. ·Ef··.H:·~C.E··N.

•ruRY'·······PRACrtcES•••·······
·rw{E··•N··.Tl•.

EXERCISE 28-1

A. Add the appropriate accidentals (or delete the appropriate notes) to create the type of
scale asked for.

Mixolydian Pentatonic

~
&~ .e- U 0 II 0 II 0
~&~ -.e- u 0 II 0 II 0
~

~4, b7 Phrygian

&~ .e- U 0 " 0 " 0

~&u .e- u 0 I. 0 II 0
~

Whole tone Locrian

&u .e- U 0 II 0 II 0
~&u .e- U 0 II 0
., 0
II

B. Using the pentatonic scale of BIr-C-D-F-G, compose five brief melodies, each of
which in turn establishes a different one of the above pitches as tonic. (Hint: D is
tough. Why?)

tin
2

&~ ~

277
 Student Workbook Chapter 28 279

D. Identify the scale that forms the basis for the following melodies:

JRlm·_

E. Identify the scale used in the following passages:

•
1
fI
Allegretto
~ I!ooo... ~ ,.....""" .........,o'!I

!..! I,....J II,....J 1‫ס‬000.I.

)
)
I .. ill- $ ill-
•• ... $= ~ •• ••
\
 Student Workbook Chapter 28 281

F. The following examples represent three versions of the principal tune from
,1\ Debussy's "Fetes." For each, identify the mode or scale being used.

Debussy's "Fetes," from Nocturnes (piano reduction)

Animato e deciso
mm 1-4 ---- •.. ~ !!::!!:: ~~!::~!:: ~
f\ I ~~ ~~~~~ - -:;;: -:;;: '- -:;;: '- -:;;:
I
J
4tJ
f
>3 --
marcato
L-3--l > 3 - L-3--l > -- > --
I ··
>I--"'I"""~
f\ I

/1 l.....l - I I I r ~iI.J
1 1

~ --

scale:
*
----------------------------------

I
mm.15-18
f\ I I
>
• - - •.• lJ,. .- - ~ I
>
•.. ~ •.• ~ lJ,. .- - ,~

I
1
tJ
p
.... - .... - I
....-
)
I -, ~Lm~m .JI J.J i""iI ~~
I ··
\

I
>
I
I
r
~.

1'\ I I
>
• - - ~ lJ,. .- - ~ I
>
• - - -- lJ,- ~ .- - ~

I
) ~ --- --- •••••••• ---
) ff
I
\
··
I q' I I
r
q'
scale:
----------------------------------
Used by permission of Edward B. Marks Music Co.
 Student Workbook Chapter 28 283

2. Create a two-voice composition based on a whole-tone scale. You might want to create a
symmetrical relationship between the two voices or perhaps treat them imitatively. If
your composition is for piano, exper'iment with the wide range of the keyboard.
 Student Workbook Chapter 28 285

H. Describe the types of vertical sonorities found in the following examples:

•
1
,.. I
Lento ~I

..
1----
..
~

..•.
I

I
1 V I fI I • ~ /

./ - 'n
tranquillo
) P Q...
19-
I ··
\
~

fI 5
~ JJ, ~
I
. .
I ......I- - I I ••••••
0
) ~
f P subito
) JJ, H
I ·· .
\
'OJ ..•...• v. ..• ..• .
-t .-....!..
-!....

-----
•
2
,.. JJ, ( I

... .-
,
t • • • ••••• ...
J
,
/
V >~ V '--"" #==
p
.•...•.......•...
~
-
,.-- mf
'--
t ··
n • - I

\
I
I •
1
'--
1\ 5

,
I JJ,

I @)
:I :: -J- -t .... • ..• • ~.
~T <,

= p

/ ··
»:

-
r.
\
...../ • -6
 Student Workbook Chapter 28 287

1. Complete the following passages using strict parallelism. That is, harmonize each
melody note with a chord scored exactly like the preceding one in terms of vertical
intervals. Try playing these at the keyboard.

1 f.'.,
fI I ~J ~J I 11,d h,d I I I

t !.J ..•

f ··

2
f) I ~ 1 I I I 1 I
I

I
V

I")
I
\
··

3
.
1- ~J h-
I 1\
. I l I I 1 I
.
I @,! T
1
)
t ·· .
I

4
fI I I
.
1 1

I tJ • T 'I

f ··
1

5
I
f\ I I I I- I , I 1 1

I
V • -

f ··
I
 Student Workbook Chapter 28 289

J. Devise completions for the following passages. Include both black and white keys in
your solution. Try to maintain stylistic consistency.

1
I I I I j I
I '" I I I

I
tJ
r I 1 1
I

f ··
n 9-
-

I '" /

I !J
)
)
I
\
··

2
'" ..
I

I !J vc;. • vc;.
) i
)
I
\
·
'I ' 1 1 I

fI

I II

I
\
··
 Student Workbook Chapter 28 291

K. Try to play or listen to the following example and answer the following questions:
1. What technique is used to create form in this piano composition?

2. Notate the scale that forms the basis of the opening jour measures:

Does the piece have a tonal center? _______ If so, what is it? _ _ _ _ __
If you do not perceive one, why? _ _ _ _~_ _ _ _ _ _ _ _ _ _~_ _ _ __

3. What are the distinguishing characteristics of the opening two measures?

4. In what ways is the character of the opening maintained throughout the piece?

5. What is the derivation of the thematic gesture found in m. 3 of the right-hand part?
_ _ _ _ _ _ _ _ _ _ Locate three other instances in which that intervallic pattern
appears (other than in the bass line).
a.
b.
c.
 Student Workbook Chapter 28 293

L. Complete the following passages, using the triad type indicated for each hand.
Continue the scoring suggested by the first polychord, using the given outer parts
consistently as either roots, 3rds, or 5ths of the sonority.

1 R.H. major, L.H. major

fI 1 I J r--1 I ~

I tJ
1
J
t ··
I 1--1
1 '1 1 I

2 RH. Major, L.H. major

I '" I I I 1 I I

!J -
L.
f
\
··
I 1 I I I I

3 RH. major, L.H. minor

fI L. I L.
I I I
. I I
.
. I

t 4tJ -I

)
••
t ·· . .
I I I V I I I V I I

4 RH. major, L.H. minor

I '" I I I I I I I
I
!J

I
\
··
I r I
 Student Workbook Chapter 28 295

•
2
f\
Moderato J -- 92
I
....
~ :>
• ./T"-e-

t !J+ ~T~T)
}
:>

..ff . mf
mp p pp
( mf
~
P

f .
tt •.• + r I i"
pp p :> mf ff ~. __ ----'
mp f

-----
------
---===---

ff=====-- =
===----

begin as rapidly as possible,

then gradually slower

Stravinsky, "Danse russe," from Petrouchka (piano reduction)

8va --,
8va , )
3
f\118 ... ~ ~.
)r
•t 120 • t .~ ~-~ •.. .-iII..

t
<
!J _

f\
- I l!:J sfz sfz sfz - ~

r--
f : :

-.
r-
!J- - ~ - -
r r r
Used by permission of Edward B. Marks Music Co.
 Student Workbook Chapter 28 297

N. Examine the Triad Study in B and answer the following questions:

1. Although the piece is described as being "in B," what harmonic and melodic events in
the opening five measures tend to obscure the tonal center? _

2. Describe the root relationship of the three triads found in mm. 3 to 4. _

3. What key is hinted at jn mm. 13 to 17? _

4. In the space provided, show the root of each chord in mm. 19 to 24: _

I·
ID.19 ID.20 ID.21 ID.22 ID.23 ID.24

What do you find to be the predominant characteristic of the root movement in this pas-
sage?
5. The closing five measures seem to reveal a "tug-of-war" between the "official" key cen-
ter and the key of . Why? ~----

• Payne, Triad Study in B

~.
···-
J =72
fj Moderato
. .
5
f-
. a _
I

I
I
) I
p-==
I
===- mp
I' •
"I- I - pp
-p-.
- -tli•
~

I ··
-
fj ~ I
10 ,
t ~
pp
~ t7 .• --.;:::
/.lI
;......-
~ ":1 ~ =: -II
~ =:
calando
-II

LJ
·· .
I I

f
r~ I I I
 Student Workbook Chapter 28 299

O. Notate the pitches of the following trichords, as indicated. Where necessary,

rearrange each set in normal order. For each trichord, give vector analysis.

[3,4,9] [6,9,2]

[2,4,9] [9,10,4]

[1,8,11] [0,5,10]

P. For each of the following sonorities, provide (1) vector analysis and (2) name of
chord, if appropriate (i.e., polychord, mystic chord, etc.)

t
" I

!J

J
t .. ~ ~n I

+t'-J'
 Student Wo rkbook Chapter 28 301

R. The row shown below provides the basis for Berg's Lyric Suite. Complete the Babbitt
Square, showing the various set forms and their transpositions. Number the prime and
inversion forms in ascending order (chromatically) above the starting pitch. What is
interesting about the original pitch set?

, ,. 0
II
.,
0 0
!
#0
U.. fo
H"
n..
'U

In the space provided above, indicate prime forms for each of the trichords compris-
ing the row. What does this reveal?

p ~ ~~~--~--+---~---+---+--~~--~--+---~---+--~ - R

t
RI
 Student Workbook Chapter 28 303

S. "Full Moon" is an example of strict twelve-tone composition. Find and notate the
prime form of the row' which is used throughout. (Hint: Measure 3 is a little confus-
ing, so you will need to continue further along in the piece to determine the order in
which the first three pitches occur.) In some ways, this piece sounds almost impres-
sionistic. What has the composer done that causes this effect?

Full Moon
Otto Joachim
fI I I --... I

~
.
@.! <»> "I .
< mf
f
f, · , .
~--- ----- . '~

fj-.
- - -
I ~ ""'-
~
pp p
f\
f
tJ
I r~ -- --
I
f\ - - - - 10
- -
I
1 tJ ""'-
---- ""'-
---- ---- ~ -
) f\
I :
h -- -..

tJ

f\ - - - - - -
I
1
tJ
---- ~ ---- - ----- ~ ..-/

J
··
Il

t
"0"_ ___
"0" -0-__.. ----
8VCl --..J 8va .

from Twelve 12-Tone Pieces for Children

© Copyright 1961 by BMI Canada Ltd. Copyright assigned 1969 to Berandol Music Ltd. Scarborough,
Ontario
 Student Workbook Chapter 28 305

T. "The Moon Rises" is based on the following set, in its prime zero form exclusively.

Trace the row throughout the music, using the numbering system indicated.

&0 II
~o ~o 0 i &0 "I'
~o ~-u q-u -e- "
0 2 3 4 5 6- 7 8 9 10 11

Krenek, "The Moon Rises," from Twelve Short Piano Pieces, Op. 83

J =~
... ~-J
Adagio
t: ~:.
_.
.. h ••
I _ L.On ~ I ~
··
I="

··
I

pp
r ~
p
hn.
--- =
f ·· . ·
q-6-~ _ ...•. -6-
~T'--"T

----- r---:, .....---;-

f\ - _.
,
l
I
. ..
4V I---'-~- -==== ---
t
I

··
:

~/ I I
~1.~J
.
qqJ- 01
=
••
\

- -~q'-./ ~~i· ~qr,-,

"The Moon Rises" from Twelve Short Piano Pieces by Ernst Krenek. Copyright © 1939 (renewed) by
Associated Music Publishers, Inc. (BMI). International copyright secured. All rights reserved. Reprinted by
permission.
 Student Workbook Chapter 28 307

U. Using the row found in "The Moon Rises," compose a two-voice composition, the
upper voice of which is based on prime zero while the lower makes use of retrograde
zero. You might want to compose this for instruments other than piano, such as vio-
lin and cello or two flutes .

"
\
 Student Workbook Chapter 28 309

V. "Glass Figures," which follows, is based on the same row used in "The Moon Rises"
but in its 1° and ROforms. Write out these row forms on the staves provided:

II
" lz"
u &u

In examining the music, you will note that the first measure of the right hand opens
with the first three pitches ofIo, whereas the left hand features the first two pitches of
RO.The third note of this latter set, Db, is accommodated by the right hand because
the third pitch of 1° is also a Db. Following this, the roles of the set forms are reversed,
with the left hand picking up 1° while the right hand continues with RO. Because of
the frequency of this type of exchange where two or more row forms are involved, it
is advisable to use different-colored pencils to indicate different pitch collections in
operation.

Krenek, "Glass Figures," from Twelve Short Piano Pieces, Op. 83

I
"
~ •.•.
Andante ben tenuto J = 63
. h.1 . ~.•.. •••• - .1.1>.
~.r:: JJ, •

1 V ••••••••molto stacc:.-
. .
J "PP
== p ::::::::=- PP-==== PP
l

I
\ 4V . ~ ~'!' ~'!" . .., . . .., . ~~
senza Ped.

"Glass Figures" from Twelve Short Piano Pieces by Ernst Krenek. Copyright © 1939 (renewed) by
Associated Music Publishers, Inc. (BMI). International copyright secured. All rights reserved. Reprinted by
permission.
 Student Workbook Chapter 28 311

W. Find scores and listen to recordings of works that illustrate the compositional princi-
ples mentioned in t~is chapter. Then try the following assi'gnments:
1. Compose a short piece featuring aleatoric or indeterminate elements. Prepare a perform-
ance for class.
2. Analyze and write a summary of a piece that combines live and recorded music. On the
basis of your findings, compose a piece in this style.
3. Compose a piece featuring special effects for your instrument or voice. Perform the
piece in class.
4. Select a three-note cell that will form the basis for a minimalist piece. Your composition
should be based entirely on permutations, transpositions, and rhythmic modifications of
this cell. Experiment with various timbres and registers. Have the piece performed in
class. Be sure that your performance di;ections are perfectly clear. (Hint: Your class per-
formance will go much better if you arrange at least a brief rehearsal first!)
278 Tonal Harmony

r>.
3

& u ~

& II ~

& 0

C.

1. All the modes contain a perfect 5th from 1 up to 5 except the _

2. The three modes that are essentially minor in quality are the _
__________ ,and _

3. The modal scales that contain a leading tone are the _

and -

4. The 1-4 tetrachord in the Mixolydian scale matches that of the scale,

5. Likewise, the opening tetrachords of the Aeolian and scale are the
same.
6. Those scales containing a major 6th from 1 up to 6 are the _
________ , and _

7. Name the interval from f up to 4 in a Lydian scale. _

8. Name the interval from 4 up to '7 in a Mixolydian scale. _

278
 , 280 Tonal Harmony

•
2
fI
Mdt
o era

. .
0
I """""'" I 1 ~ I I
- ~

~
V .......,.; ....•• 1
- _-I 1
- 1

f
- -
...
~
t ··
=i
17-.. ~. -.. =i
17-.. ~. -.. =i 17-" ~
- -

•
3
fI , ~ ~ ~

I
, tJ I - I - I

) n"'---"""
I
\
··
I

fI , •••••• ,...... ~
j
tJ I """'" I 100""" I -

~
I

··
"i..fL f:..fL n. ---- i"_ - •
 282 Tonal Harmony

•.. ••
!: !:
nun. 29-32 ~
h-
f-- -
- ~f--
IlL
-
~ f

f\ ~ lot
-- ~ f-- ~ ~ IlL ~

t 4V ,,/ I

f ··
It
~--•• f legato

•• •• ""'l"""'" - •• •• •• •• ..,.... -
- - "Ir- -
-'I
P u basso
-ill

staccato - '- "Ir- - -ill

--- •• ..-
'" JJ. lot •. ~ h. ~
.
I .
--
-
v

,
!J

·· -- -- ,.- ,.- I"""i""T I

-- •• •• •• -:""""'"T - I

I
- ,
- -- -ill

-
I - 'r- - -ill

scale: _

G. Compose pieces according to the following specifications:

1. Create a melody that contains no intervals other than major or minor 3rds. Use rhythmic
interest to keep your melody from sounding like a series of arpeggios. You might find it
interesting to analyze the pitches that make up your finished melody and see if a partic-
ular scale pattern emerges.
 286 Tonal Harmony

•
3
Alleg r,
0

-
.- q! - -
'" jJ, I I
I

I
!J :> ••
• :> qt •
:> .q~
f
I ··
:> .. :>
.. :> .. =:..
.
=:.
··
:>
.
I
.

:> . :>

I
•
4
~
G rave

···
.• ~. tf,:+ 5~

·
~.
·
0 T I
I f I ff
~ .L~I=: 1.. .•. • t!•• 1= ~ 1, ..• ...- '..• :>
·· -
··
I ··
I I
I T
 288 Tonal Harmony

6
r. I I I 0

\~

I T c;.
1 ~
)
I , I~o
0

7
1\ I I I I

r~
I
0

~
r T

I
0

~ 7'
0

8
.1\ I I I I I
I 0
0
0 0
I 0

p)
C:;o

I 0
0 0

-
1
\ 0

9
1\ L. I
L.

~
1
p) ..,. 0

)
I 1;;:"'0
---To

10
1\ •• J I I I I I

I
0

'"
0

I J.I ,~ .••
I ~o
0
 290 Tonal Harmony

3
1\ I I

t ..> - .~.-
t ··
- -
....- ....- ....- ....- ~ ~

fI
I

I
V
1
)
I
\
··
 292 Tonal Harmony

II Payne, Arch

fj
A nd ant e J 80
I"
I

I
!J ~* • 1
1

I
)
··
pp malta legato
......., . . ""'.~.
r"
1
pp
......., .
1

."'- ~.~
. 1

\
~ I ~ I

-
~---.---------------------~
espreSSIVO

J!' 10 ~ 1.-. .;;: ~.!- ....

•.... ~.•.. ~ !- ~
~
I '" ~ h. I ~ 1
.. .
t
<
,, !J l'

mf = -- ff -
~
- -
~ 1. J ~ ~~~.1 ..• j I

~~1. J
-
#1~ '"I"

t ··
\
"-..J I I -

------
~ esp ressivo
r>-
~

marcato melody

r
>-
r
>-

r
>-
 294 Tonal Harmony

5 R.H. minor, L.H. minor

~ I I-.. J. ~I I I I I
·· I I

.
V T ·
~
.. .
I '-""'L.!f I I I I I
- I

M. Comment on the stylistic features of the following excerpts. Consider rhythm, tex-
ture, pitch choice, and treatment of tonality .

•
1 Maestoso

f---- .---' >-

r. I I~

tJ ..•. . ..•. bT'"lI ..•....•. bT'"lI.~' ..• -...•.. - -

P subito
- --- :

ff ~ .
 296 Tonal Harmony

~~.
8va -, 8va --,
,.,.. ~,
~ 1= !: t
I
~ 125

I
) !J
.ff.fz - - .ff.fz .ff.fz - -
) i\ D. i\ \ l i\
I
\
·· :
'E.I
- - 'E.I
- -
r r r r

Stravinsky, "Danse de la foire," from Petrouchka (piano reduction)

I
4
fI
Stringendo
74
J. = j = 46
:>
- --
75
.loIo
- "... .- . "... :>

V -
UI.
I fI
<
I V
......•••
------- :>
_1' ______
------ :>

\
·· . . .
-
-'-L, _c:;- ___ -
...----...• -L...
-
___
c:;__ -
_____...• -L."
-
---"'11,-/
~.

I
fI ~ • .u. _
-- . :>
- ~ t •.•.
.~:l
V
.If
1 ~ I

I V
__ 1' ___

- - --.- .- .- .-:>
• •
·· . .
-
v"'ll-L. --.--.
- -
,.............
..•L
-
___c:; "'II
:>

Used by permission of Edward B. Marks Music Co.

 298 Tonal Harmony

r. IS

I r;,I
___
1 V /r;,I,- /v·
~'- /r;,I. ~
~~
)
I~.• II,. -
I
\
·· .
I ~ ~

r. >
I
--
20
I'"-"'"!

H11• W'···~.•. I~TI",I 11• ~11.1 -,j../

vJ IH11. I
•.
~ -j

,
r-, ~ ~
··
JJ, JJ, L. JJ, JJ. L. JJ, L../

··
u
f
1o‫ס‬o..oooi •••••••• I,...,..J •••••••• ~
~

I
fI
>
t9- ~.•r-;.• 25
.
~ ~
.
--..... v :::::--- l,...--- ~-u.
~\
1 mf mp ~ ~
~ > > >
) ~;
-- J J
-n- •• r-.,
I ··
\

I I I "'iiiil ~ -..J ~ -..J -..J'V

© Dorothy Payne.
 300 Tonal Harmony

Q.
1. Analyze the inter,::als in the following twelve-tone set (row). Does any relation exist
between the first and second halves (hexachords)? Then mirror (invert) the row a m6
higher. Finally, retrograde it a M6 lower.
II.0.
-e- ~.o. 9.0. (pO)

W"
0
hll
1,., g •• 0
~

"~ ~

~&~~~~~~~~~~

2. Mirror (invert) the intervals. 3. Transpose a m3 higher.

f\ I ~ l I
··
t !J 1

<
f\
f ··
!J

4. Transpose the retrograde a P4 higher. 5. Mirror (invert) the retrograde.

6. Which of the above is not a twelve-tone row? _

 304 Tonal Harmony

I
fI
- - 15
- - - -
V

··
'--- ----
'- - ..--"- --:... -: - ------

\
17-
-S
(8va)
#--- --# .-J

fI
- - ~
- - -
I
1 IV ~ - - ------ ~ - - ..--"- '--- - ------
J ~n. .--- r---n ~n jJ.
·· ~
I ··
'V I I
mf p

I
fI 20
- - - - - -
4V -......::.... - - ------ -......::.... - - ------ ~ ------
fll'"'\ JJ._. JJ._. ~
JJ._-
.
<,

I ·
~ I I I I I I

fI
- - ~ 25
- ---
I !J

fll'"'\
--- - ------ <:»:
dim.

I
!J

fI 1""--1 1""--1 I

I
.
!J ..... -
fI rit. ppp
I
!J
 306 Tonal Harmony

'"
----..- ~- 10
WP h. ~. ~f:.0~ ••• f:
I 0

I !.J 7

pp P
-...."
I l. .: R- I. I,~ I I-
I '"
0 I
0

,
0
0 0

!.J .... I T

I
~ ---- ---- q~ • - .~t: I~ It:~
0

I 4~ 7 J

1 ===-p
_'-""_ 0

= WP
} '"'I
I 00
I ' ~ t,
I ~"o 0
•• L I
0
0
~
0 00 0
,

-
0

\
--=
0

r T 1
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p eS~pL_"~ --~-------- __

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