Writing in Tonal Forms I

Calendar

LEC #	PREPARATION AND TOPICS
First class	Introduction
2	Immerse yourself in the assigned Minuets and Trios of Haydn, Mozart and Beethoven. Listen to the recordings, read the scores Prepare for an identification quiz next week. I will play several excerpts, you will identify each excerpt by (a) its composer, (b) its opus number (Köchel number for Mozart) or key, and (c) whether it is from the Minuet or the Trio
3	Complete the melody and harmonic sketch in Minuet exercise 1 Complete a Roman numeral analysis of Mozart’s Minuet from K. 458 Bring the scores for K. 458 and K. 499 to class The Minuet and Trio identification quiz will be given in class
4	Complete Minuet exercise 2 Analyze the form and the harmony in Mozart’s Minuet and Trio in D, K. 499
5	Revise Minuet exercise 2 (C Major) according to our discussion in the prior class. Revise and complete your Roman numeral harmonic sketch. Imagine that the melody line is a first violin part: write the cello part. Note: The work that you hand in should be a fair copy: copy it into a fresh printout of the exercise Analyze Haydn Op. 71/2 for class discussion
6	Begin writing your own Minuet in classical style. Compose an 8 measure (or so) exposition to the first repeat. Limit yourself, for now, to 2 parts: the first violin and the cello. Bring your original manuscript to class plus 2 copies
7	Revise your Minuet beginning as necessary; forge ahead to the beginning of the reprise. Continue to limit yourself to first violin and cello for now Analyze the Minuet and Trio from Beethoven, Op. 18/5 for class discussion Bring Minuet Models 1 and 2 to class again for one last time
8	Revise your Minuets according to our discussion in the prior class. Complete the two-part version. Begin orchestrating for string quartet To assist in your orchestration: I have provided several Minuet model compositions, including the 2-part models that we have been discussing in class, and a completed orchestration of each model. Please study these carefully before you begin your own orchestrations. Print out the models and bring to class We will begin class with an analytical discussion of Beethoven, Op. 18/5
9	Continue work on your Minuets at a steady pace from now on Prepare Mozart K. 421 for discussion in class
10	Complete your Minuet, fully orchestrated for string quartet We shall complete our discussion of K. 421
11	Complete your Trio in outer parts (violin 1 and cello) Prepare Haydn, op. 71, no. 1 for discussion in class
12	Begin to familiarize yourself with the Lieder of Schubert and Schumann. Always listen at least twice: once with just the text and translation, once with the score In class we shall focus upon two songs of Schubert: An Sylvia, and Gretchen am Spinnrade. Compare the english and the German versions of An Sylvia
13	Readings of your Minuets by [an anonymous professional string quartet] in Killian Hall. Bring at least 3 copies of the score (1 is for me), and a good, clean set of parts
14	Analyze the key relationships in Gretchen am Spinnrade. What is the harmony at the climax (“Und ach! sein Kuß!”)? How does Schubert arrive at this chord? Familiarize yourself with Schubert, Die schöne Müllerin, nos. 7-10. Remember always to compare the text with the music. How well does strophic form capture the expressive qualities of the poetry? What makes the music expressive, in spite of the repetition?
15	Familiarize yourself with songs 7, 8, and 10 in Die Schöne Müllerin. Analyze the harmony, phrase structure, relationship between the text and the music. In ‘Ungeduld,’ how does Schubert convey an impression of impatience? In ‘Moregengruss,’ what is the function of the chromatic harmonies in mm. 12-15? In ‘Thränenregen,’ how do you explain Schubert’s different treatment of the last stanza? Begin identifying potential texts for your song composition. You will need to bring 2 choices to the next class. You may choose from the sample romantic poems provided, or simply use these as models for your own choices
16	Study Schubert’s “Death and the Maiden” and Schumann’s “Waldesgespräch” as examples of through-composed song form Bring to class your 2 selected texts for your song composition; we will read these in class
17	Begin work on your song. Sketch parts of your vocal line and ideas for a piano accompaniment. Write a piano introduction In addition, familiarize yourself with Schumann’s Dichterliebe, Nos. 1-7. You’ll find that the songs are full of enigma: What key is the first song in? Where do phrases end in song 2 (Aus meinen Tra en sprießen)? Where is the climax in song 4 (Wenn ich in deine Augen seh’)? What is the opening chord in song 5 (Ich will meine Seele tauchen), and what is its effect? What modifications does Schumann make to Heine’s poem in Song 7 (Ich grolle nicht) and what effect does this have on the musical form?
18	By the end of the week, a final draft of your song should be emailed to Janna Baty and Daniel Curtis. Remember to include the poem in your attachment, and to write your name and the title of the composition at the head of every page. (Also include a polite message to the musicians in the body of your email)
19	Song readings with Janna Baty and Daniel Curtis, at Killian Hall. Bring three hard copies of your work to the reading: one for you, one for me, and a backup
20	Familiarize yourself with the 2 Wolf songs in your collection. How useful is roman numeral analysis for understanding this music? You will also have an opportunity to do your course evaluation today, and to discuss Monday’s song readings, future courses, and other topics that might be on your mind