Techniques of Twentieth Century Composition A Guide to the Materials of Modern Music SS Leon Dallin log se ey ‘Third Eaton WM. C. BROWN COMPANY PUBLISHERS Debuaue, ovaifr te Dee, Stamens one 957,286 04 by Lenn Dain Cad Nor 7-868 q Stored ins retical spe, or wane ay foro By ‘ee lctoni mechan, pci tera eee, ‘ute ann pon oe oi ace, Seats en To hose who made this book pestble— iy techars my students my ellos, snd most sppeily my ie, ‘who ethereal iter nthe fly,Contents PREFACE SUGGESTIONS FOR THE USE OF THIS BOOK INTRODUCTION SuggevelAvignnents 2 MELODIC CONTOUR AND ORGANIZATION Suge Asiennents 15 MODAL MELODIC RESOURCES Sapte Anignoents 2 ‘TWENTIETH CENTURY MELODIC PRACTICES Nonwct Mloitines 29 ‘Addon Sle Rerurces 33 ESpund Toray a Cetenporary Haron oan 8 Nanci betlng 30 StssetedAcconments St [RHYTHM AND METER Nenmecc Richins 55 Shing Acer 3? Changi Tine Signer Nenithynmic Corts 60@ CHORD STRUCTURE a 15 IMITATIVE PROCHOURES nde ton nd Oi Nadie tein 8 Fah #8 Soened Asner 187 Nomen Snentes 92 Secomtel Anime 103 1M THE TWELVE-TONE METHOD 6.005. 2. HARMONIC PROGRESSION 1o0 Foreaton afte 199 ps Varaisohesees 19 Changs of Mere Quality nd Rot Rani 112 Trevefone Theme 95 Spur Aeignmerss 207 : m 15 TOTAL ORGANIZATION ‘Moise nd Tranaponion 12, Suggeted Aokanments 315 Shining Toney 12? Boat day 38 te Peiponaity "32 MICROTONES Fredonia 338 Seed Ascipiments 238 17 SPECIAL EFFECTS Special Vea Efe 226 ‘Fel lntronetal ate 25 SepgotelAorgnment 235 9. CADENCES a Motieg on 0 Uneercadenes Nonidet dings 240 Sapte ASgnents 18 18, INDETERMINATE PROCEDURES 30. NONHARMONIC MATERIALS us geen, 27 SugpstedAsipaments 153 fedeminicy 240 emul Mase 24 AL MOTIVATION OF HARMONY 156 StepetedAugnmente 267 Motivating New HamanieRescree 154 Hemonie Motationin Contemporary Rhythms 158 nm an R NEW MUSIC earths ELECTRONIC AND OTHER NEW MUS! Stapesed Asizents 165 Masigue Conc 259 Sound Secs 230, 12. THEMATIC METAMORPHOSIS 16 peel ae osx by Computers 5 Transposition ed Seuenee_ 16 Meta 50 Sytematc Molinos Cofour 268 : StapeedAsigements et SytematcModieaton of Rythn 370 ie GtherMaaicatone 173 Suggeted Aspens 178 ; 22, PRACTICAL SUGGESTIONS1 waren coun courosmon eo - Preface Dane pate se Tria mn ong enh mat Contemporary Aptatons 378 thecighteh cenary and end ath that ofthe nine entry. Oder and never music deserve and are eciving added emphasis in clipes, inal co Universiti and shoo of music Ts Books devoted othe mica the wanted entry “The approach Is appropite for compares exploring contmporicy saloms for performers Tearing to cope with te anovations of modern ‘music and for teschers developing thee understanding snd agpcecaon ‘ofthe music of out tine, Al thre categories are served by th et Ir Aesigned to provide erential knowledge ofthe chai and mater of twentet-century mie and to brdpe the gulf between tdional {came training and arent practice. Courses in harmony and counterpoint ae prescribed for prospective composers, performers, and teachers ale. The stuly of composi ! Toil and necessary continaton. In conventional ms tech Proficiency and arstc dsrmination are acquired, aftr faaity though listening and performing, by analysing and wrtng Using the approach for medern marie complies these purpoors and eaves the Functional relationships between antiquated resoutes end the com temporary counterparts. Systematic wtliston af ew mater ny re tive overelses teacher composes fo wile the tunel language of time, performers to speak fy and lnteners to understand Tae inv lity of composers i asserted bythe choices hey mae fom theft Posies wen they are deliberately iniatng erable style, Be fides, individu snot zo mach something to sive for as something Which emerges spontaneoualy with matuly and technical Profiency Performers and aches turn othe partis pale before rescing this evel of atsinment, but thie mural insight i Immenaucbly ee "chedby temporay ansuming the oe ofthe composes, “The techniques and materiale of twenteth-cesary sia surveyed and ilstated with move shan 300 example dese exlsively fom the ‘works of recognized composes, The coverages ompretensive, and all "ignlian styles and procedures ate spresented The sources of hetmples are Mentied by composer, tle, page or movement date and publaker, and recordings not listed Inthe Seoorn Record and Tape ides are speciid. Ta Faitte the reading ofthe exalts by les Perlenced micas and oaake then ready payable onthe plano the treble anid baer lf ae ured Orch cores have Ben anapoed od ce, ith ew excepsons and unesental elements hive bch aie {Contemporary devices with dct snecednts tthe marie ofthe pat a enlained using conventional terminology and symbols The com- ovens of complos sonerties, for example ate aranged on the staf fo ‘evel ther undrying tacts, cbviating te ned fer anew sytem of alysis “The presen volume evalved from efforts extending bck to the 19408 to develop 2 lopcal and systematic presentation ofthe techniques and nate of tenteth-cntry musi to ases in composition sn theory. Teachers who Have specialized in he arta of msi ned compere whe se more interested in cresting nee works than in eatsing asym ‘tang thar knowledge forthe bonfit of students sould find equally falas a tect wish to expees my appreciation f the Races who ie Spire and tested the original eiton snd othe teachers whove sunt ons contributed to the present edition and whose adoptions made posible alo wish to thank the composers and publakers who gene ily granted permisaan to quot from copyrighted mock son alin Suggestions for the Use of This Book Tee exp ct al fant st Thea tena msc normed en ale ‘Hero nbs fre cme a ee neon ire Py emt Kas sae Das or hn he Spent sponte i of Spins pbs Ent puramans Reardig of wae wine ee coe, Mode sows Reef out Tge Cedi ree Sits eStart ewes ey SOOUTLNG.Tiad ye mca ol geen. Coe insincere ape ak Staph oop cn fe coset ays nt ees PS. Sean Wen cael ested eon iodine egal mdr ces sv we seed ‘cious nd cneben red cma Senate ejnue we teal peo of wma se Srna teebereiall stars ne Santen peas appa pet ems er Taner nd nef ined ein pene nd mach ub pl by sot il eagle aa sae feta dhbea. Ae picasa pre re wl te Ena ey snd seine te feet ass wath eerie ur masl is The pci rt el pro men mae wb found soul ss eeu an nd pes ms Sept tee Wepre epee se Fatma compen, hoever Hon oan ere Bleeder Taenee cottagesEigpatos re tne te on ‘spalvang and wing wil depend upon the objective, nee and bi ‘iso th students Courses in composition and moder music ae ofc at ferent evel ‘ith varying prerequisites. These studies can be undertaken sucrersl vith a minal background of tacltonal harmony, Teinng i oun Point otchesration and forms hlpel but ot een Is adit to ding speci assignment students should Be encour ‘ged odo fre ceative wing Inthe style most satura for thers othe ‘emant. Compositions shold be in forns and for mediums which sre familar and appealing, Even in the speed wing asignnenty the ‘retive and expressive aspects shoul be emphasized. The concep should br one of sound rather than of abstract oyna This anne of Thinking simulated by witng for» parts instrument o& ensemble Wik complete tempo, rang, dynamic, and articulation indeations ‘Whenever posible wntien exerciser shoul be played with da egard foc itepretaton on the isument(s) foe which they ae intended For ‘rata reasons much of the wtng Wil be fr plano, niche both ‘esate and accesible, 1s wise the erly stages to avoid extanenuy problems and to wrt for struments one plys sr wit whlch on Femi but before the endo the course al vache sources ining tlecuoni shoal be explored Stadents should ee and hear each thar’ work and patted ‘usin, Active participation motivate the clas, Analy the mistakes tnd sccmplshients of it members is informative and lamang ‘Sketchbooks of themati idear and files of cetveexeces sould be ruined as storehouses of raw mater for fare works The muse etlisive and ot always atthe composers beck and eal. ‘publi performance of new work is stimulating experience fo the ormposer and an illuminating wxpeince forthe pevirmers, The fll cele of compositions achieved only sehen a work as been conceived, writen, payed, and heard. Trough patcpaon inthe complet te. uence cmposes become intimately aware ofthe prc probs of Preparing and presenting their cores, This helps them fo dscover sale Ad effestive may of notatng and developing thei ea. I he perform nc is rcorded they have the ded antag of repented, nonce beatings and opportunites Yo evaluate thes works cjecely ater the heat of ceaton hat eooled. The vale of such experiences Cannot be sald by asta ntti, ‘The reasons forall serous student of music tobe info i thé ‘erie and mechanic of composition ar compe ing th 36 when oe Formers and even steers ar ineeasingly involved in the elation of socal evens and when avantyarde styles ave depating so raiealy from the sounds and symbols ofthe pat. Daring pods of diverty And change lke the present, becoming falar witha ofthe tends Aca bat important forthe oar ofthe art. One Sal suggestion the ality of which is most certin~the only nay fo lara fo compose Is ycomposingIntroduction «Stoves sig in manly compe ses ese Spacek scepeny Sak tepals a agen pf prion ng Tipe nursed ple a eacse age Sebingnengh aie tlie coats SEP Se ig arena ee anna ai sg a atest ae ee oe ron pgs oar! Comper lisp my at he re hich ster te poe pA Se ow are te ceny yr apes ta cyan mmering ofa tenants becko Seay Seman riley ace caivanmemecl owe eee ‘int pfu Tn i pon doo ee Fr pel ny nr plane lpg nar ed Srl aftr See AR apes ar ey ae ort al br meetolop ee ee spicata pa of ea pe ag put acne eps Se Cipelnd dott so sibs ene a ee See ceen ayes ke peteraanareacies a ermal “he far rn Es ity of maw « peer 1omplicites the problem of teaching composition, Pir experience = Performer and tener develope the abliy fo escie and cealunte fat eyo the aby to crete. It equrs patience om the part of the spt ing composer to develop his cave talents tothe pint where he fs Salsed With hs wn efors, During this developmental pero, it Feasurng to cele that the mock generally known of chen the retest fommposers come fom their mate esod and ae ot represenitve of ‘hei erist forts Actes a psfrner and tee are ieleble forthe compose, but they donot automatically provide hn with come Pstional si 1 further complicating factor i the strong emphasis on the muse ofthe romantic period sn our musi condoning. The musical fiom vith which we afe saturated il uted fo contemporary ess Inthe ‘yar the traditional theoretical ani provide ite ccc lp. low ve if creativity has ben encouraged ix prior theoreti sade nd de iline hasbeen based on general principles ater than on iid rules of " patclr syle the transition canbe made wth nina dele “The cute pracceof basing the erly theoreti taiing of ast fan on the musi ofthe dghteenth and ninetenth centuries ha head antages of vast Iteratare nich hs stood the test of hme and in which the material and procedures are reativey uniforms and comparatively ‘imple. No such advantages exist fr new muse, bu between te ol and ‘heey ies body of rentith-centuy tase which an be aalyeed and Aescrbed in terms of its elation to tational practices, Exploring thes elationships helps o bridge the gp between fare and unfar lar styles. The course cared onthe follwing pages ens from he post romantic idloms of the frst Ralf of this sentry to the most reent developments using apical undergradite background in foal meses point of departure. The suggested assignments fr thie chapter canbe ‘sed to assess competence in tralional ses and to tevel any deft ‘lence hat shouldbe emedied by ceview Suggested Assignments . | Hamonze te felowng ero melody i a conven! ura ste ponding. x 81 LAAUD: vein Concert No 2 (188) 28 eso tobe presumed that composer conceive melodie wth conven- ‘ional contours and then tangpone segments of them, butts ype ef alysis revels antes between some angular twentieth cenery el‘lies and thir sootber counterparts which otherwise might not be pe patent When the melodic segment in diferent octaves cont of ony ner two notes asin Example 32th angular Inextsene. The char. ‘eit nih intra eich rere rom an actave expansion of sed, curs four ines and he interval spanned by the apepgcs eeu troand four Et 22 PROKOFIEV: Symphony Ne. 5 (1984 961 Jesse a Ee BET eres he" Gonna 1 88H) Paine aie ‘The ultimate n octave expansion of intervals is iutated in Example 23 where alterate nots ae in diferent octaves The consistent aera tion of register ou lead othe perception of two melodie seas, one inthe upec active and the other nthe lower, but thse miniced by the short duration of the low notes, Teassposed up a scave, they ‘Would be simple sromatic neighboring ions x $8 SCHOENBERG: Thee Puno Pisces, Oo. 1 NO 1 (810) pt deo . Some melodie for voice areas urvoclin tle shoe for instruments ‘The Example 3 melody for soprano has wide and nual intervals a sn angulat contour encomparsing more than two eeaves. [demands ‘voc capabilites that were considered possible unl few decades ago and ilsteates haw the concep of wea! melody hae changed in rerat fies. Howeec to ving sacha compen melody accurately tes the oat competent professionals aft wot Yememberng when composing for Tes pron singers, 2 ‘Additional Seale Resources The ses considered thus fc have bee ited 0 those consisting of seven notes comprising five toes ahd two veiones. Though hee sale atte dominated European musi for several enare, here nou Sfestion for rercting melodc resources to them eclesively. Other, Scale patterns Rave always been favored by oo-Enropean clues, and forse time now the rend in Western mus hasbeen fo boron sel resources rom other masz tation at lave aw oes Tsing ‘he origins and geographic datbution ofthe varios sis le asia ling sty, but the primary concern of cmpoers nd performers thi ‘tlizson i ving us Pentatonic (ive tone) scales ar among the mot ancient and universal ‘Thesment prevalent pentatonic wale hans pattern ike a major sale with ‘he Bed and seve depres omit o ie he lack kay ofthe plano. ‘ramp 356» Debussy melody containing only aarp notes whih cn ‘be plavedon the lack plan hes35 DEBUSSY: Aastumee—apea (188) p12 Ur pes anime a Ex ST RAVEL Ging Gowran in F805 Vit ot agit ‘Any ote ina pentatonic ele can serve asthe center toni and notes hich re stesed or on which cadences cur end to be heard ae each Homeves, persons accustomed o the stong fantonal relationships in major and minor never have comparable sense of erally in peratonie Ise due mainly ts ack of leading tone. The sel the preceding rample represented lhe Csharp major with the Esharp ad €sharp tm, but he tonal center seems t shift from harp atte beans {© Gaharp atthe end. A change of center withthe same colton of Pitches means that ther isa coreesponding change i the sale pater ‘hats nthe arrangement of the major seconde Sn minor thie come ring the scale The ext two examples asta other pentroic sae Patterns, he first ceneing on. [38 RAVEL: Sing Quart i F (1900) pa7 Ve ob ats In the cominuatio of the preceding melody, Batis introduced inthe ext ease. Twelve measures Iter B-streplaces inthe sale of the folowing pentatonic melody, whi thera asthe vane ph content This melody evlves around C bat cadens on Bat ies eyelc ears of theme onal stated inthe Phegisn mode (ee Exsmple 18). ey bce Ete one fF oP Another penatonle sale prevalent in Japaneie music and frequently ‘red to evoke an erent atmosphere produced by emiting the hid snd eve degree ofa Phryplan seal. The rae interval asonships te prodaced by omitng the second and ft or sch depts of mar fel: Any umber of Be-one sales canbe devine simply by oning Siren notes rom the vaiusseven-one sees In muse dion sch cles ae not used for etended passages, bt tava aten wae Fragnntary melodies wing» lined umber of notes The fe tad in the lowing melody orcurin both the Doran and Alan modes on © Ee 58 STRAIN’ The eof Spring (1919) 17 Examp39 shows a pronounced Phrygian nue, but withthe fourth degre musing the cemaining notes fer ential thiee note Pare Separated bya or this© BCS DERUSEY. Geny Guarar Hm wD Jt a Paro Pee, Book / No, 2—Volee (810) (Oslinally the equal intervals and the shence of a leading tne euse thefelng for tonality to be vague or nonexistent in whole one esi but Etample 41 shows an incidental whale tone ines in stonsly tonal work. Fis the tonic throughout the melody, andthe serond phrase ‘in F major. The whole tongs seem to have been dived from the fst thre notes ofthe ascending Fajr scale an the fist tve note ofthe eee Mirai of scale degree is atid further in Example €2 by Bartok In the most conventional term the scale on which itis sed is mae xp ofthe lower tetachord af « major scale and the upper ezachord of = ‘pau or descending slic minor sale The ele ate also may be fnalyzed aes mizorng ofthe fst five notes ofthe major sale, wh 2 tonetonesemitone pattern both op and down fom The analysis ‘sappoted by the mutroritaton between the tw hands x 42 BARTOK: Mirokoumes, Mo. 22—Initon Rooted 1805-7) ’Wiatever the deriation ofthe preceding wl, affords note om ‘ination not aallbl in major miner, or aay mode Indte vai ‘Posnble in constructing scales of th rot. For lac ofa beter end gene Aly accepted designation, such sale il be ale synthetic snes Ba. ‘ok was ingenious inthe ecvation and we of syne sale, Some of Fis unconventional sale materiale etm fo Rave been purely contive nile others stem from nor-Wertern musical teditons Syne ele Structures underlie several pecs im his Miriemer, Because of tht simplicity they provide an excelent intodaetion tothe device In Example 48 unconventional key sigatue, diferent in each hand, produce a symtetic cle In the ree only thos ote shown on the fp taf and ther octaves ae played by the righthand and only those notes Shown on the botom sa andthe ectaves are played by the et Road Cis the tonal center. The mrorng of intervals apparent with the scale ots arranged on the stfu hey ae inthe example and they oc in the pec. The miroring. unlike that inthe to preceding examples state ‘on diferent notes 5 48 BARTOK: hirotcames, Mo, 99-—Cioted Hands (806-97) =F “The hay sgnatare of Mikrokosmos No, 41 i ane sharp on Cad ts tonal center is G. The salon which tie based combine tues of ve ‘nodee—the agente fourth of Lydan with he ming seveth of Mine Tyan x 44 BARTOK: Mecham, No. 41—Maedy wi Accompaniment (1905- 8 [No seratre cud in he source of Example 4, Theale made op of two major petathods a tetone pact. The compas etenc Beyond an octave which is possible sytetc sles when diferent infecons| ‘of noes are used in the zcon octave Ii also pombe tow diferent ‘afectins of «note in the same octave, ike the C-naturl and the Co shrp. Since each petachord appears in diferent hand this pce could tbe percsved as beng [nto keys smlaneoul. Coniderston of Ns Posty is postponed unl Chapter £4 AS EARTOX:Mvokoemas, No. 8&—Tno Malo Pench (1926-97 _——aas Fo! = Example 4 shows another syne seal esting fom the combine on of two key signatures. The signatures themelvs are no non ventonal as they appear to be The Eft and A-fo wich normaly recede Dfat inthe signatve coulda wel be aed to he top part, ut {hey woul be meaningless since those notes donot ecu inte iece (One sharpon Fis not ax unsual sigesture but toppers unisal wes itis placed inthe ist space. Bztk places the thy where cur ‘he melody rather han othe Bh ine, but the fest ithe same is the tonal center of the piece Ie begins on E and ends on the tone &, Beet ‘The sale cons of alternating whole and bal steps up fom the ton Pacing the D-atural blow the Reynate ofthe sel, where ious the seond violin pac, produces a ight tone sale frm Otel to Aa ith the second note asthe keynote, The praia tating sale on & nate other than the keynote has stories ecceden in he Pagal forse ofthe move.Ei BARTON 44 Van Duet Na 11rd Song 18ST) daa Seals “Unconventional and double ey signatures ave afl in des an ‘otaing ne sale resources, Dut they ares hazard For pctormers ho ‘mut set yeas of condoning when they encoun a new sangeet of sharp or Hasna sgntare. They ore ot oa diturbing in scote, ut Its general sadvtale to xe them In petormance par spell hen eehearal time(s United. Preferable procedures ae foe mo hey Sgnatre or tose the conventional sgt tat most sey approx inats the symhei stale and to add acldeatle and cancelation 9 fe ‘ie, The end result isthe sae, and maximo eflency in earning te ‘work and performing arerately ar etre. “The recommended procedure luntatd in Benjamin Bites Dire hich bated on a Synthetic ele. Th tonal center is Gad the ey Signature is that of G minor. Aa iedconistety, and it culd be ‘ded tothe signature without vain the normal order arangeent of the fats However, Briten choses tcieat I each ine witha se ‘ident. The Caharp inthe moody Is a cremate neighbosng fone and the D-fat a chromatic changing tone. Omitting them, the sce ike harmonic minor wih a lowered scond degre or Uke the Phyglan mode witharaeed sven deges Ec BATTEN: Swanade—Digo (1865 p18 a0 Inthe source of Example «8 Grif fllws the same procedure a Bt {en tsing the sgnatte oF B miner or melody with Ba i tonal center. The seal, wth its two augmented second, Ir eythetic ne fara the ‘alorminos and modal systems are concerned butt ocuts with ui fe froqncy to have 3 common dasignaton that of sypey sel. Though not inched in our bare wale systems i i used extelily tn other parts ofthe word I effectively invokes the oientlstmorphere of the Colerdge poem which inspired the muse 5 48 GAFFES: The Pleasure Dome of Kubla Khan (191) 918 An cghttone scale in which hal steps and whole steps alienate > res prominently inthe musi of Stravinsky (ce Arthur Barger, "ook lems of Pich Organization in Stravinsky,” Perspectives of Neo Mate 2/1, 1963). This octal scl, to use Bose’s tency, spruce ty combining the ptches of ny two diminished seventh chords es shown Since the stale contains four identical theenote patterns, diferentPitches can be pereved a the tna ener, bu only thee Wansposons fe possi. An octane sae staring on any nate wll duplicate the intchcontent of one ofthe cles shown in Exam le. 49 OCTATONE SCALES “The actatonc sal has many fascinating posbiliies fr both melade so harmon constructions. The theme fore variations in Savina (Ocrotisdtived rom the ottonic ale on x 50 STRAVNKY: Oct (1809 B12 ‘eve pices ofthe eapered system, ae Formed by combining to or ‘more symmeticl groups ith he last note of eah ou clnldng sh the fst note ofthe nex. The cnstraton ofthe mes such that ee 4 listed number of trasposiions—two to six —any frie tanspo ton produces «duplicate pitch content. The fst me ental ak the whaletone sale, for which two transposition se pone Three teanpositons of the second mode lke te ettonle sale, te conse before the pitch content i repeated. Benning thi ode om seco egies ceveres the oder of the whe sep and half sep but Soc nt alter the pitch content. The remsning nade of Led tanapeston oe shown starting on C, which Messiaen designates asthe fet tampostion ‘There ae fou transpositions of mode’ and six ranspetons of odes x 5t NESSEN: Nodes of Umi Tanposions naman dese a ie oF pleeeee alee pie —— fee eee ea a ££ Lig FED ais : # — — In The Technique of My Music! Language Olivier Mesiendescbes sod lastates hs “theory of the made of lise transposition" which Includes the cetatoni cle mode 2 Messae’s moses at sat tbe contsed with any other uses of the term His made, denied fom the 24s The pitches of made 3 in te at waneponltion ae waed exclusively in the flowing melody for vk, and int plan accompaniment in the complete version. x £2 MESSAEN: Theme and Vartons (1893 “Ths consideration of adlional sale resources is by no means ox haustve. It merely iniats some of the new ses that hae Ben ae Its atthe manne in which they may have ben concave and pats the way forthe creation oF atonal scale pate. Thi technique Value, because muse based ona selective sale even 3 sytetc one, |S generally more omogensour and omprehensile than mare lacking och foundation Expanded Tonality Restrictions resuling ftom selacve scale concept have dished panded concept of tonality Carte ot logis conlision, coma Tends to an allnclisive sl of twelve tones with egal statis Hnown ‘oecupe seal. Ths designation move appropriate than chromate ‘eae eventhough the noes ae the sam, becaae i docs nat cary mith It conotations of altered or secondary tones. The daodeuple scale pro- ‘vies mann feed x melo vention, ut the wayng fore of ‘elective sales and tonality ar lst nthe bargain, This poss problem “ ‘Bat hasbeen aticed by contemporary compores ih tee basi way “The first way simply to deny the importance of tonality to renounce leaea desirable quality. Msc with no tna center i called atonal. Come posts of atonal music enjoy the advantages of ult Feedom, but Unintised Isteners Bnd elt to comprshend and appedate “The tendency to porcelve ab a toni any tone which spp stage points such as eadences off used more equntly than te thes i ne fate ea ast strony conditioned. Therefore atonalty does ot oes ‘pontaneouly but must be cultivated and Fee (oe, none) tonality ‘Breativaly rare When tonality und slate scale foundation eas. Ing, conceving infectious melodies is more dificult, but the pint 3 hich tonality casts to fancdon ie largely subjecting, Some mesicans| vl detect atonal centr in alert any combination of pitches, Wile sere prcive tonality only when definite tna elainshipe ate eta "she, The former woul ind evidence to suggest tonal ener, perhaps rin Example 34 but the later would probably regard as saa ‘Example 33 approaches stonally, but ie basicaly simple, Ths sock of melody, hough lacking stong onal orientation, bas no insurmeart fle obtactes to comprehension. The tide oulined in the seo om tour provide a link wide teaiion and previous experence [58 BERG: Wozzeok—Act! Scene 9 (1814-21) p45 Jo72-90 ‘Though fre stonality is posible, stonal muse mote often i based on a note sves orton roe which provides bath a systonatc way of chiesngstonalty and «unifying device to tke the place of tonality ‘Toele-one or svial musi, as mie sed na sves 0 row i called, represents the second twentietvcentury apposch to musa! organi tian. Ths approach isconidered separately a Chapter a The thd approach has no commen name, bit i abundany repre sented in eaely and conservative twentieth entry compostons. Te iis spproach tonality is significant factor, bt the concept o foal dersee from that of previous periods in Hh na feerchy We vecogaied among the twelve tones with the single exception of the tone Tae eaditood, fenctions of the keynote are preserved, but the other leven Tones ore cau ree, ad independent of eachother: This coment wil Se aed oe tonaiy, ‘There i Bo clear ne of demarcation between fre tonaty and ate ‘sietentvcenutywltrackromatcsm. Example 94 might be conrdere aborertine case, n this example all rel ote ar ae, anlie pet, rence is show for those tha belong fo the Ley. Fm, Seasons ‘eter eighteen occurences ofthe five nats ou ofthe kay and eat ‘in ocrurences ofthe seven note inthe hey. The proportons spree tate those anticipated with the compete acceptance of the fee peal conespt,On the other hand large percentage ofthe nots ou ofthe key arechromatic passing toes. Only the Grats of mcunies Land $d naturals of measures and 7 do not reaalve by hall sep Bees thes ‘rental aive a thetraorml reolton, the Gat wit one vote ‘ervening the E-atural wth seven, The vole lading i mae repre, Uveof the ninteth entry tana the ientedhcrsany £54 SHOSTAKOVICH: Symphony No.1 (185) pe hoe ie ste ily Sloe wc ‘ete cas adeno tat a ened nba eee ‘Tel eaten emer Semele nee et Rn tng Balas ey SS he sy pig ee ‘Sean rated tage ae i ore 6 ” they lack the conventional contation of being raed or lowered fom seb al is mangle nn ru ticularly even. Fsharp and Desharp occur most feguetiyse tines ‘chy and Fnatural and Braturallent—tve each Expling the fall Aodecuple scale, Hindemith exerts enuualyeective sppreahes to Uheclinax andthe cadence. x 55 HINDEMITI Symphony Eta (184010 Sebe lebbatt apt of hit ant or il sng aden sunt in sng canna nee a al thy aay pt nd yea Moves tye ek hie eg i ey ae nt hh ges fal Ea cere Iercnin of Dg ppetp nndgeil o Schreyer an ‘pe rth tong toe fey. Toh vient in comou om Ean ho oa pe itty sider oh moe onesie nd prFE HNOEUTC Symphony 0 Ea (60) pS In the dodecple scale equally tempered tuning i taken for granted, and the enharmonic spelings of notes are Interchangeable. Accepted Practice isto aoe the spelling which faclitate reading and playing. 4 Practice Hindemith flows consistently. Serial and poner tonality and etna are diferent approaches to foal organization withthe sme purpose—that of exploiting te Fall potential of the duodecupe eal. Each Init own way occupies sgn Kent place in contemporary musi. Though thee were sporadic exper rents wing resources beyond those ofthe donderele ssl befor the ven of eicronle muse they exerted no eel iaflence othe aie Streams of melodie invention. Seale with more than elves to the futve and vith intervals smaller than semitones ae considered in Chapters Contemporary Harmonic Inftuence ists melas of previous centre often outlined was and seventh chords, modes of ths century often oatine contemporary harmonic Serotues The influence is less ebvousmwhen the harmonies are more Compew andthe trend recently has been away fom melodic liner of Jnsomonc derivation. A fw moods embodying elements of unconven- tional chord structures wil fice wo dlustate the phenomenon. Example 57 sone of many istances inthe Scherzo of Barak's Fifth ‘String Quartet where the mlody oulies arnt chor “@ Vivace. re ae Example 58 begins with an arpesgition of 4 thitenth chowd on F In this form the Rarmoniciluence is apparent. THe thttenth chord ower, encompuse ll the noes of C major Ifthe notes weee arrangad long sie ine Instead of long cho ln, the harmonic tmpiation trout be mising. This possibly ie moet apparent in hieeth chord, Tinie inallthemorecomplen sorties $e ee IS iu geeee —= Fours, except a they resulted fom inverting ths, were dormant ss harmonic ingredients fom the ine of orgamum tthe poser? centary, iwied te oe of chords bi ix Funds Pec coma, prac. The Fourth chord influence on the nec ody, which mast the intervals se perfect Fourth, is obvious 5c 59 BARTOK: Concro or Chose (143)} ie ae ‘Example 60 has augmented and diminished es wells perfect fourths ‘nitenelo ine x 6D BARBER: Vin Concerts 184%) 57 When contemporary harmon iiom is adopted i almost certain te Influence th melodie writing. Such indaence both ata aed Sable within ii, but interest diminishes hen oun af he grovel, Ing snorties are to appaent in the loi ines ‘The most eacve ‘ontours esl when chard ines ae combined withthe stepnise ion of scles and nenkarmenic tones. Melodie Doubling ‘The doubling of melodic ines tthe otave, thd and ssh ea vente able practice, To these intervals contemporary composers hive ded ‘modi doubling at oer intervals and by complete chor, Deusings conventional one itervals are too fommen fo fequne connec Only doublings which color and renferce melodie line i eee ca way are stated, The Giuoco delle coppie movement of Bartk's Concerto for Orchestra te veal catalog of melodic doubings start afters bt intros, Hon onthe side drm, with two Bassoon playing te nelay in abe The consistent doubling at the minor sath, broken only onc inthe ee [HD Produces cross (fale) relations that ea charseerni fete of the pamage. Examples 61-58 dtnonstate tat the eect of a eee doubling i enhanced when the interval qualies deviate fom thse of he stoiceele 0 5 Ex 81 BARTON: Conc or Genes (88) 529 dara Bene lemediatly after the bassoon passage in sche comes a seetion for oes inthis, with he minor gual predominating, Ee 62 BARTON: Conc or Crates (1848) 520 Unlike Examples 61 and 62 which are unconventional only in thie ‘emphasis on equal rather than dati interval Example 63 from the same work features doubling at» desonsnt interval the minoe seventh Inany doubling aa uniform interval te wo lines py ferent Lay x 68 BARTON: Concra or Gabe (1948) 2Pall pee fifth, strictly frien by conventional rule, ome ‘enue uninterrupted thoughout the pssage from which Example 61 tien x Bt BARTOK: Conca for Orenest (1949) p82 59 x 65 ORFF Ca Garmin (88) pt ‘The last inthis series of meloce doubling at various interval i ‘consecutive majo seconds played by two trumpets, Oren fat wit the pastas might expct a dsonant eft, ut the mated trumpets ying softy a they doin Example 5 proces distin fone clot Ing whichis notat all disonantin he wu ee x 85 BARTOK: Conca fr Orchestra (184) 54 ‘The movement from which the preceding examples were taken con les with alive pats of instruments paying thle chevsterte tne terval siultaneously in a D7 chord. Listening to'a performance of 7 "cording wl bring these examples t fe ad vividly demonstrat the posbiiies for contemporary meld doubling Melodic dosbling is not Imited t single iiervals, In Offs Carl Carmina the following themes statin paral! te 52 A sll more elaborate melodie doubling osu in The Rie of Spring. “he melody in octave spall by distonic ithe and ss cove, ‘hdr and outs Below Ex 67 STRAVINSY: The Ate of Sing (1912) p08 ‘An extended melodic ine in purl ain chords would surly be ‘manotonos, but soreries mith nth chord implications double melodie Fragments In Example 68 with good effect. The stfu ofthese chords |scbscured by thle spacing. bot they can be anayoed igocing the pal 'A's) a ninth chords withthe thd omit. In each instance the tree adjacent tone are the Seventh, roo, and nth, and the hghet fone in (ach hand ithe Bh‘EC 8 DEBUSSY: Pano Prataes Book W No, &—Feslos Names V3) Lenk et melanestique 7 Melodic doubling Is «special eet uted sparingly by composers to ‘olor and riYore lines, The forgoing examples show fgiel spec ons of the device in slated passages from larger work hee sppropriat and ofa Suggested Assignments | Must neh dance twortahcetry loci patios ced inthe ex wala copied tom a conampotay companion Ofte Pero Jerse cs lin eae cheer may rod este singed n he secon on tonvouatese nar 8, Mase taba ofMeesaar's aes of ited tenptaton sing cn ‘Gi sven moses mrtg on C and on soencrgsontonss wo |p piesa ne et waapcsan cron ‘1 Ataiae a panssge ros Messiaen work olen whether or ott sh re Sted fom one of re rose ens onopecs oe iy yume ay mde we Soa 5 ite aloes vg scale sar mm fe examples. vet sitions als tin te ance of ae ony nwo etn “Wich cheng maybe ackng, nn eAarent tent Vite rele tne lances by contenporyy hamoncshvces, sn oa ecring ote sana ovarian cece coe ee em Banok's Conca fer Orchestra ray teenie Socorro ohn mace cousings a ear rho he sae 8. Davis elective coving fot erga cr Served melodies, Orginal 10, Rene "Seth of «Nw Eanes of tite Pe ess i Asa tae Se Pb 865 nos ‘er nets on Contemporary Mase sce by Et Scouse ‘and Barney Chics Wok, Rnaart and Wien ae Rhythm and Meter T soverovs any tnt ec snd nor var hn oy pi a tes oa set Enc cane ingen Te eee ian a Scns me pte aed ni ame titty in pa Op ser Seems ee tr pss nish te hanied we tse se ah ‘ow tne srry ba Snes mie seer and epee Pre ll se tt ny see ye ee Sek yn the emry by Compe rings say sci an senng mes cps rene es Ty ‘Stel many wo cacti aos pena noe, ‘Selon nd ip ay fh spec eons tne adds ns Com ne fee fe ek IcncCasagne tenor at ne hen Rene fated Wes wl a sm oan ef century shyt Nonmetric Rhythms Teadtonally, music i ween in a constant meter speed by stm ‘anatuce. Ba lines define meee units, and bets nimeitly flowing buries re accented. Masi theory also enablshes wera of eco daty scents and unaccented bests. Generations of composers woke Imusic epplying these princes; performers sr laugh fo absere them: an listeners ae expected to persive them. A wealth of eva as ‘been composed embodying these thle concep, but hee ations srecbviows7 ‘One way to dicument such imitans i fo proseve but ies solely 1:8 Convenience of notation, disregarding in competion and pect: ‘nce any met or acentalimpleasons they frmeriy had. The eft isto crete music without dbl bar ines which ir eeenaly none “This idea not new Tt existed in pain chant and nthe woe mus oF the setaneh century. Renewed inert inset entry ved poly ‘Phony has done muck to evs Inthe sbaene of mere scent, fates Inkich ae approached by les, prolonged, o enbelsed become fre onaly equivalent othe ater on metic accents, but being independent ofthe eter they may come anyplace inthe ensure ‘The metic divisions indicted by the ne signatce and ba ies in Example 69 cannot be detected n performance Tes across be fet clterate the metic accents and praduce asl, fre owing shyt In which the phrases of seven mansres and si mesrurce coud ether, ‘eregulat nor extended. The phase dovisiane, which otherwise might be "mbiuoes, were marked by the composer er shown Example 70 lustrater the same typeof shythmlcfeeing. though the stresses str to conde withthe bar ines the ends Often, so ht example nonmeti hyn ae integrated with mesial riented pat {eco Internal sepestions create the mpresion of exienron, but phrase divisions arent carly defined, [70 SCHUMAN: Symphony No 3 (1963) pA 56 In the interpeeation oF nonmenic music, phravng ond oralaon ima issue added importance, Denar the performecy instinctive te sponses to shythm and those asscnted with marc usc ae not vale Eminating or camoudsging the eect of bar ines bytes oly one of the ways yt Bebe acheved in modem ase Shifting Accents Rhythmic Nex can als be achieved by shifting asents fom their ‘oral Inction inthe metic pater fo some ater bet or fecnn of beat by means of ariculation and phasing mars that do ot eocie with the metic dlvisins. shifting accent can be, and frequently oe ‘enforced inthe exture and scring. lathe Walton example, accont masks on certain seond and third beats snd slurs Joining pair of quarter note eve to tle the siete fom ‘hei normal locaton in the messes 0 crete temporary, 2/4 rer ie. [EX TI WALTON: symarony No, 1895 5408 ‘Accents can be diplcad faction of beat in conjunction with sys copatedhythins, possiblity stated a Example? x T2 STRAVINSKY: Fein Sut (180) 524 3x10‘yen tor oe Sometines an accent hts associated with a shythnic or melodic pater that doesnot conform to the eter. The accents In use 73 Golncide with the repeated highpoint in the line but anit in rlsson fo theta £79 STRAUINGKY: the te of Spng (1813) 500 [The ceed begining ofthe descending figure in Example 4 comes ssintent tern sach measure 4.74 COPLAND: Symphony Ne 9 (1045) prot Jere Note sroupings foreign to the meter ate not always masked by acents Unccented aroupings ofthis ort are indicted by Phen mec ey eum oining notes within «group. Since phrasing marks sa induate bowing in sting msi, Schoenberg ser beams la his Sting Quarar Ne “10 delineate groups of notes that extend over beats an bs ae 0 Ey TS SOMOENBERG: Sing Quan a 4 (986 p= no Bowing x not a factor inthe fllowing example fom 2 Baik piano piece, but he beans together groupe of stenth nots mick sh ps ton in elation to the best. Othe ierpettione a posible, but the ‘otton suggest that ath group i tobe payed in the some wey. Tit Un eect hits the lean of any accent rel or implnd in rerene to "he notated beats and ba lines, which weld not be pecivad by listener, Ex 7 BARTOK: Mrotoamos, No. 148—Osnat (1808-37) Jena ” 7 # Walton makes extensive and imaginative ase of rythm shifts fn Belshesn’ Fas from which Example 7 i ake, The scents do not gee with the mater or emp with ny consent patere: On te eon. teay they oar on every beat and hall bet of he measure he cone ofthe bi excep,x 77 WALTON: Behazzars Fas! (1831) p70 dni20 rch ar Roy Has cptlaes on he face hat 3/2 and 6/4 measures have the ‘aie numberof quater nots but diferent secondary scents tomes ‘ere with an undsealrhytho. Each measur of Example 8 fi nt one ater or the other but mixing ther adds ulgu auch The ecalo Spaced acents cannot be anpated or the loeation othe bar Ins fat ‘tive auraly nthe vesmeaste pase TAKARA: Symptom Mo 3 1828 983 Momentary diplced accents producing shythmic units of unequal station have bee lsat nthe preedng examples, Whee a rece of unegual durations within a measure i ue conatenty, secre smetdemeter esl Asymmetric Meters (One ofthe ft asymmetric meters tobe wed was 5/4. Measures in ‘meter can divide eter 3-2 or 23, Though i's not cree cee oo si e Sar dhisions within rwavures can be indicated by dotted bar lines, a= Ravel dacs in Daphnia chloe. {4 TORAVEL: Quon ang Choe. Suto No. 29911) 587 Piston places the accent marks in is Divertinato 1 sues a 2-3-2 Asan of he 7/8 measures x 81 PISTON: Dharimen (940) pt ‘The beams and slr inthe following 7/8 example imply 2-2-3 or 3 S81 BARTOK: lvokounes, No, 82—Sohareo (1908-97) dena,E ‘rye dr UY COMPETION © ‘ Stavinshy divides 9/8 meatores esymmetically 5 and den 5 i The ime signatures are shown nthe extnple a they spear bee i“ x 62 STRAUINSKY: Theft of Sorin (1819) got od The measures of Example 83 contain ight sighth ots, the same num- ber ain 4/4 meter, but thet slgnatareeplily groupe then feos “symimetsc pattem that iemainisind toughest hep, SS EARTON: mitoses, No. 18—Dare in Brin Aten (805- Lhpew Adds 30 i re o ‘The umber of eighth values inthe mesures of Example 9 i in, he same a8 in 9/8 meter, but again Bartok species an asym dns whch crt fo he eter pac a ree he ‘example s taken. = x B4 BARTOK: Sing Cutt, § 1804501 Tn the i of the same movement Barck adds an eth vals tothe measures fo otal ot tery nich he al divides asymmetrically BS BARTOX: Sing Que Mo. 5 (1896) 295 dp. ogee Pd yd od Many unusual tine signatures re encountered n contemporary i. Sever have already been ilstatd. Other peesites cle thease ‘of tuna unt suchas «teenth or a thrty-seond forthe bet an the tse of eters whlch inva unasual numbers rcions of Bete Such tine signatures ordinary have the same opel base se convention tine signatures, and inerpreting them pores no pec prblens Jsgues Dalton conceived the ea of substatng» note symbol oe the lower number in tine sigastares. Ths syters tpt for any meee buts parla advantageous when the trac best nade vale Cal Off adopted it for hs Cali Carmina. He wits the tine signature above the staff wih a line between the number and the note eymbel ‘indomith uses the system inersttently inthe fst movement oF Ns Symphonia Seren. He pacer the symbol onthe stake ¢convenonal ‘sesgnatr shown, [8 HINDEMITH: Sympnona Sere (1247) Be The preceding example introduces not only a new type of ine sig ature but also another source of shythmic variety changing inehar ae (Changing Time Signatures Some ofthe les ispzed musi ofthe past crates the inresion wth 4s regular metric accents and evenly spaced cadences that tween {0 tino messes and phases of standard dimensions Not co there of he ptesent. Is accent are te independent ofthe eter, thes sno longer viable norm for phrase length. Comnposes wh set To ‘ain the adionl functions Ofte sgnatces tad bat lines oot emmmite oa constant hythmic perm. They have he oplan of cea, ing the ine signature as often at neceaecy to refer the ne nee ‘ions ofthe mus. Ba lines then come beeen best patterns sod Volos eric cent sn conveational mune, but tei cemented ‘measure by measre notin advane fora ef compotion Choong fine signatures area tridematk of modern musi, and italy eee, Score provides example. They are an added hazed for ploves wed clined to be thick and camberome, and nothing all fates than» com positon oveaden With nth, eleventh and ireanth chords. A more Serious problem i that such chords virally eliminate the possi of ‘vigorous counterpoint, Every note of a severtone eles contained in ¢‘Biwenth chord, so melodie nes win the key can only go fom one éhord tone to another. Notes outside th key, Beng no ne Ran eee, tone from one ofthe chord tone, merely sound the nrighboang tee, ‘Bectuse of thee limitations, suck lash sounds have lane Book cot of youu. Relted sonore which preserve their advantage td sell hae ‘harcomings are eter sited to modern requirement, (Chords of Addition and Omission These apparent contradictory terms are applied to «group of closely related sonoritis, Many of the chords fling in these cso oy bs analyzed in ether way, depending upon the pein of view: wil Se ‘Shown inthe analyse. Asimple chord to which aed one orate nots, ‘erly fosign but used an integral pat of the snort Is designed 2 hora of ation. A move complex chord from which ane ee ‘normally exentialelement i ited i esgnsted shod oy oor Added and omitted notes ate ented bythe Interval sows We ea thebat chord [The ost obvious example ofa chord of addon the tonic aed six te chord on which The Son ofthe Earthen, e114 MARLER: The Sango he Earth (1808) p18 Over ‘A superonic seventh chord inthe rt inversion asthe same stractre 3 4 tonic added sith, but when the funtion ts ley ete se ie preceding example, the only plusble sales is sa hon! of adn The onc ade sth as been appropriated by componets ad atsnece oF popular asi but is sila valid manifestation of pracst by whch ‘anyother sonore ae contacted 2 © Teds wih sled ends esl Fund ppd ons at at pit scutes es Seon he oe wig mele cd be yd 2h cd hh ve creating a ser ad tho el od a) Snr leila Te onlin af he seth sy ar he (fete sino te ser de se ote ad af these thf woud yt to ce nth So e112 KODALY: Yo Daum 190) pis ln Example 15a sich anda second are added to mor ad x 119 HARAIS: Amarin Balas, Ho, 1 (197) rrr A rinor rid ith an added conde quill effective,EC 114 DEBUSSY Polens and Mlsarde BIE) pb og ———— Example 115 shows a maori with an added second progressing to dominant thiteerth withthe eleventh omiled, which comes Se ose slyzed as dominant with an séded rth x 115 DEBUSSY: Fiano Petes, Book No. 10-—Cenopes (1913) 5} wa. ge In tet harmonies the omission ofthe thd evokes the greatest change. If the bse aces ae analyzed asthe rots, he chord te Bole 12 are ath chords with the tide omitted. ‘The chords cane Be asaya ao major triads with added perfect fourths. The aided notes In hs case ae below the tad, une those in any of the previous {amples Since notes ar most offen added above the baie chard Sod he _ectve doubling suggests rot rancon fr the bss notes the anatase ‘rds of omission more convincing a 85 Ex 118 COLAND: Vin Soria (58) pa Adda notes ut not neces nado aon oth wer ying deny te can bv sd A fr Sid wi aed se MER tots earnest for ene Sil estown nse 4 117 KODALY: Te Deum 1996) p13 ae “Te fst chord in Ons Cal Corin is minor wad with an ade sugmented fourth118 ORFF: Gal Grin 100) 67 ‘A more sophisticated uded-aote chord is weed by Bach te cose the scand movement of Ks Vitin Sonate. Afr ry estelichig ee oe of Beas minr, he uses a tonic added sth forthe cadenee decd A, sequently adding s major seventh and an augoenta Roca He oC Yn som he 29 pr = Pep Ss Sentinal noir nian of bs shard member ss inGuanpl ft Thechads eves apr sat sees Sk io ds shove he or tas on 86 a 100 BAITEN Poser Grimes —ratque [OT FE nok P “Thee chords of addition or omission over the same rot are used in ‘sample 121 3 minor tad with an added send,» dominant seventh structure with added minor thd and heen chord with te hd tnd eleventh omitted 4 121 HARRIS: American Batic, No. (1947) ‘ 2 mF a “These examples show some typi chords of ation and omisin, ‘Many more ace posible and ths process place atthe dpa of the composer an init varie onories with an unruly wide ange of ensonane and diconance,Senorise of this type have the added a age of s clos ink with trdion in ther underlying Sai chord Sounds with « perceptite relation to conventional cows have more appeal for typical stents than ebtse tonal combiasons, at vans tage no to be overloked by composers stl reeking ception and th utanrred ptfomances ‘When thie nots or more are added to chor they more often than not assume the form of another chord. This esto the ext asian of harmonic sound, thove tt arle fom combining simple choPolychords Sonos which can bes be understod at combinations of conver ‘ional chords ae designated poluchonds. Only trade and seventh chords ‘a nited in polychordal formations. Lest falar stacete lose Sate deny in complex associations. The element of inves chords with {ns polychord are united with each other and ile fom thos of ely hard by spacing. veister, and/or color fo emphasize the dstinctee olychordal gual Every seventh chord iin s sense» combination of to tds, For ‘example the dominant seventh chord on G ean be analysed ab soe trad combined with a B diminished tad. All seventh chords an Sef sured ab combinations of various typer of trade with rots 3 thisd {pat According to his method of aalyiseach ninth howd encompares thre triads and two seventh chords. Eleventh chords encompass foor sad, thee seventh chords and to ninth chord and Uieeenth conde encompass fetid, our seventh chord, tye nth chords ead oe eleventh chords, As lng a thre are conston tones ands low ston, ship betwen the triads they ate percived ws componenis of s syle shard unless widely separated in epee sere i contrasting cles ‘Fe polychordal plications of such chords cen be steve delicately boyapcing and scoring. “Though interesting polychordal efects are possible with the com- ponent of ninth event, and witenth chore, most plyehonds some Dine elements of two keys or mode, One such polyhond,cnevting of ‘wo majo trad in the tone relationship, permestes Stance trouchbn and provides a song undying elament in the compet ork While trumpet and cornets play the © major gue in Example 122 hors sutan the Fsharp mor ra, and strings, odds, snd pls Play the to tras in rapid alternation, Signicany. al ofthe pckes this passage are from the ocatni ele ec p. #2) on © which es the same itch content ar the otto scale on Eee 2 122 STRAUS: Parouanta GaTT) pO “The sonore rom wo moj inde a theta of tone sors roma ram taecnme prevly wig be xpd {rovoundeo amp 15 ane erage ada enrmonay 22 daninat minors han sngmented love ep “The vis ingrettion of complex chords canbe changed by enka soni spelingy The speling of «psoas Chord infueneed Oy te svat ed andthe a need in ar byte speling Sach {ists ar of ogres inporans whe deling wih led ar tronic sacar, bo ie peling ne by he compe take na Count inthe following snlyns Foe eocon are designed foe ie Snanvyingstuctre: tbe nerprcatons ve pombe some ess Heron ure the sapmente out las Seoveen te dominant seventh type chord n is orate Synpiony The Sad sored fr ‘tres wi the pacing how ea[er ema ctrosnon 5124 HANSON: Symphony Na 2 Romande GBR0) pe 1 caren: The tritne I only one ofthe possible palychord relationship. Haris maker sn eective inal cadence with major tide om roots» aor hed 125 HARRIS: American Bl, No, 4(847) Pr = Ravel wie « G major tad and « D-sharp minor seventh chord to sharin panoSguration, £128 RAVE: Pana Concent in 6 (1991) pt o ater in the same work «minor tad and major tad with room @ rajor seventh apart ate combined Ins galychond. Spling eth ob the lower tad as Bat and the third ofthe upper tad se Acahary Se Ravel does, cons the pelychord analyse even though alt ots can besrranged in ascnding hinds 4 127 RAVEL: Pane Conceon 6 (881 9 Stas P 1s Example 128 contrary moton between major tds produces poly= hada with vated rot eatinships—majr sever perfec ft majo ‘hid and major second. Trade wth rots = fith und sevens spor prodice chords which can be analyzed ag ninth and levenh cho ‘espetvly, bot i this instance the paychord analyse suport by thekarmontc stems 54 128 SCHUMAN: Tvae-Seore Set No 2 (134) a3 4 ghey Saif 2 4 5 (One ofthe most compen poychords occurs in The Rite of Spring whee a major rad anda dominant seventh structure with tot ooh seventh spat ace combine. The scoring is homogeneous, The complete oychord in the spacing shoven played by dv snags enforced on {he accents by eight hors. Aer eight measces of te black chon‘broken forms of these same two chords (Flat major now spelled enhar monty E major) ae combined with thnd chorea € aor Wad x29 STRAVINSKY: 7 Ate of Sorng (1913 11 pe ‘The process of combining rade nd seventh horde in polychords adds 4 new dimension tothe hamonc plete. This meen of conning Sonortcs has the potent for an ialsied range of dissonance and sonanee. As with most comple chod suchas the effect depends ‘much upon potion, spacing eg and scoring pom pick content Inthe matters the overtone seis eles een gue for polyonds, sinc they draw material frm two sources, than for tert chord sr tures. Teting varauepolycond ombintions at he plano provides ec. petence in selecting fective clationshipe, specags aed Tega Stadyiny sores and listening to recordings of works containing poly. ‘chords rcv oasete the fect ofosheste cling lathe sence of ‘opportunites to experiment eth an instrumental enceble Nontertal Sonorities Conds bul i superinposed thirds have beth tude alone with various additions to and combinations of rch chords. Another fete ‘Surce of tentecentary harmonic materiale chord contraction by Intervals other han thirds. Chord construed of other interval te come ‘dared cllctivey a5 ontertalsonoiioe. [Nontstial snore are nt without ancestry in more conventions! ord. The second inversion ofa iad with sevens suapenion It {he sopeane gives a char in fourth, When the seventh, roo and ninth fs ninth chord appear in clove poston in that nde, # segment of ‘hod in seconds results. The titenth chord ine i conte al of the tones ofa seventone scale, canbe aranged incon, fourth, and fifths aswel asin thirds, Regarded in hie ny neater sono ep @ ‘sca lpia ances of rtending hanson esoures along Ines Fag fend in mace conventional harmonies and eometiner eustng 0 fmnryonie orm i altoal practices. ‘Some of the easiest nontertal sonores sel when fournote chords were derived from a wholeone sale sine ony augmented ids an be produced by akerate scale toner. The sontertal suuctre of ‘Short 1in Example 139 apazent. Chord 3 sppears ob etal br one the tide diminished and sounds ikea aoe seond. Acta, the ‘hea chore have the sume undetying erature,» Foe which becomes Sppscent if the pitches ofthe fat chord ae rearranged end spelled en Ihnmonclly fA, Cosharp, Et This spacing and spelling evel = Suture tke x dominant seventh chord witha aled Ah, he so-called Dolotone dainat, x 180 OEBUSSY: Patan and Naleande 1902) 59 Aver one conventional dominsot seventh chor, Example 131 consists ‘of seis of whletonedomiante While the as one i usted an Esha sido nthe Bae and D appeacs inthe peated note igre falc nate of the whoevone scale are sounding smaltneoualy.a TE 5s 11 DEBUSSY: Pine Poute, Booka Des Pas sure Rag 10) = ‘Shords In seconds ae not used only by impressionist compoers or desived exclusively from whole-tone ales Seca are prominent i the harmonies of Example 132 though the sustained note the win pet ‘eth shouldbe regarded es pedal tones rather then chard tones & 182 COPLAND: Vein Sonata (1945) 13 € 9 95 ‘Seconds se aed in diferent ahion in rample 33 189 BARTOK: Mnokosmos, Na 107—Macay he We! (1506-27) 2 Chords of tee ot more conseative seconds are known a laters “Theft cartes were conceived in tems the plano for which hey ae faiomatc, ut soon thy were Beng wed in marie for other made (oetp 232) Example 13 show revensnae csr on the we heyy tlternating epidy withthe five blckey nots, tgsther compen sIltwelve ones of achromatic octave x 184 SARTOX: Plano Concerto No.2 (8D) 57 Cluster with more nots and 3 wider compass ae ilseted inthe _xcept from th accompaniment of «Charles ves soneE165 WES. V7 Songs Waly (Bp a Henry Con's pao conpoons wih be peforned in pb or th it wn tnd cer for whe Se ee pel ‘sum of nttan The ryt sow Ds ee Sa efit keys isc and nie teen wpe nd oe ee eyed stony sng bat rt x 198 COWELL: Fane Musi No. Ter (528) a d Stanly enough hl onlomert a hse a ot pec ss dno a al se Thy abe sand sae oo ean ‘estlon but iteted wih ther pe chars they nda pone te contemporary ged im se moe recat ede de a ‘te esenaly «mune cr Tn swat of Seas Messe er oe ri eton wa pen 2% by Usey Mme SA bes Mihi ory aie nae oy Cg ws Mon nie, Phare ra Conan ule Ropar or (G955) in which» contnaouay evolving sound mass produced by 6 n= Hramentaliet playang at totally independent pacts ‘Contemporary composes alto make use of onories in whch fourths the primary interval. Fourth chords generally lack the resonance of {ental snortny,becnse this components ate nota closely elated f0 the overtones ofthe rot and consequently ae reinforced es by therm ‘Ths i pricey tre when allo the fourths are perfect and when fourths are the ony intervals nthe tecture Fourth chords are nt or Alin used thoughout composition or even fo extended pusage, but they ave a pis harmonic resource for interven use and bret ‘Curate Engloutie ea fia wor in which fourth chords ce sed extensively. Fourth predominate In all of the chords of Example {o> cwept the thd of the quarernote chords, Observe tat seconde vu from octave dobligsin fourth chord, x 137 DEBUG: Pana Pode, Book No. 10-18 Cahaaile Enpous (ate, ‘When one of the fourth in a fourth chord i inverted ad becomes @ Athy as the whole-note chord ofthe preceding example, the lower rember sate elf a the rot and tnd t reat the impvesion of 2 {ena sono with the third onnlted For this reason the ith dicey ‘Shove the aati avoided when the ditinctvefourthchord. quay tose Berg runs the gamst of corde in perfect fourths, fom 0 notes to sevens in Worete Since sof the totion in Example 138 ie paral, pethap it should be considered inerely melodic doubling. teat be yard aes typical example of chord progression, but states with‘sual danty extended sractarer in perfect fourths though rome ae notated sb gmented hinds. x 199 BERG: Wonstl—Ae Sea 1814-21) p70 ? WE ye id ya ‘Armor varied ue of fourth chore shown n Example 129, The basic chords are but im perfec fourta, with contrary movion and moving ports adaing interest. Ex 191VES: 174 Sangean 1022 °° “Thoush hardly would be suspected from the sound. te Bal chord {in the Schoenberg ian piece ewe in fourth, one of them prct tu the othe te augmented. Chord containing suarenteé ot lii= ished fourths bear ite esemblance in sound to ore constricted in pts fc fouts, x UOSCHOENBERG: Thos Plano Pcs, Op. 11 Ne (910) ae Seribin's celebrated “yc” chor has an uns interesting tus ture conning of prfct augmented, and dminithed fourth a hown {tthe end of Exaple 14, Mont of the notes in the excerpt and inde in the ent pee re devived from the generating “myric™ chord a 14 SoRABIN Pode, Op 58.1819) Chor bt enrely in fhe are rar, but they do occur, One such instance isin The Re of Spring where the flloming note chord i pect ts wedEE 12 STRAWINSCY. Toe Arco Song TODD The fst chord of Example 143 as the tame structure a the preceding xample after which the harmony beaks into to streams of ees ooe ‘hordin Fs imcanrary motion Es HBARTOK: Plano Conc Ho. 2 (191) dso The inal chord of Example 144s another scrote choc in fh, one sf them diminished, The notes ofthe let hand must be placed above hve of he righthand to realize the Bh pacing throughout Ei Va4SEHGENEERG Tas Para Pes Op. 17 NRT) - fa Chord structure featuring post fourths and Bthe ae wed in the Lament for Beowulf evoke the achal aemorghee ofthe text: Only as oie of the harmony is ven [nthe oxginal dase chords are fe pete in rythm pattern ara background to the ves nes. 14S HANSON: Laan fr Bao (1905) 68 ee ‘A chor infact progresses toa chord in ifthe in Example 146. Only lady ote soundings the ine the chord i struck are clade in he smal.2 68 SCHOENBERG: Ts Paro Pec, Op. 11 No BC) Example 147 which shows the harmonic outline of section of a Ba tok quate, employs some conventional sinuturs and some dacused this chapter between «chord in Fhe anda chord in fourths, Direc below the evginaldstling and spacing ofthe chord, thet componente stearange to revel the undering traces. x 147 BARTOK: Sing Quart a. 5 (1994) p60 cea arr es when dvese harmonic sretures ae exploited in sstson, at they ae in Example 147 rather than when ype ae slated tht man lum efectivenene achieved. Though this Fact cannot be adesuately ilustated in bie examples, woul be abvous ifthe complete mocks swerecxamined, 109 Suggested Assignments ecuoe he harmanic sutures in Debut’ La Cathie Enoiute (Pano Prete, B00, 10) he set om a iy ha cing the ealeporer vod inchs Seay sooctadexcerte fom Staal PAK in ho mame of ‘ssignmon-xangles 107 ana 20 can se se gins of ooerure Lost isrve chore in catenpory compotion and aro ha ito chores tasting ech exegary cies in thi chap Fo ech Sik rte vn ee win atari od acy Nate a Mosern Msi Appleton Canute, 180.Harmonic Progression T i ct can rey hp nd al won, As the fll gncance of wore eed when thy ae Inne wth otter worden sentences, fw fll glance of cords s ‘led when thy sumed with ter consi prepress Harmonic possi ke baron sate curated by w- limited feed in twenih-cenury mune The pebion of fade Sona harmony tet) ad the pi serpy burve by Composers of he commen pac peed ae not valde one Sl Ely inthe cetry seach pnt here every heels schoo wl ey nd sre nn lowe ed see is hapten concerned wih armoiepopeins the epee ‘tradition in logical ways which yield to analysis, bata Toad od prc te change of atte eating he soni lations he ol nd the new an be compared Dag ie Fesod when much of he fila mace Mestre war omposed mor ‘itr tonlty nde concep of hard inversions enamel bss {Coad by Jean-Philippe Ramee in 1723) Smiated muse Wiking Milornnar onal tapes ate tt serene to te sven Scale pate wih etn ad and sveevcord sees nse with each sedges The vary Meet ne as foro noe sree by the preference forte heen form whieh boron the ‘Seal leg tone fesurefom major These sls td te pee {Stout with then determined he buscar an cael ‘elaonship. Any others seul indent and uppring rl ‘A stony soe of tonaty wos feted decng te eal Peed by api upon hod fot oven in fours ta the elt ‘his most condcve to tnaiy: nations ae never appre Ins Sostepiec Ope bo annus of he ft at Most nes wong 04 15 ‘ithin what would ove be regaled os the confines of the majorsinor| ‘tem. Tes tbute toh gels that he created such monumental works with few resoures and pehaps 3 recognition of our own lie aon thatmosivates ou perpetual que fo new ons. ven during the eatively stable tonal perio, harmonic concepts were volving continslly if slow. The proces aceleated daring the oman- {era and just before thefts ofthe contry the revolution tegen To facltte comprehension of contemporary harmonic propresions, they are considered hae In varios categories ad in connection with Yhesinpler chord sructurs, In atl urge 9 such elation exe, and lof the progressions and relationships are pousble with sophisticated {swell as wthsimple stucures, Modal Quality mates of harmony, a6 of melody, modeen composes have not ovelooed the modern thei earch for ah reoaree Since he erie ‘eof modal materials were agely melodie and eontapuntl, hes ha mone possiblities werent exhausted and athe begining of the com tury the modes provided a ready menos fr extending the ovzons of tonal organization. Some prsage te purely modal, while gers rely spay evidence of modal infnce “The modes do not make avaliable any chord stractre not found ip sor and mince. The dfecencet aren the clabonthps betmeen chords {id in thee functions. In the majs-mino system chrorsatc nots and Sltered chords trationalyreseven prescribed ways. The results that ‘os lading nd harmonic progesans become stereotyped. There rs > >= Parallelism snot a device of impressionism or tiads exclusively Stax ns uses it with ist inversion event chords withthe Ath Sted ne 18 Td then with complet seventh chords in on postion, Allof the oles sein Dit major 50 every diatonic seventh hor shear in the ele ‘is proressons| x 167 STRAVINSKY: Frat Suite (810 40 In the next to examples pall motion between loth chord i “sts All the nth coeds have he root nthe bas sn he nnd Inthesoprano, whichis the most waa acangemert 1 188 DEBUSEY; Plas ane Mesiande (1802 p14 x 1B OSBUSSY: Nocumes— Fes (185) Animé et tee rythend PP.Savinshi7s woe of paral ninth chonls im Peron ts Far to Sr more varie thn hi of pra seventh cers shown in Eagle Ex 170 STRAWNSKY: Peroveia (181) _pinsanle37 ead ahha ac mar sin esc Invnon crn opie The Fd Ga ee oe oe ‘i Te inte Std meant canbe Sted on de co aed one ores mapension wich eles dena te Bt ‘the next measure, eae nema ITF HINDEMITH: Me er Malar (808) pe Paral sot eat of Schoener’ styl bot Ele 12 one insane where eed pl seventh chords Tis xan dence ‘tts tha the device canbe apd fo verse ser sd hat cok ‘pout in more sue foe thn Bic chee oveg ances ‘ytins: The ght-hand por i ythmlly sd harmony inde. v0 ‘endest The lfc par olin root postion seventh chords in 2 Ptters hat shftsinrelaton tthe mete x 172 SCHOENBERG: Three Pino Foss Op. 11 Mo 2 (110) cal In heist pat ofthe century parllalem was 2 feah, new device for which comprar found many tats nd numerous works enploying it hare a staple concet fre Emphasis im move teont ines has sited ‘Seay fom the type o harmonic tiking tat ed to paalis, and a0 {thus lle appl foe sstows composers. Paralel motion is prevalent However in thcurcet pp and rock mast "The haronic resource of ie common prac pecad considered 25 isolated chord sites aod individual rot movements canbe sumed tp inva pager to, bu extensive courses im adional harmony a bso fos systema sty of these ted materi. An equally ex awnve investigation of sntemporary harmony would regi volumes fad years, but such oroughees Is Impraccal snd unwarranted. The foregoing introduction fo eatly twenttheenary harenle practices provider an adequate foundation for exploring subsequent developmen’ [hadisonl anayss and synthe i recomenended to improve one's ure standing of and sl handling new harmonic reoures. Composers {rotincvely adopt materials and eed compat wih tele musical ideas and thei pessonal ster emerge a Sens and resources are Fsed (oto unied restive cxpession, Suggested Assignments "tose anol of model hamary ntact mae, ey- 2 Wie eprops modal stings or Fw atl mainosConponed BO cr a oe modal melden composed pos fs 6,1 6h ogee cles gel Seas rout nahin nthe tts movement ot ister: cal ymaters “ ‘gal or asngned osc {eat nd maa caso puatlam Days Paro Pace. = ng Gay and rat relatos or sa, Pinata ee popes For suoleray rating su frente Harry by Vncet rl Noro. 3b) and Conary sermey et (si here Pas 15), nee Tonality WO sexs we soem rtely mde nei ex hamone porno tay any mee Th td) che une 0 sige thc ctrl send ange prec Siena om si get pr ol set Ou nen tout dey ett es any pee irene! mejor sd ibe es tly he sree oa, esc inloner ontoey fhe an persion he Wade cevenin ay eng nee fred by he wr of ae ea nd sel dena bs one ee guy tat enn snp mote, bet ‘Stal er nly duces ct pone ea ears interme snl ma An sol nes sve al pats nia nec don pce a Sater tw feng tn a arly rad a cen ‘traf sewminided in scape One dite deans ee ‘ering some ve of aly ta atone oda oes ae Modulation and Transposition Tonal ia prime source ofboth variety an unity in ll music which har it Moding from one tonality to another prove vary est ing tothe original onal provides unity. Bare the scp of sal temperament andthe ection of valve, compositions fo nay inst sents were retrted by practical considerations t= pall pou of felted Keys. Even when remote key cube scat tefl pote tial was aot exploited inmedistly It emalned for catenporry come posers, unhampered by mechanial Inperiectons gr canventions ‘exlar routinely the far corners af he tonal universe, ka twentithco‘uy sto hal ho sno w Baked by 0 be ace by ds welt ihr ten pases or tb ue ne race The following excerpt fom the beg 1 rom the bapining of he second movemen eas inC The cadence atthe end of the fest phrase ison Cahary. Phe ht Bina chord, which fala the bopning of scons Bats thin he ton ear oe ea ann Siem modulations rom C to Gharp, cktoC and thea Ca TE HNOEMIT: Mate dr tar (504 533 dasa 18 135 “The tora lstonships ofthe thane ae characterise of the move rent ass othle, When the theme given sboveceurns to complete terary form, e begins tep lower in Bat and ends in sharp sor ‘The movernet which start in sonsaden fer cad in Coha Sime remote tonal relationships are exhibited inthe rst movement ofthis same work. The design is tat f sonata Tor exept that the foes of the subordnate and closing themes i versed in he respite Istion, ad the kay elatoneipe ae aypia. The beginnings of the pen tip subordinate, and dosing themes are shown in Example 174 ist, 1 they sppeat inthe exposition and then ss theyveappest in these Ctpitlition. The peincpal and rebordate thames are Soh semitone higher inthe recaptlaton. 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