Archive for February, 2010

But What Does It MEAN, Professor? (Updated)

24 February, 2010

So, this is an analytic reduction of Schoenberg’s Op. 19, No. 2. The first element to be addressed is the nearly omnipresent G-B dyad that begins the piece. It occurs in eight of the movement’s nine measures. This repetition is a sure sign of the significance of thirds in the work’s harmonic structure. The first variance from this dyad expands it out to a III.1 chord (including the melodic F-sharp). The III.1 chords are significant throughout the movement- it begins with two such chords in succession and likewise ends with a pair of them. This group contains but is not limited to diatonic seventh chords lacking tritones: major sevenths, minor sevenths, and the possible-but-rarely-encountered minor-major seventh (that is a minor triad with a major seventh above it). The melodic outlining of an A-flat major triad (interpolating what can be considered a nonharmonic A) sounding beneath the G-B dyad creates the second III.1 chord. Comparing this descent to A-flat in measure 3 to the ascent from A-flat to C in measure 6, the A-C-sharp dyad there could be construed as having a nonharmonic function as well.

Moving on to root motion, it is clear that third-relations are significant here as well. Root motion by third appears regularly; five of fourteen root movements are by thirds. An additional three connections are by whole step, harmonized in parallel major thirds, and outlining a whole-tone scale fragment, which is broken by the half-step descent to C-E prior to the final sonority, again a III.1 chord, on G.

The melodic framework extrapolated here has been ‘normalized’ into a single octave for graphing purposes. Again, in it we see the emphasis on thirds, from D to F-sharp, and then descending (in pitch classes only, the actual register of the pitches is generally the octave above) to D at the end of the movement. Also, there is an internal descent by thirds in measure three, continuing from the anacrustic F-sharp in measure two.

Again, further information as this situation unfolds.


One must have a mind of winter

11 February, 2010

I’ve started setting the Wallace Stevens poem The Snow Man for tenor and piano. Here’s a draft of the first 1 and 2/3 stanzae. The accomapniment is a 13-half-note pattern, varied at the close of the first stanza, and transposed for the second. I likely won’t leave it that dull rhythmically, right now I want to finish the text setting before I elaborate the support.

Not Quite Juvenilia, Vol. 3

6 February, 2010

In my undergrad, I wrote a piece for a female percussionist friend. It turned into a piece for two percussionists, and as it happens both players were women. So I ended up titling it after another female percussionist, Maureen Tucker. The title comes from a play on the old union song “I Dreamed I Saw Joe Hill Last Night”, which was also referenced in Bob Dylan’s song “I Dreamed I Saw St. Augustine.” This is not to suggest a sympathy with the Wobblies, but only a useful title. So here is I Dreamed I Saw Moe Tucker

A Young Man Ain’t Got Nothin’ In the World These Days

4 February, 2010

As an undergrad, I had the distinction of being the first student to receive the annual commission from the New Music Society at the Dana School of Music. For that commission, I wrote my Concerto Grosso. It’s for oboe, clarinet, bassoon, and strings. The premiere soloists were Corrina Hoover, Pam Kennedy, and Reid Young. (If anyone has a link for these three, send it my way.) Herewith, the Concerto Grosso.