e-Workbook - University of Houstontkoozin/Workbook_part_4.pdf8 Quartal and Secondal Harmony 35 9...
Transcript of e-Workbook - University of Houstontkoozin/Workbook_part_4.pdf8 Quartal and Secondal Harmony 35 9...
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e-Workbook for
TECHNIQUES AND MATERIALS OF
MUSIC From the Common Practice Period Through the
Twentieth Century
ENHANCED SEVENTH EDITION
Part IV: Twentieth-Century Materials
Assignments in worksheet format by
Thomas Benjamin Michael Horvit Timothy Koozin Robert Nelson
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Part IV: Twentieth-Century Materials
2 Further Concepts for Analysis 3
3 Rhythmic and Metric Devices 4
4 Tertian Harmony 5
5 The Diatonic (Church) Modes 11
6 Pandiatonicism 19
7 Exotic (Artificial, Synthetic) Scales 27
8 Quartal and Secondal Harmony 35
9 Polyharmony and Polytonality 41
10 Intervals in Twentieth-Century Music 47
11 Twelve-Tone Serialism 53
12 Additional Contemporary Procedures 59 Blank Score Paper 61
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a.
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w
b
b
b
wb
b.
w
ww
wb
c.
ww
ww
b
#b
ww
n#
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d.w
w
w
b
b
w
w
w
b
Which examples above are equivalent in their interval content? (There are two such pairs.)
__________________________
e.
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w
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#
w
w#
f.
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a.
2. Write transpositions for Examples 1a–1d above that each yield an entirely new collection of notes.
It is not possible to do this for Examples 1e and 1f. Why? ________________________________
Hint: For help on this exercise, read about the transposition factor in Part IV, Unit 1.
b. c. d.
e-Workbook for Techniques & Materials of Music Name _______________________
Part IV, Unit 2. Twentieth-Century Materials: Further Concepts for Analysis
1. Analyze the folowing chords employing the Hanson, Persicheti, and Hindemith (root designation) systems
as well as pitch- and interval-class theory. Be sure to play and listen to the qualities of each chord.
3
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& 4
5
a. (3 + 2) (2 + 3)
& 8
7
b. (4 + 3) (3 + 4)
& 8
12
c. (3 + 3 + 2 + 2 + 2)
& 8
6
4
2
8
5
4
2
d.
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a.
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j
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2. Apply bar lines and metric indications as appropriate to the following examples. Consider the use of
changing meters.
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e-Workbook for Techniques & Materials of Music Name _______________________
Part IV, Unit 3. Twentieth-Century Materials: Rhythmic and Metric Devices
1. Create your own melodies following the given metrical patterns. Be sure to include all necessary musical
markings (tempo, articulation, dynamics, etc.) so that the melodies are ready to perform.
4
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e-Workbook for Techniques & Materials of Music Name _______________________
Part IV, Unit 4: Tertian Harmony
1. Identify the given chords, using lead sheet chord symbols.
2. Complete the melody in the same style using the chords given.
5
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Wolfishly
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F
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w
Tertian Harmony Name _______________________
3. Add an accompaniment to the following melody.
6
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dim.
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Tertian Harmony Name _______________________
4. Complete the accompaniment based on the given chords.
7
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Tertian Harmony Name _______________________
5. Analyze the harmonic content of the accompaniment, then complete the melody.
8
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Tertian Harmony Name _______________________
6. Complete the accompaniment in the same style as the opening measures.
9
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simile
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Tertian Harmony Name _______________________
7. Analyze the harmony, then complete the upper parts.
8. Complete the accompaniment and analyze fully.
10
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h. Mixolydian
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e-Workbook for Techniques & Materials of Music Name _______________________
Part IV, Unit 5: The Diatonic (Church) Modes
1. Construct the indicated modes on the given tonic pitches. Use key signatures.
11
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The Diatonic (Church) Modes Name _______________________
2. Harmonize the following melodies using modal harmony.
12
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Tempo di Valseb.
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The Diatonic (Church) Modes Name _______________________
13
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b
b
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The Diatonic (Church) Modes Name _______________________
3. Complete the following exercises in the same style as the opening measures.
14
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b. Gracieuse
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The Diatonic (Church) Modes Name _______________________
15
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6
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The Diatonic (Church) Modes Name _______________________
16
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5
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The Diatonic (Church) Modes Name _______________________
17
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b
b
b
b
4
3
4
3
Andantino
P
f.
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J
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j
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J
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3
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j
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3
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&
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b
b
b
b
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j
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3
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j
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&
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b
b
b
b
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œœœœœ
3
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The Diatonic (Church) Modes Name _______________________
18
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c
c
Con moto
p(SATB)
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c
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Andantino
‰
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œ
2. Provide accompaniment for the given melody.
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œ
&
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4
3
4
3
c
c
œ
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œ
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œ
œ œœ
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œ
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e-Workbook for Techniques & Materials of Music Name _______________________
Part IV, Unit 6: Pandiatonicism
1. Complete the lower voices in the texture and style of the opening measures.
19
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b
b
c
c
f
Maestoso
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3. Complete the example in the texture and style of the opening measures.
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b
b
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b
b
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b
b
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j
œ w
Pandiatonicism Name _______________________
20
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b
b
4
3
4
3
Languidly
p
∑
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œ
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œ
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œ
œ
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œ
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œ
œ
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œ
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&
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b
b
&
?
b
b
&
?
b
b
Pandiatonicism Name _______________________
4. Continue in the same style for at least 20 additional measures.
21
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4
2
4
2
Like a fanfarea.
f
‰
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œ
r
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3
4
3
4
2
4
2
b.
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œ
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œ
œ
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œ
œ
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&
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c
c
Pesante
f
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b
b
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w w
Pandiatonicism Name _______________________
5. Complete the given music in the same style.
22
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8
5
8
5
8
6
8
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5
8
5
8
6
8
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Con brioc.
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5
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5
8
5
8
6
8
6
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Pandiatonicism Name _______________________
23
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b
b
c
c
ƒ
Con forzaa.
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w
w
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b
b
&
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b
b
&
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b
b
Pandiatonicism Name _______________________
6. Continue in the same style for 10 to fifteen measures.
24
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b
4
3
4
3
P
Glissantb.
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b
b
&
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b
b
&
?
b
b
Pandiatonicism Name _______________________
25
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b
b
c
c
Joyeuxc.
f
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b
b
&
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b
b
&
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b
b
Pandiatonicism Name _______________________
26
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&
a. whole tone
w
&
b. octatonic
wbw
&
c. pentatonic
w
&
d. Hungarian minor
w
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e. octatonic
wwb
&
f. pentatonic
w
?
g. whole tone
w
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h. Hungarian minor variant
w
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i. whole tonew#
e-Workbook for Techniques & Materials of Music Name _______________________Part IV, Unit 7: Exotic (Artificial, Synthetic) Scales
1. Construct the indicated scales on the given tonic (center) pitches.
27
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2
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˙
Exotic (Artificial, Synthetic) Scales Name _______________________
2. Determine the scale of the given melodies, then write accompaniments. Experiment with different
harmonic structures and different textures.
28
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b
8
6
8
6
b. Amabile
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b
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Exotic (Artificial, Synthetic) Scales Name _______________________
29
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4
3
4
3
Assez lentc.
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Exotic (Artificial, Synthetic) Scales Name _______________________
30
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b
b
b
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b
b
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b
b
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b
b
c
c
F
Andantea.
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b
b
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b
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&
4
2
4
2
b. Poco agitato
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poco a poco cresc.
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˙ œœbœœ
p
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Exotic (Artificial, Synthetic) Scales Name _______________________
3. Continue the accompaniment in the same style as the opening measures.
31
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4
3
4
3
Avec élan
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a.
4. Continue the pattern as indicated.
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&
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b
b
b
b
b
b
b
b
(bass line given)
(same pattern continues)
r
œ
r
œ
(Ab pentatonic)
r
œ
&
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b
b
b
b
b
b
b
b
n
n
n
n
n
n
n
n
r
œ
(C pentatonic)
r
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r
œ
&
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r
œ
r
œ
Exotic (Artificial, Synthetic) Scales Name _______________________
32
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&
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8
3
8
3
8
4
8
4
8
3
8
3
8
4
8
4
Allegro barbarossab.
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j
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bb
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n
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8
3
8
3
8
4
8
4
8
3
8
3
(same pattern continues)
(C whole tone scale) (G whole tone scale)
&
?
8
4
8
4
8
3
8
3
8
4
8
4
(C whole tone scale)
Exotic (Artificial, Synthetic) Scales Name _______________________
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4
2
4
2
Lento
p
‰
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#
b
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b
5. Continue the music in the same style.
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b
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Exotic (Artificial, Synthetic) Scales Name _______________________
34
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4
3
4
3
a. Feierlich
f
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.˙b
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j
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.˙b
-
&
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j
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j
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-
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>
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>
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&
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.˙n
>
˙œ
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f
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e-Workbook for Techniques & Materials of Music Name _______________________
Part IV, Unit 8: Quartal and Secondal Harmony
1. Harmonize the following melodies using quartal and secondal harmony.
35
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&
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4
2
4
2
b. Lebhaft
f
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j
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3
œœ
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Quartal and Secondal Harmony Name _______________________
36
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4
5
4
5
Largamentec.
F
.œ
j
œ˙œœ.œ
j
œ
˙œbœ .œb
j
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˙bœœb
f
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a.
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œn .œj
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F
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&
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c
c
Steadily
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j
œ œ#œ# .œ œ
œ .˙n Œ
&
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P
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œ# .œn œbœ œ#
œnœœb
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-
Quartal and Secondal Harmony Name _______________________
2. Complete the following exercises in the style and texture of the opening measures.
37
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&
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c
c
b. Maessig Bewegt, mit Kraft
f
‰ .r
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.œ œ .œœœ
.
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n
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ww
w
w
&
&
c
c
P
Slowly, moodilyc.
(pitch collection: C D Eb F F# G# A B)
Œ
˙
˙
˙b
œ
œ
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Œ ˙
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n
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n˙
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n˙
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b˙
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n
poco rit.
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˙
b
n˙˙
˙
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Œ ˙
˙
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#
œ
œ
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w
w
w
#
Quartal and Secondal Harmony Name _______________________
38
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&
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4
2
4
2
Leicht bewegt
P
∑
3. Analyze the given music, then continue for another 6-12 measures, ending in a strong cadence. Continue
the canon as long as is practical.
œ
œ
œ
œ
œ
œ
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œ
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œ
œ
œ
œ
œœ œ
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œ
œœ
œ
œœ
œ
J
œ
&
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&
?
&
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Quartal and Secondal Harmony Name _______________________
39
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Quartal and Secondal Harmony Name _______________________
4. Continue for ten to fifteen measures.
40
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e-Workbook for Techniques & Materials of Music Name _______________________
Part IV, Unit 9: Polyharmony and Polytonality
1. Analyze the following chords with any appropriate system, then resolve.
2. Complete the exercise in the same style as the opening measures.
41
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Polyharmony and Polytonality Name _______________________
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nggggggggg
Polyharmony and Polytonality Name _______________________
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Polyharmony and Polytonality Name _______________________
3. Continue the examples in the same style for 10-15 measures.
44
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Polyharmony and Polytonality Name _______________________
45
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c. Siciliano
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Polyharmony and Polytonality Name _______________________
46
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e-Workbook for Techniques & Materials of Music Name _______________________
Part IV, Unit 10: Intervals in Twentieth-Century Music
1. Extend the exercise in the same style for 10-15 measures.
47
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set A
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Intervals in Twentieth-Century Music Name _______________________
2. Continue the exercise by alternating and layering set A with set B. End with a retrograde of the original
pitch material. set A: D F F# A Bb Db set B: G# B C D# E G
48
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(source set)
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Intervals in Twentieth-Century Music Name _______________________
3. Continue the exercise, using the source set and its transpositions and mirror sonorities. Conclude with a
strong cadence.
49
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set A
set B
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Intervals in Twentieth-Century Music Name _______________________
4. Continue in the same style, using similar sonorities derived from each set. End with a clear cadential
gesture. set A: F A Bb G F# G# set B: E C B D Eb Db
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&c
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Intervals in Twentieth-Century Music Name _______________________
5. Continue the exercise for 10-15 measures.
51
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& wnwb wn
wnw#
Intervals in Twentieth-Century Music Name _______________________
6. Compose a short piece using the following set:
52
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&
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4
3
4
3
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b
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&
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&
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&
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e-Workbook for Techniques & Materials of Music Name _______________________
Part IV, Unit 11: Twelve-Tone Serialism
1. Extend the exercise for another 10-15 measures, incorporating basic principles of serialism. The opening
row forms are given.
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B
4
3
P0
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f
Solo trombone.œ
J
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B
B
B
B
B
Twelve-Tone Serialism Name _______________________
2. Using serial techniques, continue the exercise for 10-15 measures.
54
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&w
wwb
w#w
w
w#
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w
w#
w
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3
4
3
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Twelve-Tone Serialism Name _______________________
3. Compose a brief work for piano or instruments in your class based on this all-interval row and its associated
row-forms, continuing the opening given below.
55
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&
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ww
w
w#
wbwb
w
wb wnw
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c
c
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una cordaπ
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b
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n
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Twelve-Tone Serialism Name _______________________
4. Compose a brief work for piano using this row and its associated row-forms, based on the given opening.
56
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&
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w#w# wn
ww
w w#wb
wnw#
&
?
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Twelve-Tone Serialism Name _______________________
5. Compose a short piece using this row and its associated row-forms.
57
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&
ww#
w#
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wn
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&
?
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Twelve-Tone Serialism Name _______________________
6. Analyze the inner structure and combinatorial properties of the following all-combinatorial row by
Webern. Then compose a brief work for piano or instruments in your class.
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e-Workbook for Techniques & Materials of Music Name _______________________Part IV, Unit 12: Additional Contemporary Procedures
1. Using the examples below as models, compose original music for instruments available in class.
a. With abandon
b. Hysterically
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.
...
œ #
œ n
œ #
œ #œ #
œ #
œ #
œ#œ#
œ#
œ#œ#
œ #
œbœb
œb
œbœb
œb
œn
Additional Contemporary Procedures Name _______________________
2. The Compleat Canon
This canon may be performed by an infinite number of people, each voice entering at any time interval.
Each voice determines the clef to be used and the durations of the individual notes. It is suggested that a
maximum variety of rhythmic values and articulations be employed. The various canonic voices may
imitate earlier voices freely or may ignore the others entirely. The pitch sequence may be read forwards,
backwards, upside-down, or upside-down and backwards. The canon is to be terminated when a
predetermined threshold of boredom is attained.
3. Listen to, perform, and study such controlled-improv, open-form, "process" works as Riley's "In C." Then
compose a group-improv work for the class, using this approach. Experiment with varying degrees and
methods of controlling various musical elements. Be sure to shape the piece in some way.
4. Listen to and study one or more classic examples of "minimalism," including works by Glass, Reich,
Eno, and Adams. Write a piece, experimenting with small musical cells, phase-shifting, drones,
subtly-shifting consonant harmony and various color elements. Some controlled improv might be used. All
or most of the piece may be pre-planned. Be sure to shape the work.
##
#
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61
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