Final Exam

In this Final Exam you will write one shorter composition and one longer composition. You may decide which of the two topics will be the shorter composition and which will be the longer composition

TOPIC I: Compound and Mirror Harmony, Planing and Pandiatonicism

 

TOPIC I: Compound and Mirror Harmony, Planing and Pandiatonicism Write a composition using Compound and Mirror Harmony, Planing and Pandiatonicism as follows : Harmonic Usage Write 3 different chord progressions that use a combination of the below techniques of chord construction. Each progression should contain at least 2 of the 6 techniques. All 6 of the techniques must be employed within the 3 progressions. Clearly label the techniques and methods by which you created your 3 progressions with their corresponding letters a. Symmetrical Chords b. Symmetrically Inverted Chords c. Chords constructed by Predetermined Intervallic Sequence d. Pyramidal Chords e. Inverted Pyramidal Chords f. Pandiatonic Chord construction (specify the key or mode to which your progression adheres) Write 3 additional chord progressions that mirror all chords of the above three progressions. Within this reconstruction you should be mirroring on both single and multiple targets. Clearly label the techniques that demonstrate how you mirrored the progressions. Composition: Short Composition: Extended Two Part song: Use at least 2 of these 6 progressions as a harmonic foundation for your composition. Long Composition Five Part Song: Use at least 4 of these 6 progressions as a harmonic foundation for your composition.   Voice Leading Usage Short Composition Extended Two Part song: At least once within your composition, you should demonstrate each of the following techniques: Long Composition Five Part Song: At least twice within your composition, you should demonstrate each of the following techniques: g. Non-triadic voice leading that moves between the above harmonic usages and Quartal harmony h. Non-triadic voice leading that moves between the above harmonic usages and Triadic harmony i. Harmonic Planing   Rhythmic usage Within each Part of your composition you should use the below listed Rhythmic techniques as follows: Short Composition Extended Two Part song: Use two of the below listed rhythmic techniques in each Part Long Composition Five Part Song: Use one of the below listed rhythmic techniques in each Part. Clearly label the rhythmic techniques you employ with their corresponding letters j. Compound Meter k. Asymetrical Meter l. Tactus Preserving Polymeter m. Metric Modulation n. Original Rhythm followed by Rhythmic displacement o. Rhythmic Cannon p. Rhythmic Retrograde q. Rhythmic Inversion r. Additive Rhythm s. Rhythmic Augmentation t. Rythmic diminution u. Isorhythm v. Isomelos   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

TOPIC 2: 12 Tone Serialism

 

TOPIC I: 12 Tone Serialism Write a composition using 12 Tone Serialism as follows : Row Construction Write 3 different 12 tone rows. Two of the rows should employ one of the following techniques. Clearly label the technique you use for each row. a. All interval set b. Symmetrical set c. Intervallic order Label each resultant row as Row-1, Row-2, Row-3 Matrix Construction 1. Derive a 12 tone matrix for each of the 3 rows above. 2. Label the Matrix as Matrix-1, Matrix-2, Matrix-3 respectively. Row Derivation 2. Using the first 3 notes (trichords) of each your rows 1,2, & 3 above as a Generator, derive 3 new Rows and label them Row-d1, Row-d2, Row-d3 Matrix Derivation 1. Derive a 12 tone matrix for each of the 3 derived rows d1, d2, & d3 above. 2. Label the Matrix as Matrix-d1, Matrix-d2, Matrix-d3 respectively. Hexachords 2. In the resultant 6 Matrices, (1,2,3,d1,d2,d3) locate and highlight all hexachords that are self-complimenting to P0 of each of the 6 Matrices. Label the hexachords H{row} Submit all six matrices with your final composition. Composition: Short Composition : Write two double periods as follows: Double Period #1 1. Pick one of your six matrices and write: 2. Double Period #1: Strictly Follow the 8 rules of 12 tone composition as described in http://personal.stevens.edu/~abrick/contemp_theory/contemp_theory_notes_13.html Double Period #2 3. Pick a second of your six matices and write 2. Double Period #2: Understand the 8 rules of 12 tone composition but follow the edict: "The 12 tone method is a means of liberation and {you} retain the right to break your own rules and make your own aesthetic choices" Long Composition: Five Part Song: 1. Pick one of your six matrices and write a five part song that focuses entirely on the harmonic and melodic material present in the matrix. 2. Demonstrate the use and manipulation of self complimenting hexachords and hexachordal combinatoriality. 3. Whenever you implement elements of your matrix you should clearly label the row from which that material was derived with P, I, R and RI 4. Within the composition you should demonstrate that you understand the 8 rules of 12 tone composition but follow the edict: "The 12 tone method is a means of liberation and {you} retain the right to break your own rules and make your own aesthetic choices" 5. Within each Part of your composition you should Use two of the below listed rhythmic techniques in each Part. Clearly label the rhythmic techniques you employ with their corresponding letters j. Compound Meter k. Asymetrical Meter l. Tactus Preserving Polymeter m. Metric Modulation n. Original Rhythm followed by Rhythmic displacement o. Rhythmic Cannon p. Rhythmic Retrograde q. Rhythmic Inversion r. Additive Rhythm s. Rhythmic Augmentation t. Rythmic diminution u. Isorhythm v. Isomelos     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