MUSIC THEORY IV
MUSIC THEORY IV MUSC 216
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This 2 page Class Notes was uploaded by Caden Wolf PhD on Monday October 26, 2015. The Class Notes belongs to MUSC 216 at University of South Carolina - Columbia taught by R. Bain in Fall. Since its upload, it has received 80 views. For similar materials see /class/229501/musc-216-university-of-south-carolina-columbia in Music at University of South Carolina - Columbia.
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Date Created: 10/26/15
BAIN MUSC 216 Theory afTwentieth7Century Music ANALYSIS Davis So What Fill in the blanks For intervals use the symbols m2 M2 m3 M3 P4 T P5 m6 M6 m7 and M7 l P 9quot 455 N 9 0quot Form S0 What is a 7bar form However unlike the EllingtonStrayhorn s Take the A Train its bridge is a transposed version of its A section thus its form might best be designated as A A A rather than AABA The A sections are in the 7 mode whereas the A section is in the 7 mode The interval relation between these two modes helps to create harmonic interest in a work that is otherwise based on static harmony S0 What is somewhat unusual in that the voice has been assigned the melodic function The So What Chords In preparation for the analytical questions that follow notate the initial appearance of the S0 What chords on the staves below as it appears in the lead sheet Be sure to include clefs time signatures rests bar lines a grand staff brace etc The parallel voice leading in the upper voices is called diatonic or parallelism The second chord is a transposition of the first chord down a Taken together the two chords unequivocally express all seven tones of the 7 mode D7 7 7 7 7 7 7D Ignoring the bass the So What chords might be interpreted as the following extended tert39mn harmonies Chord l m 11 Chord 2 m 11 with 9th omitted The first chord might also be interpreted as an incomplete extension of D77 to include the 11th chord to the second chord7a tertian Again ignoring the bass the So What chords may also be derived from a series of stacked P4s as follows Chord l Chord 2 In this interpretation the So What chords are inverted rather than extended tertian sonorities Notate the Tristan chord and So What chords upper voices only below using whole notes on a grand staff Notice the partitioning of the Tristan chord into two chordal units a T vs a P Now examine the partitioning of the So What chords into a P vs a triad Both chords seem to be based on the of two contrasting harmonic units The Tristan chord The So What chords O l lquot 9quot l lquot 9quot m l lquot 9quot P 0quot 9 H q l lquot BAIN MUSC 216 Theory ofTwentiethiCentmy Music Parallelism Fill in the blank with one of the following terms diatonic chromatic or mixedplaning See KP Se Parallelism pp 491493 for more information The So What chords are a product of planing In In 8 of So What s introduction the voice leading in the piano is a product of strict planing In m 7 of So What s introduction the voice leading in the piano is a product of stiict chromatic and diatonic planing planing a mixture of Pedal Points The static modal harmony of So What features a D pedal point in the A sections and E pedal point in the A39 section With respect to the mode center D the El may be viewed as an upper chromatic tone The introduction to So What attributed to Gil Evans begins with material that is harmonically organized around an A pedal point suggesting function In In of So What s introduction a D pedal point begins to emerge The D pedal point is approached through the chromatic tone El foreshadowing of the use of E in th section of the tlme functions The E In conmionipractice music pedal points were relegated expansions of dominant or A point bass in mm 9711 of So What39s introduction however might be viewed as a L2 Analyzing So What s Introduction Like the tlme the extended introduction s melodic focus seems to be on the voice whereas the piano part presents a complex array of veiled diatonic and references to the So What chords In the introduction the contrast of chromaiic and symmetrical pitch materials combine forces create brief moments where the music seems almost atonal In In 172 the EliDI and BA statements in the melody seem to imply a 47note segment of a 7 scale In In 2 the RH of the piano presents the upper chordal units of the So What chords over an rather than D bass minor rather than the AiAeolian mode In mm 175 the pitches in the bass line seem to imply a key of In In 8 the cadential chord D mightbe interpreted as a vertical sonority that foreshadows the tlmes DiEJ semitonal dialectic In In 11712 note the approach to the mode center D In 12 through ii and 3 see mm 9711 not to mention the ornamental Bi This EliA dialectic is first suggested in the bass voice in min 7 Free Response Compare min 778 of the introduction to Davis s So What with m 107 of Debussy 5 Prelude to the A ernoon ofthe Faun In terms of harmony and voice leading how are they similar Why was the use of static modal harmony considered to be revolutionary in late 19503 jazz music
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