Midterm

In this midterm you will choose 2 of the 3 contemporary theory topics below and write a short composition based on each . One of the two compositions should be an extended two part song and the other should be an incipient three part song.

TOPIC I: Standard IDPLMAL modes and Synthetic Scales

TOPIC I Standard IDPLMAL modes and Standard Synthetic Scales (see notes 1#6 and 3#6 "Brick Impromptu" as a guide) Write a composition using EITHER the standard IDPLMAL modes OR a standard 7 note Synthetic Scale formation as follows: If you want to use a Standard IDPLMAL Mode A. Begin by selecting one of the standard IDPLMAL modes. State the name of the initial mode in the title of the composition. B. Establish the Primary (tonic) through the use of cyclical 5ths, 3rds, or 2nds. State which cycle you are using C. Establish a clear representation of characteristic tones in the motivic material of your antecedent/consequent phrase structures. Circle the characteristic notes the first time they appear D. Clearly use Primary, secondary and Tritone chords in the structural make up of the form. (ie Primary becomes the tonic dominant function). Label all chords with Roman/Arabic and P,S,TT symbols. E. When necessary, use chromatic alteration to refocus the ear on the primary F. At least once, introduce chromatic alteration or use the Tritone function to effect a Modal Modulation to the same or any other standard IDPLMAL mode. Clearly state the name of the other mode and the new key center when you implement the modal modulation. G. At least once, introduce chromatic alteration to effect a Modal Interchange to any other standard IDPLMAL mode. Clearly state the name of the other mode when you implement the modal interchange. Clearly demonstrate good compositional form with well defined antecedent / consequent phrase structures and contrasting/parallel/modified periods. Use auxiliary members to add interest to your song forms. You may write for any instrument or ensemble you wish. Realize your composition with Garritan and submit your score and mp3 to: hmu415@gmail.com If you want to use a Standard 7 Note Synthetic Scales (note: in this assignment, the term "synthetic scale interchange" and "synthetic scale modulation" have the same function as Modal Interchange and Modal Modulation just with synthetic scales. A. Begin by selecting one of the standard 7 note synthetic scale formations . State the name of the initial synthetic scale in the title of the composition. B. Establish the Primary (tonic) through the use of cyclical 5ths, 3rds, or 2nds. State which cycle you are using C. Establish a clear representation of characteristic tones in the motivic material of your antecedent/consequent phrase structures. Circle the characteristic notes the first time they appear D. Clearly use Primary, secondary and Tritone chords in the structural make up of the form. (ie Primary becomes the tonic dominant function). Label all chords with Roman/Arabic and P,S,TT symbols. E. When necessary, use chromatic alteration to refocus the ear on the primary F. At least once, introduce chromatic alteration or use the Tritone function to effect a Synthetic Scale Modulation to the same or any other 7 note Synthetic Scale. Clearly state the name of the other scale formation and the new key center when you implement the Modulation. G. At least once, introduce chormatic alteration to effect a Synthetic Scale Interchange to a 2nd or 3rd derivative of any other standard 7 note synthetic scale. Clearly state the name of the other other synthetic scale and its derivative when you implement the synthetic scale interchange. Clearly demonstrate good compositional form with well defined antecedent / consequent phrase structures and contrasting/parallel/modified periods. Use auxiliary members to add interest to your song forms. You may write for any instrument or ensemble you wish. Realize your composition with Garritan and submit your score and mp3 to: hmu415@gmail.com

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TOPIC II: Quartal Harmony

TOPIC II. Quartal Harmony use notes 4-2b and 5#6 Brick Impromptu as a guide 1. Begin by writing 2 series of chord progressions. Each one should contain mostly quartal harmony. Each should be rhythmically simply and appear on two staves in 3 or 4 (or more) voices. State the purpose behind your progression. Remember Persechettis mantra "...if each voice has purpose and design, any triad {or chord -prof. andy} may progress freely and with harmonic meaning" 2. Demonstrate logical reasoning in the use of Primary, Secondary and Leading quartal harmonies. Label your Primary, Secondary and Leading chords with P, S, and L 3. Focus on more open quartal voicing but you may occasionally use closed voicing when necessary. 4. You may use inversions to help prevent harmonic monotony. 5. Try to use a mix of P4 and A4 structures 6. At least once in each series of chord progression you should lead to a brief statement of common period triadic formations (and or syntax) via voice leading techniques to and from triadic and non triadic formations discussed in notes 5 to move within your progression. Clearly state your technique when in use 7. Use voice leading techniques of quartal harmony discussed in notes 4 to move within your progression clearly state your technique when in use 8 Use voice leading techniques to and from triadic and non triadic formations discussed in notes 5 to move within your progression. clearly state your technique when in use 9. After writing 1-8. Label each chord A,B,C etc. then use your progressions as a basis for your composition. Demonstrate good compositional form with strong motivic statements, well defined antecedent / consequent phrase structures and contrasting/parallel/modified periods. Use auxiliary members to add interest to your song forms. Add interest to the harmonic motion if necessary. In your new composition label the chordal usage for both your quartal harmony and your triadic harmony with the corresponding A,B,C etc. You may write for any instrument or ensemble you wish. Realize your composition with Garritan. Submit an MP3, your short score from #1-8 and your full score from #9 to: hmu415@gmail.com

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TOPIC III: Polychordal Harmony

Topic III Polychordal Harmony (see notes 7 D#1 "Brick: Polyharmonic progression" and E#1 "Brick Impromptu" as a guide) Since the nature of polychordal Harmony suggests a larger ensemble, you may write a simple two part song form if you elect this topic. 1. Begin by writing 2 series of polychord progressions. Each should be rhythmically simply and appear on two staves in 6 to 8 voices. State the purpose behind your progression and show good polyharmonic direction. Remember Persechettis mantra "...if each voice has purpose and design, any triad {or chord -prof. andy} may progress freely and with harmonic meaning" 2. Within your progression you must implement at least on chord that is relatively consonant in the harmonic series set of the lower unit of its polychord and one chord that is relatively dissonant in the harmonic series set of the lower unit of its polychord. 3. Other than the two polychords stated in #2 above, you need not concern yourself with the relative consonance or dissonance of the upper unit in relation to the lower units harmonic series set. 4. Demonstrate logical reasoning in the use of Primary, Secondary and Leading Polychordal harmonies. Label your Primary, Secondary and Leading chords with P, S, and L and state your reason for labeling them as such. . 5. After writing 1-2 above, Label each polychord A,B,C etc. then use your progressions as a basis for your composition. 6. Combat the tiresome harmonic effect of polychordal harmony by implementing at least 4 of the the following techniques within your composition a. Ornamentation b. Unison interpolation c. Two voice interpolation b. Triadic or quartal interpolation e. Omission of Notes of either chordal unit f. Use of Polychord as harmonic pillar 7. Use Leading polychordal functions to guide your tonal areas. Remember to label your leading chords with "L" 8. Orchestrate your composition to help define each unit in the polychord. 9. Demonstrate good compositional form with strong motivic statements, well defined antecedent / consequent phrase structures and contrasting/parallel/modified periods. Use auxiliary members to add interest to your song forms. Add interest to the harmonic motion if necessary. In your new composition label the chordal usage for both your quartal harmony and your triadic harmony with the corresponding A,B,C etc. You must write for an ensemble no smaller than a small orchestra. Realize your composition with Garritan. Submit an MP3, your short score from #1-5 and your full score from #6-9 to: hmu415@gmail.com