DA sam » Scales, and Sets NAME Assignment 34,1 L Identifying diatonic modes (, Foreach given scale, identify the tonic note and sale ype (eg, BLydian). 2 A, ___AMixolydian = c E Dorian SS SSS SS EB GLocrian F. __Alydian-Mixolydian be ba & Bb Mixolydian’ HL © Phiygiah IL Mode and scale identification in musical contexts The follows (2) List the ode. Ifa lain by ing excerpts are drawn from music by Béla Bart6k, Play each, then: (1) Identify the pe center, Pes in ascending order beginning with the pc center, using letter names. (3) Name the diatonic Particular subset of the scale is featured (e.g., Phrygian tetrachord), ‘specify it. Then, (4) briefly ‘ow the pe center is established (repetition, register, etc). A. Bartél, Mikrokosmos, No. 7, mm.1-8 0 3 5 6 1 5 Ff legato422 (a) Pecenter(s): - BCLs (2) Pelist: Fe (3) Mode(s) or scale(s): Lydian pentachord (4) Howis the pe center established? ‘Students may note any of the following: It fi triadic outline (LH, mm. 3-4); scalar descent (FH, mm. 6-8). rat note and lowest note, F3, and skips of the fith Fig, from C4 to F3 (LH, mm. 1-3) and C5 to Fé B. Bartok, Mikrokosmos, No. #1 mum. 1-4 © 2 sempre legato @) Pecenter(s): c @) Pelist: GABCIDE FG) (3) Mode(s) orseale(s): __Lydian-Mixolydian (&) How isthe pe center established? Gis repeated as a pedal (LH), and there iseft-hand emphasis on the G-B-D triad C. Bart6k, Mikrokosmos, No. 69, mm.1-6 ‘This excerpt may be considered bimodal. First, identify the mode or scale in each hand separately. Ifthe pe center is unclear, discuss this ambiguity in your answer tothe last question f, e ) Pecenter(s): RH Fre) 1 re (2) Pelist: RH FGALBLC i= FGARBEC Gao (8) Mode(s) orseale(s): RH=____Aeolian pentachord LH =_Lydian pentechord (A) Hows the pe center established? F is suggested as a pe center by the outer boundaries of the pentachord, and the repetition of F asthe Be boundary. However, the final cadence suggests C as a possible center, with B?-C leading-one motion. Part IV The Twentieth Contury and BeyondNance _ assignment 34.2 Writing diatonic modes nbefellowing staves, write the diatonic mode requested ‘a, FDorian B. Alydian ©. GPhrygian D. BMixolydian B. CtAcolian F. Ab Lydian-Mixolydian IL Identifying modes and compositional techniques in context A. Britten, “In Freezing Winter Night,” from Ceremony of Carols, mm. 3-6 Listen to the excerpt or sing through it with your class, Andante comodo PP ‘ Trble1 Be - hol, a ei-ly ten dertabejn fee - shgwinter night PP. se Tile 9 fen = der babe in ble 3 ibe 2 { Wirite out the pe collectio G-APBY-C-D-ELFG Thediatonicmodeis ~_G Phrygiah {tte mute cues that epport your ciaduson © Acheracterietic leap between 8 and f (© “The primary melody features fepeated desconte5342-1. Chapter 84 Modes, Scalce, and Sots (U4BB)(8) How doe Brn emphasie the dnt sale degree hat diferentes his modem na {Attention a focused on the Abs by the harp trill on B-Ab and by the clash between trobag emphasizing that dissonant b3. tno ad, (4) Brietly describe the rationshp(s) between the melodies in trebles 1 and 2 and in tebe and “The entry of treble 2 after twit ts dential tox seems to suggest a canon. However the epting of tho melody forme an ostinato whose patter is one measure long. For the most part, treble dna? 1 and 2, exopt that it replaces the Bh-Ab motion wit a sustained Ab (making a heterophon en B. Excerpts from Stravinsky, Three Movements from Petrouchka (2) Mvt.1, mm, 22-25 (Hint: Use C, the lowest note, to build the scale) ( a s ‘The mode used is (circle one) (Tydian-Mixolydian) © wholetone —_—hexatonie (2) Mvt. 2, mm, 33-36 Furioso J = 108 ‘mF >> 8 Bye ite ‘The harmonic materials used are(circle one) hexatonie_split-third chord (Petrouehka cher (8) Mvt.1,mm.106-107 1) ‘The compositional technique used i (citeleone) parallel 9th chords ey GBA) Pact IV The Twentieth Contury and Beyond _NAME assignment 34.3 piteh-olass integer notation E prvi te emteeet notation for each melody. Write the pes in ascending order, beginning with the see ay vee Density 2-5, 18 Opes: 14567 =f— aes Weber, "Dies ist ein Lied,’ mm. 1-2 (woice) (J pes: 1234568t OE ee ORES @ Die st ein Lied fir dich al -lein: (@ Twvener, “The Lamb? mm. 3-4 (pes 3567896 B. Inthe following table, fil in the blanks for the chords and scales specified. In the Chord columns, either rovide integers for the given chord type or name the chord type. Then combine the two chords to form a tale ot mode, taking the root of chord #1 as the tonie pitch. In the last column, list the pes in the mode or sale you have created, without repeating any pes. Then give the scale its eorrect name. Chord 1 Chord 2 ‘Scale type when combined () Integer notation: 2690 47e 2467900 Chord/seale type: D Mm7 Exminor triad D Mixolydian @ Integer notation: os7t 158 o13578t Chord/scale type: Cmm7 ‘Db major triad Phrygian (Integer notation: 4.80 6t2 468t02 Charjsealetype: _Eaugmented tied Ghaugmented tri _wholetone seal (WTO), (©) Integer notation: 1258 047 1024578 Chordscale type: By Mm7 © major triad Bb Lydian’Mixolydian & ) Integer notation: 2.6.90 5883 23568900 Shord/scae type: DMm7 rr __eetatonic (OCT 23) — Chapter 34 Modes, Scales, and Sete (VBII, Writing scales ‘Write the scale requested on the following staves, beginning on the pc indicated. Then write, Out the pos of! the scale in integer notation (in the same order as notated, but excluding any repeated pe), Use. the integer notation to check that what you have written matches the scale name. ‘AsRoctatoniea3 (0CT.28) B, Dwhole tone (WTO) 2 4 po: 56890028 pes 2468t0 ©. Ebmajor pentatonic D. Ctoctatonie12 i E a pos a57to pos 124578te E, Bhesatonic 23 F, Froctatonico1 es e2367t pes: e79r0194 II. Analysis: Charles Ives, “The Cage” Q) Listen to this work while following the score in your anthology, then answer the questions. The composer note at the bottom of the score instructs you to read all notes not marked with a sharp or flat as natural no accidentals earry across from beat to beat). A. The chords of the piano introduction are cirele one): whole tone quintal —octatonie B. The piano accompaniment relies on the same type of chordal construction for most ofthe song, with only a few exceptions, (@) Inthe last line, what type of chords accompany the words “three hours”? Wholetone quarts octatonie (2) The dotted-half-note chord accompanying “wondes” contains al posible pes except (ist the pes missing from the aggregate) "48 t O. ‘The singe’ line rocks back and forth between the even and odd wholetone collections, muchas & Jeopard might pace back and forth in his cage, On the: Vocal line excerpted here, write “even” or “odd” and ‘rite an arrow above the staff each time th collection changes, 00 og fy eo ¥y ‘when the eep-er come around with meat; A boy wo bat PartIV The Twentieth Century and Beyondassignment 34.4 : analysis: Debussy, “Fantoches,” from Fetes galantes, mm. 10-13.) spiisshort ASSAE®> the, _—- ‘Scaramouche and Pulcinellagestieulate tothe gesrpan. Debussy ristheos the diference between that gesture and the simplicity of song (“la-la-la”) ngadinee of mode, Writ the pecalletion for each wo-messureunitin integer notation then identify demode Siro scene ee Ges = cu lent noir sousla ta = ne, ‘moon while contriving a ‘so: Getic, uc, othe moo; la. Min. 10-1 pe collestion: subset of which octatoni Asste2 ‘Mm. 12-13 pecollection: __457920 ocr i2 ‘Mode (tonic E): E Phrygian Il. Analysis: Bartok, Mikrokosmos, “Whole-Tone Scale” (No. 136) 0. Listen to this short piano piece in its entirety, following the score in your anthology. Then answer the ‘questions, A Measures 1-6 (0) List the pes in ascending order. leternames: CDE FEGH Integers: 02468) (2) Ofwhich mode or scale is this pitch collection a subset? __even whole tone (WTO) (9) The focal pitch ofthis section is__C___. Briefly explain how st estblished. ao is sustained and repeated to provide a point of stability, even in this symmetrical whole-tone, tion. B, Measures 7.3 0) Pathe crue cose cach had aseparte ler How do than prs he teach ter ‘ad to the opening phrase? The Ris the aro to uegguroe 71208 in 1-6; except that he C4 rot ustind. Tho LH plays the ‘ame melody and rhythm as measures 1-6 RH, traneposed down a minor thi (9) Lis the pes in each hand part, in ascending order beginning with the pe center. q \eernmesnis_ COERIGI ah ABcEDEE “en: an: yozasap | HH feet Se Chapter 24, Modes, Souls, aid Sots GRA | K(8) List the collections of which these are subsets. RH: ___ even whole tone (WTO) LH: ___ odd whole tone (WT1) (4) Are there focal pitches or pes? Ifo, what are they, and how are they established? “There are two clear focal pitches (C4 inthe right hand and AS inthe left; the pe collection hand are dravm from two eifferent whole-tone scales, This composition ie stratified and bi parts are whole tone but with different centers. 8 in each tonal both C, Measures 13-19 (2) List the pes in each hand part, in ascending order beginning with the pe center, Letter names: RH: FAGhAL BL Lit: DoESFGA = Integers: RE: {46810} ut {13579} (2) List the eolletions of which these are subsets. RH: "even hole tone (WTO) LH: __ odd whole tone (WTI) (9) What motive similarities and differences do you find when comparing the final phrase with the fst ‘The two hand parts are a minor third apart, as in the previous phrase. The entire passage features a stepwise scalar motive: in the opening it ascends (mm, 3 and 9), and later descends (mm. 14 and 17) The rhythmic motive of J 42 appears throughout, as does motion in parallel thirds. D. Measures 20-27 (4) List the pes in each hand part, in ascending order beginning with the pe center. Letter names: RH: ABCEDEER Li: CHEEGA Integers: RE: {e135} LH: {13579} (2) List the eolleetions of which these are subsets. RH: ___ odd whole tone (WTI) ‘LH: ___odd whole tone (WT1) (8) List two ways in which this section differs from those that preceded it. @ imitative counterpoint (b) __both hands have the same scale, WT! B. Remainder ofthe piece ‘The work continues justaposing the two whole-tone scales. It builds to a climax in measures 55-61, where reiterated chords likewise come from different whole-tone scales. (1) What striking change in texture occurs at the Tempo I, measure 62? Th nds are mirror inversions of each ot! Do the hands belong to the same collection here, or rent collections? cieet (2) Describe the pitch material ofthe closing section (m. 74 to the end). Both hands join in the same whole-tone scale (the even WTO) until the very last sonority, A-C: Here, ‘each note comes from a different scale, as in so many sections before. Part IV The ‘Twontieth Century and BeyondNAME assignment 34.5 i nalysis: Bart6k, Mikrokosmos, “From the Isle of Bali,” (No. 109) 0, to this work while following your anthology score, then answer the following questions. 4. soe and ste © The primary ‘mode or scale of this composition is; oct 23 pesin letter names: GéABCDESFG Integers: (89002356) (a) Where does Barték introduce a noncollection pe, anda what type of embellishment? Measure: _ 15 Embellishment type: chromatic neighbor tone, Ab 1p Change of scale {a) Where does the pe collection begin to change? (Hint: Look for a pe that falls outside of the scale) Newpe:___ 8» (®) Introduced in measures 20-30 octatonie? YES (2) Speculate on compositional reasons why Bartok may have made this departure from the seale of the opening passage. (One possible reason Is that Bartdk is compressing the initial motive intervallcally: the opening sequence 1-5-1 (in pitch-interval integer notation) is altered in measure 23 to 1-4-1, which creates a peoollection outside the octatonic, ©. Motivic development: List atleast one aspect that is the same and one that is different in the passages specified. (@) Compare measures 5-10 with measures 1-4. ‘Same: Measures 5-10 use the same pe material in each hand as the opening measures. Different: The tessitura and contour changed. The contour in 5-10 is inversionally related to the ‘pening, (2) Compare measures 12-80 (risoluto) with measures 1-4. Same: The rigoluto passage begins with the same right-hand pe collection, now doubled in octaves. Different: Tenuto repeated pitches give this section its more aggressive rhythm; in measure 24, the repeated pitch ie extended to three repetitions. In measure 16, the unison texture gives ‘ay to an imitative texture, and from measure 21 the motive is truncated into smaller units. ‘The séction closes with a return to the octave doubling, and again the motive is truncated (vm. 27-28), D. How do the two hands relate to each other in measures 31-39 and 40-43? (Both are notated in the ‘tbl clef in measures 31-35 over a sustained dyad in the bass clef) The pitches in the left- and right-hand parts in measures 31-39 imitate each other in a call-and-response Tittet The perceptive student may observe thatthe pitch collections ofthese melodies ere symmetrical SRA GA and are nversionally related, while the sustained LH dyad ie symmetrical around D9, The ©, mesures. 41-43, i symmetrical in pitch space around G4. The LH pitches In measures 40-41 are tical to measure 1 (LH). AH pitches in measures 40-41 = measure 2 (RH) but an octave higher.I Style composition On your own manuscript paper, go ofthis to ten ize zou wie Tear more about early twenteth-century eta Se aes weyed through texture, scales or modes used, Pt y oe © samara re Choy observe the compositions you are modcling—Bart6Ks Isle of Bai” and other Mikrokoumoy coast ene Song ofthe Harvest violin vo, and Stravinsky "Lento" (For the Five Finger) ete your own composition in that style. ; ‘This eompostion will be scored as a duet—either fortwo instruments each playing one prt, o for ‘sro separate hands on a piano (can be played by one or two people). «eIncnde all expressive markings (tempo, dynamic levels, articulation, etc.) needed by the performers to reflect the mood or attitude your piece is intended to convey. § measures) in the style of Bartok or Stray pit a short duo (12-16 measures) inthe st kor Senin mt ret be prod to have performed in cass and inthe proce Choose one of the following designs for your composition: (0) Modal in on AB A. form. The A sections should have ayia, fel-inspired melody mete, in Dorian mode, wth a counterpoint. The B section should be syncopated and aggressive, in { meter, using ydian mode. Choose different piteh-class centers for the A and B sections (e.g, ifthe A section has a center ofD, the B section might focus on AS). (@) Octatonie AB or ABA’. Write a piece employing two of the three octatonie collections using changing ameter (several different meters inthe piece). The form may be ABA’ ot simply A B, with one of the ‘octatonic colletions associated with the A section, and the other with the B section. Choose a diferent piteh-class center for each section. The A and B sections should contrast in several ways—in motives used, rhythm, texture, dynamics, and/or mood—as well as pe enter and colleciton, Getting started (@) Decide which ofthe options you are going to work with and choose your instrumentation. Prepare your score with the correct cles and meter signature, and with enough systems forthe required number of (2) On aseratch sheet of paper, write out the scale(s) that form the foundation of your composition. Then play with melodie ideas or motives using those materials. What sorts of pitch intervals and contours doyou ‘ish to se? How are you going to make the melodie elements coherent, yet vatied? (S) Consider the meter(s) that you will be using. Write out some rhythmie patterns that work within that ‘eter, Keeping in mind how the meter and rhythms are employed in the models you are studying. How will the pars relate to eachother rhythmically? (#) Think about the musical texture(s) you wish to use. Do. i ish to use. Do you want contrapuntal imitation between the parts? Or a melody and aceomy cm ipaniment? Or some other texture? How can texture provide variety ot coherence in your composition? (8) What moods or attitudes do you wish each section of ‘them using musical materials? Co dynamic levels, , ‘Your composition to convey? How ean you erste ider expressive markings, as well as change of tempo, articulation, an 2 rome the form of the piece, Sketch in the number of measures you will need, and mark where “xpress beginnings and endings of phrases, Label the sections A,B, and (if needed) ‘When these steps are completed, you willbe well on your ‘Way to writing the composition, Pert TV. The Twentieth Centary and Beyond ———__Nase josignment 94.6 Seale review veining ste wether moderate 4. cnn enatonie B. Bhesatonicas e = ¢,Fiwbole tone 0 D. E Lydian-Mixolydian = B Aoctatonie 29 F, B major pentatonic nA 2 == Ea ee = 6. Bwholetone 1 HL DPhrygian |. Choctatonie o1 ‘J. Domajor pentatonic TL Analysi # Compositional techniques eae pasage,cifcle the term that denies prominent composonl feature. For dass ie consider other compositional techniques operating in each passage) & Stavinsiy, Three Movements from Petrouchka, mavt.1,mm. 9-12 () Peer chord planing bimodality Berd, : nr a baBB Barber, ‘Sea Snatch? from Hermit Songs, mm. 28-31 1 split-third chord aggregate ostinato sg King of the starbright King-dom of Hesy- ga! C. Ligeti, “Désordre” mm. 1-3 Petrouchka chord —_quintal chords planing ‘Molto vivace, vigoroso, molto ritmico o = 63 1 > 2, > 3 Fee Ve GPa oe 2 2 PF fs 8 Ferra fF fP D. Barték, Bagatelle, mm. 4-7 1) planing Part IV. Tho Twentieth Century and Bayond