Before we move to our final disucussion of serialism and atonality, we look at two more post tonal techniques of great stature.

 

Planing

We have seen that in common period harmony, we could have successions of parallel 63 chords that were free of syntactic restrictions.
(see http://personal.stevens.edu/~abrick/theory4/theory4_notes_05.html and http://personal.stevens.edu/~abrick/theory2/theory2_notes_08.html)

In post common period harmony, we extend that concept to all intervals and define "Planing" as parallel lines or chords.

1. If planed chords often involve parallel perfect 5ths, 8vas and
2. Planed chords often contain seemingly unresolved dissonances.
3. Anytype of chordal construction may be planed including: Quartal, Tertian, Secundal and compound chords.
4. If the planing is chromatic, then theinterval/chord quality remains constant;
5. If the planing is diatonic, then the quality changes according to the scale or mode.
6. In planing, Chords are used to synthesize color and are treated monophonically as in a single line.

In 1891 Erik Satie composed Le Fils des Etoiles. This was one of the first examples of quartal planing that was to become popular among the french impressionists including Claude Debussy. It set the stage for the emergence of Atonality.

1. Chromatic Planing = The given melodic line and/or chord move in exact parallel motion adhering to both the quantatative and qualitative aspects of all intervals

a Since voice movement is without regard to any key center, we find that chromatic planing is employed as some of the first Atonal music or music without a tonal center.
b. Since all voices move in parallel motion, the appearance of parallel perfect intervals is warranted.

2. Diatonic Planing = The given melodic line and/or chord move in parallel motion adhering to the quantatative aspects of all intervals. The qualitaive aspects of all intervals adhere to the predominant scale or mode.

a By definition diatonic planing contains a key center.
b. Since all voices move in parallel motion, the appearance of parallel perfect intervals is warranted.

3. Persechettis cautions

a Extended similar chordal or melodic planing tires quickly.
b. One may combat the tiresome effect of extensive planing by employing

1. contrary motion
2. dropped notes and/or voices
3. Registral Displacement
4. Orchestrational variety
5. harmonic variety (moving to other types of chord formations)
6. Interpolation of non-parallel harmony

In class assignment 1. Write a passage using quartal or compound chords that demonstrates chromatic planing. 2. Create or select a common synthetic scale and conform your chromatically planing passage to a diatonic planing passage.

 

Pandiatonicism

The term Pandiatonicism was coined by Nicolas Slonimsky in the Baker’s Biographical Dictionary of Music in the middle of the twentieth century to describe examples such as the added sixth or the nonfunctional tonality of composers such as Aaron Copland Igor Stravinsky, and more recently Steve Reich and John Adams The term, which literraly means "all (pan) within the scale (diatonic)" employs the use of strictly diatonic harmonic structures without necessary regard to common period syntax.

1. Pandiatonicism may employ secundal, triadic, quartal and compound harmony.
2. It often departs from a sense of tonal center despite its diatonic nature.
3. The chord progression has no predetermined tonal direction

 

Homework: Assignment 1&2: Due next class 1. Write a short impressionistic passage (between single and double period) for piano and solo violin that incorporates Planing. The passage should be based on a compound or mirror harmony and should effectively implement interpolated quartal and/or tertian harmony to alleviate any tiresome tendancies of the planed passage. Be sure to demonstrate that you can effectively voice lead between non-common period harmony. 2. Write a short and scurried pandiatonic sequential passage for woodwinds only. The passage can use any combination of compound, mirror, quartal, secundal and/or tertian harmony. Clearly notate your sequential concept. Realize your compositions with Garritan and submit your scores and mp3s hmu415@gmail.com