composing a melody; new melodic resources

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Composing a Melody

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Page 1: Composing a Melody; New Melodic Resources

Composing a Melody!

Page 2: Composing a Melody; New Melodic Resources

Terminology!

•  Monophony"•  Polyphony"•  Homophony"

n  Texture"

n  Contour"•  Conjunct (e.g., scalar)"•  Disjunct (e.g., chordal)"

n  Accent"•  Dynamic"•  Agogic"•  Tonic"•  Metric" n  Text setting"

•  Syllabic"•  Melismatic"

n  Phrase"•  Antecedent"•  Consequent"

n  Period"

n  Cadence"

n  Climax"

n  Balance"

n  Unity vs. Variety"

n  Range "

n  Tessitura" n  Word painting"

Page 3: Composing a Melody; New Melodic Resources

Anatomy of a Melody"

Contour"

The Star Spangled Banner!

Conjunct motion"

Disjunct motion"

Range"

Tessitura"

Page 4: Composing a Melody; New Melodic Resources

Anatomy of a Melody"

The Star Spangled Banner!

Phrase 1 (antecedent)" Phrase 2 (consequent)"

Period"

Harmonic " implications:" I V I

Cadence"(imperfect authentic/"

half-cadence)"

V I Cadence"

(perfect authentic)"

Rhythmic motive:"

augmentation"

variation"

Page 5: Composing a Melody; New Melodic Resources

Anatomy of a Melody"

The Star Spangled Banner!

Agogic accents"Dynamic accents"

Tonic accents"

Metric accents"

Page 6: Composing a Melody; New Melodic Resources

New Melodic Resources!

Page 7: Composing a Melody; New Melodic Resources

From David Cope, Techniques of the Contemporary Composer, p. 27."

Various types of nontonal scales: modes, synthetic, and non-Western scales"

Page 8: Composing a Melody; New Melodic Resources

Balinese gamelan and African drummers."

Impressionism/Exoticism—Influences!

Precedents:"

n  Paris Exposition (1889) "n  Chicago World Fair (1892)"

Page 9: Composing a Melody; New Melodic Resources

Claude Debussy (1862-1918)"

Impressionism/Exoticism!

Page 10: Composing a Melody; New Melodic Resources

Maurice Ravel (1875-1937)"

Ravel and Stravinsky"

Igor Stravinsky (1882-1971)"

Impressionism/Exoticism!

Page 11: Composing a Melody; New Melodic Resources

Béla Bartók (1883-1945)recording and transcribing folk songs of Hungarian peasants."

Folk Music!

Page 12: Composing a Melody; New Melodic Resources

Folk Music—Characteristics!

n  Unusual phrase lengths (not restricted to 2, 4, 8, etc.)"

n  Metric variety: frequent use of mixed and additive meters"

n  Temporal fluidity: use of irregular rhythmic subdivisions and tempo changes."

n  Modal rather than tonal melodies; not bound to “the tyrannical rule of the major and minor keys” (Bartók)."

n  Not restricted by equal temperament: use of microtonal pitch inflections and scales based on natural tuning systems."

n  Free from the expressive pretensions of 19th-century “art” music."

Page 13: Composing a Melody; New Melodic Resources

Folk tune transcribed by Béla Bartók."

Irregular phrases"Flexible tempo"Irregular rhythmic subdivisions"Microtonal pitch inflection"

Page 14: Composing a Melody; New Melodic Resources

Diatonic Modes!“White note” version:! Starting on C:!Mode name:!

Ionian

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Locrian"

Page 15: Composing a Melody; New Melodic Resources

Diatonic Modes!Lydian:"

Maurice Ravel: String Quartet in F (1903)"

Phrygian:"Ralph Vaughn Williams: Variations on a Theme of Thomas Tallis (1910)"

Page 16: Composing a Melody; New Melodic Resources

Pentatonic Scales!

Derivation from diatonic scale:"

The most familiar variety of pentatonic scale is the “anhemitonic” (I.e., without semitones); it may be easily realized by playing on the black keys of the piano."

Page 17: Composing a Melody; New Melodic Resources

Pentatonic Scales!Anhemitonic variety:"

Claude Debussy: “Nuages” from Nocturnes (1899)"

Maurice Ravel: String Quartet in F (1903)"

Page 18: Composing a Melody; New Melodic Resources

Claude Debussy: String Quartet (1893)"

Pentatonic Scales!Other varieties:"

Igor Stravinsky: Le Sacre du Printemps (1913)"

m2" M3"

m2" P4"

Page 19: Composing a Melody; New Melodic Resources

Claude Debussy: “Pagodes” from Estampes (1903) "

Page 20: Composing a Melody; New Melodic Resources

Maurice Ravel: Ma mère l’oye (1908)—“Laideronnette”"

Page 21: Composing a Melody; New Melodic Resources

Whole-Tone Scale!

Claude Debussy: “Canope” from Preludes Book II (1913)"

A

B

Page 22: Composing a Melody; New Melodic Resources

Claude Debussy: “Voiles” from Preludes, Book I (1910) "

Page 23: Composing a Melody; New Melodic Resources

Béla Bartók: Mikrokosmos No. 136—“Whole-Tone Scales”"

Page 24: Composing a Melody; New Melodic Resources

Béla Bartók: Mikrokosmos No. 136—“Whole-Tone Scales”"

Page 25: Composing a Melody; New Melodic Resources

Béla Bartók: Mikrokosmos No. 136—“Whole-Tone Scales”"

Page 26: Composing a Melody; New Melodic Resources

Octatonic Scale!

Three transpositions:"

Two versions:"

A

B

“Major” (whole-half) "

“Minor” (half-whole)"

1!

2!

3!

Page 27: Composing a Melody; New Melodic Resources

Octatonic Scale!

Two nested diminished 7th chords "

Structure:"

Four overlapping [013] pitch cells "

Igor Stravinsky: Octet (1922)"

Page 28: Composing a Melody; New Melodic Resources

Béla Bartók:Mikrokosmos No. 99“Crossed Hands”"

Octatonic pentachord 1 (RH):"

Octatonic pentachord 2 (LH):"

These two octatonic pentachords combine to form a single octatonic collection."

Page 29: Composing a Melody; New Melodic Resources

Olivier Messiaen’s Modes of Limited Transposition"

From David Cope, Techniques of the Contemporary Composer, p. 27."

Mode 1: 6 pitches, 2 transpositions""(“whole tone”)"

Mode 2: 8 pitches, 3 transpositions""(“octatonic”)"

Mode 3: 9 pitches, 4 transpositions" Mode 4: 8 pitches, 6 transpositions"

Mode 5: 6 pitches, 6 transpositions" Mode 6: 8 pitches, 6 transpositions"

Mode 7: 10 pitches, 6 transpositions"

2 !2 !2 !2 !2 !2 ! 1 !2 !1 !2 !1 !2 !1 !2 !!

2 !1 !1 !2 !1 !1 ! 2 !1 !1! 1 !1 !3 !1 !1 !3 !1 !1 !

1 !1 !1 !2 !1 !1 !1 !1 !2 !1!

1 !4 ! 1 ! 1 ! 4 !1 ! 2 !2 !1 ! 1 ! 2 !2 !1 ! 1 !!