mustheor

mustheor

Tue 01/22/08

nat minor - lowered 7th

harmonic . raised 7th

melodic .. raised 6th and 7th, lowered 6th and 7th on the way down

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Thu 01/24/08

V^7 .. root position

1st inversion 65

43

2

inversions

V^7 - dominant -- always major, minor 7th

I^7 cegb - ceg - major, but MAJOR 7

ii^7 dfac minor, minor

iii^7 egbd

I^7 cegBb - secondary dominant V^7/IV

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Fri 01/26/08

Ancient Music - encompasses the music from ...

Rome/Greece

Cult music - before the church took over music

monofonic or heterophonic-(essentially monophonic, but the instruments are playing the same thing differently)

instruments - aulos, kithara,

music related to math, astronomy , the sciences

ethos/pathos .. emotion, character - music can affect you

a lot of this doesn't exist in music form -- not written down -- but from tomb stones or illustrations. affecting your soul.

instruments not tuned

Church - takes over rome

we're left with gregorian chant - monophonic

prayers, basically - about using biblical reference, setting everything to music .. making sure there were no instruments .. really pay attention to the text and message

Mass - important sections (musical)

Kyrie

Credo

Santus

Agnus Dei

Gloria

(Alleluia)

these are the parts of the mass that don't change -- the ordinary. they don't change, so composers focus on this

Syllabic - note for note chant

Newmatic - for any text (ex: the) there might be three notes to it

Melismatic - many notes to one syllable

the shorter the prayer, the more notes per syllable

Organum

add parallel 5th or 4th below it

this is now called the organl voice

then we add octaves

then we start adding one on top that becomes a little more intereesting .. chant becomes a drone .. top is more exciting

duplum - two voices

quadruplum -- four voices .. almost SATB

then .. the people want to see music for dance -- the middle class rears its ugly head -- they want to have fun

so we get dance, the esompy, and the courtly love song

love songs - unrequited love - prince that I can't have 'cuz he's taken

the church and this do not meet yet

Instrumental _form_

eight to 16 bars that just keeps repeating . with added ornamentation

can add notes .. elaborate .. typical in baroque instrumentation .. from qtr notes, we can add eight notes

canchange the instruments or you could add different instruments and if we do that, we change texture of the piece .. not changing the music but we're adding texture

dancing

16 bars that they just keep repeating

next thing -- instrumentalists start stealing from ... start stealing all the vocal music and call it our own and change it

so instrumentalists don't have any forms .. they're all stolen from vocal

Peratin / Leonín

Motet - part of it is latin, some of it isn't

still very modal , but we're hearing these dissonant leading tones now that leads us to major and minor keys

texts

instruments

keys

texture

isorhythmic motet .. the motet goes crazy ..> too much of a good thing

isorhythmic . two rhythms working against each other

you still hear the chant .. it starts over.

then you can have in french or whatever - a different rhythmic mode going on in different snippits

then we have another little section that starts

you don't hear a cadence until the very end when it somehow all comes together

and the church said you can't write like this .. its ridiculous

monday .. bring grout, scores

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Mon 01/28/08

friday the 8th -- history quiz

A quitainien polyphony

- settings of chant

.. responsorial things .. usually composers pick out a section of the mass to redo

grouped together

grout 93.

chant .. two voices on top with text .. upper voices sing probably the same thing ..

basically two styles:

1 - discant style

2 - florid organum

organum:

chant -------

organal ----- (on bottom)

pretty much parallel

in the development of organum, this flips

the chant is on the bottom and teh added part (the duplum is now on the top. it is still relatively not to note

duplum and discant will look similar .. the only difference is where's the chant. farther in music history, the chant is on the bottom.

so that's discant -- both of the parts move at about the same rate -- parallel idea

florid organum .. flowery ..

melody --------- (lots of notes)

chant - - - <-- still the focus point -- still the chant

penultimate note - has lots of notes in the top part. and then we get to the final note

none of these durations are metered -- no ligatures

so as a performer, how do you know when the drone note happens and when you're supposed to sing it .... you're on your own -- unwritten rules that have disappeared into history

we're just guessing .. in the future, how will people know how a samba sounds

grout 94 - notre dame

1 - rhythmic modes <-- use of

2 - Leonin

Perontin .. Anonymous IV - treatus

elaborate stained glass window .. embodies what music is doing

quarter half .. long short .. example of rhythmic modes

Leonin -- did ornamentation

Perotin - did four part

"ligatures" - way to describe these rhythmic modes

numatic notation - individual boxes -- numes .. group: ligature because they now have a relative rhythmic value .. we still don't have meters, etc but we have more of an idea

listening example

sections

started unisonish .. florid

in the middle .. shift mode

adds more voices (changes texture)

change to using a rhythmic mode

1 chunk is a clausula

track 57 - that was verdurm omnes

if you hear some sort of sense of rythm, you know you're headed towards the rennisance

long short mode - mode 1

short long

(quarter eight)

notre dame poliphony

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Tue 01/29/08

forms:

these are very vague .. not like your standard quintet

sections of chant

conductus

polyphonic, 2-4 voices .. seen at Notre Dame, usually still on a sacred topic .. but it doesn't have to be biblical anymore -- it can just be serious

** new tenor voice .. so that tenor has always been the chant .. now we're going to take that tenor voice and compose a new tenor to it .. by doing this we lose the idea of a focus on this text, but we gain function -- the tenor becomes almost the baseline .. the supporting role .. getting again to SATB

upper 2 or 3 voices singing in a fairly similar rhythmic pattern -- this style is really homorhythmic .. not homophonic (not exactly the sqem) but similar rhythmic modes -- this is called conductus style .. not only is a piece , the conductus, this type of writing is called conducts style.. all these composers are now using these more ancient styles

most of this is still syllabic .. one note per syllable .. pretty symplistic.

Motet

** most important; leading polifonic style in this time peroid and a very vague category .. can be sacred or secular .. ranged from very serious to really kind of nasty critical cynical .. wide range of text and emotions

- troping .. something that extends a piece .. if we take a little chunk we trope it by .. adding music to the existing music or extra text to the existing text or both .. done usually to extend a pice and make it more innteresting

all these sections we have now can be taken out and troped to make new pieces. in the motet, the composer are getting more intellectual .. tryhing new things .. let's make this as intersting as we can

- tenor has now completely lost its funciion as a chant .. becomes completely support now for the upper voices .. instead of chant .. now called cantus furmus ... a foundational melody we no longer have that as a type of chant .. it's just a melody on which the rest is built

all this gets more and more complex and people rework the motets

the voices become rhythmically different, which is exciting and a lot of times there are two if not three different texts at the same time .. can have latin, french, etc. this is very interesting but it's very complicated to actually hear the words. trying to expand the piece to make longer forms .. in the medieval, the forms were very short .. trying to expand both length and texture so very complex

in general polyphonic, but may take a section from other styles

Rota

** most complicated. another name for a round .. rota can be more than two parts round. perpectual canon.. not a strict round like row row row your boat .. but all the voices enter on the same theme. then we start doing the same rhytmic pattern but it doesn't follow exactly like a true round. this is very complex

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Thu 01/31/08

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Fri 02/01/08

14th centry

economy down

population down - middle class driving music and art

war (100 years war), plague (black) - 1/3 Europe dies

conflict

scandal in the Church

secular revolt .. beginning to be a separation between church and state

the church is in crisis .. very corrupt and science is advancing so we separate a bit

the art becomes more natural and true to life

writing becomes less about enlightening and more about pleasurable reading

music was starting to be more creative

- structure

- pleasure

... in music

stracture .. we talked about .. isorhythm - taking a rhysthmic unit or a melodic unit and using it as a tool

the peasure part is that the melodies start to appear in the treble .. madrigal and chanson .. melodies are a bit more doable

more chromatics .. add interest .. at the cadence points

consonance or disnance ..

a cadence point, that's acceptable because it resolves

in pleasureable music, chromatics reflect the text

chromatics to emphasize .. use for emotions

so for text and technical

rhythm/meter - we still don't have metronomes .. and we don't exactly have standard rhthm but they're still going to affect the joy people get out of music .. instead of the chant

ars nova .. new art

- isorhythm

page 121 #24.

isrhythm has:

a) talea -- rhythmic unit that repeats

b) color .. the melodic part .. that keeps repeating

the two can be the same lenght or not but they keep overlapping as they go

iso rhythmic motets ..

you should be able to pick out that it's an isorhythmic motet

doesn't really cadence complete until the end

hacket ... one line has a rest while the other sings

still modal but different rhythmis on that you don't expect

measure 27

musica ficta .. "ficticious notes" things that performers did then that was not notated .. this is an indication that says " i think there would have been an f# there"

brevs used like we used quarter .. 'cuz they had longer notes

Guillaume de Machaut 1300-1377

- lead composer of ars nova

done at least 140 different works

was the foirst person to actually comiple hos own stuff and promote it

before that point, nobody really cared

put his own works in manucripts.

manuscripts

we have his works because he made sure they were well put down

most famous piece was the Mass of Nostre Dome (Mass of our lady)

this is a jump from how composers did Masses

whole thing was polyphonic (not the jump)

the different is: a single composer .. he wrote all the parts of the Mass himself

before that we were taking a gloria here and an alleluia there

actually composed the whole thing himself

also, the piece was done as a unit .. by a couple of motifs

Tonal -- D/F

we still were in modal things, but if we see D and F we thing of keys .. the pieces are relating

those parts were also written in an isorhythmic form

the gloria and the credo - were in a different form .. discant or conductus style

so you have two different things -- the contemporary isorhtymic style and the "old" discant style

#25 -- triple leading tone.

should be able to identify hocket on paper and hear it when it comes in

formes fixes - "the fixed for" . used for singing and dancing

pieces in a fixed form

- pattern

- virelais - nature, love

- ballade - more serious .. kinda like a ballod

- rondeau - more upt beat .. love

our next large form is the chanson .. very generic term for song

- treble dominated .. or treble important song .. moving farther away from that chant voice being th focal point

going to be accompanied for awhile by voices and then instruments

the treble part is called the cantus -- or the treble

these can be homorhtymic but they can be polifonic as well

madrigal -

2-3voices

- no accompianment

- pastoral / love, beauty

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Mon 02/04/08

Monday

counterpoint

tuesday davis

thurs - history and reviewfriday - quiz

only going to be tested on 93-145 (grout)

initial chant and adding the extra voice

horizontal direction and virtual direction (chords) - not there yet

counterpoint -- organum .. parallel

how you write a melody and how you write the second line -- what intervals are acceptable?

species counterpoint

1 - parallel organum

2 -

until we get to florid

cantus firms .. marked with c.f.

figure 8.2: in both lines, range of a 5th .. common in counterpoint to have a small range

cf - basically pretty stepwise .. melodic contour: there's a climax.

d - mode -- and probably will end there

decent - often goes 3,2,1

mostly stepwise

cpt - 5th stepwise .. ends either octive, unison, or 5th

321 on one voice and a leading tone on the other voice

interval .. counterpoint - just write the number

know what intervals there are -- can't use all of them.

cpt can be either above or below

many rules.

motion:

parallel contrary oblique and similar

oblique - one voice remains the same while the other moves

similar - both voices move in the same direction but not by the same interval. -- most important.

.. not the same interval but moving in the same direction .. not parallel.

we don't care about perfect intervals because there's no tonality

ascent, decent - climax .. mostly stepwise . with an occasional leap

try to avoid successive leaps .. more than two leaps is a bad thing

unless you have a little traid outline

7ths always bad, diminished bad .. if we do a leap .. we really want to go the opposite direction then -- that's counterpoint.

range shouldn't go more than an octive or a 10th

avoid sequences .. 'cuz that implies a key change .. sequences tend to lead us somewhere and gregorian chant doesn't lead anywhere.

avoid segments where the lowest and the highest note before it changes direction -- you don't want that to outline a Tritone or a 7th .. they still hear them as that interval .. invokes the devil :-)

that's the horizontal

how do we do the other part?

beginning.

allowable ways to start

if cpt is above: either unison, 5th, or octave

below .. unison or octave

ending the cpt.

mostly you can think of .. the counterpoint you're going to write is going to go up half step. .. always going to go up to the end.

all half steps instead of Phrygian

whatever mode you happen to be in , if you need that raized leading tone, you'll have to write in the accidential to do that -- they would have done that automatically

only allowed intervals

3rd, 5ths, 6ths, octaves, or 10ths

principles for voice leading.

how you get one note to the other.

most important - parallel motion is Forbidden! esp 5's 1's, 8ths

figure 8.20

when you land on a 5th or an octave you have to check what comes before it -- if you have something that looks like you have hidden notes, avoid that .. hard to see .. don't worry about it

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Thu 02/07/08

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Mon 02/11/08

Dufay

Birchois

octaghem

josquin - master of the notes - cadence blossoms into natural leading tone

Gabrielli

suspensions -- the new approach to dissonance .. but they resolve

gabrielli .. very tonal

and then we're into just dance music and fun and very functional harmony

Petrucci - first printer of music - pretty savvy business man and had monopoly on all printing presses .. so he made a lot of money -- started getting the music out to all the countries much quicker

instruments + choirs

. sometimes doubling parts but some a bit different -- just starting to write specific instrument parts

not all in compound meter

still writing in the Mass forms.

Mass, requiem Mass, vespers.

duets - changing number of voices, texture, instead of changing style and rhythm

how to make peices longer, more interesting by changing things.

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Mon 02/12/08

four part corales

all have some similarity

rules to make the corale form sound really good

bach keep sthe developmental continuum going with his corales

very functional .. but all the voices are moving the same horizontal way

now we have chords

why is bach so good? genious at the counterpoint type stuff

what does a melody look like? (soprano)

mostly step-wise, not a large range

should have a climax point

9.1 - Bb -- climax .. adds tension

3 2 1 cadence

alto line:

follows the contour a little bit of the upper line. don't really move a lot .. alto line is really fairly non-moving -- usually goes by steps -- they form the harmony

tenor line: tenors hang on the top of the staff

make sure that the tenor is below alto part

bass line: all root position in this figure -- always the root of the chord -- now functional harmoney -- the bass line in general is the most skippy part because it has to be functinal .. we can invert the chords to make the line more smooth

figure 9.2 # 1

eighth notes in the parts -- passing tones .. fill in the thirds

when the bass is going up, a lot of the other voices are going down -- good thing to do

back to 9.2#1

not in root position -- smoothing out the baseline

#4 descending eighth notes -- leads you smoothly down to the next chord

a few suspended tones -- things interweaving

#5 no excitement there whatsoever until you get to the bass -- just inverting -- filling in the chord

chorales are very simple -- no skipping around

really enforced: no parallel movement

rule 1 - looking at the bass -- when the roots are 4th or 5th apart, keep the common tone shared by both triads, move other two upper voices stepwise to the nearest chord tone

alto - oblique motion

9.4 keep both common tones, move the others stepwise.

second apart .. no common tones...

you wanna move the upper three voices in contrary motion to the bass

5. important: maintain propor doubling -- you want to double the root if it's a 1st position chord.

168 - ranges.

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Tue 02/19/08

melodic dictation tips

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Thu 02/21/08

isorhythm - multiple rhythms working against each other

Renassance

----------

- greece/Rome

"rebirth" .. of something - to something previous - because we no longer like our isorhythm

rebirth of the ideal ss of the greek and roman society

Music

-----

a) outside work .. musicians started to work outside their native region .. that leads us into national styles "italian music" etc

b) tuning - lutes, harpsicord, etc .. based on mathematical principles by pythagoras

c) immitative counterpoint starts to develop. - different voices immitating the others. "call and call".

.. a development that will get us to the fugue

one voice has a given words and melody -- the next voice comes in with the exact same .. and then it varies a bit as we keep repeating it

a fugue has immitative counterpoint that continues in a very strict pattern

so immitative counterpoint as opposed to polifoney we heard in the masses where we're going against each other but not immitating

(poliphony)

d) homophony - increase in homophony ... idea of a solo line with accompianment

e) we go backwards for stylistic things

back to early mideval period with ethos and pathos

we ended at the isorhythmic motet -- now we're back to -- "we just want to feel good about the music"

f) text reflects music and vise versa -- two of them work very well together

how can we writ ethe music to really make the text enhanced. can we use a mode to reflect sadness?

g) music printing was a big thing Petrucci

h) non-professionals .. because they could get their hands on music cheaper than before, they started playing --> so the people are now driving what was being written / published

i) pop music in demand

if i'm going to be playing it, do i really want to be doing isorhytjmc -- no, i want to do more popular music

j) protestant music - headed by martin luther

there is no sudden break .. most of this is just a slow process into a new style -- for example -- not like baroque where we cut off rennasance and classical by bach .. no clear division

approx 15th and 16th cent.

in this time period europe has now survived an econ slump and is starting to crow again .. middle class liked stuff

.. they wanted more things. Human things.

.. what kind of things? - painting .. pots, craft, instruments-(they might cost you a bit but now you have the $$)

but the rulers want more stuff , too

- singers, chapels, instrruments, art

each ruler (any big city) .. what will make them important -- their stuff -- in a musical sense they want the best singers --- so they pay the most to get the best singers

(of course the church is becoming bcurrupt -- they have all their stuff already)

the rulers are buiding chapels .. they build themself a cool place -- they can also keep things there -- archives

so they built the best chapel they cold get

they also collected instruments

rulers by birthright

.. like the kennedy family, queen elizabeth

collecting art -- so huge amount of really good art

-- the bigger the better -- the more you have, the better

humanism - human values and wants and needs .. development of the mind and thespirit - ethics charachter morals -- develop yourself to be a good, moral person

idea in art was to undrstand the world as it really is

- in music - structure .. instead of isorhythm and color .. we have structure through cadences and phrases -- very cut and dry pices of music

we also get into tonality -- different kinds of textural differences

Patronage

---------

up until this point, most musicians were employed by the church -- probably some religious affiliated person

now rulers are trying to get the musicians by the patronage system

1) court chapels - salaried musician for some ruler -- usually a musician but something else in the court as well

- music for the church services

- secular entertainment: ballad, sing for birthdays, weddings, new years .. anything -- that would be secular entertainment, dances

double duty doing all this stuff

2) choir boy -- you most likely get into this business by starting out as a choir boy

they were trained in music, math and the sciences .. so it was a good place for education .. so a poor guy with an amazing singing voice could become a choir boy, then apprentice and eventually work his way to one of the chapels as a singer and a variety of other things

in this time, only males were allowed

the nuns were getting musical training .. so we did have women coming out as composers, but htey weren't getting the full education .. just the music

Medici - Florence . one of the top patron families .. very wealthy -- centraaly located in florence, one of the best artitstic centers

had composers like Isacc and artist like Michelangelo

also considered the mafia of europe

Sforza - milan .. a very strong city in europe

had depray and leonard da vinci

Este - ferrara

Gonzaga - mantua

huge huge family powers and patrons of the arts

information , music and art is transferred as artists change families.

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Fri 02/22/08

Johannes Tinctoris

- book on counterpoint expressing basically that old music sucked

said old music was far to disonnant and nothing before 1430 was worth listening to.

we dont want this old stuff, let's move forward

disonnance was treated a litle bit differently

- limited to just the cadences or unstressed beats

parallel 5ths and 8ths were forbidden

counterpoint -

trivia .. composers were starting to write things in a different way -- vertically vs horizontally

the composers of this particular point started to have an all in one approach

from the early time on, everything's horizontal .. based on the single chant .. you could write one line and then work on the next one

at this point, people are starting to think " i'm gonna write this all at the same time" not just one line.

taking a look at how parts fit in -- chunchs of music all at once when composed .. becomes a big deal -- starting to see a chordal structure

rennanace tonality becames very major or minor

tuning

------

4 types

pythagorian -- simpole math ratios

just intonation - adjusts the out of tune notes in pythag .. affects 3rds and 6ths to make them more pleasing to the ear.

as we progress to this and start to manipulate the natural overtones, things got a little bit out of wack

if you were in C, D, or G, they were well in tune,

but if you went to a more remote key, the accidentials .. the key will be way out of tune .. because the natural overtones don't work in every key

on keyboard, they actually came up with a split black key -- one would be f# and one would be Gb

.. two different notes as accidentials

so not a good idea

next tuning -- mean tone tuning ... people tuning are going to altar the 5ths to make them more in tune

equal temperance - half steps are equally apart

but brass instruments are all based on natural overtones .. so when they play with the piano, they have to adjust.

same thing, basically, with woodwinds.

in the rennansance it was thought that every common person should nknow how to read music, sight sing and play an instrument

chromaticism started.

before it was illegal..

start to see flats

starting to see the idea of F major .. key with flats.

printing - triple impression

.. ran the music through the press three times -- moveable type.

first time: staff

2nd time: words

3rd time: notes

England

-------

p. 176 - europe - burgundian land

carol - 2-3 part polifonic, mixed in latin and english. if it's in english, it's probably from England!!

carol - form = stanza/refrain, called a burden

music for stanzas, then music for refrain

- our christmas carol borrows from this.

John Dunstable

- 3rds/6ths

- previous forms

- "paraphrase" style

Motet

- any polyphonic work in Latin

landini cadence -

Landidi was a blind organist who perpetuated this weird little cadence

two parts - leading tone going down to the 6th scale degree and then resolving.. and there's a little syncopation involved.

.. disonnance control

we have alittle dissonance that we don't particularly like, but since it's at the cadence and a rhythmic factor, it's ok to do this.

one of the most famous rennasance composers is John Dunstable

- addition of the ideas of 3rds and 6ths -- leading us to chords -- funciional tonality

he wrote in every previous form -- Masses , isrhytmic motets, etc

most compsers fo the time did .. ancient and new forms

"paraphrase" style in masses .. take a chant/or cf and base the mass movement on the chant, but you put it on the top and you ornament.

"paraphrase" mass - mass based on a chant that has been ornamented or changed

p. 173.

and you would know the chants well enough to know that this is a paraphrase

at this point, the word motet means any polyphonic work as long as it is in latin

bottom of p.174 - the ages and what motet means

one of the hardest things in music history -- we take the same terms and use them for different things

questions for groups:

1) do you think our society valus learning musical skills -- why or not

what if anything can be gained from learning basic musical skills and would there be a negative impact if everyone learned to read and write music in society?

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Mon 02/25/08

harmonic progression and harmonic rhythm

- what get us into functional harmony

we know the uts and blots, now we're going to put harmony into place

flexible concept but there are better progressions to use.

how would you harmonize a melody

can start with the key

CM

our first note is a C -- the root .. we can use a I

.. we could also use a IV (FAC)

or a vi

basically saying -- the meolody note, if it's in the triad, you could use it as a harmoney

I is probably best here.

2nd one

3rd one .. could be ii, V, or vii

CCDD BBC

now the B - could use a iii, V, or a vii

and then back to I, IV, vi.

could go IIVVVVI. -- V, I is a good cadence (perfect or imperfect authentic)

I vi ii V V I

you have to lead somewhere -- at the end you're often going to have a V I

wann see the most normal type of progression

most of these are called circle progressions -- they go around the circle of fifths

so each assignment will be a bit different as far as harmonization

basically , from I IV V, we add all oour other chords.

I vi ii ii V V I

.. Figure 10.1

figure out key

go to the end and come up with something that works

.

circle progressions are the strongest

V-I (desending a 5th or ascending a 4th)

adjacent roots in asc 4th or desc 5th realtion ship

it drives to a goal -- the tonic

ii-V

vi-ii

iii-vi

but if you keep going, you end up not any where near C

so you can only do circle progressions for a certain amount of time before you end up in a different key.

eventually we get to F# -- a different key.

now, the opposite

asc 5th, desc 4ths - plagal cadence

V I .. strongest

plagal - 2nd strongest

opposite of what we just did

asc 2nds - V - vi, I - ii

vii - I ( in a minor key)

I - V - vi - ii - V - I

asc 5th, asc 2nd, desc 5th, desc 5th, desc 5th. .. las three - circle progression

so we have a combination that keeps us in a nnice tonality

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Tue 02/26/08

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Thu 02/28/08

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Fri 02/29/08

harmonic rhythm - how fast or slow the chords are changing .. so in the corales that we've been working on, the harmonic rhtym is changing every beat -- that would be considered a rapid harmonic rhythm

in a folk song - harmonic rhtym - one chord per bar -- or even two bars

depends on the style that you're working with

can change harmonic rhythm as you go

generally very simple harmony - I, IV, V

can you go too far ? yes ! it sounds to complex for the style you're working in.

page 183.

10.10 - half note harmonic rhythm

10.11 - once a measure

10.12 half note harmonic rhythm for arpesiated chords

brahms - slow harmonic rhythm

10.14 - fast harmonic rhythm

know tat that is not what has to happen - don't have to change every note

185 - history

renaissance - harmonic progression is just beginning

baroque - harmony becomes stronger

baroque a little free for the ornamentation butvery structured in the harmonic progression -- ends where you want it to end.

classical - depends heavily on standard chord progression for its structure -- so that's what we could analyse. very harmonically structured

now we start breaking donw a bit : romantic

gradual decline in the use of harmonic progressions

.. experiment -- not do the traditional cadence

post-romantic - other alternatives harmonics debussy- a lot of jazz harmony .. parallels we said no of.

parallelism -- planing

we couldn't really analyize debussy using our toolkit

contemporary - extreme experimentation .. 20th century ... has a lot of different subsections .. tonal free-for-all although now we're back to more tonality.

interesting non-western harmonies coming into western classical

jazz - progressions like blues progression.

blues -- slower harmonic rhythm

188 - what can you do for a given melody

#2 by bach

corales .. one chord by beat

folk .. 1 chord per bar

change on the beat

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Mon 03/03/08

theory exam --

two corales --

1 standard corale -- do harmonic analysis

2 - bass & sop.

fill in the voice leading..

Gillers Binchois 1400-1460.

- chanson - french song -

a) polyphonic - usually three voices -- not quite to four yet in this song form

b) French

c) usually based on a secular poem

d) love songs

.. worked for philip the good .. well known for his proweless in writing the chanson

usually in 3/4 or 6/8 .. meter clearly identifiablee at this point

"hemiola"

8 8. 16 8 8. 16

.. an example in 6/8

in 3/4, that would be:

cross rhthym .. cross duple with triple

4 4/ 16 16 4 4. 16

.. the himeoloa emerges

so if we are in 6/8 and we, by feel, switch to 3/4, that can be a hemiola

chamson were mostly sillabic .. some numatic things in there

e - the cantus has melody (top line)

tenor is in there but usually has a slower moving part that ads a pretty cool counterpoint

the contratenor - leapy

most of these are very consolanct -- rather than dissonance except maybe at cadences

f) you start hear a V I cadence

start to hear the tenro do a little bit more of a V I thing -- going to leap up to make the idea of a cadence .. get rid of the spreading to the octive from species counterpoint.

scores #33 -- has a landini candence

Guillome DuFay 1397-1474

a) most famous of the burgundian composers

Burgundy -- kept acquiring more territory as we went along -- so the burgunian composers are the most sought after because they're more worldly -- more international flavour

not one that particularly sticks -- but at this point, their considered the better composers

b) rhythmic complexity .. although very tuneful

c) free composed chanson .. not using a standard ABA form etc -- a little bit more freeform.

d) **** Faux bourdon - had to do with dufay's obsessions with 6th and 3rds

cantus -- upper part

tenor -

composed in a melodic fassion

the tenor is written at a 6th below and goiig to go in parallel motion

this other voice -- "third voice" .. going to improvize a 4th below .. parallel 4th below the cantus

but that gets us an inverted chord -- so this is really the first time we started doing functional harmony

so faux bourdon is the idea that now we have chords internally -- now not just about tghe horizontal .. starts to become vertical

also wrote in the old isorhtymic style

strangely disjointed when now we see all these block chords moving togetther

polyphonic Mass Cycle

Ordinary .. Agnus Dei, Gloria, Kirie, Sanctus, Credo.

so those are the main mass parts that are being written for

ordinary -- same thing every day.

these are wanting to be comosed together as a unit

five ways to compose this:

1. .. linked by style

... francis style

2. plainsong Mass - chant. .. based on previously existing , compsed chants .. and we know that there are piles and piles that Gregory put together (gregorian chant) .. so based on these previous chants --

kyrie chant -- plucked out of the box

gloria etc.

based on just the idea that they were already preexisting chants that were appropriate for the given ordinary

3) motto Mass .. based on a theme or thematic material. .. i'm going to take for each of these movements the same thematic material -- head motive.

start out each of these movements with the head motive in one of the voices .

probably going to be musically realted in other ways, but definitely going to have a motive or theme

4) cantus - firmus Mass .. tenor Mass .. because usually , the cantus firmus (a prexisting melody) is usually in the tenor voice

in this one, the tenor voice has the cantus firmus in each of the parts so we have a tuneit could be a chant but it could be a popular thing or stolen from somebody but going to appear in the tenor in each ofthese things .. in its entirety or more

5) borrowed .. so the cf is now maybe the popular tune of the day .. and you're going to base the whole Mass on that popular tune

.. so you change it because the music is nice

everyone in th4e 15th century wrote at least one "armed man" mass because it was a cool tune

cf/ imitation Mass

porbably going to borrow parts of other parts.

.. so a different type of music in our religous venue

so these are the terms to know.

now we're adding a 4th voice -- 'cuz it gives us a little stability

we need a better foundation

added below the tenor a contratenor bassus .. low base

faux bordon becomes contratenor altus

this becomes

superious --> sopranto

cantratenor altus --> altus --> alto

contratenor bassus --> bassus --> bass

and those stay with us.

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Tue 03/04/08

Du Fay

Missa Se la face ay pale ..

.. Mass based on his own chanson

a little landini

hocket

Johannes Ockeghem 1420-1497.

- king/france = almost 50 years

Antoine Busnois - 1413 - 1492

O -- most important .. worked for the king of france

busnois served a bunch of people ; must famous was charles the bold . burgundian.

both of these wrote in a slightly new way

added new elements

a - longer melodies - gone from the medivel where the pices are very short and starting to move towards the baroque with longer compositions .. a bit more florid, fluid phrases

b - increased use of imitation .. each voice coming in with same theme or motive .. can really see it

c) equality in the voices .. each part equally complicated

you'd pay attention to the superior voice

d - more use of duple meter .. most of the things have had a 6/8 feel .. now we see more duple

all these works were very popular with the common folk

e) O was a bass singer .. so he launched the range of the basses a lot farther down

so the range that was usuallly a 12th is now way down.

so now we can hear that bass voice as rhythmic stability

f) - 4 voices .. expanded pretty standardly to four voices .. 4 voice madrigal style.

Missa de plus en plus

^^ Mass based on the popular chanson de plus en plus

church trying to hang on to power at this point .. so masses written with popular tunes was helpful

Missa cuiusvis toni - Mass on any tone - Mass based on any mode

missa prolatiorum - mass based on a compositional device .. bassed on some kind of canon (kinda like a round) .. writing for two voices but singing in four

use meter type indication (mensuration) and the singers are just going to do it.

mensuration markings - markings to indicate time style .. the marking could say that alto should sing sop but with a different rhythmic pattern

can augment or diminish (dimension)

can retrograde - write it backwards, inversion - turn it upside-down .. go down instead of up

and you can combine them.

so, mass based on complicated compsitional devices .. different rates of speed

Missa noni toni - mass based on 9th tone .. can tell you exactly where the piece is starting

three mooe composers

Jacob Obrecht

Heinrich Isaac

^^^ continued imitation

Isaac - saw homophonic music .. and lead to the lieder .. german for "song"

to standard tonality

"Josquin" the man - most famous of the end of the 15th centry -- most influential .. held in highest regard .. compared to michealangelo and virgil .. artist without peers

his music was considred the most beautiful to hear

wrote over 50 motets.

did text depition aka text expression

aka text painting

music is depicting, expressing an emotion etc .. heaven, sadness, grief

this carries on way througg the conteporary period

theory review

look at species counterpoint and be able to ID the terms. .. oblique motion - stable note

oblique, similar, contrary, parallel

7th chord inversions - 57 chords in analysis

57, 43,

.. come up in a corale

harmonic progression -- what does it mean

look at definitions on the top so that you can define and use them

circle progression - desc 5ths .. define and use it to ID harmonization

at least 2 corale analysis to do .. one of which will have all the voice parts .. YOU WILL NEED TO ESTABLISH A KEY ON YOUR OWN.

sig? major/minor? first chord, last chord

last chord should be I or V

2nd one -- fill in alto and tenor.

.. test of voice leading .. review sheet

range

don't double the leading tones

all notes in a chord

4/2 .. third inversion of a V7 chord

establish key for that as well.

error detection for extra credit

harmonize a melody in minor

go through minor keys

am, for example

i, ii-diminished, III (III+), iv, v (V for harmonic or melodic)

VI, VII

for natural

harmonic # 7

melodic #6,7

so, all but the lonely 1 will change qualities

she'll give us the chords

would like us to use:

i V V7 IV ii-dim

we have to figure out best way to put them

take home write your corale. .. write 9 beats with pickup, suspention, passing, etc.

.. due on Monday

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Tue 03/25/08

dominant 7th

jazz, pop, blues, ragtime

V7 - I

lowered 7th - wants to resolve down

7th - diatonic in major key

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Thu 03/27/08

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Fri 03/28/08

1 theme, 3 variations

a) one tweek - melodic embellishment

b) change key or style

c) grand end .. big, fast .. a lot more notes, etc

theme can be anything (16 bars or longer)

generally, variations are longer / exactly the same as your themes

simple, style

anything goes

variations -- as simple as one change or many things combined

if you change to minor, watch the 5 chord .. use your chords nicely

functional harmony

nice finale

this weekend: write 1 variation of twinkle, twinkle

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Fri 04/04/08

Josquin Des Prez 1450-1521.

- 3 vols

known as a great musician within his time

father of musician

master of notes

compared with michaelangelo

artist with no peers

most composers after him studied his style especially his motets and his chanson

publishers would put his name on other works to get it distributed

.. but we're not really sure that all the pieces attributed to him are his

worked for a couplee of people

- Sforza .. big patronage family in milan

- Sistine Chapel .. highest court of the pope

- possibly worked for Louis XII

- Este family in ferrara .. and in ferarra he was the highest paid composer/musician in that chapel

- worked as provost at Notre Dame

he wrote 18 masses

50 + motets

about 65 chansons

church very demanding .. going to do everything on a weekly basis

motets

- reely composed .. got rid of the form fixed (a set standard of your pastoral song in various setting styles) he followed his more musical bent

- varied texts --> more exciting , innovative

- used text painting book uses text depiction and text expression

listen for these things in josquin

- tonal center

- clear phrases

- counterpoint

- text painting

Mass

- secular tunes - cf

- imitation mass

- parapharse mass

I & P = honor saint occasion, etc

chanson

- equal

- strophic

- all voice

- homophonic/imitative

- 2,3,4 combo

Mass - most of it a major key .. a lot of leading tones in there

quite beautiful , tonal .. very nice to listen to .. range is huge .. low bass stolen from okeghem

in the mass, he'd use mostly secular tunes for the cf .. took that to the peak

used both imitation and paraphrase mass . they're really quite similar .. piece of material from another work and works it into the mass

did a lot of this to honor a saint

or a special occasion

.. honor another composer .. done a lot

same thing kinda goes for the chanson

.. the voices become very equal .. you can't really tell which is the cf .. which as been composed first .. it usually is composed all together

a lot are strophic .. based on verse, refrain .. similar style in verses

all voice all the time ... there are no substitutions in Josquin.

if they had only four singers, they might substitute an instrument .. josquin says only for voices

composers begin to really indicate what instruments things are for

he'll take 2 voices in a part and then switch to 3 or four .. change the texture by chaniing the number of voices singing at a given time.

Reformation - big event since the ars nova .. religious .. but changes music quite dramatically

started in germany with martin luther and spread to most of northern europe

the reformation basically splits up music / politics into three different things .. we still have catholicism

Lutheran

wanted the congregation involved .. ued the vernacular

hymns

music was central to the service now .. much larger part

some of this chame about because he was a musician

believed that music had ethical power

wanted all the congregation to sing .. hymn

not hard hymns .. because were not trained singers .. taught by rote .. very homophonic -- totally unison .. gets boring really fast .. need some harmony

Calvanist - france, englannd, ...

Church of England - henry 8th ..

luther teaches theology

belives that bible is pre

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Tue 04/08/08

leading tone 7th chords

-----------------------

vii dim 7, vii 1/2 dim 7

let's spell one.

start wwth a diminished triad

C diminished

C Eb Gb

with the 7th ...

Bbb .. another minor third.

B - major 7th

Bb - minor 7th

Bbb - diminished 7th

because they are eqi distant apart , there's only three of them.

but each of them resolve to 1 .. so we have to find the root of the 7th cord.

inversions will be the same.

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Thu 04/10/08

27 - final project presentation number .. last week of classes

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Mon 04/14/08

high rennasance

very tonal

functional harmony is starting

forms are getting longer

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Tue 04/15/08

Giovanni Pierluigi da Palestrina

- italian composer .. leading italian composer of church music -- saved poliphonic music in the catholic church .. council of trent .. polifany was not redically acceptable because it obscured the text too much

but it's been a big deal and composers didn't want to let go of it

so Palistrina came along and said we can stilll have this if we do it a different way

started composing his masses .. used poliphony but used it carefullly to be sure that each voice had the same text that was very clear .. or they'd come together at points in a homophonic way so that you could understand the spiritual message

6 part mass .. so clearer in a textual way, but more complicated

in the styel: voices doubles triples

6 part mass was handy for clarity . didn't write alwa9ys in the six parts but he used them to make it interesting

so sometimeshe'd use two voices .. switch to the lower two, make a triple out of three voices .. usually didn't go to all six until the cadence

mostly wrote masses -- 104 of them

motets - 300+ of them

secular madrigals - 94+ of them

the funny part of him was that he actually regretted writing the love poems in his motets . but they're really beautiful ..

but forte was masses .. and that's what people copy

style to listen for:

Pure

sensitive

beautiful

imitation-(taking music from another piece), paraphrases - () taking info and working it differently

cantus firmus - chant base

canons

he also is in a free form where he didn't borrow anything

"Pope Marcellus" Mass

free form.

what do you hear .. techniques?

stonger cadence points .. ornamentation

strong imitation - hear the words so that we really know what the text is about.

why does it sound "serious"

straight tone .. that's where you get the purity .. really kinda bland. fairly slow moving. nmeumatic

contemplative.

//palestrina saved poliphony for the catholic church.

larger dynamic contrast. .. with six parts, you can actually make that difference .. start iwth two pprts and then six parts .. let's use the shear numbers for the dynamics.

*Stile antico (old style) - the style in which palestrina composed.

Agnus Dei -- a little more ornament

SPAIN

------

Tomás Luis de Victoria

- composed a secret music .. probably knew and may have studi3ed under Palestrina

less melismatic

_more_ frequent cadences

more chromatics // chormaticism was still not accepted except around cadences

chromatics .. unnerving, stressful

"O Magnum Mysterium" - imitation mass based on his own motet

Victoria characteristics

uses a bit of homophony to break it up

fast growing dynamics (sfz ish) ... what happening here: text

low harmonies

"syncopation" (no meters yet)

agogic accent .. usually on a stressed text, high note, and a longer or sincopated beat

vs stravinski .. part of the stress. rather than just emphasis

so sfz will be different for different composers

Orlando de Lasso - Germany.

most famous for motets -- 700+ of them

very emotional .. knew all the styles .. master of all emotion .. probably studied with a humanism person .. so emotion

tristus est anima mea

Jezwaldo -- very chormatic .. was he insane or beyond his time.

problem with this guy -- musica ficta .. this was not written in .. so we have to figure out if he wanted it to fit or not.

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Fri 04/18/08

cheese tarts

apple cider

carbonata

stuffed baked apples

---

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Mon 04/21/08

Music Printing

- amateurs - now they have music .. originaaly printing was just for putting toegehter groups of works for professionals

- read music - amateurs now required to do so .. not like they hadn't been playing before but they didn't read music before .. because of music printing industry

- sing in vernacular - most of teh madrigals were in the vernacular .. easier to sing read and learn and gave us a more tnatinal style of madrigals

Spain

- villancico - main pre-madrigal form .. secular song

.. short, strophic , syllabic, and have sections of homophony, where the melody's on the top.

Juan del Encina

dance rhythms .. a lot of hemiola

range from lovely to risque

text becomes very important

Italy

- frottola - their pre-madrigal

- Manco Cara - leading composer

- 4 part

- strophic

- "mock-popular" - like a parody

simple meolidies .. melody still in top .. instrumental accompianment and lot of lute .. also, recorder

almost all root position triads

Italian *Madrigal*

.. big form of the rennassance

the typical madrigal is through composed - new music for every line (vs strophic).

used text of the major poets of the day

very text centered .. created as much imagery as they could

witty, loove poems, erotic ...

they told a story .. and sometimes they'd even give you a moral or end.

- like country / blues

- counterpoint and homophony in different sections -- so both of those combine

- 4,5,6 voices .. the 5th voice is the quintus, 6th sextus

they were always for singers, however, instrumentalists quickly stole those

even in about 1570, the patrons started paying a group of singers to sing madrigals because they were so fun

Petrarchan movement*

- Adrian Willbert - St. Marks - Venice

petrarch was a very famlous earlier poet .. went back to petrarch with his beautiful poetry

Adrian was probably the king of the Petrarchan movement -- good at making the peice come alive with music. St. Marks for 30 years .. humanistic. students far more famous.

had a string of very famous studnets that continued his post in venance

fife and taper

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Tue 04/22/08

rennaisance violin

not a lot of vibrato

evolution of instruments -- louder brighter more brilliant, more vibrato.

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Thu 04/24/08

women

------

maddelena casulano

women were singing madirgals with men .. were particcipating .. but most of the poets and compserrs were all men

maddelena casulano

trying to make a name for herself as the first female published compposer

still was not that easy to make a name for yourself in the rennasance period as a composer but slightly easier as a singer

Singer

------

1 - daughters/wives of various nobility who obviously aad the moeny to do their hobbies whereven they wanted .. they sang for private concerts .. elevated verion of women singers

Este family .. Alfanzo .. very fond of this particular group of women .. conecerto della donne ,-- first group of professional women singers .. a lot of them were related to aristocracy .. they were trained .. probably because of their wealth

they were actually very good and that's one of th reasons they' occur in history .. so good that other patrons in other areas, created other groups to match.

pockets of womens enesambles trroughout europe

these women really transformed madrigal singing to concert level ..

moving to concertized madrigals

women were also playing some instruments at this point.

Madrigalists .. a number of other madrigalists

1 - luca marenzio .. madrigalist .. most of them wre love songs, etc .. he was considered mr feelings .. very expressive taked about feelings and artestry ..

a little bit more chromatics .. a little more disjointed .. to express sadness a lot more of the chromaticism coming in

carlo gesualdo - aristocrat and muderer!. good name to know .. aristrocrat ..not just a composer .. probably historically important because murderer .. killed both his wife and the lover that was found with her .. and escaped from that

married into the ferrara family

he was mr chromatic

so if you hear something that doesn't sound quite normal becuase he's a murderer .. really goes out of the box when we use chromatics

polyphonic, homophonic, choral, etc

claudin sermisy - very popuolar in france . humanism , emotions, feelings

clement Janaquin - ssimilar in style .. imitative .. sections of homophany tonal

musique Mesurée

- greek/Latin meter

- claude le jeure

going back to greek and latin ...

greek/latin meter .. idea of long and short iambic pentameter

stress/accent = long note value .. so instead of just gong with the text theyr'e actually going with the stress .. long and short .. duple and triple going together

2| + 3 + 3+ 2 + 2

Thomas morley

english. . those are the ones you'll find the most

one of the finest

very tonal interesting dramatic, in an egnlish short of way

triumphs of oriana .. 25 madrigrals by 23 composers .. all written for queen elizabeth who was oriana

Lute Songs

----------

- john dowland

- tableture - both horizantal and also written as if you're going to play from a table

- solo singing accompianment method

solo singing most important .. lute was veyr underneath the singer .. really gets us into the iiea of baroque soloists .. baroque opera .. the solo song

instruments

----------

many were played by 1 person - you gotta play several

- haut (high) vs bas (low)

really meant loud vs soft

consort - like instrument, group of

broken consort - mixed . variety of instruments

trumpets, double read in high and recorders lute in low

loud wre outdoorsy, low ones were more churchy

vile, violin

keyboard - harpsichord, clavichord, ve??ginal ... harpsichord was the loudest

inntrumentalists did dance music .. usually in pairs .. ex slow and fast

stole madrigals

improvized on an existing melody

keyboard starting to do variations

also will do purely instrumental works .. the top one is "canzona" and that gets us into gabrielli in venace

taken form the word chanson .. very imatative .. similar characterisitcs of vocal music

gabrieli - polychoral .. took over for villar in venice ..

two of them giovanni most famous

polychoral .. brass in loft a, choir1 in loft b etc.

so tambor, dynamics, echo.

very simplistic tonally

I and V chords

more review next week.