Post-Tonal Melodies

1) Elijah Daniel Smith, “Rain,” No. 3 from Songs of War (2017), mm. 10–14, vocal part only [ MuseScore | PDF | Image ]

2) Elijah Daniel Smith, “I Have a Rendezvous With Death,” No. 5 from Songs of War (2017), mm. 14–17, vocal part only [MuseScore | PDF | Image ]

3) Joan Tower, String Force for solo violin (2010), mm. 22–27. Modified: written down an octave; harmonic voices removed. [MuseScore | PDF | Image ]

1) William Foster McDaniel, “Gramercy Park,” from Four Love Songs (1984), mm. 31–34, vocal part only [MuseScore | PDF | Image File]

2) Jeraldine Saunders Herbison, “I'll Not Forget,” from Five Art Songs for Voice and Piano (1978), mm. 1–9, vocal part only [MuseScore | PDF | Image File]

3) Missy Mazzoli, “As Long As We Live” (2011), mm. 1–20, vocal part only [MuseScore | PDF | Image File | Youtube: 0:00–0:45]

4) Dorothy Rudd Moore, “O Daedalus Fly Away Home,” Movt. 6 from Flowers of Darkness. Song Cycle for Tenor and Piano (1990), mm. 106–114, vocal part only [ MuseScore | PDF | Image File ]

5) Howard Swanson, “One Day,” No. 3 from Songs for Patricia (1952), mm. 11–17, voice and piano bassline only [MuseScore | PDF | Image File].
Note: Sing the bassline only for practice with thirds (the vocal part includes larger intervals).

6) Miriam Gideon, “The Hound of Heaven” (1945), mm. 14–20, vocal part only [MuseScore | PDF | Image File]

7) Elijah Daniel Smith, “Rain,” No. 3 from Songs of War (2017), mm. 16–18, vocal part only [MuseScore | PDF | Image File]

8) Elijah Daniel Smith, “I Have a Rendezvous with Death,” No. 5 from Songs of War (2017), mm. 16–18, vocal part only [MuseScore | PDF | Image ]

9) Lili Boulanger, Faust et Hélène (1913), mm. 317–320, Flute 1 and 2 (written down an octave). [MuseScore | PDF | Image ]

Note: Bass part contains a tritone leap in m. 4. 

1) Irene Britton Smith, “Why Fades a Dream?,” No. 4 from Dream Cycle (1947), mm. 36–41, vocal part only [MuseScore | PDF | Image File]

2) Bill Evans, Twelve Tone Tune (1971), mm. 1–4 [MuseScore | PDF | Image File]

3) Olly Wilson, Wry Fragments, movt. 2 (1960), mm. 1–6, vocal part only [MuseScore | PDF | Image File]

4) Edith Borroff, Divertimento for Solo Flute, movt. 1, Andante (2015), mm. 1–7 [MuseScore | PDF | Image File]

1) Hale Smith, “Troubled Woman,” No. 2 from Beyond the Rim of Day (1970), mm. 2–8, voice part only [MuseScore | PDF | Image File]

2) Miriam Gideon, “The Hound of Heaven” (1945), mm. 106–115, vocal part only [MuseScore | PDF | Image File]

3) Emil Awad, “Ante la Puerta” (“Before the Door”), from Paisaje (2016), mm. 2–8, soprano and flute parts [MuseScore | PDF | Image File | Braille]

Directions: Take G5 and A5 in m. 6 down an octave to move the melody into a comfortable singing range. This is the first presentation of the 12-tone row; it moves from the soprano into the flute in m. 6. 

1) William Foster McDaniel, “Gramercy Park,” from Four Love Songs (1984), mm. 42–45, vocal part only [MuseScore | PDF | Image File]

2) Arnold Schoenberg, 3 Lieder, Op. 48, No. 2, “Tot” (1933), mm. 4–8, vocal part only [MuseScore | PDF | Image File]

3) Howard Swanson, “One Day,” No. 3 from Songs for Patricia (1952), mm. 11–17, voice and piano bassline only [MuseScore | PDF | Image File]

4) Miriam Gideon, “The Hound of Heaven” (1945), mm. 51–56, vocal part only [MuseScore | PDF | Image File]

5) Elijah Daniel Smith, “The Kiss,” No. 2 from Songs of War (2017), mm. 13–18, vocal part only [ MuseScore | PDF | Image ]

1) Bill Evans, Twelve Tone Tune (1971), mm. 9–12 [MuseScore | PDF | Image File]

2) Dorothy Rudd Moore, “Flowers of Darkness,” Movt. 1 from Flowers of Darkness. Song Cycle for Tenor and Piano (1990), mm. 62–72, vocal part only [ MuseScore | PDF | Image File ]

3) Dorothy Rudd Moore, “Creole Girl,” Movt. 2 from Flowers of Darkness. Song Cycle for Tenor and Piano (1990), mm. 41–52, vocal part only [ MuseScore | PDF | Image File ]

4) Dorothy Rudd Moore, “The Glory of the Day Was in Her Face,” Movt. 5 from Flowers of Darkness. Song Cycle for Tenor and Piano (1990), mm. 14–25, vocal part only [ MuseScore | PDF | Image File ]

5) David N. Baker, “The Alarm Clock,” No. 7 from The Black Experience (1973), mm. 8–11, voice and piano bassline only [ MuseScore | PDF | Image File ]

6) Thea Musgrave, “Monologue of Mary,” from Act III of Mary, Queen of Scots (197), Rehearsal 106ff., vocal part only  [MuseScore | PDF | Image File]

7) Undine Smith Moore, Lyric for Trulove (1975), mm. 1–7, vocal part only [MuseScore | PDF | Image File]

8) Laurindo Almeida, Lament in Tremolo Form (1967), mm. 1–16, outer voices only [MuseScore | PDF | Image File]

9) William Grant Still, The Breath of a Rose (1928), mm. 5–9, vocal part only [MuseScore | PDF | Image File]

10) Andrea Clearfield, Into the Blue (A Choral Prayer) (2009), mm. 3–10, soprano part only [MuseScore | PDF | Image File]

1) Rebbeca Clark, Two Pieces For Viola (or Violin) And Cello, mm. 1–8 [MuseScore | PDF | Image File]

Directions: Sing the melody while playing the bassline on the piano or singing as a duet.

2) Bill Evans, Twelve Tone Tune (1971), mm. 5–8 [MuseScore | PDF | Image File]

3) Dolores White, That Black Reef (2003), mm. 9–15, vocal part only [MuseScore | PDF | Image File]

4) Dolores White, That Black Reef (2003), mm. 30–37, vocal part only [MuseScore | PDF | Image File]

5) Adolphus Hailstork, “The Awakening,” from Five Dunbar Lyrics (1987), mm. 16–21, vocal part only [MuseScore | PDF | Image File]

6) Frank Zappa, Waltz for Guitar (1958), mm. 1–7, arranged for 2 voices [MuseScore | PDF | Image File | Youtube: 0:08– 0:19]

7) Dorothy Rudd Moore, “O Daedalus Fly Away Home,” Movt. 6 from Flowers of Darkness. Song Cycle for Tenor and Piano (1990), mm. 74–82, vocal part only [ MuseScore | PDF | Image File ]

8) David N. Baker, “The Alarm Clock,” No. 7 from The Black Experience (1973), mm. 21–27, vocal part only [ MuseScore | PDF | Image File ]

9) Thea Musgrave, “Monologue of Mary,” from Act III of Mary, Queen of Scots (1977), Rehearsal 108ff., vocal part only  [MuseScore | PDF | Image File]

10) Emil Awad, “Ante la Puerta” (“Before the Door”), from Paisaje (2016), mm. 17–24, soprano part [MuseScore | PDF | Image File | Braille]

1) Norma Beecroft, Improvvisazioni Concertanti, No.1 (1961) [MuseScore | PDF | Image File]

2) Juan Carlos, Canciones y Baladas, Balada II (1936) [MuseScore | PDF | Image File]

3) John Coltrane, “Miles Mode” (1962) [MuseScore | PDF | Image File]

4) Roque Cordero, Soliloquios (1975) [MuseScore | PDF | Image File]

5) Vivian Fine, Chaconne for Piano (1947) [MuseScore | PDF | Image File]

6) Felicitas Kukuck, “Wo bist Du Trost”; motet (1974) [MuseScore | PDF | Image File]

1) Bill Evans, Twelve Tone Tune (1971), mm. 5–8 [MuseScore | PDF | Image File]

2) Arnold Schoenberg, 3 Lieder, Op. 48, No. 2, “Tot” (1933), mm. 4–8, vocal part only [MuseScore | PDF | Image File]

3) Frank Zappa, Waltz for Guitar (1958), mm. 1–7, arranged for 2 voices [MuseScore | PDF | Image File | Youtube: 0:08– 0:19]

4) John Coltrane Quintet, ft. Eric Dolphy, “Miles' Mode,” mm. 1–8, from Coltrane (1962), written by John Coltrane and Eric Dolphy. [Image | PDF | MuseScore | Youtube: 0:00-0:10] 

5) Emil Awad, “Ante la Puerta” (“Before the Door”), from Paisaje (2016), mm. 17–24, soprano part [MuseScore | PDF | Image File | Braille]

6) Emil Awad, “Ante la Puerta” (“Before the Door”), from Paisaje (2016), mm. 2–8, soprano and flute parts [MuseScore | PDF | Image File | Braille]

Directions: Take G5 and A5 in m. 6 down an octave to move the melody into a comfortable singing range. This is the first presentation of the 12-tone row; it moves from the soprano into the flute in m. 6.