m e a s u r e t h e first c h o r d i s o u t l i n e d , w h i l e t h e i n t e r v a l s i n t h e s e c o n d a r e filled w i t h P s . T h e left h a n d , t o o , i s p o l y p h o n i c . I t plays t h e bass a n d tenor parts alternately. A n o t h e r technique o f varia d o n f o u n d h e r e i s inversión: t h e d e s c e n d i n g 5 t h s o f V a r i a t i o n 2 b e c o m e t h eascending 4ths o f V a r i ation 3. VARIATION 4 C o m p a r e this w i t h t h e previous variation. Y o u see that t h e l o w e r part o f V a r i a t i o n 3 has become t h eupper part o fVariation 4, a n d v i c e v e r s a . T h i s t e c h n i q u e i s k n o w n a s invertible counterpoint, s i n c e t h e p o s i t i o n s o f t h e v o i c e s a n d also t h eintervals b e t w e e n t h e m a r e i n v e r t e d . W h e n t w o v o i c e s a r e i n v o l v e d , a s h e r e , w e s p e a k oí double counterpoint: i n v e r t i b l e c o u n t e r p o i n t f o r t w o v o i c e s . H a n d e l uses this t e c h n i q u e t om a k e t w o variations out o f one. O n e result o ft h e double counterpoint is t h a t t h e b a s i c c h o r d s a r e n o w h e a r d i n f p o s i t i o n . VARIATION 5 T h e eighth-note m e l o d y used i n the t w oprevious variations returns t o its original p o s i t i o n i n V a r i a t i o n 5 . T h e bass, also i n e i g h t h notes, is n e w .T h em a i n notes a r e h e a r d i n t w o octaves, t h eu p p e r o n e embellished w i t h a filled 3rd. T h e connection b e t w e e n t h e f o u r t h note o f o n e g r o u p a n d t h e first n o t e o f t h e n e x t i s d e l i b e r ately abrupt, w i t h m a n y 7ths a n d 9ths. A l l this m a k e s a s t r i k i n g bass line. W h e n a s m o o t h connection is h e a r d i n 1 9 - 2 0 w esuspect that t h e variat i o n is n e a r i n g i t s e n d . I n 1 9A is i n t h e bass, w i t h n o El? a b o v e i t . A GROUP V a r i a t i o n s 3, 4 , a n d 5 a r ea g r o u p . T h e u s e o ft h e s a m e m e l o d y i n each is a s t r o n g u n i f y i n g element. G r o u p i n g is standard variation practice, a n d H a n d e l will g r o u p o t h e r variations as t h e Passecaille proceeds. VARIATION 6 T r i p l e t s a r e i n t r o d u c e d , as t h e process o fspeeding u p begins. H e r e some o f t h e bass line's n o t e s a r e i nt h e u p p e r octave, s o m e i n the lower. T h e m i x o fascending 4ths a n d descendi n g 5 t h s is n e w , b u t t h e pitches a r e n o t . T h e t r i p l e t m e l o d y begins i n t h e s a m e register as i n V a r i a t i o n 5, t h e n d e s c e n d s t o e m b r a c e a r a n g e o f t w o a n d a
96
h a l f octaves. T h e v a r i a t i o n e n d s w i t h a v e r y l o w s o u n d as t h e m e l o d y r e a c h e s d o w n b e l o w m i d d l e C. O n c e a g a i n , t h e A i n t h e bass keeps t h e 5 t h motion going. VARIATION 7 A sbefore, t h eprincipie o f d o u ble c o u n t e r p o i n t enables H a n d e l t om a k e t w o variations o u to fone. B u t h e doesn't d o things t h e same w a y twice. T h e right h a n d o fVariation 7has t h e s a m e c h o r d c o n t e n t as t h e left h a n d o f V a r i a tion 6,b u t t h e exact d i s t r i b u t i o n o f notes is different. T h e m e l o d y o fV a r i a t i o n 6 is t a k e n o v e r b y t h e b a s s o f V a r i a t i o n 7 a n d i n t h e first t w o m e a sures there's o n l y o n e d i f f e r e n c e — b u t w h a t a diff e r e n c e ! T h e s t e p D—El? ( f i f t h a n d s i x t h n o t e s o f V a r i a t i o n 6 )is inverted, b e c o m i n g a 7 t h i n V a r i a t i o n 7 . T h e skip is q u i t e s t r i k i n g . T h e second h a l f of Variation 7 does not correspond t ot h e previous variation. D o u b l e c o u n t e r p o i n t p r o v i d e d t h e starting point, b u t i t isn't followed t o t h e e n d . W h i l e the triplets persist, t h e h a r m o n y m o v e s q u i c k l y t h r o u g h V * - I i n 2 7 ,then t o a strong cadenee i n 28. a u t h e n t i c b u tn o t perfect. T h i s t w o f o l d p u n c tuation ends thegroup o ftwo variations. VARIATION 8 T h ep o w e r f u l dotted r h y t h mo f the o p e n i n g r e t u r n s i n t h e m e l o d y , w h i c h takes notes f r o m a l lvoices o f t h e h a r m o n y a n d strings t h e m o u t i n t o a scale. T h i s i n t r o d u c e s t h e u s e o f t h e scale as t h e e l a b o r a t i o n o f o n e n o t e , w h i c h w i l l be c o n t i n u e d i nt h e n e x t t w ovariations. T h e left h a n d presents t h e basic c h o r d s as a l t e r n a t i o n s o f | and f positions. VARIATION 9 T h i s v a r i a t i o n is a n intensificad o n o f t h e p r e v i o u s o n e . T h e d e s c e n d i n g scales m o v e t w i c e as q u i c k l y as i n V a r i a t i o n 8 , a n d sixteenth notes predominate. V A R I A T I O N 10 I n a f r e e inversión o f V a r i a t i o n 9, n o t o n l y a r e t h e r e l a t i v e p o s i t i o n s o f t h e p a r t s r e v e r s e d , b u t t h e scale is i n v e r t e d t o o ; w h a t w e n t d o w n n o w g o e s u p . T h e s i x t e e n t h s elabórate t h e b a s s o f t h e c h o r d s . T h e s t r o n g d o u b l e c a d e n e e first heard i nV a r i a t i o n 8 again provides t h e punctuation for a pair o fvariations. V A R I A T I O N 11 I n t h i s i s o l a t e d v a r i a t i o n , t h e right h a n d plays t h e k i n d o fp o l y p h o n i c m e l o d y associated w i t h b o t h t h e o r g a n a n d violin, t w o instruments that H a n d e l himself played. T h e upper line o ft h e melody moves, B l ? - A - G - F j t - G , i n a stately f a s h i o n . T h e i n n e r l i n e is a d e s c e n d i n g scale a n d t h ebass a c c o m p a n i e s w i t h r o o t - p o s i t i o n t r i a d s . Observe h o w , i n 4 4 , t h e polyphonic melody expresses a S U S a n d itsresolution.
V A R I A T I O N S 12 and 13 T h e s e t w o v a r i a t i o n s , i n d e p a r t i n g f r o m t h e basic c h o r d p a t t e r n , s e r v e as a n i n t e r l u d e w i t h i n t h e e n t i r e s e t . T h e c o n t r a s t is u n e x p e c t e d . W e m a y h a z a r d a guess about these two variations: H a n d e l was a great improvisor,a n d variations have l o n g been associated w i t h i m p r o v i s a d o n . Possibly h e i m p r o v i s e d t h i s Passecaille b e f o r e he w r o t e i t d o w n . V a r i a t i o n s 12 a n d 13 m a y repr e s e n t a flight o f f a n c y t h a t t h e c o m p o s e r w a s n ' t willing t o give u p ,even i fthey didn't correspond to t h eaccepted n o t i o n o f v a r i a t i o n f o r m . V A R I A T I O N S 14, 15, A N D 16 A f t e r t h e d i g r e s s i o n , these v a r i a t i o n s r e t u r n t o t h e basic c h o r d content t o f o r m a brilliant closing group. O n e figure, consisting o f f o u r sixteenth notes i n a n arpeggio, unifies t h ethree. Insistent repetition o f t h e figure b u i l d s a p o w e r f u l m o m e n t u m t o w a r d t h e final g o a l . T h e figure i s h e a r d i n t h e l o w e r p a r t in Variation 14, i nt h e upper part i nVariation 15, a n d i n b o t h i n V a r i a t i o n 16. W i t h this simple
d e v i c e H a n d e l b u i l d s a s t r o n g conclusión t o t h e entire Passecaille. COMPARISON A b r i e f c o m p a r i s o n o f P a c h e l bel's C h a c o n n e a n d H a n d e l ' s P a s s e c a i l l e w i l l r e v e a l their similarities a n d differences. T h e Chaconne a d h e r e s t o a fixed b a s s l i n e ; H a n d e l h a s n o s p e c i f i c bass i n m i n d . T h e c h o r d s o f t h e C h a c o n n e f l o w f r o m t h e c o u n t e r p o i n t b e t w e e n bass a n d u p p e r voices a n d a r e n ' t a l w a y s t h e s a m e ; t h e c h o r d s o f t h e P a s s e c a i l l e a r e fixed. B o t h p i e c e s u s e t h e s a m e t e c h n i q u e s o f e l a b o r a t i o n , first s e e n i n S i m p s o n : P , N , 3 r d s b o t h filled a n d a s s k i p s , a n d o c t a v e s h i f t s . H a n d e l a l s o u s e s a s c a l e t o elabórate a s i n g l e n o t e . I n b o t h t h e r e is s p e e d u p i n r h y t h m : t h e n o t e valúes g e t s m a l l e r , t h o u g h t h e t e m p o r e m a i n s unchanged. B o t h u s e i m a g i n a t i v e register shifts and p o l y p h o n i c m e l o d y t o v a r y t h e basic p a t t e r n and t ob r i n g i tt o musical life. CF Worksheet 30
38 Extensions of Chords in Musical Time and Space H a v i n g examined ways i nw h i c h melodies m a y be e l a b o r a t e d i n m u s i c a l space, y o u will n o w study h o w t o elabórate c h o r d s . W h i l e t h e r e i s s o m e s i m ple c h o r d elaboradon i n Renaissance music, i t wasn't until t h eseventeenth century, w h e n keyboard a n d string i n s t r u m e n t s became t h e focus o f musical thought, that composers began t o project chords beyond t h eS A T B limits. T h r e e principal ways o f doing that emerged: arpeggiation, s o u n d i n g t h e notes o f a chord o n e after the other rather than simultaneously; m o t i o n w i t h i n a c h o r d , elaborating t h e individual notes o f a c h o r d w i t h p a s s i n g a n d n e i g h b o r motíon; p e d a l p o i n t , s u s t a i n i n g t h e r o o t o f a c h o r d i n t h e bass w h i l e subordínate c h o r d s m o v e a b o v e i t . ARPEGGIATION W h e n t h e notes o f a c h o r d a r e s o u n d e d i n s u c c e s s i o n , i t i s c a l l e d arpeggiation.
( T h e t e r m c o m e s f r o m t h e I t a l i a n arpeggiare, t o play t h e h a r p . ) Y o u h a v e j u s t h e a r d e x a m p l e s o f arpeggiation i n t h e last t h r e e v a r i a t i o n s o f t h e H a n d e l Passecaille. T h e r e t h e c h o r d s a r e activated at t h e k e y b o a r d t h r o u g h r a p i d s i x t e e n t h - n o t e motion. E v e r y n o t e h e a r d is a m e m b e r o fa c h o r d . T h a t music doesn't reach b e y o n d t h e S A T B registers. T h e n e x t e x a m p l e d o e s . Toccata in e, X
P A C H E L B E L
H e r e y o uhave t h e o p e n i n g o f a brilliant o r g a n w o r k , [2"T]. T h e i n i t i a l g e s t u r e o f t h e p i e c e i s b a s e d entirely o na n arpeggiation o f the tonic triad. T h e music reaches b e y o n d t h e S A T B f o r m a t i n a w a y that's characteristic o fk e y b o a r d music. O n e reason that this measure sounds like t h e beginning o f a piece is that i t o p e n s u p a l l t h e available registers of the instrument. I f a single c h o r d m a ybe extended i n musical space t h r o u g h arpeggiation, so m a y a c h o r d p r o gression. I n o n e o fScarlatti's r e m a r k a b l y inventive h a r p s i c h o r d sonatas, I - I V - V - I is s p r e a d f r o m the top t othe bottom o fthe instrument.
T h e D - t r i a d is arpeggiated i nt w o ways. O na s m a l l scale, a r p e g g i a t i o n s s p a n a n o c t a v e a n d t a k e o n e h a l f o f a m e a s u r e . A t h r e e - n o t e figure, b u i l t o n a N , plays a role i n this arpeggiation. B u t there's a l a r g e r c o n n e c t i o n t o o . Y o u find a l o n g - r a n g e c o n nection, s h o w n with arrows i n theexcerpt, between the highest notes o f each half-measure unit. T o g e t h e r they a d du p t o :
S o n a t a i n E , 1 — 10
This type o flong-range arpeggiation will be f o u n d i n Classic a n d R o m a n t i c pieces, as w e l l as B a r o q u e .
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M O T I O N W I T H I N A C H O R D A n o t h e r type o f c h o r d extensión m a y o p é r a t e w i t h i n a s i n g l e r e g i s ter. Voices that c o m p r i s e t h e c h o r d a r e elaborated with passing a n d neighbor m o t i o n , o r they exchange notes, o r simply m o v e t oother chord members. I n a n y case, t h e r e is s o m e o f t h e effect o f c h o r d change without a n y actual change o fchords, a n d the music moves ahead. A l m o s t a n y t o n a l piece will include s o m e m o t i o n w i t h i n a c h o r d , f o r that's t h e "small change" o f tonal m u s i c . T h e r e a r e several typical uses o f t h e p r o c e d u r e i n t h e S a r a b a n d e b y M a t t h e s o n , |27|.
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I a n d I Va r e arpeggiated. T h enotes o f V a r e elaborated with Ps.T h u s t h etechnique o f arpeggiation is c o m b i n e d w i t h a n o t h e r t y p e o f elaboration. T h e next example shows arpeggiation i n t w o dimensions. A r o m a n - n u m b e r description o f t h e t w o sounds w o u l d say that they a r e b o t h I .Y e t there's a differe n c e b e t w e e n t h e m . T h e o c t a v e s k i p i n t h e bass is a m u s i c a l event, i m p o r t a n t e n o u g h t o g e t t h e piece started. T h elistener hears that s o m e t h i n g h a p p e n s f r o m t h e first t o t h e s e c o n d b e a t ; w h a t h a p p e n s i s a change o fregister within a chord. A skip i n t h e m e l o d y starts t h e second section o f the s a m e piece:
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T h i s is a s k i p b e t w e e n m e m b e r s o f a single chord. A g a i n , there's n o c h o r d c h a n g e , b u t m o t i o n within the c h o r d carries the musical action I f a s k i p b e t w e e n c h o r d m e m b e r s i s filled w i t h a P, y o u h a v e t h e m e l o d y i n 14:
I n a m o r e c o m p l e x piece, m o t i o n w i t h i n a chord m a y c o m b i n e w i t h a r p e g g i a t i o n . O n l y o n e measure o f B a c h i s n e e d e d t o s h o w a g o o d d e a l o f such activity. Allemande from French Suite N o . 3
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T h e first f u l l m e a s u r e has f o u r s i x t e e n t h notes on e v e r y beat. W h a t u n i f i e s a l l this m o t i o n ? Every note plays a part i n expressing a b-triad. The
a r p e g g i a t e d t r i a d is r e p r e s e n t e d b y t h e w h o l e n o t e s that follow t h emeasure o fmusic. A l l notes that aren't chord m e m b e r s are P o r N , m o v i n g within the triad. Each o f the melodies implies m o r e than one line; each is p o l y p h o n i c . Indeed, B a c h used a l l t h e resources o f elaborated counterpoint that were available to h i m . PEDAL POINT " P o i n t " m e a n s note, as i n c o u n terpoint, a n d the pedal o f the o r g a n can sustain a bass n o t e f o r a c o n s i d e r a b l e t i m e . P u t t i n g t h e t w o w o r d s t o g e t h e r y o u h a v e t h e t e r m pedal point, m e a n i n g a sustained note i n t h e lowest voice, whether played o nthe organ pedal o rnot. I t m a y also r e f e r t o all t h em u s i c that is h e a r d o v e r t h e pedal. T h e T o c c a t a b y P a c h e l b e l , [21], a l s o s e e b e l o w , f e a t u r e s t h r e e p e d a l p o i n t s . T h e first f o l l o w s t h e a r p e g g i a t i o n t h a t o p e n s the piece, r u n n i n g f r o m 2 into 7 .T h e r e are three parts t othis pedal, following each other w i t h o u t a break. Observe that the t e r m " p e d a l " r e f e r s b o t h t o t h e bass n o t e a n d t o a l l the notes above it. A short stabilizing m o t i o n answers the opening flourish, o c c u p y i n g t h e first t h r e e b e a t s o f 2. T w o i n n e r voices m o v e i n parallel 3rds w i t h i n the triad. I n c o n t r a r y m o t i o n , t h e t o p l i n e i s first e m b e l l i s h e d w i t h a N , after w h i c h t h e space b e t w e e n 8 a n d 5 is filled w i t h P s .
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first b e a t o f 7_ a p o w e r f u l A # p u t s t h e b a s s E i n t o a d i s s o n a n t p o s i t i o n , a n d finally i t h a s t o m o v e . T h e s e c o n d p e d a l filis m i d - 2 0 - 2 2 ( s e e b e l o w ) . I t e m p h a s i z e t h e d o m i n a n t t h a t w i l l l e a d t o t h e final tonic. T h i s is a f a v o r i t e l o c a t i o n f o rpedal points, for it's a n e f f e c t i v e w a y o f g i v i n g w e i g h t t o t h e final cadenee. I n t h econcluding tonic pedal point Pachelbel t a k e s t h e figure j u s t h e a r d w i t h i n d o m i n a n t h a r m o n y a n dw o r k s i tinto tonic h a r m o n y . T h e c o m poser controls t h e musical energy purposefully, r e l a x i n g t h e tensión t o p r e p a r e t h e e n d . T h e m a j o r t r i a d , w i t h its P i c a r d y 3 r d , b r i n g s a sense o f finality to the Toccata's e n d i n g . Each pedal point played a n important role i n s h a p i n g t h e p i e c e . T h e first s t a t e d t h e k e y a n d gave i t t i m e t o establish itself i n t h elistener's ear. T h e s e c o n d p r e p a r e d t h e final t o n i c a n d w a s i n fact t h e cadential d o m i n a n t . T h e t h i r d e x t e n d e d tonic h a r m o n y a n d gave i t emphasis t o conclude t h e e n t i r e piece. T h i s s h o w s y o u h o w i m p o r t a n t pedal points c a n be i narticulating t h e f o r m o fa composition.
T h e second part o ft h e pedal begins w i t h t h e u p b e a t t o 3. H e r e t h e t e x t u r e c h a n g e s c o m p l e t e l y except for t h epedal note. T h e alto has a writtenout trill that embellishes 1 . S u r r o u n d i n g this, soprano a n d tenor m o v e i n parallel lOths, animati n g t h e t r i a d w i t h D N s a n d a p a r t l y filled 5 t h . DN
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39 Some Free-Form Pieces INTRODUCTION S o m e v e r y imaginative pieces a r e n o t b a s e d o n a n y fixed p a t t e r n s o r e v e n f o r m s . M a n y o f these g r e w out o f improvisadon, retaining some o f t h e freshness a n d spontaneity o f their o r i g i n a l i n s p i r a t i o n . I n s u c h pieces y o u m a y find irregular phrases, uneven rhythms, varied textures, a n d unpredictable h a r m o n i c structure; tonal unity m a y n o tb e emphasized. A n element o f e x p l o r a t i o n m a y b e a strong factor i nthe general character o ft h e piece. W e will consider t w o types o f i n s t r u m e n t a l piece t h a t m a y b e called "freef o r m , " t h e p r e l u d e a n d t h e toccata. W e w i l l also e x a m i n e t h e recitative, a type o faccompanied vocal music.
texture, w em u s t look t o t h e p o l y p h o n y a n d t h e tonal m o v e m e n t f o r the musical interest. T h e first f o u r m e a s u r e s a r e g r o u p e d o v e r a pedal point. It's difficult t o describe a pedal p o i n t w i t h r o m á n n u m b e r s ; figured b a s s s h o w s t h e c h o r d content a n d voice leading clearly. -Ti
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PRELUDE T h e t e r m suggests something t o b e p l a y e d b e f o r e s o m e o t h e r m u s i c , o r t h e first o f a set o f pieces. T h i s is u s u a l l y w h a t i t m e a n s i n B a r o q u e m u s i c . L a t e r , n o t a b l y i n the piano w o r k s o f C h o p i n , Debussy, a n dRachmaninoff, the independent prelude became the n o r m . A B a r o q u e p r e l u d e is a s h o r t piece based o n a s i n g l e i d e a . O f t e n y o u find a figure, j u s t a f e w notes w i t h a character o f their own, from which m u c h o reven all o f the melodic material derives. T h e figure m a y b e v a r i e d d u r i n g t h e c o u r s e o f t h e p r e l u d e , o r i tm a y b erepeated with n ochange. I n a n y case, t h e m u s i c a l i n t e r e s t o f t h e piece d e p e n d s to a great e x t e n t o n t h e h a r m o n y , registral m o d o n s , a n d changing textures, rather than the melody. A f a v o r i t e t e x t u r e i nB a r o q u e preludes is c r e ated b y arpeggiation. O r i g i n a t i n g o n the lute a n d guitar, i t soon f o u n d its w a y t o the harpsichord, a n d later t o t h ep i a n o . A s i m p l e example, |26A|, is by a composer f r o m w h o m Bach learned af e w t h i n g s , a Germán w i t h t h e m e l l i f l u o u s ñame o f J o h a n n Raspar F e r d i n a n d Fischer. E v e n w i t h o u t t h e title o f t h e piece, the arpeggiat i o n isq u i t e a p p a r e n t b e h i n d the S A T B lines. T h i s is f o u r - p a r t w r i t i n g w i t h a k e y b o a r d t e x t u r e . A figure o f f o u r s i x t e e n t h n o t e s u n i f i e s t h e d e s i g n . A l l t h e v o i c e s s h a r e i n s t a t i n g t h a t figure, w h i c h i s h e a r d o n e v e r y beat u n t i l t h e v e r y end. Since t h e r e are n o changes i n t h epattern, t h e melody, o r t h e
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The tonal m o v e m e n t isquite simple. After t h e t o n i c i s s t a b i l i z e d {1-5) t h e r e ' s a m o t i o n t o w a r d I V ( 6 - 7 ) a n d a return t o I .T h a t emphasis o n t h e subdominant is balanced b y a n emphasis o n t h e d o m i n a n t that includes Fjt, the leading note o f the d o m i n a n t , i n 14. T h e d o m i n a n t is i n c o n t r o l f r o m 1 3 t h r o u g h 18. W h e n y o u h e a r t h e c o n c l u d i n g tonic y o u r e a l i z e t h a t t h e bass h a s n ' t s o u n d e d a C since t h e o p e n i n g p e d a l p o i n t . T h a t ' s o n e r e a s o n that this s i m p l e piece succeeds i n h o l d i n g t h elistener's interest. Simple t h o u g h t h er h y t h m o fthis prelude m a y be, a n i n t e r e s t i n g p o i n t m a y b e o b s e r v e d : o n w h a t level does t h e play o f dissonance a n d consonance take place? C e r t a i n l y n o t w i t h i n a n y m e a s u r e , f o r there are n ochanges t ob e f o u n d there. Pitch does change f r o m o n e measure t o another, however. T h e significant r h y t h m level i nt h e p o l y p h o n y is t h e d o t t e d h a l f n o t e , t h e r h y t h m i c valué o f t h e f u l l measure. Y o u have already observed strong a n d weak measures, explained o n page 2 5 . I n this prelude strong a n d weak measures altérnate throughout. K n o w i n g this, y o uc a n understand how dissonance a n d consonance interact i n t h e piece. T h e r e a r e t h r e e S U S s , i n 7 , 9 , a n d JJ.. T h o s e are strong-beat m e a s u r e s . E a c h S U S is p r e p a r e d i n the previous weak-beat measure a n d resolved i n the following weak-beat measure. T h i s corresponds exactly t o the n o r m a t i v e S U S procedure. T h e r e a r e also t w o 4 t h s h e a r d against bass notes; e a c h o n e i s d i f f e r e n t . I n J_3 t h e b a s s G filis t h e 3 r d
b e t w e e n A a n d Fjt, b o t h consonant. T h a t G is a n P, i n a strong-beat m e a s u r e . I n t h e d o m i n a n t pedal, 1 5 - 1 8 , t h er e l a t i o n o ft h e o u t e r voices is 3 r d - 4 t h 4 t h - 3 r d . T h i s ist h e ancient c o n s o n a n t 4 t h , b r o u g h t back t olife once again.
A f i n 5 a n d Ejj i n 6 lead t o a p e d a l p o i n t o n Fjt, s t a r t i n g i n m i d - 6 . T h i s is t h e d o m i n a n t o f t h e d o m i n a n t , a n u n u s u a l choice f o r a pedal note. H o w t o g e t b a c k t o t h e t o n i c ? I n 8, A l ] i s r e s t o r e d , a n d t h e bass m o v e s g r a d u a l l y f r o m Fjt t o B . T h i s t i m e there's n o d o m i n a n t pedal. T o prepare t h e final c a d e n e e , a l a r g e c h r o m a t i c N i n t h e b a s s , A j t , e m b e l l i s h e s B t o créate tensión. O v e r A j t y o u h e a r a n interesting chord, VII > o fV . I t intensifies t h e d o m i n a n t a n d l e a d s t o t h e conclusión o f t h e e n t i r e p i e c e . T h e final E i n t h e b a s s , a d o u b l i n g , i s t h e lowest note o f the prelude.
A DIFFERENT PRELUDE A l t h o u g h arpeggiat i o n is a f a v o r i t e t e x t u r e i n B a r o q u e preludes, o t h e r s a r e f r e q u e n t l y u s e d as well. O n e o f t - h e a r d t e x t u r e is m a d e o f stepwise m e l o d i e s w o v e n together o v e r a s l o w e r - m o v i n g bass. T h em e l o d y is o f t e n given rhythmic coherence through t h e use o f a figure. A n o t h e r p r e l u d e b y Fischer, |26B|, illust r a t e s t h i s a p p r o a c h (see b e l o w ) . T h e f i g u r e consists o ff o u r notes, t h r e e upbeats and a downbeat, a standard pattern i n Baroque music. T h e upbeats a r esixteenth notes; the d o w n beat m a y be longer. W h i l e the r h y t h m o f the figure i s fixed, i t s p i t c h - s h a p e varíes. H e r e a r e f o u r v e r sions o f the figure:
7 |
A FRENCH PRELUDE W em o v e into a differe n t w o r l d o f m u s i c t o s t u d y [24], o n e o f t h e p r e ludes that Francois Couperin w r o t e as a d e m o n s t r a t i o n piece i n h i s b o o k o n playing t h e h a r p s i c h o r d . I n g , i t ' s m i s s i n g o n e flat i n t h e k e y s i g n a t u r e . T h e c o n v e n d o n o f l e a v i n g o u t o n e flat i n m i n o r flat k e y s , i n m e m o r y o f t h e D o r i a n m o d e , lasted well i n t o the eighteenth century. T h e r e ' s a s t e a d y flow o f e i g h t h n o t e s f r o m b e g i n n i n g t o e n d . T h a t m o t i o n is d i s t r i b u t e d a m o n g all t h e voices, t h e bass h a v i n g t h e least activity. T h e t e x t u r e is b r o k e n . T h e n u m b e r o f voices h e a r d varies f r o m t w o t of o u r , a n d the r h y t h m i c regularity o f t h e F i s c h e r p r e l u d e s is absent. O n e figure p l a y s a n i m p o r t a n t r o l e i n t h e p r e l u d e ; C o u p e r i n h a n d l e s i t flexibly. H e r e a r e s o m e o f t h e f o r m s that i t takes:
figure figure inverted inverted
4 A t t h e b e g i n n i n g t h e figure i s p r e s e n t e d a n d i m m e d i a t e l y repeated a 3 r d lower. T h i s creates a c h a i n o f e i g h t n o t e s w i t h a n i d e n d t y o f its o w n f o r a b i t m o r e t h a n t w o measures. T h eeight notes cover t h e s o p r a n o a n d alto registers. T h e tenor imitates. A l l t h e registers o f t h e piece have been opened u p over the tonic pedal. N e x t , w e s e e t h e inversión o f t h e figure. T h i s i s a way o fgetdng m o r e mileage out o fthe musical material, a n dFischer does i twell i n 2 . T h e entire e i g h t - n o t e c h a i n isi n v e r t e d a n d t h e n i m i t a t e d . T h e figure i s t r e a t e d f r e e l y i n _3, t h e c h a i n m a k i n g i t s final a p p e a r a n c e s first i n t h e i n v e r t e d f o r m , t h e n in the original. I n 5 t h e f o u r - n o t e figure s o u n d s i n a l l v o i c e s , i n cióse i m i t a t i o n . B o t h _5 a n d 6 a r e c l e a r e x a m p l e s of broken texture. T h i s illustration shows other v e r s i o n s o f t h e figure t h a t a r e h e a r d i n _5 a n d 6 . T h e t o n a l m o v e m e n t is q u i t e clear. A s i n t h e p r e v i o u s prelude, a tonic pedal provides the stability n e e d e d f o rt h e o p e n i n g . B u t w i t h a n entirely different texture, this pedal sounds quite different f r o m that o f the Prelude i n C.
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T h e figure b e g i n s w i t h a n u p b e a t , w h i c h t h e c o m poser puts t o g o o d u s e t h r o u g h o u t t h e piece. S o m e t i m e s t h e i n i t i a l n o t e is p r e c e d e d b y a rest, as
i n 1.. A t o t h e r t i m e s t h e h g u r e s i m p l y b e g i n s a f t e r a s t r o n g beat. H e r e a r e s o m e o f t h e ways i n w h i c h it is u s e d . I n _1 t h e s i x - n o t e figure i s s t a t e d i n t h e t o p v o i c e and i m m e d i a t e l y repeated a n dvaried in the inner v o i c e . I n 3 t h e figure i s first s h o r t e n e d ( i n t h e u p p e r voice), t h e n lengthened (in the lower voice). I n 7 a s h o r t e n e d versión o f t h e figure, i n t h e u p p e r p a r t , i s c o m b i n e d w i t h a l e n g t h e n e d versión b e l o w . T h e m e t e r y o u actually h e a r i n 7 isn't 4 b u t ¡, f o l l o w i n g t h e g r o u p i n g s h o w n i n t h e s k e t c h ; t h i s i s a h e m i o l a . T h e s t a t e m e n t o f t h e figure a t t h e b e g i n n i n g o f 8 i s v e r y cióse t o t h e o r i g i n a l versión, but f r o m that point o n y o u hear mostly the fournote f o r m o f the figure, three upbeats and a d o w n beat. I t a p p e a r s i n i m i t a t i o n i n J O a n d is u s e d freely thereafter. T h e phrases o f t h e piece a r e n ' t at all regular, w h i c h is o n e reason that t h e y a r e so interesting. W e take a brief look at t h e phrase layout o f t h e piece, t o g e t h e r w i t h the t o n a l m o v e m e n t . T h e first p h r a s e e x t e n d s t o t h e d o w n b e a t o f 3, i t s g o a l V*. T h e o p e n i n g G i n t h e bass i s a s h o r t pedal p o i n t that serves t o stabilize t h etonic. T h e l o w G is h e a r d again o n l y a t t h e v e r y end. T h e second p h r a s e starts i m m e d i a t e l y after t h e d o w n b e a t o f 3 ( t h e u p b e a t figure s e r v e s t h e p u r p o s e a d m i r a b l y h e r e ) a n d continúes t o t h e d o w n beat o f 6. T h e tonal center m o v e s t oIII, confirmed by a n imperfect authentic cadenee. N o s o o n e r i s Bt> h e a r d a s t o n i c t h a n t h e m u s i c moves o n . T h e third phrase heads for V , a n d d s o u n d s as t o n i c i n 9 . T h e p h r a s e ends w i t h a s e m i c a d e n c e o n t h e first b e a t o f 1 0 . F r o m m i d - 1 0 t h e m u s i c is i n g again, b u t w i t h l i t t l e e m p h a s i s o n t h e t o n i c . T h e fifth p h r a s e e n d s with a deceptive cadenee i n mid-J3. It'si nt h e n a t u r e o f deceptive cadenees that they may almost pass u n n o t i c e d , a n d this o n e attracts little a t t e n tion. T h e deceptive cadenee does provide a j u m p i n g o f f p o i n t f o r t h e c l i m a x o f t h e p i e c e . T h e l o n g final phrase extends f r o m mid-13 t o the end o f t h e p r e l u d e . J 3 is t h e h i g h p o i n t o f t h e piece. T h e m e l o d y reaches its highest n o t e , G .A long, elegant descent t h r o u g h a n octave follows. Reaching t h e l o w e r G i n J 7 , t h e m e l o d y d o e s n ' t yet come t oa n e n d b e c a u s e t h e r e ' s n o G i n t h e bass t o m e e t i t . O n l y i n t h e l a s t m e a s u r e d o e s t h e bass a r r i v e a t G t o c o m p l e t e t h e t o n a l m o v e m e n t . I n t h e final m e a s u r e , a l l t h e tensión i s r e l e a s e d . T h e s u s p e n d e d C i n t h e a l t o , i m p l i e d d u r i n g t h erest, resolves t o t h e m a j o r (Picardy) 3 r d a n d t h e bass returns t o t h e same l o w G that began the piece. W r i t t e n as a practice piece, Couperin's
prelude
is a c o n c i s e e x a m p l e o f m a n y o f t h e b e s t f e a t u r e s of the French Baroque: graeeful melody, artful u s e o f d i s s o n a n c e , b r o k e n t e x t u r e partícularly s u i t e d to t h e h a r p s i c h o r d , a n d a full s o n o r i t y w i t h relatively f e w notes. BACH'S FIRST PRELUDE T h e famous prelude t h a t o p e n s The Well-Tempered Clavier, [ 3 3 ] ( c l a v i e r means a keyboard i n s t r u m e n t ) shows that Bach's idea o f a p r e l u d e was t h e s a m e as his c o n t e m p o r a r ies', a l t h o u g h t h i s p i e c e i s l o n g e r t h a n t h e o t h e r s we've studied a n d m o r e developed i n some ways. A s i n g l e figure a h a l f m e a s u r e l o n g d o m i n a t e s the prelude. Since it doesn't change, w e look t o the polyphony a n d t h e registral m o v e m e n t f o r t h e piece's m u s i c a l i n t e r e s t . T h e t o n a l m o v e m e n t is b u i l t o n a l o n g - r a n g e bass d e s c e n t f r o m m i d d l e C t o l o w C . T h i s t w o o c t a v e s p a n i s c o v e r e d i n a v e r y delibérate w a y t h a t makes t h e m o s t o f arrivals a t t e m p o r a r y goals. O n e o f these divides t h e descent i n t w o . T h e C i n 19 provides a m o m e n t a r y p a u s e , a f t e r w h i c h t h e bass moves again. A decisive p o i n t is t h e arrival a t G i n 24, beginning a d o m i n a n t pedal. O v e r that a p o w e r f u l c l i m a x l e a d s t o t h e final C i n 32, w h e r e there's s o m u c h e n e r g y left t h a t B a c h takes f o u r measures t ow i n d d o w n . T h e t o n a l m o v e m e n t s h o w n b y t h e bass l i n e is the f o u n d a t i o n o f the piece. Closer t o t h e surface, a significant feature is t h e play o fdissonance a n d consonance. M o r e t h a n h a l f the measures include a dissonant relationship o f o n e k i n d o r another. T h e tensión—reléase a c t i o n p u s h e s t h e m u s i c f o r ward f r o m o n e short-range goal t o t h enext. B u t every dissonance isn't f o l l o w e d i m m e d i a t e l y b y a consonance. I n particular, t h e eight measures o f d o m i n a n t p e d a l a r e c o m p l e t e l y d i s s o n a n t , w h i c h is w h y t i m e is n e e d e d a t t h e e n d t o reach stability again. T h e prelude may be divided thus: 1-4
s t a b i l i z a t i o n o f t h e t o n i c , extensión o f I
5-11 12-19 20-32
motion toV m o t i o n back t o I t h e longest phrase, including t h e d o m i n a n t pedal 2 4 - 3 1 t h e concluding tonic, extended over a pedal p o i n t ( t h e d o w n b e a t o f 3 2 is b o t h t h e e n d o f the fourth phrase a n d t h e beginning o f t h e fifth)
32-35
While these divisions will help y o u t o grasp t h e shape o f t h e prelude, they aren't emphasized i n the m u s i c ; t h e piece is c o n t i n u o u s . A single figure, repeated w i t h o u t r h y t h m i c c h a n g e , is a p o w e r f u l forcé f o r m u s i c a l u n i t y . V a r i e t y i s g a i n e d b y t h e
m o t i o n s away f r o m the tonic a n d back, the registral m o v e m e n t that's s h a p e d b y t h e bass, a n d t h e e v e r changing interplay o f dissonance and consonance. T O C C A T A L i k e t h e p r e l u d e , t h e k e y b o a r d toccata o r i g i n a t e d i n i m p r o v i s a d o n . T h e I t a l i a n w o r d toccare m e a n s t o t o u c h o r p l a y . A t o c c a t a i s a t y p e o f piece that is o f t e n brilliant a n d virtuostic; i t is n o t a f o r m . N o t s u r p r i s i n g l y , m a n y toccatas w e r e w r i t t e n b y c o m p o s e r s w h o w e r e also p e r f o r m e r s , usually organists. Girolamo Frescobaldi began writing music in the late Renaissance, utilizing the h a r m o n y a n d counterpoint that was his heritage. Before long, h o w ever, h e began i n v e n t i n g n e w techniques and n e w s o u n d s . H i s T o c c a t a , [16|, is a m a r v e l o u s e x a m p l e o f the early Baroque, full o f fantasy a n d always doing the unexpected. T h e m u s i c is i n t h e " m o d e r n " k e y o f a, establ i s h e d less t h a n a c e n t u r y b e f o r e . T h e r e ' s n o t r a c e o f a n y m o d e h e r e a n d n o s i n g l e figure i s i n c o m m a n d . O n e figure i s i m i t a t e d a t t h e o u t s e t , b u t t h e n d i s a p p e a r s . A n o t h e r figure i s i m i t a t e d i n _ 5 8, b u t i t t o o m a k e s n o f u r t h e r a p p e a r a n c e s . O n e chain o fsixteenth notes follows another, but t h e m e l o d i c aspect o f t h e m u s i c isn't h i g h l y organized. T h e piece begins w i t h a n a r p e g g i a t i o n that opens u p the registers o f the i n s t r u m e n t . T h e extended tonic is answered b y a n e x t e n d e d d o m i n a n t . T h e leading note, Gjt, doesn't resolve, h o w e v e r ; it's canceled as t h e t o p line m o v e s t h r o u g h to F | a n d V\. T h e s u b d o m i n a n t , d , a n d i t s s u b d o m i n a n t a r e i n t h e f o r e f r o n t f r o m 5 t h r o u g h 8. T h e r e s t o f the piece m o v e s back a n d f o r t h b e t w e e n tonic a n d s u b d o m i n a n t , w i t h v e r y little d o m i n a n t . O n l y i n J 3 do y o u hear a strong V * . O n e o f the ways in which it's s t r e t c h e d o u t t h r o u g h t h e m e a s u r e is w i t h t h e consonant 4th in the tenor. A n i m a g i n a d v e detail isp r o v i d e d by the E i n the top line f r o m J J , into J 3 . It's elaborated b y a s i x t e e n t h - n o t e F . T h e E c h a n g e s i t s m e a n i n g as y o u hear it: 5th o f the A-triad, then root o f the Et r i a d ( t h e 3 r d is i n t h e bass), t h e n 5 t h o f t h e A t r i a d a g a i n ( n o w t h a t c h o r d ' s 3 r d i s i n t h e bass). T h e h a u n t i n g effect is e n h a n c e d b y t h e distance between t h e retained E a n d t h e sounds below. W h e n t h e l i n e finally d e s c e n d s f r o m t h e E i t ' s a signal t h a t t h e e n d is near. Frescobaldi's toccata gives the i m p r e s s i o n o f o n e large musical gesture. It's n o t a t all regular i n phrase structure, a n di n d e e d t h elistener doesn't t h i n k o f phrases i n this m u s i c . T h e effect is a l m o s t improvisatory, one idea following the next i n a way that's unpredictable b u t e n t i r e l y convincing.
104
P A C H E L B E L T h e T o c c a t a b y P a c h e l b e l , [21], h a s already been discussed i n terms o f the three pedal points that m a r k t h e beginning a n de n do f t h e piece. A b r i e f o v e r v i e w o f t h e e n t i r e piece follows. A s y o u m i g h t expect, there's u n b r o k e n c o n t i n u ity f r o m b e g i n n i n g t o end. T h e r e ' s n o c o m m a n d i n g figure a t t h e b e g i n n i n g , b u t a figure d o e s emerge i n J 4 , immediately after t h e downbeat. T h i s figure i s t o s s e d b a c k a n d f o r t h b e t w e e n t h e u p p e r voices, s u p p o r t e d b y t h e bass i n s l o w e r m o t i o n . T h i s división o f l a b o r e x t e n d s t h r o u g h t h e d o m i n a n t pedal that begins i n mid-_20 a n d e v e n into the concluding tonic pedal. L o o k i n g a t t h e piece as a w h o l e , y o u see t h e importance o f t h e three pedal points. T h e first stabilizes t h e tonic, c r e a t i n g a p o i n t o f d e p a r t u r e f o r the t o n a l m o v e m e n t . T h e second, o n V , focuses t h e energies o f t h e m i d d l e o f t h e piece, d i r e c t i n g t h e m o t i o n t o w a r d t h e final t o n i c . T h e t h i r d p e d a l reasserts the tonic a n d completes the tonal m o v e m e n t o f the piece. T h e r e ' s a v a r i e t y o f t e x t u r e s i n this piece. A f t e r the o p e n i n g gesture, m o v i n g f r o m t h e highest t o t h e lowest notes i n t h e toccata, d i f f e r e n t u p p e r voice textures are heard over the pedal. T h e n u m ber o f voices shifts back a n d f o r t h between three a n d four, c h a n g i n g t h e music's density. T o w a r d the m i d d l e o f the piece the t e x t u r e isorganized b y i m i t a t i o n , c o n t i n u i n g t o t h e e n d . T h e bass a l w a y s stands apart, m o v i n g m o r e slowly t h a n the other voices. L o n g e r t h a n Frescobaldi's toccata, Pachelbel's is m u c h t h e s a m e i n its a p p r o a c h : i r r e g u l a r g r o u p s o f m e a s u r e s , a v a r i e t y o f m u s i c a l ideas, t h e sense o f one large gesture, and the quality o f improvisad o n a l l c o n t r i b u t e t o t h e g e n r e t h a t w e k n o w as t h e toccata. RECITATIVE T h e Italian musicians a n d literary m e n w h o invented opera at the beginning o f the seventeenth century created ecitative, a simple, declamatory k i n d o fmusic, lightly accompanied, t o carry t h e dialogue o fthe singing actors. T h u s a singer c o u l d tell a story, express feelings, p o n d e r t h euncertainties o ffate, all i n a k i n d o f music that was, literally, a heightened f o r m o f h u m a n speech. T h e music closely followed t h e natural accent o f the words. I nt i m e the recitative b e c a m e m o r e clearly d e f i n e d , as d i s d n g u i s h e d f r o m the m o r e songful aria. S o m e recitadves w e r e accompanied b yorchestra, but m a n y were accompanied only by the continuo. O n e o f t h e f u n c t i o n s o f a recitative is t o m o d u late f r o m the k e y o f the previous n u m b e r t o that
of t h e upcoming one. Composers took advantage o f t h i s o p e n h a r m o n i c field t o e x p l o r e d i s s o n a n t and chromatic harmonies. Some highly imaginative strokes a r e t o be f o u n d i n t h e recitatives o f B a c h a n d H a n d e l . A n d since there's n o t o n a l u n i t y , t h e r e is o f t e n n o k e y signature i nt h e recitative. M a n y o f t h e devices o f o p e r a soon f o u n d their w a y i n t o s a c r e d m u s i c , s o y o u m a y e x p e c t t o find recitatives i n oratorios a n d cantatas. Certain conventions about the notation a n d perf o r m a n c e o f recitatives w e r e i n place before t h e beginning o f t h e eighteenth century. Y o u must k n o w t h e m t o u n d e r s t a n d h o w s u c h m u s i c is p e r formed. A t a c a d e n e e , w h e n t h e m e l o d y falls a 3 r d f r o m w e a k t o s t r o n g , t h e 3 r d i s filled w i t h a n P . S o m e t i m e s t h e P is i n d i c a t e d w i t h t h e s m a l l n o t e that's t h e t r u e a p p o g g i a t u r a , b u t u s u a l l y isn't.
W h e n t h e m e l o d y falls a 4 t h f r o m w e a k t o s t r o n g , the skip is shifted t o t h es t r o n g beat. written
sung
Another convention that contradiets what's printed—as every musician k n e w at t h e time—is the vocal cadenee t h a t m u s t b e c o m p l e t e d b e f o r e the i n s t r u m e n t cadenees, n o m a t t e r h o w t h e notes are a l i g n e d o n t h e p a g e . T h u s a c a d e n e e w r i t t e n as (a) i s p e r f o r m e d a s i f i t w e r e w r i t t e n ( b ) . (a). written
(b) sung
h
frrr\ 13 ' Q » | J J ¿
Continuo
written C F Worksheet 32
105
=
-
Dance in the open air, o i l p a i n t i n g b y Nicolás L a n c r e t ( 1 6 9 0 - 1 7 4 5 ) . T h e f a m o u s b a l l e r i n a , L a C a m a r g o surrounded by musicians and courtly admirers.
PART SIX BINARY FORM
40 Introduction Before studying binary f o r m we'd d o well t o ask what musicians m e a n b y a "form." Sometimes, w h e n people speak o fa f o r m , i t seems that they are talking about a rigid outline w h i c h t h e comp o s e r follows d u t i f u l l y . B u t g o o d music isn't simply p o u r e d into ready-made molds; a piece o f music g r o w s o u t o fm u s i c a l ideas. T h o s e ideas a r e developed into various shapes, determined b yt h e conventions a n dpractices o f t h e period. T h e m o r e original composer will use those conventions; t h e less o r i g i n a l w i l l s i m p l y f o l l o w t h e m . T h e r e a r e t w om a i n aspects t o f o r m i n tonal music: h a r m o n i c m o v e m e n t — m o t i o n away f r o m t h etonic and back; melodic design—figures, themes, motives, a n d their development.
O t h e r elements that play a role i n shaping musical f o r m m a y i n c l u d e t e x t u r e , t h e uses o f musical space, t o n e color, t h e dissonance—consonance interaction, and r h y t h m .
BINARY F O R M W e say t h a t a piece isi n b i n a r y f o r m i f all the f o l l o w i n g a r e true: It's i n t w o s e c t i o n s ; e a c h i s u s u a l l y r e p e a t e d . T h e first s e c t i o n n o r m a l l y e n d s o n V ( p o s s i b l y I I I , i f i n minor). T h e second section r e t u r n s t o I . T h e same m e l o d i c m a t e r i a l is h e a r d t h r o u g h o u t t h e piece. Since b i n a r y f o r m is vations:
flexible,
w e a d d a few obser-
T h e first s e c t i o n m a y e n d w i t h a s e m i c a d e n c e , o r t h e r e may be a m o d u l a t i o n t o a cadenee i n V ( e x p l a i n e d i n Chapter 42). T h e s e c o n d s e c t i o n m a y m o v e t o a n intermedíate c a d enee i n a k e y o t h e r t h a n I o r V . As a result, t h e s e c o n d section m a y b e l o n g e r t h a n t h e first. T h e e n d i n g o f t h e first s e c t i o n m a y b e f o u n d , t r a n s p o s e d to t h e t o n i c , a s t h e e n d i n g o f t h e s e c o n d s e c t i o n . Most o ft h e m o v e m e n t s o fB a r o q u e suites a n d partitas a r e i n b i n a r y f o r m . S e v e r a l s u c h m o v e ments a r e included i n t h e A n t h o l o g y , together
107
w i t h a piece that's p a r t o fa cantata. T h e w o r k s i n binary forra are: 19 23 25 27 30 31
Pezel Purcell Couperin Mattheson Bach Bach
Sarabande Duet La Lúgubre Sarabande and Double Allemande Gigue
Bach Air Handel Courante Scarlatti Sonata in E Kirnberger Bourrée I n order t ounderstand what follows, y o u must be f a m i l i a r w i t h this m u s i c . Play t h e pieces, listen t o t h e m , a n d have their sound i ny o u r m i n d . T h e n you'll be ready t o follow the discussion.
41 Motion away from the Tonic S i n c e t h e u n d e r l y i n g forcé t h a t s h a p e s t o n a l m u s i c is m o t i o n a w a y f r o m a n d b a c k t o t h e t o n i c , w e m u s t t a k e a cióse l o o k a t h o w t h a t i s a c h i e v e d . I n t h e simplest sense, a n y c h o r d o t h e r t h a n I represents s o m e m o v e m e n t a w a y f r o m t h e t o n i c . I n t h e basic motion tonic—subdominant—dominant—tonic, t h e s u b d o m i n a n t c h o r d moves away f r o m t h e tonic, a n d t h e d o m i n a n t points the w a y back t oit. T h e r e are stronger ways o f m o v i n g away f r o m t h e tonic t h a t g r e w o u t o f t h e d e s i r e t o créate l a r g e r m u s i c a l forms. I n order o fincreasing strength, motions away f r o m the tonic are: secondary tonics (and d o m i n a n t s and subdominants); m o d u l a t i o n to a cadenee; long-range modulation. A secondary tonic i s b u i l t o n a n y s c a l e d e g r e e o t h e r
t h a n 1. I t m a y h a v e its o w n d o m i n a n t a n d s u b d o m inant chords. Secondary tonics oceur w i t h i n a phrase a n d d o n o t shape t h e direction o fthe h a r m o n y i n the long range. T h e y are explained i nPart Seven. W h e n a phrase begins i no n e key a n d ends i n a n o t h e r , w e s p e a k o f modulation to a cadenee. T h i s i s the subject o f t h e n e x t section, a n d i t plays a n important role in binary form. Long-range modulation, f o u n d i n l a r g e f o r m s s u c h as s o n a t a - a l l e g r o , m e a n s t h a t t h e r e ' s a n i m p o r t a n t key shift that extends beyond a single phrase. T h e tensión c r e a t e d b y s u c h k e y s h i f t s a n d b y t h e expectation o fa r e t u r n t o t h e tonic provides t h e psychological u n d e r p i n n i n g f o r t h egreat instrum e n t a l w o r k s o fH a y d n , Mozart, a n d Beethoven. A discussion o fsonata-allegro f o r m will b e f o u n d i n Gradus, B o o k T w o .
I
108
42 Modulation to a Cadenee M o d u l a t i o n m e a n s change o f key. T h e r e are three ways o f effecting such a change: by using a pivot c h o r d ; b y a r r i v i n g a t a g o a l c h o r d i n t h e first k e y , t h e n s t a r t i n g afresh i n the second; t h r o u g h a p r o g r e s s i o n that leads f r o m one key t o t h e other without a pivot chord. PIVOT C H O R D A pivot chord i s e x a c t l y w h a t t h e ñame i m p l i e s : a c h o r d u p o n w h i c h t h e t o n a l i t y swings f r o m o n e key t oanother. T h e pivot chord m u s t h a v e a c l e a r f u n c t i o n i n t h e first k e y ; t h e n i t ' s interpreted i n the second key. Since a pivot chord must be c o m m o n t o t w o keys, w e b e g i n b y asking: w h a t c h o r d s are there i n c o m m o n b e t w e e n t w o m a j o r keys a perfect 5 t h apart?
A n i m p o r t a n t bit o fm u s i c a l s h o r t h a n d is i n t r o duced here: I / I V . Read i t " O n e becomes four." This way o fshowing t h etwofold meaning o fa p i v o t c h o r d i s u s e d t h r o u g h o u t Gradus. T h e p i c t u r e isa bit d i f f e r e n t i n t h e m i n o r - m o d e modulation from I toV . first
key
second key
I II III IV V VI VII
IV not a diatonic chord VI not a diatonic chord I not a diatonic chord III
Here are t w o examples
f
i
^ 4 * first
second
key
I II III IV V VI VII
is s is is ¡s s
key
I V not a diatonic chord V I not a diatonic chord I I I not a diatonic chord
Y o u s e e t h a t I , I I I , V , a n d V I i n t h e first k e y a r e diatonic chords i n t h esecond. T h u s they m a y all serve as p i v o t chords. T w o a r eillustrated below.
fe
m wm I/IV V:
J ^ 1
Ti
cadenee i n V
é 9 é 0
3 ff VI/HV
cadenee i n V
i/rv
3
\*ñ
r Jj
m
0-0 DI/VI
r
While the most c o m m o n modulation i n t h e major m o d e isf r o m I t oV , t h e m o s t c o m m o n m o d u l a t i o n in the m i n o r m o d e is f r o m I t oI I I . H e r e is a list o f the diatonic p i v o t chords i n that m o d u l a t i o n : first
I II III IV V VI VII
key
second key
is is s s
s
V I not a diatonic chord I I I III IV V
Here aretwo examples:
W e n o w look f o rexamples o fm o d u l a t i o n t o a cadenee i n t h e b i n a r y pieces o f t h e A n t h o l o g y , f o c u s i n g o n t h o s e c a d e n e e s t h a t c o n c l u d e t h e first s e c t i o n o f a p i e c e ; l a t e r w e ' l l find o t h e r s . T h e Bourrée b y c o m p o s e r - t h e o r i s t K i r n b e r g e r , |41|, is a clear a n d s i m p l e e x a m p l e o f b i n a r y f o r m . I t ' s i n D ; a t t h e m i d p o i n t y o u find a c a d e n e e i n A . W h e r e is t h e p i v o t c h o r d ? B y t h et i m e y o u h e a r A as t o n i c ( 6 - 8 ) t h e p i v o t c h o r d h a s d o n e i t s w o r k . T h e p i v o t c h o r d i s i n 5. B e f o r e t h a t m e a s u r e ' s V I c h o r d o n t h e t h i r d beat (it's h e a r d f o r o n l y a m o m e n t , b u t it serves its p u r p o s e ) D ist o n i c . A f t e r the V I , A is tonic. T h e p i v o t c h o r d : V I / I I . M a t t h e s o n ' s S a r a b a n d e , |27|, isi n f. I tt o o arrives a t t h e d o m i n a n t a t t h e e n d o f t h e first s e c t i o n , b u t by different means. I t w o u l d be futile t o look for a p i v o t c h o r d h e r e . T h e first f o u r m e a s u r e s a r e
squarely i n f. T h e second p h r a s e begins w i t h a n F t r i a d , w h i c h iss t e e r e d t o c i m m e d i a t e l y . P a r t o f t h e ascending C-scale is i n t h e i n n e r voice ( A — B — C ) , helping t oestablish the second key. W h i l e b o t h o f these b i n a r y pieces m o d u l a t e d t o a c a d e n e e i n V a t t h e e n d o f t h e first s e c t i o n , t h e y u s e d d i f f e r e n t w a y s o f m o v i n g . T h e Bourrée uses a pivot chord t o make a smooth transition from tonic t o d o m i n a n t : t h eSarabande, h a v i n g stated t h e tonic, s i m p l y starts t h e second phrase i n t h e dominant. A pivot chord m a y b e disguised b y elaborative notes a n d still serve itsp u r p o s e . C o u p e r i n ' s Sarab a n d e , | 2 5 | , m o v e s f r o m c t o g i n i t s first h a l f . T h e p i v o t c h o r d i s o n t h e first b e a t o f 6 . I t ' s a c - t r i a d , elaborated b y t w oSUSs. B y t h e time D a n d F r e s o l v e , t h e bass h a s m o v e d o n t o C , a ni n n e r voice says A , a n dt h em u s i c is i ng . A l t h o u g h t h e c-triad is n e v e r h e a r d p l a i n l y , i t i s t h e p i v o t c h o r d : I / I V . V is also t h e g o a l i n H a n d e l ' s C o u r a n t e , |35|. I t begins w i t h three measures that circle a r o u n d t h e tonic, after w h i c h v e r y little is h e a r d o f I . T h e sense o ftonic is g r a d u a l l y w e a k e n e d s t a r t i n g i n 4 . N o p i v o t c h o r d is a p p a r e n t . T h e p r o g r e s s i o n m o v e s smoothly from I t oV , through III, arriving at the n e w d o m i n a n t i n 12. T o m a k e i t c l e a r t h a t b i s t h e goal, t h e d o m i n a n t is t h e n e x t e n d e d f o r seven measures. O t h e r m o d u l a t i o n s (always t o a cadenee) a r e f o u n d i n t h e second sections o fs o m e pieces a n d will b eexplained w h e r e those w o r k s a r e discussed.
43 Binary Form A M O D E L F o r a s i m p l e m o d e l o f a b i n a r y piece w e t u r n b a c k t o C h r i s t o p h e r S i m p s o n ' s Compendium. A b r i e f e x a m p l e f o r t w o v i o l s a t t h e t o p o f the next page shows the m a i n outlines o f the form. T h e piece isb i n a r y i n t h e m o s t literal sense o f t h e w o r d . T h e t w o sections a r eequally l o n g a n d quite similar i n m e l o d y , r h y t h m , a n dt e x t u r e . W e ' l l disc u s s t o n a l m o v e m e n t first, t h e n t h e m e l o d i c a s p e c t .
H A R M O N Y T h e general m o v e m e n t is: 1- 4 5- 8 9 - 12
tonic modulation to cadenee i n V in I I I
11-16
back t o I
110
plan
o f t h e tonal
stability, p o i n t o f d e p a r t u r e m o t i o n away f r o m tonic, arouses expectation o f r e t u r n postpones the expected r e t u r n , m a i n t a i n s tensión satisfies e x p e c t a t i o n
Didactic piece
SIMPSON
m
P—P—P
= =
Wr f f
4 ¥ 10
15
i Y o u see t h a t i n o u t l i n i n g t h e t o n a l m o v e m e n t w e also o u t l i n e t h e f o r m o f the music. T h e outline s h o w s t h e i n n e r f o r m o f t h e piece, t h e h a r m o n i c d r i v e that makes the music w o r k . W h a t about the organization o f the phrases? T h e first s e c t i o n b e g i n s w i t h a f o u r - m e a s u r e p h r a s e t h a t establishes d, a i d e d by the m e l o d y i n w h i c h a c o m p l e t e d - s c a l e is s t a t e d . T h e s e c o n d phrase begins w i t h the pivot chord, i m p l i e d by the two Ds: I / I V . T h e phrase modulates to a cadenee inV. A f t e r t h e t w o p h r a s e s o f t h e first s e c t i o n a r e repeated, they are answered by the pair o f phrases t h a t c o m p r i s e s t h e s e c o n d section. I t w o u l d be p o s s i b l e t o r e t u r n t o I i n t h e first o f t h o s e p h r a s e s , b u t that w o u l d leave the f o u r t h phrase w i t h no place t o go. M r . S i m p s o n puts o f f the r e t u r n to the t o n i c as l o n g as p o s s i b l e , w i t h a d e t o u r t h r o u g h I I I . T h e t h i r d p h r a s e , 9 — 1 2 , is i n t h e r e l a t i v e m a j o r a n d t h e r e t u r n t o I is a c c o m p l i s h e d w i t h o u t a pivot chord. A progression i n v o l v i n ga few chrom a t i c n o t e s leads f r o m I I I t o I , w i t h t h e voice leading: 13
T h i s is t h e b a s i c t o n a l p l a n o f b i n a r y f o r m . O n l y i n a v e r y s i m p l e p i e c e , s u c h as P e z e l ' s S a r a b a n d e , | T 9 ] , w i l l t h e first h a l f e n d w i t h o u t a m o t i o n t o V . M o s t b i n a r y pieces m o v e to V at t h e e n d o f t h e first s e c t i o n , w h i c h i s p r e c i s e l y w h a t m a k e s y o u w a n t to hear the second section. MELODIC DESIGN B a r o q u e melodies are often b u i l t o n s h o r t figures w o v e n i n t o a c o n t i n u o u s f l o w . T h i s was t h e case i n t h e p r e l u d e s y o u s t u d i e d , a n d y o u ' l l a l s o find i t t o b e s o i n b i n a r y p i e c e s . S i m p son's m e l o d y is m o r e r e g u l a r t h a n m o s t m e l o d i e s i n s u i t e s . T h e r h y t h m i c p a t t e r n fits n e a t l y i n t o t h e four-measure unit—almost. T h e first m e a s u r e s p r e s e n t t h e t w o m a i n figures o f t h e m e l o d y , a a n d b. a
ff T h e s e c o n d figure i s v a r i e d s l i g h t l y a t o n c e , i n 3. T h e n the m e l o d y o f the second phrase repeats the r h y t h m o f t h e first w i t h b u t o n e s m a l l c h a n g e . T h e t h i r d p h r a s e starts w i t h t h e s a m e r h y t h m , b u t n e a r its e n d , t h e f o u r - m e a s u r e f o r m a t i s b r o k e n . T h e first n o t e i n 12 i s t h e l a s t n o t e o f t h e t h i r d p h r a s e . N o t i c e t h a t it's n o t a h a l f n o t e , b u t o n l y a q u a r t e r . S i m p s o n starts the f o u r t h phrase o n e beat early, t h e n p u s h e s o n to t h e h i g h p o i n t o f t h e piece. P a r t o f t h e d r i v e i s d u e t o t h e w a y i n w h i c h t h e figure i s shifted ahead within the measure. T h i s throws an u n e x p e c t e d emphasis o n the second beat, h e l p i n g to m o v e t h e m u s i c f o r w a r d .
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W e h a v e a d d e d figures t o s h o w t h e s u c c e s s i o n o f f t r i a d s , t h e t h i r d o f w h i c h is q u i t e d i s s o n a n t . I t falls i n t o place because o f t h e p a r a l l e l i s m w i t h the o t h e r c h o r d s . A l l i n a l l , t h e f o u r t h p h r a s e is t h e m o s t d i s s o n a n t (active) o f t h e piece, a n d y o u will s o o n see t h a t it's also t h e m o s t active m e l o d i c a l l y . T o s u m u p t h e t o n a l m o v e m e n t o f the piece:
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these tensions a r e released w h e n h a r m o n y a n d m e l o d y a r r i v e a t t h e t o n i c , o n t h e last n o t e .
T h r o u g h o u t t h e piece h a r m o n y a n d m e l o d y w o r k t o g e t h e r . T h e first p h r a s e h a s a m e l o d y t h a t expresses t h e t o n i c w i t h a c o m p l e t e d-scale. W i t h t h e t o n a l m o v e m e n t t o a, t h e m e l o d i c center shifts f r o m D t oA . T h e t h i r d phrase centers a r o u n d I I I , a n d t h e m e l o d y e m p h a s i z e s C a n d A w i t h t h e bass F. W h e n t h e f o u r t h phrase introduces chromatic n o t e s a n d m o r e tensión, t h e m e l o d i c figure p u s h e s a c r o s s t h e b a r l i n e a n d a d d s tensión o f i t s o w n . A l l
C O M M E N T T h e S i m p s o n piece will serve as a n example o fbinary f o r m i f y o u remember that n o g o o d piece follows a n y m o d e l slavishly. Y o u c a n see t h e m a i n o u t l i n e s o f t h e f o r m i n t e r m s o f t o n a l m o v e m e n t , design, a n dtheir interaction. T h e s e aspects o f f o r m a r e f o u n d i n all b i n a r y pieces, b u t all g o o d pieces are d i f f e r e n t f r o m each other. O* W o r k s h e e t 3 3
44 More Modulations in Binary Pieces M o d u l a d o n s i nt h e second section o f b i n a r y pieces a r e n ' t a s p r e d i c t a b l e a s t h o s e i n t h e first. T h e t o n a l movement must return toI , buthow? There are m a n y different answers t o that question. B y exploring some o f t h e m y o u can learn m o r e about modulation. T h e simplest second section is that o f K i r n b e r g e r ' s B o u r r é e , [41~]. A f t e r t h e r e p e a t , t h e d o m i n a n t is e x t e n d e d f o r f o u r m e a s u r e s . T h e t o n i c t h e n follows, t h o u g h n o t i n root position. There's n o s t r o n g D i n t h e bass u n t i l t h e last m e a s u r e . C o m p a r e the cadenees o f the t w o sections. T h e s e c o n d h a l f o f M a t t h e s o n ' s S a r a b a n d e , [27], has a m o r e interesting tonal j o u r n e y . 9 begins w i t h V*, w h i c h doesn't r e t u r n t oI b u t moves o n t h r o u g h f t o F , t h ed o m i n a n t o fI V . There's a m o d u l a t i o n to a cadenee i nI V , w i t h o u t pivot chord, 1 0 - 1 2 . T h a t emphasis o n t h e s u b d o m i n a n t balances t h e earlier emphasis o n t h e d o m i n a n t a n d prepares the way for a n immediate r e t u r n t o t h e tonic. Just as t h e r i s i n g s c a l e f r a g m e n t i n 5 l e a d s t o t h e e s t a b l i s h m e n t o f c, s o d o e s a r i s i n g s c a l e f r a g m e n t in 13—15 ( D - E - F ) lead t othe concluding cadenee in f. A quick r e p e t i t i o n o f that s a m e p a t t e r n i n t h e i n n e r voice i n 1 5 helps t oc o n f i r m f. T h e d e t o u r t h r o u g h I V adds t ot h e h a r m o n i c interest w i t h o u t l e n g t h e n i n g the second section.
[25|. Y o u k n o w t h a t V m a y b e a g o a l c h o r d , a n d that's t r u e w h e t h e r a p h r a s e e n d s w i t h V o f t h e m a i n k e y o r V as t h e goal o f m o d u l a t i o n t o a cadenee. O n c e a goal is reached, t h e c o m p o s e r is free t o u s ea n y chord i n t h ekey. Rather than e m p h a s i z e c o n d n u i t y , as M a t t h e s o n d i d , C o u p e r i n t a k e s t h e o p p o r t u n i t y t o créate a s t r o n g c o n t r a s t . T h e second section starts w i t h I I I . T h i s s t r i k i n g c h a n g e o f h a r m o n i c color gives the sense o f a fresh start t o t h e n e wsection. Clearly there's n o pivot chord. H a v i n g reached o n e goal i n 8, t h e music s t a r t s a n e w i n 9 i n t h e r e l a t i v e m a j o r . Y o u first s a w this p h e n o m e n o n , a goal V followed b yI I I , i n a B a c h chórale, o n p a g e 7 1 . T h e e n t i r e p h r a s e 9—16 isi n I I I , e n d i n g w i t h a perfect authentic cadenee. T h ethird phrase r e turns t oI with the aid o f a pivot chord: I / I I I . T h e basic p o l y p h o n y :
I n t h e M a t t h e s o n , t h e V * t h a t e n d e d t h e first section w a sfollowed b y t h e same c h o r d t o begin the second, t h esimplest c o n n e c t i o n possible. C o u p e r i n takes a d i f f e r e n t course i n h i s Sarabande,
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t h e h r s t . T h i s suggests t h a t t h e second section i n c l u d e s a m o d u l a t i o n t o a c a d e n e e w h o s e g o a l is n e i t h e r I ñor V . W h a t is t h a t goal? A clear cadenee i n 1 0 s h o w s t h a t t h e t o n a l j o u r n e y is t o t h e r e l a t i v e m i n o r , V I . T h e m o d u l a t i o n t o a c a d e n e e i n V I is accomplished t h r o u g h a leisurely progression that d e p e n d s o n n o p i v o t c h o r d . T h e m o d u l a t i o n is e x t r e m e l y s m o o t h , t h e steady e i g h t h notes o f the bass l e a d i n g t h e l i s t e n e r f r o m o n e p o i n t to a n o t h e r effortlessly. A n u n u s u a l d e t a i l m a r k s t h e c a d e n e e i n _10. T h e D a t t h e e n d o f t h e s e c o n d b e a t is a dissonance. I f it w e r e a n P i t w o u l d resolve t o C j :
B u t Cfl is n e v e r h e a r d , a n d D takes a shorteut directly t o B . T h e tonal m o v e m e n t t h e n proceeds through A , U-12, a n d b a c k t o D , w i t h I a t t h e s t a r t o f J 3 . T h e c h r o m a t i c notes i n 1 3 - 1 4 a r e Ps a n d don't
i m p l y a n y m o d u l a t i o n . T h e y h a v e t h e s a m e r o l e as the chromatic Psi nt h e S i m p s o n example o n page 81. W h e n w e seethat the second section o f Handel's C o u r a n t e , [35|, is n i n e m e a s u r e s l o n g e r t h a n t h e first s e c t i o n , t h e r e a s o n i s n o t h a r d t o find. S e v e r a l measures i n I I I a d d t o t h e l e n g t h o ft h e section, w h i l e k e e p i n g t h e t o n a l i t y a w a y f r o m I . T h e seco n d section begins w i t h the same c h o r d that ended t h e first. V * d o e s m o v e t o I , b u t i t c o n d n u e s t h r o u g h t h e t o n i c t o t h e r e l a t i v e m a j o r . A s i n t h e first section, there's n o pivot chord, b u t rather a progression that starts i n e a n d ends o n t h e d o m i n a n t o f G . T h e same pedal p o i n t that established V at t h e e n d o f t h e first s e c t i o n i s n o w t r a n s p o s e d t o establish I I I . T h e g o a l r e a c h e d in_33 is c o n f i r m e d as f a r a s . 3 8 . I n t h a t m e a s u r e t h e r e ' s a m o d u l a t i o n f r o m G t o e; t h e p i v o t c h o r d : I I / I V . T h e d o m i n a n t pedal, n o w p o i n t e d a t t h e tonic o ft h e piece, follows.
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45 Melodic Design in Binary Form T h e m e l o d i e s o f t h e b i n a r y pieces we have studied d i f f e r f r o m e a c h o t h e r : s o m e a r e b a s e d o n figures, s o m e aren't. M o s t g r o w o u t o fdance models. A b r i e f s u r v e y s h o w s s o m e o f t h e possibilities o f m e l o d i c i n v e n t i o n i n B a r o q u e b i n a r y pieces. T h e piece t h a t m o s t closely follows a dance model is Pezeí's S a r a b a n d e , | 1 9 | . T h e s t a n d a r d r h y t h m i c p a t t e r n f o r t h a t s l o w d a n c e is t w o measures long:
I J J. J>|J J I n t h e first s e c t i o n o f t h e p i e c e t h e p a t t e r n i s f o l l o w e d l i t e r a l l y . I n t h e s e c o n d h a l f , t h e first m e a s u r e takes o n a n i d e n t i t y o f its o w n a n d dominates the m e l o d i c design. A t t h e every end, a melodic c a d e n e e b r i n g s t h e p i e c e t o a conclusión. B y c o n t r a s t t h e m e l o d y o f K i r n b e r g e r ' s Bourrée, |41|, goes itsc h e e r f u l w a y w i t h o u t relying o n a n y s p e c i f i c figure. H o w e v e r , t h e m e l o d i c c a d e n e e a t t h e e n d o f t h e first s e c t i o n i s r e p e a t e d a t t h e e n d
o f the second, transposed t othe tonic. W h i l e t h e s t a n d a r d r h y t h m i c p a t t e r n is t o b e f o u n d i n M a t t h e s o n ' s S a r a b a n d e , [27], i t d o e s n ' t c o n t r o l t h e m e l o d y as i t d i d i n t h e Pezel. T h e melodic cadenees o f 8 a n d 16 a r equite similar, balancing the binary f o r m nicely. T h e traditional sarabande r h y t h m does, h o w e v e r , p l a y a n i m p o r t a n t r o l e i n C o u p e r i n ' s La Lúgubre, | 2 5 | . T h a t ' s w h y w e r e f e r t o t h e p i e c e a s a sarabande even t h o u g h that w o r d doesn't appear in the title. T h e p a t t e r n isn't f o l l o w e d slavishly, f o r C o u p e r i n m i x e s i t w i t h other r h y t h m i c shapes. T w o variants o fthe pattern, which appear i n t h e eloquent closing measures, areelaborations o f the m e l o d y o f 2 0 — 2 2 . T h e s a r a b a n d e p a t t e r n is s h o w n above the variants.
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T h e c o n t i n u o u s " s p i n n i n g o u t " ( G e r m á n : Fortspinnung) o f a m e l o d y b y t h e r e i t e r a t i o n o f figures is e x a m p l i f i e d i n t h e s o n a t a m o v e m e n t b y B a c h , [ 3 T | . A t first g l a n c e t h i s m u s i c m a y s e e m t o b e l i t t l e m o r e t h a n a m e c h a n i c a l series o f s i x t e e n t h notes. But a closer l o o k shows that there a r e t w o m a i n figures a n d o n e o t h e r associated o n l y w i t h cadenees. Presented i na great variety o fways, those figures are the u n i f y i n g elements i nt h e melody. (a)
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N o t i c e t h e d i f f e r e n c e b e t w e e n figures ( a ) a n d ( b ) . W h i l e (a)consists o f e v e n notes, ( b )plays o f f six-
teenths against eighths. H e r e a r esome o f the ways in w h i c h B a c h w o r k s o u t t h e pitches w i t h i n t h e r h y t h m o f ( a ) : _]_, a r i s i n g s c a l e ; 3, e l a b o r a t i o n o f o n e n o t e ( N p l u s S P ) ; 5, c h o r d o u t l i n e ; 8 , e l a b o r a t e d 3 r d ; 9 , d e s c e n d i n g scale. F i g u r e (b) i s h e a r d less o f t e n a n d u s u a l l y h a s a f a l l i n g i n f l e c t i o n . F i g u r e (c), r e s e r v e d f o rc a d e n e e s a n d a l m o s t a l w a y s repeated, isi n ±5-16, 2 3 - 2 4 , a n d 3 1 - 3 2 . O u t o f t h r e e s h o r t figures t h e c o m p o s e r c r e a t e s a m e l o d y full o f energy and interest. T h e m e l o d y is p o l y p h o n i c t h r o u g h o u t . T o be sure, a violin can't express t h e full S A T B range, but i tc a n cover a good deal o f musical territory, a n d i n B a c h ' s h a n d s i t d o e s . I n t h e first m e a s u r e , t h e span o fa 1 2 t h is c o v e r e d , a n d i n m a n y o t h e r measures the range exceeds a n octave.
46 The Allemande from Bac h's French Suite No. 3, 30 T h e o p e n i n g m o v e m e n t o f Bach's T h i r d F r e n c h Suite is i n b i n a r y f o r m , as a r eall t h e m o v e m e n t s o f t h e suite. A n a l l e m a n d e is a d a n c e i n m o d e r a t e l y fast t e m p o , w i t h f o u r beats t o t h e m e a s u r e a n d a s t e a d y flow o f s i x t e e n t h n o t e s . T h e u p b e a t i n t h i s piece is typical. E a c h section o f t h e piece is twelve measures l o n g , w i t h o n e figure h e a r d t h r o u g h o u t . D e s p i t e these constant elements, t h e r e a r ealso c e r t a i n differences b e t w e e n sections, w h i c h will become a p p a r e n t as w ee x a m i n e t h e music. W e m a y describe t h etexture as elaborated t w o p a r t c o u n t e r p o i n t . T h i s tells y o u that each part m a y have polyphonic implications. T h e listener has t h e i m p r e s s i o n o fseveral voices i n action, n o t just two. A fairly h i g h level o f dissonance does m u c h f o rt h e musical interest a n d t h e f o r w a r d m o m e n t u m o f t h e piece.
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establish the tonic brief motion to I I I n o sooner back t o I t h a n m o d u l a t i o n t o a cadenee i n V extensión o f V w i t h m a j o r t r i a d a t g o a l second section
13-16 17-24
m o t i o n t o I V w i t h o u t a cadenee return to I
T h e o n e c l e a r m o d u l a t i o n i s i n t h e first s e c t i o n . A t t h e b e g i n n i n g o f .7, I / I V , h i d d e n b y a S U S . T h e r e s t o f t h e s e c t i o n is i n V (f(t). O n e f e a t u r e a b s e n t i n t h e first s e c t i o n b u t i n t r o d u c e d i n t h esecond is t h e r e l a x a t i o n o f h a r m o n i c a c t i v i t y i n J_5, i n s t r o n g c o n t r a s t t o t h e r e s t o f t h e music. U p t o that point, t h esixteenth-note m o t i o n implies s i xt oeight chords i nmost measures. B u t i n J_5 y o u h e a r t h e e l a b o r a t i o n o f a s i n g l e c h o r d ,
t h e e - t r i a d . T h i s c r e a t e s a f e e l i n g o f stasis a m i d s t the r h y t h m i c drive o f t h e other measures. T h e s a m e m u s i c , t r a n s p o s e d t o b , filis 2 1 a n d p r e p a r e s the ending. T h e piece m i g h t have e n d e d i n mid-,22 i f t h e bass h a d g o n e F f l - B . B u t i n s t e a d t h e bass m o v e s F t t - G , s u p p o r d n g a deceptive cadenee. After that the music gains r e n e w e d energy a n d pushes o n t o t h e final c a d e n e e . MELODIC DESIGN A fascinating aspect o f the piece is t h e w a y i n w h i c h t h e m e l o d y is w o r k e d o u t . W h i l e i t s e e m s e f f o r t l e s s , it's c o n s t r u c t e d w i t h c o n s u m m a t e s k i l l . T h i s is as t r u e o f t h e l o w e r m e l o d y as t h e u p p e r ; t h e y a r e e q u a l . A s i n g l e figure, c o n s i s t i n g o f t h r e e u p b e a t s a n d a d o w n b e a t , is h e a r d i n a l m o s t e v e r y m e a s u r e . T h e figure's u p b e a t propels the music forward f r o m beginning t o end. W h i l e t h e r h y t h m o f t h e figure i s c o n s t a n t , i t s intervallic c o n t o u r is v a r i e d i n a great m a n y ways. A b o v e a r e s o m e o f t h e s h a p e s t h e figure t a k e s i n t h e a l l e m a n d e . I n m o s t o f t h e s e y o u find t h a t a skip i n o n e d i r e c t i o n is f o l l o w e d b y a smaller m o t i o n in the opposite direction. So, a l t h o u g h the melodic shapes aren't identical, they d o have a n i m p o r t a n t feature in c o m m o n . I n t h e o p e n i n g m e a s u r e t h e figure i s s t a t e d i n the upper melody and immediately imitated int h e lower. T o start t h e second section, f u r t h e r imitation creates t h e sense o f a n e wbeginning. T h i s i m i t a t i o n i s b a s e d o n a f r e e inversión o f t h e figure's original contour: unity a n d variety at t h e same time. T h e r e is a p a r t i c u l a r l y effective use o f t h e figure i n .6. H e r e t h e h a r m o n y q u i c k l y r e a f f i r m s I a n d g a t h e r s m o m e n t u m as i t m o v e s t o V . T h e sense o f a c c u m u l a t i n g e n e r g y i s g e n e r a t e d b y cióse i m i t a t i o n , t h e figure a p p e a r i n g f o u r t i m e s w i t h i n t h e m e a s u r e . T h e m e l o d y r i s e s , a t thé s a m e t i m e , i n each o f the parts. A t t h e d e c e p t i v e c a d e n e e i n 22 t h e m e l o d y t a k e s a marvelous leap o f a major 7th, conveying t h e sense o f f r e s h e n e r g y as i t does. I n s u b s e q u e n t m e a s u r e s t h e figure's first i n t e r v a l i s c o n t r a c t e d i n p r e p a r a t i o n f o rt h e end. T h e same process (contracción o f t h e i n i t i a l i n t e r v a l ) h a d h e l p e d p r e p a r e t h e first c a d e n e e , i n J O . T h e c o m p l e t e l a c k o f a n y melodic skip i n J 2 a n d 2 4 diminishes t h eactivity within the elaboration o f the goal chord.
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C o m p a r i n g J 2 w i t h 2 4 w e find B a c h o n c e a g a i n creating u n i t y a n d v a r i e t y a t t h e s a m e t i m e .T h e s a m e lines a p p e a r i n b o t h t h o s e m e a s u r e s a n d b o t h a r e the e l a b o r a t i o n o f a m a j o r t r i a d . B u t t h e p o s i tion o fthe i n n e r voices o fJ 2 is i n v e r t e d i n 2 4 . T h i s bit o f d o u b l e c o u n t e r p o i n t p r o v i d e s u n i t y ( t h e s a m e lines) a n d v a r i e t y ( i n a d i f f e r e n t r e l a t i o n s h i p ) . A n d now w e see w h y there's a two-octave range i n 2 4 , t h o u g h t h e r e w a s o n l y o n e o c t a v e i n 12: t h e i n n e r voices n e e d t h e s p a c e i n w h i c h t o p l a y t h e i r game. M U S I C A L S P A C E T h e total range available o n Bach's h a r p s i c h o r d m a y s e e m s m a l l t o u s , b u t i t constituted t h e w h o l e k n o w n w o r l d a t t h e t i m e , a n d h e m a d e t h e m o s t o f i t . B o t h p a r t s fill t h e space w i t h c o n t i n u o u s a c t i v i t y . W i t h i n e a c h m e a s u r e the c o m b i n e d r a n g e i s u s u a l l y t w o o c t a v e s o r m o r e . W h e n t h e p a r t s d r a w cióse t o g e t h e r s o t h a t t h e i r total r a n g e is o n e o c t a v e , as i n _ 1 2 , it's a s i g n a l t h a t the a c t i o n i s c o m i n g t o a n e n d . C O N S O N A N C E - D I S S O N A N C E O n e reason that Bach's m u s i c h o l d s o u r i n t e r e s t b e t t e r t h a n t h a t o f his contemporaries is t h e level o f dissonance h e a c h i e v e s . T h e r e ' s m u c h m o r e tensión b e t w e e n t h e voices i n B a c h ' s w o r k t h a n i n m o s t B a r o q u e m u s i c . T h e dissonance—consonance interaction plays a n important role: dissonance propels t h emusic forward, seeking resolution, w h i l e consonance p r o vides m o m e n t a r y r e s t i n g p o i n t s . T h e s e are g e n e r a l statements; t h e best w a y t o l e a r n w h a t B a c h d o e s w i t h dissonance is t o l o o k closely a t s o m e interesti n g places i n t h e s c o r e . H o w c a n w e u n d e r s t a n d t h e first E i n t h e u p p e r part?
A l t h o u g h it's a p p r o a c h e d a n d left b y s k i p , t h e E is clearly a P , since t h r e e l i n e s a r e i n p l a y , n o t t w o . T h e upper p a r t is a p o l y p h o n i c m e l o d y . T h e skips sepárate t h e t w o s t r a n d s o f t h a t m e l o d y . T h e s k e t c h shows the t h r e e l i n e s .
All o f the I N s i n 2 aren't the same. IN
I
N
T w o S U S s a r e h e a r d . O n e is b e t w e e n t h e i n n e r l i n e a n d t h e bass, t h e o t h e r b e t w e e n t h e u p p e r l i n e a n d t h e bass. I n 1 0 , t h e extensión o f V u s e s d i s s o n a n c e o n t w o r h y t h m i c levéis. T h e N s o n t h e s i x t e e n t h - n o t e l e v e l are plain t o see. R e d u c t i o n shows t h e Ps o nt h e quarter-note level.
ÍN
N
•4+ T h e first, B , f o l l o w s i t s m a i n n o t e , o n a w e a k p a r t o f t h e beat. T h e s e c o n d , G , p r e c e d e s its m a i n n o t e , again o n t h e w e a k part o f the beat. T h e t h i r d , B , p r e c e d e s its m a i n n o t e b u t is o n t h e s t r o n g p a r t o f the beat a n d is a n I N . A g a i n , i n 7, t h e u p p e r m e l o d y i m p l i e s t w o l i n e s . T h e dissonant r e l a t i o n s h i p b e t w e e n t h e m is s h o w n here:
4
JSjr
m C O M M E N T A l t h o u g h e v e r y d e t a i l is w o r k e d o u t w i t h t h e u t m o s t care a n d t h o u g h t , t h eoverall effect o f t h e a l l e m a n d e is o n e o f ease a n d smoothness. B a c h w a n t e d t o w r i t e a n attractive piece o f m u s i c ; he used a sophisticated technique i n its construction, a n dthe result was exactly w h a t h e intended.
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PART SEVEN FURTHER STUDIES IN HARMONY, COUNTERPOINT, AND FORM
47 Introduction I n Part Seven y o u will complete t h estudy o f diatonic h a r m o n y a n d counterpoint. B ydiatonic w e u s u a l l y m e a n p r e d o m i n a n t l y diatonic, since v e r y little m u s i c ism a d e o f o n l y the seven diatonic notes o f a m a j o r o r m i n o r scale. A n d w h i l e t h e m u s i c t h a t f o r m s t h e b a c k g r o u n d o fthis study is largely diatonic, i t also includes a few chromatic notes that o p e n u p interesting possibilities. In Part Seven y o u will study dissonant chords o f m a n y types. T h u s f a ry o u have seen t h e interplay o f dissonance a n d consonance i n terms o f single d i s s o n a n t n o t e s w h i c h elabórate c o n s o n a n t s o u n d s . T h a t s i m p l e a p p r o a c h t o consonance a n d disso-
nance is c h a r a c t e r i s t i c o f R e n a i s s a n c e m u s i c . Y o u will n o w s e e h o w l a t e r c o m p o s e r s f o u n d w a y s t o attach d i s s o n a n t n o t e s t o c o n s o n a n t c h o r d s , g e n erating d i s s o n a n t c h o r d s . T h o s e a c t i v e c h o r d s a r e first s h o w n i n c a d e n e e s . Then you study their role i n chord extensions, focusing o n t o n i c a n d d o m i n a n t h a r m o n y . T h e c o n c e p t o f c h o r d extensión h e l p s y o u t o u n d e r stand t h e g r o u p i n g o f c h o r d s i n t o c o h e r e n t u n i t s within phrases. I t will also h e l p i n u n d e r s t a n d i n g large-scale t o n a l m o t i o n s . In Part S e v e n y o u will s t u d y t h e ways i n w h i c h a n y scale d e g r e e c a p a b l e o f s u p p o r t i n g a m a j o r o r
117
m i n o r t r i a d m a y a c t as a t e m p o r a r y (secondary) tonic. T h i s procedure opens u p rich harmonic resources i n v o l v i n ga few chromatic notes. Secondary tonics a n d d o m i n a n t s play a n i m p o r t a n t role i n t h e m u s i c o f t h e great masters o f the Classical style, i n t r o d u c e d i nthis section.
A n o t h e r l o o k a t b i n a r y f o r m , as f o u n d i n s h o r t w o r k s b y early Classical composers, offers b o t h a s u m m a r y o f Part Seven's material a n d a n opport u n i t y t o see specific techniques i n t h e c o n t e x t o f complete compositions.
48 The Dominant 7th Chord B A C K G R O U N D T h e evolutíon o f V o f its o r i g i n s : a t r i a d p l u s a P .
ll
«y
7
course o f t h e piece, H a n d e l h a s g i v e n t h e d o m i n a n t m o r e p o w e r t h r o u g h the use o f the dissonant 7th, eventually incorporating itinto the dominant c h o r d itself.
reveáis o n e
8
-e-
7
VOICE LEADING W e consider the V a dissonant chord because i t includes t w o dissonant intervals.
8-7
V
v
v
o ^•diminished 5th
i I
7
T h e P b e c a m e p a r t o f t h e c h o r d as e a r l y as t h e s e v e n t e e n t h c e n t u r y . Y o u ' l l find s c a t t e r e d u s e s o f V i n B a r o q u e pieces, b u t o n l y i n t h esecond h a l f of the eighteenth century did V become the normative chord i n cadenees and chord extensions.
minor 7th\Ü
7
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E V O L U T I O N O FA V T h e historical developm e n t o f V is r o u g h l y p a r a l l e l e d b y t h e cadenees i n H a n d e l ' s Passecaille, [34]. A s t h e piece p r o c e e d s the composer reaches f o rstronger a n d stronger statements o f d o m i n a n t h a r m o n y , and V emerges as t h e c h o r d b e s t s u i t e d t o t h e p u r p o s e . R e f e r t o the score as y o u s t u d y t h e n e x t p a r a g r a p h s : y o u m a y w a n t t o m a r k places that are discussed. I f y o u l o o k a t t h ebasic p o l y p h o n y o n page 95, y o u w i l l seet h a t t h e last t w o c h o r d s a r e s i m p l y V — I . I n t h e v e r y first v a r i a t i o n H a n d e l i n t r o d u c e s C , t h e 7 t h o v e r t h e bass, i n t h e d o m i n a n t . H e r e C is a N ; i n t h e t h i r d v a r i a t i o n it's a P . S i n c e t h e f o u r t h v a r i a t i o n i s t h e inversión o f t h e t h i r d , t h e p a s s i n g C is h e a r d i n t h ebass i n 1 6 . C is m e n t i o n e d a g a i n in 3 2 and_36. U p t o this p o i n t , t h e 7 t h has been a n embellishing note, not a chord member. I n 52 t h e 7 t h b e c o m e s p a r t o f t h e c h o r d , a n d y o u h e a r V f o r t h e first t i m e . I t a p p e a r s a g a i n i n 5 5 . T h e last t w o cadenees o f t h e Passecaille a r e strengthened b y t h e direct use o f V . Over t h e 7
7
7
7
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o
Resolution o f t h e dissonant intervals guides t h e resolution o fthe chord. T h e diminished 5th a n d i t s inversión, t h e a u g m e n t e d 4 t h , n o r m a l l y r e s o l v e :
8
i
T h e n o r m a l r e s o l u t i o n o f a d i m i n i s h e d 5 t h is i n w a r d , t o a 3rd. T h e n o r m a l r e s o l u t i o n o f a n a u g m e n t e d 4 t h is o u t w a r d , to a 6 t h . A n o t h e r v i e w : t h eleading note resolves u p t o t h e t o n i c , w h i l e t h e7 t h resolves d o w n stepwise, as a P would. All o f these observations apply t o t h e m i n o r m o d e as w e l l as t h e m a j o r . W e start the discussion w i t h root-position chords (other positions a r e explained later). T h e r e a r e several n o r m a l voice-leading pathways f r o m V t o I. T h e differences are caused b ydifferent soprano p o s i t i o n s i n t h eV . T h e r e ' s also t h e fact t h a t V is o f t e n h e a r d w i t h o u t its 5 t h , l e a d i n g t o a c o m p l e t e 7
7
7
(c)
(b)
(d)
(f)
(e)
•LE
o 7
I . I f a c o m p l e t e V is h e a r d , i t w i l l p r o b a b l y lead to a n i n c o m p l e t e I . T h i s isd e m o n s t r a t e d i n the examp l e s a b o v e . T h e r h y t h m i c p l a c e m e n t y o u ' l l find m o s t o f t e n i s u —.
3E
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(h) T h e t o p l i n e descends 2 — 1 . T h e t h r e e u p p e r voices m o v e t o g e t h e r , w h i l e t h e bass m o v e s c o n t r a r y t o t h e m . A l l voices m o v e stepwise. (i) H e r e ' s o n e s i t u a t i o n i n w h i c h V r e s o l v e s d i f f e r e n t l y in the major and i nthe m i n o r . I nthe major example, (h), t h e alto m o v e s d o w n a w h o l e step t o t h e next note. I nthe m i n o r , i f the alto were to m o v e t o the next note, the melodic interval f o r m e d w o u l d be a n a u g m e n t e d 2 n d . T h i s is n o t acceptable i n standard voice leading, so the alto m u s t m o v e 7 - 8 . T h e 3 r d o f V I is d o u b l e d as a r e s u l t . S o p r a n o a n d t e n o r m o v e i n p a r a l l e l 6 t h s . A g a i n s t t h e m , a l t o a n d bass move in parallel lOths. (j) W h e n t h e t o p l i n e m o v e s 4 - 3 , t h e 3 r d o f V I is d o u b l e d . R e s o l u t i o n o f t h e t r i t o n e is n o r m a l . (k) T h e n o r m a l r e s o l u t i o n o f V leads t o a n o t h e r V I w i t h d o u b l e d 3 r d . T h i s is t h e o n l y e x a m p l e i n w h i c h s o p r a n o a n d bass a r e i n p a r a l l e l m o t i o n . A g a i n s t their r i s i n g lOths, alto a n d t e n o r step d o w n i n 3rds. 7
(a) T h e s o p r a n o m o v e s 2 — 1 , as i t f r e q u e n t l y d o e s i n the perfect authentic cadenee. T h e tritone (augmented 4 t h ) b e t w e e n alto a n d t e n o r resolves to a 6 t h . Soprano a n d a l t o c o n v e r g e o n t h e unisón C . T h e absence o f t h e 5 t h i n I d o e s n ' t d e t r a c t f r o m t h e c h o r d i n any w a y . T h e r o o t o f I is t r i p l e d . O b s e r v e t h e contrary m o t i o n b e t w e e n t h e o u t e r v o i c e s . T h e c h o r d pair is i n cióse p o s i t i o n . A c o m p l e t e V l e a d s t o a n i n c o m plete I . ( b ) I n o p e n p o s i t i o n , 2—1 i n t h e s o p r a n o i s m e t w i t h 7 8 i n t h e t e n o r , f o r m i n g a n o c t a v e . T h e r o o t o f I is tripled here, t o o . T h e tritone (diminished5th) b e t w e e n alto a n d t e n o r resolves t o a 3 r d . Soprano a n d bass a r e i n c o n t r a r y m o t i o n . A c o m p l e t e V leads t o a n i n c o m p l e t e I . (C, V l a c k s a 5 t h , t h e o n e n o t e t h a t h a s n o s t r o n g t e n d e n e y . T h e r o o t o f V i s d o u b l e d . T h e augm e n t e d 4 t h b e t w e e n s o p r a n o a n d a l t o resolves out t o a 6 t h . B e t w e e n t h e o u t e r v o i c e s y o u find s i m i l a r m o t i o n . T h e c h o r d p a i r is i n o p e n p o s i t i o n . A n i n c o m p l e t e V resolves t o a complete I . ( d ) T h i s i s a s t a n d a r d p a t t e r n i n t h e C l a s s i c a l style. T h e r e ' s c o n t r a r y m o t i o n b e t w e e n s o p r a n o a n d bass. A c o m p l e t e V leads t o a n i n c o m p l e t e I . (e) T h e 7 t h m a y l o o k as i f i t r e s o l v e s u p , b u t t o t h e ear i t d o e s n ' t . T h e d o w n w a r d n o t e o f r e s o l u t i o n , E , is h e a r d i n i t s e x p e c t e d p l a c e b u t i n a d i f f e r e n t voice f r o m t h e 7 t h that precedes i t . B o t h V a n d I are complete. ( f ) T h e c o m m o n n o t e b e t w e e n V a n d I is 5 ( G ) . H e r e it's i n t h e t o p v o i c e a n d d o e s n ' t m o v e . T h e t r i t o n e b e t w e e n t h e i n n e r voices resolves t o a 3 r d . Between s o p r a n o a n d bass y o u h e a r o b l i q u e m o t i o n . A n i n c o m p l e t e V leads t o a complete I . (g) T h e r e s o l u t i o n o f t h e 7 t h is p a r t i c u l a r l y c l e a r because it's i n t h e t o p l i n e . A n o p e n - s p a c e d c o m p l e t e V leads t o a n i n c o m p l e t e I w i t h t r i p l e d r o o t . 7
7
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N o w that y o u have seen t h estandard V - I a n d V — V I motions i n simplest f o r m , y o u a r e prepared to study ways i n w h i c h they a r e elaborated. T h e best w a y t o d o that is t o l o o k a t m u s i c a l examples," each o f w h i c h o f f e r s a d i f f e r e n t v i e w o f t h e basic motion. T o prove that alld o m i n a n t 7 t h chords aren't f o u n d i n cadenees, here's a n e x a m p l e that begins V -I. 7
7
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Symphony No. 41, I I I
MOZART
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V —VI W h e n V d o e s n ' t resolve t o I it's most likely t o m o v e t o V I . B o t h chords a r e normally c o m p l e t e . H e r e a r e t h e s t a n d a r d v o i c e - l e a d i n g patterns.
ü) ra:
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A s i n example ( d )above, V incomplete. Gentle
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Here's o n e w a yto have both a complete V a n d a c o m p l e t e I : u s e five p a r t s . T h e a d d e d v o i c e i n V is a d o u b l e d E , t h e c o m m o n n o t e , w h i c h r e t a i n s i t s p o s i t i o n i n I . T h e r o o t is d o u b l e d i n t h e c o m p l e t e V . T h u s V h a s five p a r t s a n d I h a s f o u r . S u c h differences i nt h e n u m b e r o fnotes f r o m o n e c h o r d to another a r e often f o u n d i n piano music. 7
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T h e t w odominant—tonic motions come from the same song. B o t h a r e authentic cadenees, b u t t h e i r m u s i c a l e f f e c t i s q u i t e d i f f e r e n t . T h e first c o m e s f r o m a n i n t e r i o r cadenee, t h a t is, a m o m e n t a r y p a u s e w i t h i n t h e m u s i c . I n 3—4 y o u h e a r a n i m p e r f e c t a u t h e n t i c c a d e n e e , t h e t o p l i n e r i s i n g 2— 3 o v e r V — I . T h e c h o r d p a i r i s i n five p a r t s . T h e r o o t o f V is d o u b l e d , w h i l e i n I b o t h r o o t a n d 3 r d are doubled. T h eu p w a r d infiection o ft h e t o p line t e l l s y o u t h a t t h e c a d e n e e is j u s t a b r e a t h i n g p l a c e , a n d m o r e is t o c o m e . 7
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DOMINANT PREPARATIONS A c a d e n t i a l V (root position) is usually p r e p a r e d b y a c h o r d that directly precedes i t .O f t e n that c h o r d is s u b d o m i nant. T h eillustrations a t t h e t o p o fthe facing page s h o w typical progressions i nw h i c h V is p r e p a r e d by various chords. N o r m a l d o m i n a n t preparatory chords i n t h emajor are I V , I V , I I ,I I , a n d V I . N o r m a l dominant preparatory chords i n t h e m i n o r are I V , I V , I I a n d V I . I n each progression, t h e second chord has t w o roles. First, i t moves away f r o m t h e tonic. Second, it leads t o (prepares) t h e d o m i n a n t . Clearly, these are i m p o r t a n t factors i n t h e musical flow. T o b e s u r e , i t ' s o n l y t h e cadenüal V t h a t r e q u i r e s preparation. Other V chords are subordinate i n o n e w a yo ranother, a n dt h e question o f preparation doesn't arise. 7
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V a n d I a r e t h eo n l y t w ochords heard. B u t o n l y t h e last p a i r f o r m s a cadenee. M o s t o f t h e p h r a s e simply rocks back a n d f o r t h between tonic a n d d o m i n a n t , m a k i n g a h a u n d n g l y beautiful effect as it d o e s s o . MOZART
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O T H E R POSITIONS O F T H E DOMINANT 7TH I n a d d i t i o n t o t h e r o o t p o s i t i o n , t h e d o m i n a n t 7 t h c h o r d m a y a p p e a r i n t h r e e o t h e r posit i o n s , w i t h a n y m e m b e r o f t h e c h o r d s e r v i n g as bass n o t e . I n t h e o r y , all t h r e e p o s i t i o n s a r e t o b e c o n s i d e r e d as " i n v e r s i o n s " o f t h e r o o t - p o s i t i o n V . I n p r a c t i c e , e a c h p o s i t i o n is b e s t u n d e r s t o o d as a l i n e a r c h o r d , t h a t is, a c h o r d g r o w i n g o u t o f n e i g h bor a n dpassing m o t i o n .
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( d ) Bass a n d s o p r a n o , i n c o n t r a r y m o t i o n , m o v e t o a n d f r o m N s . T h e t r i t o n e is h e a r d b e t w e e n s o p r a n o a n d tenor. (e) H e r e t h e bass D is a P , m e e t i n g t h e s o p r a n o ' s N . I n t h e I t o w h i c h t h e V | m o v e s , t h e 3 r d is d o u b l e d . ( f ) S o p r a n o a n d bass m o v e i n p a r a l l e l l O t h s . T h e d i minished 5 t h between alto a n d soprano moves t o a p e r f e c t 5 t h . T h i s is n o t c o n s i d e r e d a case o f p a r a l l e l 5ths. 6
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4 t h , 3 r d . T h e c h o r d is V | , c u s t o m a r i l y a b b r e v i a t e d V | . T h e i p o s i t i o n o f t h e d o m i n a n t 7 t h is also a linear chord.
T H E i POSITION W h e n t h e l e a d i n g n o t e is i n t h e bass y o u h e a r these i n t e r v a l s above it: 6 t h , 5 t h , 3 r d . T h e c h o r d ' s c o m p l e t e figure i s V j j . T h e c u s t o m a r y a b b r e v i a t i o n is Vjj. T h e t o p n o t e m a y b e the root, 5th, o r 7th o f the chord.
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(a) T h e t o p l i n e m o v e s 3 - 4 - 3 . N s i n c o n t r a r y m o t i o n b e t w e e n s o p r a n o a n d bass g u i d e t h e p r o g r e s s i o n . T h e d i s t a n c e b e t w e e n t h o s e N s is a t r i t o n e , w h i c h comes f r o m and returns t o a 3rd. T h e alto moves in parallel 3rds w i t h the soprano, while the tenor holds t h e c o m m o n n o t e . Y o u find t h e s a m e t h r e e u p p e r lines, w i t h octave transpositions, i n t h e next t w o examples. (b) A g a i n y o u h e a r c o n t r a r y m o t i o n b e t w e e n s o p r a n o a n d bass. B e t w e e n t e n o r a n d bass, 3 r d - d i m i n i s h e d 5th-3rd. (c) W i t h t h e c o m m o n n o t e i n t h e s o p r a n o , t h e t r i t o n e is h e a r d b e t w e e n a l t o a n d bass. S o p r a n o a n d bass a r e in oblique motion.
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(g) H e r e t w o p o s i t i o n s o f t h e d o m i n a n t 7 t h a r e h e a r d i n s u c c e s s i o n . T h i s s o u n d s less l i k e a c h o r d c h a n g e t h a n a s h i f t o f bass n o t e s w i t h i n a c h o r d , c o m p a r a b l e t o the m o v e f r o m I t o I . I n t h e illustration, V shows d o m i n a n t h a r m o n y , w h i l e figures b e t w e e n t h e s t a v e s indícate t h e m o t i o n w i t h i n t h a t h a r m o n y .
I n a l l t h r e e i l l u s t r a t i o n s , V j j is a n e i g h b o r c h o r d t o I.
THE | POSITION W h e n t h e 7 t h o f V is i n t h e bass, t h e i n t e r v a l s o v e r i t a r e : 6 t h , 4 t h , 2 n d . T h e
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T h e n a N i n t h e bass s u p p o r t s V f , , w h i c h also r e t u r n s t o I . V i s r e a c h e d a t t h e mídpoint o f t h e phrase. B u t t h e bass doesn't descend a 5 t h ; it steps d o w n , c o n t i n u i n g t h e l i n e a r m o t i o n . V filis t h e second half o f 4 . T h e latter part o fthe phrase moves t o a cadential V , t h eonly root-position appearance o f the chord. W h e n the violin picks u p the phrase the polyp h o n y changes v e r y little, b u t t h e t e x t u r e changes a l o t . T h e a c c o m p a n i m e n t is t h i c k e n e d a n d i n c l u d e s t h e c o m p l e t e p o l y p h o n y . T h e bass is d o u b l e d i n octaves t o i n c r e a s e t h e s o n o r i t y . W h e r e t h e bass l i n e r e t u r n e d t o 1 i n t h e s e c o n d h a l f o f 2, i t r e m a i n s o n 3 i n _10. T h a t c h a n g e s t h e n e x t n o t e , Cf, f r o m a N t oa n I N , a change o f emphasis but not o f meaning. T h e V atthe midpoint remains i n root position a bit longer, another slight change o f emphasis. I n b o t h statements, observe h o w t h e cadential V — I ise l a b o r a t e d w i t h t h r e e s u s p e n d e d notes. 2
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( h ) 1 — V — I , e l a b o r a t e d w i t h a P i n t h e bass. (i) T h e P replaces t h e c o n s o n a n t n o t e f r o m w h i c h i t o r i g i n a l l y carne. A B e e t h o v e n excerpt b e l o w shows all f o u r positions o f V i n a single phrase. T h e p i a n o plays the eight-measure unit, repeated b y t h eviolin with piano accompaniment. I n t h e first s t a t e m e n t o f t h e p h r a s e , t h e h a r m o n y is s h a r e d b y t h e p o l y p h o n i c m e l o d y a n d t h e l e f t h a n d a c c o m p a n i m e n t . T h e first t w o m e a s u r e s s h o w V | connecting I and I , followed by a return to I . 7
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49 4 Chords W h i l e t h e d o m i n a n t 7 t h is a n i n d e p e n d e n t c h o r d with a definite h a r m o n i c function, the next dissona n t c h o r d w e w i l l s t u d y , t h e %, d e p e n d s f o r i t s meaning u p o n t h e chords that precede and/or follow i t . It'sa purely linear chord; that is, it's f o r m e d b y p a s s i n g a n d n e i g h b o r m o t i o n s . f. c h o r d s have n o roots; t h e r e a r e better ways t o describe t h e m t h a n b y t h e u s e o f román n u m b e r s .
decisive is t h e r e l a t i o n o f the u p p e r voices t o t h e bass, t h e g u i d i n g l i n e i n t o n a l m u s i c . C o m p a r e t h e placement o fthe 4 t h i n t h e three positions o f the triad.
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POSITIONS OF T H E T R I A D T h e r e a r e t h r e e p o s i t i o n s o f a n y t r i a d , a n d it's i m p o r t a n t t o u n d e r stand t h emusical differences between t h e m . Each position is n a m e d f o r t h eintervals h e a r d o v e r t h e bass. W h e n t h e t r i a d ' s r o o t is i n t h e bass, i t is i n % or "root position"; with the 3 r d o f the chord i nt h e b a s s , y o u h e a r t h e 3 p o s i t i o n o r " f i r s t inversión"; t h e 5 t h o f t h e t r i a d i n t h e bass gives u s t h e 4 p o s i t i o n o r " s e c o n d inversión." T h e n o d o n that all three positions a r e "inversions" o f t h e same c h o r d has been i n circulation for a long time. B u t i fw e examine t h e musical function o f each position, rather than just listing t h e i r n o t e s , w e find t h a t t h e 4 p o s i t i o n o f t h e t r i a d is s i g n i f i c a n t l y d i f f e r e n t f r o m t h e o t h e r s . T h a t d i f f e r e n c e lies i n t h e t r e a t m e n t o f t h e 4 t h a n d i t s relation t o t h e m o s t i m p o r t a n t voice i n shaping t o n a l m u s i c , t h e bass.
T h e crucial difference between the 4and the other t w o p o s i t i o n s lies i n t h e d i s s o n a n t r e l a t i o n s h i p w i t h t h e bass. RESOLUTION OF T H E % CHORD I n y o u r study o f counterpoint y o u learned that t h e dissonant i n t e r v a l o fa perfect 4 t h m a y b e t r e a t e d as a P , N , o r S U S . A l l t h r e e t e c h n i q u e s a r e u s e d t o genérate 4 chords.
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THE | AND f POSITIONS B o t h | a n d % p o s i tions o fthe tonic triad (major o r minor) a r e consonant. T h e 4ths that they m a y include a r e heard between t w o o f the u p p e r voices and don't involve t h e bass. B o t h p o s i t i o n s c o m e u n d e r t h e h e a d i n g o f tonic h a r m o n y . Y o u have already seen h o w a n extensión o f t o n i c h a r m o n y m a y b e g i n w i t h I a n d e n d w i t h I (see p . 5 7 ) . C l e a r l y , t h o s e t w o p o s i t i o n s o f the triad are closely related.
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( a ) T h e 4 t h b e t w e e n a l t o a n d bass i s a P . I t r e s o l v e s t o a 3 r d . T h e m o v e m e n t o f t h e o t h e r voices p r o v i d e s a V t o f o l l o w t h e %. ( b ) T h e p r e p a r e d d i s s o n a n c e is a S U S . I t r e s o l v e s n o r mally, stepwise d o w n . (c) T h e d i s s o n a n t n o t e i s a N i n t h e a l t o . T h e s o p r a n o moves i n parallel 3rds w i t h the alto. 7
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THE % POSITION W h e n a 4 t h is h e a r d o v e r t h e bass, t h e s a m e n o t e s t h a t f o r m e d a c o n s o n a n t c h o r d i n t h e first t w o p o s i t i o n s n o w f o r m a d i s s o n a n t chord. T h enote that was t h e root i n the other positions is n o w a dissonance a n d c a n n o l o n g e r serve as a r o o t . T h e fact t h a t t h e s a m e notes a r e used i n a l l t h r e e positions is irrelevant; what's
T h e example above shows h o w4 chords a r e d e s c r i b e d t h r o u g h o u t Gradus. T h e m a i n c h o r d i s s h o w n b y a román n u m b e r u n d e r t h e bass. T h e m o t i o n o v e r t h a t b a s s i s s h o w n i n figures b e t w e e n t h e staves. T h i s tells y o u t h a t a § c h o r d takes i t s m e a n i n g f r o m the c h o r d i tleads to, or, w h e n % is a neighbor chord, f r o m the surrounding main chord.
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S CHORDS IN DOMINANT HARMONY \ C h o r d s a r e u s e d m o s t o f t e n as p a r t o f d o m i n a n t h a r m o n y . T h e r e s o l u t i o n o ft h e 4 t h t o a 3 r d is t h e resolution o fa dissonant note t o t h eleading note. T h e 4 may be followed b y either V o r V . Illustrad o n s (a), (b), a n d (c) above a l ls h o w chords i n dominant harmony. Y o u m a y have noticed that w e d i dn o tuse t h e t e r m " I . " T h e r e ' s a g o o d reason. T h elabel " I " says t h a t a c h o r d is t o n i c i n i t s f u n c t i o n , b u t t h e c h o r d s o m e t i m e s c a l l e d " I " is a c t u a l l y d o m i n a n t i n f u n c t i o n . C o n v e n t i o n a l h a r m o n y uses t h e e r r o neous label, l o o k i n g at o n e c h o r d at a t i m e a n d listing its content i n a literal way. W e prefer t o listen t o t h e chord's c o n t e x t — w h e r e i t carne f r o m a n d w h e r e it's g o i n g . 7
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A COMPARISON T h e d i f f e r e n c e b e t w e e n t h e positions o f t h e t r i a d is a m u s i c a l o n e , n o t j u s t a theoretical one. T w o examples, widely different in style, illustrate t h e s a m e p o i n t . T h e y also r e m i n d y o u o f t h e bass's p o w e r t o d e t e r m i n e t h e m e a n i n g of a chord. T h e M a g i c F l u t e , Act I I
previous measures: F — A - C . Y e t there's a definite sense o f h a r m o n i c c h a n g e . W h y ? B e c a u s e t h e bass m o t i o n f r o m 1 t o 5 sets u p a d i s s o n a n t r e l a t i o n s h i p w i t h t h eC above it. H o w t o u n d e r s t a n d that disson a n c e ? S i n c e t h e F w a s p r e p a r e d i n t h e first t w o m e a s u r e s , w e i d e n t i f y t h e dissonance as a S U S o n the half-note level. T h e e x c e r p t f r o m The Magic Flute g a v e y o u a n opportunity to compare 3 a n d 4 chords. A f e w measures f r o m a Romantic song show all three positions o f t h e triad, i n a n unusual r h y t h m i c context. Sapphic
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H o w l o n g i s t o n i c h a r m o n y i n c o n t r o l ? T h e first two measures show m o t i o n within the chord i nt h e u p p e r voices, b u t n o c h a n g e i n t h e bass. H e n e e there's n oc h a n g e i n h a r m o n y . A t the beginning o f 3 t h e b a s s m a k e s i t s first m o v e . W h e n i t s k i p s t o C t h e p i t c h c o n t e n t o f t h e c h o r d is t h e s a m e as i n t h e
124
6
neighbor m o t i o n . I t sounds like a S U S . B r a h m s has l e a r n e d a b o u t h e m i o l a s f r o m h i s s t u d y o f sixteenth- a n d seventeenth-century music. Here h e i n v e n t s h i s o w n h e m i o l a . L i s t e n a g a i n t o t h e first t h r e e m e a s u r e s , w h i c h s o u n d as i f they w e r e written.
(Bl>) is a N : i t ' s n o t p a r t o f a c h o r d a n d i s n ' t represented i nt h e figures. The cadential became a n o r m a l part o f t h e vocabulary i n t h em i d d l e o f t h e e i g h t e e n t h century. T e l e m a n n ' s u s e o f i t reflects h i s positioni n the transition f r o m B a r o q u e t o Classical styles. Each o f t h e t w o phrases t h a t c o m p r i s e B e e t h o ven's C o n t r a d a n s e i n C , | 4 4 A | , u s e s a 4 c h o r d t o s t r e n g t h e n t h e c a d e n e e . T h e first p h r a s e m o d u lates t o a c a d e n e e i n V . T h e c a d e n t i a l m o d u l a t i o n is s w i f t b u t c o n v i n c i n g . I t s u c c e e d s m a i n l y b e c a u s e o f the p o w e r o ft h e 4 c h o r d t o tell y o u t h a t D is now the d o m i n a n t . A 4 c h o r d is u s e d i n a d i f f e r e n t w a y i n t h e s e c o n d p h r a s e . F i r s t , 9 - 1 2 a r e filled w i t h V . T h e n t h e bass m o v e s t o F , w h i c h i s a N b e t w e e n t w o G s . F supports I I , h e r e a n e i g h b o r c h o r d . W h e n t h e bass r e t u r n s t o G t h e d o m i n a n t i s e l a b o r a t e d w i t h a chord. T h edissonant C isa nP . T h em o t i o n t o and f r o m t h a t n o t e ism o s t clearly seen i n t h e oboe part. A sketch s h o w s t h e p o l y p h o n y o f t h e s e c o n d phrase. 6
Notated in triple meter, piano part simplified
7
6
6
R e b a r r i n g shows t h e natural accent o ft h e music and explains t h etreatment o ft h e chord. T h e dissonance is a S U S o nt h ehalf-note level. A n d i t resolves, as a g o o d S U S s h o u l d , o nt h e n e x t w e a k beat. 6
Basic p o l y p h o n y 13
15
o
- O
CADENTIAL | T h e%c h o r d that's part o f t h e d o m i n a n t m a yb e used wherever d o m i n a n t harm o n y i s h e a r d , i n c l u d i n g t h e c a d e n e e . T h e cadential 4 j o i n s t h e c a d e n t i a l V o r V t o c o n c l u d e a phrase. T h ec o m b i n a t i o n o fa cadential 6-5 over 5 is a s t a n d a r d p a r t o f t h e v o c a b u l a r y o f C l a s s i c a l and Romantic music.
O
>
v
n
7
6
m
(a)
5 3
V
T h e figures s h o w t h a t \ r e s o l v e s t o jj. T h e r h y t h m o f t h i s e x c e r p t i s i n t e r e s t i n g b e c a u s e t w o levéis a r e i n p l a y a t t h e s a m e t i m e . W h i l e t h e ¡jdj p r o c e e d s o n t h e q u a r t e r - n o t e l e v e l , t h e bass m o v e s i n e i g h t h s . O n t h e q u a r t e r - n o t e l e v e l t h e d i s s o n a n c e i n t h e is a S U S . O n t h e e i g h t h - n o t e l e v e l t h e t h i r d bass n o t e 6
6
v
1
6
u
5
3
P A S S I N G A N D N E I G H B O R % Still within t h e realm o f d o m i n a n t h a r m o n y , o t h e r uses o f g r o w out of neighbor a n d passing motions.
6 4
i
3E 7 5 3
33C
TELEMANN
u _
1» 3T
u n
A clear example o f a c a d e n t i a l % i s h e a r d a t t h e e n d o f a n eighteenth-century song f o rvoice a n d c o n t i n u o . I n t h e e x a m p l e , t h e v o i c e p a r t , bass, a n d figures are t h e composer's; t h e i n n e r voices a r e a realization o ft h e figures.
V -
6 4
N
7
To S l e e p , [ 2 9 B ]
ZTSZ
ZTÍZ
(b) -0— 5 3
6 4
V
(a) H e r e t h e 4 is a n e i g h b o r c h o r d b e c a u s e t h e d i s s o n a n t note, C , is a N . (b) M o t i o n w i t h i n t h e V l e a d s t o a p a s s i n g 4. T h e d i s s o n ant C is a P . A teasing p h r a s e f r o m a w a l t z m a k e s g o o d u s e of a neighbor within d o m i n a n t h a r m o n y . H o w ever, there's n o l a w c o m p e l l i n g t h e d o m i n a n t t o move tot h e tonic a tall times.
125
6
se H U B E
Waltz, O p . 33, No. 15
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Prelude No. 3, [24]
RT
COUPERIN
Í4
v
fr-f
ftfTr'.
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i
tí
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W i t h the help o fthe% chord, dominant harmony is e x t e n d e d f o r five m e a s u r e s . T h e d i s s o n a n t F i s a N . W ekeep waiting f o r t h e tonic t o answer, b u t i t n e v e r does, T h e C i nt h e bass is t u r n e d i n t o 3o f A t , a n dt h ephrase modulates t oa cadenee i n I I I , w i t h o u t a |. A n earlier e x a m p l e stretches o u t d o m i n a n t harm o n y b y m o v i n g w i t h i n V , i n c l u d i n g % as a n elaboration. A t t h e b e g i n n i n g o f J3, t h e d o m i n a n t b e g i n s , w i t h V . T h e n a P ( D , t e n o r ) a n d a n I N (B!>, s o p r a n o ) c o m b i n e t o f o r m a m o m e n t a r y %. T h e soprano's A is shifted d o w n a n octave as w e hear V again. % appears once m o r e o n t h e f o u r t h (strong) beat. The 4th i n the t e n o r i s a n N , t h e 6 i s e l a b o rated w i t h a D Ni neighth notes. Finally t h e 4 t h resolves clearly t o a 3 r d , a n d y o u hear V o n t h e l a s t b e a t o f 5. T h e m e a s u r e c o m e s a t t h e e n d o f a cadential m o d u l a t i o n t o I I I ( B t ) a n d results i na 7
7
7
7
considerable emphasis o nthe n e w dominant. A larger gesture is f o u n d i nthree measures o f the early B e e t h o v e n piano sonata below. Passing motion within dominant harmony, generating a4 c h o r d , c o m b i n e s w i t h extensión i n m u s i c a l s p a c e . T h e result is quite d r a m a t i c . T h e r e a r e t h r e e levéis o f a c t i v i t y , e a c h m o v i n g at a d i f f e r e n t speed. I n t h e highest register, t h e melody built o n a n arpeggiation o f t h e chords animates t h e m with Ps a n d N s . This melody has the largest n u m b e r o f notes t o t h e beat. T h e i n n e r p a r t rises against i t , i nc o n t r a r y m o t i o n . I t m o v e s in 3rds t h r o u g h t h e d o m i n a n t ; y o uhear 3 - 4 I 5 . I n an instrumental doubling, t h e left-hand part includes grace notes that contain t h e complete p o l y p h o n y . T h e r e p e a t e d A i n t h e bass tells y o u plainly that t h e entire three measures a r et obe h e a r d as d o m i n a n t h a r m o n y . T h e4c h o r d plays its r o l e as passing c h o r d w i t h i n t h a t d o m i n a n t .
Piano Sonata, O p . 10, No. 3, I I
BEETHOVEN
n d:
V
i—3
i
3 F
126
i—1
f I N SEMICADENCE T h u s f a r y o u h a v e seen the 4 c h o r d i n authentic cadenees. T h e dissonant c h o r d m a y also b e part o ft h e V that's t h e goal o f a semicadence. M a n y antecedent phrases e n d with such a cadenee, followed b y a consequent phrase concluding w i t h a n authentic cadenee. C o m p a r e b o t h uses o f 4 i n t h e next e x a m p l e .
% IN T O N I C H A R M O N Y O n eo fthe early i n n o vations o f t h e Classical style w a s a s i m p l e w a y o f extending t h e tonic using a pair o fNs. T w o upper voices m o v e i n p a r a l l e l 3 r d s o r 6 t h s o v e r a s t a t i o n ary bass n o t e . T h i s m o t i o n g e n e r a t e s a n e i g h b o r % chord. XE
Piano Sonata K . 331,1, ¡43
=8= 5 3
MOZART
1
5 3
6 4
5 3 XE
A AAA
liliÉ
m 1
w
m
6 5 4 3
6 4 XE
A f a m o u s e x a m p l e is i n a n e a r l y H a y d n w o r k below. T h i s m o v e m e n t is s o m e t i m e s called " S e r e nade." T h e c o m p l e t e v o i c e l e a d i n g i s i n t h e t h r e e lower i n s t r u m e n t s . T h ep o l y p h o n i c m e l o d y o f t h e first v i o l i n a l s o c o n t a i n s m o s t o f t h e h a r m o n y . T h e basic p o l y p h o n y o f t h e first t w o a n d o n e h a l f measures is s h o w n . The same motion, i n a different elaboration, begins t h e t h i r d p h r a s e o f t h e M o z a r t s o n a t a s e e n earlier.
i JJJ
fie V
JJJ
P:8 7 6 5 4 3 PV The m e l o d y starts o n 5 a n d m o v e s 5 - 6 - 5 . T h e N F U , 6 , i s i t s e l f e l a b o r a t e d w i t h a filled 3 r d . T h e upper line o f t h e l e f t - h a n d part reinforces t h e melody at t h e octave, a f o r m o fi n s t r u m e n t a l d o u bling o f t e n f o u n d i n p i a n o m u s i c . O b s e r v e t h e semicadence, w i t h a n o t h e r % w i t h i n d o m i n a n t h a r mony.
T h e first p h r a s e Q—4) i s p u n c t u a t e d b y a s e m i c a d e n c e . I n 4 t h e g o a l c h o r d i s e x t e n d e d w i t h §; t h e
SE
I
-
I
dissonance is a n P .T h e second phrase ends w i t h a perfect authentic cadenee. I n8 a (suddenly quiet) 4 begins d o m i n a n t h a r m o n y . A s i n 4 , t h e disson a n c e isa n P . String Quartet, Op. 5, No. 2, I I
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A R P E G G I O 4 H o w to understand the4th between bass a n d u p p e r v o i c e i n t h i s e x c e r p t ? SCHUBERT
E c o s s a i s e , O p . 1 8 , N o . 1 , [46]
1 •
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1
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m
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ers. A c t u a l l y t h e h a r m o n y c h a n g e s s l o w l y , as i n m a n y s i m p l e p i e c e s . T h e first t w o m e a s u r e s a r e b u i l t o n t o n i c h a r m o n y ; t h e t h i r d is a l l d o m i n a n t . H e r e t o o t h e s k i p is w i t h i n t h e c h o r d . T h e f o u r t h measure returns to t h e tonic. W H E N IS A 4 N O T A | ? S o m e d m e s w h a t a p p e a r s to b e a c h o r d i s n ' t t h a t a t a l l . I f t h e n o t e s o f t h e t o n i c t r i a d a r e s t a t e d s o t h a t t h e bass is h e a r d last, y o u ' l l see a %o n t h e page f o r a m o m e n t . B u t w h e n t h e bass e n t e r s , t h e t o n i c c h o r d is c o m p l e t e d a n d you realize that t h e r e w a s i n fact a n arpeggiated \ c h o r d . T h e first m e a s u r e o f t h e s o n g d i s c u s s e d o n p a g e 1 2 4 is a g o o d e x a m p l e . T h e bass C i n m i d - J . d o e s n ' t r e p r e s e n t a c h o r d change but an arpeggiation o f I . W h e n the l o w F is r e a c h e d i n t h e n e x t m e a s u r e t h e c h o r d h a s b e e n stated completely. 6
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D o e s t h e h a r m o n y c h a n g e w h e n t h e bass skips back and f o r t h between 1 a n d 5? Clearly i t does n o t ; t h i s bass m o t i o n is p u r e l y m e l o d i c . T h e E t is a n e l a b o r a t i o n o f A k S i n c e t h e bass s k i p is w i t h i n t h e f r a m e w o r k o f t h e tonic triad, w e m a yconsider it a f o r m o f a r p e g g i a t i o n . T h i s i s t h e arpeggio %, t h e " o o m - p a h " o f band marches, beloved o f tuba play-
O" Worksheet 37
50 Diatonic 7th Chords We will n o w consider all the diatonic 7 t hchords i n major a n d minor. A s y o u saw i n the study o f the V , 7 t h chords result f r o m passing o r neighbor notes that became attached t o triads. T h e most u s e f u l f o u r - n o t e c h o r d is V , w h i c h b e c a m e t h e n o r m a l f o r m o f d o m i n a n t h a r m o n y i n t h e latter part o f t h e eighteenth century. B u t 7 t h chords m a y b e b u i l t o n a n y d e g r e e o f t h e m a j o r scale b y a d d i n g a 3 r d t o t h a t scale degree's t r i a d . 7
7
i
7
n
7
m
7
rv
7
v
7
v i
type of 7th chord major 7th minor 7th dominant 7th half-diminished 7th diminished 7th
7
v n
7
In building 7 t h chords i n the m i n o r mode w e i n c l u d e t h e l e a d i n g n o t e i n t h e t w o places w h e r e i t n o r m a l l y occurs:
p ¿ y i n 'ü'8 0 4 i
m3rd, M3rd, m3rd, m3rd, m3rd,
n
7
7
m
rv
7
v
7
v i
7
v n
7
In theory, a n y o f these chords m a y appear i n a n y o f t h e f o u r possible positions, w i t h a n y m e m b e r o f t h e c h o r d s e r v i n g as bass n o t e . I n p r a c t i c e , o n l y a f e w o f t h e diatonic chords listed have p r o v e n useful. B e f o r e l o o k i n g at t h e i r uses, h o w e v e r , let u s r e v i e w t h e t y p e s o f 7 t h c h o r d s t h a t éxistin t o n a l m u s i c a n d c o m p a r e t h e i r s t r u c t u r e (see b e l o w ) .
interval content M3rd, m3rd, M3rd, m3rd, m3rd,
7
M3rd m3rd m3rd M3rd m3rd
in m a j o r 7
vn m i n o r
7
I , IV II , III , VI V VII 7
7
7
7
7
7
not d i a t o n i c
III , VI I , IV V II VII 7
7
7
7
7
7
A comparison of the five types with C as root
i
major 7th
minor 7th
dominant 7th
W e group t h ediatonic 7 t h chords b y harmonic usage: S i n c e a l l 7 t h c h o r d s a r e d i s s o n a n t , n o n e c a n h a v e a stable (tonic) function. I I a n d I V , i n a n y position, m a y have subdominant function. V I I i s a l e a d i n g - n o t e c h o r d . J u s t as t h e l e a d i n g n o t e p o i n t s t o w a r d t h e tonic note, so does t h e 7 t h chord built o n that leading note point t o t h e tonic chord. V I I normally moves to I . I I I a n d V I a r e m i l d l y dissonant, w i t h n o s t r o n g harm o n i c tendeney. 7
7
7
7
7
7
IN ONE MOTION T h e n e x t e x a m p l e s h o w s most o f the diatonic 7th chords i no n elong motion.I i s n ' t i n c l u d e d , s u g g e s t i n g t h a t it's n o t u s e f u l i n this style. Y o u m a y r e c o g n i z e t h ebass m o t i o n i n 5ths, a typical eighteenth-century pattern. 7
Piano Sonata K . 332, I
half-diminished m i n o r 7th
Observe h o w each c h o r d has the d u r a t i o n o f o n e measure until b .T h e n M o z a r t speeds u p t h e rate of chord change with a hemiola. T w o measures i n 4 ( 5 a n d 6.) a r e h e a r d a s o n e m e a s u r e i n §. N o w t h e chords change o nt h ehalf note, so that y o u hear three chords i ntwo measures. M o z a r t makes t h e hemiola clear w i t h his d y n a m i c m a r k i n g s . SUBDOMINANT 7 T H CHORDS T h r e e 7 t h chords a r euseful i nexpressing subdominant harmony: Ilf,II , and I V . 7
7
II5 B y f a r t h e m o s t v a l u a b l e i s I l f , w h i c h c o m e s into existence n o t b y a process o f " i n v e r t i n g " a root-position chord but b y a linear technique, t h e SUS. F u n e r a l M u s i c f o r Queen
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7
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7
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7
T h e basic p o l y p h o n y is e l a b o r a t e d w i t h S U S s . T h i s e x a m p l e shows a n intensification o fthe S U S proc e d u r e . N o s o o n e r is a S U S r e s o l v e d i n o n e voice t h a n a n o t h e r is h e a r d i n a d i f f e r e n t voice. A sa r e s u l t , d i s s o n a n c e i s c o n t i n u o u s f o r five m e a s u r e s : y o u hear a succession o f diatonic 7 t h chords.
Following t h er h y t h m markings, y o u find that t h e soprano C is p r e p a r e d o na w e a k beat; i tenters a dissonant relationship with t h e tenor o n t h e next (strong) beat; a n d i t resolves t h e dissonance b y m o v i n g d o w n stepwise o n t h e n e x t (weak) beat. T h e intervals between soprano and tenor a r e 6th— 7 t h — 6 t h . T h i s i s t h e elassie S U S p r o c e d u r e , a n d here i t generates t h e dissonant c h o r d w e cali I l f . I n t h eprogression, this chord prepares t h ed o m i nant. O n ereason that I l f is such a n effecdve d o m i n a n t p r e p a r a t i o n is t h a t t h e r e s o l u t i o n o f t h e 7th ( o r 2nd) is t o t h eleading note, a vital part o f dominant harmony. W h i l e the Purcell example shows the dissonance as a 7 t h , a n o t h e r w i l l s h o w t h a t d i s s o n a n c e a s a 2nd. Chórale No. 85
si
m
BACH
H e r e t h eintervals between soprano a n d alto i n t h e S U S a r e 3 r d - 2 n d - 3 r d . I l g is Bach's n o r m a l w a y of preparing V . T h e m o v e I l f - V ist y p i c a l o f B a r o q u e m u s i c . B y the latter part o fthe eighteenth century composers w e r e interested i n V as t h ecadential d o m i n a n t . The pattern grew t o become Ilf—V(4— )—I. N o w the dissonance i n I l f isn't a p r e p a r e d S U S , b u t is entered m o r e directly.
Plein Jeu
DE
17
4—
7
7
iContradanse in E t , |44B[
6
i
i
r v
7
ll
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d o m i n a n t . It's f o l l o w e d b ya n even stronger d o m i n a n t p r e p a r a t i o n , V f o fV (seepage 157).
fes I
Vf
1
BEETHOVEN
13
m
f rT I
GRIGNY
i á
ca i •
ns
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T h e r i s i n g bass l i n e , 3 - 4 - 5 , d r i v e s o n t o w a r d t h e cadenee. O v e r 4 , I l f h a st h e typical subdominant function o fm o v i n g away f r o m t h etonic a n d preparing the dominant.
LEADING-NOTE CHORDS T h e l e a d i n g n o t e is a n active scale m e m b e r ; t h e 7 t h c h o r d b u i l t o n that n o t e is also a v e r y active (dissonant) c h o r d . I n t h e m a j o r m o d e i ttakes t h ef o r m o f a h a l f - d i m i n i s h e d 7th chord. I n t h e m i n o r it'sa diminished 7 t h chord. T h o s e t w o chords a r et h e most dissonant i n the vocabulary o f Classical a n d early R o m a n t i c music, a n dthey g r o w i n importance i n t h e later R o m a n t i c style. T h e l e a d i n g note o f t e n f u n c t i o n s as a N b e t w e e n two statements o ft h e tonic note. Similarly, V I I may be a neighbor chord between t w o statements o f I . Since this is as t r u e o f t h e m a j o r m o d e as o f the m i n o r , w eshow b o t h i n t h eexample a tt h e t o p of page 131. T h e m a j o r - m o d e illustrations, (a) a n d (c), s h o w V I I a s a h a l f - d i m i n i s h e d 7 t h c h o r d . I n m i n o r , (b), (d), a n d (e)a r ed i m i n i s h e d 7 t h chords. 7
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II T h eroot position o f t h e 7 t hchord built o n 2 a p p e a r s o n l y i n a sequential p r o g r e s s i o n (such as the o n eo npage 129) until t h e nineteenth century. T h e n i tf o u n d its w a y i n t o t h et o n a l v o c a b u l a r y as yet a n o t h e r d o m i n a n t p r e p a r a t i o n . I n t h e e x a m p l e b e l o w y o u h e a r I I as p a r t o fa l o n g s u b d o m i n a n t that also includes I V a n d I V . ( T h e s u b d o m i n a n t is a b b r e v i a t e d S . )
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I n b o t h (a) a n d(b) t h e best w a y t o a v o i d parallel 5ths is t o d o u b l e t h e 3 r d i nt h e t o n i c t r i a d . W h e n t h e t o p l i n e starts o n 1 , i n (c)a n d (d), t h e r o o t is d o u b l e d . (e) s h o w s a d i f f e r e n t u s eo f V I I : t h e bass D is a P , a n d t h e c h o r d over it, V l l f , conneets I and I . J u s t as i n t h e case o f t h e V c h o r d , t h e r e s o l u t i o n o f t h e d i m i n i s h e d 7 t h c h o r d is g u i d e d b y t h e r e s o l u t i o n o f its t r i t o n e s . M o s t o f t e n : 7
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IV T h i s c h o r d israrely heard, b u t i tc a n b e used to g o o d effect. A b o v e is t h e e n d o f a B a r o q u e o r g a n p i e c e b y D e G r i g n y . B e f o r e t h e final c a d e n e e , a p r e l i m i n a r y cióse V f - I b r i n g s t h e t o p l i n e to 3 , w i t h t h e a l t o s u s p e n d e d o n E. A s i t m o v e s t o D , t h e bass d r o p s a 5 t h , c r e a t i n g a S U S w i t h t h e top line. T h e S U S c h o r d is I V , w h i c h m o v e s t h e h a r m o n y away f r o m t h e tonic a n d toward t h e
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Y o u o c c a s i o n a l l y find a n a u g m e n t e d 4 t h m o v i n g to a perfect 4 t h , i n similar m o t i o n . P e r h a p s t h e first c o m p o s e r t o s e e t h e d r a m a t i c possibiliües o f t h e d i m i n i s h e d 7 t h c h o r d w a s G l u c k . Y o u m a y o b s e r v e b o t h t h e tensión a r o u s e d b y t h e c h o r d a n d t h e n o r m a l ways o f preparing a n d r e s o l v i n g the dissonance i n a celebrated excerpt.
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V l l f is a n e i g h b o r c h o r d t h a t c o m e s f r o m a n d returns to I . T h e augmented 4th between tenor a n d bass c o m e s f r o m a n d r e s o l v e s t o a 6 t h . B u t s i n c e t h e c o m p o s e r w a n t e d t h e m e l o d y t o f a l l El»— D—C, t h ea u g m e n t e d 4 t h between soprano a n d alto moves t oa perfect 4 t h . A l l o f 7 ist a k e n u p w i t h V l l f , a n e i g h b o r c h o r d to the I that precedes a n dfollows it. T h e tritones resolve n o r m a l l y , a n d b o t h statements o f I include d o u b l e d 3 r d s . T h e r e p e t i t i o n o f V l l f i n 9 is v a r i e d in o n eway: soprano a n d tenor exchange their notes. All in all, G l u c k derives a great deal o f expressivity o u t o f t h e m o t i o n s t o a n d f r o m t h e several positions o fthe d i m i n i s h e d 7 t h c h o r d , V I I . T h a t d i s s o n a n t c h o r d g i v e s t h e h a r m o n y a tensión a n d t h e a t r i c a l i t y t h a t a r e h i g h l y appropriate for the dramatic situation. A l t h o u g h scored f o r chorus a n d orchestra, this e x c e r p t still falls i n t o t h e S A T B f o r m a t . T h e c o m p l e t e p o l y p h o n y is i n t h e c h o r u s , w i t h t h e o r c h e s t r a simply d o u b l i n g t h e lines. B e y o n d t h eS A T B form a t , a d i f f e r e n t u s e o f t h e d i m i n i s h e d 7 t h c h o r d is heard in a piano sonata. 6
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T h i s noble music expresses t h e grief o f Orpheus at t h edeath o fhis beloved Euridice. M u c h o f the power o ft h e music comes from thediminished 7th chords. T h e c h o r d i s first h e a r d i n 4 , w h e r e V I I a c t s a s a n e i g h b o r c h o r d t o I . O b s e r v e t h a t o n t h e last beat o f j$ G l u c k h a s p r e p a r e d t h e d i m i n i s h e d 7 t h c h o r d w i t h a tonic triad that includes a doubled root. T h e d o u b l i n g is b e t w e e n t h e alto a n d tenor. T h e tritones resolve normally. T h e m o t i o n f r o m 5 t o 6 isn't quite t h e same because different positions o f the chord are heard. 7
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In themajor mode V I I , a half-diminished 7 t h c h o r d , r a r e l y appears. O n e b r i e f e x a m p l e is i n t h e finale t o a C l a s s i c a l o p e r a . T h e h a l f - d i m i n i s h e d 7 t hc h o r d resolves normally. T h e t r i t o n e b e t w e e n t h eo u t e r voices, a d i m i n i s h e d 5th, contracts t oa 3 r d (lOth). T h e contrary m o t i o n o f t h e f e m a l e voices, descending i n parallel 6ths, against t h e m a l e voices, ascending i n parallel 3rds, leads t oa triad w i t h d o u b l e d 3 r d . O* Worksheet 38
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51 Cadenees 2 I n C h a p t e r 2 5 w eintroduced cadenees, using consonant triads only. L e tu s n o w take a second look at c a d e n e e s , putüng i n t o a c t i o n t h e d i s s o n a n t c h o r d s we've studied since t h e n . I n c a d e n e e s , d i s s o n a n t c h o r d s créate a g r e a t e r sense o f p u n c t u a t i o n t h a n consonant ones. F o r that reason, b o t h t h e % c h o r d a n d V carne t o play a n i m p o r t a n t part i n t h e Classical style. H a y d n , M o z a r t , and Beethoven looked f o rways t o define phrases a n d sections m o r e decisively. S t r o n g cadenees, w i t h active elements i n t h echords, served t h e purpose a d m i r a b l y . Let's e x a m i n e s o m e o ft h e possibilities in authentic cadenees a n d semicadences. 7
(a) P e r f e c t a u t h e n t i c c a d e n e e , t y p i c a l o f t h e B a c h chór a l e . T h e p r e p a r a t o r y I l f is a S U S c h o r d , w h o s e r e s o l u t i o n i s t o t h e l e a d i n g n o t e . T h e 7 t h a p p e a r s as a P , n o t as a c h o r d m e m b e r . (b) P e r f e c t a u t h e n t i c c a d e n e e , t y p i c a l o f t h e Classical style. T h e % c h o r d is o n t h e s t r o n g beat, a n d V f o l l o w s . B y u s i n g figures w e c a n s h o w t h e c o m p l e t e voice leading. (c) I m p e r f e c t a u t h e n t i c c a d e n e e . T h e f o r m o f t h e d o m i n a n t isn't V b u t V . t h e t o p l i n e rises t o 3 . T h u s t h e r e i s less s e n s e o f finality t h a n i n t h e p e r f e c t cadenee. 7
S E M I C A D E N C E T h e semicadence has V ( n o t V ) as its goal. H e r e % m a y p e r f o r m itsf u n c t i o n o f inidadng dominant h a r m o n y a n dleading smoothly to t h e goal. 7
A U T H E N T I C CADENCE I n t h e most usual authentic cadenees i n m a j o r a n dm i n o r , subdominant h a r m o n y prepares t h ecadential d o m i n a n t .
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As t h em e l o d y comes t o a t e m p o r a r y resting point o n 2 , t h e h a r m o n y comes t o a t e m p o r a r y resting p o i n t o n V . T h e combination o ftop-line 2 and V a t t h e s e m i c a d e n c e i s o n e t h a t y o u ' l l o f t e n find. I t creates a sense o f t e m p o r a r y closure, with more to c o m e , s o it's p a r t i c u l a r l y u s e f u l a t t h e e n d o f a n antecedent phrase. O n e m o r e l o o k a t a f a m o u s e x a m p l e below will enable y o u t o compare t h emusical meaning o f d i f f e r e n t t y p e s o f c a d e n e e . T h e r e a r e five c a d e n e e s in t h et h e m e . N o t w o a r e quite alike.
STRONG-BEAT A N D WEAK-BEAT ENDINGS A n o t h e r difference between cadenees i n t h e M o z a r t example is i nt h e r h y t h m i c placement o f the goal c h o r d . I n ( a ) , (c),a n d( d )that goal is r e a c h e d o n a w e a k b e a t . T h e e f f e c t is less f o r c e f u l t h a n i n (b) a n d (e), w h e r e t h e g o a l c h o r d is r e a c h e d on a s t r o n g beat a n d is m o r e conclusive. S U R V E Y O F C A D E N C E S Y o u will n o w survey cadenees i n several f a m i l i a r pieces. W e ' r e i n t e r ested i n the type o f cadenee, the voice leading, a n d the c h o r d content i n each. Refer t o the A n t h o l o g y . P u r c e l l D u e t , [ 2 3 ] , 1 4 - 1 5 . T h e first s e c t i o n o f the piece ends w i t h a perfect authentic cadenee, l e a d i n g (first) t o a r e p e t i t i o n o f t h e section a n d ( s e c o n d ) t o t h e n e x t s e c t i o n . A t t h e e n d o f 14, w h e n t h e bass a r r i v e s a t 5 , t w o voices a r e a 6 t h a n d a 4 t h above it. I nthe r e s o l u t i o n o f the % chord, t h e first a l t o m o v e s d o w n a s t e p , s o t h a t t h e 6 t h m o v e s b e f o r e t h e 4 t h . T h e l a s t s i x t e e n t h i n t h e first a l t o p a r t is a nA N ( a n t i c i p a t i o n ) o f t h e u p c o m i n g t o n i c note. T h a t A N , D , coincides w i t h t h e C f that results f r o m the second alto's r e s o l u t i o n o f the 4 t h . T h e clash a d d s zest t o t h e c a d e n e e . C o u p e r i n , P r e l u d e , 24,17-18. The entire two measures constitute a cadenee, w h i c h is perfect a n d a u t h e n t i c . T h e d o m i n a n t o f 17_ i s consiáerably e l a b o r a t e d , b u t t h e bass is c l e a r l y u n d e r t h e c o n t r o l of 5 . T h i s m i n o r - m o d e piece ends w i t h a m a j o r triad, another example o f the Picardy 3rd.
(a) S e m i c a d e n c e i n 4 , t h e t o p l i n e d e s c e n d i n g t o 2. T h e 4 c h o r d e a s e s i n t o d o m i n a n t h a r m o n y . T h e — u effect is e n h a n c e d by M o z a r t ' s slur. (b) P e r f e c t authenüc c a d e n e e i n 8, b a l a n c i n g t h e p r e v i o u s semicadence. T h e t o p l i n e descends 3 - 2 - 1 . W h i l e t h e 4 is i n a s t r o n g r h y t h m i c position, it's p l a y e d s o f t l y . T h i s d e c i s i v e c a d e n e e e n d s t h e first section o f the theme. (c) A n o t h e r s e m i c a d e n c e i n _12. T h e d o m i n a n t is p r e p a r e d b y its o w n l e a d i n g - n o t e c h o r d , V I I o f V . T h e top line descends 3 - 2 . (d) I f t h i s w e r e a n o t h e r p e r f e c t a u t h e n t i c cadenee t h e piece w o u l d b e over. M o z a r t adds s o m e t h i n g extra, e x t e n d i n g t h e phrase w i t h a n imperfect authentic c a d e n e e i n _16. T h e t o p l i n e a s c e n d s 2 - 3 , a n d t h e m e l o d y still has someplace t o go. (e) T h e p h r a s e a n d t h e t h e m e c o m e t o a cióse w i t h a p e r f e c t a u t h e n t i c c a d e n e e i n 1 8 . T h e t o p l i n e descends 3 — 2 — 1 . T h e 4 c h o r d , n o w f o r t e , h a s its 4 t h b e t w e e n s o p r a n o a n d bass, w h e r e it's m o s t e f f e c t i v e . 6
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C o u p e r i n , La Lúgubre, [ 2 5 ] . T h e s a m e p e r f e c t a u t h e n t i c c a d e n e e is h e a r d t h r e e t i m e s i n this piece. I t a p p e a r s o n t h r e e d i f f e r e n t p i t c h levéis, e a c h t h e g o a l o f a p h r a s e . T h e first e n d s i n V ; g i s t h e g o a l o f the perfect authentic cadenee. T h e next phrase is i n t h e r e l a t i v e m a j o r o f V , a n d 1 6 i s a p e r f e c t a u t h e n t i c c a d e n e e i n B t . T h e final c a d e n e e r e t u r n s t o t h e t o n i c ; t h e last p e r f e c t a u t h e n t i c c a d e n e e is ( t h e o n l y o n e ) i n c. R a m e a u , G a v o t t e , [28]. T h e g a v o t t e consists o f f o u r p h r a s e s . T h e first t w o a r e f o u r m e a s u r e s each; t h eo t h e r t w o , eight. E a c h phrase ends w i t h a c a d e n e e . T h e first f o u r m e a s u r e s a n n o u n c e t h e basic f u n c t i o n s o f a, e n d i n g w i t h a perfect a u t h e n tic c a d e n e e t h a t i n c l u d e s V . T h e s e c o n d p h r a s e e n d s w i t h a s e m i c a d e n c e . T h i s l e a d s first t o a repetition, then t o the second section. A f t e r t h e d o u b l e b a r t h e h a r m o n y starts o f f i n I I I . 1 5 - 1 6 a r ea perfect authentic cadenee i n t h e relative m a j o r . T h e last p h r a s e r e t u r n s t o the m a i n tonic, a n d t h e last c a d e n e e , p e r f e c t a u t h e n t i c , c o n firms a. 7
H a n d e l , C o u r a n t e , .35. A g a i n three cadenees m a r k t h e d i v i s i o n s o f t h e m u s i c . T h e first s e c t i o n o f this b i n a r y piece ends i n V , w i t h a perfect a u t h e n t i c c a d e n e e i n 1 8 - 1 9 . T h e c a d e n e e is i m m e d i a t e l y r e p e a t e d , s t r e n g t h e n i n g B as t o n i c . T h e r e ' s a n element o f surprise i n t h e cadenee, f o r t h e music heard u p t othis point has been m i n o r , while t h e g o a l c h o r d is m a j o r . N o t surprisingly, t h enext phrase moves to III. I n 2 2 - 2 3 t h e p e r f e c t a u t h e n t i c c a d e n e e is n o w t r a n s p o s e d t o G . W h e n t h e t o n a l i t y r e t u r n s t o e, there's another double cadenee, similar t o the one t h a t c o n c l u d e d t h e first s e c t i o n , c o n v e y i n g a s t r o n g sense o f finality. S c a r l a t t i , , S o n a t a i n E , [38], T h e o r i g i n a l i t y o f Scarlatti's h a r m o n i c t h i n k i n g is seen i n h i s treatm e n t o f phrase a n d cadenee. T h emusic spends very little t i m e i nt h etonic, m o v i n g quickly t o t h e d o m i n a n t . I n B , _17 e n d s w i t h a s e m i c a d e n c e . S o d o e s 21, a n d s o d o e s _ 2 5 ; i n t h e l a t t e r t w o , t h e s u s p e n d e d 4 t h resolves u p a step, a characterisde o f t h e composer. A perfect authentic cadenee i n 3 0 — 3 1 c o u l d easily e n d t h esection. I n s t e a d , Scarlatti i n v e n t s a n o t h e r series o f m o t i o n s , e n d i n g w i t h yet another semicadence i n 4 6 . Following that— the listener has n o idea w h a t t o expect next—the measures that stabilized V ( 2 6 - 3 1 ) a r e repeated ( 4 7 - 5 1 ) . b u t t h e t r e a t m e n t o f t h e cadenee is different. W h e r e t h e r e was a full stop after t h e cadenee i n 3 1 , t h ecadenee i n 51—52 does not signal the end. T h e eighth notes rush o nand the cadenee is r e p e a t e d , r e a c h i n g i t s final g o a l i n 5 6 . T h e l a s t five m e a s u r e s a r e a n e x t e n s i ó n o f B a s t o n i c .
C . P . E . B a c h , S o n a t a m o v e m e n t , [39]. T h i s e a r l y Classical piece is m a d e o f phrases o f d i f f e r i n g lengths, a n ddifferent cadenees m a r k phrase endings i n different ways. T h e o p e n i n g eight-measure phrase, lightly punctuated at its m i d p o i n t , ends with a n imperfect authentic cadenee. A chain o f sixteenth notes moves t h r o u g h t h ecadenee, f r o m 8 t o 9. 16 arrives at I I Iwith a n imperfect authentic c a d e n e e , b u t t h a t w o n ' t d o t o e n d t h e section; a second cadenee, perfect a n d authentic, follows a t once i n a l o w e r register, very softly. T h e second h a l f o f the piece begins b y stabilizing I I I , ending with a n imperfect authentic cadenee in 2 2 . T h e n e x t p h r a s e finds i t s w a y b a c k t o I , e n d i n g w i t h a semicadence that could lead quickly t o t h e conclusión. I n s t e a d t h e c o m p o s e r s t r e t c h e s o u t t h e music w i t h a m o t i o n t h r o u g h I V , getting back t o V i n 3 3 . T h a t doesn't e n dt h e piece either, f o r i n 35 w e have a deceptive cadenee. It's n o t until t h e last phrase, w h i c h begins l o u d , t h a t t h e piece e n d s w i t h a perfect a u t h e n t i c cadenee, v e r y soft. L i k e t h e M o z a r t t h e m e , [43], t h i s p a g e o f m u s i c is a s t u d y in ways t o m o v e t h r o u g h cadenees while using them for punctuation. W e b e r , song, |45|. T h e m u s i c e n d s w i t h t w o cadenees, both perfect authentic, b u tdifferent i n t h e i r t i m i n g . T h e first, 1 6 — 1 8 . e x t e n d s t h e d o m i n a n t i n a teasing fashion w i t h chromatic Ps a n d INs. A f t e r the delaying action, the second cadenee e n d s b r i s k l y w i t h t h e last t w o c h o r d s o f t h e song. B r a h m s , " H o w D a r k l y t h eW a t e r Flows," |49A|. T h e piano a c c o m p a n i m e n t t o this folksong moves in eighth notes t h r o u g h o u t . W h e n t h e m e l o d y r e a c h e s i t s g o a l o n t h e first b e a t o f 8 t h e h a r m o n y reaches I . B u t t h e f o r w a r d m o t i o n doesn't stop, because t h e eighth notes push o n .T h a t m o t i o n , combined with t h etwofold S U S , moves t h e music t h r o u g h the cadenee. W h e n the piano part reaches its g o a l y o u h e a r a s e m i c a d e n c e , V p r e c e d e d b y its o w n V I L A t the very end, t h eprepared d o m i n a n t resolves t o a tonic i n a perfect authentic cadenee. E v e n here there are three dissonant notes over the bass. T h e i r r e s o l u t i o n o n a w e a k beat c o n c l u d e s the song. Brahms, " H o w D a r k l y t h eW a t e r Flows," |49B|. I n t h e c h o r a l versión o f t h e s a m e f o l k s o n g , t h e r e ' s n o p i a n o p a r t t o continué t h e a c t i o n a f t e r t h e m e l o d y has r u n itscourse. T h e perfect authentic c a d e n e e is p r e c e d e d b y a n i n t e r e s t i n g a n d q u i t e beautiful dominant preparation, colored bya S U S between soprano and alto.
O* W o r k s h e e t 3 9
52 A Repertory of Basic Polyphonic Motions B y polyphonic motions w e m e a n a c h o r d g r o u p o r p r o g r e s s i o n , i n c l u d i n g t h e s o p r a n o a n d bass t h a t c o n t r o l t h e flow o f t h e c h o r d s . C e r t a i n o f t h e s e m o t i o n s a r eh e a r d i n m u s i c quite frequently. I n l e a r n i n g t h e m y o u w i l l b e c o m e f a m i l i a r w i t h spec i f i c p a t t e r n s f o u n d i n m a n y t o n a l pieces B A S S IN 5 T H S A f u n d a m e n t a l progression i n t o n a l m u s i c is b u i l t o n bass m o t i o n i n descending 5ths. T h e progression includes all the diatonic c h o r d s o f a k e y . I n p r a c t i c e , t h e b a s s m a y altérnate f a l l i n g 5 t h s w i t h t h e i r inversión, r i s i n g 4 t h s . A l l t h e bass i n t e r v a l s a r e p e r f e c t w i t h a single e x c e p d o n i n each m o d e : i nthe major, the interval between 4 a n d 7 is a tritone; so i s t h e i n t e r v a l b e t w e e n 6 a n d 2 i n t h em i n o r . I n itsdiatonic form, explained here, the progression was w i d e l y used in the eight e e n t h c e n t u r y . A c h r o m a t i c versión o f t h e s a m e progression, as it was h e a r d i n nineteenth-century m u s i c , i s e x p l a i n e d i n Gradus, B o o k T w o .
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model o fthe fundamental m o t i o n o ftonal harmony. Notice that the t r i t o n e is treated differently i n m a j o r a n d m i n o r . I n m a j o r , V I I i s t o l e r a t e d i n 2, i n w h i c h t h e bass skips u p a n a u g m e n t e d 4 t h . B u t I I i n t h e m i n o r is v i r t u a l l y u n k n o w n . I I takes its place i n the progression, b r e a k i n g the chain o f 5 t h i n t h e b a s s . I n m i n o r , t h e l e a d i n g n o t e is o b l i g a t o r y at t h e c a d e n e e : t h e d o m i n a n t is V . I n m u s i c a l w o r k s t h e p r o g r e s s i o n i n 5 t h s is e l a b orated i nthe ways that y o u studied i n Part Five a n d l a t e r s e c t i o n s o f Gradus. A s i m p l e e m b e l l i s h m e n t o f t h e p r o g r e s s i o n is f o u n d i n t h e o p e n i n g o f this B a r o q u e h a r p s i c h o r d piece. 6
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T h e t o p l i n e starts w i t h 5, t h e c u s t o m a r y p o s i t i o n that facilitates c o n t r a r y m o t i o n between the o u t e r voices. A s m a l l a m o u n t o f e m b e l l i s h m e n t is all t h a t ' s n e e d e d t o créate a n a t t r a c t i v e m e l o d y . T h e perfect a u t h e n t i c cadenee is e m b e l l i s h e d w i t h a S U S , w h o s e r e s o l u t i o n is t h e l e a d i n g n o t e . T h e progression itself constitutes the c h o r d cont e n t o f H a n d e l ' s P a s s e c a i l l e , ¡34]. A s y o u o b s e r v e d i n s t u d y i n g t h e p i e c e , •? p o s i t i o n s o f t h e t r i a d s replaced §positions f r o m time to time. T h i s means t h a t t h e bass l i n e c h a n g e d d u r i n g t h e c o u r s e o f t h e composition, but the chord progression did not.
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T h e p r o g r e s s i o n m a y b e d i v i d e d into t w o elem e n t s : first t h e r e ' s a l o n g m o t i o n a w a y f r o m t h e t o n i c b e g u n b y I V a n d c o m p l e t e d by I I . I I also p r e p a r e s t h e d o m i n a n t . T h e s e c o n d e l e m e n t is t h e a u t h e n t i c cadenee. T h u s t h e progression begins w i t h t h e tonic, m o v e s a w a y f r o m it, and returns t o it w i t h a cadenee. T h e p r o g r e s s i o n i n 5ths is a
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A n e n t i r e p h r a s e is m a d e o f t h e progression i n 5ths. Y o u hear a n accompanied duet, t w o intert w i n e d m e l o d i e s a b o v e a w a l k i n g bass. A l l t h e diatonic chords o f f a r e included except I . I t seems t h a t a l t h o u g h M o z a r t is u n w i l l i n g t o u s e I I , he will include I I i n a sequential progression. A g a i n , a c h a i n o f S U S s provides c o n t i n u o u s dissonance, f r o m the second c h o r d t o the d o m i n a n t . A n earlier example shows a thicker keyboard t e x t u r e . I nC o u p e r i n ' s piece below, t h e 5ths i n t h e bass o c c u r i n t h e m i d d l e o f a p h r a s e . T h e bass w o r k s its w a y u p t o G i n m i d - J 4 (seet h e a r r o w ) a n d o n that note t h e progression begins. H e r e G 7
7
V i v a l d i ' s figured b a s s s h o w s t h e 7 t h s i n v o l v e d i n the SUSs, b u t they don't show t h e resolutions, w h i c h a r e i m p l i e d . O b s e r v e that n o tall t h e notes i n d i c a t e d b y t h e figures c a n b e f o u n d i n t h e s t r i n g parts. F o r example, i n 2 o f the excerpt, the 7 t h o n t h e first b e a t , B , i s p l a y e d o n l y b y t h e c o n t i n u o a n d does n o t a p p e a r i n the score.
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sounds n o t as tonic, b u t as the d o m i n a n t o f I V , t h e second c h o r d i n t h e series. T h i s gives t h e b e g i n n i n g o f t h e m o t i o n a n e x t r a Ímpetus. T h e S U S s i n t h e a l t o a r e i n effect despite t h e rest, because t h e ear retains t h e alto n o t e t h r o u g h t h e brief silence. L o o k i n g again a t t h e w h o l e piece, y o u see w h e r e t h e p r o g r e s s i o n i n 5 t h s fits i n t o t h e o v e r a l l s c h e m e . It starts a t t h e c l i m a x o f t h e piece a n d leads t o t h e conclusión o f t h e p r e l u d e . 8 - 5 - 6 - 3 - 4 - 1 T h e s e a r e t h e scale d e g r e e s o f a bass l i n e t h a t u n d e r p i n s a c h o r d p a t t e r n f r e q u e n t l y heard i n eighteenth-century music. T h e chord sequence is I — V — V I — I I I — I V — I . W h e n h e a r d i n a piece, i t is o f t e n f o l l o w e d b y a cadenee t o c o m p l e t e t h e p h r a s e . T h e p r o g r e s s i o n h a s a n i d e n t i t y o f its own, w h i c h i tretains even w h e n the chords a r e i n f p o s i t i o n a n d t h e bass is d i f f e r e n t . W h e n a l l c h o r d s a r e i n 3 p o s i t i o n t h e bass f o r m s a scale. W h e t h e r t h e c h o r d s a r e i n § o r f p o s i t i o n , a specific succession o f i n t e r v a l s u n f o l d s , u s u a l l y i n t h e o u t e r voices. T h e discussion b e l o w iso r g a n i z e d b ythose i n t e r v a l successions. 10THS-12THS W h e n t h e t o p l i n e starts w i t h 3 and all chords are i n | position, the intervals between s o p r a n o a n d bass a r e , a l t e r n a t e l y , l O t h s a n d 12ths.
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T h i s is f o u r - p a r t w r i t i n g i n cióse p o s i t i o n . T h e t w o u p p e r voices s t a n d o u t , m o v i n g m o r e r a p i d l y t h a n t h e lower voices. T h e o n l y d i s s o n a n c e s h e a r d a r e Ns, which sound r a t h e r p r e t t y i n 3rds. I n thee x a m p l e b e l o w , J . S. B a c h elaborated e v e r y other bass n o t e w i t h a N , u s i n g t h a t n o t e t o support anembellishing f chord. T h e progression is f o l l o w e d b y a c a d e n e e . P A R A L L E L 10THS T h e s a m e c h o r d p r o g r e s s i o n is o f t e n h e a r d w i t h i n a f r a m e w o r k o f d e s c e n d i n g scales a l O t h a p a r t . | - a n d f - p o s i t i o n t r i a d s altérnate. T h e i l l u s t r a t i o n i s i n t h r e e v o i c e s .
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A n example below by M o z a r t shows h o w simplicity a n d p r o f u n d i t y m a y g oh a n d i nh a n d i naw a y that is, truly, magic. H e r e t h eparallel lOths a r e h e a r d b e t w e e n t h e bass a n d a l t o . T h e o u t e r voices are i na different interval relationship, alternating 5 t h s a n d 6 t h s . A t t h e last, t w o n o t e s o f t h e p r o g r e s sion, E t - D o f t h e t o p line, a r e shifted u pa n octave to t h emelody. A d o m i n a n t chord follows, so that the phrase ends with a semicadence.
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O n c e a g a i n t w o i n t e r v a l successions u n f o l d s i m u l t a n e o u s l y : p a r a l l e l l O t h s b e t w e e n t h e bass a n d t h e alto, alternating 5ths a n d 6ths between t o p line a n d bass. T h e p o l y p h o n i c m e l o d y draws o n notes f r o m b o t h s o p r a n o a n d a l t o o f t h e basic p o l y p h o n y . T h o s e n o t e s a r e c o n n e c t e d w i t h Ps, u s e d t o créate t h e r h y t h m i c m o t i v e . T h e progression persisted into early nineteenthcentury music. P i a n o Sonata, Op. 79, I I I
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I n all examples seen thus far, the f o u r chords o f t h e p r o g r e s s i o n h a v e fitted i n t o a c o m p l e t e m u s i c a l s t a t e m e n t . A t t h e t o p o f p a g e 1 4 1 , t h e r e is a p h r a s e in which t h e four chords a r e only a part o f a s t a t e m e n t . T h e p r o g r e s s i o n is c o m p l e t e d o n t h e s e c o n d s i x t e e n t h n o t e o f 3. T h e m u s i c m o v e s o n w i t h o u t pause, c o n t i n u i n g tonic h a r m o n y with I . T h e polyphonic m e l o d y expresses both soprano a n d alto lines.
m A reduction above right explains the melody and voice leading. T h e m e l o d y starts arrestingly w i t h h i g h G, a n octave above the n o r m a l posidon ( s h o w n i n t h e last t h r e e notes o f t h e sketch). T h e n G is e l a b o r a t e d w i t h a m e l o d i c t r i a d , p a r t l y filled. T h e melody's n e x t note, A ,is i n t h en o r m a l register.
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53 More Extensions of Tonic and Dominant Harmony INTRODUCTION I n seeking a broad view o f harmony w e find t h e c o n c e p t o f chord extensión particularly useful. I f you understand h o w a main c h o r d c a n b e p r o j e c t e d i n m u s i c a l t i m e y o u c a n get b e y o n d a note-by-note approach a n d begin t o grasp larger musical structures. I n this section y o u will c o n t i n u é t h e s t u d y o f c h o r d extensión i n t r o d u c e d in Chapter 2 6 . Y o u r vocabulary n o w includes a n u m b e r o fd i s s o n a n t chords, w h i c h m a k e possible m a n y m o r e chord extensions. T h e methods b y which chords may be extended aren't sepárate from e a c h o t h e r . W h i l e t h e y a r e e x p l a i n e d o n e a t a t i m e , y o u ' l l find t h a t i n m a n y pieces m o r e t h a n o n e w a y is u s e d t o u n i f y a c h o r d group around a main chord. M a n y o f t h e t e c h n i q u e s s t u d i e d i n p r e v i o u s sections a r eseen again here, b r o u g h t together under t h e h e a d i n g o f c h o r d extensión. I n p a r t i c u l a r , t h r e e o f t h e basic p o l y p h o n i c m o t i o n s o f C h a p t e r 5 2 a r e reconsidered here.
T h e illustration shows six chords b r o u g h t into one u n i t , a n extensión o f t o n i c h a r m o n y . P A R A L L E L 10THS T h e s a m e c h o r d c o n t e n t m a y be g r o u p e d i n t h e s a m e w a y , w i t h e i g h t c h o r d s i n the u n i t .
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ARPEGGIATION T h etriad i nt h em e l o d y provides a w a y o fo r g a n i z i n g that m e l o d y w i t h i n tonic h a r m o n y . T h e notes o f t h etriad m a y themselves be embellished.
PEDAL POINT O n page 9 9 t h e use o f pedal point t oextend a chord i ntime was demonstrated in early Baroque organ music. N o w w econsider i t u n d e r t h e heading o f tonic a n d d o m i n a n t harm o n y , f o rthose a r e t h echords most often f o u n d i n pedal points. T h e reason issimple: a pedal p o i n t is a n e f f e c t i v e w a y t o p r o j e c t a m a i n h a r m o n y . T w o examples a r e quite d i f f e r e n t stylistically b u t b o t h are built o nt h esame principie.
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I n t o n a l p o l y p h o n y t h e bass is a l w a y s r i g h t . I f t h e bass says t o n i c , t h e p r e v a i l i n g h a r m o n y is t o n i c n o m a t t e r w h a t t h e u p p e r voices say. B a c h places Di n t h e bass, a n d D is t h e t o n i c . T h e u p p e r voices m o v e through tonic-subdominant-dominant-tonic. T h o s e chords are allbrought within t h e orbit o f t h e t o n i c . T h e e n t i r e p e d a l p o i n t i s a n extensión o f tonic harmony. Exactly t h esame technique was used a century later b y Schubert (see below). A complete eightm e a s u r e p h r a s e is b u i l t o v e r a pedal p o i n t . T h e u p p e r voices m o v e t h r o u g h t o n i c - s u b d o m i n a n t d o m i n a n t - t o n i c . A l l o f those a r e subordinate t o t h e bass.
I n this c h e e r f u l m u s i c , t h e a - t r i a d is s p r e a d o v e r a lOth. T y p i c a l o f t h e Classical style, t h e r h y t h m o f t h e m e l o d y is m u c h faster t h a n t h e r a t e o f c h o r d change. T h e s a m e is t r u e o f t h e n e x t e x a m p l e , e v e n t h o u g h t h e t e m p o is slow. T h e r e a r e only three chords i nt h eC . P. E . Bach e x c e r p t a t t h e t o p o f p a g e 1 4 3 , I , V», a n d I . T h e m e l o d y i n 1 - 4 is b u i l t o n a n a r p e g g i a t i o n o f t h e t o n i c t r i a d . N s , I N s , a n d P s elabórate t h e t r i a d notes. T h e s m a l l notes a r e appoggiaturas, all dissonant. V is projected o v e r 5 - 7 , i n ways that a r e s i m i l a r t o t h e first m e a s u r e s b u t n o t i d e n t i c a l . Y o u
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T h e m e l o d y consists o f a S P w i t h i n t h e tonic t r i a d . B a c h c o u n t e r p o i n t s t h a t w i t h a N i n t h e bass. I t ' s t h e l e a d i n g n o t e , w i t h t h e c u s t o m a r y task o f supporting V . I n a d d i t i o n t o s u c h s i m p l e c o n t r a p u n t a l techn i q u e s as those above, t h e r e a r e m a n y others that are useful i n building chord extensions. 6
Chórale No. 29
I n most o f this phrase y o u hear contrary m o t i o n between t h e o u t e r voices. First, t h e y exchange notes, passing t h r o u g h t h e octave B as t h e y d o . T h i s is a typical s i t u a d o n i n w h i c h V I I connects I a n d I . W h e n t h e s o p r a n o m o v e s back t h r o u g h B , t h e bass does n o t . Instead i t skips d o w n a d i m i n i s h e d 4 t h to t h e leading note; V leads back t o I i n a n e x a m p l e o f parallel m o d o n b e t w e e n t h e o u t e r voices. T h e extensión o f t o n i c h a r m o n y e n d s h e r e . 6
6
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I . . . I Y o u h a v e s e e n t h i s t o n i c extensión i n short, s i m p l e f o r m s . H e r e ' s a n e x a m p l e that's a b i t longer, built o n t h e same principie.
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Chórale No. 233
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I f y o u h a v e h e a r d B as t h e m a i n n o t e o f t h e s o p r a n o ( f i l l e d 3 r d p l u s N ) , y o u a r e r i g h t t o expect t h a t t h e t r i a d u n d e r B is t h e m a i n c h o r d . C o n t r a r y
145
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T h e m a i n n o t e o f t h e s o p r a n o , C f ,is elaborated w i t h a filled 3 r d . A g a i n s t t h i s m i n i m a l m e l o d i c m o t i o n t h e bass travels i n g i a n t steps. T h e c h o r d v o c a b u l a r y is rich: s i xd i f f e r e n t c h o r d s a r e h e a r d w i t h i n t h e t o n i c extensión; a l l a r e i n t h e o r b i t o f tonic h a r m o n y . C h o r d types a r e varied w i t h i n t h e extensión, t o o . A t t h e s e m i c a d e n c e , 2 i s t h e m e l o d i c goal, V the h a r m o n i c goal. I n Chórale N o . 2 3 3 t h e b a s s g a i n e d r o o m t o maneuver b y descending a 6 t hf r o m 1 t o 3. It's also possible f o r t h e bass t o m o v e u p a 3 r d s l o w l y a n d t h u s b u i l d a l o n g e r t o n i c extensión. H e r e y o u see t h a t w h i l e V I I is t h e simplest c o n n e c t i o n between I a n dI , i tisn't the o n l y one.
6
A n o t h e r versión o f I . . . I t a k e s u p m o s t o f a p h r a s e f r o m t h e n i n e t e e n t h - c e n t u r y piece below. T h e s i m p l e m e l o d y rises f r o m 1 t o 6 i n t w o m e a sures, t h e n falls g r a d u a l l y t o I i n 6 . B r a h m s d i d n ' t w a n t t h e h a r m o n y t o arrive at its goal i n 6 , w i t h t w o m e a s u r e s y e tt o g o . H e a v o i d e d 1 i n t h e bass w i t h 3 , s u p p o r t i n g I . T h e h a r m o n y o f t h e first s i x m e a s u r e s is f r a m e d b y I . . . I . T h e bass o f I is only a 3 r d above t h estarting 1.B u t B r a h m s finds a n i n t e r e s t i n g w a y t o t r a v e l f r o m t h e first t o t h e l a s t o f t h o s e n o t e s , first d r o p p i n g t h e b a s s , t h e n skipping u p so that i tarrives o nthe 3 f r o m above. 6
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V P O S I T I O N S T h e jj,i a n d positions o f t h e d o m i n a n t 7 t h chord lend themselves t o tonic harm o n y extensión. L i n e a r c h o r d s , t h e y c a n s e r v e e i t h e r as e l a b o r a t i o n s o f a s i n g l e c h o r d o r as t h e connections between t w o versions o f the tonic. T h e illustrations s h o w the m o s t frequent usage. (b)
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T h e chords are e x t e n d e d i n musical space t h r o u g h a d r a m a t i c arpeggio. T h e y a r e also e x t e n d e d i n time, t w o measures each. Y o u studied t h e chord vocabulary o f this passage o n page 1 3 1 . N o w y o u s e e t h a t t h e e n t i r e s i x m e a s u r e s a r e a n extensión of tonic harmony.
Vf Vj, V$ V 2
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is n e i g h b o r c h o r d t o I . another neighbor chord to I . is t h e l i n k b e t w e e n I a n d I . connects I a n d I another way. 6
6
W e can n o wtake a longer view o f a phrase studied earlier. A l l f o u r positions o f the d o m i n a n t 7 t h c h o r d a r e h e a r d h e r e . H o w l o n g is t o n i c h a r m o n y extended? I nthe e x a m p l e at the top o f page 147, t h e i c h o r d (1), t h e % c h o r d (3), a n d t h e \ chord ( 4 )a r e all elaborating t h e tonic h a r m o n y . W h e n V a r r i v e s i n 4 its m e a n i n g is a b i t u n c e r t a i n ; does the phrase end here w i t h a semicadence? N o , says t h e bass. I t m o v e s stepwise t h r o u g h G , g e n e r ating V and easing o u t o f V into a continuation o f t h e t o n i c . T h e t o n i c i s i n c o n t r o l f o r five m e a s u r e s . T h e n t h e first s u b d o m i n a n t c h o r d , I I , m o v e s a w a y f r o m t h e tonic. A l l f o u r positions o fthe V have 2
6
7
How Darkly the Water Flows, [ 4 9 B |
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rff
7? 7
146
Allegro
V l l f , t h ed i m i n i s h e d 7 t h c h o r d w h o s e s o u n d is s o characteristic o f this music. T h e s e c o n d p a r t o f t h e t o n i c extensión b e g i n s i n 5 w i t h E t as bass n o t e a n d I as m a i n c h o r d . T h e bass n o t e i s e l a b o r a t e d q u i t e s i m p l y , w i t h t w o N s . Both support positions o f the diminished 7th chord. T h i s p a r t o f t h e extensión p e r s i s t s t h r o u g h t h e first h a l f o f 1 0 . T h e n t h e first s u b d o m i n a n t c h o r d , I I , moves the h a r m o n y away f r o m the tonic toward the goal V . T h i s survey o ftonic a n d d o m i n a n t extensions concludes w i t h t h e exciting music that begins t h e first o f B e e t h o v e n ' s s o n a t a s i n t h e k e y o f c ( s e e p a g e 1 4 8 ) . I n s t a t i n g t h e first t h e m e , t h e m u s i c m a k e s m u c h o f t h e extensión o f t h e m a i n h a r m o n y b o t h i n t i m e a n d space.
BEETHOVEN
V i o l i n S o n a t a , Op. 12 ,
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Phrase outline: i-á 9-16 17-22 22-31
opening phrase continuing phrase first c o n c l u d i n g p h r a s e second concluding phrase
T h e h a r m o n y c a n b e u n d e r s t o o d as a l o n g tonic extensión a n d a c a d e n e e , f o l l o w e d b y a s h o r t e r t o n i c extensión a n d a c a d e n e e . X—8: T h e a r p e g g i a t i o n i n t h e m e l o d y a n d t h e m a n y r e g i s t e r c h a n g e s elabórate t h e c h o r d s i n w a y s t h a t a r e c h a r a c t e r i s t i c o f B e e t h o v e n ' s piano writing. T h e essential voice leading, h o w e v e r , is stepwise, as t h e r e d u c t i o n s h o w s . T h e m o t i o n I . . . I t a k e s e i g h t m e a s u r e s . O n e w a y i n w h i c h t h e first chord is elaborated, octave shift, combines w i t h another, contrast o f dynamics. T w o connecting chords lead f r o m I t o I .
3 p e r f o r m e d t h e i r n o r m a l r o l e s i n this phrase, i n cluding the cadential V . A n o t h e r l o o k a t a Classical p h r a s e shows h o w t o n i c h a r m o n y m a y b e p r o j e c t e d o v e r a considerable t i m e t o g o o d effect (see b e l o w ) . T h e chord vocabulary a n d voice leading w e r e explained o n page 1 3 1 . B u t w e w a n t t o g e t b e y o n d a chord-byc h o r d v i e w o ft h e music. W h e r e ist h etonal unity i n these eleven m e a s u r e s ? T h e l a r g e r v i e w : n i n e a n d o n e h a l f measures c e n t e r a r o u n d t h e t o n i c , t h e s e c o n d h a l f o f J_0 moves away f r o m t h etonic a n d approaches t h e d o m i n a n t , a n d t h a t goal h a r m o n y occupies 11. W e d i v i d e t h e t o n i c extensión i n t o t w o p a r t s . I n 1 - 4 , 1 c o n t r o l s t h e bass. C is e l a b o r a t e d with a PS, t h e n a N . T h a t N s u p p o r t s t h e h i g h l y dissonant 7
6
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9-1J3: I nt h e c o n t i n u i n g phrase, tonic h a r m o n y persists, w i t h I t h em a i n c h o r d . I t ' s e l a b o r a t e d o v e r t h e bass N s w i t h d i m i n i s h e d 7 t h chords. T h e bass d e s c e n d s t o C , t h r o u g h w h i c h i t passes a t t h e e n d o f J_5. T h e p h r a s e e n d s o n V . T o n i c h a r m o n y isn't o v e r yet. 1 6 — 2 2 : T h i s s i x - m e a s u r e p h r a s e e n d s t h e first t o n i c extensión (_17) w i t h a n e w r h y t h m i c m o t i v e and goes o n t o a cadenee. T h e m u s i c could stop 6
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P i a n o S o n a t a , Op. 10, N o . 1,1 A l l e g r o m o l t o e c o n brío
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rate t h e m a i n chord. T o n i c h a r m o n y ends att h e e n d o f 21 w i t h I . A s u s u a l , t h i s i s t h e s t e p p i n g - o f f point for what's t o come next, m o t i o n away f r o m the tonic. T h e phrase concludes with preparatory I I , cadential dominant, a n d tonic. Each sounds for o n e measure. T h e fourth measure (31) completes t h e p h r a s e w i t h silence; it's a n i n t e g r a l p a r t of the music. All i n all, Beethoven has extended tonic harm o n y b o t h i n t i m e a n d space t o begin h i s sonata with a p o w e r f u l utterance.
here, b u tBeethoven will push o n with o n e m o r e concluding phrase. Y o u m a yw o n d e r h o w a section m a d e o f t w o m e a s u r e bits c a n a d d u p t o t h i r t y - o n e measures. T h e s o l u t i o n : 22 i s i n t w o p h r a s e s a t o n c e . I t ' s t h e l a s t m e a s u r e o f o n e p h r a s e a n d t h e first m e a s u r e o f t h e n e x t o n e . I t ' s t h i s o v e r l a p t h a t prevenís t h e action f r o m being completed at the cadenee in 2 1 22. 2 2 - 3 1 : T h e final p h r a s e b l u n t l y r e a f f i r m s t h e tonic and ends w i t h a perfect authentic cadenee. A s e c o n d , b r i e f t o n i c e x t e n s i ó n , a r e v i e w o f t h e first t w o p h r a s e s , u s e s o n l y t h e c o n s o n a n t V t o elabó-
6
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54 Secondary Tonics and Dominants T h e h a r m o n y o f a m u s i c a l c o m p o s i t i o n isc o n stantly i nm o t i o n . Y o u r study is based o nways o f understanding musical motions o f m a n y kinds. C e r t a i n m o t i o n s revolve a r o u n d a single chord; those a r e extensions o fa m a i n harmony. Other types o f p o l y p h o n i c activity m o v e away f r o m ( a n d back to) t h etonic. W em a y s u m m a r i z e m o t i o n away f r o m t h e t o n i c as: m o d u l a t i o n t o a cadenee (short-range); modulation (long-range); secondary tonics a n d dominants.
n o t e that's a n e l e m e n t o f t h e s e c o n d a r y d o m i n a n t isn't a c h r o m a t i c n o t e , t h e 7 t his. O t h e r c h r o m a t i c notes m a yb e n e e d e d t o construct certain secondary dominants. 7
SECONDARY V T h e f o r m that secondary dominants take m o s t o f t e n is V . H e r e t h e same secondary V - I m o t i o n s i n t h em a j o r m o d e . A l l chords are i n root position. 7
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Y o u will n o w study secondary tonics, their d o m inants, a n d their subdominants. A n y c h o r d that isn't t h e tonic represents m o t i o n away f r o m t h e tonic t osome extent. T h e strength o f that m o t i o n m a y be heightened b y m a k i n g o f s u c h a n o n t o n i c c h o r d a t e m p o r a r y o r secondary tonic. A n y s c a l e d e g r e e t h a t c a n b e t h e r o o t o f a c o n s o n a n t t r i a d m a y serve as a secondary tonic, i n m a j o r o r m i n o r . S u c h a small-scale tonic m a y have its o w n ( s e c o n d a r y ) d o m i n a n t , a n d , f o r t h a t m a t t e r , s u b d o m i n a n t and/or leading-note chords. TONICIZATION T h e p r o c e s s b y w h i c h a scale d e g r e e o t h e r t h a n 1 is m a d e t o f u n c t i o n as tonic is c a l l e d tonicization. T h e t e r m a l s o r e f e r s t o t h e g r o u p o f chords u n d e r t h econtrol o fthe secondary tonic. TONICIZATION VERSUS MODULATION There's a ni m p o r t a n t difference between tonicization a n d modulation. T h e y d o have something i n c o m m o n : both are ways o fm o v i n g away f r o m the tonic, a n d both m a yuse t h e same chords. B u t the identity o f t h e chords isn't as i m p o r t a n t as t h e w a y i n w h i c h they a r e used. Specifically, tonicization and m o d u l a t i o n m e a n different things i n relation to t h e musical phrase. I na modulation a phrase begins i n o n e k e y a n d ends i n another. T h u s m o d u l a t i o n shapes t h e tonal direction o fa phrase. Tonicization, however, oceurs within a phrase. It's a detail, possibly a very expressive one, b u t i t does n o t control t h e h a r m o n i c goal o f t h e phrase.
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V - I is t h e m o d e l . T h a t c h o r d p a i r , m a y b e t r a n s posed t o a n y scale d e g r e e t h a t c a n serve as t o n i c . T h e i l l u s t r a t i o n s h o w s t h e s a m e román n u m b e r s u n d e r each bracket, i n d i c a t i n g t h e d o m i n a n t - t o n i c relationship between each t w o chords. T h e n u m ber u n d e r t h e bracket identifies t h e secondary tonic. T h e bracket also shows t h e d u r a t i o n o ft h e t o n i cization. A t t h e i r simplest, tonicizations i n c l u d e o n l y t w o chords, as i n t h e i l l u s t r a t i o n . E x a m p l e s from theliterature m a y be longer. Here are a group o f secondary dominant—tonic c h o r d pairs i n t h e m i n o r m o d e .
7
CHROMATIC NOTES A l l s e c o n d a r y V c h o r d s i n c l u d e a t least o n e c h r o m a t i c note. I f t h e l e a d i n g
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W e must payattention t o t h e placement o f t h e leading note i n t h e secondary d o m i n a n t , since it's a n active n o t e . I n t h e last t w o i l l u s t r a t i o n s t h e leading notes w e r e i n t h e t o p line. A s a result, i t was (almost) a c h r o m a t i c scale. T h e l e a d i n g n o t e s
Gentle
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After t h e opening tonic t h e phrase moves t o a s e m i c a d e n c e . O n i t s w a y d o w n f r o m 8 t o 5 t h e bass stops a t 6. Y o u have o f t e n heard V Iover that 6. B u t here a m o r e colorful chord pushes o n t o t h e d o m i n a n t , V3 o f V . T h e half-step difference between Ilf, a n d V f o f V , e x p l a i n e d i n (c) a b o v e , is p a r t o f a s t r o n g bass line i n t h e following familiar example.
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T h e most i m p o r t a n t musical applications o f tonicization a r e explained i n t h e following discussion.
V i o l i n S o n a t a , O p . 12, N o . 1, I I I D O M I N A N T O FT H E D O M I N A N T V o f V is different f r o m a l l other secondary dominants b e c a u s e V i s not u s u a l l y a s e c o n d a r y t o n i c . I t s r o l e in a p h r a s e is d o m i n a n t , a n d it'st o o active t o b e a p o i n t o fstability. V o f V is m o s t o f t e n h e a r d as a dominant preparation, l e s s o f t e n i n a t o n i c i z a t i o n o f V. S o m e i l l u s t r a t i o n s o f t h e n o r m a l u s e o f t h e dominant o fthe dominant are shown below.
BEETHOVEN
Allegro
( a ) W i t h t h e l e a d i n g n o t e o f t h e d o m i n a n t i n t h e bass, V f o f V moves decisively away f r o m t h e tonic a n d prepares the dominant. (b) H e r e I V is t h e c h o r d t h a t m o v e s a w a y f r o m t h e tonic, w h i l e V f o f V prepares t h e dominant. Observe t h e r i s i n g c h r o m a t i c bass l i n e , w h i c h d r i v e s t o w a r d the dominant. (c) T h e d i f f e r e n c e b e t w e e n I I j j a n d V f o f V i s o n l y o n e s e m i t o n e ; h o w i m p o r t a n t a h a l f step c a n be! O n c e a g a i n t h e bass 4 — 4 | — 5 s p e a r h e a d s t h e p u s h t o t h e dominant. (d) T h e l e a d i n g n o t e o f t h e d o m i n a n t i n t h e t o p line, i n c o n t r a r y m o t i o n w i t h a d e s c e n d i n g bass, g e n e r a t e s V | of V. A t y p i c a l u s e o ft h e d o m i n a n t o ft h e d o m i n a n t is heard i n a popular nineteenth-century song.
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A f t e r the h a r m o n y hascircled a r o u n d t h e tonic in the hrst half o fthe phrase, t h e I i n b heads for the d o m i n a n t . I l f moves away f r o m t h etonic and begins t o p r e p a r e V . V f o f V is a n e v e n stronger d o m i n a n t preparation, so that there's a powerful p u s h t o w a r d V . T h e r i s i n g bass l i n e 3-4—4(1-5 p l a y s a n i m p o r t a n t p a r t i n b u i l d i n g t h e tensión.
entire piece, i f t h e c o m p o s e r h a d n o t h a d a s u r prise i n s t o r e f o r his listeners (see b e l o w ) . I n s t e a d of the expected authentic cadenee, w ehear a p o w e r f u l d e c e p t i v e c a d e n e e , w i t h V3 o f V , i n 2 2 0 . A n entire f o u r - m e a s u r e p h r a s e is b u i l t o n t h a t c h o r d alone. First violins play t h e m a i n t h e m e , i m i t a t e d by t h e o b o e , a c c o m p a n i e d b y t h e rest o f t h e o r c h e s tra playing the c o m p l e t e p o l y p h o n y .
IN DECEPTIVE CADENCE O n e way o f playing o n t h e listener's e x p e c t a t i o n is t o m o v e f r o m a c a d e n t i a l V t o a c h o r d o t h e r t h a n I ; w e cali this c a d e n e e d e c e p t i v e , a l t h o u g h i t s p u r p o s e isn't so m u c h t o deceive as t o e x t e n d t h e m u s i c a l impulse. V I o f t e n serves as t h e g o a l c h o r d i n deceptive cadenees. B u t t h ed o m i n a n t o fthe d o m i n a n t may serve as w e l l , a n d it's m o r e active t h a n V I . T o w a r d the e n d o fa n animated symphonic movement, a s t r o n g d o m i n a n t creates t h e expectation o f a n authentic cadenee, w h i c h m i g h t have ended the
I n s u m m a r y , V o f V is usually a d o m i n a n t p r e p aration rather t h a n part o fa tonicization. I t m a y also b e u s e d f o l l o w i n g V , i n a d e c e p t i v e c a d e n e e .
6
7
Symphony N o . 92, I
Other secondary dominants m a y be part o f tonicizations. D O M I N A N T O F I V Since m a n y t o n a l pieces emphasize t h e t o n i c - d o m i n a n t relationship, a certain balance can b e achieved b y s o m e emphasis o n I V . T h i s is p a r t i c u l a r l y valuable near t h ee n do f a w o r k . T h e Bourrée b y K i r n b e r g e r , [47], p r o v i d e s a HAYDN
220
151
D t h a n i t p a s s e s o n t o C^, t h u s b e g i n n i n g a t o n i c i z a t i o n o f I V t h a t l a s t s f o r five b e a t s . C f i s r e i n s t a t e d i n .17, t h e t o n a l balance is r e s t o r e d , a n d t h e m u s i c p r o c e e d s s e r e n e l y t o t h e final c a d e n e e . I n t h e m i n o r m o d e t h e l e a d i n g n o t e o f 4 is a c h r o m a t i c n o t e . P l a c e d i n t h e bass, i t m a k e s a s t r i k i n g e f f e c t i n C o u p e r i n ' s La Lúgubre, | 2 5 | . T h e first m o v e , f r o m I t o I V , i s e l a b o r a t e d w i t h V f o f I V . T h e Et] i n t h e b a s s i s a s u r p r i s i n g n o t e , m o v i n g t h e h a r m o n y a w a y f r o m t h e t o n i c as e a r l y as t h e second m e a s u r e o f t h e piece.
g o o d e x a m p l e . L i s t e n i n g a g a i n t o t h e first s e c t i o n , with its m o d u l a t i o n t o a cadenee i n V ,y o u hear h o w t h e m e l o d y reaches w h a t seems t o be a goal, A , i n 7 . B u t t h e bass is Fjt, w h i c h k e e p s t h e m u s i c m o v i n g i n search o fa n octave between t h e outer voices. T h e F f o p e n s u p the p h r a s e e n d i n g ; something different c a n happen here. T h e something d i f f e r e n t i s a b r i e f t o n i c i z a t i o n o f I V . I n _7 ( t h e k e y is A ) y o u h e a r I V p r e c e d e d b y its d o m i n a n t . S i m i l a r l y i n _15, I V i s p r e c e d e d b y i t s d o m i n a n t . E a c h I V leads t oV , a perfect authentic cadenee, and the a g r e e m e n t o f a n octave b e t w e e n bass a n d s o p r a n o . S i n c e t h e final p h r a s e i s t h e t r a n s p o s i t i o n o f t h e intermediate one t o t h e tonic, 15—16 do just what 7 —8 did. T h e tonicization o fI V balances the large emphasis o n t h e d o m i n a n t heard earlier. A secondary d o m i n a n t with a m o r e complex t e x t u r e a n d p o l y p h o n y is h e a r d near t h e e n do f a f a m o u s piece.
DOMINANT O F I V AND V with a secondary dominant?
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Suite No. 3, A i r , [32]
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T h e r i s i n g bass l i n e 3 — 4 - 4 f — 5 u n d e r p i n s t h e p h r a s e . B u t 3 i s n ' t t h e bass o f I h e r e ; it's t h e bass o f V f o f I V . T h e m u s i c begins i n m i d - a i r , as i t were, w i t h o u t a n o p e n i n g tonic b u twith a toniciz a t i o n o f I V . T h e n V is t o n i c i z e d ; w e h e a r i t as a tonic b y analogy with t h etonicization o f I V . T h e e x t e n d e d V t h a t f o l l o w s takes its c u s t o m a r y r o l e o f d o m i n a n t t ocomplete the phrase. A d i f f e r e n t bass l i n e s u p p o r t s t w o tonicizations in t h e Baroque example at t h e t o p o f page 153. T h i s is t h e c o n c l u d i n g p h r a s e o f a suite m o v e m e n t . I , I V , a n d V a r e e a c h preceded b y their dominants. F i r s t y o u h e a r I p r e c e d e d b y its o w n V f , t h e m o d e l f o r t h e rest o f t h e phrase. T h e n I V is similarly t o n i c i z e d . T h e bass d o e s n ' t p u s h o n u p t o F f , b u t drops t o D ,t h e root o fV o fV . B u t then F f does appear, i n a l o w e r register, p o i n t i n g at G . It's difficult t o keep t h eleading note o fthe d o m i n a n t o u t o f t h e bass.
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A t _15 t h e h a r m o n y h a s a r r i v e d b a c k a t I a f t e r a considerable tonal j o u r n e y i nwhich t h e dominant p l a y e d a l a r g e r o l e . N o s o o n e r d o e s t h e bass reach
152
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D O M I N A N T O F I I I Im a yb e a secondary tonic i n t h e m a j o r b u t n o t i n t h e m i n o r . V - I o f I I is often followed b y V — I . Piano Sonata K ,2 8 1 , I I I
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m o m e n t t o discover that t h eb-triad is part o f a tonicization o fI I . T h e bracket shows that there a r e four chords i nt h egroup. T h esecondary tonic has its o w n s u b d o m i n a n t , a n d t h a t ' s t h e r o l e o f t h e b triad. O fcourse I I has its o w nd o m i n a n t , too. A n i n t e r e s t i n g d e t a i l is t h e i n n e r - v o i c e p e d a l n o t e w i t h i n t h e t o n i c i z a t i o n , Fjt, 2 . T h e large I I i s a preparation for the cadential dominant. D O M I N A N T O FI I I I I Iis rarely tonicized i n t h e major. W h e n such a tonicization occurs it's probably p a r t o f a sequential c h a i n o f s e c o n d a r y d o m i nant-tonic motions.
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Piano Sonata, O p . 14,N o . 2 , I I 16
T w o tonicizations o fI I a r e h e a r d i n this phrase
BEETHOVEN
Symphony No. 94,I
T h e first V o f I I — I I i s i m m e d i a t e l y f o l l o w e d b y V I , s o that t h e f o u r chords f o r m a g r o u p that ends w i t h t h etonic. T h e s e c o n d I I is a d o m i n a n t preparation, extended f o rsix eighths. O n e o f t h e c h o r d s t h a t m a y f o l l o w V w h e n it's a goal is I I . T h a t c h o r d is tonicized i n t h e next e x a m p l e i nw h i c h a lyric two-measure phrase ends w i t h a semicadence. I m m e d i a t e l y after the B-triad y o u h e a r a b-triad, p r o v i d i n g a h a r m o n i c surprise w h o s e m e a n i n g m a y n o t b e c l e a r a t first. I t t a k e s a
I n t h e m i n o r , I I I is a n i m p o r t a n t c h o r d ( t h e relative m a j o r ) that's easily tonicized. S u c h a t o n i cization m a y f o l l o w t h eV that's a goal c h o r d i n a s e m i c a d e n c e ( s e e t o p o f p a g e 1 5 4 ) . T h e V * i n _54
153 IIA.CIOHAL D E M U 8 I C & . r i n T B f , A.
6
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P i a n o Concertó K . 5 0 3 , I
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comes f r o m I b u tdoesn't lead directly back t o it. Instead, I I Ifollows. M o z a r t smoothes t h eway with a chromatic line i n t h e oboes, starting f r o m t h e leading note that w e expected t o m o v e u p a n d directing it down. T h i s prepares the ear f o r E t , whose V 3 (over F) begins t h econtrol o f I I I . T h e t o n i c i z a t i o n o f I I I is b u i l t o n t h e t o p - l i n e a s c e n t 1 2 - 3 over I - V - I . I n t h e second half o f 55 I I reinstates c a n d a perfect authentic cadenee follows. Since t h eroots o fI a n dI I Ia r eo n l y a 3 r d apart, i t ' s p o s s i b l e t o fill t h a t 3 r d w i t h a P , t a k i n g t h a t n o t e as t h e bass o fa c o n n e c t i n g c h o r d . 6
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S t a r t i n g i n ¿ , t h e first h a l f o f t h e p h r a s e i s b u i l t o n a tonic pedal. T h e n t h eh a r m o n y moves away f r o m t h e t o n i c , t h e bass a s c e n d i n g t h r o u g h t h e l e a d i n g note o f 3. A perfect authentic cadenee follows i m m e d i a t e l y after I I I . T h e c o m p l e t e p o l y p h o n y is in t h e a c c o m p a n i m e n t , as usual, w h i l e t h e polyp h o n i c m e l o d y uses notes f r o m v a r i o u s lines A s e c o n d a r y t o n i c is u s u a l l y p r e c e d e d b y its o w n dominant. B u t imagine that t h e model f o r t h e c h o r d p a i r is n o t V - I b u t I - V . I f t h e d o m i n a n t is the second c h o r d o f t h e pair, t h e results m a yb e q u i t e i n t e r e s t i n g (see t o p o fp a g e 155). T h e m o d e l I - V is t r a n s p o s e d u p a 3 r d , t o n i c i z i n g I I I . T o h e l p the e a r follow that m o t i o n , there's a connecting l i n k i n t h e b a s s . I n _5, I V b e c o m e s a t e m p o r a r y tonic, b e f o r e f a l l i n g back t o I . A d e s c e n d i n g bass leads t o a semicadence. B u t t h e music doesn't c o m p l e t e l y stop, because t h e r e is a n o t h e r threen o t e c o n t i n u a t i o n i n t h e bass. T h e s e c o n d p h r a s e b e g i n s a s t h e first d i d , b u t i t continúes i n a d i f f e r e n t w a y . A f t e r I - V * a n d I - V of III, t h e tonicization o f I V melts into another tonicization o f I I I . T h e n t h e h a r m o n y returns t o its t o n i c . M u c h o f t h e i n t e r e s t o f t h i s m u s i c lies i n t h e t o n i c i z a t i o n s , w h o s e m o t i o n s a w a y f r o m I créate expectations o fr e t u r n , n o t always i m m e d i a t e l y satisfied. D O M I N A N T O F V I I n the major mode, y o u h a v e h e a r d V I as a l i n k b e t w e e n I a n d I V . 0J1_
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I n (a), 6 divides t h e5 t h between 8 a n d4 while s u p p o r t i n g V I . I n (b), 7 bisects t h e 3 r d b e t w e e n 8 a n d 6 . A g a i n s t t h e d i a t o n i c P i n t h e bass there's a c h r o m a t i c P i n t h e s o p r a n o . T h elinear c h o r d that r e s u l t s i s V3 o f V I . Piano Sonata, O p . 14, No. 2, I I
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TONICIZING T H E PIVOT CHORD A p i v o t chord i n a modulation m a y be emphasized by making ita secondary tonic.
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T o b e sure, V o f V I m a y a p p e a r i n r o o t posit i o n , t o o . ( S e e S c h u b e r t e x a m p l e a b o v e . ) T h e first half o f t h e waltz is completely diatonic, w i t h n o s e c o n d a r y t o n i c s . T h e s e c o n d h a l f o f t h e piece begins w i t h a decisive m o t i o n away f r o m t h e tonic in trie f o r m o f V o f V I . A s that secondary d o m i n a n t resolves t o its tonic t w o Ps s m o o t h t h e way. T h e c h o r d p a i r i s t h e n t r a n s p o s e d d o w n a step, c r e a t i n g a t o n i c i z a t i o n o f V . T h i s is f o l l o w e d b y V and t h e cadenee.
Contradanse in C , [44]
BEETHOVEN
7
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String Quartet, O p . 18,N o .1, I I I
BEETHOVEN
SCHERZO Allegro molto
I n t h eClassical l a n g u a g e , a f a v o r i t e p i v o t c h o r d is V I / I I . T h e e x a m p l e a b o v e s h o w s h o w V I is g i v e n a bit o fe x t r a attention, b e c o m i n g a secondary tonic for three eighth notes. T h e n i t does itsj o b o f linking I a n d V ,a n d t h e cadential m o d u l a t i o n proceeds. As i n t h e example o npage 153, a tonicization o f I I is f o l l o w e d b y a t o n i c i z a t i o n o f I I I . B u t i n this example, instead o fa n i m m e d i a t e r e t u r n t o I , I I I turns into a pivot chord, quite unexpectedly. I n the cadential m o d u l a t i o n t o V , t h e pivot c h o r d is I I I / V I . I I I i s t o n i c i z e d f o r five b e a t s , f o l l o w e d b y t w o beats o f rest. F r o m t h e r e o n , C is tonic. Perhaps because t h er o u t e t o V is so unexpected, t h e cadenee i n V is h e a r d twice, once i neach o f t h e registers ill play. As a result, t h e p h r a s e i s t e n measures long. TONICIZATION O V E R A PEDAL POINT O n page 1 4 2y o u f o u n d t h eprogression I - I V - V - I o v e r a t o n i c pedal. W e described this as a tonic extensión, b e c a u s e t h e c h o r d s o f t h e u p p e r v o i c e s w e r e subordínate t o t h e t o n i c n o t e i n t h e bass. That procedure m a y be pushed a bitfurther by t a k i n g t h e i n i t i a l t o n i c as t h e d o m i n a n t o fI V as i n t h e e x a m p l e f r o m The Weü-Tempered Clavier b e l o w .
P r e l u d e N o . 3 f r o m The Well-Tempered
Clavier,
O v e r t h ereiterated pedal note t h echords change twice each measure. N o sooner is I h e a r d t h a n a 7 t h is added, m o v i n g t h e upper-voice p o l y p h o n y t o w a r d I V . A f t e r I V , a s t r o n g Bjt t u r n s t h e u p p e r voices t o V . I follows t o c o m p l e t e t h e o p e n i n g gesture o f t h e prelude. A sixteenth-note figure involving b o t h soprano a n d alto registers includes a N that adds j u s t a t o u c h o f dissonance. A longer dissonance is t h eD # that's suspended across t h e second barline, o n t h e half-note level. T h e e x a m p l e f r o m t h e Classical p e r i o d o n t h e t o p o f p a g e 1 5 7 reveáis a n e n t i r e l y d i f f e r e n t s t y l e : t h e t e x t u r e , t h e u s eo fm u s i c a l space, t h e w a y i n w h i c h t h e pedal note isstated, t h e r h y t h m , a n d t h e entire character o ft h e music a r ei n complete contrast w i t h t h e B a c h e x a m p l e . B u t t h e o r g a n i z i n g principie ist h e same. T h e s o n a t a ' s first t h e m e b e g i n s w i t h a f o u r measure phrase, answered b y a n eight-measure phrase. T h e polyphonic m e l o d y reaches over a n octave b yt h e t h i r d measure. T h e inidal tonic quickly grows into V o f I V , continuing t o I Vover t h e u n c h a n g i n g bass. I t ' si n t e r e s t i n g t o see h o w t h e first s o u n d i n 4 , a n o c t a v e , i s t r e a t e d a s a d i s s o nance. I t ' sa n P , dissonant w i t h t h ei n n e r voices that aren't h e a r d y e t b u ta r e about t obe. Stability
Book 2
156
7
7
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Piano Sonata K . 332, I
a n s w e r s t h e first w i t h a n o t h e r d i m i n i s h e d 7 t h c h o r d , V I I , heard i nt w o positions. A good example o fa leading-note chord within a tonicization o f I I occurs after a m o d u l a t i o n t oa cadenee i n V .
MOZART
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i n t h e f o r m o f t h e t o n i c is r e s t o r e d t o all voices a t t h e b e g i n n i n g o f 5.. F:
S E C O N D A R Y L E A D I N G - N O T E CHORDS A secondary tonic m a y have n o t o n l y its o w n d o m i nant, b u talso i t s o w n leading-note chord. T h i s t o p i c i s e x p l a i n e d i n d e t a i l i n Gradus, B o o k T w o , b u t tWO i n t e r e s t i n g e x a m p l e s a r e p r e s e n t e d h e r e . D o m i n a n t p r e p a r a t o r y . c h o r d s studied thus f a r include s u b d o m i n a n t chords a n d V o f V . Here's one more: V I I o fV .
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BEETHOVEN 1
7
vn v i of v T h e m u s i c begins w i t h a p o w e r f u l statement o f t o n i c h a r m o n y . T h e n t h e bass skips a d r a m a t i c tritone, t o t h e leading note o ft h e dominant, w h i c h supports V I I o f V . T h a t is a d i m i n i s h e d 7 t h c h o r d , m a d e o f N s t o V * . T h e second measure
b
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I n 11 — 12 y o u h e a r a perfect a u t h e n t i c cadenee. T h e n , instead o f r e t u r n i n g d i r e c t l y t o I , t h e r e is a s h o r t d e t o u r t o t h e s e c o n d a r y t o n i c I I , w h i c h filis 1 3 - 1 5 . T h e v e r y first c h o r d i n t h e t o n i c i z a t i o n , VII3 o f II, moves the harmony away from V a n d toward I I . Notice t h es m o o t h voice leading into the diminished 7 t h chord. A t t h e e n d o f 15, t h e tonicization ends o n I I , which then assumes its n o r m a l role o fd o m i n a n t preparation. 6
7
157
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Worksheets 42, 43
55 Another Look at Binary Form P a r t S e v e n o f Gradus c o n c l u d e s w i t h a s e c o n d l o o k at b i n a r y f o r m . H e r e t h e m a t e r i a l o f t h e p r e v i o u s sections will b e p u t t o u s e i n several complete pieces, all i n early Classical style. T h e s e w o r k s a r e modest i n scope, f o r binary f o r m was used o n l y f o r short pieces i n t h elatter part o f t h e eighteenth c e n t u r y . T h e b r e v i t y a n d s i m p l i c i t y o fthese pieces makes t h e m well-suited f o ro u rpurposes. T h e pieces w ewill n o w study are: Türk C.P.E. Bach Beethoven Schubert
t h r e e s h o r t p i a n o p i e c e s , [42J s l o w m o v e m e n t f r o m a p i a n o s o n a t a , [39] three contradanses, |44| t h r e e w a l t z e s a n d a n écossaise, [46]
tonicization o f t h e pivot chord V I / I I , was e x plained o npage 155. T h e first p h r a s e o f t h e s e c o n d d a n c e e n d s w i t h a s e m i c a d e n c e . T h e r e is n o m o d u l a t i o n . T h e t h i r d dance comes t o a perfect authentic c a d e n e e a t t h e e n d o f t h e first h a l f . O n l y t h e r h y t h m o ft h e a c c o m p a n i m e n t a n d o u r expectation o f an answering phrase keep the music going. Since t h e m i d p o i n t punctuations a r e all different, t h epathways o fthe second halves a r e different t o o . B u t each leads t o a perfect authentic c a d e n e e a t t h e conclusión o f t h e p i e c e . W e w i l l consider t h e second section o f t h e pieces. I n t h e first d a n c e , d o m i n a n t h a r m o n y i s e x tended b ya n e i g h b o r i n g I I . I n the second dance a d o m i n a n t extensión c o n s i s t s o f a s i m p l e r e i t e r a t i o n o f V , e n d i n g o n a fermata. T h e 7 t h doesn't resolve in t h e t o pline, w h e r e i tmoves u p chromatically. B u t t h e e x p e c t e d G d o e s s o u n d i n t h e bass, s o t h a t t h e r e s o l u t i o n is s h i f t e d d o w n t h r e e octaves. I n t h e t h i r d dance t h e second phrase picks u p w h e r e t h e first l e f t o f f , g o i n g o n w i t h d o m i n a n t - t o n i c until t h e reappearance o f I V that prepares the cadential V . B e e t h o v e n uses his small orchestra effectively t o créate a f u l l , b r i g h t s o u n d . T h e a b s e n c e o f v i o l a s means that t h e second violins a r e kept very busy; t h e i r p a r t i s w o r t h cióse s t u d y . W i n d s a r e u s e d f o r color, b u t also t o p o i n t u p details a n d a d d a f e w comments o ftheir o w n . T h e complete polyphony is i n t h e . a c c o m p a n i m e n t a t a l l t i m e s . N o t a l l t h e notes o f t h e p o l y p h o n y a r e i n t h estring parts, so you m u s t consider t h e winds a n d horns i n determ i n i n g the h a r m o n y and voice leading. T h e m o t i v i c aspect o ft h e m u s i c is q u i t e clear. E a c h d a n c e is b u i l t o n a s h o r t m o t i v e ( t w o o r f o u r m e a s u r e s ) , w h i c h i s d e v e l o p e d i n simple ways t o p r o v i d e all t h e m e l o d i c m a t e r i a l o f the piece. 6
T Ü R K O n e o f t h e first k n o w n p i a n o p e d a g o g u e s w a s D a n i e l G o t t l o b T ü r k . H i s p i e c e s , |42~], s h o w t h e carefully o r g a n i z e d f o r m o f t h e Classical style i n m i n i a t u r e . E a c h o n e b e g i n s w i t h a t o n i c extensión as t h e f o u n d a t i o n f o r a c l e a r m o t i v i c s t a t e m e n t . M o t i o n a w a y f r o m t h etonic always takes t h e f o r m of a modulation t o a cadenee i n V .After t h e d o u b l e bar, V s o o n leads the w a y back. T h e y each end with a perfect authentic cadenee. The three short works a r e different i n texture, r h y t h m , a n d d y n a m i c s . I n t h e second piece, t h e h e m i o l a a t t h e final c a d e n e e i s s h o w n b y t h e o m i s sion o fa barline, a device w h i c h c o u l d also have been used atthe intermediate cadenee. T h e s e pieces a r e small-scale m o d e l s o f the practice o f t h e i r t i m e i n respect t oh a r m o n y a n d voice l e a d i n g , t e x t u r e a n d r e g i s t e r , c h o r d extensión, m o d u l a t i o n , p h r a s e c o n s t r u c t i o n , a n d m o t i v e , as w e l l as k e y b o a r d usage. W r i t t e n as p i a n o exercises, t h e y a r e studies i n s i m p l e c o m p o s i t i o n as well. 7
THE
CONTRADANSES
Beethoven's
lightform. Each o ft h e three i n t h e A n t h o l o g y moves t o its i n t e r m e d i a t e cadenee i n a d i f f e r e n t way. W e start b y c o m p a r i n g t h e t o n a l m o v e m e n t i n t h e first h a l f o f each dance. T h e first p i e c e m o d u l a t e s t o a c a d e n e e i n V . T h e
íiearíed country dances, [ 4 4 ] , are i n b i n a r y
7
As is usual i n B e e t h o v e n ' s music, d y n a m i c s a n d a c c e n t s a r e i m p o r t a n t . I n t h e first d a n c e t h e o f f -
b e a t a c c e n t is a f e a t u r e o f t h e m o t i v e . I n t h e s e c o n d dance the contrasts o f l o u d a n d soft are a n integral part o fthe music. Part o ft h ec h a r m o ft h e third d a n c e lies i n t h e sly p c a d e n e e t h a t f o l l o w s a crescendo, in both phrases.
S C H U B E R T DANCES S c h u b e r t c o m p o s e d a g r e a t m a n y s h o r t d a n c e s , m o s t l y waltzes, f o r p i a n o ; t h e e x a m p l e s i n t h e A n t h o l o g y , [46], a r e t y p i c a l . A l l f o u r o f these pieces a r e i n b i n a r y form; each consists o f t w o p h r a s e s , a n d e a c h p h r a s e is r e p e a t e d . The first p h r a s e e n d s w i t h a perfect a u t h e n t i c c a d e n e e i n t h e t o n i c . A f t e r t h e repeat, the m o t i o n a w a y f r o m the tonic isusually through secondary tonics. T h einevitable r e t u r n t o the m a i n tonic f e a t u r e s a n o t h e r p e r f e c t a u t h e n t i c cadenee t o e n d t h e piece. M o t i v e s a r e s h o r t a n d clear, their d e v e l o p m e n t s t r a i g h t f o r w a r d . R e g i s t r a l l y , t h e r a n g e is f a i r l y w i d e . S c h u b e r t is f o n d o f t h e h i g h register o f the p i a n o a n d m a k e s g o o d use o f it i n the third waltz and the écossaise.
but not the h a r m o n y , o f the opening. T h e n a rising bass l i n e l e a d s a w a y f r o m 3 t o 5 i n a s h o r t b u t i n t e r estingjourney.
C. P. E . B A C H T h e m o s t a m b i t i o u s o f t h e A n t h o l o g y ' s Classical g r o u p o f b i n a r y pieces is n o t a d a n c e . It's the slow m o v e m e n t o f a piano sonata, -|39|, b y a k e y figure i n t h e e m e r g i n g s t y l e , t h e e l d e s t s o n o f J . S . B a c h . A l t h o u g h the repeat signs t h a t d i v i d e d a n c e f o r m s i n t o t w o sections a r e m i s s ing, t h e piece is clearly b i n a r y . T h e t w o sections:
1-18 a n d 19-38.
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23 24
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T h e t w o c h r o m a t i c n o t e s i nt h e bass are, a t t h e same t i m e , Ps a n d leading notes. Fjt, w h i c h m o v e s decisively a w a y f r o m F , supports a f c h o r d , a secondary d o m i n a n t l e a d i n g t o a g-triad. G | is t h e root o f a n even stronger chord, V I I o f V . W h e n V isreached i t w o u l d b e possible t oconclude t h e entire piece w i t h a cadenee. But that w o u l d leave a very short second h a l f t o the piece. T h e c o m p o s e r m a i n t a i n s t h e m u s i c a l m o m e n t u m , returning t o tonic h a r m o n y only g r a d u a l l y . T h e q u i e t V * o f .26 i s e l a b o r a t e d b y a n e i g h b o r d i m i n i s h e d 7th, l o u d , i n 27. Instead o f a r e t u r n t o V», t h e r e ' s a 4 c h o r d , s t i l l v e r y m u c h d o m i n a n t but not part o f a cadenee. Rather than a skip, B a c h uses a s t e p w i s e d e s c e n t i n t h e bass f r o m 5 t o 1. O n i t s w a y d o w n t h e b a s s p a u s e s a r o u n d G i n 30-31- T h i s u n d e r p i n s a t o n i c i z a t i o n o f I V . T h e music also keeps g o i n g because o f the decept i v e c a d e n e e i n .34, w i t h a n e x p r e s s i v e I N i n t h e melody. 7
T h i s expressive m u s i c begins w i t h an eight-measure phrase built o n I - V — I . T h e arpeggiation o f t h e m e l o d y w a s e x p l a i n e d o n p a g e 143. T h e s e c o n d p h r a s e , 9—16, m o v e s t h r o u g h a l e i s u r e l y p r o g r e s sion, a m o d u l a t i o n w i t h o u t a pivot chord. B e h i n d t h e e l a b o r a t i o n s i s a c h a i n o f f¡ t r i a d s . W h e n t h e l i n e a r m o t i o n h a sr e a c h e d i t s goal a clear ( b u t q u i e t ) c a d e n e e c o n f i r m s I I I . T h e cadenee is set o f f f r o m w h a t carne before b y its placement i n t h e T h e piece ends w i t h a n i n t e r e s t i n g f o u r - m e a s u r e l o w e r register o f the piano. phrase. I t e x t e n d s t h e t o n i c w h i l e k e e p i n g t h e bass o f f D o n a n y s t r o n g b e a t . A t t h e e n d o f 36 I I Basic polyphony, 9-16 prepares the cadential dominant. T h e even stronger d o m i n a n t preparation, V o f V , follows, softly 9 10 11 12 13 14 15 1 6 l e a d i n g i n t o t h e final c a d e n e e . T h e firm c o n t r o l o f h a r m o n i c d i r e c t i o n a s t h e 3 E f o u n d a t i o n o f musical f o r m a n d the use o f expres6 6 6 sive d e t a i l , i n c l u d i n g d y n a m i c s , t o g i v e each p h r a s e 8 & 8 a definite character a r ei m p o r t a n t features o f the ft 8 » 8 Classical style. H a y d n , M o z a r t , a n d B e e t h o v e n learned a great deal f r o m t h epiano sonatas o f C . P. E . B a c h . T h e second section will r e t u r n toI , b u t how? First, t h emusic centers a r o u n d I I I f o ra fourm e a s u r e phrase, repeating t h e melodic material, O * W o r k s h e e t 44 6
6
159
INTERLUDE T W O A LOOK BACK Before looking at any music, t w o points must be E v e n t h e simplest e x a m p l e o f polyphonic music emphasized. First, i t w o u l d be a mistake t o conthat w e have studied thus far shows a h i g h l y devels i d e r a n y o f t h i s m u s i c as p r i m i t i v e , m e r e l y t h e o p e d t o n a l o r g a n i z a t i o n . A l l the sounds are related precursor o f later music w h i c h , being m o r e sophisto the t o n i c i n a n e t w o r k o f interactions; the same i n t e r v a l s t h a t c o n t r o l t h e v e r t i c a l aspect also shape ticated, m u s t b e better. E a c h piece is a w o r k o f a r t t h e h o r i z o n t a l ; d i s s o n a n c e a n d c o n s o n a n c e a r e used i n i t s o w n r i g h t a n d m u s t b e h e a r d o n its o w n c o n s i s t e n t l y t o a c h i e v e tensión a n d reléase; p h r a s e s t e r m s t o t h e e x t e n t t h a t t h e m o d e r n l i s t e n e r is a b l e . have clear shapes that are m o l d e d by r h y t h m i c and W o r k s o f art, u n l i k e w o r k s o f technology, d o not t o n a l i m p u l s e s ; p h r a s e e n d i n g s w i t h v a r y i n g degrees become obsolete. T h e y become m o r e r e m o t e , w h i c h o f c l o s u r e e n a b l e t h e m u s i c t o flow f r o m o n e t h o u g h t makes i t difficult f o r us t o u n d e r s t a n d t h e m ; b u t to another a n d t o build overall continuity, while only an impatient person w o u l d t h r o w t h e m away. o v e r t h e f o u n d a t i o n o f t o n a l m o v e m e n t t h e surface N o doubt we m u s t m a k e a n effort i f we are t o get o r design o f a piece m a y take shape i n infinitely anything o u t o f this music. T h i s usually means v a r i e d w a y s , e x p a n d i n g i n t o m u s i c a l s p a c e t o crésuspending j u d g m e n t f o ra while, exposing oura t e v a r i e g a t e d t e x t u r e s . S u c h s o p h i s t i c a t e d resources selves t o t h e s o u n d s i n a n o p e n - m i n d e d w a y , a n d did n o tcome into being overnight. Centuries o f learning what w e can about t h econtext i n which effort b y countless musicians brought t h e a r t to the music was created. the p o i n t at w h i c h w e began t h e study o f polyT h e s e c o n d p o i n t is t h a t t h e f u r t h e r b a c k i n t i m e phonic music. E v e n a brief survey o f their work w e g o , t h e less c e r t a i n w e c a n b e a b o u t o u r a b i l i t y w i l l b e o f valué a t t h i s p o i n t . to decode t h e symbols w e read. Despite a g o o d H o w p o l y p h o n i c music first developed remains d e a l o f t h o u g h t a n d r e s e a r c h , w e a r e still n o t a b l e a fascinating, i f largely unanswered, question. H e r e to answer all o f t h e questions t h a t s u r r o u n d t h e we c a n o n l y p o i n t o u t that f r o m t h e n i n t h t o t h e notation o f M e d i e v a l music. E v e n the pitches are a twelfth centuries musicians were learning slowly p r o b l e m , since p l a i n c h a n t n o t a t i o n was n o t codia n d w i t h g r e a t e f f o r t h o w t o c o m b i n e m e l o d i c lines fied u n t i l t h e m i d - t w e l f t h c e n t u r y . M o r e p r o b l e in r e l a t i o n t o each o t h e r — t h a t is, h o w t o write matical y e t is r h y t h m , w h i c h m e a n s t h a t t h e c o u n t e r p o i n t . T h e earliest w o r k s discussed here c o o r d i n a t i o n o f p a r t s is s o m e t i m e s i n d o u b t , t o o . b e l o n g t o w h a t is c a l l e d t h e N o t r e D a m e s c h o o l , Since t h e r e a r e n o t e m p o m a r k i n g s , w e c a n o n l y w h i c h flowered i n París i n t h e l a t e t w e l f t h a n d m a k e e d u c a t e d guesses a b o u t t h e speed a t w h i c h early t h i r t e e n t h centuries. E v e n these are built o n t h e m u s i c is t o b e p e r f o r m e d , t a k i n g i n t o c o n s i d e r a t i o n s u c h f a c t o r s as t h e size o f t h e c a t h e d r a l s i n the results o f the e x p e r i m e n t a t i o n o f the previous w h i c h t h e m u s i c w a s first h e a r d , t h e r i t u a l f u n c t i o n three centuries.
161
the piece served, a n d t h e forces f o r w h i c h i t w a s i n t e n d e d . A sf o r dynamics, i tisgenerally assumed that t h e r e was little c h a n g e o flevel i n a piece. W e k n o w that the distinction between vocal and instrum e n t a l m u s i c , as styles o f w r i t i n g , d i d n o t exist. Most music appears t o bevocal, but contemporary paintings, documents, a n d letters i n f o r m u s that the s a m e m u s i c that was s u n g c o u l d j u s t as well b e played. F r o m singing o n e melody t o having two melodies s u n g a t t h e s a m e t i m e is o n e o f the great leaps of t h eh u m a n imagination, creating a n entirely n e w dimensión i n m u s i c . N a t u r a l l y , t h e r e i s n o w r i t t e n r e c o r d o fsuch a m o m e n t i n o u r history; p o l y p h o n y was i m p r o v i s e d b ysingers l o n g before it w a s w r i t t e n d o w n . J u s t h o w p o l y p h o n i c m u s i c began will always b e a matter o fsome conjecture. But i f y o u have ever listened t oa g r o u p o f untrained v o i c e s s i n g i n g i n w h a t t h e y t h o u g h t w a s unisón y o u m a y have observed that they were actually singing in parallel 5ths o r other intervals. People are inclined to s i n g i n t h e r a n g e t h a t is m o s t c o m f o r t a b l e f o r t h e m . O n t h eaverage, h i g h voices sing a 4 t h o r a 5th h i g h e r t h a n l o w voices. S i n g i n g t w o versions o f the same m e l o d y isn o t p o l y p h o n y , but i tm a y well have led t o p o l y p h o n y as t h esingers began t o p u t the d i f f e r e n c e b e t w e e n r a n g e s t ouse. T h e earliest t w o - p a r t m u s i c w e have consists o f a c h a n t a n d a second line o f music above the chant, m o v i n g m o r e o r less p a r a l l e l t o i t . T h e i n t e r v a l b e t w e e n t h e voices is u s u a l l y a 4 t h o r a 5 t h . I n t i m e , musicians discovered other ways i n w h i c h t o m o v e , that is, contrary and oblique motion.
tion) i n w h i c h a second voice is a d d e d above o r below a given melody, usually a chant. T h e r e a r e several kinds o fo r g a n u m , corresponding t o t h e i n c r e a s i n g l y florid n a t u r e o f t h e a d d e d p a r t . T h e n o t e s o f t h e c h a n t a r e u s u a l l y h e l d f o r a. n u m b e r o f beats, a n d t h e v o i c e t h a t sings t h e c h a n t is called t h e tenor ( L a t i n : tenere, " t o h o l d " ) . T h i s m e a n s t h a t t h e w o r d tenor, i n M e d i e v a l m u s i c , d o e s n o t i n d i cate a particular vocal range. U s u a l l y i t is t h e slowest, w h e r e v e r i tlies. T h e a d d e d part is called t h e duplum.
W h e n w e l o o k a t M e d i e v a l music, w e realize that m a n y o f the pieces a r e built o npreexisting m e l o dies w h i c h a r ec h a n t o r f r a g m e n t s o f chant, a n d t h e t e x t s , i n m o s t cases, a r e t r a d i t i o n a l o n e s . W e m a y d r a w a parallel w i t h Medieval painters, w h o based t h e i r w o r k o n f a m i l i a r B i b l i c a l subjects, returning t o t h e m over and over. Musicians o f the M i d d l e Ages d i d n o t seek originalityo r self-expression; they sought t o glorify G o d b y embellishing the chant, w h i c h was held t obe divinely inspired. M e d i e v a l m a n s a w t h e w o r l d a s finite a n d b o u n d e d ; t r a d i t i o n g o v e r n e d his artistic activities. Y e t , w i t h i n w h a t m a y seem t o u s today as rather n a r r o w confines, h e b u i l t t h e cathedrals w e still a d m i r e a n d c r e a t e d t h e m u s i c t h a t filled t h e m . A f e w e x a m p l e s of that music will b e discussed here. W e won't u n d e r t a k e a complete analysis, b u tw e will survey the factors that m a k e f o rtonal coherence a n d c o m m e n t o n m a t t e r s r e l e v a n t t o o u r study as a whole.
It seems fair t oconclude f r o m this that for L e o n i n the octave, 5 t h , a n d 4 t h w e r e stable intervals. T h e y a r e t h e o n l y i n t e r v a l s o n t h e s t r o n g b e a t s — t h a t is, the beats that m a r k t h eb e g i n n i n g o feach note i n the chant. O f t e n they a r eembellished w i t h N T s , but those notes a r e decorative, n o t structural. Intervals used asdissonances i n c l u d e 3rds a n d 6ths as w e l l a s 2 n d s a n d 7 t h s . O f t h e c o n s o n a n c e s , t h e 4 t h is u s e d least a n d m a y b e c o n s i d e r e d t h e least stable. P e r h a p s i t s later u s e as t h e least active dissonance m a y n o t h a v e b e e n as drastic a s h i f t as i t s e e m s a t first. W h i l e m o t i v i c d e v e l o p m e n t is still a l o n g w a y o f f , e a c h m e l o d i c b i t is c a r e f u l l y s h a p e d , a n d o n e g r o w s o u t o f t h e o t h e r i n a n a t u r a l w a y . T h e first t h r e e melodic units a r esimilar, built o n t h e same four notes centering a r o u n d D .T h e y a r e quite D o r i a n i n flavor. T h e n e x t t h r e e p i c k u p t h e s k i p o f a 3 r d w i t h w h i c h t h e first g r o u p e n d e d , s t r i v i n g u p w a r d against t h e F u n t i l t h e c u l m i n a t i n g G is reached. T h e n a d i f f e r e n t k i n d o f m e l o d i c event is h e a r d . T h e a-triad is u n f o l d e d m e l o d i c a l l y ; i t is inter-
T h e e a r l i e s t t y p e o f t w o - p a r t m u s i c i s organum. It is a style o fc o m p o s i t i o n (or, earlier, i m p r o v i s a -
162
A s h o r t e x c e r p t f r o m a l a r g e o r g a n u m , [57], is b y t h e first m a s t e r o f t h e N o t r e D a m e s c h o o l , L e o n i n . C o n s i d e r e d t h e greatest c o m p o s e r o f his day, L e o n i n w r o t e this m u s i c as t h e Parisian cathedral w a s rising and m a y have heard o rperformed i t within the still-unfinished edifice. T h e t e n o r h a s t h enotes o f a chant f r a g m e n t , i n l a r g e valúes. O v e r t h a t , t h e d u p l u m m o v e s i n phrases o f varying lengths. F o r every long note o f the chant t h e d u p l u m h a so n e o r m o r e o f these p h r a s e s , e a c h a n extensión o f o n e o r t w o n o t e s . T h e m a i n note o r notes o f each phrase o f t h e d u p l u m f o r m a 4th, 5th, o roctave with t h e chant n o t e , as t h e r e d u c t i o n b e l o w s h o w s .
r u p t e d b y t h e N , F , a n dr e t u r n s , leading into t h e final p h r a s e . T h i s i s t h e l o n g e s t , a n d b r i n g s t o g e t h e r aspects o f t h e e a r l i e r ones t o c o n c l u d e the section. I n w h a t key is this music? T h e question implies t h a t t h e r e is s u c h a t h i n g as a c e n t r a l t o n a l i t y i n t h e excerpt as a w h o l e . B u t f r o m o u r point o f view t h e r e is n o such t h i n g . E a c h s m a l l unit centers a r o u n d o n e n o t e , b u t t h a t is as f a r as t o n a l o r g a n i zation goes. T h e r e is a m o t i o n f r o m D t o G i nt h e first f o u r notes o f t h e chant, after w h i c h G is e x t e n d e d . T h a t i s a l l . T h e final o f t h e c h a n t d o e s not have t h eo r g a n i z i n g p o w e r o fa tonic i n later m u s i c . E v e n a l o n g e r e x c e r p t , o r t h e e n t i r e piece, w o u l d demónstrate t h a t t h e t o n a l u n i t y w h i c h g i v e s c o h e r e n c e t o m u s i c o n a l a r g e scale h a s n o t y e t evolved. F r o m t h e point o fview o ftexture, the anonym o u s t w o - p a r t c o n d u c t u s , [58], i s q u i t e d i f f e r e n t f r o m t h e L e o n i n o r g a n u m . O r i g i n a l l y , conductus was a style o f c o m p o s i t i o n used t o accompany a c t i o n o r m o v e m e n t i n t h e c h u r c h service. T h u s i t d i d n o t h a v e a l i t u r g i c a l t e x t , ñor d i d i t h a v e a l i t u r g i c a l c h a n t t o s e r v e as i t s basis. C o n d u c t u s w e r e m o n o p h o n i c ( o n e - v o i c e d ) a t first, t h e n c a r n e to i n c l u d e c o m p o s i t i o n s i nt w o o r m o r e parts. I f there ism o r e t h a n o n epart, they all m o v e i n noteagainst-note fashion. A l o n g - s h o r t rhythm prevails, t h e l o n g notes h e r e r e p r e s e n t e d byh a l f notes a n d t h eshort ones b yquarter notes. T h i s implies triple meter, t h eo n l y meter used u p t ot h e f o u r teenth century f o r t h e reason that i t symbolized the H o l y T r i n i t y . O n c e w e a r e reasonably certain o f t h e r h y t h m i c valúes, w e c a n d i s c o v e r w h a t t h e c o m p o s e r c o n s t r u e d as c o n s o n a n t a n d dissonant. T h e stable s o u n d s a r e o n . t h e s t r o n g beats; n o t surprisingly, these a r e u n i s o n s , 4ths, 5ths, a n d o c t a v e s . T h e b a s i c c h o r d i s a n o c t a v e filled i n w i t h a 4 t h o r a 5th, with n o 3rd. Between the main s o n o r i t i e s t h e voices m o r e t h r o u g h such dissonances as 2nds a n d 7ths, 3rds a n d 6ths.
themselves, flowing w i t h i n a loóse f r a m e w o r k d e f i n e d b y t h ebasic consonances. P a r a l l e l 5ths, octaves, a n d u n i s o n s a b o u n d . W em i g h t t h i n k o f t h e m as the vestigial r e m n a n t s o f o r g a n u m . T h e g r a n d s t y l e o f t h e P e r o t i n c o n d u c t u s , [59], bespeaks a n advanced stage o f m u s i c a l development. T h e successor t o L e o n i n a t N o t r e D a m e , P e r o t i n w a s k n o w n i n h i s t i m e a s optimus discantor, w h i c h tells u s t h a t h e w a s c o n s i d e r e d t h e best contrapuntist o fthe day. H i s conductus alternates between syllabic settings a n dl o n g m e l i s m a s . T h e e l e g a n t final m e l i s m a ( s e e p a g e 0 0 ) w a s k n o w n a s t h e cauda, " t h e t a i l . " I t i s t e m p t i n g t o c o n c l u d e t h a t the syllabic sections w e r e s u n g a n d t h e m e l i s m a t i c sections p l a y e d , b u t t h e r e is n o e v i d e n c e t o s u p p o r t s u c h a conclusión. T h e o p e n i n g extensión o f a d - t r i a d s h o w s P e r o tin's m e t h o d i n a n u t s h e l l . A l l t h r e e l i n e s m o v e s t e p w i s e i n s t r o n g a n d c l e a r c u r v e s . Optimus discantor, i n d e e d . A l t h o u g h a l l t h e p a r t s a r e cióse t o g e t h e r , voice crossing gives t h e m r o o m i n w h i c h t o m o v e . T h e u p p e r v o i c e filis i n t h e 4 t h f r o m D t o A , a n d reaches b e y o n d f o r t h e N , G , a n d itsN , F , circling a r o u n d A ast h e center. T h e m i d d l e voice descends f r o m A t o D , goes b e y o n d soast o s u r r o u n d the D , and comes t orest o n t h e D after passing t h r o u g h it t w i c e . T h e bass e x t e n d s D w i t h w h a t w e n o w think o f as a S P , t h eskip o f a 5 t h o p e n i n g u p t h e space i n w h i c h t h e rest o f t h e l i n e w i l l w o r k . E a c h l i n e i s b u i l t a r o u n d t h e 4 t h D — A o r i t s inversión, the 5 t h A — D . T h e s a m e i n t e r v a l t h a t is set f o r t h as the o p e n i n g a n d closing s i m u l t a n e i t y also guides the d i r e c t i o n o f each line. T h e large a n d r a t h e r c o m p l e x m o t e t [60]is b y Guillaume d eMachaut, poet and composer o f the l a t e M i d d l e A g e s . A t t h a t t i m e , a motet w a s u s u a l l y a secular piece f o r voice(s) a n d i n s t r u m e n t ( s ) . E a c h v o i c e h a s i t s o w n w o r d s ( F r e n c h : mot, " w o r d " ) . A l t h o u g h t h e text deals w i t h c o u r t l y love, t h e t e n o r , h e r e t r a n s c r i b e d i n t h e bass r a n g e , is b a s e d o n chant. M e d i e v a l m a n s i m p l y d i d n o t m a k e t h e sharp distinction b e t w e e n sacred a n dsecular that other times have taken f o rgranted. T h e barlines a r e s u g g e s t e d b y m a r k i n g s in the original. A s p e c i a l feature o f the m o t e t , c a r r i e d t o i t s highest d e v e l o p m e n t i n w o r k s such as this, is that o n e o r m o r e o f t h e v o i c e s i s isorhythmic. T h i s m e a n s t h a t a fixed s e q u e n c e o f r h y t h m i c valúes i s a p p l i e d
W h a t c a n w es a ya b o u t t h e t o n a l i t y o f this piece? I n t h e first t w o l i n e s , t h e l o w e r v o i c e s r e l e n t l e s s l y circle a r o u n d D , w h i l e t h e u p p e r voice moves back a n d f o r t h b e t w e e n D a n d A . T h i s adds u pt o a p r o l o n g a t i o n o f t h e basic s o u n d , D - A - D . T h e subsequent part prolongs t h e 5 t hF - C , ultimately r e t u r n i n g t o t h eo r i g i n a l t o n a l center. Connecting links a r e f e w a n d short. T h e focus o nthe t w o 5ths, w i t h D e m e r g i n g as t h ec o n t r o l l i n g note, brings a r u d i m e n t a r y k i n d o f t o n a l u n i t y t o t h e e n t i r e piece. Parallel, contrary, a n d oblique m o t i o n are used indiscriminately. N o n e seems m o r e desirable t h a n a n d i n d e p e n d e n c e o f v o i c e is n o t a p r i o r ity. A t t e n t i o n is focused, r a t h e r , o n t h e melodies
tO the notes o f the tenor part; other parts m a y a l s o
use s u c h r h y t h m r o w s . T h i s r h y t h m i c series i s c a l l e d a talea. A t t h e s a m e t i m e , t h e n o t e s o f the t e n o r a r e i n a p i t c h s e r i e s , c a l l e d a color. T a l e a a n d
another,
c o l o r f o r t h e Machaut motet in the Anthology, |60|,
are as f o l i o w s :
163
Talea—rhythm only | | •
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Color—pitch only
Since there a r e m o r e "notes" i n t h e talea t h a n i n the color, t h epitches will appear i ndifferent note valúes a s t h e y r e c u r d u r i n g t h e c o u r s e o f t h e p i e c e . L e n g t h s o ft h e t w o series a r es o calculated that t h r e e r e n d i t i o n s o f t h e c o l o r t a k e t h e s a m e t i m e as t w o o f t h e talea. A l t o g e t h e r , t h e talea is h e a r d f o u r times, the color six. T h e listener o fMachaut's day was not expected to h e a r t h e talea a n d t h e c o l o r , j u s t as a listener today is n o t expected t o follow t h e tone r o w i n a serial composition. T h e purpose o f t h e i s o r h y t h m i c structure was t ogive the composer a way o f o r g a n i z i n g h i smusic. T h e logic o f this k i n d o f structure appealed particularly t oFrench composers, o f w h o m M a c h a u t was the m o s t r e n o w n e d . Indeed, t h emelodies a r e highly organized, b u t how d o they w o r k together? T h a t question is n o t as d e c i s i v e a s i t w i l l b e l a t e r , f o r t h e e m p h a s i s i s still o n t h e m e l o d i e s r a t h e r t h a n o n t h e s i m u l t a n e ities. T h e fact is t h a t a l t h o u g h t h e parts m o v e w i t h a k i n d o f fluency t h a t w a s u n k n o w n a c e n t u r y earlier, t h e c h o r d s t h e y p r o d u c e a r e m u c h a s t h e y were. Octave a n d 5 t h a r e t h eprevailing consonance; o n l y t h e 4 t h is l o s i n g g r o u n d . T h e t r i a d is not entrusted with o p e n i n g o r closing a unit, b u t d u r i n g t h ecourse o fa u n i t i t is h e a r d f r e q u e n t l y . T h u s the 3 r d begins t o gain respectability. T h e c h a n t f r a g m e n t o n w h i c h t h e m o t e t is b u i l t centers a r o u n d F because o f t h e 5 t h , F - C , b u t also centers a r o u n d C because o f t h e leading note B . S h o r t sections o f t h e piece have their o w n tonality, but there is n o overall tonal unity, a n d M a c h a u t t h i n k s n o t h i n g o f e n d i n g t h epiece o n G . W h e n B is p r o m i n e n t i n t h e t e n o r , F f m a y a p p e a r i n t h e u p p e r v o i c e s ; w h e n F i s i n t h e t e n o r , Bl> m a y b e heard above it. B o t h o f these cautious moves t o w a r d chromaticism a r e brought about b y t h e avoidance of the tritone. T h e t w os i n g i n g voices (they m a y have been replaced by instruments at times) m o v e rapidly i n varied rhythms. While they seem t ob e cut from t h e s a m e c l o t h , t h e r e is n o i m i t a t i o n b e t w e e n t h e m , a n d t h e y r a r e l y cross. T h e t e n o r h a s n o t e x t a n d is presumably instrumental. Again, t h etraditional e l e m e n t is t h e chant, i nt h e tenor.
T h i s music was m e a n t f o r a s m a l l a u d i e n c e o f knowledgeable aristocrats, a n d is m u c h l i g h t e r i n t o n e than t h emassive w o r k s o f L e o n i n a n d P e r o t i n . I t is m o r e l i k e c h a m b e r m u s i c , m e a n t t o b e h e a r d i n a castle, p e r h a p s i n a l a r g e r o o m , b u t s t i l l i n m o r e intímate s u r r o u n d i n g s t h a n a c a t h e d r a l . M a c h a u t ' s m o t e t t y p i f i e s t h e ars nova, i n w h i c h s u c h r h y t h m i c novelties as d u p l e m e t e r a n d s y n c o p a t i o n could bewritten d o w n , henee, composed, for t h e first t i m e . I f the French composers o f t h e M i d d l e Ages c o n c e n t r a t e d o n e r e c t i n g elabórate m u s i c a l s t r u c tures, the Italians, f r o m t h e i r e n t r y o n t o t h e scene in thefourteenth century, were captivated b y t h e delights o fmelody. T h e exquisite ballata o f L a h d i n i , [6~T], s h o w s s o m e o f t h e s a m e f e a t u r e s a s t h e Machaut, b u t m a n y stylistic differences, too. T h e ballata, like M a c h a u t ' s piece, is c h a m b e r m u s i c , a d u e t with i n s t r u m e n t a l a c c o m p a n i m e n t . T h e basic s o n o r i t y o f 5 t h a n d octave is t h e s a m e , t o o . B u t t h e entire feeling o f the m u s i c is q u i t e u n l i k e M a c h a u t ' s courtly motet. A l lthree lines a r ecaught u pi n t h e l y r i c flow, a n d t h e i n s t r u m e n t a l p a r t i s n o d i f f e r e n t f r o m t h e voice parts. T h e s y m m e t r i c a l l a y o u t o f t h e p i e c e is r e a d i l y p e r c e i v e d b e c a u s e b o t h s e c t i o n s e n d with the same m u s i c , t h e rise t o the h i g h p o i n t (E) followed by the d e s c e n t past t h e t o n i c ( A ) , t h e n a return to the concluding tonic. T h e elegantly shaped upper line h a s t h em e l o d y t h r o u g h o u t . I t s first p h r a s e c i r c l e s a r o u n d 1 , t h e s e c o n d p r l o n g s 5 . T h e next two w o r k their w a y d o w n t h r o u g h t h e octave t o t h e l o w e r 5 , after w h i c h t h e rise t o t h e p e a k is p a r t i c u l a r l y e x p r e s s i v e . T h e s e c o n d h a l f o f t h e m e l o d y has a s o m e w h a t d i f f e r e n t s h a p e , g o i n g a s h i g h a s F j t . B u t i t g r o w s t o r e s e m b l e t h e first s e c t i o n as i t p r o g r e s s e s , a n d t a k e s u p t h e s a m e concluding phrases t o balance t h e piece i na l o v e l y way. T h e i n s t r u m e n t a l p a r t weaves i n a n d o u t o f t h e voice parts a n d is h e a r d b e t w e e n t h e m as o f t e n as b e n e a t h t h e m . T h e e m p h a s i s i s s t i l l o n t h e l i n e s , t h e simultaneities b e i n g w o r k e d o u t i n a w a y that r e l i e s o n t h e basic c o n s o n a n c e o f a 5 t h . C o n t r o l o f t h e c h o r d a l dimensión h a s p r o g r e s s e d s o m e w h a t , b u t is s t i l l n o t as d e v e l o p e d a s c o n t r o l o f t h e l i n e a r dimensión. T h e m o d e is D o r i a n , h e r e t r a n s p o s e d t o A . A t t h e e n d o f each s e c t i o n a l e a d i n g n o t e is h e a r d , helping the punctuation. T h eparticular melodic t u r n at t h e cadenee, i n w h i c h 7 steps d o w n t o 6 b e f o r e a r r i v i n g a t 8 , i s o f t e n c a l l e d t h e Landini cadenee, a l t h o u g h i t w a s i n u s e b e f o r e L a n d i n i w a s born. H o w did the t r i a d b e c o m e t h en o r m a t i v e sonority o f tonal music? A s t h e r e s u l t o f a l o n g , slow process, n o d o u b t , w h i c h w a s i m p r o v i s e d m o r e
and 4 , m o v i n g back a n df o r t h between t h e two. The rhythmic vocabulary noW includes both eighth notes a n d triplets. W e m a y also observe that each voice has its o w n r a n g e , a n d t h a t t h e r e is l i t t l e v o i c e crossing. T h i s b r i e f survey leaves o f f s o m e w h e r e near the point at w h i c h Renaissance music began. Its purpose h a s been t o p r o v i d e a f r a m e w o r k f o r d e e p e r study o f t h e m u s i c a n dits h i s t o r i c a l c o n t e x t . A l s o , t h i s o v e r v i e w m a y s e r v e t o créate a p e r s p e c t i v e i n which t oseelater music. I tis i m p o r t a n t t o realize that r e m o t e as this m u s i c is i n t i m e , i t still h a s a great deal t o o f f e r today's m u s i c i a n a n d today's listener as w e l l .
often than i twas w r i t t e n d o w n . F r o m t h e English practice o f a d d i n g t o a m e l o d y a second part i n 3rds a n d 6ths carne the succession o f w h a t w e n o w cali f - p o s i t i o n triads. T h e h a r s h s o u n d o f t h e 5th gave way i nt i m e t o t h em o r e euphonious imperfect consonances; i n t h r e e - p a r t music, triads resulted. T h e style i n w h i c h parallel | chords pred o m í n a t e i s c a l l e d fauxbourdon ( i n F r e n c h ) . T h e D u f a y e x c e r p t , [62], i s w r i t t e n l a r g e l y i n f a u x b o u r don. Suddenly t h emusic sounds " m o d e r n , " much m o r e like t h e music w e a r e accustomed to. T o be sure, s o u n d s w i t h i n 3rds a r e still present, b u t they are o u t n u m b e r e d b y the triads. T h e first n o t e m a y b e t a k e n a s a n u p b e a t , f o l l o w e d b ya barline. T h e music will t h e n fall into \
W h y Study Counterpoint? For centuries music students have been trained in the techniques o f c o u n t e r p o i n t . I n a society that d e e p l y r e s p e c t e d t r a d i t i o n , t h a t fact a l o n e w o u l d have carried great weight i n persuading music t e a c h e r s t o continué t e a c h i n g t h e s u b j e c t . B u t i n t o d a y ' s w o r l d , m e r e forcé o f h a b i t i s h a r d l y a compelling reason for maintaining a n educational practice. Any intelligent answer must begin by dehning the term. B u twriters o n music are notoriously careless about t e r m i n o l o g y . W e hear about sixteenth-century counterpoint, about Bach counterpoint, about harmonic counterpoint, about modal and tonal counterpoint. W e hear about counterp o i n t as a d i s c i p l i n e o r as a m e a n s o f e x p r e s s i o n , as t r a i n i n g f o r c o m p o s e r s o r a s i r r e l e v a n t f o r c o m posers b u t essential f o r theorists. I sthere a definition that will guide us? I n t h e m i d d l e o fthe sixteenth century a distinguished Italian musician, Gioseffe Zarlino, wrote a t r e a t i s e o n m u s i c , Istituzioni armoniche ( V e n i c e , 1 5 5 8 ) , considered a milestone i n t h e development o f musical t h o u g h t . T h et h i r d section o f t h e book, " C o u n t e r p o i n t , " offers m a n y insights into t h e m u s i c a l p r a c t i c e o f t h e t i m e . Z a r l i n o finds t h e o r i g i n o f t h e w o r d i n t h e L a t i n punctus contra punctum, " a n o t e a g a i n s t a n o t e . " M o r e g e n e r a l l y , h e m e a n s line against line. Y e t that definition is n o t c o m p l e t e e n o u g h t o cover e v e n t h eexercises i n Zarlino's b o o k , f o r n o w h e r e does line m o v e against line w i t h o u t regard f o r t h esounds that a r e heard
simultaneously. O nt h e contrary, Zarlino himself gives t h e m o s t c a r e f u l a t t e n t i o n t o t h e m a t t e r o f consonance a n d dissonance, b y w h i c h the relationship b e t w e e n lines is g o v e r n e d . A d e f i n i t i o no f counterpoint, t h e n , m u s t i n c l u d e b o t h t h e l i n e a r aspect a n d c o n t r o l o f t h e s i m u l t a n e i t i e s . I t is t h e art o f c o m b i n i n g lines i nr e l a t i o n t o each o t h e r . Composers a n d theorists after Zarlino built o n the f o u n d a t i o n s h e h a dlaid. N o t e v e r y o n e agreed with all o fhis theories, b u t his approach t o counterpoint was widely studied a n d emulated. M e a n while, the language o f music was changing radically. O n l y fifty y e a r s a f t e r t h e f i r s t e d i t i o n o f Z a r l i n o ' s book, M o n t e v e r d i was t a l k i n g a b o u t t h e o l d e r style, the "first practice," as against t h e n e wstyle, t h e "second practice." B e f o r e l o n g , t h e i n v e n t i o n( o r rediscovery) o f m o n o d y a n d t h e d e v e l o p m e n t o f figured bass, t h e c o n c e r t e d s t y l e , o p e r a , a n d t h e many innovations o fthe Baroque h a d made t h e music o fZarlino's t i m e seem very old-fashioned. Yet c o u n t e r p o i n t w a s t a u g h t as i f n o t h i n g h a d changed since t h e d e a t h o f Palestrina i n 1 5 9 4 . I n r e t r o s p e c t , t h e r e a s o n i s n o t h a r d t o find. A l t h o u g h the style o f secular a n d s o m e sacred m u s i c h a d indeed changed considerably, music i nt h e Catholic C h u r c h r e m a i n e d b o u n d t o t h e g r e a t t r a d i t i o n s of the Renaissance a n d t h eC o u n t e r - R e f o r m a t i o n . Even composers w h o wrote for the Protestant worship felt o b l i g e d t o s t u d y t h e " l e a r n e d style." C o m posers w h o w e r e b u s y w r i t i n g o p e r a s a n d concertos s t i l l f e l t t h e n e e d f o r t r a i n i n g i n t h e oíd m a n n e r o f
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writing, a n d w h a t w a scalled counterpoint provided that training. T h e classic f o r m u l a t i o n o f t h e d i s c i p l i n e s a w t h e light o f d a y i n 1725, w h e n J o h a n n Joseph F u x p u b l i s h e d h i s Gradus ad Parnassum. A s k i l l f u l c o m poser himself, F u x organized the problems o f comb i n i n g lines i n a systematic way, isolating the various techniques the better to master t h e m . Breaking the subject d o w n i n t o m a n a g e a b l e pieces h a d been a t t e m p t e d before, b u t F u x d i d it better. H e p u t his exercises into a logical sequence, starting w i t h the simplest a n d m o v i n g systematically t o t h e m o r e c o m p l e x . A s a result, c o u n t e r p o i n t is everlastingly associated w i t h h i s ñame. I d e n t i f y i n g t h e r e l a t i o n s h i p b e t w e e n c o n s o n a n c e a n d d i s s o n a n c e as t h e critical e l e m e n t i n t h e c o m b i n a t i o n o f lines a n d realizing that r h y t h m was closely b o u n d u p w i t h dissonant usages, F u x d e h n e d h v e types o r species o f c o u n t e r p o i n t exercises. T h e y are: first s p e c i e s : n o t e - a g a i n s t - n o t e c o n s o n a n c e ; second species: t w o notes against o n e , u s i n g Ps; t h i r d s p e c i e s : f o u r n o t e s a g a i n s t o n e , u s i n g Ps a n d N s ; f o u r t h species: S U S s ; fifth s p e c i e s : florid c o u n t e r p o i n t , u s i n g a l l r h y t h m s a n d all dissonant usages. I n each exercise F u x h a s t h e student write a m e l o d y o r melodies against a given melody, t h e cantus firmus. T h e u s e o f a g i v e n m e l o d y , i n i t s e l f , was hardly new. A s a compositional procedure, i t dates back t o t h e beginnings o f W e s t e r n polyp h o n y . Z a r l i n o w a so n l y o n e o f m a n y w h o h a d prescribed such a n exercise, u s i n g c h a n t ast h e given melody. B u t chant, n omatter h o w beautiful, c a n p o s e m a n y p r o b l e m s t h a t c o n f o u n d t h e issues. Fux's instinct for proceeding f r o m t h esimple t o the c o m p l e x led h i m t ow r i t e short, clear melodies that a r e m o r e appropriate f o rpedagogical purposes t h a n chant, a l t h o u g h they can b e criticized o n b o t h stylistic a n d s t r u c t u r a l g r o u n d s . B y setting u p specific exercises t h a t o r g a n i z e d the study o f b o t h pitch a n d r h y t h m , F u x was able t o w r i t e a t r e a t i s e o f e n o r m o u s valué t o s t u d e n t s o f the art. B r i n g i n g together teaching methods o f p r o v e n usefulness, h e presented them i n a m e t h o d i c a l w a y . H i s Gradus i s a s e l f - i n s t r u c t i o n b o o k ; w r i t t e n , like m a n y s u c h b o o k s i n t h e past, i n the f o r m o fa dialogue between teacher and student, it isstill v e r y m u c h w o r t h r e a d i n g today. For F u x , o f course, t h e entire m e t h o d w a sa means t oa somewhat limited end. A l lh e intended to d owas to s h o w a systematic way o f learning h o w to write like Palestrina. O n e wonders h o w m u c h o f Palestrina's music F u x actually knew. T h e music o f the Renaissance was largely u n k n o w n until i t was rediscovered i n t h e late n i n e t e e n t h century, a n d
whatever such music F u x heard, h eheard through ears that w e r e a t t u n e d t o the late B a r o q u e a n d the e m e r g i n g style galant. I t is o n l y a h u n d r e d years since t h e rise o f t h e discipline o f m u s i c o l o g y , w h i c h has l e d t o t h e discovery o fso m a n y b u r i e d treasures. Fresh publications o f older music a n d m u c h valuable research have m a d e it possible to study that music i n a m o r e sympathetic way, which means that musicians have begun t o m a k e a serious effort to hear older music i n i t s o w n t e r m s r a t h e r t h a n as s o m e t h i n g t h a t could b e dismissed as a "precursor." I nthe t w e n tieth century t h eD a n i s h scholar K n u d Jeppesen defined the language a n d practice o f Palestrina i n d e t a i l i n h i s m o n u m e n t a l b o o k The Style of Palestrina and the Dissonance ( 1 9 2 7 ) . J e p p e s e n w a s a b l e to point out just h o w far F u x had been mistaken o n m a n y stylistic matters, a n d t o s h o w that t h e image o f Palestrina's style that h a d been projected by Fux's 1725 b o o k was w i d e o f the m a r k . Subsequently Jeppesen wrote a counterpoint book which did, i n a scholarly and thoughtful way, just what F u x had thought h ewas doing. T h e remarkable thing, f r o m o u r point o f view, is t h a t F u x a c t u a l l y a c c o m p l i s h e d s o m e t h i n g q u i t e different f r o m what h e intended. I n m a n y ways it was something far m o r e important. F o r i n defining the species o f c o u n t e r p o i n t , i n p i n p o i n t i n g t h e interrelationships o fconsonance a n d dissonance, i n m a k i n g specific t h e w a y s i n w h i c h r h y t h m interacts w i t h p i t c h s t r u c t u r e s , F u x a r t i c u l a t e d m a n y o f the basic factors t h a t m a k e t o n a l m u s i c w o r k . T h e reasons that H a y d n , Mozart, Beethoven, C h o p i n , Brahms, and m a n y others fopnd F u x so valuable had n o t h i n g t o d o with Palestrina, but had everything t o d o with their o w n music. I n trying t o explain h o w t owrite like Palestrina, F u x managed to explain instead some o fthe f u n d a m e n t a l processes o f m u s i c a l m o t i o n . T h e r e i n lies h i s i m p o r tance f o r u s . I n o n e w a y F u x m a y be likened t o Columbus, w h o sought India and found the N e w World. M o s t o f w h a t F u x f o r m u l a t e d applies n o t o n l y t o the music o f one composer t o one period, but to all tonal music. T h e processes exemplified b y the species can b e seen a t w o r k n o t m e r e l y i n t h e m u s i c o f the sixteenth century, but i n t h e music o f the fifteenth c e n t u r y as well, a n d the seventeenth, a n d Fux's o w n eighteenth, a n d u p t o a n d including t o n a l m u s i c w r i t t e n t o d a y . W h a t , t h e n , is s i x t e e n t h century counterpoint? I tseems t o m e a n the e m u lation o f the personal style characteristics o f one composer. B u t unless w e a r e t o study each great c o m p o s e r separately, it is essential that w e d e f i n e a c o u n t e r p o i n t f o r a l l c e n t u r i e s . T h a t w i l l demónstrate w h a t all composers have i n c o m m o n — w h i c h
is t o s a y t h a t i t w i l l d e f i n e t h e n o r m s o f t o n a l m u s i c . W i t h o u t a clear codihcation o fw h a t has been the n o r m a t i v e p r o c e d u r e , t h e s t u d y o f m u s i c gets bogged d o w n i n a q u a g m i r e o f details, d e v o i d of u n d e r l y i n g c o n c e p t u a l basis. W i t h t h e a i d o f such a f o r m u l a t i o n , h o w e v e r , i t b e c o m e s possible to a p p r o a c h a n y n e w piece o f m u s i c i n a systematic w a y ; w i t h specific tools a n d skills, o n e c a n both u n d e r s t a n d w h a t gives t h e piece coherence and u n i t y a n d relate i t t o o t h e r pieces. T h e t h e o r i s t w h o first s a w t h e p o s s i b i l i t y o f a p p l y i n g F u x ' s ideas o n a b r o a d e r scale w a s the V i e n n e s e H e i n r i c h S c h e n k e r ( 1 8 6 8 — 1 9 3 5 ) . A practical m u s i c i a n as w e l l as a h i g h l y o r i g i n a l t h i n k e r , S c h e n k e r a s s i m i l a t e d t h e s p e c i e s c o n c e p t i n t o his o w n comprehensive theory about t h estructure of t o n a l m u s i c . A s y o u h a v e o b s e r v e d i n o n e piece a f t e r a n o t h e r , b e n e a t h e v e n t h e m o s t elabórate musical surface t h e listener m a y project a framew o r k , t h e t o n a l structure, w h i c h c a nbe expressed as n o t e - a g a i n s t - n o t e c o n s o n a n c e o r s o m e t h i n g cióse t o i t . T h e s t r u c t u r a l f r a m e w o r k i s r e v e a l e d by m a k i n g a synopsis o fthe pitches, e m p h a s i z i n g the i m p o r t a n c e o f t h e bass a n d s o p r a n o (because the music does), a n d using t h e process o f reduction, o n e o f S c h e n k e r ' s m a n y c o n t r i b u t i o n s . T h a t reductive p r o c e d u r e resembles n o t h i n g s o m u c h as the species, b u t i n r e v e r s e o r d e r . T h e c o m p o s e r synthesizes w h i l e t h e theorist analyzes. S c h e n k e r applied t h e c o n c e p t o f s t r u c t u r a l levéis t o m u s i c , a n d also d e m o n s t r a t e d h o w each level was elaborated—prol o n g e d , as h e called i t — i n t o t h e n e x t . Schenker's w o r k h a s b e e n c a r r i e d o n b y Félix S a l z e r , a m o n g others, w h o has successfully applied the concept of d i r e c t e d m o t i o n t o m u s i c o f b o t h e a r l i e r a n d later e p o c h s t h a n S c h e n k e r . S a l z e r ' s Structural Hearing ( 1 9 5 2 ) i s a n e x c e l l e n t e x p o s i t i o n o f S c h e n k e r ' s ideas
in English. C o u n t e r p o i n t , t h e n , is t h e a r t o f c o m b i n i n g lines i n r e l a t i o n t o o n e a n o t h e r . T h i s r e l a t i o n is m a n aged b y t h e i n t e r a c t i o n o fconsonance a n d disson a n c e . T h e l i n e s genérate i n t e r v a l s t h a t a r e h e a r d simultaneously. T h e s e intervals m a k e u p the chords that a r e o n e aspect o f t h e vocabulary o f tonal music. M o s t c h o r d s i n a piece a r e c o n t r a p u n t a l c h o r d s , w h e t h e r t h e p i e c e i s a chórale o r a f u g u e . T h e g r e a t d i f f e r e n c e b e t w e e n a chórale a n d a f u g u e is i n t h e u s e o f m u s i c a l s p a c e — w h i c h i s t o say t e x t u r e . B u t t o c a l i o n e " h o m o p h o n i c " a n d t h e o t h e r " c o n t r a p u n t a l " is t o miss t h e p o i n t t h a t t h e y are b o t h the p r o d u c t o f lines m o v i n g t h r o u g h t i m e . O u r definition o f counterpoint, taking a broad view, i n c l u d e s m o s t o f w h a t is t a u g h t i n c o u r s e s called " H a r m o n y . " W e m a i n t a i n that t o m a k e sense, a pedagogical approach s h o u l d start w i t h musical motion, not w i t h isolated m o m e n t s frozen f o r purposes o f l a b e l i n g . F o r music exists i n t i m e . L i n e s , melodies, r h y t h m s , even chord progressions m o v e i n t h e temporal dimensión, n o t o n p a p e r . A s y s t e m a t i c a n d m u s i cally v a l i d m e t h o d o f s t u d y i n g t h e w a y m u s i c m o v e s t h r o u g h t i m e is precisely w h a t w e h a v e called c o u n t e r p o i n t . T h e a p p l i c a t i o n h e r e is b r o a d e r i n scope t h a n t r a d i t i o n a l c o u n t e r p o i n t , e v e n t h o u g h i t is firmly rooted i nthat tradition. T h a t counterpoint m u s t b e d r y a n d m e a n i n g l e s s is n o t a n i n e v i t a b i l i t y ; it is s i m p l y a b a d h a b i t . I f c o u n t e r p o i n t is u s e d t o study musical m o t i o n , both broad a n d detailed, it b e c o m e s a t w o - e d g e d t o o l . F o r i t is b o t h a k e y e l e m e n t i n t h e analysis o fm u s i c a n dalso t h e basis for a c q u i r i n g t h e skills o f t o n a l c o m p o s i t i o n . A s such, it is essential t o e v e r y p e r s o n w h o is s e r i o u s l y interested i n studying the art o f music.
Music and the Rules A s a s t u d e n t y o u m a y h a v e b e e n t o l d , " Y o u have to k n o w t h e rules before y o u c a n break them." W h a t d o e s this m e a n ? W h a t is a r u l e i n music? H o w c a n y o u b r e a k i t i f it is a r u l e ? D o composers follow rules in writing music? E v e r y m u s i c l i b r a r y i s filled w i t h b o o k s c o n t a i n i n g g r e a t n u m b e r s o f d o s a n d d o n ' t s — m o s t l y (it m u s t seem to a student) the latter. O n w h a t authority c a n such directives be issued? T h e fact that a
w e l l - k n o w n w r i t e r o r musician h a s stated a r u l e does n o tguarantee t h e validity o f t h e statement. W e m a i n t a i n that t h e o n l y a u t h o r i t y is t h e m u s i c itself. W e l e a r n b y o b s e r v i n g w h a t h a p p e n s i n pieces, t h e n b y g e n e r a l i z i n g a b o u t t h e m . W e h o p e our generalizations a r einclusive e n o u g h a n d consistent e n o u g h s o t h a t w e d o n o t h a v e t o s t u d y every piece o f m u s i c e v e r w r i t t e n b e f o r e w e c a n extrapólate t h e n o r m s o f c o m p o s i t i o n a l p r o c e d u r e .
For composers do not follow rules; the rules are abstractions o f w h a t composers have already written. A l t h o u g h these observations a b o u t h o w pieces w o r k are called rules, t h e y are actually closer to instructions o f a " h o w to do it" nature. T h e t e r m theory i s o f t e n a p p l i e d t o t h i s s t u d y ; i t c o n s i s t s , i n fact, o f a m i x t u r e o f a little t h e o r y a n d a l o t o f p r a c t i c e . M u c h o f t h e t i m e i t is a p r a c t i c a l i n v e s t i gation o f h o w sounds are organized into a coherent, artistic w h o l e . Rules fall i n t o t w o categories. O n e category involves t h e basic o p e r a t i o n s t h a t m a k e a piece o f tonal music intelligible, that govern the relation to t h e tonic, t h a t s h a p e phrases, sections, pieces. T h e s e are e m b o d i e d i n archetypes, w h i c h lie beneath the surface o f e v e r y piece. T h e o t h e r category consists o f rules t h a t g r o w o u t o f aesthetic choices. T h e s e choices express n o r m s o f m e l o d i c shape, the relation o f dissonance and consonance, independence o f voices, Since t h e n o r m s o f v a r i o u s styles m a y differ o n some o f these points, these rules m a y prove to be m o r e relative t h a n absolute. I n tenthc e n t u r y m u s i c t h e 3 r d is a d i s s o n a n c e ; n o t t o o m u c h l a t e r , i t is a c o n s o n a n c e . T h e t w o l o w e r v o i c e s i n a B a c h chórale w i l l n o t m o v e i n p a r a l l e l octaves, b u t i n a H a y d n s t r i n g quartet they m a y v e r y well d o j u s t that. I f y o u w a n t y o u r piece to sound like Lasso or Bach, y o u should avoid parallel 5ths, but i f y o u w a n t y o u r music to sound like Debussy or H i n d e m i t h , parallel 5ths are a means to that end.
w i t h p r o b l e m s t h a t a r e b e y o n d t h e m . T h i s is p a r t o f the reason f o r the artifical distinction between h a r m o n y and counterpoint. W h a t we are attempti n g h e r e is t o face t h e p r o b l e m s q u a r e l y b y s e t t i n g f o r t h t h e basic p r i n c i p i e s o f t o n a l c o h e r e n c e f r o m the b e g i n n i n g , m a k i n g n o "rules" that have to be b r o k e n later o n . O n e o f the fascinating aspects o f t o n a l i t y is t h a t t h e s a m e p r i n c i p i e s w o r k i n t h e small detail and i n the large view, i n simple music and i n the most complex. I f the rules embody t h e s e p r i n c i p i e s , t h e r e is n o w a y t o b r e a k t h e m . T h e s t a t e m e n t " t h e e x c e p t i o n p r o v e s t h e r u l e " is nonsense. T h e exception disproves the rule. C o m p o s e r s d o n o t f o l l o w r u l e s . Ñor d o c o m p o s ers rely o n sheer i n s p i r a t i o n . T h e i r m i n d s are filled with ways o f putting notes together, the n o r m s o f c o m p o s i t i o n i n t h e i r day. T h e y use those n o r m s i n the same way that w e utilize the n o r m s o f today i n speaking and writing words. W e think o f what we w a n t t o say a n d w e say i t ; t h e r e s u l t i n g s e n t e n c e has a subject, a n object, a v e r b , at t h e least. C o m posers also use their g r a m m a t i c a l n o r m s to convey their thoughts. Finally, the fact that m a n y rules d e r i v e f r o m aesthetic choice makes us realize that different m u s i c s m a y h a v e d i f f e r e n t sets o f r u l e s . W e a r e studying the music o f Western E u r o p e and A m e r i c a s i n c e t h e M i d d l e A g e s . N o less o r g a n i z e d is t h e music o f other cultures, w h i c h we are just beginning to study i n the rapidly g r o w i n g discipline o f e t h n o m u s i c o l o g y . A n y o n e w h o has e x a m i n e d the a r t m u s i c o f I n d i a k n o w s t h a t i t is h i g h l y c o d i f i e d . T h e patterns o f Javanese gamelan music are precisely a r r a n g e d . T h e intricacies o f A f r i c a n d r u m music bespeak an extraordinary degree o f organiz a t i o n . E a c h has its o w n rules, w h i c h d e f i n e t h e style a n d m a k e it possible to h a n d d o w n a living tradition f r o m one generation to another.
I f generalizations about a piece o f music are accurate, w h a t sense does it m a k e to break the rules? N o n e . T h e p r o b l e m stems f r o m the f o r m u lation o f rules that have little to d o w i t h real music a n d that, at best, r e p r e s e n t a n a t t e m p t to k e e p beginning students f r o m getting involved too soon
168
I
MUSICIANSHIP AT T H E KEYBOARD
-
)
PART ONE 1. P l a y a l l m a j o r a n d m i n o r scales i n t w o o c t a v e s . 2. F i n d a n y i n t e r v a l o n t h e k e y b o a r d q u i c k l y a n d a c c u rately. 3 . P l a y o n t h e w h i t e k e y s t h e scale o f t h e D o r i a n , M i x o lydian, a n dPhrygian modes. 4. T r a n s p o s e t h o s e t h r e e m o d e s u p a p e r f e c t 4 t h o r d o w n a perfect 5th.
PARTS TWO, T H R E E , AND F O U R S i x p r o gressions a r e listed below. these a r e t ob e practiced in a n u m b e r o f different ways. T h e purposes o f this w o r k are: to l e a r n t h e b a s i c c h o r d v o c a b u l a r y o f d i a t o n i c m u s i c ; to practice h e a r i n g lines a n d c h o r d s a t t h e s a m e t i m e ; t o g a i n fluency i n finding t h e n o t e s o f f r e q u e n t l y u s e d chord patterns; i to l a y t h e foundaüon f o r i m p r o v i s a t i o n . HoW
3. V a r y t h e p o s i t i o n o f the notes i n t h e triads: a. s o p r a n o m a y s t a r t w i t h r o o t , t h i r d , o r fifth; a l t o and tenor adjust accordingly; b . bass s t a r t s w i t h t o n i c i n e i t h e r h i g h e r o r l o w e r octave. 4. P l a y i n v a r i o u s m e t e r s , u s i n g r e p e a t e d c h o r d s t o créate a r h y t h m i c p a t t e r n . 5 . Altérnate h a n d s : " o o m - p a h " i n d u p l e m e t e r , " o o m pah-pah" in triple meter. 6. U s e a r p e g g i a t i o n i n o n e h a n d . 7 . A d d Ps, N s , a n d S U S s . PROGRESSIONS 1. I - V - I ( m a j o r ) ; I - V » - I ( m i n o r ) 2. I - I V - I 3. I - I V - V - I 4. I-H -V-I 5. I - V I - I V ( I I ) - V - I 6. I - I V - I I - V - I ( m a j o r o n l y ) 6
6
Illustrations o fsome o ft h e ways i nw h i c h these exercises m a y b e realized a r e g i v e n below. T h e s e are n o t models t o be followed mechanically, b u t suggestions t o s h o w a f e w o f the possibilities. M e m o r i z i n g t h e s e i l l u s t r a t i o n s i s o f n o valué. R a t h e r u s e t h e m tolearn h o w t othink atthe piano.
t o practice:
1. M e m o r i z e a p r o g r e s s i o n i n b l o c k c h o r d s i n a n y k e y . 2. T r a n s p o s e t o a l l m a j o r a n d m i n o r k e y s . R e m e m b e r t h a t i n t h e m i n o r m o d e t h e l e a d i n g n o t e is u s e d i n V». Progression 1. Block chords Soprano has root
I
Soprano hasthird
Soprano has
fifth
1
-e8
O t h e r ways
i o Progression 4. Using repeated Another way
chords
4+
m <•
m
~ft
- 9
•
I •
m n
Progression 5. Alternating hands
•
•5i 1M — 3 1
-&——i
" í * — —
1
J
1 i
1
4*
á*-
F ¡ r f r
4
1 i
i
•
hsIí
^—• _
^=F=
fe
-*—
i
í
í 170
P
3
9 -s
—
Progression 6. Arpeggiation
PARTS F I V E AND SIX 1.
Play and memorize
these pieces:
Fischer, P r e l u d e i n C ,|26A|, a n d Prelude i n E, |26B| M a t t h e s o n , S a r a b a n d e , [27] R a m e a u , Gavotte, |28|
Mozart, page 133 Mozart, page 157 Beethoven, page 147 Gluck, page 147 Handel, page 155
On
2. Play these
a m o r e a d v a n c e d level:
C o u p e r i n , La Lúgubre, [ 2 5 ] H a n d e l , C o u r a n t e , |35j Bach, A l l e m a n d e , |30| following:
H a n d e l , T h r e e E n g l i s h R e c i t a t i v e s , [37] T e l e m a n n , Odes, | 2 9 | C o r e l l i , S o n a t a m o v e m e n t , |22|
I _ H 2 _ V f - I - Ilf-Vg-I I - V I - I V - I I - V (elaborated)-I (major mode) precede V I , I V , and I I with their dominants I - V I I - I I I - I I 6 - V (elaborated)-I
t h efollowing examples i n
Any minor-mode 3rd.
Illustrations o felaborated progressions:
(a) SUS
tfj4
i
preways
a. C i r c l e o f 5 t h s ( s e e p a g e 3 2 0 ) I _ I V - V I I - I I I - V I - I I - V - I (in minor, not I Ibut I I 6 ) b. lOths a n d 1 2 t h s I - V - V I - I I I - I V - I plus cadenee
PART SEVEN Play f r o m m e m o r y the text:
i n a l lkeys. T h e
of elaborating the chords. V m a y b e V .
2. Realize the continuo part i n the
1.
progressions
vious pages include suggestions f o r various
iíí4
m .0
0Í
(b) SUS and repeated notes
171
exercise m a y e n d w i t h a Picardy
(c) Arpeggiation A ¡>,2 m v\>% > 7
9
^ 7 0
v
' ti
—*
= ^
*/ * J «y 7 J *7
-4*-
— g — —v 1
0 \~
j
172
r
—
¿
i
_
—9
•
INTRODUCTORY EXERCISES FOR SIGHT SINGING
fe
174
3. M i n o r S c a l e s — a n d M a j o r
8.
5 . N ( J. J>)
11.
6. D N ( J .
J>
f¡)
179
180
8. S k i p s t o I N ( J ~ 7 J ) i.
182
10. Skips i n the I V C h o r d
(J~j^)
11. Skips i n the V
7
Chord
(Upbeats)
13. O c t a v e D i s p l a c e m e n t
186
14. P o l y p h o n i c M e l o d y
187
15. I n t e r v a l S t u d i e s
i 188
•i
STUDIES IN MELODY IMPROVISATION
)
1. B a s e y o u r m e l o d y o n a scale, a s c e n d i n g a n d descending: Choose a tempo. Choose a meter. B e a t t i m e as y o u s i n g . T a k e t h e u p p e r t o n i c o r a n o t e n e a r it as y o u r i n t e r m e díate g o a l . N o t e s o f t h e scale m a y b e r e p e a t e d i n y o u r m e l o d y . N s m a y b e u s e d t o elabórate scale n o t e s . T h e octave m a y be exceeded b y o n e note i n either direction. Illustrations
i—(1—-L-
^
—
#
—
(b) —0 i
m
P
—
•=
_
=+^=
J—J—
£±2
2. Base y o u r m e l o d y o n t h e progression V-I:
I—IV—
Choose a tempo. Choose a meter. B e a t t i m e as y o u s i n g . U s e o n e c h o r d t o a m e a s u r e a t first. W h e n y o u have had some experience i n this study, t h e chord outlines may becarried over the barline. P s m a y b e u s e d t o fill i n t h e c h o r d o u t l i n e . Illustrations
(a) •3
-gt
—'-m
(b)
,
1
H—'UF
^"""""l \
.
•
p
_
=
= —J—
- f — l —
i t / ^ ^ b
190
^
_—
a m.
0 _
J
J J -
3. B a s e y o u r m e l o d y o n a p a t t e r n o f s t r u c t u r a l notes o n w h i c h y o u i m p r o v i s e p r o l o n g i n g notes: Choose a tempo. Choose a meter. B e a t t i m e as y o u s i n g . Sing the structural notes, one t oa measure. Sing a m e l o d y built o n t h e structural notes. U s e o n e o r t w o m a i n n o t e s t o t h e m e a s u r e a t first. W i t h m o r e e x p e r i e n c e , t h e s t r u c t u r a l notes m a y be used m o r e freely. Patterns: a. 1 - 2 - 3 - 2 - 1 b. 3 - 2 - 1 c. 5 - 4 - 3 - 2 - 1 d. 3 - 4 - 5 - 4 - 3 - 2 - 1 Illustrations
(a)
1
2
2
J * J—LJ_^J i (b)
^
1 •-1
•
3
-0—
Wf=ft= *'•>••l?fc} ,ft d' y-
J
9
- f — f pM
¿--
More advanced: U s i n g a n y o f t h e t e c h n i q u e s o f Studies 1 - 3 , o n e s t u d e n t sings a n antecedent phrase,
0 0
2.
• Í T T T : ii r
w i t h 2 , 3 , o r 5 as t h e g o a l ; i n t e m p o , a n o t h e r student sings a c o n s e q u e n t p h r a s e e n d i n g o n 1 .
191
MUSIC
ANTHOLOGY
195
2 Innsbruck, I Now Must Leave Thee (Innsbruck,
Inns
Inns
- bruck, I
- bruck, I
bruck, I ,
Inns
doth
H e i n r i c h I s a a c (c. 1 4 5 0 - 1 5 1 7 )
Ich muss dich lassen)
grieve
now
must
now
must
now must
To
This
part
This
part - ing
thee,
leave
-
leave
thee,
This
part
thee,
thee,
This
part - ing
leave
for - eign lands
I
go,
My
-
ing sad
sad
ing sad
hap - pi - ness
sad
is
3 Chanson, Men All Are Such Great Lovers (Nous
J a c q u e s A r c a d e l t (c. 1 5 0 5 - 1 5 6 7 )
voyons que les hommes)
fi
3E Men
all
are such great
lov - ers, Or
r.
so they do pro - claim,
3E
SLÁ
m Men
all
are such great
lov - ers, Or
fMen
all are such great
J
And wom-en are so
so they do pro - claim,
And wom-en
are so
, f-
lov - ers, Or
so they
do pro - claim,
And wom-en are
so
10
fool
ish
to
put
on
Love the
blame.
ish
to
put
on
_
a
put
on
SE ish
fool
But
what seems right
for
But
what seems right for
to
Love
the
blame.
J
i wom
, -
i p'
en
r
-
folk
for
men-folk
for
O
Love the
blame.
But
what seems right for
15
\IH
men
T T
f * f fool
í
g
'J
O
* ¡—
r
J
¿ to
leads
shame, And
r.
P
mis - er
-y
R
i se
«
\=
-
folk
for_
ü
1
lows
if
we leave
t he
on J
" -•5-*—| wom
-Vm
-
U — en
1
—
leads -o
r
wom - en
í
j
leads
i
—
i
to
|„ shame,
•
P
mis - er
- y
—
to shame, And
p . 1.
P
J
f
r ^ f - f -
And
mis - er - y
O r i g i n a l key: F. Barlines added. A l l measures are not equal i n length.
198
soon ©
soon
1
fol - lows
O fol
r O pTr — -1 L i
1
— 1 p -
lows
1
á—
¡ fol
-
1—' 1 J
p [
i
men
if
we
leave t he 9
f~ if_
p
we leave
1
20
H
f J J I
?' path
of
¿ Hon
Now
why has
or. Now why
has
Na - ture
Now why
has
Na - ture
Na - ture
made
us
so
full
of
us
so
full -
of
so
full
of
I path
of Hon
made _
o Hon
-
or's
path.
made
25
A ¡i
—I
jo—s
and
grace-
m
m
3
^
i -
¿ M i l
3
charm, Af
- fec-tion - ate
and
friend - ly,
charm,Af
- fec - tion - ate
and
friend - ly,-
J
how
¿
can
r¡
we
I
ffl o J j help_
1^ = d
but
1
^
love?
o
grace_
grace
1
and
and
charm,
Af
- fec - tion - ate
and
friend - ly,
199
how-
can
e
©
how
can
we
help but 19
we
love?
(9
help but
love?
Chanson, Happy I Daré Not Be (Je
P i e r r e C e r t o n ( a c t i v e c. 1 5 4 5 )
n'ose étre contení)
o
SI
2
4>
r\
Hap - py
I
daré
not
be.
P-
with
all -
i
S2
• Hap
-
py
I
daré
not
be
my
P with
fm all-
10
É
19—
P
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lh
19
rFr&
Not
i - ness,
1
1
« 1 *- J -
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1
0
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C
&
want-ing
—
to
de - sire_
|—
=~f-
1—
— r H
^ T J - r, —s—rJ-e 5=í in
life
a
great
15
Ti -
1 1 in
life
a
great
fJ I d
l.CE
j
For_
er joy.
fear_
"
of
o j°y-
For
fear of
have,
O
los - ing
los
cJ ing what
For
he
who
asks
too
O r i g i n a l k e y : F . T h e h a l f n o t e is t h e b e a t , e x c e p t i n t w o m e a s u r e s i n w h i c h w o r d s a n d m u s i c s u g g e s t t h r e e w h o l e notes.
200
35
^
u
rrr
É=g=tc rauch will change.
too
For
he
who
asks
too
O much
will
201
^
(?)
J J
pleas
change
pain.
pleas
ure
to
pam.
5 Bicinium, A Mighty Fortress Is Our God (Ein
feste Burg
ist unser
A
might - y
shield
shield
for
-
tress
God,
is.
and
wea
pon.
The
oíd
and
wea
pon.
The
oíd _ _ _
—Would '
Raspar Othmayr
Gott)
now.
and
A
(1515-53)
good
-
vil
e
and
foe,
vil
e
foe,
5É
r work
ly
us
woe,
With
might
and deep
guüe,
He
plots
us
woe,
With
might
and
guile,
He
plots
m Would
now
work
202
deep
his
Allemande for four instruments
m
r
r
p
C l a u d e G e r v a i s e ( a c t i v e c. 1 5 5 0 )
-P
i -|9
J
1
0—J—
4
J
a
=
•i
^
,• — i
-0
-a
-F T
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•
Í
da capo a d l i b i t u m é * é
J
J J JJ
J J JJ f f f f
N o t e valúes h a l v e d .
203
—i
h-
7 Villanella, May She Rule in Every Season
ev
-
ery
sea
-
son
o'er the
land
and
o'er the
o
in
ev
-
ery
sea
-
son
o'er
the
land
and
o'er
the
o
rule
in
ev
-
ery
sea
-
son
o'er
the
land
and
o'er
the
o
rule
in
ev
-
ery
sea
son
o'er
the
land
and
o'er
the
o
Queen
of
all
the
na
~0
O
-6(
«>•
of
all
the
na
of
all
the
na
grow
for -
ev
er
grow
for
-
ev
er
grow for
-
ev
May
she
rule
May
she
rule
May
she
May she
ceans, And may
B a l d a s s a r e D o n a t o ( a c t i v e c. 1 5 5 1 )
in
great
-
Lib - ei - ty
flour
-
ish,
O great
ceans, And may
great
Lib
- er - ty
flour
-
ish,
O
great
Queen
ceans, And may
great
Lib
- er - ty
flour
-
ish,
O
great
Queen
20
tions. In
all
times
and
in
all
tions. I n
all
times
and
in
all
tions. In
all
times
and
in
all
plac
-
es,
May her
plac
-
es,
May her
plac
-
es,
May her
pov
r
—
204
er
—¿ pow
pow
er,
So that
all
men may ery
out:
Long life
to
Ve - nice,
er,
So that
all
men may ery
out:
Long life
to
Ve - nice,
er,
So that
all
men may ery
out:
Long life
to
er,
So that
all
men may ery
out:
Long life
to
Long life
to
Ve
-
nice,
Long life
to
Ve
-
nice,
Ve - nice,
Long life
to
Ve
-
nice,
Ve - nice,
Long life
to
Ve
-
Queen
of
all.
Long life
to
Ve - nice, Long life
to
Ve
-
nice,
Queen
of
all.
Queen
of
all.
Long life
to
Ve - nice, Long life
to
Ve
-
nice,
Queen
of
all.
Queen_
of
all.
Long life
to
Ve - nice, Long life
to
Ve
-
nice,
Queen_
of
all.
Queen_
of
all.
Long life
to
Ve - nice, Long life
to
Ve
-
nice,
Queen_
of
all.
) 205
nice,
8 Benedictus
l 5 2 5
f r o m t h e M a s s Repleatur
os meum
Giovanni Pierluigi d a Palestrina
laude
A
Be
-
ne
- dic - tus
\M qui
qui
é Ja
ve
nit,
be
*
ve
B jJ rrri' ir ^ r
•>^rr r r r tus
qui _
ve
-
ne - dic-tus
nit,
15
,1 ,1 J j 1 ne - dic - tus
dic - tus qui
qui
ve
ve
nit,
qui
nit,
qui
ve
19-1» be
nit,
206
ne - dic - tus
qui
c
( -
_94)
é
t
^
\ * 3 —
D
-
—
—
= 4 = h ... 5l_
i
°
J ID
TOo
IB
no - i ni -
in
nit m
m P
J
-1
1
--S-
o
ne
-S
Do
mr
rTf"
mi - ni.
•
=M=
ni > -O—
, m
in
:===
*1
o
-a
»-
"
Do
rrfr i—- 1 — -
a
in no - mi - ne -O
|>
mi - ni
P
P
P
1—1—
in
—p-
• e •r
Do
•
•f— -
-
A— * • mi -
207
ni
X
°
m
ff
— H
no-mi - ne
P -
¿ ri
no
i Dc>
P *
o • 0
>
h
no - m - ne
•mi - ne
- mi í
8
no
f-jr -1—r-
=Í=r
í i—d_ ii
14 »8 — m
in
•
lrf=fr
^=1—1-
nit
ii
25
1
Verá Sánete
Spiritus G i o v a n n i P i e r l u i g i d a P a l e s t r i n a (c. 1 5 2 5 — 9 4 )
(excerpt)
10
5 #p
o o
o
O*-
_
g" Spi - ri -
Ve - ni
O—
33
C
o
lu - cis
coe - li
lu - cis
mit - te
O
o Spi - ri
Ve - ni
coe - li -
tus,
SE
B Ve - ni sane-te
Spi - ri - tus,
et
di
a
Spi - ri -
Ve - ni
coe - li
e - mit - te coe-li - tus
di
O—© lu - cis o lu - cis
tu - ae
ra
-
di
N o t e valúes h a l v e d .
Blessing Before the Meal (Bénédiction
tn
avant
C l a u d e le J e u n e ( 1 5 2 8 - c . 1600)
le
repas)
Dear
God,
now
3SI bless
Dear
God,
-e now
bless
*»
o»
Dear
God,
now
bless
o -
P = = = do
I*
us,
208
break
do
break
do
break
this
bread.
this
bread.
É
which
The
3E
-a
The
The
«
Thy
o
na
which
Thy
dear, _
gra
na
which
Thy
dear,
gra
(3 which
-tf " — be - stows.
hand
cious
- cious
—
The
I
gra - cious
dear,
hand
be
"stows.
hand
be - stows. XT
Cf
Thy
dear,
be - stows.
hand
gra - cious
o For
3E this
Thy
hand
doth
stretch-
Thy
hand
doth
stretch
doth
stretch
from
high;
O
For
this.
from
high;
fe
fe For
Thy
this
hand
from
tfv
l For
When
Thy
this
» v
i ve
r' oí
ir
O eyes
hand
1é li ft
doth
stretch.
" When
P—"¡ir-
4 -i
When
|r» Heav
J
-
ie ti
to i
1
H
-
o ir
eyes
ri
] [ft
in
'.
«t
we
tn
?
^
i
]
1-1i
O
>•íe
Heav O
-
Heav
-
J
0
o ir
eyes
, . . . . AI
1 ft
19
un
-
K our
eyes
lift
un
-
to
1
U
|— h - "
to
the
B a r l i n e s a d d e d t o s h o w phrases.
209
^
°
i íe
r
1
ens.
• v re
,
>:
high;
c
o
r When
from
!
u' n
i p
high;
j
Heav
ens. 1—I
H
-
1
[
ens.
h
ens.
1 i
210
Chanson, Good Day, My Heart (Bon
Jour,
O r l a n d o d i L a s s o (c. 1 5 3 0 — 9 4 )
mon coeur)
r Good Good
day day
my my
Good Good
heart, eye,
day my day my
dar ver
-
ling, y
r
i
;
r
i
sweet est
my — ('car
°
•
life! love!
m Good Good
day day
my my
Good day Good day
heart, eye,
-
ling y
dar ver
life! love!
sweet dear
o
r
Good Good
day day
my my
heart, eye,
Good day Good day
Good Good
day day
my my
heart, eye,
Good day Good day
2§£
my my
dar my
my my
dar
ling, ver -
my y
sweet dear
life! love!
ling,
my y
sweet dear
life! love!
10
Ah!
Good day
my
lit - tle
pret - ty,
My charm-ing sweet
one,
Good
day
you
Ah!
Good day
my
lit - tle
pret -
ty,
My charm-ing sweet
one,
Good
day
you
who
Ah!
Good day
my
lit - tle
pret -
ty,
My charm-ing sweet
one,
Good
day
you
who
Ah!
Good day
my
lit - tle
pret -
ty,
My charm-ing sweet
one,
Good
day
you
who
M r
who
r
i
i
pleas-ure sweet,my
gen-tle
lit - tle soft
dove,
My
lit
-
pleas-ure sweet.my
gen-tle
lit-tle soft
dove,
My
lit - tle
tle bird,
My
lit - tle tur-tle dove,
bird,
My
lit
f T r 8 pleas-ure sweet,my
gen - tle lit-tle soft
dove,
My
lit-tle bird,
My lit
i pleas-ure sweet.my
gen - tle lit-tle soft
dove,
My
lit - tle
i
dove,
My
-
dear,
Good
tle tur-tle dove, dear,
Good
»r r
r r
-
tle tur -
i r
r
lit -
^
°
tle dove, my dear,
f
tle
n
£
Good
r
i
tur-tle dove, dear,
Good
25
day
my sweet
lit-tle re - bel,
Good
j j j r
—_
"
day my sweet
j»
p
p
day
my
day
my sweet
"l
lit-tle re r
bel,
^ .
sweet lit-tle
day
Good
-—
m
day.
i
—
lit - tle
re
-
y -> sweet
bel.
— i —M 1
f
,J
my_
,— re-bel,
sweet
my
lit - tle
re -
bel.
m
Good
day my_
sweet lit
-
tle
re
-
lit - tle
re
-
bel.
mi lit- tle re - bel,
Good
day
212
my.
sweet
bel.
13 Ballata, Love's Pursuit (Caccia
d'Amore)
G i o v a n n i Gastoldi (active 1590)
" T o besung, played, and danced" Canto
i(3
i
í 2 t l
Basso Flee,
dain-
ty,
Fa
for my blood
flows
hot,
for my blood
flows
hot,
la
O ye nymphs so
la
la.
10
Flee,
for
my blood flows
hot,
Flee,
for
my blood flows
hot.
Flee,
for
my blood flows
Fice,
for my blood flows
Used by permission of Heugel S.A.
for my blood flows
hot,
O
ye nymphs
so
dain-
J
J II-I
for my blood llows
hot.
O
ye iiymphs
so
dain-
iv.
la
hol,
for my blood llows
lint,
O
ye nymphs
so
dain-
Iv,
la
hot,
for my blood llows
hot.
O
ve nymphs so
dain-
ty,
l'a
ty,
Fa
But
if
you do
not
fly
a
way,
if you stay, then I
0 r J) í
way,
if you stay,
then I
tell you,
But
But
if
you do
not
fly
a-
way,
if
you do not
fly
a-
way,
if
you stay, then I
f »P r
PP
if you stay, then I
But
way. ¡f
\
O
t l l you, c
O
I . o \ e w ¡ l l wound\our
Love will wound your
heart.
215
if
you
nol
llv
heart,
Ir Fa
i
a
i
a
r f la
la
la
la
la-
a-
There Is a Rose (Es
ist ein Ros
Michael Praetorius (1571-1621)
entsprungen)
r rr r
3E
There Just
s
3E
rose that springs an - cients told
up
the
from from
a the
rose that springs an - cients told
up us
from from
roots that Jes - se
so this
are carne
sweet. rose.
ÉÉ o There Just
° There Just
the
roots Jes-se
sweet. rose.
32=
O
rose that springs an - cients told
up us
from from
roots that Jes - se
up
from from
roots that Jes - se
so this
are carne.
~q~
o There Just
a the
rose that an - cients
sweet. rose.
springs told
are carne
sweet. rose.
so this
3E
1
And
brought a
And
brought a flow-er
a , And
s>
r-
flow-er
7-
forth,
forth, _
1
n—g brought a flow-er
m
O forth
Vf And
brought a flow-er
forth,
n
In
midst of
chil - ly
Win -
In
midst of chil - ly
Win -
s1 In
5—
ter
at
o
o
—e)—o—.
ter
at
mid-night carne _
—i—si—«"—o—fro
midst of chil - ly
mid-night
u
o
i
carne
P o tí F — "
this
flow'r.
this
flow'r.
Win - ter
at
mid-night carne
*» this
Win - ter
at
mid-night carne
this
R flow'r.
flow'r.
a—g M— In midst of
chil - ly
216
1 41 1
217
218
16 Toccata f r o m Fiori
Girolamo Frescobaldi (1583-1643)
musicali
-Jf—p—*i _P "Ta i ""
1
J'Vjl
1
,
J- .jfc^ m
I i — —v^. t 1 —i 1
Organ<
ir
r
*i > ¿
*
—
J
,
j
' J t | J Í
j
f
)
w
J
frf
"r-fJJ-
!
,rr,f
h
1-
1
I
r
tf—r
rfi
219
m
^
,
"
-p
er
— r
1¿—1
Psalm 78
H e i n r i c h Schütz ( 1 5 8 5 - 1 6 7 2 )
fe Peo
- pie,
give
ear
un
Peo
-
pie,
give
ear
un
Peo
-
pie,
give
ear
un
For
I
will
tell
you
- to
my
law,
Heark
-
en
to
all
I
say
to
you,
- to
my
law,
Heark
-
en
to
all
I
say
to
yo
-
my
law,
Heark
-
en
to
all
I
say
to
you,
to
strange
For
I
WÍD
tell
you
strange
For
I
will
tell
you
strange
things,
I
will
now
lift
my
voice
in
song,
will
now
lift
my
voice
in
song,
things,
I
will
now
lift
my
voice
in
song,
things,
I
will
now
lift
my
voice
in
song,
I
tell
what
we
have
heard
and
known,
Tale
that
our
fa - thers
told
I
tell
what
we
have
heard
and
known,
Tale
that
our
fa - thers
told
I
tell
what
we
have
heard
and
known,
Tale
that
our
fa - thers
told
I
tell
what
we
have
heard
and
known,
Tale
that
our
fa
220
thers
told
18 Organ Bicinium f r o m Tablatura nova
Samuel Scheidt
m
ÉÉÉÉI
IPrf-m
(1587-1654)
fe
10
=¡=f — t t a
1
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==F=
f r
n'ff
r i
[ ij i
,
f
. , r
, t £ £ f -
:
15
*jfrrrrrrrfra p — » —
FFfrP JiJJ JJJJ
r.
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i
221
&
—
f YTT
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ff
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o
Sarabande J o h a n n Pezel ( 1 6 3 9 - 9 4 )
for brass i n s t r u m e n t s
j 'i r r r
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73 E
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W h i l e t h e s p e c i f i c i n s t r u m e n t s a r e n o t i n d i c a t e d , t h e m u s i c is f o r five b r a s s .
222
«»
"
o
r.
20 Chaconne for organ (excerpt)
J o h a n n Pachelbel (1653-1706)
mmá
Manual
r
«r
Pedal r
r 15
10
rff51 h i «j,—Wz
gg[V r r
. _ —Tm.
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r
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223
r
r
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224
Organ Toccata in E minor
J o h a n n Pachelbel ( 1 6 5 3 - 1 7 0 6 )
14
y.
fe
f
ate
#
f
f»»f
»•» » • » » • ) »
f « f
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te
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1 r
— J —
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r A
225
r
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;
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226
22 Trio Sonata Arcangelo Corelli (1653-1713)
O p . 4, N o . 2 , Preludio
Grave. g
Violino I. Violino ÍI. Violone e Organo.
1
1
j
r
!
1
b
\ i T r i i i
5"
1
— +
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6 S
S
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tm
6
7
V
6
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1
6
ft
i
5
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4
3
1
J
1 6
1 5
fe
g
í
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q
1
1
1
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,
w
í
Duet H e n r y Purcell
f r o m Come, Ye Sons of Art
(1659-95)
K * Alto
10 sound,
sound,
sound the trum-pet,till a - round
You make the
15
, q ; —
|| 2 . 4--
- i
*. 1 . bound.
-bound
V V O n the
bound.
- bound.
f
I — * • — ' On the
spright
-
l y haut-boy,
the
20 "spright
- ~ íyhaut-hoy.the «prjjrht -
spright-ly haut-boy play,
rr~
¡_UÍI.. i
- l y haut-boy play, AÍÍ the
• i
J_.I_U*I..
i
the sprijrtitly haut-boy, «prlpht-ly haut-boy play,
Copyright © Novello & Company Limited. Used by perniission.
228
uvilr
ru-ments of
joy,
All the in-itru-menta of
a l l , a l l , a l l , a l l the
joy,
in-stru-menta
a l l , a l l , a l l , a l l the
of
joy,
m-stru-ments of joy,
of joy
229
That «kil-ful num-bers
can.
em-ploy, To
Prelude No. 3 Francois Couperin
f r o m L'Art de toucher le clavecín
—W~l—Tí
1
J 1 f | ~—
^^-n ,
(1668-1733)
1 —-m
LT
1
1
it
PT^i
-*-—
W
J
J
I
f
U Ji-JJJb
f
r
'
¡ÉÉ
i. r--— f
7 r x r r - cücf
t
r
1
Si 0
r ÍÍL
1 ' X
L'Art de toucher le clavecín i s a n i n s t r u c t i o n b o o k o n p l a y i n g t h e h a r p s i c h o r d . T h e b o o k i n c l u d e s s e v e r a l m o d e l s o f p r e l u d e s , o f w h i c h t h i s is o n e .
230
La
Lúgubre Francois Couperin (1668—1733)
f r o m The First Order of Harpsichord Pieces
5
i-
y t t = 4
f
W
'Vi
é
10
£
ir r
r
'
r
i
f
15 3 = ±
35
P
i
*—sr
fea
s i
g
25
f
/O 7< '
'
•6
I
•
w,
1 t
-¿—*
r
•6-
=
30
^5
S = 7
jh-y-¿r
-*—ii r
A n " o r d e r " is a c o l l e c t i o n o f p i e c e s , f r o m w h i c h t h e p e r f o r m e r m a y c h o o s e t o p l a y as m a n y as d e s i r e d .
2 6 A Prelude in C J o h a n n Raspar Ferdinand Fischer
f r o m Partita for Clavier
(1665-1746)
Praeludium harpeggiato
-m—
M\
0
f
. f
\ . f
.
0
. f
\ .. 0
. 0
5
11 • — i — • — — - #
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10
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:f
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w w\ C
f f
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= 4 ^
232
J l J J l
1•
J
4 4 -
J '/
]0
J* —o
L
ft.
-<
>
1>
-4L 11
-o-
2 6 B Prelude in E for organ f r o m Ariadne musicale
J o h a n n Raspar F e r d i n a n d Fischer ( 1 6 6 5 - 1 7 4 6 )
f - ^ f i S r ~ . — j
,"trn
r
1
r
*
*
« i »
l
!
r
f f fri
J—*-ss-
—
— hn—
— ¿ s j j ^ —
^
b
8 1 -*HrA
0
H J Í Í Í — i — t
1
Ariadne musicale is a c o l l e c t i o n o f t w e n t y p r e l u d e s a n d f u g u e s i n v a r i o u s k e y s .
233
tfif/Lr r = [r t f — p
r
27 i
Sarabande and Double
—€|1
L'^ r i
1
*±4 ^
F4* 2——HfJ— • - ¿ . "i' r " 15
— P i
1
Fr=f=F
¡-B-)h—n—J—
1
— p _ =
J
r
1
;
•Vi—
i & r i— r 4-í
^•^
(1681-1764)
10
• -
-i
Íi r
Johann Mattheson
•
•
••
!l
imeri
i.d C
v 1 ,
T
^
r r
i
J
1
li
i
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cxx^j fj j - ^ 1
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f
r
R e p r i n t o f the edition o f 1714.
i
234
X.
Gavotte and Variations for
Jean-Philippe R a m e a u (1683-1764)
harpsichord
i
+ 5"
J V « *
i-
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2 9 A To Doris Ode for Voice and Continuo
Georg Philipp Telemann
(1681-1767)
Sweetly
N o w first I
learn
to
N o w can I
say
to
k n o w y o u r soul, all
Which I
temp-ta-
so l o n g
h a v e l o v ' d a n d s t i l l love
tions, T h a t they m e a n n o t h - i n g t o m y
glad h e a r t ;
1 4
240
3
6 6
29B To Sleep Ode for Voice and
Georg Philipp Telemann (1681-1767)
Condnuo
Gently moving F* 1
r
&'
yo£
God
J
1
dream-ing, friend of
EE-JH
=
a — J •• •
P '
E¡EFH
Night!
Cause
of sweet-
est pleas-
ure!
rest,
when
the L o r d
op-pres-
ses.
No-
r l
i "
~
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r
r
J
J
You
who bring
6
6b 6
'
J
M o r - p h e u s tar-
-
the h u m - b l e '
6 b h
J
r ries n o t ,
5
H
d
When
1
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h e bears all-heal- i n g peace,
4ÍJ 6|| 6
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6
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7 6b6 53 — * 4
fort.
Plain Cooking Georg Philipp Telemann (1681-1767)
Ode for Voice and Continuo
Lively
I
am no
friend
Let
oth-ers
cook
of
f a n - cy
with
sauce a n d
CONTINUO 7
When
cook-ing's
2
clev-
cook-ing,
I
l i k e p l a i n f o o d a n d lots
of
it.
gar-nish,
I
have n o need
fine
stuff.
IT
6
er,
b a k - ing's
P
e l - e-
6
I think
m
6
6
o f such
7
it
on-
*
ly
spoils
t h e
6
6 + 6
10
taste.
I am with
sim-
pie
fare
de- l i g h t - e d A n d I
242
will
glad- l y take
pot
luck.
30 Allemande f r o m French Suite N o . 3
J o h a n n Sebastian Bach
(1685-1750)
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f r o m Sonata N o . 6 for Solo Violin
piano 7,
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f r o m Suite N o . 3 for Orchestra
Violino I
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f r o m The Well-Tempered Clavier, B o o k I (Muderatu. J
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34 Passecaille George Frideric Handel
f r o m Suite N o . 7
(1685-1759)
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Courante f r o m Suite No. 4
George Frideric Handel Allegretto tranquillo
.
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36 "See, the conquering hero comes" f r o m Judas Maccabeus
George Frideric Handel (1685-1759)
p—p
wr~w See,
the —
con - qu'ring
he
-
ro
comes!
Sound
the
f ri
trum - pets,
beat
the
drums.
J
«
«
P
See,
the
con - qu'ring
TO
he
comes!
Sound
the
p—p—°
&
trum - pets,
* T r j i r r ir ¡Trn° 1C1HT the
con - qu'ring
he
ro
comes!
See,
the
con - qu'ring
he
ro
comes!
Sound
Sound
the
drums.
1
p—&
See,
beat _
the
trum - pets,
beat.
the
drums.
the
trum - pets,
beat
the
drums.
10
15 3E
Sports
pre - pare, the
°a
Sports
pre - pare, the
lau
-
reís
bring,
Songs
00*d lau
reís
bring,
Songs .
of
tri - umph
to.
him
3E
* oí
tri
- umph to
him
m
pre • pare, the
ri
i Sports
lau
reís
bring,
Songs
of
oí
Q
tri - umph tn
to.
the
lau
-
reís
bring,
Songs
of
tri - umph
him
smg.
him
sing.
i
-S—
r r
pre - pare,
smg. O
m Sports
sing.
to_
20
See,
the
con - qu'ring.
he
See,
the
con - qu'ring
See,
the
ro
comes!
he
ro
comes!
he
ro
comes!
mi m
i* r See,
11'
con - qu'ring
i
the —
Sound
the
trum - pets,
beat
Sound
the
trum-pets,
beat.
Sound
the
trum-pets,
beat
the
trum-pets,
beat.
the
drums.
331 the
drums.
the
drums.
T E ^ S
con - qu'ring
he
comes!
C h o r u s p a r t only; the orchestra doubles the chorus.
255
Sound
Recitative George Frideric Handel
f r o m Israel in Egypt
(1685-1759)
u v r CJ 7
Narrator Now there a - rose
a
new king
o-ver E -gypt,
which knew not Jos - eph;
and he set
Continuo
-#—PIs-rael
task-mas-ters
toaf-flict them with burd-ens;
and they made them serve with
6
256
ri - gor.
o - ver
Recitative f r o m Judas Maccabeus
George Frideric Handel
r
Judas Maccabeus Thanks
Continuo
to my breth-ren!
but look
up
to Heav'n!
Xo
(1685-1759)
ú
Heav'n let glo - ry and
all
praisc
be
S e
^ 3 giv n.
To Heav'n
give your
ap - plause,
Ñor
add
the
sec - ond
¿V S
cause,
As
once your
ti 10
y fa-thers
did in Mi-dian,
say-ing,
Is - rael fought,
And
"The sword
of
God
andGid-eon."
It
was the Lord
y for His
m
I
this our won - der - ful
sal - va - tion wrought.
tr
U
257
that
3 7 C Recitative George Frideric Handel
f r o m Solomon
(1685-1759)
The Queen of Sheba From A - ra-bia's spic-y shores bound-ed by the hoar-y
main,
She-ba's queen
these seats
ex-
Continuo 7 4b 2
S i plores,
tobe taught
m
thy heav'n-ly strain.
Thrice wel-come queen! with o-pen
10
,|J~] J l ^ ¿ ceives thee, and thy charms;
the tem-ple
hj n n
of the Lord
arms
our court re-
^
J / \ihf^
first meets your eyes,
rich
rj
S
with the well ac-cept-ed
5 4+ 2
5b
6b
5b
15
3 • ri - fice.
=
fe
I Here
5b
7b
all
our
treas - ures free
Next view a
*> r 'r i art
1
her
lie,
o'er - wrought with
6
3 gold.
where ce - dars
be - hold,
man-sion
s
m
§
fit for kings to
5
the for - est call'd
own,
of tow'r-ing Le-ba-non,
i
33T
, * skill „i_:it ut-most
m
j : - - plays _i dis
and
258
ev - 'ry
ob - ject
^^^^ claims your praise.
where
38 Sonata in E for harpsichord
1ffi
Domenico Scarlatd (1685-1757)
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39 Sonata in F second m o v e m e n t f r o m Second Set of Sonatas
Cari Philipp Emanuel Bach
(1714-88)
Larghetto r i
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40 Air Christoph Willibald Gluck (1714-87)
f r o m Orpheus
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265
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then.
Bourrée Johann Philipp Kirnberger
f r o m Dance Pieces
w
mm
b:
(1721-83)
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266
4 2 A - C Three Piano Pieces
D a n i e l G o t t l o b Türk ( 1 7 5 6 - 1 8 1 3 )
A
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43 Piano Sonata in A, K. 331, theme
Wolfgang Amadeus Mozart (1756-91)
Andante g r a z i o s o É É
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4 4 A - C Three Contradanses for
orchestra
Ludwig van Beethoven (1770-1827)
A Kaxotti.
Violoncillo <• H a s s o .
li
T h e c o u n t r y dance o r contradanse was p o p u l a r i n E n g l a n d , France, and G e r m a n y i n t h e e i g h t e e n t h c e n t u r y .
270
B
271
c Flauta.
F*£OttO.
I orni in G .
Molino I .
Violino I I . ViolonerUo
272
4 5 When Our Dear Child Can Find No Rest C a r i María v o n W e b e r
Op. 80, N o . 1
(1786-1826)
Andantino
Í ir
Voice
Jl
When our
i
dear child
J,
i r P r PiQ_r Q P
can
find
no rest
with - in
his
lit
-
de
erad
-
le,
Then
m Piano
i^r
P
J'j
Moth - er speaks
Jl
ir
and
H
V
com - forts him,
íiiüj-
His
weep - ing
L L r
she— will
|
J
soon
J
,
J
stop
J | | J with
^cjp
gen - tle
pow'r_ of
E
3
10
motn
-
e r " love.
He
qui - ets
when she
jI
J)
says:
"My
lit - tle child, Oh
1
ery
1=
46 Three Waltzes and an Ecossaise
p
N ? l .
lil HifPlii lu hl M I 11 i
f i f
É
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A ti
I
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Franz schuben (1797-1828)
2.
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275
•
Gentle Annie Andante
Stephen Foster (1826-64) mosso
m
m Thouwilt come
no
more,
gen.tle
An.nie,
Like
a
like
the
m g
r
f
i flower
thy
spi.rit did
de . p a r t ;
Thou art
?—*
t many
Mr
gone,
3=
a . . las!
#
^ ^ u
That haye bloomed in the summer
276
of
my
#
heart.
CHORUS. Shall we ne .ver
0^
more
be . hold
thee; ne .ver hear
—t—
i
i
í I
I
—y—
1
rf
-W-4
277
thy winning voice a .
3. My grand-falh-er said tliat of 4 It ran<* an a-larm in the
fcjj
those heconldhire, Sota ser - Yant so faith-ful he found; dead of thenight—An a - larm that for years had been dnmb;
Por lt Andwe
J" J1 fF T H I ••, I i i l ' F N JJ'|J. JJ 1. My grandfather's clock was too large fortheshelf,—So it stood ninety years on the 2. In watching its pen - du-lnm swing to and. fio, Ma-ny hours had he spent while a
floor; boy;
wast - ed no timo, and had bnt one de-sire— At the cióse of each week to be wonnd. taiew that his spir - it was plum-ing forflight—Thathis hour of de-partnre had come.
1
Itwas Andin
And it Still the
9—* tall - er by half than the oíd man himself, Thongh it weighed not a pennyweighi childhood and man-hood the clock seemed to know And to share both his grief and his
5
í
1
j j
H
i
7
more. joy.
¿ ¿i
J j
O n e o f t h e m o s t p o p u l a r A m e r i c a n s o n g s o f its t i m e , Grandfather's Clock s o l d o v e r 8 0 0 , 0 0 0 c o p i e s .
278
It was For it
kept in its place—not a frownnp-on its face, And its hands nev-er hung by its side; clock kept the lime, with a soft and muffled chime, As we si - lent-ly stood by his side; 9
w
l
p
í
í ff ' '•
7~f—
¿—^
9
i
:
Bnt it Bnt it
7»—:
fr-f#'
bonght on the morn of the day that he was born, And was al - ways his treasnre and pride; strnck twenty-four when he en-tered at the door, With a bloom-ing and bean - ti - ful bride;
3:
I
*
Bnt it But it
P
1
95É stopp'd stopp'd
short— short—
nev - er to nev - er to
go go
a-gain— When the a-gain— When the
oíd oíd
man man
died. died.
stopp'd stopp'd
short— short—
nev - er to nev - er to
go go
a - gain— When the a - gain— When the
oíd oíd
man man
died. died.
i
cari
C H O B
U S .
A i M i «mí.
J éh dh • h Nine-ty years, with-out slnmber-ing (tick, tick, tick, tick), His
ws r
flrll
i>
a—a
"» 9*
=3=
i — I — f -
1
«i «TI *
• I¿
Nine-ty years, with-out slumber-ing (tick, tick, tick, tick), His
9y fe ¡i
I
c c u
;
;
life - seconds num-ber-ing (tick, tick, tick, tick), It
•
n *
#
0-
life - seconds num-ber-ing (tick, tick, tick, tick), It
4
j > '
: . - r - -P—p—p r-?--*-*
>
stopp'd -fi—!,—»
=j
*
*
"
7/o?¿>
m m —•—= "
~
__K
>
—a
,
S
S
\
y.
—e
f_
* — f
— i
1
1
\< 1
w
•
H 11
—tS - - =
ma n f?
died. —
f ' i n *- f - r
—t ;
1
1
7
1
•
A
'
'
I I I I
K
9
r^-s rV- m •—1 1
B
—
w
1 J
— die1.
man
V—
.
• — i — <'
• — P
i 7
rTH
nev - er to go a - gain— Wh en the ol i
*
1
w—mV—
S
H=
1
*
cev • er to go a - gain— When the oíd 1 m1 h h f> "5— 1 i •J fr-5—í"—i—a -L— ¿=¡
Lrfe=±=pr= •»j> £ * — " — s 1 rt— stopp'd sho ^MJ 1 * ? *
Y -* i
1
short—
-JMe*—*-=—)
y
*-^—P V 1
1]
H II
*-*
II M
7
n 'i i
l
* —Y •0-
• •
Darkly the Water Flows
(Da unten in Thale)
for voice a n d p i a n o Germán f o l k s o n g A r r a n g e d by J o h a n n e s B r a h m s ( 1 8 3 3 - 9 7 )
Gently moving VOICE
SÉ? How
dark-ly
the
wa-
ter
flows,
down
in our
•d
val-ley,
* dim.
280
and I
nev-
er
will
L
4 . ».
T
!
—
tell
you
how
-
• much
I love
~1
1
í
J * *
you.
I 281
m
í
1
m
1
*
*
\
» * -1
How
Darkly the Water Flows Germán f o l k s o n g A r r a n g e d by Johannes B r a h m s ( 1 8 3 3 - 9 7 )
for chorus Gently moving
P SOPRANO
ALTO
TENOR the
wa
-
ter
flows,
down
in
our
the
wa
-
ter
flows,
down
in
our
BASS dark
How
-
ly
SÉ val
- ley,
and
I
nev - er
will
tell
you
how
much
I
love
you.
val
- ley,
and
I
nev - er
will
tell
you
how
much
I
love
you.
val
- ley,
and
I
nev - er
will
tell
you
how
much
I
love
you.
ai
282
50 Rumanian Dances Béla Bartók ( 1 8 8 1 - 1 9 4 5 )
for piano
1. Stick Dance Allegro moderato. (J:io*J i P i a n o .
*
/
t ) : i» 1
«v
y
7
r
f
,8^_
8^_
m— -0-
-tJ
i — h -
i
^
pr
r
1
i
8
n
-T—¥— :á—.—
ÍLT t^=í
V,
8
8
,
h
J
- a
k
I
283
I I
I
2 . Waistband Dance A l l e g r o . (Jzi84.)
2
8
i
É
i
i
i
i
( t a 2.volta-. 8
8
I
i I
3. Dance in Place Andante. (J = ne.)
m
I
-i
8-
w
V
i
poco
ritard)
I
u J .
(25")
1 ¿ ¿ Á>
_ 2
-£ 1
•
J
:
j
ffrC J j J ; piüp
8
J
•
s
1
fe
11 —
1
1'
^8
i
!
-
8
V
*3
P J
L«U
286
J
1
i
—¡ i
fe
1
i
- _ J ! — * 8
1
1
8
rST~^
287
March Igor Stravinsky (1882-1971) R e d u c e d score b yL e o K r a f t
f r o m Renard
J= 126
Cym. B.drum"
Reproduced by permission of J&W
Chester/Edition Wilhelm Hansen London, Ltd.
288
289
A Swan Paul Hindemith (1895-1963) T e x t b y R a i n e r M a r i a Rüke
f r o m Six Chansons
Soprano
/ A
Lento ( J = 60-66) P
swan
is
Alto
breast - ing-
the
flow
3*
A
*—P A l l
in
him
in
him
is
breast - ing-
the
flow
swan
is
.breast„ - • _ ing-
íLthe
flow
swan
Like
a
is
breast - ing-
1
slow - mov - ing
mí
A l !
All
him-self.
g IV r T •' r
*-? «r -
Bass
en-fold - pd
in
swan
Tenor *J
All
the
ta
flow
-
All
bleau.
j ti
M bleau. TO
self
en - fold - ed,
A
slow - mov - ing-
self
en - fold - ed,
A
slow - mov - ing-
ta
-
bleau. And so,
self
en - fold - ed,
A
srow
ta
-
bleau.
mov - ing-
him
in
at
some
ne t ainz SMusic f i Distnbutors S r i S ? Corporation, ; ^ S o e hsol Copyright renewed. All Rights Reserved. Used by permission of European American 1 é' íU.S. -agent for B. Schott's Soehne. SCh0
S
290
at
And so,
some
time or
place,
one_
A . loved P
1
j . p i ' t j V~r f i r . i u y O n i time or
place,
some
mf
time
or
•
=
P-T-
Pr
And so,
at some
rooW -
ed
To
place, =
ip p r
—
p
time or place,
seem_
loved—
A—
like a
us, float-lng-
re . dou-bled As a swan on
the
near
us, fioat-ing-
re -
the
near
us, float-ing-
swan
loved
ml-frat-lng-
near
re-dou-bled As a
be
j j „ one
will
be
one
will
be
P P
A
dou-bled As a swan on
will
on the
space
riv
er
WIU
"Story of Our Town Aaron Copland (1900-)
f r o m Our Town Suite Modérate, with calm
A trifle faster 10
^
J
J — •J.
TJ
• » -<
r
z 9-
P
n
f 6— Ó—
i^^5£^
C
°
^
P l a n d ;
R e n e W C d
9
-9
f 1•P——s m
Lf
1 9 7 2
-
R
e
•- y
p
n
m
e
d
b y
P e r m i S S
293
n
'° °
f A a r o
"
C
°P-
d
, •
-<-w
#-p
marA Me
Ttip
melody
-6M
Boosey * Hawkes, Inc.,
J
—
solé
294
54 Symphony for Strings second movement (excerpt)
William Schuman (1910- ) P i a n o score by L e o K r a f t
^m
C o p y r i g h t by G . Schirmer Inc. All rights reserved. Used by permission.
295
Oíd Devil Moon M u s i c b y B u r t o n Lañe Lyrics b y Y i p H a r b u r g
f r o m Finían s Rainbow
Moderately
— H =
LLJ— ^
=
look got
S o ?
1 1
permisSoÍ '
8
\
at you and sud me fly - in' high
^
B
U
n
°
n
^
C
°
-
P y r Í S h t
den and
@
1
9
4
6 b
y
C
h
296
a
P
P
e
"
j .
some - thing in On a mag
ly, wide
a
n
d
C
°-' ^
n
C
° P ^
t
-
r e n e w e d
your eyes ic car
'
A
» ^
-
I pet
reserved.
J-QJ
H
i
ra
St£irs
in th e
'i
dove
É
3-
i
%
can - c le
a
Can't hold «-
r
—\
1—r
= m =ér
-4
7
i to
- ing their light _ >
f
f ^ D.S. al Coda
r — i — ,
* bla i
night _ _ :>
J
ll ^
j mu
1
r
4
r
4)-
your raz - zle daz - zle.
Just when I
Oíd Dev-il Moon 3 —i
think
deep in your eyes , — — ,
3
l'm.
^ free
blinds me with
3
1
love
as a
Ba Ba
by's - by
You Yon
J
good saya
to she's
know,_ know,
me mine, —
She She
said. said.
yon you
know,_ know,_
She's She
hap tells.
py me
as all
can the
be,— time,.
so so
J—3-J J " ^
É
f
* u* f f
1
Words and music by John Lennon and Paul McCartney. Copyright © 1964 Northern Songs, Ltd. All rights administered by Black wood Music, Inc. under hcense from ATV Music (Maclen). All rights reserved. Used by permission.
298
I'
m
so
glad
that she's my lit-tle
tell-ing all the world_ That her ba
yon know, She said
girl.
She's
so
- by bays her things- you know. He buys—
She's in love-with me
so.
1 = 1
She's in loye.with me_ and I Feel_ Fine.
299
glad
she's
her dia-mond rings_
and I Feel- Fine„
57 Two-part organum (excerpt)
Leonin (12th century)
300
58 Conductus
N o t r e D a m e s c h o o l (c. 1 2 0 0 )
301
f-Q °
Sto
L> f E Z _! Sto
cy--f--
can
- la
-
di
-
1
—1—I can di
-p-- ---2
4-
-
e=i:..gf—j|r 1
- la
can
'-ív-p—
-
di
-
+-F
r
r
fT
r
i
-
r
f
r
.
da
F=t
—=1-
rr
rr
r r
P
da
p=£—r T r r ^ H Sto
1
-
da
-f - f .. - f - f : - r L_ - la
1
J
4r
r i
==;
'
p ? 1
r
rr i
,
«•
f
tur.
303
Motet
G u i l l a u m e d e M a c h a u t (c. 1 3 0 0 - 7 7 )
3 Heart de -nies
3 , 3
-
3
3
it, myjudg-ment too de-nies it, but they say
3 Sad
3
ness
that I
en - j o y _
the pleas
3
-
.3
and un-hap - pi-ness
so
Would
great!
3
ures of sweet-Love.
3
3
3^
fort.
that I had some com
o-
1
Inst.
Í ( 3 J J 5 They say that I
3
3
.3
,
3 k
3
3
BLj-^ji>i^Vpf.f Would -
2 -
I had.
r "
°
3
3
re - joice_
in
3
7
ness
in
-JL
the
day
goes by
^
3
which does not end
the
midst
f
«
u n i d
,
5 in
3
3^
de - lights _ of
gen
-
tle
Love.
Mel
ness,
3
j
3
hap
3
¿1
3 7
3 3
pain, and that I real-ly
of my .
A
-
o of
3
r
Sad ,
> do
now.
3
3
Ji>¿^
o . - : . - ! -
-some sol - ace
3
sing
When I -
do not tell the truth at all
3
3
3
grief
For
8
the
3
las! for not
3 3 É-^*—*
- an - chol
3
j
L a - dy whom I
3
love
3
in faith
3
1.TÉZ pass
2
; f; 304
ev - 'ry
day.
and
night,
Tums her heart a-gainst
me,— Filis each day with sad 3
3
-
onme, my
cy.
La - dy, pit
-
<>
y
And
in tears .
she
tune,
friends,
and
3
3
m
me
a-gainst
3
my ef
lov'd
who
all
ing
3
all
turns .
tt For
ing
Tum -
me.
3
and
keep 3
m r Mer
So
ness
3
me
3
-
3
fort a-gainst my-self.
Have
me.
fe
3
Not
a
,
3
3
word!
my La - dy
nev • p
~&
m
m
~f~'
=¥
Ñor
does she
J
does my
3
f*
3
3
er does re-ward my heart,which 3
3
3
,..
3
6
ev-er thinks of noth - ing but her. 3
3
3
And e-ven though- she knows well that I spend my
,
plight grow eas -i
j)t
3
3
time
inthoughtsof
- er.
her, theslaveofmyde - sire, my heart_en-trapp'd by Love,
And
want no cure or pit '
de
3
. 3
show.an-y pit-y formy woe.
3
-
3
Love
And
—
fair
a-
305
la
»
S
3
9
y un-less it come from her, í
tt bring.
306
307
308
A P P E N D I C E S
o
Music Notation M u s i c n o t a t i o n is a m e a n s o fc o m m u n i c a t i o n . O n ep e r s o n uses a s e t o fw r i t t e n s y m b o l s i no r d e r t o c o n v e y to a n o t h e r h o w t o p r o d u c e a specific g r o u p o f s o u n d s . E a c h s y m b o l is a n i n s t r u c t i o n , t e l l i n g h o w t o realize o n e o r m o r e attributes o fthe desired s o u n d . T o m a k e t h e c o m m u n i c a t i o n as e f f e c t i v e as possible, t h e s y m b o l s s h o u l d b e u s e d as c o n s i s t e n t l y as possible, a n d they s h o u l d b e w r i t t e n legibly. A neat, clearly written page transmits t h ewriter's intentions far better t h a n a page that distracts readers b y f o r c i n g t h e m t o decipher a careless o r inconsistent script. Guidelines for music notation: T h e n o t e h e a d , » , s h o u l d b e t h e size o fo n e space o n t h emusic staff a n d oval shaped. 2. T h e s t e m , | , s h o u l d b e o n eoctave l o n g f o r a single note. 3. I f t w o o r m o r e s t e m s a r e c o n n e c t e d b y a b e a m t h e s h o r t e s t s t e m s h o u l d b e a t least o n e o c t a v e l o n g . T h e b e a m s h o u l d n o t cross m o r e t h a n o n e staff Une, so t h a t o t h e r s t e m l e n g t h s m u s t b e l e n g t h e n e d accordingly:
4 . S h a r p s a n d n a t u r a l s i g n s s h o u l d fill t h r e e s p a c e s o n t h e s t a f f ; fíats, t w o s p a c e s : $ ^ \ — 7
5. S t e m s s h o u l d a p p e a r o n t h e s t a f f w h e r e v e r possible:
T h e spacing o f t h e notes should correspond approximately with their duration i n time. T h u s , not J
J
'k
u
tr
a
t
n
e
r
J
J)
J
S l u r s , ties, a n d l e g a t o m a r k i n g s s h o u l d c o n n e c t t h e h e a d s o f t h e n o t e s , n o t t h e s t e m s o r flags. I n vocal music, dynamics a n d expression markings are w r i t t e n above t h e notes, t h ew o r d s below. I n instrumental music o n o n e line, dynamics a n d expression m a r k i n g s a r ew r i t t e n below t h e notes. 10. I n i n s t r u m e n t a l m u s i c o n t w o Unes, d y n a m i c s a n d expression m a r k i n g s a r ew r i t t e n between t h e lines.
F i n d a t least o n e a p p l i c a t i o n o f e a c h o f these guidelines e i t h e r i n this b o o k o r i n m u s i c y o u a r e n o w practicing.
310
Continuo Music BACKGROUND
I n t h e seventeenth century musical texture began t o polarize at the extremes o f t h e r a n g e , e m p h a s i z i n g s o p r a n o a n d bass lines. I n n e r parts w e r e subordinated t o a large extent. C o m p o s e r s w e r e interested i na clearly etched m e l o d y s u p p o r t e d b y a c o n t i n u o u s bass. T h o s e t w o lines i m p l i e d chords. T o m a k e those implications m o r e specific, figures were placed under (somet i m e s o v e r ) t h e bass part. T h er e s u l t i n g " f i g u r e d bass" w a s a practical guide f o r t h e performer, s h o w i n g a t a glance what intervals t h e composer w a n t e d o v e r t h e bass. T h e i n t e r v a l s indícate w h i c h n o t e s a r e t o b e p l a y e d , n o tt h e i r register; t h a t is u p t o t h e player, w h o s e t a s k i s t o m a k e t h e c h o r d s flow t o g e t h e r i n a musical way. W e m a y describe t h ew o r k o f t h e k e y b o a r d p l a y e r a s a " r e a l i z a t i o n , " t h a t is, t o m a k e r e a l all t h esounds indicated b y t h e figures.
o n l y t h r e e p a r t s , a n d a r e a l i z a t i o n i s n e e d e d t o fill out t h e s o n o r i t y . B a c h ' s A i r , [32], leaves n o t h i n g f o r the c o n t i n u o p l a y e r t o d o , since all f o u r parts a r e present a n d , indeed, elaborated. THE FIGURES F i g u r e d b a s s i s a k i n d o f m u s i c a l s h o r t h a n d . S i n c e t h e figures d o n ' t i n d í c a t e w h e r e the potes a p p e a r , octaves will o f t e n b e a d d e d t o the s i m p l e i n t e r v a l s o f t h e figured bass b y t h e player. Ñor d o t h e figures tell t h e o r d e r i n w h i c h the notes a r e p l a y e d i n r e l a t i o n t o t h e bass. T h e figure 6, m e a n i n g a 3 c h o r d , m a y b e r e a l i z e d w i t h a t o p U n ethat h a s t h e 6 t h , t h e 3 r d , o r e v e n t h e doubled bass n o t e .
PL ffh
*» a
O Q
t í
Among o t h e r t h i n g s t h e p r e s e n c e o f a p a r t m a r k e d " c o n t i n u o " tells y o u t h a t a l lt h e n o t e s o f t h e p i e c e a r e n ' t w r i t t e n i nt h escore. T h e r e m a y b e n o trace o f i n n e r voices, w h i c h a r e left t o t h e c o n t i n u o player t o realize. Practice varied f r o m o n e c o m p o s e r t o a n o t h e r a n d f r o m o n e lócale t o a n o t h e r , a s e x a m p l e s i n t h e A n t h o l o g y ¡Ilústrate. T h e s c o r e s o f t h e T e l e m a n n o d e s , [29], a n d t h e H a n d e l r e c i t a t i v e s , [37], i n c l u d e o n l y s o p r a n o a n d b a s s . T h eC o r e l l i t r i o s o n a t a m o v e m e n t , [221, i s i n
41
—
—*>
-o¿\.
C O N T I N U O T h et e r m itself is a s h o r t f o r m o f t h e I t a l i a n basso continuo, t h e c o n t i n u o u s b a s s o f B a r o q u e m u s i c . T h e w o r d continuo i n s e v e n t e e n t h a n d e i g h t e e n t h - c e n t u r y s c o r e s i n d i c a t e s t h e figu r e d bass line. I t ' s also t h e m u s i c f o r t h e l o w i n s t r u m e n t s ( u s u a l l y s t r i n g s ) t h a t play t h e bass together with t h e lower part o f the keyboard instrument. T h e harpsichord was the favored i n s t r u m e n t f o rrealization o f secular music, while the o r g a n accompanied sacred music.
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I t t a k e s o n l y a f e w figures t o d i s t i n g u i s h o n e c h o r d from another. T orealize a figured bass, y o u m u s t know t h e chord abbreviations that a r e normally used. (See table o n p a g e 3 1 2 . ) O n l y t h e notes o f t h e diatonic scale a r e p l a y e d in t h erealization, w h i c h m e a n s that t h ek e y signat u r e is f o l l o w e d e x c e p t w h e r e accidentáis a r e p r o vided. I n general: play t h e bass w i t h t h eleft h a n d a n d the u p p e r parts w i t h t h e r i g h t h a n d . W h i l e f o u r part realization is t h e n o r m , t h e r e a r e times w h e n three parts a r e sufficient. Fast m u s i c needs f e w e r notes i n r e a l i z a t i o n t h a n s l o w m u s i c . I f y o u find a n o t e w i t h o u t a figure following figured notes, that note is probably a P o r N . H o l d the c h o r d i n t h e r i g h t h a n d w h i l e t h e bass n o t e is played. (See s a m p l e realizations o n t h en e x t page.)
symbol no
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| position o f a 7 t h chord 4 t h resolves t oa 3 r d 9 t h resolves t oa n octave 7 t h resolves t oa6 t h 7 t h passes f r o m octave s h a r p e n (raise) t h e i n t e r v a l indicated by a h a l f step flatten (lower) the interval indicated by a h a l f step sharpen t h e3 r d flatten t h e3 r d c a n c e l a s h a r p o r fíat i n t h e k e y s i g nature
Sample realizations Í37A]
F O L L O W - U P I f y o u play a keyboard instrum e n t , m o r e a d v a n c e d w o r k i n figured b a s s r e a l i zation c a n benefit b o t h y o u r theoretical a n d practical u n d e r s t a n d i n g o f m u s i c — n o t t o m e n t i o n y o u r skill as a p e r f o r m e r . A v a l u a b l e b o o k f r o m w h i c h t o 312
work is Thoroughbass Method by Hermann Keller. In includes not only instructions and selections from the writings of Baroque musicians, but also examples of continuo music in many styles.
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G L O S S A R Y Words appearing in
SMALL CAPS
i n the definitions a r ethemselves defined in the
a cappella ( I t . ) : u n a c c o m p a n i e d ( c h o r a l m u s i c ) . adagio ( I t . ) : v e r y s l o w , s l o w e r t h a n LARGO i n t h e e i g h t e e n t h c e n t u r y , n o t c l e a r l y d i s t i n g u i s h e d f r o m LENTO in later times, affetuoso ( I t . ) : w i t h t e n d e r f e e l i n g . allegretto ( I t . ) : f a i r l y f a s t , b u t n o t a s f a s t a s ALLEGRO. allegro ( I t . ) : f a s t , l i v e l y . allemande ( F r . ) : a d a n c e o r i g i n a t i n g i n G e r m a n y ; i n B a r o q u e S U I T E S , u s u a l l y t h e first m o v e m e n t , i n m o d érate T E M P O a n d 4 t i m e . alto: ( 1 ) t h e l o w e r f e m a l e v o i c e ; ( 2 ) ( F r . ) t h e v i o l a . andante ( I t . ) : l i t e r a l l y , " w a l k i n g " o r " g o i n g " ; a m o d e r a t e l y f a s t TEMPO i n t h e e i g h t e e n t h c e n t u r y , t a k e n somewhat slower in the nineteenth. andantino ( I t . ) : a b i t f a s t e r t h a n ANDANTE. antecedent phrase: t h e first PHRASE o f a t w o - p h r a s e g r o u p t h a t c o m p r i s e s a PERIOD. aria ( I t . ) : a i r o r s o n g ; u s e d t o d e n o t e a SOLO n u m b e r i n a n o p e r a o r a n i n s t r u m e n t a l piece i n the style o f such an operatic number. arioso ( I t . ) : i n t h e m a n n e r o f a n ARIA; i n a s i n g i n g s t y l e . arpeggiation: a p r o c e d u r e i n w h i c h t h e n o t e s o f a c h o r d are p l a y e d successively r a t h e r t h a n s i m u l t a n e o u s l y . atonal: w i t h o u t a c e n t e r o f t o n a l i t y o r K E Y . authentic cadenee: t h e V - I C A D E N C E . ballata ( I t . ) : a l a t e M e d i e v a l I t a l i a n p o e t i c f o r m a s s o c i ated w i t h t h em u s i c o f L a n d i n i ; t h et e r m also applies to the music sett osuch poems. bicinium ( L a t . ) : i n t h e s i x t e e n t h c e n t u r y , a t w o - p a r t piece w r i t t e n f o rvoices b u t o f t e n played b y i n s t r u ments as well. bourrée ( F r . ) : a F r e n c h d a n c e t h a t a p p e a r s o c c a s i o n a l l y i n B a r o q u e SUITES; u s u a l l y i n , starting with a n UPBEAT o f t w o e i g h t h n o t e s , a n d f a s t e r t h a n a GAVOTTE.
glossary.
bransle o r branle ( F r . ) : a p o p u l a r d a n c e o f t h e s i x t e e n t h a n d s e v e n t e e n t h c e n t u r i e s , w i t h l i v e l y TEMPO. T h e b r a n l e simple i s i n d u p l e M E T E R , t h e b r a n l e gai i n t r i p l e METER.
caccia ( I t . ) : p o e t i c a n d m u s i c a l g e n r e d e s c r i b i n g a h u n t ing scene, p o p u l a r d u r i n g late M i d d l e Ages. cadence: m e l o d i c a n d / o r c h o r d a l m o v e m e n t t o a g o a l a t the
e n d o f a PHRASE.
A n y SCALE DEGREE t h a t c a n
s u p p o r t a CONSONANT T R I A D c a n b e t h e g o a l o f m o t i o n and o f the cadence. canon: l i t e r a l l y , " r u l e " ; a m u s i c a l p r o c e d u r e w h e r e b y IMITATION i s c a r r i e d o u t e x a c t l y f o r a n e n t i r e p i e c e o r section. T h e t e r m is also used f o r a piece s o w r i t t e n . cantabile ( I t . ) : i n a s i n g i n g s t y l e . cantillation: a t e r m a p p l i e d b o t h t o t h e p r a c t i c e b y w h i c h t h e Oíd T e s t a m e n t i s s u n g i n t h e J e w i s h s e r v i c e a n d to the m u s i c itself. canto ( I t . ) : s o p r a n o . cantus firmus ( L a t . ) : a M E L O D Y w h i c h i s g i v e n a n d m a y not b e a l t e r e d , s e r v i n g as t h ebasis o fa c o m p o s i t i o n or exercise. cauda ( L a t . ) : l i t e r a l l y , " t a i l " ; i n M e d i e v a l m u s i c , t h e v e r y e n d o f a piece. cémbalo ( I t . ) : h a r p s i c h o r d . chaconne ( F r . ) o r ciaconna ( I t . ) : a B a r o q u e c o n t i n u o u s v a r i a t i o n f o r m based o n a r e p e a t e d bass p a t t e r n , like t h e PASSACAGLIA; u s u a l l y i n t r i p l e METER a n d s l o w TEMPO.
chanson: ( 1 ) i n R e n a i s s a n c e m u s i c , a s e c u l a r c h o r a l piece, o f t e n i n less t h a n f o u r p a r t s ; s o m e a r e c h o r d a l , others quite linear; ( 2 )t h e F r e n c h w o r d f o r "song," a l t h o u g h t h e p r o p e r t e r m f o r " a r t s o n g " i s mélodie. chant o r plainchant: u n a c c o m p a n i e d MELODY o f t h e Christian churches.
chórale: t h e w o r d s a n d / o r m u s i c o f a c o n g r e g a t i o n a l h y m n associated w i t h the Protestara c h u r c h w o r s h i p . chromatic: l i t e r a l l y , " c o l o r f u l " ; u s i n g t h e five P I T C H CLASSES t h a t a r e n o t i n c l u d e d i n t h e DIATONIC SCALE
o f a given key. circle of 5ths: a l i s t o f t h e MAJOR K E Y S , a r r a n g e d a perfect 5 t h apart, w h i c h m a y b e d i a g r a m e d asa circle. I f t h e circle is read clockwise, t h e 5ths a r e seen ascending, w i t h a progression t h r o u g h each o f t h e MAJOR K E Y S .
contrapuntal progression: a g r o u p o f c h o r d s w h o s e m o v e m e n t is c o n t r o l l e d b y t h eb a s s - s o p r a n o r e l a t i o n s h i p , u s u a l l y STEPWISE, r a t h e r t h a n b y r o o t m o v e ments. contrary motion: m o v e m e n t o f t w o v o i c e s i n o p p o s i t e directions. c o u n t e r p o i n t : t h e a r t o f c o m b i n i n g MELODIES i n r e l a t i o n to each other. courante ( F r . ) o r corrente ( I t . ) : a d a n c e m o v e m e n t , u s u a l l y t h e s e c o n d i n a B a r o q u e SUITE, i n a l i v e l y TEMPO, w i t h t h e M E T E R w r i t t e n ¡ b u t o f t e n v a r y i n g b e t w e e n 1 a n d 4. da capo ( I t . ) : r e p e a t f r o m t h e b e g i n n i n g . diatonic: u s i n g t h e s e v e n n o t e s w h i c h c o m p r i s e t h e SCALE o f a g i v e n
KEY.
diatonic semitone: a H A L F STEP s p e l l e d w i t h t w o d i f f e r e n t l e t t e r ñames—e.g., E — F o r B — C . direct o r similar motion: m o v e m e n t o f t w o v o i c e s i n t h e s a m e d i r e c t i o n , b u t c o v e r i n g d i f f e r e n t distances. dissonant: c o n s i s t i n g o f t w o o r m o r e s o u n d s w h i c h a r e in a n unstable relationship t o each other. T h i s relat i o n s h i p g e n e r a t e s activity t o w a r d a m o r e stable s o u n d . dolce ( I t . ) : s w e e t , g e n t l e . dominant: ( 1 ) t h e fifth d e g r e e o f a MAJOR o r MINOR SCALE; i t i s a m o r e a c t i v e n o t e t h a n t h e T O N I C ; ( 2 ) t h e RECITING TONE i n a M e d i e v a l
coda ( I t . ) : l i t e r a l l y , " t a i l " ; a c o n c l u d i n g s e c t i o n o f a composition. color ( L a t . ) : t h e p i t c h p a t t e r n t h a t u n d e r g o e s r e p e t i t i o n i n a M e d i e v a l ISORHYTHMIC MOTET.
compound interval: a n I N T E R V A L l a r g e r t h a n a n o c t a v e . A m a j o r l O t h ( a 3 r d plus a n octave) is a c o m p o u n d INTERVAL.
con anima ( I t . ) : w i t h s p i r i t . con fuoco ( I t . ) : w i t h fire; l i v e l y . conductus (Lat.): a M e d i e v a l style o fc o m p o s i t i o n f o r o n e t o t h r e e v o i c e s , n o t b a s e d o n a p r e - e x i s t e n t CHANT. I n c o n d u c t u s o f m o r e t h a n o n e voice, the voices m o v e i n r h y t h m i c unisón, a f a c t o r w h i c h d i s t i n g u i s h e s t h e m f r o m all other Medieval polyphonic compositions. consequent phrase: t h e s e c o n d PHRASE o f a t w o - p h r a s e g r o u p t h a t c o m p r i s e s a PERIOD. consonant: c o n s i s t i n g o f t w o o r m o r e s o u n d s w h i c h a r e i n a stable r e l a t i o n s h i p t o each o t h e r . continuo: s h o r t f o r basso continuo (It.); t h e continuous bass characteristic o f B a r o q u e m u s i c . T h e t e r m refers b o t h t o t h e b a s s l i n e i t s e l f , figured o r u n f i g u r e d , a n d to t h e i n s t r u m e n t s t h a t p e r f o r m it, a k e y b o a r d i n s t r u m e n t and low strings o r winds. contradanse ( F r . ) : c o u n t r y d a n c e , p o p u l a r i n t h e e i g h teenth a n dn i n e t e e n t h centuries.
316
mode.
Dorian: o n e o f t h e M e d i e v a l MODES, a l s o u s e d i n f o l k song. I t c a n b e f o u n d o n t h e piano b y playing t h e white keys, starting o n D , f o r o n e octave. double ( F r . ) : a v a r i a t i o n . double neighbor o r D N : a f o u r - n o t e g r o u p c o n s i s t i n g o f a m a i n note, f o l l o w e d b y l o w e r a n dupper (or u p p e r a n d l o w e r ) NEIGHBORS a n d t h e m a i n n o t e a g a i n . downbeat: t h e s t r o n g , e m p h a s i z e d p u l s e t h a t o c c u r s o n t h e first b e a t o f a MEASURE. d u p l u m ( L a t . ) : i n ORGANUM, t h e p a r t d i r e c t l y a b o v e t h e TENOR.
écossaise ( F r . ) : S c o t t i s h d a n c e . enharmonic: change o f spelling without change o f sound (in a system u s i n g e q u a l - t e m p e r e d t u n i n g ) . T h u s , G l is Fjt s p e l l e d e n h a r m o n i c a l l y . fauxbourdon ( F r . ) o r falso bordone ( I t . ) : o r i g i n a l l y , a p e r f o r m a n c e practice i n w h i c h t h elowest o f three lines w o u l d b e s u n g a n octave h i g h e r t h a n w r i t t e n , t u r n i n g w h a t a p p e a r e d t ob e a succession o f parallel 3rds i n t o a succession o fparallel 6ths; a m i d d l e voice extemporized a 4 t h below t h etransposed voice c o m p l e t e d t h e s o n o r i t y o f p a r a l l e l f TRIADS. I n t h e l a t e r M i d d l e A g e s , a s t y l e i n w h i c h p a r a l l e l FIRST-INVERSION TRIADS a r e u s e d a s t h e p r e d o m i n a n t s o n o r i t y . first inversión: t h e 6 o r 3 p o s i t i o n o f a T R I A D , o r t h e | p o s i t i o n o f a SEVENTH CHORD.
gaillarde ( F r . ) : a l i v e l y d a n c e , u s u a l l y i n t r i p l e M E T E R , popular i n the Renaissance. I t often f o r m s a pair with t h e s l o w e r PAVANE, u s i n g t h e s a m e m a t e r i a l . gavotte ( F r . ) : a B a r o q u e d a n c e t y p e i n ,i n moderately f a s t T E M P O , u s u a l l y b e g i n n i n g w i t h a n UPBEAT o f t w o
q u a r t e r notes. T h e gavotte is n o t o n e o fthe "obligat o r y " n U m b e r s i n a SUITE, b u t i s o f t e n a d d e d . gigue ( F r . ) : o r i g i n a l l y a B r i t i s h s a i l o r s ' d a n c e w i t h a triplet r h y t h m . grave ( I t . ) : v e r y s l o w , s l o w e r t h a n L E N T O . grazioso ( I t . ) : g r a c e f u l l y . g r o u n d bass o r basso ostinato ( I t . ) : a r e p e a t e d b a s s l i n e o n w h i c h a s e t o f c o n t i n u o u s v a r i a t i o n s is b u i l t . h a l f cadenee: a t e r m u s e d b y s o m e t h e o r i s t s t o d e s c r i b e a C A D E N C E o n a SCALE DEGREE o t h e r t h a n 1 .
half step o r semitone: t h e s m a l l e s t INTERVAL i n t h e t e m p e r e d SCALE—e.g.,E - F o r G j t - A . h a r m o n i c progression: d e f i n e d d i f f e r e n t l y b y v a r i o u s t h e o r i s t s , but h e r e t a k e n s i m p l y a s V - I o r V - I . h a r m o n i c prolongation: t h e r e i t e r a t i o n o f I - V - I , s t a b i 7
lizing t h e TONIC
harmony: ( 1 ) s p e c i f i c a l l y , t h e V - I p r o g r e s s i o n o n a n y SCALE DEGREE i n w h i c h t h e r o o t m o v e m e n t is i n c o n t r o l ; (2) i ng e n e r a l , a n aesthetic t e r m used t o describe t h e w a y i nw h i c h chords and progressions sound in a p i e c e — e . g . , " W a g n e r ' s h a r m o n y is r i c h a n d c o l o r f u l . " hemiola: a r h y t h m i c a l t e r a t i o n i n w h i c h t w o MEASURES i n 4a r e p e r f o r m e d as o n e m e a s u r e o f |. heterophony: a p e r f o r m a n c e p r a c t i c e c h a r a c t e r i s t i c o f F a r E a s t e r n music, i nw h i c h different versions o f one MELODY a r e s u n g a t t h e s a m e t i m e w i t h little r e g a r d f o r the simultaneous sounds produced. imitation: a way o f s e t t i n g f o r t h t h e v a r i o u s REGISTERS b y i n t r o d u c i n g a m e l o d i c idea successively o n each level. i n c o m p l e t e n e i g h b o r o rI N : a two-note group consisting o f a NEIGHBOR n o t e e i t h e r p r e c e d e d o r f o l l o w e d b y the m a i n note. interval: t h e d i s t a n c e b e t w e e n t w o n o t e s , d e r i v e d f r o m SCALE DEGREES ( 2 n d ,
3 r d )o r e x p r e s s e d b y t h e n u m b e r
o f SEMITONES c o n t a i n e d .
inversión: ( 1 ) t h e p r o c e d u r e b y w h i c h t h e l o w e r n o t e o f a n INTERVAL i s r a i s e d a n o c t a v e o r t h e u p p e r n o t e i s l o w e r e d a n octave; (2) t h e position o f a chord i n w h i c h t h e bass is n o t t h e r o o t — t h e | position o fa T R I A D i s c a l l e d t h e FIRST INVERSIÓN, t h e f p o s i t i o n o f a T R I A D i s c a l l e d t h e SECOND INVERSIÓN; ( 3 ) a t r a n s f o r -
m a t i o n o f a M E L O D Y i n w h i c h a l l a s c e n d i n g INTERVALS b e c o m e d e s c e n d i n g INTERVALS o f t h e s a m e s i z e , a n d a l l d e s c e n d i n g INTERVALS b e c o m e a s c e n d i n g ÍNTERV A L S o f t h e s a m e s i z e : ( 4 ) a p r o c e d u r e u s e d i n ATONAL m u s i c i n w h i c h a r o w o rseries iss o t r a n s f o r m e d that e a c h INTERVAL i s r e p l a c e d b y its c o m p l e m e n t , f o u n d b y s u b t r a c t i n g t h e n u m b e r o f SEMITONES i n t h a t INTERVAL f r o m 1 2 .
isorhythmic: i n M e d i e v a l m u s i c , a p i e c e t h a t c o n t a i n s a n e x t e n s i v e r h y t h m i c p a t t e r n ( T A L E A ) i n t h e TENOR, w h i c h is e n t i r e l y r e p e a t e d a t least once i n t h e course o f t h e piece, sometimes i n conjunction w i t h t h e repet i t i o n o f a n e x t e n s i v e m e l o d i c p a t t e r n (COLOR) a s w e l l . key: " i n t h e k e y o f X" m e a n s t h a t X i s t h e n o t e t o w h i c h a l l o t h e r n o t e s i n t h e c o m p o s i t i o n a r e r e l a t e d ; X is t h e TONIC
317
key signature: t h e a r r a y o f s h a r p s o r fíats t h a t t e l l s w h a t t h e KEY o f a p i e c e i s b y showíng a s p e c i f i c g r o u p i n g o f H A L F STEPS a n d W H O L E STEPS. T h e k e y s i g n a t u r e
c a n n o t s h o w t h e d i f f e r e n c e b e t w e e n MAJOR a n d MINOR; only the music can. koto: a J a p a n e s e s t r i n g e d i n s t r u m e n t , p l a y e d b y p l u c k ing the strings. Landini cadence: t h e m e l o d i c e n d i n g i n w h i c h t h e l e a d i n g n o t e , i n s t e a d o f m o v i n g d i r e c t l y t o t h e TONIC, i s elaborated b y m o v i n g t o 6, t h e n t o the TONIC larghetto ( I t ) : n o t a s b r o a d ( s l o w ) a s LARGO. larghissimo ( I t . ) : l i t e r a l l y , " v e r y b r o a d " ; b y i m p l i c a t i o n , very slow. largo ( I t . ) : b r o a d , s l o w . legato ( I t . ) : s m o o t h a n d c o n n e c t e d . lento ( I t . ) : q u i t e s l o w , b u t n o t a s s l o w a s GRAVE o r ADAGIO until t h enineteenth century, w h e n t h e distinctions b e t w e e n t h e s e t e r m s b e c a m e less c o n s i s t e n t . Lydian: o n e o f t h e M e d i e v a l MODES. T O find t h e L y d i a n m o d e o n t h e p i a n o , p l a y a SCALE o n t h e w h i t e n o t e s , starting with E .
major scale: a p a r t i c u l a r c o n f i g u r a t i o n o f s t e p s w i t h s e v e n d i f f e r e n t l e t t e r ñ a m e s . T h e INTERVALS t h a t s p e l l s c a l e a r e WHOLE STEP,
WHOLE
H A L F STE P ,
WHOLE SÍEP, WHOLE STEP,
WHOLE
HALF
A t t h e last
out
the major STEP.
INTERVAL,
t h e initial
S TE P, S TE P, PITCH
CLASS r e t u r n s , a n d t h e S C A L E i s c o m p l e t e .
measure: t h e u n i t o f t h e p r e d o m i n a n t , r e g u l a r g r o u p i n g o f pulses f o u n d i n m o s t music, s othat w ec o u n t t w o , t h r e e , o r f o u r b e a t s a s a unit. What we hear as such a u n i t is called a measure. Visually, t h e u n i t is represented b y the space between t w o barlines. melisma: i n C H A N T , t h e g r o u p o f n o t e s s u n g t o o n e sy Hable. m e l i s m a t i c : a florid s t y l e o f C H A N T o r , b y e x t e n s i ó n , o f melodic writing. melody: a n i n f o r m a l t e r m u s e d t o d e s c r i b e a s u c c e s s i o n o f notes w h i c h c a n b e perceived as a n aesthetic unit. W e saythat t h e m e l o d y o ft h e piece is usually i n t h e t o p line, voice o r i n s t r u m e n t , b u t bass lines a n d i n n e r voices m a y also h a v e m e l o d y . meter: t h e g r o u p i n g o f p u l s e s w h i c h w e h e a r a s a u n i t . T h e most c o m m o n meters are two, three, a n d four beats: these a r e s i m p l e meters. C o m p o u n d meters i n c l u d e six, n i n e , a n dtwelve beats. meter sign o r time signature: t h e r u b r i c w h i c h i n d i c a t e s t h e M E T E R . T h e u p p e r figure s h o w s t h e n u m b e r o f b e a t s i n a M E A S U R E , t h e l o w e r s h o w s t h e valué o f t h e n o t e t h a t r e c e i v e s o n e b e a t . T h e o n l y METERS w h o s e signs a r e n o tindicated i n n u m b e r s a r e C , w h i c h is t h e s a m e a s a n d 0 , w h i c h i s t h e s a m e a s ¡. minor scale: d i f f e r s f r o m t h e MAJOR S C A L E i n i t s d i s t r i b u t i o n o f WHOLE STEPS a n d HALF
STEPS.
minuet: a d a n c e i n t r i p l e M E T E R , t h e T E M P O m o d e r a t e l y fast. U n t i l a b o u t 1 7 6 0 t h e m i n u e t is i n b i n a r y f o r m ; thereafter, it is i n r o u n d e d binary f o r m . mode: a c o l l e c t i o n o f p i t c h e s i n a s p e c i f i c i n t e r v a l l i c order.
lode mixture: t h e u s e o f n o t e s f r o m m o r e t h a n o n e MODE o v e r a g i v e n
TONIC.
l o d u l a t i o n : a c h a n g e o f K E Y , m e a n i n g t h a t PHRASE e n d s o n a d i f f e r e n t TONIC f r o m t h e o n e o n w h i c h i t b e g a n . Large-scale t o n a l m o v e m e n t is o f t e n d e s c r i b e d as modulation. t o t e t : ( 1 ) I n M e d i e v a l m u s i c , a p i e c e b u i l t o n a TENOR d e r i v e d f r o m CHANT, u s u a l l y i n t h r e e v o i c e s ; e a c h voice m a yhave a different text; ( 2 )i n t h e Renaissance, a setting o f a sacred t e x t f o rvoices, o f t e n i n imitative style. íotive: a s h o r t , c l e a r y r e c o g n i z a b l e m e l o d i c i d e a u s e d as t h e b a s i s o f a p i e c e o r s e c t i o n o f a p i e c e . T h e p i t c h and/or r h y t h m i c ascepts o ft h e m o t i v e a r e developed into the melodic material o f the work. eighbor note o r N : a n e m b e l l i s h i n g n o t e a SCALE s t e p above o r below a m a i n melodic note, eumatic: i n C H A N T , a s t y l e i n w h i c h u p t o f o u r n o t e s ( r e p r e s e n t e d i n CHANT n o t a t i o n b y o n e s y m b o l o r n e u m e ) a r esung t o one syllable. bbligato: á n e s s e n t i a l i n s t r u m e n t a l p a r t . I n s o m e e i g h t e e n t h - c e n t u r y SONATAS f o r v i o l i n a n d p i a n o , t h e violin iso p t i o n a l ; w h e n the c o m p o s e r w a n t e d t o e n s u r e t h e p a r t i c i p a t i o n o f t h e v i o l i n p a r t , h e i n d i c a t e d i t as "violin obbligato." blique motion: t h e r e l a t i o n b e t w e e n t w o v o i c e s i n w h i c h one moves while the other remains o none note. rganum ( L a t . ) : a c o m p o s i t i o n a l p r a c t i c e i n w h i c h o n e o r m o r e v o i c e s w e r e first i m p r o v i s e d , l a t e r c o m p o s e d , a g a i n s t t h e n o t e s o f a CHANT. larallel major: t h e m a j o r K E Y b u i l t o n t h e s a m e T O N I C as a g i v e n m i n o r KEY k n o w n a s t h e PARALLEL M I N O R — e.g., t h e p a r a l l e l m a j o r o f C m i n o r is C m a j o r . >arallel minor: t h e m i n o r K E Y b u i l t o n t h e s a m e T O N I C as a g i v e n m a j o r KEY k n o w n a s t h e PARALLEL MAJOR— e.g., t h e p a r a l l e l m i n o r o f D m a j o r i s D m i n o r . »arallel motion: t h e r e l a t i o n b e t w e e n t w o v o i c e s i n w h i c h b o t h m o v e t h e s a m e distance i nt h e s a m e d i r e c t i o n . mrtita ( I t . ) : see S U I T E . lassacaglia ( I t . ) o r passacaille ( F r . ) : a c o n t i n u o u s v a r i a t i o n f o r m b u i l t o v e r a r e c u r r i n g b a s s , l i k e t h e CHACONNE. T h e distinctíon b e t w e e n p a s s a c a g l i a a n d CHACONNE w a s a p p a r e n d y o f n o s i g n i f i c a n c e t o B a r o q u e musicians. >assing note o r P: a n o t e w i t h STEPWISE m o t i o n .
filling
t h e INTERVAL o f a 3 r d
A P m a y b e CONSONANT o r
DISSONANT, o n a w e a k b e a t o r a s t r o n g b e a t ; i f t h e latter, i tisa n accented P (P). lavana ( I t . ) o r pavane ( F r . ) : a d a n c e o f t h e s i x t e e n t h a n d s e v e n t e e n t h c e n t u r i e s , i n s l o w TEMPO a n d d u p l e METER.
>edal point: a n o t e ( p o i n t ) o r i g i n a l l y p l a y e d o n t h e p e d a l o f the o r g a n , sustained w h i l e o t h e r voices m o v e o v e r i t . B y extensión, a l o n g - h e l d n o t e , u s u a l l y i n t h e lowest part o f any piece. >entatonic scale: a S C A L E t h a t h a s five n o t e s t o t h e octave.
318
p e r i o d : a g r o u p o f t w o o r m o r e PHRASES. phrase: a c o m p l e t e u n i t o f m e l o d i c a n d c h o r d a l t h o u g h t , e n d i n g w i t h a CADENCE. Phrygian: o n e o f t h e M e d i e v a l MODES. T O find t h e P h r y g i a n MODE o n t h e p i a n o , p l a y a SCALE o n t h e w h i t e notes, starting w i t h E . piano ( I t . ) : s o f t l y , a b b r e v i a t e d p . pitch class: a g r o u p o f a l l p i t c h e s w i t h t h e s a m e l e t t e r ñame. pivot chord: a c h o r d t h a t i s u s e d t o m a k e a t r a n s i t i o n f r o m o n e KEY área t o a n o t h e r , h a v i n g a f u n c t i o n i n both. I nthis book, the abbreviation for a pivot chord reads " A major V I / E major I I , " meaning " V I i nA major becomes I I i nE major." polyphony: t h e a r t o f c o m b i n i n g t w o o r m o r e m e l o d i c lines i na coherent m a n n e r , relating each part t o t h e o t h e r s . T h e c h o r d s t h a t r e s u l t f r o m t h e flow o f s i m u l t a n e o u s MELODIES a r e p o l y p h o n i c c h o r d s . prelude ( F r . ) : o r preludio ( I t . ) : i n B a r o q u e m u s i c , a short introductory piece often based o n a single melodic figuration. W h i l e C h o p i n ' s Preludes are not i n t r o d u c t o r y , they r e t a i n t h en o t i o n o fa piece based o n a single idea. T h e t e r m is also u s e d f o ra short i n t r o d u c t o r y piece i n a n opera. presto ( I t . ) : v e r y f a s t .
quinto ( I t . ) : i n R e n a i s s a n c e m u s i c , t h e fifth p a r t . U s u a l l y , it h a s t h e s a m e r a n g e as o n e o f t h e o t h e r f o u r voices, w i t h w h i c h it crosses frequently.
recitative ( F r . a n d E n g . ) o r recitativo ( I t . ) : i n o p e r a a n d in genres d e r i v e d f r o m i t , a style o f vocal w r i t i n g designed m o r e for comprehension o f the words than m e l o d i c interest: t h e r e is usually o n e n o t e t oa syllable, a n d t h e a c c o m p a n i m e n t is simple. Recitative a c c o m p a n i e d o n l y b y a CONTINUO i s k n o w n a s recitativo secco; t h a t w h i c h i s s u p p o r t e d b y a n e n s e m b l e i s k n o w n a s recitativo accompagnato. B o t h types may be f o u n d i n t h e s a m e w o r k , a s i n M o z a r t ' s Don Giovanni. reciting tone o r reciting note: t h e d o m i n a n t o r t o n e o f t e n s i ó n i n a M e d i e v a l MODE. reduction: (1) the process o f d e t e r m i n i n g the m a i n notes o f a piece as d i s t i n g u i s h e d f r o m t h e e m b e l l i s h i n g n o t e s , a n d t h u s d e f i n i n g t h e TONAL S T R U C T U R E ; ( 2 ) the practice o fa r r a n g i n g a c o m p o s i t i o n scored f o r a large n u m b e r o f instruments, such as a n orchestra, for a smaller ensemble o r for piano.. register: a n i n f o r m a l t e r m u s e d t o d e s c r i b e o n e s e g m e n t o f the total compass o f pitches o f a piece; w e speak o f "high register" a n d " l o w register" w i t h o u t usually d e f i n i n g specific notes. relative major: t h e m a j o r K E Y w h o s e T O N I C i s a m i n o r 3 r d h i g h e r t h a n that o fa g i v e n m i n o r w i t h the s a m e KEY S I G N A T U R E — e . g . , C m a j o r i s t h e r e l a t i v e m a j o r o f A minor. relative minor: t h e m i n o r K E Y w h o s e T O N I C i s a m i n o r 3rd lower than that o fa given major with t h e same KEY S I G N A T U R E — e . g . , D m i n o r i s t h e r e l a t i v e m i n o r of F major. rhythm: a t e r m i n c l u d i n g a l l a s p e c t s r e l a t i n g t o t h e flów
o f m u s i c t h r o u g h t i m e , T E M P O a n d METER a r e i m p o r tant aspects o f r h y t h m . ritardando ( I t . ) : s l o w i n g . T h i s s h o u l d b e a b b r e v i a t e d ritard., b u t i s o f t e n a b b r e v i a t e d rit., i n w h i c h c a s e i t m a y b e c o n f u s e d w i t h t h e a b b r e v i a t i o n f o r RITENUTO. ritenuto ( I t . ) : h e l d b a c k , s l o w e r . T h i s s h o u l d b e a b b r e v i a t e d riten., b u t i s o f t e n a b b r e v i a t a e d rit., i n w h i c h case i t m a y b e c o n f u s e d w i t h t h e a b b r e v i a t i o n f o r
t h r e e stages—(1) p r e p a r a t i o n o f t h e n o t e t o b e susp e n d e d asa consonance, o nthe w e a k beat; (2) m o t i o n o f a n o t h e r voice t o p u t t h e s u s p e n d e d voice i na DISSONANT r e l a t i o n w i t h i t , o n t h e s t r o n g b e a t ; ( 3 ) resolution o f the suspended note t oa consonance, o n the w e a k beat. syllabic: i n C H A N T , t h e s t y l e i n w h i c h o n e n o t e i s s u n g t o each syllable.
RITARDANDO.
ritornello: a r e c u r r i n g r e f r a i n , u s u a l l y f o u n d i n s u c h B a r o q u e g e n r e s a s o p e r a ARIA a n d c o n c e r t ó m o v e ments. sarabande ( F r . ) : a s l o w d a n c e i n t r i p l e M E T E R , u s u a l l y f o u n d i n B a r o q u e SUITES. scale: a STEPWISE a r r a n g e m e n t o f a g r o u p o f n o t e s . T h e DIATONIC s c a l e o f a g i v e n K E Y i s b u i l t o n t h e T O N I C o f t h a t KEY. S c a l e s t h a t i m p l y n o KEY i n c l u d e t h e CHROM A T I C a n d W H O L E - T O N E SCALES.
scale degree: t h e o r d e r n u m b e r o f a n o t e t h a t i s p a r t o f a DIATONIC SCALE.
second i n v e r s i ó n : t h e \ p o s i t i o n o f a T R I A D , o r t h e 4 p o s i t i o n o f a SEVENTH
CHORD.
semitone: see H A L F S T E P .
sequence: r e p e t i t i o n o f a M O T I V E o n a h i g h e r o r l o w e r SCALE D E G R E E . S o m e t h e o r i s t s t a k e t h e p o s i t i o n t h a t a s i n g l e r e p e t i t i o n o f t h e MOTIVE d o e s n o t c o n s t i t u t e a sequence, and t w o repetitions a r e required. seventh chord: a f o u r - n o t e c h o r d b u i l t i n s u p e r i m p o s e d 3rds over the root. siciliano ( I t . ) : a S i c i l i a n d a n c e i n % t i m e o f m o d é r a t e tempo. similar motion: t h e r e l a t i o n b e t w e e n t w o v o i c e s i n w h i c h both move i n the s a m e d i r e c t i o n b u t d o n o t c o v e r t h e same distance. simple interval: a n INTERVAL o f a n o c t a v e o r s m a l l e r . skip o r S: d i s j u n c t m o t i o n — t h a t i s , m e l o d i c m o t i o n l a r g e r t h a n a WHOLE TONE.
S o l o . * literally, "one," "alone"; d e n o t e s a p a s s a g e p l a y e d by a single i n s t r u m e n t o rs u n g b yo n e voice. T h e soloists i n a p e r f o r m a n c e are t h e l e a d i n g p e r f o r m e r s . sonata: a c o m p o s i t i o n i n m o r e t h a n o n e m o v e m e n t f o r one o rt w o instruments. I nB a r o q u e music, a composition for one i n s t r u m e n t alone (rare), one instrument a n d CONTINUO ( t h e " s o l o s o n a t a " ) , o r t w o i n s t r u m e n t s a n d CONTINUO ( t h e " t r i o s o n a t a " ) . L a t e r , a c o m p o s i tion f o r piano o ro n e i n s t r u m e n t a n dpiano. T h e t e r m implies a seriousness o f structure a n d concept. sostenuto ( I t . ) : s u s t a i n e d . stepwise: c o n j u n c t m o t i o n , m e l o d i c m o t i o n o f a SEMITONE O r a WHOLE TONE.
suite: i n B a r o q u e m u s i c , a s e t o f s t y l i z e d d a n c e p i e c e s , all i n t h e s a m e KEY. T h e r e a r e f o u r m o v e m e n t s w h i c h m a y b e called "obligatory" m o v e m e n t s , because they are usually present i n suites o f B a c h , H a n d e l , a n d Rameau:
ALLEMANDE,
COURANTE,
SARABANDE, a n d
GIGUE. L a t e r , t h e t e r m i s u s e d i n f o r m a l l y t o d e s c r i b e a w o r k i n s e v e r a l m o v e m e n t s t h a t i s m o r e l i k e a loóse collection o f pieces t h a n a closely k n i t entity. A n o t h e r t e r m f o r s u i t e is partita. suspensión o r SUS: a d i s s o n a n c e t e c h n i q u e w h i c h i n c l u d e s
talea ( L a t . ) : i n a M e d i e v a l I S O R H Y T H M I C M O T E T , t h e r e p e a t e d r h y t h m i c p a t t e r n o f a TENOR p a r t . tarantella ( I t . ) : a l i v e l y I t a l i a n d a n c e , u s u a l l y i n %. tema ( I t . ) : t h e m e . tempo: t h e r a t e o f s p e e d . tenor: ( 1 ) t h e h i g h e r m a l e v o i c e ; ( 2 ) i n M e d i e v a l m u s i c , t h e p a r t t h a t h o l d s ( L a t . , tenere) t h e n o t e s o f C H A N T o n w h i c h a MOTET i s b a s e d . tenore ( I t . ) : t h e t e n o r v o i c e . ternary form: t h r e e - p a r t f o r m , i n w h i c h t h e m i d d l e p a r t introduces n e wmaterial a n d t h e third part repeats t h e first l i t e r a l l y o r i n v a r i e d f o r m . time signature: see M E T E R S I G N .
toccata: i nB a r o q u e music, a piece f o r k e y b o a r d i n s t r u m e n t i n a free, o f t e n i m p r o v i s a t i o n a l style. I n t h e t w e n t i e t h c e n t u r y , t h e t e r m isused f o r a brilliant o r energetic piece f o r any i n s t r u m e n t a l c o m b i n a t i o n . tonal: a p p l i e d t o m u s i c t h a t h a s a K E Y c e n t e r o r T O N I C tonic: t h e n o t e i n a p i e c e t h a t a c t s a s t h e c e n t e r o f gravity, t ow h i c h all others a r e related. I tis t h e m o s t s t a b l e n o t e . M u s i c t h a t h a s n o t o n i c i s ATONAL. tonicization: t h e p r o c e s s b y w h i c h a SCALE D E G R E E o t h e r t h a n 1t e m p o r a r i l y functions asTONIC transposition: m o v i n g t h e e n t i r e b o d y of a piece or g r o u p o fnotes higher o rlower, while keeping their relationship intact. traverso ( I t . ) o r flauto traverso ( I t . ) : t h e t r a n s v e r s e flute— that is, t h e m o d e r n i n s t r u m e n t , w h i c h ish e l d h o r i z o n t a l l y , a s o p p o s e d t o t h e recorder, which is held vertically. triad: a t h r e e - n o t e c h o r d c o n s i s t i n g o f t w o s u p e r i m posed 3rds over a root. tritone: t h e i n t e r v a l s o f a d i m i n i s h e d 5 t h o r a u g m e n t e d 4 t h , b o t h m e a s u r i n g six SEMITONES—e.g.,F — B . tutti ( I t . ) : a l l , t h e e n t i r e e n s e m b l e . upbeat: a n i n f o r m a l t e r m f o r t h e w e a k b e a t p r e c e d i n g t h e s t r o n g o r DOWNBEAT t h a t b e g i n s a m e a s u r e . vers m e s u r é ( F r . ) : a F r e n c h R e n a i s s a n c e p o e t i c p r a c t i c e in w h i c h each line o f verse follows a strict f o r m u l a o f l o n g a n d s h o r t beats. villanella ( I t . ) : a l i g h t c h o r a l p i e c e p o p u l a r i n t h e l a t e Renaissance. violone ( I t . ) : t h e l o w e s t m e m b e r o f t h e v i o l f a m i l y o f i n s t r u m e n t s , u s e d f o r B a r o q u e BASSO C O N T I N U O p a r t s . volta ( I t . ) : t i m e o r t u r n , a s i n prima volta, " t h e first t i m e . " whole tone o r whole step: a n INTERVAL m a d e u p o f t w o HALF S T E P S ; a m a j o r 2 n d — e . g . , C - D . whole-tone scale: o n e o f t h e t w o SCALES m a d e u p o f s i x WHOLE TONES t o t h e o c t a v e .
W O R K S H E E T S
>
i
Date
Ñame
Worksheet 1
1 . W r i t e a l l t h e A s t h a t y o u c a n find o n t h e p i a n o k e y b o a r d .
2. W r i t e t h e k e y s i g n a t u r e f o r e a c h o f t h e t w e l v e m a j o r s c a l e s b e l o w . S t a r t w i t h C m a j o r . P r o c e e d t o t h e k e y t h a t h a s as its s i g n a t u r e o n e sharp, w h i c h is
m a j o r . I t s t o n i c is a
h i g h e r t h a n C . Continué t h e series b y a d d i n g o n e s h a r p f o r e a c h k e y . A t t h e e n d o f the line, t h ekey signature o f sharps applies t o t h ekey o f major. Write t h e ñame o f each k e y u n d e r t h e staff. T h e s e (except C ) a r es o m e t i m e s called t h e s h a r p keys.
i
i
i
C major
A n o t h e r w a y o f s p e l l i n g F|t is its s i g n a t u r e ,
& _
i
\>. S t a r t t h e n e x t l i n e w i t h t h e k e y t h a t u s e s s i x fíats i n
m a j o r . C o n t i n u é t h e s e r i e s w i t h t h e fíat k e y s .
_
i
3 . W h a t a r e t h e c h r o m a t i c n o t e s i n t h e k e y o f A\> m a j o r ? W h a t are the chromatic notes i n the key o f D major? W h a t are the chromatic notes i n the key o f F major? W h a t are the chromatic notes i n the key o f A major? 4. A b o v e e a c h n o t e w r i t e a n o t h e r n o t e t o c o m p l e t e t h e i n t e r v a l .
5. B e l o w e a c h n o t e w r i t e a n o t h e r t o c o m p l e t e t h e g i v e n i n t e r v a l . major 7th
b*
minor 2nd
perfect octave
perfect 4th
major 6th
- = 3
perfect 5th
minor 6th
~
major 2nd
major 3rd
major 7th
=
i. A b o v e e a c h i n t e r v a l w r i t e i t s ñ a m e .
7. S t a r t i n g f r o m a n y n o t e , w r i t e t h e f o l l o w i n g i n t e r v a l s : perfect 4th
major 3rd
major 7th
major 6th
minor 2nd
augmented 4th
minor 3rd
major 2nd
diminished 5th
8 . N e x t t o e a c h i n t e r v a l w r i t e i t s inversión. Ñ a m e t h e r e s u l t .
major 3rd
minor 6th
perfect 4th
major 6th
minor 2nd
minor 3rd
E35
55 major 7th
diminished 5th
perfect 4th
major 3rd
9. T h e t h r e e n o t e s F — G — A m a y b e scale d e g r e e s be scale d e g r e e s
in
m a j o r . T h e y m a y also
tn
major.
T h e t w o n o t e s F | — G m a y b e scale d e g r e e s scale d e g r e e s
minor 6th
in
m a j o r . T h e y m a y also b e
in
major.
T h e t w o n o t e s G - A m a y b e scale d e g r e e s
in C major.
T h e y m a ya l s o b e ( a s
m a n y as possible)10. C h a n g e e a c h o f t h e f o l l o w i n g s i m p l e intervals i n t o c o m p o u n d i n t e r v a l s . I d e n t i f y b o t h . minor
3rd 0
minor
lOth "
„_
1~iz
o
-*
1
•
#*
— 3
11. Reduce each o f the f o l l o w i n g c o m p o u n d intervals t o simple intervals. Identify both. major 9th -fim.—n
major
2nd ,
m
\
w
\>m. -*
—ráA
—
—•
•
1
0
1
i
Date
Ñame
Worksheet 2
1. A b o v e e a c h n o t e w r i t e t h e n o t e t h a t c o m p l e t e s t h e g i v e n i n t e r v a l . major 3rd
diminished 4th
minor 2nd
augmented 5th
minor 7th
major lOth
diminished 5th
augmented 4th
minor 9th
2. B e l o w each n o t e write the n o t e that completes the given interval.
m
major l9th 17 O
augmented 4th
major 7th
minor 6th
diminished 5th
augmented 5th
minor 7th
perfect 12th
major 9th
3 . N e x t t o e a c h i n t e r v a l w r i t e i t s inversión. Ñ a m e b o t h . augmented 5th
diminished
4th JOá
X
4. W r i t e t h e s c a l e o f t h e D o r i a n m o d e , d e s c e n d i n g , s t a r t i n g o n G . A d d accidentáis a s n e e d e d .
o
5. W r i t e t h e s c a l e o f t h e P h r y g i a n m o d e , d e s c e n d i n g , s t a r t i n g o n A . A d d accidentáis a s n e e d e d .
6 . W r i t e t h e s c a l e o f t h e M i x o l y d i a n m o d e , d e s c e n d i n g , s t a r t i n g o n C . A d d accidentáis a s n e e d e d .
Study these nine versions o f a 6 t h . W r i t e as m a n y v e r s i o n s o f a 3 r d as y o u c a n . Ñame e a c h . W r i t e as m a n y v e r s i o n s o f a 5 t h as y o u c a n . Ñame e a c h . T h e relative m a j o r o f G m i n o r is
; the parallel m a j o r is
T h e relative m i n o r o f
m a j o r is
; t h e parallel m i n o r is
T h e parallel m i n o r o f
m a j o r is
; the relative m i n o r is
T r a n s p o s e The Ash Grove t o A\> m a j o r i n t h e b a s s c l e f .
Date
Ñame
Worksheet 3
1. O v e r e a c h n o t e o f t h i s c h a n t w r i t e R ( r o o t ) , 3 r d , o r 5 t h i f the n o t e is a m e m b e r o f t h e t r i a d a n d N , I N , P, o r SP over the other notes.
Ag-nus
De
-
i
qui
tol
-
2 . W h a t is t h e k e y o f t h e c h a n t a b o v e ?
lis
pec-ca - ta mun
-
di
mi
-
se
-
re - re
no
-
bis.
W h a t is t h e m o d e ?
3 . T r a n s p o s e Nobody Knows t o E m a j o r . L
m
y
h
• —
ii#a
,
4. W r i t e t h e scale o f t h e D o r i a n m o d e , a s c e n d i n g , s t a r t i n g on E .
'ff ° W r i t e t h e scale o f t h e P h r y g i a n m o d e , a s c e n d i n g , s t a r t i n g o n B .
1
4 „ W r i t e t h e scale o f t h e M i x o l y d i a n m o d e , a s c e n d i n g , starting o n B
=
Ñame
Date
Worksheet 4
1. F i l l i n t h e b l a n k m e a s u r e s b e l o w w i t h t e n d i f f e r e n t r h y t h m i c p a t t e r n s a p p r o p r i a t e t o t h e g i v e n meter.
iisrriríri^ri
i
i
i
i
i
H
3 U
U
• i i r r r r ir r n r _ r r rj-r ¡i
i
i
i
ii it l l / r_zr i LU r girjr_rpr •i
i
i
2 . H e r e i s t h e m e l o d y o f a f a m o u s chórale a s i t a p p e a r e d i n t h e s i x t e e n t h c e n t u r y . A s y o u c a n see, t h e r e a r e n o b a r l i n e s a n d n o o v e r a l l m e t e r . T h e h a l f n o t e is t h e basic beat, i n d i c a t e d b y t h e 2 f o l l o w i n g t h e k e y s i g n a t u r e . T h e final n o t e ^ is e q u a l t o t w o w h o l e n o t e s .
S m a l l a r r o w s h a v e b e e n p l a c e d a b o v e t h e s t a f f t o indícate t h e g r o u p i n g o f w o r d s a n d m u s i c o f t h e first l i n e . D r a w i n b a r l i n e s b e l o w t h e a r r o w s a n d c o n t i n u é a d d i n g b a r l i n e s t h a t r e f l e c t the n a t u r a l accent o f w o r d s a n d music. T h e g r o u p i n g s m a y c o m p r i s e t w o , three, f o u r , o r five half notes.
The oíd
and e
-
-
vil
foe, Would
now
work
us
woe,
With
might and
deep
guile,
* I n t h e A n t h o l o g y , t h i s m e l o d y is p a r t o f a t w o - p a r t b i c i n i u m , [|].
3 . H e r e i s t h e s e c o n d h a l f o f t h e G a i l l a r d e s h o w n o n p a g e 217. Continué a d d i n g t h e m e t e r s i g n s , a c c o r d i n g t o t h e n a t u r a l a c c e n t s y o u find: \ w h e r e y o u f e e l t h r e e b e a t s t o t h e m e a s u r e , 4 w h e r e y o u feel t w o b e a t s t o t h e m e a s u r e .
r r r r1
1 J •JV~ "r •# # F
0 .
í ü
P 0 m1
1
r—
— r ^ - f l E
4> •
e ^ —
5.
CF
7
I
331
3E
Cpt.
6. C h o o s e a cantus J
firmus
f r o m t h e list o n p a g e 0 0 a n d a d d a c o u n t e r p o i n t .
u n
Date
Ñame
Worksheet 6
1 . T h e l i g h t h e a r t e d c h a n s o n b y C e r t o n , [ ? ] , c o n t r a s t s w i t h t h e r e l i g i o u s b i c i n i u m . S t u d y t h e first l i n e o f t h e f o r m e r a n d m a r k a l l i n t e r v a l s . C i r c l e t h e figures t h a t d e n o t e d i s s o n a n c e . Y o u w i l l identify t h e m o na later W o r k s h e e t .
É
3E
2. W r i t e a c o u n t e r p o i n t i n w h o l e notes above the cantus
Cpt.
fin —¿ v
Cf. 5
firmus.
4
1 o
0
O
o —
r%
VJP.
2"^ Vf.
O
O
3. W r i t e a c o u n t e r p o i n t i n w h o l e notes b e l o w t h e cantus f i r m u s .
Cf 3
m
H E
3E
Cpt.
4. I t i s p o s s i b l e t o u s e n o t e valúes s m a l l e r t h a n w h o l e n o t e s i n c o u n t e r p o i n t e x e r c i s e s . I t i s a l s o p o s s i b l e t o w r i t e t w o l i n e s s i m u l t a n e o u s l y , w i t h o u t a c a n t u s firmus. T w o e x a m p l e s o f t h i s a r e g i v e n below. Indicate the intervals between the parts.
5. W r i t e f o u r s h o r t e x e r c i s e s i n n o t e - a g a i n s t - n o t e c o n s o n a n c e . Y o u m a y u s e t h e s a m e r h y t h m valúes a s i n E x e r c i s e 4, a b o v e . T h e r e i s n o c a n t u s firmus. W r i t e b o t h p a r t s a t t h e s a m e t i m e . Suggestion: write each exercise away f r o m t h e piano. T r y t o hear all t h esounds i n y o u r m i n d ' s e a r . T h e n c h e c k t h e r e s u l t s a t t h e p i a n o a n d m a k e a n y improveménts y o u w i s h . 1.
N 2.
=
4 ¡ > r \>
1 "r
1
11
•
_____
— —
:
-—
fe*
\$= i
II
=
Ñame
Date
Worksheet 7
1 . T h e first t w o p h r a s e s o f t h e A r c a d e l t c h a n s o n , [3], a r e p r i n t e d b e l o w . I d e n t i f y a l l i n t e r v a l s b e t w e e n voices.
J J o rJ
3
a
-
el J
| J o
1J
p
f~
P p
r>
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_ 1¿—^—19—__
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2. S t u d y t h e s e e x a m p l e s o f note-against-note c o u n t e r p o i n t i n three parts. I d e n t i f y all intervals b e t w e e n voices. _5S_
3T
m
5
3I_
Cf 7 (minor) «-» s
\
12
V ^
C f 7 (Dorian)
1^
3 T
3.
A d d t w o parts i n whole notes to each cantus
j
A
Cf
3E
o
"
~
"
«»
5 m e
3
Identify all intervalsb e t w e e n voices.
C f 2
3E
1
firmus.
•CE
o
o
o
Date
Ñame
Worksheet 8
1 . S t u d y t h e s e e x a m p l e s o f n o t e - a g a i n s t - n o t e c o u n t e r p o i n t w i t h m i x e d n o t e valúes. T h e r e i s n o c a n t u s firmus. T h e r e i s a c o n s o n a n t s k i p i n e a c h e x a m p l e . I d e n t i f y a l l i n t e r v a l s b e t w e e n t h e voices.
3=_É
m
r r i' (9
1
P>
-a
p
1
3 ^
•
p — r
f=#¡
e
3
p "
i
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'j
r =^
i
r
P
f
r
i
1
f = - i
s
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i
3
f r
-e
o
2 . W r i t e t w o e x e r c i s e s i n n o t e - a g a i n s t - n o t e c o u n t e r p o i n t w i t h m i x e d n o t e valúes. T h e r e i s n o c a n t u s firmus. I d e n t i f y a l l i n t e r v a l s b e t w e e n t h e v o i c e s .
Date
Ñame
Worksheet 9
1 . R e f e r t o \7\, 1 — 1 6 . D e t e r m i n e w h e t h e r e a c h n o t e i n t h e s o p r a n o p a r t i s t h e r o o t , 3 r d , o r 5 t h o f t h e t r i a d . M a r k t h e s o p r a n o part accordingly. D o n o t m a r k t h e quarter notes that a r e dissonant. 3rd
3E
>\ i ' f r f 'i i ' f «i "• 'i r r ^
33T
2. W r i t e t h e k e y signature, t h e n the t r i a d i neach measure b e l o w . I f t h e r e is n o arabic n u m e r a l n e x t t o t h e román n u m e r a l , 3 i s i m p l i e d ; w r i t e the r o o t p o s i t i o n . I f t h e r e i s a n e x t t o t h e r o m á n n u m e r a l , % i s i m p l i e d : w r i t e t h e first inversión. U s e d i a t o n i c n o t e s , e x c e p t f o r V i i n t h e m i n o r m o d e , w h e r e t h e l e a d i n g n o t e is called for. 6
^
E major, I I I
E\> m a j o r , V
F minor, I I
6
A major, I
6
6
A bmajor, I V
B major V I I
F | minor, IV6
B minor, V *
3 . N e x t t o e a c h c h o r d w r i t e i t s first inversión.
y
¿n
r
¿
1 it " 11
4. N e x t t o e a c h f i r s t - i n v e r s i o n t r i a d w r i t e its r o o t position.
_ H
o
:8
6
W
G minor,
D t major, I I
D e s c r i b e e a c h t r i a d as m a j o r , m i n o r , a u g m e n t e d , o r d i m i n i s h e d .
Date
Ñame
W o r k s h e e t 10
H e r e a r e f o u r c a n t u s firmi, e a c h i n a d i f f e r e n t v o i c e . W r i t e t h r e e v o i c e s a t t h e s a m e t i m e a g a i n s t e a c h c a n t u s firmus, u s i n g w h o l e n o t e s o n l y . Cantus firmus 5 J-trh
"
°
—rr
°
r
°
—
°
—
<»
n
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n
la-i-t, | p _ t
8
Cantus firmus 4 1»
i» T
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Cantus firmus 9 T t t fjK P
n
o ^ *
«» —
u
o
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n
1
W o r k s h e e t 11
1 . W r i t e t h e m a j o r t r i a d i n r o o t p o s i t i o n o f w h i c h E is t h e
thethird
^ - = E E = =
; the
fifth
^
root
=
2 . W r i t e t h e m i n o r t r i a d i n r o o t p o s i t i o n , o f w h i c h C f ( D b ) is t h e r o o t
; the
; the third
^
fifth
3 . W r i t e a n F - t r i a d i n r o o t p o s i t i o n , u s i n g at l e a s t f o u r d i f f e r e n t s p a c i n g s . D o u b l e r o o t , t h i r d , o r fifth.
4 . T h e o p e n i n g o f [2] i s g i v e n b e l o w . B e l o w e a c h b a s s n o t e , w r i t e e i t h e r | o r 3 , d e p e n d i n g o n t h e p o s i t i o n o f t h e t r i a d . D o n o t m a r k figures u n d e r t h e q u a r t e r n o t e s t h a t a r e d i s s o n a n t . I n j 5 , p l a c e t h e figure i n t h e f o u r t h b e a t w h e r e t h e a l t o m o v e s t o E .
1—1
= 4 = ^
-BE
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0
0
HEZ
un
3_C
331
3E
5 . B e l o w i s a n e x c e r p t f r o m P s a l m 7 8 b y Schütz, \T7¡. I n d i c a t e w h e t h e r e a c h c h o r d i s m a j o r ( M ) , m i n o r ( m ) , d i m i n i s h e d ( D ) , o r i n c o m p l e t e (I). W r i t e y o u r a n s w e r i n t h e space p r o v i d e d above t h e s o p r a n o p a r t . Indícate v o i c e c r o s s i n g w h e r e i t o c c u r s . M -G-
i
- Q
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G
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35:
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6. B e l o w is a n e x a m p l e o f c l e a r a n d s i m p l e f o u r - p a r t w r i t i n g . I t i s b y t h e Germán R e n a i s s a n c e c o m p o s e r L e o n h a r d L e c h n e r . A s y o u see, i t i n c l u d e s o n l y o n e d i s s o n a n t c h o r d ; a l l o t h e r s a r e consonant. B e f o r e w r i t i n g y o u r o w n short f o u r - p a r t exercises i n t h eb l a n k systems p r o v i d e d o n t h e f a c i n g p a g e , i n d i c a t e w h e t h e r e a c h c h o r d i n t h e L e c h n e r e x c e r p t is\ o r % (except f o r t h e t h i r d c h o r d f r o m t h e e n d ) . T h e n begin t h e three exercises i n note-against-note consonance.
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b
Date
Ñame
W o r k s h e e t 12
1 . B e l o w a r e t h r e e e x e r c i s e s , e a c h i n t w o p a r t s . E a c h c a n t u s firmus h a s t w o c o u n t e r p o i n t s , o n e a b o v e ( a ) a n d o n e b e l o w ( b ) . T h e c a n t u s firmi r e s e m b l e t h o s e u s e d p r e v i o u s l y , b u t t h e y i n c l u d e s h o r t e r n o t e valúes. S t u d y t h e e x e r c i s e s a n d a d d figures i n d i c a t i n g t h e i n t e r v a l s b e t w e e n t h e parts. T h e n read t h r o u g h t h e c o m m e n t s that f o l l o w the exercises.
1 Cf
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r J
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32:
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Comments on the
examples:
i.(a) T h e r e is o n l y o n e d i s s o n a n c e , a P o n t h e h a l f note level. T h e voices cross i n 2. ^ ( b ) T h e q u a r t e r n o t e s a d d t o t h e flow o f t h e l i n e s . O n e o f t h o s e t w o n o t e s is d i s s o n a n t e a c h t i m e . W h i c h o n e , i n e a c h case? T h e t w o octaves a r e a p p r o a c h e d a n d left i n c o n t r a r y m o t i o n . i ( a ) N o t i c e t h e v a r i e t y o f r h y t h m valúes i n t h e c o u n terpoint.
B(b) W h y couldn't this c o u n t e r p o i n t start w i t h the s a m e n o t e a s t h e c o u n t e r p o i n t i n 2(a).-' C ( a ) I n m i n o r , w h e n 7 g o e s d o w n t o 6 it's t h e subt o n i c , b u t w h e n 7 g o e s u p t o 8 it's t h e l e a d i n g n o t e . I n b o t h cases t h e l i n e m o v e s a w h o l e s t e p . T h a t ' s w h y B l ; is n e e d e d b e f o r e t h e C t t , a v o i d i n g an augmented 2nd. C ( b ) H e r e Bt; f o l l o w s C|t, again m o v i n g t h e l i n e by step a n d avoiding the augmented 2nd.
2. W r i t e t w o counterpoints f o r each C F . W r i t e one above a n d one below the given melody. Use P , P , a n d N t o w r i t e a l i n e t h a t is s m o o t h a n d g o e s w e l l w i t h t h e C F . A.
(a)
Cf
P
te
H E
(b)
B
a)
Cf
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EE
H E
H E
b)
c.
[a)
m
Cf
teta b)
H E H E
H E
Date
Ñame
W o r k s h e e t 13
1 . A l l s i x S U S s i n O t h m a y r ' s b i c i n i u m , [5], a r e a n a l y z e d b e l o w . I n e v e r y o n e b u t t h e fifth, t h e r e s o l u t i o n o f t h e S U S i s t o a l e a d i n g n o t e . T h e fifth S U S i s p a r t o f a P h r y g i a n c a d e n c e t r a n s p o s e d t o A . S t r o n g a n d w e a k b e a t s a r e m a r k e d a n d a l l figures a r e i n d i c a t e d . S t u d y t h i s e x a m ple carefully.
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2 . U s i n g t h e e x a m p l e a b o v e a s a m o d e l f o r i n d i c a t i n g S U S s , s h o w a l l d i s s o n a n c e s i n t h e first p a r t o f C e r t o n ' s c h a n s o n , [4], g i v e n b e l o w w i t h o u t t e x t . W r i t e a l l t h e i n t e r v a l s b e t w e e n v o i c e s , c i r c l e d i s s o n a n t o n e s , a n d i n d i c a t e w h a t t y p e e a c h i n t e r v a l is.
3E
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CE 22
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1
I
O
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é
é
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221
W r i t e t w o counterpoints to each C F , one above and one below. T a k e advantage o f all the types o f dissonance studied thus far. S h o w all intervals a n d indicate dissonances.
C.
=0
Cf
fez:
4 . L o o k a t t h e B e n e d i c t u s b y P a l e s t r i n a , [BJ. F i n d t h e f o l l o w i n g t r i a d s i n t h e m u s i c , l o c a t i n g t h e m by m e a s u r e n u m b e r a n d beat. minor triad in | position major triad in 3 position m i n o r triad in % position major triad in f position triad without a 3rd, I
Date
Ñame
W o r k s h e e t 14
1 . L o o k a t t h e V i l l a n e l l a , \7\. 6 - 7 . a r e a h e m i o l a . R e w r i t e t h o s e t w o m e a s u r e s o n t h e s t a v e s b e l o w a s o n e m e a s u r e i n \. M a r k s t r o n g a n d w e a k b e a t s o n t h e h a l f - n o t e l e v e l . W h a t t y p e o f d i s s o n a n c e is t h e bass n o t e C ?
W h a t t y p e o f d i s s o n a n c e is t h e n e x t t o l a s t C i n t h e s o p r a n o ?
P fe
I n 3 t h e t w o Ps are
w i t h each other a n d
w i t h o t h e r voices. I n _10, w h a t t y p e o f m o t i o n is h e a r d b e t w e e n s o p r a n o a n d t e n o r ? W h a t i n t e r v a l d o t h e y pass t h r o u g h ?
A r e there any dissonances?
Explain I n _ 3 2 w h a t t y p e o f d i s s o n a n c e i s t h e first e i g h t h n o t e ? W h a t t y p e o f d i s s o n a n c e is t h e s e c o n d e i g h t h n o t e ? 2. W r i t e f o u r exarnples o f t w o - p a r t c o u n t e r p o i n t w i t h o u t C F . M a k e the voices equally interesti n g , g i v i n g b o t h t h e s a m e a m o u n t o f r h y t h m i c a c t i v i t y . T h e C h a n s o n b y C e r t o n , g ] , is a g o o d e x a m p l e t o f o l l o w . S o i s t h e L a s s o B e n e d i c t u s , Q T ) . T h e m o d e l b e l o w i s f r o m Z a r l i n o ' s Counterpoint, w r i t t e n i n 1 5 5 8 . I t i l l u s t r a t e s i m i t a t i o n a t t h e i n t e r v a l o f a n o c t a v e . T h e u s e o f s u c h i m i t a t i o n i n y o u r e x e r c i s e s is o p t i o n a l .
Ir
\ = — r r Ui sUL
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I
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1
Date
Ñame
Worksheet 15 1. L o o k a t t h e e x c e r p t b y I n g e g n e r i o n p a g e 3 5 i n o r d e r t o i d e n t i f y t h e d i s s o n a n t used i n this music.
techniques
A t t h e b e g i n n i n g o f 5, w h a t t y p e o f d i s s o n a n c e i s u s e d ? H o w is i t elaborated? I n J O , w h a t t y p e o f d i s s o n a n c e is h e a r d between a l t o a n d bass? 2 . B e l o w , y o u w i l l find t h r e e e x a m p l e s o f t h r e e - p a r t c o u n t e r p o i n t w i t h C F . Indícate a l l i n t e r v a l s b e t w e e n voices. T h e n read t h r o u g h the comment following the examples. A.
Cf CE
o
4
3
'
3
(2)
3
4
4
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I
(2) SUS
3
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1
,
3E 5
6
8
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sus v
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9
15
5
3
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n
8
(9)
10
10
8
Cf 7
ó
b
2
O
<> v
O
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3
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1
4
Consonant 4 t h
B.
i S
3
o
331
í 1
Comments: ( a ) I n 1 , t h e b a s s h a s a S U S o n t h e h a l f - n o t e l e v e l ; i n 2 t h e a l t o ' s A is a P . I n 3 , t h e a l t o h a s a " c o n s o n a n t 4 t h , " a l w a y s h e a r d i n r e l a t i o n t o t h e bass. I n t h e s a m e m e a s u r e t h e r e is a S U S b e t w e e n s o p r a n o a n d a l t o , w h o s e resolution provides the l e a d i n g note. Observe the c o n t r a r y m o t i o n b e t w e e n the o u t e r voices. (b) A p a i r o f S U S s l e a d s i n t o t h e c a d e n c e . A g a i n , y o u h e a r c o n t r a r y m o t i o n b e t w e e n bass a n d s o p r a n o , f o r t h e most part. ( c ) T h e l e a d i n g n o t e n e e d n o t b e s a v e d f o r t h e e n d o f a p h r a s e o r e x e r c i s e . H e r e 7 l e a d s t o 8 i n t h e first m e a s u r e . T h i s w o u l d a t t r a c t n o a t t e n t i o n i f i t w e r e a d i a t o n i c n o t e i n t h e m a j o r m o d e , b u t h e r e i t is a c h r o m a t i c n o t e i n t h e m i n o r . T h e s y n c o p a t e d r h y t h m i n t h e s o p r a n o i s t y p i c a l o f e x e r c i s e s i n S U S . T h e l a s t s o u n d is m a j o r . T h e m a j o r 3 r d o v e r t h e bass ( P i c a r d y 3 r d ) is o f t e n h e a r d a t t h e e n d o f a m i n o r - m o d e p i e c e , a n o t h e r e x a m p l e o f mode mixture.
3 . W h e n w r i t i n g t w o l i n e s a g a i n s t a c a n t u s firmus, m a k e e v e r y e f f o r t t o i n v e n t b o t h a t t h e s a m e t i m e . R e m e m b e r that t h e lowest n o t e h e a r d at the b e g i n n i n g a n d t h e e n d m u s t be the tonic.
Date
Ñame
W o r k s h e e t 16
1. S t u d y t h i s e x a m p l e o f i m i t a t i o n i n t h r e e p a r t s b y Zarlino a n d i n d i c a t e a l l i n t e r v a l s b e t w e e n voices. Y o u c a n s e e t h a t t h e i m i t a t i o n is c a r r i e d t h r o u g h o n l y a f e w n o t e s , y e t i t acts as a u n i f y i n g e l e m e n t i n t h e e x e r c i s e . T h e a l t o l e a d s , t h e s o p r a n o f o l l o w s i n cióse i m i t a t i o n , a n d t h e bass w a i t s f o r t h r e e m e a s u r e s b e f o r e e n t e r i n g . T h e exercise is i n t h e P h r y g i a n m o d e .
3 JO
o
m
m
p
i
15
HE
33J 10
2. B e f o r e d o i n g N o . 3 b e l o w , r e v i e w t h e exercise b y Morley o n page 4 5 a n d t h e e x c e r p t b y P a l e s t r i n a o n p a g e 4 6 . T h e d i s s o n a n t t e c h n i q u e s i n those e x a m p l e s a r e y o u r s t o u s e w h e n w r i t i n g exercises i n t h r e e parts. C h o o s e y o u r o w n keys a n d meters. B esure t ovary them. T h e t w o e x e r c i s e s b y Z a r l i n o t h a t f o l l o w m a y s e r v e as m o d e l s f o r y o u r w o r k . S t r o n g a n d w e a k b e a t s a r e m a r k e d i n t h e first; m a r k t h e m a s w e l l i n t h e s e c o n d . -
U -
U
-
U
-
U -
U
-
/ .
zssz
I
32C
3X1
3E
33C
TfJZ
p-~-p
3. W r i t e t h r e e exercises i n t h r e e voices, f o l l o w i n g t h e examples a l r e a d y c i t e d . T r y t o i n v e s t e a c h p a r t w i t h s o m e m u s i c a l interest, p a y i n g p a r t i c u l a r attention t o t h e alto. I m i t a t i o n is o p t i o n a l .
)
Date
Ñame
W o r k s h e e t 17
W r i t e a b i c i n i u m a c c o r d i n g t o t h e i n s t r u c t i o n s o n page 4 8 .
-r¡ ,
All
peo-pie that on earth
I
do
dwell,
Sing
to the Lord with cheer
fore-tell;
Come
be - fore
ful
'O Serve
Him with fear, His praise
Him and all
re
- joice.
Date
Ñame
) Worksheet 18
1. Ñame t h e r o o t , t y p e , a n d p o s i t i o n o f e a c h t r i a d . a. b. c. d.
Below Below Below Below
each chord write the root. that write the type: M (major), m (minor), d i m (diminished). t h a t w r i t e t h e ñ a m e o f t h e p o s i t i o n : r o o t o r first inversión. t h a t w r i t e t h e figures f o r t h e p o s i t i o n : | o r f .
O
— o
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o
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4o
—o
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t = —
—o
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o
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1
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n
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5 3
2 . D e s c r i b e t h e c h o r d s i n [7¡, 1 - 1 2 , b y r o m á n n u m b e r . I f a t r i a d i s i n r o o t p o s i t i o n , n o figure i s n e e d e d w i t h t h e román n u m b e r . I f t h e t r i a d is i n f p o s i t i o n , w r i t e n e x t t o t h e román n u m ber. D o n o t consider Ps i n this question. 6
I
)
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7
1
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4
JJ)
5
ü
6
12"
3. W r i t e e a c h o f t h e t r i a d s d e s c r i b e d b e l o w i n t h r e e d i f f e r e n t w a y s . T h e p i t c h classes are n o t t o b e c h a n g e d , b u t t h e i r d i s t r i b u t i o n is. R o o t , t y p e , a n d p o s i t i o n a r e g i v e n f o r e a c h t r i a d . "
A.
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o
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G m 5 3
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Ftt m 5 3
A M
Bb M
c i dim
D dim
F m
Gtt m
6
6
6
6
6
6
Date
Ñame
Worksheet 19
1. W r i t e t h e c h o r d d e s c r i p t i o n o f this d a n c e piece b y P r a e t o r i u s , 115B]. O b s e r v e t h a t t h i s is n o t c h o r a l m u s i c a n d t h e r e is n o octave t r a n s p o s i t i o n i n t h e " t e n o r . " A l l parts s o u n d as w r i t t e n .
2 . W r i t e t h e c h o r d d e s c r i p t i o n o f t h e s e m e a s u r e s f r o m Schütz's s e t t i n g o f P s a l m 1 1 1 .
" f p'
1
r r r p
1
f
r
r: p f
P
f
r
*
f
rt^ I
^
3. U s i n g t h e c h o r d descriptiorts below each exercise, w r i t e o u tt h e f o u r - p a r t h a r m o n y i n t h e p o s i t i o n d e s i g n a t e d . T h e k e y is g i v e n ; v a r y t h e m e t e r s . Cióse p o s i t i o n
tí
rv
V
Cióse position
i H E Eb:
I
V I
I V
V
I
Open position
í
m ^
f:
I
ü
V I
6
VH
I
V
I
Cióse position
D:
I
V
V I
H
Open position ti
N
ctt:
i
v
i
v i
n
6
M%
Open position tí
^
f # :
i
n
6
v #
I
lí
Date
Ñame
Worksheet 20
1 . S t u d y t h i s chórale b y J o h a n n e s C r ü g e r , a c o m p o s e r o f s a c r e d m u s i c i n t h e m i d - s e v e n t e e n t h c e n t u r y . A l t h o u g h t h e l a c k o f s i g n a t u r e suggests t h e D o r i a n m o d e , t h e m u s i c is a l m o s t l y c o m p l e t e l y i n d . I d e n t i f y t h e cadenees b ytype. C h o r d pairs t h a t c o m p r i s e each cadence have b e e n u n d e r l i n e d as u s u a l .
o—
*»
rr
v
'ti*
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r
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J
J
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J l ^
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r
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r
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o O
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r
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i
ii
10
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o
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r
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. Write an example o f (a) a p e r f e c t a u t h e n t i c c a d e n c e i n E ; (b) a n i m p e r f e c t a u t h e n t i c c a d e n c e i n d ; (c) a s e m i c a d e n c e i n g ; (d) a plagal cadence i n D .
Describe all chords i n these cadenees.
3. T w o p h r a s e s f r o m B a c h Chórale N o . 6 5 a r e g i v e n b e l o w . D e s c r i b e a l l t h e c h o r d s a n d line the cadenees. C o m p a r e t h e t w o cadenees. W h i c h has the greater sense o f closure a n d w h y ?
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under-
d
Date
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Worksheet 21
1. S t u d y t h i s c h o r a l p i e c e b y H a n s L e o H a s s l e r , a Germán c o m p o s e r o f t h e s e v e n t e e n t h c e n t u r y . C h o r d i d e n t i f i c a t i o n is p r o v i d e d , t o g e t h e r w i t h c h o r d extensions a n d cadenees. D i s s o n a n t notes a r e m a r k e d . N o t e t h eu n u s u a l voice crossing i nt h epenultimate measure. T h e music m o v e s i n t o I I I a t t h e b e g i n n i n g o f t h e last p h r a s e . W h a t m a k e s t h i s s e e m q u i t e n a t u r a l is t h a t B b a n d D a r e m e m b e r s o f t h e g t r i a d as w e l l as t h e Bb t r i a d . T h e t r i a d i n t h e m e l o d y is q u i t e s t r o n g t h r o u g h o u t t h i s p i e c e ; t h i s i s t h e c l u e t o t h e e x t e n s i o n s o f I . T h e first t w o c a d e n e e s a r e s e m i c a d e n c e s , w h i l e t h e last is a p e r f e c t a u t h e n t i c cadence. T h e w o r k is p a r t l y D o r i a n , t r a n s posed t o G ,a n d partly g m i n o r .
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A n a l y z e this c h o r a l piece by H e r m a n n Schein, u s i n g the f o r m a t o f N o . 1 above as y o u r m o d e l . A l t h o u g h the lack o f key signature, with m o d e , t h e piece isactually i n the k e y o f
as t h e piece's t o n i c , suggests t h e .
Barlines indicate phrases.
U n d e r h n e the cadenees that end those phrases and identify First phrase: h o w l o n g i s t h e t o n i c extensión t h a t b e g i n s sión a n d indícate t h e c h o r d s w i t h i n i t . W h a t n o t e s e r v e s the phrase? Second phrase: f r o m t h e t h i r d c h o r d t o t h e f o u r t h , w h y d o u b h n g the root instead o f the 3rd?
b y type. t h e phrase? Bracket t h e extenas t o n i c f o r t h e l a t t e r p a r t o f doesn't t h e tenor skip u p t o D W
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Third phrase: t w o t r i a d n o t e s i n t h e m e l o d y f r a m e a t o n i c extensión. B r a c k e t t h e extensión a n d indicate the chords w i t h i n it. Fourth phrase: b r a c k e t t h e s h o r t t o n i c extensión a n d i n d i c a t e t h e c h o r d s w i t h i n i t . F i n d t w o examples o f voice e x c h a n g e i n this example.
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Worksheet 22
1. H a r m o n i z e t h i s s h o r t p h r a s e i n f o u r p a r t s t w o d i f f e r e n t w a y s , f o l l o w i n g the p r o c e d u r e d e s c r i b e d i n t h e t e x t . Indícate a l l c h o r d s .
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2. W r i t e t w o d i f f e r e n t h a r m o n i z a t i o n s o f this short phrase, following the procedure described i n t h e t e x t . Indícate a l l c h o r d s .
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Date
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W o r k s h e e t 23
1. R e a l i z e i n f o u r p a r t s :
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8 - 7
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6
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6
2. Realize i n f o u r parts:
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6
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3. H a r m o n i z e f o r S A T B : sus
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Date
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Worksheet 24
1. S t u d y t h i s p i e c e o f m u s i c b y t h e e a r l y B a r o q u e c o m p o s e r A d a m
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á a. T h e t o n i c i s
T h e " k e y signature" suggests t h e
m o d e , b u tt h emusic is i n
T h e o n l y trace o f m o d a l t h i n k i n g is i n t h e cadence o n t h e subtonic a t t h e e n do f the third phrase. b . B a r l i n e s h a v e b e e n a d d e d t o delinéate p h r a s e s . W h a t t y p e o f c a d e n c e e n d s e a c h first
fourth.
second.
fifth
third
phrase?
.
sixth
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c. I d e n t i f y t h e c h o r d s i n t h e f i r s t p i r r a s e . B r a c k e t t h e c h o r d extensión. D e s c r i b e t h e d i f f e r e n c e i n t h e s e t t i n g o f the three A s i n the melody. 8
6
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c" i ^ t I ^r'r H ° ^ ° ^ - s o n a n c e ts h e a r d ? e. I n idenüfying t h e c h o r d s t n t h e t h i r d p h r a s e , t a k e C , V I I , a s t h e t o n i c . f. I n i d e n t i f y i n g t h e c h o r d s i n t h e f o u r t h p h r a s e , t a k e F , I I I a s t h e t o n i c a n d b r a c k e t t h e c h o r d extensión g . T h e fifth p h r a s e m o v e s f r o m V I I t o V . I d e n t i f y a l l c h o r d s i n d . h. Identify t h e chords i n the concluding phrase. i. W h i c h c h o r d s a r e m o s t affected b y m o d e m i x t u r e ? j . W h y t h e Bl]?
2 . T h i s i s a s e t t i n g o f P s a l m 5 f r o m t h e Ainsworth Psalter, a c o l l e c t i o n o f p s a l m t u n e s b r o u g h t t o N e w England b ythe Pilgrims i n 1620. H a r m o n i z e the melody in four parts for S A T B .
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Worksheet 25
1 . [ 2 7 ] i s a S a r a b a n d e a n d D o u b l e ; t h e D o u b l e i s a n e l a b o r a t e d versión o f t h e S a r a b a n d e . M o s t o f t h e e l a b o r a t i o n is f o u n d i n t h e bass p a r t . W h a t t e c h n i q u e s o f e l a b o r a t i o n a r e u s e d m o s t ?
2 . S i m p s o n ' s G r o u n d i s g i v e n b e l o w . W r i t e t w o d i v i s i o n s , ( a ) a n d ( b ) . T h e first t w o m e a s u r e s o f ( a ) a r e g i v e n ; c o m p l e t e i t , u s i n g t h e figure i n a n y w a y y o u l i k e . T h e n , w r i t e y o u r o w n v a r i a t i o n at (b), u s i n g the techniques o f e l a b o r a t i o n studied i n C h a p t e r 29.
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Worksheet 26
S t u d y t h e o r g a n b i c i n i u m b y S w e e l i n c k b e l o w . W h i l e t h e S c h e i d t b i c i n i u m , [ T 8 ] , u s e d t h e chórale m e l o d y w i t h o u t a n y c h a n g e , S w e e l i n c k elabórales a f e w n o t e s o f t h e chórale. P h r a s e e n d i n g s a r e i n d i c a t e d w i t h a c h e c k m a r k . T h e o r i g i n a l m e l o d y is:
1 . C o m p a r e t h e o r i g i n a l m e l o d y w i t h t h e e l a b o r a t e d versión i n t h e S w e e l i n c k b i c i n i u m b e l o w . I n d i c a t e a l l e l a b o r a t i o n s . T h e h r s t i s s h o w n i n 3. 2 . I n 8, w h i c h n o t e i n t h e u p p e r v o i c e r e p r e s e n t s t h e r e s o l u t i o n o f t h e S U S ? 3. I n 1 0 - 1 2 . w h a t t y p e o f e l a b o r a t i o n is h e a r d i n t h e bass? 4. W h a t m o d e is suggested b y the Ebs? 5. W h a t is t h e k e y i n J 9 - 2 1 ? SWEELINCK
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2. S t u d y this o r g a n w o r k b y Frescobaldi, w i t h particular attention t o t h e diatonic I n d i c a t e d i s s o n a n c e t y p e s o n l y , f o l l o w i n g t h e m o d e l o f t h e first m e a s u r e .
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I
W o r k s h e e t 28
1 . T h e i l l u s t r a t i o n s h o w s five w a y s i n w h i c h t w o l i n e s m a y b e c o m b i n e d i n t o o n e p o l y p h o n i c m e l o d y . I n e a c h t h e b a s s i s u n c h a n g e d . T h e specific t e c h n i q u e u s e d i n e a c h versión i s i n d i cated. Illustrations I basic
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pattern
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with Ps
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(c) N s , c h r o m a t i c a n d d i a t o n i c
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( d ) Inversión, P , N , S U S
Afl p F rr::
(e) Inversión, s k i p s filled i n w i t h P , S U S
2. T h r e e p r o g r e s s i o n s a r e g i v e n b e l o w . W r i t e s e v e r a l e l a b o r a t i o n s o f e a c h , c o m b i n i n g t h e t w o u p p e r l i n e s i n t o a p o l y p h o n i c m e l o d y . I n e a c h versión, i n d i c a t e w h a t t e c h n i q u e o f e m b e l l i s h m e n t y o u are using.
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3 . T h e first h a l f o f a n e x e r c i s e b y S i m p s o n is g i v e n b e l o w . F i g u r e a l l i n t e r v a l s a n d dissonances. 4. C o m p l e t e the exercise by w r i t i n g eight additional measures i n the style o f the
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Worksheet 29
T h i s W o r k s h e e t is b a s e d o n a C h a c o n n e b y H a n d e l . T h e bass p a t t e r n is: O : ti ¿
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T h e first s e v e n v a r i a t i o n s a r e g i v e n b e l o w . A l t h o u g h t h e fixed e l e m e n t i s t h e b a s s p a t t e r n , t h e h a r m o n y is m u c h t h e s a m e i n a l lt h e variations. T h a t h a r m o n y is stated m o s t clearly i n V a r i a t i o n 5. S t u d y t h e e n t i r e excerpt i n detail. T h e b e g i n n i n g s o f five m o r e v a r i a t i o n s a r e g i v e n , l e t t e r e d ( a ) t h r o u g h ( e ) . C o m p l e t e e a c h o n e , u s i n g t h e t e x t u r e a n d figures t h a t a r e g i v e n . HANDEL
Chaconne in G (excerpt)
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Worksheet 30
B e l o w is a c h o r d p r o g r e s s i o n t o b e e l a b o r a t e d i n t o a set o f v a r i a t i o n s i n t h e m a n n e r o f a p a s s a caglia T h e v a r i a t i o n s s h o u l d be based o n c h o r d c o n t e n t , n o t o n t h e specific lines t h a t are g i v e n . M o s t p i e c e s o f t h i s s o r t a r e i n t r i p l e m e t e r . A d j u s t t h e n o t e valúes t o s u i t y o u r s e l v e s . R e v i e w t h e m e t h o d o f m a k i n g o n e m e l o d y o u t o f t w o lines s h o w n i n W o r k s h e e t 27. T h e Pachelbel C h a c o n n e a n d t h e H a n d e l Passacaille are y o u r m o d e l s f o r elaborative p r o c e d u r e s ; d o n ' t hesitate to f o l l o w the e x a m p l e s o f those pieces.
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)
. Worksheet 3 1
1. W r i t e a r e a l i z a t i o n o f t h e
figured
bass b e l o w i n t h r e e v e r s i o n s :
(a) i nh a l f notes, w i t h t h e smoothest possible voice leading; (b) u s i n g t h e pitches o f (a) a n d arpeggiating t h e chords i n sixteenth notes; (c) e l a b o r a t i n g (b) b y e x p a n d i n g t h e lines i n m u s i c a l space. U s e octave shift a n d r e a c h u p a t least t o h i g h Ctt.
S t u d y t h e B a c h e x a m p l e b e l o w b e f o r e w r i t i n g (c). (a) ( ; K Q tir i?— (| 1
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O c t a v e s h i f t i s e x e c u t e d w i t h i n a n a r p e g g i a t e d t e x t u r e i n t h e first o f B a c h ' s Little Preludes. N o t i c e h o w S U S s a r ew o v e n into the arpeggiation.
H e r e i s t h e b e g i n n i n g o f a n o t h e r o n e o f B a c h ' s Little Preludes. T h e s e v e n m e a s u r e s f o r m a tonic pedal point.
Reduce the figuration t o i t s b a s i c p o l y p h o n y b y o m i t t i n g d o u b l i n g s . O n e c h o r d i s i n five p a r t s , t h e o t h e r s i n f o u r . W r i t e c o m p l e t e figures u n d e r t h e b a s s .
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Elabórate t h e r e d u c t i o n i n t o a n e w p e d a l p o i n t , w i t h a d i f f e r e n t figure i n s i x t e e n t h n o t e s .
W o r k s h e e t 32
W r i t e a p r e l u d e f o r p i a n o i n t w o steps. Step 1: R e a l i z e t h e figured b a s s b e l o w i n f o u r p a r t s . T h e r e a l i z a t i o n h a s t h e s a m e n o t e valúes a s t h e bass.
Step 2: E l a b ó r a t e y o u r r e a l i z a t i o n i n t o a p r e l u d e . U s e s i x t e e n t h n o t e s u n t i l n e a r t h e e n d . M o v e o u t o f t h e S A T B f o r m a t i n as m a n y different ways as y o u can. A n y notes, except t h e bass, m a y b e s h i f t e d u pa n octave, o r e v e n two.Y o u m a y t a k e a n y o f t h e p r e l u d e s s t u d i e d o r a n y p r e l u d e s f r o m The Well-Tempered Clavier as a m o d e l .
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Date
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Worksheet 33
Rigaudon
C o p y r i g h t 1935 b y B . Schott's S o e h n e . U s e d w i t h permission. Allrights reserved.
S t u d y this piece a n d a n s w e r these questions: a. b. c. d. e. f. g. h. i. j. k. 1. m.
W h a t i s t h e h a r m o n y i n t h e first p h r a s e , 1 - 4 ? W h a t is t h e h a r m o n y i n t h e second phrase, ¿ - 8 ? W h a t is t h e h a r m o n y i n t h e t h i r d phrase, 9 - 1 2 ? W h a t is t h e h a r m o n y i n t h e f o u r t h phrase, 1 3 - 1 6 ? Explain t h e use o f the 4th i n 2 . W h a t t y p e o f d i s s o n a n c e is h e a r d a t t h e b e g i n n i n g o f J O ? W h a t factors m a k e for contrast i n 9 - 1 2 ? W h a t i s t h e m u s i c a l valué o f t h e u p b e a t J " 3 ? W h a t d o the octaves i n 13.-14 accomplish? W h a t d o y o u t h i n k are t h e g o o d points o f the piece? W h a t are the limitations? W h a t isa Rigaudon? W h a t are Kirnberger's dates?
KIRNBERGER
Date
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Worksheet 34
H e r e is t h e first h a l f o f a k e y b o a r d p i e c e i n b i n a r y f o r m . S t u d y i t c a r e f u l l y f o r i t s s t r u c t u r e a n d its u s e o f m u s i c a l s p a c e . T h e n w r i t e a s e c o n d h a l f t o m a t c h .
j .
m m .
Date
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W o r k s h e e t 35
7
1. R e s o l v e e a c h V .
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2. W r i t e the V
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w h o s e r e s o l u t i o n is g i v e n .
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3. W r i t e V - I i n f o u r d i f f e r e n t w a y s .
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4. B e t w e e n e a c h I a n d V
7
w r i t e a d o m i n a n t p r e p a r a t i o n a n d give its c h o r d d e s c r i p t i o n .
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5. T h e r i g h t - h a n d p a r t o f a w a l t z is g i v e n b e l o w . W r i t e a l e f t - h a n d p a r t a n d g i v e a c h o r d d e s c r i p tion.
m
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Date
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Worksheet 36
1. I d e n t i f y all d o m i n a n t 7 t h c h o r d s a n d t h e i r r e s o l u t i o n s . Piano Sonata, Op. 13, I I
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Date
Ñame
I Worksheet 37
1. R e a l i z e t h i s bass i n f o u r p a r t s .
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Worksheet 38
1 . R e a l i z e t h e b a s s i n f o u r p a r t s ; a five-part c h o r d i s a l w a y s p o s s i b l e a t t h e c a d e n c e . C o m p a r e t w o starting notes i n the soprano, the 3 r d and the 5 t h o f the triad.
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2. T h i s is a n e x c e r p t f r o m a s o n a t a f o r v i o l i n a n d p i a n o , c o n s i s t i n g o f a p h r a s e t h a t is r e p e a t e d . S t u d y t h e p h r a s e as i t a p p e a r s f o rp i a n o o n l y . T h e n w r i t e a p i a n o a c c o m p a n i m e n t t o t h e repetition o f t h e melody i n t h e violin. Follow t h e h a r m o n y o f t h e first-phrase statement, e l a b o r a t i n g i ti n s i x t e e n t h notes. O n e m e a s u r e is g i v e n as a m o d e l .
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Date
Ñame
Worksheet 39
1 . W r i t e o u t t h e f o l l o w i n g p r o g r e s s i o n s i n f o u r a n d five p a r t s . I n e a c h c a s e , t h e l a s t c h o r d o c c u p i e s a n e n t i r e m e a s u r e . T h e d u r a t i o n o f all o t h e r c h o r d s i s d e t e r m i n e d b y y o u . Y o u m a y c o n n e c t a n y t w o c h o r d s w i t h P s , o r elabórate a n y n o t e w i t h N s . (a) (b) (c) (d)
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H a r m o n i z e this m e l o d y f o r any i n s t r u m e n t and piano. S u g g e s t i o n s : U s e t h e a c c o m p a n i m e n t p a t t e r n s h o w n i n t h e first m e a s u r e . T h e r e are several opportunities for % chords. F i n d t h e m first. Resolve the d o m i n a n t o f 4 deceptively, to V I . T h e n m o v e to the relative major: V I / I V . Modulate to a cadence i n I I I . I n 9, reverse the pivot chord: I V / V I . A v o i d D i n t h e bass n e a r t h e e n d u n t i l t h e f i n a l cadence. A l t h o u g h t h e r a t e o f c h o r d c h a n g e is o n e t o t h e m e a s u r e f o r t h e m o s t p a r t , t h e h a r m o n y m a y b e n e f i t f r o m a f a s t e r rate o f c h a n g e at s o m e points.
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Ñame
Worksheet 40
1 . I n H a n d e l ' s C o u r a n t e , [ 3 5 ] , find t h e m e a s u r e s w h e r e t h e b a s s m o v e s 8 - 5 - 6 - 3 - 4 - 1 . T h e k e y i
W r i t e t h e p r o g r e s s i o n , e l i m i n a t i n g a l l elaboratíve n o t e s , i n t h r e e
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Date
Ñame
Worksheet 41
1 . H o w l o n g i s t h e o p e n i n g t o n i c extensión i n t h e s e p i e c e s ?
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Date
Ñame
Worksheet 42
1. B r a c k e t t h e t o n i c i z a t i o n s a n d i d e n t i f y c h o r d s w i t h i n e a c h .
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Ñame
Worksheet 43
1. S t u d y t h i s e x c e r p t f r o m H a y d n ' s S y m p h o n y N o . 9 9 a n d a n s w e r t h e q u e s t i o n s b e l o w .
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2. R e a l i z e t h i s bass. T o m a k e t h e m o s t o f t h e S U S i n 2 , p u t i t i n t h e t o p l i n e . T h i s is a c l u e t o t h e p l a c e m e n t o f t h e first n o t e .
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Ñame
# Worksheet 44
1. S t u d y t h i s p h r a s e f r o m a S c h u b e r t p i a n o s o n a t a a n d a n s w e r t h e q u e s t i o n s b e l o w .
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a . I n d i c a t e t h e o p e n i n g t o n i c extensión w i t h b r a c k e t s . b. S h o w t h e secondary d o m i n a n t a n d tonic. c. E x p l a i n t h e p i v o t c h o r d i n t h e m o d u l a t i o n t o a c a d e n c e i n V . d. W h a t prepares the pivot chord?
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a r e t h r e e o f t h e f o u r p h r a s e s t h a t m a k e u p o n e o f t h e p i a n o pieces b y Türk. S t u d y i t i n detail T h e n w r i t e t h r e e d i f f e r e n t endings f o rt h e piece, each o n e a f o u r - m e a s u r e phrase. Each should e n d w i t h a perfect authentic cadence.
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I N D I C E S S u b j e c t s a n d P r o p e r Ñames accompanied duet, 94, 136 A h a v a R a b a h m o d e , 13 allemande, 114 antecedent, 2 1 - 2 2 appoggiatura, 105 arpeggiation, 97, 1 0 1 , 104, 142 arpeggio six-four, 128 atonality, 5 auxiliary note ( N ) , 16
neighbor, 56, 6 8 passing, 6 8 progressions, 5 1 subordínate, 5 6 substitute, 5 7 vocabulary, 5 0 chromatic: intervals, 6 notes, 5, 59, 149 P h r y g i a n m o d e , 13, 7 4 cióse p o s i t i o n , 5 0 color, 1 6 3 conductus, 163 consequent, 2 1 - 2 3 consonance, 3 1 , 4 1 consonant fourth, 4 7
barlines, 2 5 b a s s m o t i o n i n fifths, 1 2 9 , 1 3 5 bass, s p e c i a l f u n c t i o n , 3 6 basso c o n t i n u o , 3 1 1 bicinium, 48, 83 binary f o r m , 107, 114, 158 b r o k e n t e x t u r e , 9 0 , 102
diminished seventh, 131 dissonance, 3 1 , 4 1 d o m i n a n t h a r m o n y , 126 d o m i n a n t preparation, 120, 129, 150 d o m i n a n t seventh positions, 146 dotted r h y t h m , 9 5 double counterpoint, 9 6 double n e i g h b o r note ( D N ) , 17, 4 6 doubling, 3 8 downbeat, 2 4 d u p l u m , 162 dyad,32
cadence, 20, 32, 53, 132 authentic, 53, 67, 120, 132 deceptive, 5 3 - 5 5 , 115, 151 half, 53, 67, 132 Landini, 164 plagal, 5 3 semicadence, 53, 67, 132 cantusfirmus,3 2 , 3 4 chaconne, 9 2 chant, 3 melismatic, 2 6 neumatic, 2 6 syllabic, 2 6 chords: diminished 7th, 131 extensión, 5 6 , 1 4 1 , 1 4 7 leading note, 130 linear, 57, 121, 123 m a i n chord, 56, 123
embellishments, 16 elaborating notes, 15 expansión, 5 6 extended tonality, 73 fauxbourdon, 165 figure, 8 2 , 1 0 1 , 1 0 2 , 1 0 3 , 1 0 4 , 1 1 1 , 1 1 3 1 1 4 figured bass, 6 3 - 6 4 , 3 1 1
417
phrase, 2 0 Picardy third,103 pivot chord, 109, 1 1 1 , 112, 1 5 5 plainchant, 4 p o l y p h o n i c m e l o d y , 86, 88, 92, 94, 96, 114, 122 prolongation, 56
g r o u n d bass, 8 0 , 9 4 Hejaz m o d e , 13 hemiola, 27, 125 imitation, 44, 45, 104 incomplete neighbor ( I N ) , 4 7 i n n e r voices, 5 1 intervals, 5, 6 inversión, 6 , 1 9 , 1 0 2 invertible counterpoint, 9 6
realization, 311 recitative, 104 r e d u c t i o n , 18, 5 8 registers, 8 5 r h y t h m levéis, 2 5 , 4 2
L a n d i n i cadence, 164 leading note, 59, 128 Líber Usualis, 4
scale, 5 , 6 anhemitonic pentatonic, 12 major, 4 minor, 7 parallel m i n o r , 8 relative m i n o r , 8 scale d e g r e e s , 5 secondary d o m i n a n t , 149 secondary tonic, 108, 1 4 9 s k i p ( S ) , 15, 8 1 skip a n d passing n o t e (SP), 17, 8 1 spinning out, 114 s u b d o m i n a n t h a r m o n y , 129 suspensión ( S U S ) , 4 2 , 4 3 , 4 5 , 1 2 9 , 1 3 6
m a i n notes, 15 m e l o d i c structure, 18, 5 8 meter, 2 4 compound, 24 sign, 2 4 simple, 2 4 m o d a l tonality, 12 m o d e m i x t u r e , 8, 6 8 modes: A h a v a Rabah, 13 Dorian, 9 H e j a z , 13 Lydian, 11 M i x o l y d i a n , 10, 7 6 Phrygian, 11 transposed, 14 m o d u l a t i o n , 112, 149 long-range, 108 t o a cadence, 108, 113, 158 motet, 163 motion: away f r o m the tonic, 6 9 conjunct, 15 contrary, 3 1 ,52 direct, 3 1 disjunct, 15 neighbor, 4 5 oblique, 3 1 parallel, 3 1 passing, 4 5 polyphonic, 135 similar, 3 1 stepwise, 15, 8 1 within a chord, 9 8 motive, 2 0 musical space, 8 0 , 85, 1 1 5
talea, 1 6 3 tempo, 26 tenor, 162 texture, 86, 90, 102, 1 0 4 time signature, 2 4 tonal, 5 tonic, 4 t o n i c extensión, 1 2 0 tonic h a r m o n y , 58, 127 tonicization, 149 over a pedal point, 156 transposition, 6 triads, 15, 3 4 , 5 0 augumented, 50 diminished, 36, 5 0 incomplete, 3 6 i n t h e m e l o d y , 15, 5 7 , 8 1 major, 35, 5 0 minor, 35, 5 0 positions of, 123 tonic, 16 tritone, 8 8 upbeat, 2 4
n e i g h b o r n o t e ( N ) , 16, 4 1 , 4 2 , 8 1
variations: chaconne, 9 2 continuous, 92-94, 9 5 - 9 7 double, 9 0 passacaglia, 9 2 voice crossing, 3 6 doubling, 3 8 exchange, 4 7 ranges, 3 0
octave shift, 8 1 open position, 5 0 o u t e r voices, 5 1 passacaglia, 9 2 passing n o t e (P), 16, 4 1 , 4 2 , 8 1 pedal point, 99, 1 0 1 , 104, 113, 142
418
Music Anonymous The Ash Grove ( W a l e s ) , 4 As I Walked through the Meadows ( E n g l a n d ) , 1 1 Credo ( P l a i n c h a n t ) , 1 1 Conductus ( N o t r e D a m e S c h o o l ) , 3 0 1 Earlier Tonight ( R u s s i a ) , 1 4 Haul Away,Joe ( U S A ) , 1 0 , 2 1 Hebrew Cantillation (Jewish), 14 / See Your Face in a Flowing Stream (México), 8 Kyrie ( P l a i n c h a n t ) , 9 , 1 1 , 1 6 , 1 9 Nobody Knows the Trouble I've Seen ( U S A ) , 1 2 Pange Lingua ( P l a i n c h a n t ) , 1 2 The Pines ( C z e c h o s l o v a k i a ) , 2 5 Red RiverValley (USA), 2 1 Revival Song ( U S A ) , 1 2 Sabbath Hymn ( J e w i s h ) , 1 3 , 1 7 Veni Creator Spiritus ( P l a i n c h a n t ) , 1 0 The Vicar of Bray ( E n g l a n d ) , 1 7 , 1 8 The Violet ( S p a i n ) , 7 , 2 0 Why Can I not Rest ( J a p a n ) , 1 3 Young Man's Song ( H u n g a r y ) , 1 6 Arcadelt, Jacques Men All Are Such Great Lovers, C h a n s o n , 5 8 , 1 9 8 Bach, Cari Philip E m a n u e l Sonata i n F, I I , 143, 263 Bach, J o h a n n Sebastian F r e n c h Suite N o . 3, A l l e m a n d e , 99, 115-16, 243 F r e n c h Suite N o . 5, Gavotte, 138 Chórale N o . 1 4 , 5 3 No. 25,71 N o . 29, 145 N o . 32, 145 N o . 36, 145 No. 85,129 N o . 2 0 6 , 145 No. 215, 71 N o . 2 3 3 , 54, 145 N o . 286, 145 No. 334, 70 Chórale P r e l u d e Meine Seele erhebt den Herrén, 8 8 Partita N o . 6 for H a r p s i c h o r d , 140 Well Tempered Clavier, B o o k I P r e l u d e N o . 1, 2 4 8 N o . 4, 142 N o . 2 1 , 137 Well Tempered Clavier, B o o k I I Prelude N o . 3, 156
Suite N o . 1 f o r Solo Cello, M i n u e t , 8 6 Suite N o . 3 f o r Orchestra, A i r , 152, 2 4 6 Sonata N o . 6 for V i o l i n , Gigue, 245 Bartók, Béla Four R u m a n i a n Dances for piano, 283 Beethoven, L u d w i g van P i a n o S o n a t a , O p . 10, N o . 1, I , 1 4 8 O p . 10, N o . 3, I I , 126 O p . 13, 157 O p . 14, N o . 2, I I , 153, 155 O p . 79, I I I , 139 S t r i n g Q u a r t e t , O p . 18, N o . 1 , 156 O p . 18, N o . 4, 6 7 , 6 8 , 143 Symphony No. 6,V , 144 T h r e e Contradanses for Orchestra, 270 Contradanse in C, 155 C o n t r a d a n s e i n FJ>, 1 3 0 V i o l i n S o n a t a , O p . 12, N o . 1, I I I , 1 2 2 , 1 4 7 , 150 Brahms, Johannes How Darkly the Water Flows f o r C h o r u s , 1 4 6 , 2 8 2 How Darkly the Water Flows f o r V o i c e a n d P i a n o , 2 8 0 SapphicOde, 1 2 4 Certon, Pierre Happy I Daré Not B e , 2 0 0 C h o p i n , Frédéric N o c t u r n e , O p . 3 7 , N o . 1, 6 8 Copland, A a r o n Suite from Our Town, " S t o r y o f O u r T o w n , " 2 9 3 Corelli, Arcangelo Concertó G r o s s o , O p . 6 , N o . 8 , 6 7 T r i o Sonata, O p . 4 ,N o . 2, Preludio, 227 Couperin, Francois LArt de toucher le clavecín, P r e l u d e N o . 3 , 102, 126, La Lúgubre, f o r H a r p s i c h o r d , 1 1 3 , 2 3 1 D e G r i n g y , Nicolás see G r i g n y , Nicolás d e Des Pres, J o s q u i n , s e e j o s q u i n D e s p r e z Donato, Baldassare May She Rule in Every Season ( V i l l a n e l l a ) , 2 7 , 2 0 4 Dufay, Guillaume Magníficat ( e x c e r p t ) , 3 0 8 Dvofák, Antonín Symphony N o . 9, 7 1 Fischer, J o h a n n C a s p a r F e r d i n a n d Ariadne musicale, P r e l u d e i n E f o r O r g a n , 2 3 3 Partita for Clarinet, Prelude i n C, 232
419
136,
23o
A c t I I , 124, 144 Finale, 132 P i a n o Concertó K . 4 8 8 , I I , 1 4 1 Piano Sonata K. 280, I I , 6 9 K. 281,111,153 K . 3 3 1 , T h e m e , 120, 127, 133, 2 6 9 K . 3 3 1 , I I I , 142 K . 3 3 2 , 1 , 129, 1 3 1 , 146, 157 K. 5 0 3 , 1 , 154 K. 553, 136 Symphony No. 41, III, 119
Sarabande, 153 Foster, Stephen Collins Gentle Annie, 1 2 0 , 1 4 3 , 1 5 0 , 2 7 6 Frescobaldi, G i r o l a m o Fiori musicali, T o c c a t a , 2 1 9 Gastoldi, G i o v a n n i Love's Pursuit ( B a l l a t a ) , 2 1 3 Gervaise, Claude Allemande, for four instruments, 203 Gluck, Christoph Wilibald Orpheus, A i r , 1 4 0 , 2 6 4 A c t I , 131, 147 Grigny, Nicholas de Plein Jeu, 1 3 0 Handel, George Frideric Concertó G r o s s o , O p . 6 , N o . 9 , 7 1 Concertó G r o s s o , O p . 6 , N o . 1 2 , 8 7 , 1 3 9 Judas Maccabeus, " S e e , t h e c o n q u e r i n g h e r o c o m e s , " 2 2 , 2 5 5 Messiah, " H a l l e l u j a h , " 6 8 Suite N o . 4,Courante, 253 N o . 7 , Passecaille, 1 3 5 , 2 5 0 No. 4 (1733) i n D m i n o r , Sarabande, 155 T h r e e E n g l i s h recitatives, 2 5 6 Haydn, Franzjoseph The Creation, " W i t h V e r d u r e C i a d , " 6 9 S y m p h o n y N o . 92, 69, 151 Symphony No. 94, 153 S t r i n g Quartet, O p . 5, N o . 2 , 127 Hindemith, Paul A Swan, C h a n s o n , 2 9 0 Ingegneri, Marco Antonio Response, 35, 5 5 Isaac, H e i n r i c h Innsbruck, I Now Must Leave Thee, 6 5 , 1 9 6 Josquin Desprez Missa Pange Lingua, " E t I n c a r n a t u s E s t , " 3 8 , 5 8 , 1 9 5 Kirnberger, Johann Philipp D a n c e Pieces, B o u r e e , 2 6 6 L a n d i n i , Francesco Ballata, 307 Lañe, B u r t o n Oíd Devil Moon, 2 9 6 Lasso, O r l a n d o d i Benedictus, 43, 210 GoodDay, My Heart, 6 9 , 8 9 , 2 1 1 Lennon, John & McCartney, Paul / Feel Fine, 2 9 8 L e j e u n e , Claude Blessing Before the Meal, 2 0 8 Leonin T w o - p a r t o r g a n u m (excerpt), 300 Luther, Martin A Mighty Fortress is our God, 2 7 Mattheson, Johann Sarabande and D o u b l e , 98, 135, 2 3 4 Machaut, Guillaume de M o t e t , 164, 304 M e n d e l s s o h n , Félix A Midsummer Night's Dream ( e x c e r p t ) , 2 3 Songwithout Words, O p . 3 0 , N o . 3 , 1 5 3 V i o l i n Concertó, I , 1 3 0 Morley, Thomas E x e r c i s e f r o m A Plain and Easy Introduction to Practical Music 42, 45 Mozart, Wolfgang Amadeus Clarinet Quintet, I V , 7 0 The Magic Flute, A c t I , 1 3 8
Othmayr, Kaspar A Mighty Fortress is our God ( B i c i n i u m ) , 3 1 , 2 0 2 Pachelbel, J o h a n n Chaconne for Organ, 92, 223 T o c c a t a i n e, 9 9 , 1 0 0 , 2 2 5 Palestrina, G i o v a n n i Pierluigi d a Missa Repleatur os meum laude, B e n e d i c t u s , 4 6 , 2 0 6 Veni Sánete Spiritus ( e x c e r p t ) , 2 0 8 Pergolesi, G i o v a n n i Battista La Serva Padrona ( e x c e r p t ) , 6 9 Perotin C o n d u c t u s (opening section), 302 Pezel, J o h a n n C h r i s t o p h Sarabande f o r Brass I n s t r u m e n t s , 138, 222 Praetorius, Michael Galliard, 27, 217 There Is a Rose, 2 1 6 T w o Sarabandes, 218 Purcell, H e n r y Come Ye Sons of Art, D u e t , 2 2 8 Funeral Music for Queen Mary, 1 2 9 Rameau, Jean-Philippe Castor and Pollux, e x c e r p t , 1 4 0 Gavotte and Variations, for Harpsichord, 235 Scarlatti, D o m e n i c o Sonata i n d, 6 8 in E, 98, 259 i n F , 143 Scheidt, S a m u e l Warum Betrubst Du Dich, Mein Herz ( O r g a n B i c i n i u m ) 8 3 221 Schubert, Franz T h r e e W a l t z e s a n d a n Ecossaisse, 2 7 4 Ecossaise, O p . 18, N o . 1 , 128 Waltz, O p . 9, N o . 3, 155 O p . 9, N o . 16, 152 O p . 18, N o . 2, 142 O p . 19, N o . 6, 120 O p . 33, N o . 15, 126 Schumann, William S y m p h o n y f o r Strings, I I (excerpt), 295 Schütz, H e i n r i c h Psalm 33, 5 7 Psalm 78, 220 Simpson, Christopher T h r e e Examples o f Melodic Elaboration,8 1 E x a m p l e f r o m Compendium, 1 1 1 E x e r c i s e f r o m Compendium, 8 4 Stravinsky, Igor Renard, M a r c h , 2 8 8 Sweelinck, Jan Pieterszoon Mein ¡unges Leben, 1 3 7 Telemann, Georg Philipp To Dons, O d e , 2 4 0 To Sleep, O d e , 1 2 5 , 2 4 1 Plain Cooking, O d e , 2 4 2 Türk, D a n i e l G o t t l o b T h r e e P i a n o Pieces, 144, 2 6 7
420
Verdi, Giuseppi II Trovatore, " S t r i d e l a v a m p a , " 2 3 La Traviata, " A h ! f o r s ' e luí," 1 5 4 Vivaldi, Antonio Concertó f o r T w o V i o l i n s , 1 3 6 V i o l i n Concertó i n D , 9 8
Wagner, Richard Lohengrin, P r e l u d e t o A c t I , 7 0 Tannháuser, O v e r t u r e , 7 0 Weber, Cari M a r i a v o n When Our Dear Child Can Find No Rest, O p . 8 0 , N o . 1 , 1 5 7 , 120, 2 7 3 Work, Henry Clay Grandfather's Clock, 2 7 8
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