Assignment 37.1 I. Finding prime form Foreach given pest, find the normal order and prime form by ne ofthe methods described in the chapter. ‘Clock faces are provided ifyou choose to use them. Fill in the SC or Forte number (found in Appendix 6) A @EDGA FEESALCEC NO, 23678} FESR SS 9 Pri L_otses 5.29 form [01256] E, DFADRG 125879) [o14se8 1 6.16IL. Melodie analysis Here are the six pentachords analyzed in Assignment 36.2. Calculate the prime form and SC (Forte) ‘number for each, ‘A. Béla Bartok, Music for Strings, Percussion, and Celesta, mvt.1, m.1 1} eae: PP Prime form: [01234] sc: 54 B. Webern, “Dies ist ein Lied,” m. 4 (vocal part) ( —— ves fom - men Tri- en... Prime form: | 04346) 1 sc: 75:40 ©. Messiaen, Méditations cur le mystére dela Sainte Trinit, for organ, mvt. 4, m.76 78 Prime form: [__01356 sc: 6.212 D. Webern, String Quartet, Op. 5, mvt. 3, mm.18-19 Primeform: [02468 J F, Steve Reich, Piano Phase, pattern 1 () cs eee 3 Primeform: [02357 1 sc; Part IV The Twentieth Century and Beyondyr rr Assignment 37.2 |, Trichord identification Incach ofthe following excerpts, identify the two specified trchords, Cirle the first specified trchord with & sold line; eirele the second with dotted line (or diferent color). Circles may overlap by one or two pes. Hints: ook for different transpositions or inversions ofthe trichords—not just the prime form. It may'be helpful to identify the potential pitch interval successions for that trichord, and scan the excerpts for those intervals. | A, Messiaen, Méditations sur le mystire de la Sainte Trinité mvt 4 mim. 72-76 Find at east three SC 3-48 [015] and six $C 3-550 16 Bien modéré — Unpeuvif ‘he 42 = = B, Berg, “Sahst du nach dem Gewiterregen,” mm. 1-+ Find at least five SC 3-8s [0 1 4] and four SC 3-5s [0 1 61. Ein wenig bewegt = Sahst du nach dem Ge wit = ter-re-gen ‘Translation: Did you ve after the summer rain, the forest? ‘Allis, sparkling, andi [more beatiful than before), Chapter 87 Sots and Set ClassesIL Trichord analysis: Webern, String Quartet, Op. 5, mvt. 3, mm. 1-8 1) Listen to this passage, then analyze the set classes ofits melodies and chords. pee Each eoneecutive group of Snotet = 3-4(0,1 51 ‘A. Find at east eight SC 9-38 [0 14] and eight SC 3-4s [0 1 5]. Circle 3-3 with a solid line and 3-4.with a dotted line (or different colon). B, Which trichord appears primarily as staccato chords? 3-3 Which as melodies? 3-4 Where does the “chord” motive appear instead as a melody? possible answers: measure 8 cello, measure 6 melodies C. Inmeasure 6, how are the melodic lines (violin 1, 2, viola) related to the staccato pizzicato trichords? 3-3 completely saturates this passage, both horizontally as melodies and vertically as chord D. Inmeasure 7, how are the violin and eello related? by inversion Examine each trichord within these melodies (overlapping). How are these trichords rlated? ‘They are all overlapping statements ofthe same trighord, 3-4, Part IV ‘The Twentieth Century and BeyondAssignment 37.3 Analysis 'A, Stravinsky; Kyrie, from Mas, mm.1-5 () with your class, sing through the epening measures of Stravinsky's Meas, then answer the following questions. 2 ayPtronguille Wenge Pivanguily Ao Wyen-e Prvangity reno Wyn Fi ‘i as Pano recon “rnin: Lord have mercy upon (2) The movement opens with three statements ofthe same set class. Identify them here. What is their SClabel and prime form? __ 3-11 {0371 (a) piano accompaniment, normal order: {__ 803 (b) bass melody, measures 2-3, normalorder:{__803___} (© bass melody, measure 4, normal order:{__@36 _};T_9_ofthe previous statement. ) The $C sung by the tenors in thei initial “Kyrie eleson” is repeated by the sopranos in their second, ‘Kyrie eleison” What isthe relationship between the two? (@) SClabel and prime form: __ 3-50 16) () tenor melody, measures 2-3, normal order: {__ 051} (©) soprano melody, measures 4-5,normal order: {056 __}sT_5 Toftenorstatement. (9) The altos two statements of “Kyrie eleison” belong to the same set class. (a) SClabel and prime form: 3-2(01 3) () alto melody, measures 2-3, normal order:{ 235 __} (©) alto melody, measures 45, normal order: {023 __};T_6 Tofprevious statement. (4) 1fwe consider the single Bo in measure 5 (tenors) to function as a chromate passing tone (and therefore eliminate it from our set), to what set class would the pitches of the entire excerpt (voices and. Piano reduction) belong? What scale or mode is this? (01346794) Nommalorder:(_235689e0 } Cand prime form: _8: Mode ot scale ‘octatonic Chien Sean Se Ce (HBB aB. Bart6k, Bagatelle, Op. 6, No, 2, mm. 7-8 and 14-16 Listen to this piece inthe anthology, then consider the melodie motives x first three notes) and y (last three notes) from measures 7-8, Caleulate the ic vector, and listen forthe difference in sound between the two trichords Mm.78 0 ‘Tichord xpes: {159} ‘Trichord ypes: { 23 _} Trichord xieveetor: [000300] —Trichordyievector: | 100110 J Ina few words, deseribe how the trichords differ in intervallic content, based on examining their ie vectors. ‘Tiichord x has no semitones and maximizes M3s it's an augmented triad). Y has a semitone, M3, Pa For the following labeled segments, compare the first three pes with trichord x and the lat three pes with tichord y Specify the precise relationships using , and/or T,I notation, Because trchord x has symmetrical properties, it will always have multiple correct answers, including both T,, and TI relations; you need give only one of each. (For unrelated trichords, write NE for “not equivalent”) Mm.15-16 0 (1) Measures 14-15 right hand (set a) (} pesina,: { “159 1} Relationship between set a, and x trichord: or Tix or Tex or Tel or Tale pesinag: {156} Relationship between set ay and y trichord: ay = _3.y (2) Measures 15-16 left hand (set b) pesinb:{ 8e3 } Relationship between set by and x trichord: pesinby {912} Relationship between set by and y trichord: (8) Measures 15-16 right hand (set) pesine: {904 Relationship between set c, and x'richord: = TNEx pesine:{ 23} Relationship between set c, andy trichord: ¢=T Oy Part IV. The Twentieth Century and BeyondAssignment 37.4 Analysis: Benjamin Britten, “That yongé child,” from Ceremony of Carols, om. 1-8 1 Listen to this passage. Britten features sonorities made ofa triad plus a half step, which create several diferent types of tetrachords, Identify the tetrachords circled inthe score, copy your answers onto the chart that follows the score, then answer the questions that follow: Andante quasi recitative slante © Hap (orpiano) Car 3 Son ie Css d(A) Set-class identification Normatorder Prime form SC (Forte) number @) Segmenta: { 0147) [0147 1 () Segment: { 4780) [0148 © Segmente: { 0158 Lo 1 @ SegmentD: {0147} L0147 (© SegmemtE: { e047} [0188001 Segment F: {0437 9) £0137) _4zao @ SegmemG: { 0147} F_0147__1 418 @) Segment: (0158) [0158 1 420 @ Segment: {7 1578} £0137] 4-229 @ Segments: {1578} (0137 4-229 (2) How many different set classes did you find that result from a triad plus @ half step? What ean you discover about their location in Forte’ table of sets? How does this location reflect their intervallic structure? (Hint: Check the ie vector) ‘There are four different SCs in this excerpt that result from a triad plus a half step. Three of them are ‘consecutive on Forte's list, which means that their intervallic content is similar (Forte's list is ordered by ic vector) (8) Identify the T, and T, relations between the sets in the given chart, Use the normal order of each set (the pes that appear in the score) to determine these relationships. H-TOIE D=TA (4) What can you say about the “progression” from SC A to D to G? From C to E to H? Comment on the pes held as common tones from one transposition to another. ‘SCs A, D, and G all appear in the same transposition—there is no “progression.” Interestingly, @ gets a different voicing that accentuates the non-triadic pitch by skipping to It in the vocal part. From CC to E to H: the transpositions by 11 semitones, then by 1 semitone, return the SC to its original transposition. Therefore SCs C and H contain the same pcs, while SC E does not. The common tone between the two transpositions is pc 0, which functions as the centric pitch for this movement. 468) Part IV. The Twentieth Century and BeyondAssignment 37.5 1 Analysis AA, Schoenberg, Dre Klavtertice, Op.3t, No.1, mum. 1-5 ( Listen to this passage, then complete the exercises that follow Mage (2) Identify the prime form, ie veetor, and SC (Forte) label for each ofthe three hexachords circled in the example. A: Prime form: { 019457] ievector: (1/ 333321 J Sc: 10 B: Primeform: | 014568} ievector: [322431] SC: 16 C: Primeform: { 023458 ] icvector:{ 9339211 SC:___ 6-239 ‘What can you say about two of the fc vectors? How do the set-class labels reflect this relationship? Sets A and C have the same ic vector, yet do not belong to the same set clas Sets A and C are Z-related, as shown by the Z in their SC label. B, Webern, String Quartet, Op. 5, mvt. 4, mm. 3-5 ‘gin by listening to this excerpt. Find the normal order foreach circled segment, then write the prime form and Ty/Tal relations requested. Violin Violin Viola allo () Nommalonder Segment A:{/5660.} Segment B:(C45te } Segmentc: (' 5680} (2) Prime form: {0167 1 (Chapter 37 Sots and Set Classes =(3) Because this set is symmetrical, more than one operation transforms one member of the set class into ‘nother. For each relation, provide two possible'T, and Tl values inthe blanks; Comparing A and B (by T,): ‘Comparing B and C: B-TSA B-TeA c-T1B C=TZB Comparing A and B (by Ty): Comparing B and C (by Ty): B=TAIA BeTLIA C=TAIB CaT LIB IL Analytical writing: Webern, String Quartet, Op. 5, mvt. 3. ‘Write an extended essay analyzing this movement, taking the following questions as guidelines. Organize the essay as you see fit (don’t simply answer the questions in a list). Support your ideas with specific examples citing measure numbers. Tur in an annotated copy ofthe score with your essay. ‘A, Listen to the movement afew times without a score, What makes the work “hang togethes? and what clements help you divide it into formal sections? What type of mood does this music convey? What musical elements contribute to the mood? B. Ifthe presence of ostinatos in the bass divides the composition into sections, there are three parts: measures 1-6 (Ct ostinato), 9-14, and 15-21 (B-G-A# ostinato). How would you characterize these sections? What elements are different (or the same) between sections? How would you characterize measures 7-8 and 22-23? C. You have already identified SCs 3-8 and 3-+-in the opening section (Assignment 37.3), Do these set classes continue to play a prominent role in the remainder of the movement? Discuss. D. There area few places in the movement where whole-tone subsets may be found. Identify these by ‘measure number and set-class type. E. Find atleast three eanonie passages (including eanon by inversion). Give measure numbers and instruments. “This work falls into @ ternary structure, but not a clear-cut A B A’, since the third section includes elements of both A and B. This final section has the texture of the opening, with a cello ostinato and pizzicato chords, but violin 1 features @ return of the B section melody. Although the rasch melody ‘with which the movement closes comes from measure 9 (the B section), itis followed by a pizzicato CCé that recalls the A section's pizzicato C# ostinato. These ostinatos help the work hang together. Its mood is mostly frenetic—the ostinatos contribute to this, as does the accelerando at the end to the sehr rasch conclusion, ‘SCs 3-3 and 3-4 permeate almost the entire movement. The exceptions are measures 4 (which Includes mostly ps from the even whole-tone scale), 12-14, and 18 to the end. The violin 1 and viola ‘of measure 13 feature mostly pcs from the odd whole-tone collection. “There are a number of short canons: measures 4 (violin 1 and viola), 5-6 (violin 1, 2, and viola). 7 (violin and cello, in inversion), 10-11 (cello, vilin 2, then viola, violin 1), 12-14 (lower three Instruments), 18-21 (violin 2 and viola), 470 Part IV. The Twontioth Contury and Beyond,Assignment 37.6 Analysis: Stravinsky, “Bransle gay,” from Agon Find a recording ofthis piece in your library online, or listenin elas, eile following the score on pages 473-474. Complete the form chart, using the following instructions. (2) Column 8: For each group of measures shown in the chart, write the complete pitch-classes and content in normal order with pe integers leave the Phrase Letter column blank for now). Ifthere are no pitches in a measure, write ‘none (2) For each normal order you have written, calculate the prime form and look up the Forte number in Appendix 5. Write this number in the Set Class column, (9) Now study the rhythmie and metrical aspects of each section identified on the char. In the Meter column, write the meter if itis consistent (in instruments other than the castanet), or write “changing” ifit isnot consistent. Inthe Comments column, note where thythmie patterns from one section recur (exactly or varied) in another measures | rinase| prren | sercuass | sraren on | OPTIONAL COMMENTS (REPEATED uerren |casses | ronre | Mank as. | PATTERNS, TEXTURE CHANGE, oe NUMMER) | CHANGING | AGGREGATE COMPLETION) 18 none 3 ease ay 26 a [iteoz35} 6211 [changing [e none i eastanet only ro fa’ [fteo235) [6211 changing | rhythms similar tomm. 25 in none a ‘castanet only 12-20 b chromatic | 12-1 & complete aggregate ae |e [aasreslezo |& completes an aggregate when combined with the hexachord of mm. 2-10 or 23-25 | 2a-25 fa” |{te0295}[6211 [changing | rhythms and pitch material similar to mm. 2-5 ond 7-10 26 oe a castanet only | (®) How do rhythmie motives help define the groupings? Measures 2-5, 7-10, and 25-25 feature changing meter and ‘are consistently in except forthe castanet). lar thythmic motives. Measures 12-20 (Chapter 37 Sots and Set Classes an(©) What musical aspect partitions off measures 2-5, 7-10, and 12-20 from the other parts ofthe piece? Refer to the score and your chart to decide, Measures 2-5, 7-10, and 12-20 are set off by a measure of rests (except for the castanet) in measures 1,6,and 11 (6) What musical aspects help establish a new phrase in measure 21? What aspects divide up measures 21-25 into the groupings shown in the chart (mm. 21-22 and 23-25)? ‘The new phrase in measure 21 is created by a change in timbre and texture (melodie fragments are replaced by chords). The grouping of measures 21-22 i likewise articulated by a timbre and toxture ‘change. The retum of the music From measures 2-8 in measures 23-26 also merks the beginning of @ new group at measure 23. The pitch-class content and raythmic elements considered in the previous ‘questions also support these divisions (D Comment on the rhythmic/metric role ofthe eastanet in this movement. ‘The castanet plays in § meter and stays in that meter throughout, creating a polymetric textur downbeat of the castanet's measures are often out of sync with the rest of the instruments (alignment is shown by dotted lines in the score), (8) Look back at the aspects ofthe music you have examined, and provide phrase leters (a, a,b, ete.) for measures 2-5, 7-10, 12-20, 21-22, and 23-25 in the second column of the chart. (9) Examine the pitch-class content of measures 21-22. How does this pe set relate to the sets in other sections? How do the Forte numbers reflect this relationship? This 6-240 completes the aggregate in comparison with sets in the @ sections. It pairs with 6-Z11 as Zrelated pairs. The two sets are both literal complements and Z-related. (20) What is the formal design of this movement—binary? ternary? quaternary? Which aspects of the :musie contribute to the perception of form? Write several sentences that defend your choice of form with analytical evidence. The movement may be considered in a two-part form, Measures 1-11 form the A section, or first half, and measures 12-22 the B section, or contrasting second half. The final four measures may be considered a code or a bref return of A material. IF a coda, the listener must be hearing the repeated chords in measures 21-22 as cadential—the last main cadence of the piece; and the A and B sections are the same length. If there is a return of A, the final measures are labeled A’. This makes the binary Gesign rounded. Temary form is lass easy to defend because the sections would not be of comparable length; the last A’ section would be too short to balance a ternary design. ‘Another possible reading is A (mm. 1-5) A’ (6-10) B (11-22) A” (23-26)—a quatemary form. Whether the measures of rests and castanet go with the previous section or the following one is ambiguous: there are reasons to defend either reading, or to consider them transitional and part of both the preceding and following sections. In this formal design. the A and B sections are not similar in length ‘The form is articulated by the pc materials used in each portion of the piece. by texture, by the ‘characteristic rhythmic motives in each section, and by instrumentation. 472 Part IV The Twentioth Century and Beyondscore: Stravinsky, “Bransle Gay” from Agon Chapter 37 Sots and Set Classes ava |)BA Part V Tho Twontieth Contury and Beyond