Theory IV Coursepack 2017 A Devaron - Redacted PDF

Theory IV
This coursepack is the result of many people's inspiration, passion for music, and hard work. I am
particularly indebted to Dr. Michael Klein, Dr. Cynthia Folio, and Dr. Alexander Brinkman for
permission to use their materials. I am also grateful to Professor Jan Krzywicki for his mentorship
and to Anna Harris in Duplicating Services for her invaluable assistance.
---Dr. Alexander de Varon

Theory IV
Individual Performance Exam materials

Theory IV
IPE#l
Singing
Modal Sequences
Memorized: The two modal sequences in the five modes we have learned
Modal Melodies:
#1112,#1122,#1113,#1133
Debussy, Beau Soir
The melody you composed
All ofthe above are sung on "moveable do" solfege
Whole-tone sequences
Memorized: 1 through 7, starting on odd or even numbers
Whole-tone excerpts
Bartok, from Mikrokosmos, Vol. 5,#136
Messiaen, from Quartour pour le fin du temps
All whole-tone materials are sung on pitch-class numbers

None ofthe melodies need to be memorized.
Rhythm
Tap the patterns, while speaking the subdivisions of2:3, 3:2, 3:4 and 4:3
(Make sure you are able to switch hands for any given pattern)
#5 on Rhythm Sheet 4-B
#3 on Rhythm Sheet 4-C
General instructions and reminders
Please learn the material well enough to give a polished performance ofeach selection.
Remember that the melodies are not mechanical exercises; they deserve a musical
performance, including appropriate dynamics and articulation when notated.
Stopping in the middle ofan exercise or melody will significantly lower your grade.
Please come a minute or two early to your exam, and have your papers ready.
Writing pitch-class numbers under the notes ofyour whole-tone melodies will slow down
the process oflearning this new system. Please do not do so.
Theory IV
Instructor: A. de Varon
Suggestions for Effective Practicing
Try to find a supportive environment

• A room with a door on it is helpful.
• Practicing in hallways is usually not the best use of one's time.
• A quiet place, while sometimes helpful, may not be necessary, since when you sing you
hear mostly only your own voice.
Take 3 to 5 minutes to warm-up

• Notice your state of mind.
• Tailor your warm-up around what you need:
If you're speedy, wired, or fearful, sing some slow scales or intervals as a way to
help you to relax and slow down. Using the piano as a sonic backdrop
(drone) can be helpful here.
If you're feeling sleepy, low energy or depressed, sing some faster scales or tunes
as a way of perking up.
Other moods such as great happiness or sadness you can bring into the act of
singing itself.
Practicing the material

• Try to set definite goals for yourself in each practice session.
• Sing out, rather than being timid or concerned about making a pretty or ugly sound.
• Work in short phrases or groups of notes, making sure you have really mastered one
phrase before going to the next. Sometimes starting at the end and working
backwards works well in this context.
• Put the short sections together gradually, taking care to make the seams smooth.
• Separate pitch and rhythm: try dry reading the syllables in the written rhythm, then try
singing the intervals out of time.
• Many short sessions per week are much more effective than one or two long ones.
• If you start to get frustrated or angry, stop, and come back later in the day, or a day
later.
• Notice if you are picturing yourself doing poorly or doing well. Try to imagine yourself
performing accurately and musically.
• If it helps to check yourself frequently on the piano, that's fine. Do so after you have
sung the note in question, rather than before.
• Spend less time on the parts you do well, and more time on the parts that challenge you.
• Try to take a playful approach to the material, finding new ways into it.
• Even if you only have ten minutes, that is enough time to duck into a practice room and
review a melody or rhythm.
• Identify whatever parts of this class you find challenging. Isolate those single elements
and practice them from memory. That way you can learn key points while
walking around campus, or driving, or riding the subway.
Modal Melodies Sheet # 1
900
p
J J J IJ J J J 1r ;m fSfJI Canada
,n l IJ J J J I J i??Ij -stjd
;J
.. 9 J7J IJ
' II
I J J iJ J
c
t
Roumania•
. Adagio
11
919 i ·. -· -J . i I ; . ·] ·. .
p
--== mp mf
( England
.. ,
Adagio
t Jfili A;: 8}2Et

=====:::=:;:=- p (#1113 Ottman)
t
" Allegro moderato . Englanv
c th\1>0 Jii·bil @ylflHtf ®I r r Ui [J:c EEl cPrj

11!1
t[ijt ,rnr, terr;:u. '"!fAti&' m Ei:ar

f .
1 n
(# 113 3 Ottman)
Obrecht, Canzona
&o c J i J . 1u ttt r r It ;; f =r 7 Fl
·-J:_- . . # ·,. "' E53 -
fS!c:§iPll JjiJ tJJjJ !W·r AP5UJJI
........
c &J ' EE;t 4 I u: a; J 4 3i I :J '

WeekU
Allegretto Anon. (13th century)
( -ts w/P r lr p
Trr- 1r mp
r t r 1r
' {fr •r Id ] ) J·1J J J J I o · :II J J ;J J3
' J JJ . 1 J<ff r r. r?tr ·ti r r r?n

cresc.
1
f
&1 r ltf * Iffir r 1J lJ;y -J'LF J J irk ·

descresc. P (#1112 Ottman)
1
canada
'u##IJG!JJ u J IJ J J J lr Oil P 1PJ 3
p
rc J j j J IJ J IJ f)fj j Jjj IJ. ] ffl I ffiJII (#1122 Ottman)
Willaert, Allons, allons gay
1BriUJ1rft1r Sir rnJim:1

'
l 1- p, n JJJJ.ar 1JJJ Ja13i;l1

l refd I tF r )!Jj 1 JJ J I j;. JJ )J )I
*For furthe r practice with minor modes see Ottman #s I 118, ll19, 111-27. Week II.l
Vicenzo Galilei, Contrapurr-
fl _ I I .,,
--,r --
..
. . ::=:
<
u I
-
I .
..0.. .p. 17 hi") ?
l I I·
-,
T
'17.
-v- u 1 T I f"
• 4 -u-
< ...
I
/'
.... ,.
.......
-.::-'l"• ., .. . ..
.. -·· - ... '·
J (.
--r
(#1143 Ottman)
I.\ ._
MS 142 Brinkman MODAL SEQUENCES (Memorize)
Sing with solfege AND pitch-class integers (C=O)
( ·.a-c. Do in major (Ionian) and related modes -- Lydian (#4), Mixolydian (b7) t
;1 lfJ ;J 1£0 u ltJJ r
0 0 IJ: 3 f J If 0 f ] Ir o J II
ld•g. Do in natural minor (aeolean) and related modes -- Dorian (#6), Phrygian (b2),
;J ;1 IPJ ;1 lA tJ lp
0 A 1ra J 11
2a-c. Do in major (Ionian) and related modes-- Lydian (#4), Mixolydian (b7)
C IJ1 £j 10 l) lA Q 1±1B 1 41
O IU CJ s lg U 18 H I
DIS {:ll£1 J1lfJ J11J I
2d-g. Do in natural minor (aeolean) and related modes -- Dorian (#6), Phrygian (b2),
t J1 Q lA £j JO lJ lfJ 0 lA 0 I
A O IU tr s I0 cJ
(_
IF
fJ ,f"SIA fJ IS p lfJ fJ I:FJ fJIJ * II

In f] I
•
Aural Theory IY, Aleck Brinkman
( Whole-Tone Sequences
ill Sing with Pitch-Class Integers - Transpose to begin on other notes
3-4(024)
' H1 0 J I;: W#J I ]fiJIJ l#fJJ #? J r :r Ir· I

m
' Hep; S I1•SJ J J 0 I £ J J I J J S IJ. I
m 4-21(0246)
4i:r:J til IA #9 IW 14P U Ir I

0
'i EtJnSJ J lui;l £J 1#0 ;FJ I£J 10 IJ I
m
(
&i p jiJ I jjJfi;NJ li·c:PU Ir I ltJJfiJ 3I iJ JJ IJ I
@]
'i 4-25(0268)
jJ jP IJ%fl lu(:pcf Ir I li·fJJ JI R-J JJ I:t I
[]] 3-12(048) .
' Hj 313 I fiJ iJ I £3 ; J li·c E 1 f •r Ir· I

[2] -
' HJ kJ J j Ia£ 3 j I#J J iJ I £ J J I J J IJ. I

Bartok: Mikrokosmos, Vol. 5, #136
J
Andante,
-----
= I 08
( &I =.nW Jladpdolce

}#J I; aft@ IJ frWJ;J IJ Ij #J JIFl ;ijJ I
__...
II
Ives: "The Cage"
& #iPfh.Pali>P } Jl
7
f
1 1 ) !tf J ) }M
& p P p #;P al #Jl l #Jl z J .) J1 j I
#'-._-/ . . . .
(
Messiaen: "Danse de Ia fureur, pour les sept trompettes" from Quartuor pour la fin du temps
Decide, vigoreux, granitique, un peu vif (i = 176 env.)
&1a.ff J f:2?¥ ,;; J T 1,;; qJ 1st fJ 1
' fR fflf {8Jl J IDJ J J 3 u· #J I

Berg: Violin Concerto, II
----
(_ · &U ffiiB WPWJ tJ a 01[¥ J II
Week III.l
Theory IV
Instructor: A deVaron
Possible Ways to Practice a Challenging Rhythm
In General
Before you start tapping, be clear what beats you are putting into what, for example 2 into
3, or 3 into 2, etc.
Isolate difficult sections, rather than going through the entire exercise over and over.
Always establish the tempo by giving yourself at least two beats before the beginning of
an exercise or section of an exercise.
Specific Techniques
Practice each hand separately.
Practice each hand separately saying the compound rhythm (the resultant sound of both
hands together).
Practice the basic rhythm, without the added polyrhythms. In Rhythm Sheet 4-F,
Exercise 3, m. 2 this would mean just tapping the 2's and 4's.
Practice the basic rhythm, as above in #3, and say the compound rhythms.
Practice the basic rhythm, as above in #3, and add the polyrhythms one at a time. Do not
add a second and differing polyrhythm until the first one is completely learned.
Isolate the polyrhythms in question and practice them until they are fast, even and
automatic.
Tap a steady pulse, and speak the compound rhythm.
Count the subdivisions of each polyrhythm (1 +a 2+a etc.) for each polyrhythm while
tapping the basic rhythm.
Count the subdivisions for each polyrhythm while tapping both hands.
Note: Counting the subdivisions will probably be too slow to be a performance
option, but is a good way to leam your way around the rhythm in question.
Speak the compound rhythm while tapping the basic rhythm.
Speak the compound rhythm while tapping both rhythms.
Other reminders
• Make sure you practice the polyrhythm enough so that you can execute it at the tempo
required in the exercise.
• It's acceptable, even encouraged, to speak the polyrhythm while you are performing an
exercise.
• Use a metronome to double check that your beat is steady.
Rhythm Sheet 4-B- 2:3, 3:2
f3 r
Aleck Brinkman
( [lJ ::Ill r r- r :Ill: f? f3 .:il : t 'P? :il r II
rD .:11,! ; ; ; :ill, b b b :il , b :il , § . :il , Jr J

l.__2---..J
:II
[I] 3:2
1111:1 ? ? Ill:
3
J J
3
J J :il
r- 3---,
)>
,--3--,
J :il : )J t
r- 3---, ,--3--, .---3---.,
J Ill: F J r J :II
1111:1 :
3:2 J :il : j l.......jr:r: _ ri
:il : - t i :il : t . :il : r J r n=
· i
3 '§ L.3_J L-3__) L.3_J L-3__) L___a__J
{I] .l = 99
. IIJr f r lr f- r IIFP=F IF'ffllt'?G IF'f?11
( II t p It n I F. )J.i If r)J.i If ; It 'f 1

' I
t
J. = .l. = 66
11 ±n=p. I Ll.J liB I rI n If· ;· r I
II ;· IF· r If. .At. IF· j if: ;·pI F- r-= ll I? I
t :, 1
J= j = 66 .J = .J r-2---, r-2---,
II F¢ Ill I r r r r Ill r J r I J/ I r: r I
e?
> > > L-2----l
II Jr
t___2___J
j I p I Fg;EJ ? IF2
J =J
IB .b t j
) = .l = 264 > >
11 ; · r I! F 'F 1 I I t i I >
f l I
Copyright 0 2002 Alexander R. Brinkman
Rhythm Sheet 4-C- 4:3, 3:4
Aleck Brinkman
f f f :Ill: Ff' F :il : FfSF :Ill: f?{7·

ITJ 4:3 J=IOO r--4---,
r 11 11:! :II
r¥r :ill
J. = 90 J. = J=
,;jj,, fPfPfl?fl?
J=
0
:il : :111:1
011
11:1
J=96
r r r :II m f.hl r-hiJ rJ>i\j !. t t:.lll I
II ' .PF.Il IP*flfll f*7"·1

J. = 128
l r?
). =
II r-.r:J=.bl. II .J. J. I ;· r-l I ;· r-
(
11
f: r i •f: I0: ; Fr. I f: ;'f i I 4r- ¢·
11
11:. f r I P:- f r- -r n II
II 'l
J =64
1· J ?· .J, i l f" r-i r r== ¥·

J=
II
Copyright (c) 2002-2.008 Alexander R. Brinkman

(
Theory IV
Instructor: deVaron
Individual Performance Exam #2
Singing
Stravinsky, Dance Infema/e while conducting

Stravinsky, Octet excerpt
Messiaen, Quartet for the End of Time excerpt
Octatonic Scales, both 2-1 and 1-2
Octatonic Patterns, #'s 1-6 and #9.
Bartok, Duet from lab
Extra credit: play one part of the Bartok Duet on the piano and sing the other part.
Etude for singing leaps
All of the excerpts are to be sung on pitch class integers.

In the Bartok excerpt, you have the option of changing to solfege for the last line if you wish.
Rhythm
4-C: the last four lines of 3

4-D: the first 2 lines of #2 and the first 2 lines of #4
4-E: the first 3 lines of #2 and the last 2 lines of #3
( Sight-reading.
Bartok; Miraculous Mandarin (for m/M 3rds, TT's)
J=:; 88
f I t $) I t #OUJ It nW 1#4;}?JZI t #'@

s #4]d
p -=::::: === ll '"!{es .
n&J
-
I•J #J #J IJ. II
Prepare for performance.
Stravinsky: Infernal Dance from the Firebird (for miM 3rds, TTs) (revised)
Allegro feroce J = 168 .
tr '"!!I J J
> > >"""-">- >
)J II J J )I)J p'F
> > >
1
17 JJ
9= ;J pi·F I j J jkil I rr > )r I I J J

c
>
> > > f> > > ' > > > · > > >
2= CF E)'F 1 ' F qr 1#r v•r 1; 6F•F FF1EFc;•r 1

I
2= rrr•r 6r 1r rr;•r 1cFu•r 1cru•r 1 l 11 I ,

1ff
Stravinsky: Symphony of Psalms, II (m/M 3rds, m/1\16ths)
60
nif
'tt' qt 'a( rT ff 9
m I0 ¥ 6£1: (I
C t :t r Ir qtf 1'5} IP ' t I
Octatonic Melodies
Theory IV · .
I
f
Stravinsky
Octet for winds
Messiaen: Quatour pour Iafin du temps. ill. Abime des oiseaux

) = 44 Lent, expressifet triste
& QJa p (deso:-r:li-:-t----

£!9 @ u :11 w__J R£81 i J :l.rffil
t.
fftT
J. 1 II
=====-- ppp-======
PREPARE FO.R PERFORMANCE
Messiaen: Quatour pour lafin du temps. N. Intbmede
Decide, modere, un peu vif (J = 96 env.)
&I JJil f
1¥ E#i' ri(J J J J JJ JfJ I ffi#J a @
c & ;:JiJ ,p;iiJ nt ct

if
J
Octatonic Exercises Aleck Brinkman
[] 2-1-2 te1rachord4-10(0235) [II 2-1-2 te1rachord4-10(0235)
' i I £J I#@ n JjJ I J9 EJ EJ I v· II E!r J] J1 I JJ#JJ n I#JJn:r;J JJ I JW;11 J II
[I] 1-2-1 te1rachords4-3(0134) @] 1-2-1 te1rachords4-3(0134)
' I JJ InJJn:O B Inn J0 B I i:J ctf U I v· I U JjJ JJ I lnJP n I D I JJI3 I J. I

!]] 2-1 & 1-2 trichords 3-2(013)
i3J liS J J
'i; J& lf01,F3 lnR FJ I1A ffl lA 0 IU 0 lr II
@]
u 1n .n 1rp nn 11zm n
2-1 & 1-2 trichords 3-2(013)
& 0 1w a aw ;a 1w1 0 J 11 u
[2] 1-2 & 2-1 trichords 3-(013)
4 £) J lJ 1£hffl 1!0 O ltJ'O lr I
[!] 1-2 & 2-1 trichords 3-(013)
' i t!r U 1..0 D I fJ #i? I iiJ @ I J 1J I :&:J p11 I.iS i1 I,a-) J I <i I
n E u Er ti
[2] Intervals within the 2-1-2 octatonic scale
' a J Q 1 •A il J Ie J I{) I 1
I•P p ,p p I
2
[QJ Intervals within the I -2- I octatonic scale
=itt J d J I#J] £] ffJ Ir r r fJ l#iJ £? &£2 I
ITIJ 3-3 trichords 3-10(036)
' I jd
>
J J J ,,J J I
>
_ J Qd &J j I#d j J j ,; r f ; Ic E ; C F f F I :; I
lllJ
J IJJ J J 2 J;J r r rTF r I"
3-3 """""' 3-10(036) - - > ' > >
> > >

j IIJ J j lr
(ill 3-3-3 '"""'"""'
;fA J d >J ::l i

- >
J ,,J J I >W 3 ) d,J ;
) >
ht r rJt 'L E f f I E F t F t f F:;:1-- I "

> >I a> l1
0 T :lr I .. I
;p 1 9.wo iJqSlJ 1tJJ
[ill 3-3-3 """""""'4-28(0369)
>
#> q J1 J J•J
>
>
lt:r rl t"rtr r ltr r >etr r

> > ' > .
QTI Use OYer Cdim7 (Ab7, B7, D7, F7)
;fA J 3 J j J J J J J I#J ,J ,J J #.;: J J J I J J ,J J #i J J J I" I
i;
lill I Ut' IJ J Ur F- J I#J J J J J?J J J I.J .J E3
- #-;) : - I I
__, i
·...../ \.J
Etude for Singing Leaps
Start on any pitch that works for your vocal range.
(test)
v.
etc.
Pno.
c
Rhythm Sheet 4-D: Polyrhythm Review
Preparatory exercise for changing polyrhythms (2:3, 3:4,4:3, 3:2) Aleck Brinkma1
t
\
count: 1+
t-v 2 + 3+
:lll:p-r·r
l+a 2 +a 3+ a 4+a
:ill: f?fi f?- :ill'
1e+ a 2e +a 3 e+a 1+ a 2 +a
r r 1 r r r 1· r ·r r r· r r r
.-----3--
J J J
J J =
. ·4
J J J J
r r r r r r
f J r J rJ . 4 .---3-----.
J J
r r r r r r
Preparatory·exercise for changing polyrhythms (3:2, 4:3, 3:4, 2:3)·
count: 1+
?:b, ¢ :Ill: 4r, 4
2 + 3+ l+a
L..:- 3
2 +a
..:_j L.:__
3+
p·
3 _:.:J
a 4+a ·
:Il = 8;}-f]}
le+ a 2e +a
b· =Il= 4 r =II
..
3 e+a
L:_ 3 -.:..J L:_ 3 ..:_j
1+ a 2 +a
Prepare for performance. Use same counting procedure as above
rJr P ( r Jr F .Jr J / . r
L.__2___.J
r:r r
4 3-__J
J. J
II
L.__2__J
r 1 r r· r
4 L-3___1 L-2-.-J 3 · 4
J J J J J J J
II
1
[___2____)
r f j j
'----3-_..J
F F . L__2__J
r 4 L_2--.J
I
J J J •I •I •I J
..p r---"Jr---Jr
""---!
1 rJr. F . F F L r F F FJ II
4 ·L__3___J 3 h L__ _ n
r li
II
mJ=7o
i i IB as II ; i Ji li p p II
11 1; g) fiN;; t1J 1 y{; @j @t@.f:Sfl 1
11
3
E- rfrfo/1
3 3 3 3 3
L(11
..
[fiB p? Ir J r ga Ei!f? E
*No. 1 after Chopin; No. 2 after Bart6k Improvisations for Piano
1 r r rp Jr ; #I fj tE@ II
Copyright (c) 2002 Alexander R. Brinkman
Theory IV
Instructor: deVaron
Individual Performance Exam #3
Singing:
Schoenberg, excerpt from Pierrot Lunaire from memory

Quarter note = 60
Berg, excerpt from Wozzeck

Dotted quarter= 48
At the 3/4 the tempo can be as slow as quarter= 52
Bartok, excerpt from Music for Strings, Percussion and Celesta

Eighth note = 92
Etude for singing leaps

Quarter note = 72
Any two 12-tone rows from the "Some Famous 12-tone Rows" sheet
Rhythm:
Rhythm Sheet 4-F:

#2, #3, #4
Tempi on the rhythm sheet 4-F is slightly more flexible . It should be fast enough
so you can feel the polyrhythms within one beat, but slow enough so you can
perform it accurately.
All preliminary drills for the "Etude on Changing Subdivisions"

Quarter= 52
Etude on Changing Subdivisions
Quarter= 52
Steve Reich, Clapping Music

Eighth = 160-180
Theory IV
Two Melodies from the Second Viennese School

(
.
Schoenberg:
Massig langsiun Pierrot Lunaire (#6 Madonna)
I: I
* .. .1'1 ,,
'
- ··.;.;;.;·
--------;:::;::;:;;--~
'11
--:::::. ~ ~
Sh~fting tonal centers, quasi tonal Berg:

J Marie's Lullaby (Wozzeck)
Langsam_ · =56 - 60 f r __ _____ _
~~ ~f:P fir J a ~~p:a fA!.''fm qf J a "·r ) ~p ~! ~ #~ #~ L'

chromatic tone
=====-'-
· rit. - - - - - - · · - - - molto rit. J= ca. 72 - 80
6 ----- ------1 mp
I~~ , ld~ l~>dfPJ. IIJ}J J J ~~f ,a J

. ~b: Y9 m m6
·wfioie tone 3
11 ~· rit. - . - - -
··.· F.' l.t ~1

J~ '" 1 .J t II~
o7 Aa:
- . . s-:::::>. .
Ab:
transp. up l/2
(_ '
II
whole-tone
Theory IV
Three Melodies by B�la Bartok
( Bart6k: Concerto for Orchestra, N

Allegretto, J = ca.114
,,,1,� �'@@ � .fil !BE@ J [!!§k @,l
''§iQP ;@li.J:� s 1µ1335:

...
� � J J@t
�
Bartok: Music for Strings, Percussion and Celesta, I

Andante tranquillo, ) ca 116-112
C
,u� f .j IIJ.i;J a M.tip # pi q�m
�� µ� qgpa 1z J p::g gs£i ,a� :,;; t =t I .:11
Bartok; Miraculous Mandarin (for tritones,.P4s, P5s)

2
l :;;...-
Allegretto, J��=�5 ___
,l��
psemplice
1 · I} . · bJ ! tqfil) �: f :� �Pf J; J �J ¥ I
,,g00
.
,;4 �.-mf§Sat i lFp ,.�+ r ti! r wJr'rJ l
e ._· . _· . · �-3 ·_ -�·
·tt@·+i 4--df�: · t;if ·, ·110:;1�<�. ¥ ilzt§tt:@: .:.·§-1($;;;:;t *· 11

Some Famous 12-Tone Rows
Schoenberg: Quartet No. 4
f 0
I)
lj
0
0
Berg: Lyric Suite
f. 0
I)
.,
0
0 fo
Berg: Violin Concerto

#o #-e- #..a. ..0.
f
..0.
I I
&u- 0
#n '' '' I
U"
Webern: Symphony, Op. 2 1

,,,
f
)
0
II
#n 0 fo 0 I) I 0 (I
f :•bern: :=· o_:·24 ,,, ' 0

jo #o
I
() 0
II #n I)
fo
Webern: Wie bin ich Froh!
11 0
I)
0 li
Dallapiccola: Quademo musicali di Annalibera
f -e- &u I I
'" 0
0
,, 0
0
#n
Stravinsky: Threni
0
I
II 0
'' 0 (i
0 fo #o
Nono: ll Canto Sospeso
f .. fo 0
I)
l#n flu
flu
0
0
fo II
Theory IV
Preliminary Drills for

General
1.
11
I E! F F F C C F F IC C F C F CCFFCFF F F F F IC F F F F F F E! II
3 5 6 5 3
2.
11
F F F FFFFFE! lcF FFFF F F Fr: FF IFFFFFFF F F F F FF II
3 5 5 3 6 3
For measure 7
1.
11
FFFFFf F f F F I FFFCFF F F F F I FFFFFF F f F F I FFFFFF F F F F II
5 5 5 5 5 5 5 5
2.
II FFFFFF F F F F I a:r F F F F F IEFFFFF F F F F Ia:r F r r r F II

5 5 3 5 5 5 3 5
3.
11
UJ F F r r F la:r r r F F F la:r F F F r F la:r r F r F F II
3 5 3 5 3 5 3 5
4•
u r r r r r 1, CT F F F F F 1, CT F F F F F 1, CT F F F F F II
.--- 3--, .---3--, .--- 3--, .---3--,
1141
5 5 5 5
5
.---3---, r--3---, r--3---, r--3 --,
11
' EJ3t F F F F 1, Eli F F F F 1, Ell F F F F 1, rJlt F F F F II
5 5 5 5
Theory IV
Speak the beats while clapping the rhythm
11 1c c c c r r lr r r r r lr r r r r
3 5
nc r r r I§ c F c c c t1t r r Fc II
'
'i
F
3 3
.. I ' Ef-t r r r r 1FcFcFFFFFcLJ 1FFFFr LJ FFFc1

5 6 5
10
>
: II
5 6
Practice procedure for 5 into 2:
1) While saying 1+ 2 + 3 + 4 + 5 +
Clap on *'s * *
Then reverse the process, clapping the 5 beats, and saying "one" with the first clap
2) and "two" halfway between the third and fourth claps.
CLAPPING MUSIC
for two performers
( 1972)
Steve Reich (b. 1.936)
Steve Reich's chief contribution to the early development of minimalism was his "phase" com-
positions, wherein two or more identical sound-sources performing a constantly repeated figure begin
in unison, then gradually move out of phase with one another, thus producing ever-changing sound-
combinations-a process in which improvisation plays no part. Clapping Music was the last (and_the sim-
plest) of Reich's strictly "phase" compositions, but he continued to develop similar repetitive, pulse-driven
procedures in imaginative ways in much more elaborate works, such as, for example, liis Music for 18
Musicians of 1974- f 976, and Triple Ouartet of 1999 for string quartet and tape or three string quartets live.
To what other kind(s) of twentieth-century music does Clapping Music bear some relationship? 37
Directions for Performance
The number of repeats is fixed at 12 repeats per bar. The duration of the piece should be approximately
5 minutes. The second performer should keep his or her downbeat where it is written. on the fim beat of
each measure and not on the first beat of the group of three claps, so mat the downbeat always falls on
a new beat of the. unchanging pattern. No other accents should be made. It is for this reason that a time
signature of 6/4 or 12/8 is not given- to avoid metrical accents. To begin the piece one player may set t he
tempo by counting quietly; "one, two, three. four, five, sixn.
The choice of a particular clapping sound, .i.e. with cupped or flat hands, is left up to the performers.
Whichever timbre is chosen, both P.erformers should try and get the same one so that their two parts will
blend to produce one overall resulting pattern.
In a hall holding 200 people or more the clapping should be amplified with either a single omni-directional
microphone for both performers, or two directional microphones; one for each performer. In either case
the amplification should be mixed into mono and both parts fed equally to all loudspeakers. In smaller live
rooms the piece may be performed without amplification. In either case the performers should perform
while standing as close to one another as possible so as to hear each other well •
.J = 160-184 Repeat each bar 12 times
7 8 . 9
1,:m , n , l>, ,:If: m, n , .h., n .,=n=m, n., '1: _
u ,. m , u=ll=p ., C}' ' u;-.!f-u '=11=' u ' UJ .,t.r,

11
n ·
ID
n, n .,=u:m, n J\ n
·
n ,:,1
'1
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tr-u" cu u 'v ':lf:p 'ur ., u 'o 'p=n=' m-+cr-'v·'LJi
'I
13
II:DJ JJ' )!,
' =ccr ., u ., r., u
Theory IV Week 1
• Introduction and explanation of the class

• Scales in late 19th and 20th century
music
• Quiz on Minor Modes
neau so1r '
!----_
93
\..._ -<'
Paul Bourget Claude Debussy Et qu'un til! de frls .

(1852-1935) (1862-1918) ,-3-,
Some sources date this song 1877/78; howeyer Rohinsky dates it 1882, and Cobb suggests 1883 as a likely year for its
composition. Bourget's poem Is found in Les A"""-' 11, flrst published in 1882; "j':n voyage", no. VII, in Dilettantism•.
Published by Vve E. Girod 1891; Fremont, 1919; )obert, n.d. Arranged for violin and piano by A. Bachmann (Joberc:
1909); for orchestra by H. Mouton (Jobett, 1926); and for ·cello and piano Debussy composed "Beau
soir" at twenty or. twenty-one years of age,- and before his joumey. to Rome in 1884 as winrler of the Prix de Rome. It
was not published until1891, the year before the premiere of Pelleas et Milisande . It i& difficult to rccognbe much of
Debussy's characteristic musical style in this eady He does, however, tip his cap to Masscnet with supple,
graceful vqcal phrases. See "Les cloches" for information on Bourget.
Beau soir Beautiful
Lorque au solell couchant les sent roses, When at sunset the rivers are rose-tinted
Et qu'un fri&son court sur les champs de And a wmm bre<!l:e shivers across the wheat fields ,
Un conseil d'etre heureux semble sordr des choses A mggestion to be happ, seems to emanate from all things
Er manter vers le coeur troubl6. And rises towards the restless heart.
Un conseil de gouter le charme d'etre au monde A suggestion to savor the pleasure af being alive
Cependant qu'on est jeune et que le soir est beau, While one is :YOung and the is beautiful
Car nous nous en allons, comme s'en va cette onde: For we shaU go , as this waves goes:
Elle Ia mer, nous au tombeau. It to the sea, we ro rhe tomb .
Andante rna non troppo

,-3-, r-3-, des cho ses
--ry--
----
- -
11 - IJp
Lorsque
w
au
u w s 1J
so - tell cou • chant
,-3-,
ro
les
r-3,- ,
ri
1 -
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ble.
(
.. J...
:
;t
--
con - sell de
--
goil - ter le
dim. molto p
...--.. 95
poco rit. a tempo com - me s•en va cette on de:

, .. ""'\ 1_:....-- T J
J
l_
P I
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4'
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p
ft)
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me mon
j
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Elle i Ia mer, _ _
l r 1J r .L.-J .- _..j
-
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animato poco a poco e cresc.
est jeune et que le
--
soir est
animato po'co a poco e crefc.
,.# -J.>--= - J2r;J

I
-
dim ..
l I I - I
Car nous nous en al - beau.
I 11.11 --=:::;;;;;;;.
:
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Brinkman, Class Notes
SCALES IN TWENTIETH-CENTURY TONAL MUSIC

( Diatonic Modes
The seven "diatonic modes" can be derived by circular permutations of the major scale.
However, when learning to recognize them, it is helpful to relate each mode to major or natural
mi-n.or {by virtue .of the third scale step). The table bel.ow shows the modes related to major and
minor and the scale steps that are altered for each. Here, each scale is transposed to begin on C
Mixed Modes
·
It is- also-possible to comb'me charadenstics-o
. . f- t wo -mo d-es, Two-co.mmon-" miXe
. d"
· · modes-are
shown below:
Lydian-Mixolydian (i=4, b7) Phrygian-Dorian (b2, #6)
• • . ... -
Class.Notes
Pentatonic Scales
( .--
The most common pentatonic scale is the "diatonic pentatonic" or black-key scale. Note that this
scale has only major 2nds and minor 3rds. Other pentatonic scales are also possible. Many
different pentatonic scales can be devised by omitting notes from common seven-tone scales.
Pentatonic (five-tone) scales can occur in five different modes, by making any of the five pitches
toni-c.
Diatonic Pentatonic
• • • .. •
Symmetrical Scales
Many 20th -century composers use scales based on repeated patterns of intervals that result in.
"symmetrical" patterns. Below, the pattern is identified by the number of half steps in each
interval. Messiaen calls these "modes of limited transposition." How many ways can you
transpose each of the following scales without utilizing the same set of pitches7
Whole-Tone (2-2-2) Octatonic or "diminished" (1-2-1)
• •
• • . .
Clrromatic (1-1-1) Hexatonic or "augmented" (1-3-1)
•#• • •#• •I• •#• • • &. • •

,,. •
Determining the Scale of an Excerpt
When determining the scale used in a passage of music, first determine the tonic (where
possible) and then arrange the notes in the music in ascending order above the tonic. Sometimes
different scales are used simultaneously in different "layers" of the music. Below we extract the
scale for an excerpt from Ravel's String Quartet in F (1903).
vifet agite
tllf @J#t{l r I* ff If @:U1{J rIff c16tr

Diatonic Pentatonic
• • • •
• (
B 1. Claude .Debussy (1862-1918)
"La cathedrale engloutie," no. I 0 from Preludes, Book; I (I 910)
I !
t l6
cal me <Dons une bYum• doucemsnt sonore > !
,,I 1
1 ---;·u • •
,. ,. ,. r,._,._,. I
lr·
·:j.
I --
:a::....=
17.•
:JI•
U •
I
I
I J JJ J I! @ J; l_J
I
I
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I .ea.
f plilf
B· D:·
4"-:e . , e,:efl. "0'•
-IH-·;·: :1; :: :t
i
fl:·i;,', 1M
m
J .
..... ....
.,..
lr· :0:·
"0'·
v-
e:· __.-;. ,.
sabassa
. . ·-· .......":""""::· ·- •···· "f""'"-·--- -,-,_...,. ,_

\ -r" :._:,.. f·
;,,:;.;·
...... ··..::
.
z;:re :m
(8• bassa)
...· i • ________...._ _ _ _ _ . .
(B•hassa)
..1'-
'
......__ --#
(Sa bas;;;;-- I
it : :z,
------r
(8"bassa) (/IGbassa)
r (8Gbassa)
41
p piUp PP p;;,pp
-eQ.: -eQ.: -eQ.: -eQ.:
_;;.-
-
Un peu moinslent <Dans une e:cpr.. sian allan/ grandissant> au Mouvt
1:·F·. ,
_j>
1
{ I' ] : : : : : .l r- pp PP
Q,JmM: WI icho .Ia plvtJs.
entandua prictdemment
_ __y· ..,.._ _ f -
:e<Y.
=-·- 1'-!. .!..__!.
B•bassa . . _6.: • _ . ____ . _. _ •...
(Flollanl el sourd)
l ,.._____
4
I 16 --:e.
I
I
sa bass a . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
I
I
I
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I sa bas sa - - - - - - - - - - - - - - - - - - . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
I
I
I piu PP
I
sa bass a- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - '
I
sa· -,
I 85
I
I
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<...La Cathedrale engloutie)
I
I
Theory IV Week 2
• Continuing with scales in late 19th and 20th century music,

introduction of whole-tone and pentatonic scale
• Introduction of the numeric model of pitch
• Introduction of the Ways of Listening sheet, and the Listening
Journal
• Introduction of polyrhythm practice
• Quiz on Friday: recognizing (on score) and writing the 5 modes
we are studying as well as the whole-tone and pentatonic scales
Theory IV
Instructor: deVaron
Listening Journal Assignment 1
Step I:
Pick a piece of music 19th or 20th century western concert music that contains a
compelling sonic element other than pitch: e.g. rhythm, timbre, texture, form or process,
and performance factors such as improvisation.
Listen to the piece at least three times.
If you are not sure where to find such music, try googling one of the following composers
(suggested pieces are in parentheses after the composer' s name). Please choose a piece
other than those we did in class.
Luciano Berio (I for solo instruments)
Henry Cowell
George Crumb
Gyorgy Ligeti
Conlon Nancarrow
Krzysztof Penderecki
Pauline Oliveros
Steve Reich
Terry Riley
Karlheinz Stockhousen
Edgard Varese (Ionization)
Iannis Xenakis (Metastaseis, Pithoprakta)
Mario Davidofsky (Synchronisms for solo instrument and electronic tape)
Alvin Lucier
Harry Partch
John Cage
Lou Harrison
Georg Friedrich Haas
Step II:
Find a 3 to 5 minute section in which the sonic element you' ve chosen drives the piece in
an interesting, convincing, beautiful or captivating way.
Listen to that section many times ... at least seven.
Step III:
On a page in your listening journal, draw a time line showing where, in terms of minutes
and seconds, the changes to this non-pitched element take place.
Step IV:
In your listening journal, write a five paragraph analytical summary of the section you
chose, being sure to include the following contents:
1) An introductory paragraph, three paragraphs of musical details, and a conclusion.
2) A description of how this non-pitched element changes in the course of the section.
How do these changes add to the beauty or interest of the piece?
3) A description of any programmatic elements of the piece.
4) A statement whether the piece is rhetorical or organic.
Modere (.J) = ss·)
--.....
(Dans un rythme
;:r.:w
rigueur et care&s'!Jit)
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.
l .-
r . .t ' t ,.__,. ,.·H r
r
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1-1
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..._______.., "I
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r
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a. tempo
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tr.es douz;
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n • • "l' !:.__
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Theory IV
Ways of Listening
Since late in the 1gtii century, composers of western classical music have been
exploring radically divergent ways of conceiving and composing their music. As a result,
performers and listeners face the challenge of finding appropriate ways of participating in
the music of the last 120 years. The ears that provide us with a satisfying experience of
an Arnold Schoenberg piece may be useless when it comes to listening to a work of John
Cage or Steve Reich or Gyorgy Ligeti.
One question every listener or performer must ask him or herself when engaging
music since 1890 is "how does the composer intend for me to bear this music?"
As a first step toward answering that question, below is a list of basic musical
parameters. It is not necessarily exhaustive; I am open to additions and further
refinements. We will use the list as a guideline to help us identify which parameters a
composer is emphasizing in his or her music. Once we have made that discovery, we will
be well on our way to finding which set of ears will be best suited to performing or
listening to the piece in question.
• Harmony
• Melody
• Register
• Rhythm
• Timbre (usually in reference to an individual instrument or voice)
• Texture (usually in reference to an ensemble or electronic music, this term

combines timbre, gesture, register, rhythmic organization, and pitch
content)
• Form or process
• Performance factors (improvisation, ritual or theatrical elements)
• Programmatic (referring to a specific story, person or place, etc.)

versus ...
• Non-programmatic (sometimes called "absolute music")
In addition to the above categories, one other distinction will help us to tune into
the composer's intention, and the unique expressive power of a particular piece:
rhetorical versus organic. We will define these two terms in class.
Theory IV
Instructor: deVaron
Step 1:
Pick a piece of music 19th or 20th century western concert music that contains a
compelling sonic element other than pitch: e.g. rhythm, timbre, texture, form or process,
and performance factors such as improvisation.
Listen to the piece at least three times.
If you are not sure where to fmd such music, try googling one of the following composers
(suggested pieces are in parentheses after the composer' s name). Please choose a piece
other than those we did in class.
Luciano Berio (I for solo instruments)
Henry Cowell
George Crumb
Gyorgy Ligeti
Conlon Nancarrow
Krzysztof Penderecki
Pauline Oliveros
Steve Reich
Terry Riley
Karlheinz Stockhousen
Edgard Varese (Ionization)
Iannis Xenakis (Metastaseis, Pithoprakta)
Mario Davidofsky (Synchronisms for solo instrument and electronic tape)
Alvin Lucier
Harry Partch
John Cage
Lou Harrison
Georg Friedrich Haas
Step II:
Find a 3 to 5 minute section in which the sonic element you've chosen drives the piece in
an interesting, convincing, beautiful or captivating way.
Listen to that section many times ... at least seven.
Step III:
On a page in your listening journal, draw a timeline showing where, in terms of minutes
and seconds, the changes to this non-pitched element take place.
Step IV:
In your listening journal, write a five paragraph analytical summary of the section you
chose, being sure to include the following contents:
1) An introductory paragraph, three paragraphs of musical details, and a conclusion.
2) A description of how this non-pitched element changes in the course of the section.
How do these changes add to the beauty or interest of the piece?
3) A description of any programmatic elements of the piece.
4) A statement whether the piece is rhetorical or organic.
Theory IV Week 3
• Continuing with scales in late 19th and 20th century music,

introduction of octatonic scale
• Continuing with Ways of Listening and the Listening Journal
• Preparation for IPE # 1
• Quiz on aural recognition of modes and the whole-tone and
pentatonic scales
2
SONATE
(
,--......... ----- Cide.z • II
II
pour Violoncelle at Piano CLAUDE DEBUSSY
Prologue
Lent(,s l. u::J)sos<enuto • •••••• ri •olu<o P,§

VJOLONCELLE P' 1 I I ·i I• - Q}U df
Lent(-'8 i. 6-':; J) Soslenulo e mol to rlsoluto
m au !\iouvl
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p===== p=e:=&- p----= llif....!. ;t£?J!£Rjij li1-
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Canooe 97
1) Check the list below to see if the composer you chose for Listening Journal
Assignment 1 is listed in one of the categories.
2) If he or she is not listed below, then you can pick another piece from either
the list below, or the list you received as part of Assignment 3. If he or she is
listed below, then make sure to pick a composer and piece from a different
category. You are once again listening for elements other than pitch.
3) Once you have chosen your piece, listen to it several times, then draw a
time line, similar to the one in Assignment 3, in your listening journal.
4) After you have completed a detailed time line of a specific segment of your
piece, then write at least 3 paragraphs describing what you heard. Be sure to
use language drawn from the Ways of Listening sheet, and to identify the
piece as rhetorical or organic.
Sound Mass Technique

Penderecki, Threnody, Dream ofjacob
Xenakis, Metastaseis or Pithoprakta
Ligeti, Atmospheres or Lantana
Timbralists & Electronic music

Davidofsky, Synchronisms for solo instrument and electronic tape
Stockhausen, Gesang der ]ungling
Shulamit Ran, Inscriptions
Berio, Sequenzas for solo instruments
Spectral technique
Georg Freidrich Haas
Tristan Murail
Minimalism
Terry Riley
John Adams
Steve Reich
Phillip Glass
American Tinkerers
Charles Ives
Henry Cowell
Harry Partch
Conlon Nancarrow
John Cage
}f{AP'b TITI1UA
(
,_
L'OISEAU DE FEU
BCTYTIJIEH IE: INTRODUCTION
Molto moderato. )1 =t os.
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Leitmotifs in The Firebird
(
The Firebird
Kastchei
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t " liiiiiiiiiiiiii
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The Princesses
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Moti vic Operations
( There are 4 basic operations that a composer can perform on the pitches of a motive: transposition, inversion,
retrograde, and retrograde-inversion.
A motive with its ordered pitch intervals:
-4 -1 -1
Transposition: To transpose a motive, simply start on any note and use the ordered pitch intervals
to form the new motive.
-4 -1 -1
,,J J ftJ
( Inversion: To invert a motive, start on any note and reverse the direction of the ordered pitch intervals.
+4 +1 +1
F
Retrograde: A retrograde is a motive played backwards. To retrograde a motive, start on any note, use the
ordered pitch intervals backwards AND reverse their directions (+ becomes - and - becomes +).
+1 +1 +4
J F
Retrograde Inversion: To retrograde invert a motive, start on any note and use the ordered pitch intervals
backwards (do not reverse the directions of the original motive).
-1 -1 -4
l
Practice in Transposition Theory IV
and Inversion
Name-------------------------
Transpose and invert the following motives:
Example: +3 +5 -2 +3 +5 -2 -3 -5 +2
.J J lr IJ J #] I
E
Here's your motive. Here it is Here it is inverted
transposed up 4 starting on c
J J
Transpose it up 6 Invert it starting on G#
3
Transpose it down 5 Invert it starting on E
Transpose it up 4 Invert it starting on F#
Find the normal order and prime form for this motive
3J
normal order
prime form _________
Theory IV Week 4
• IPE on Tuesday February 12th

• Intervals in non-tonal music, linked with transposition and
. .
Inversion
• Micro Homeworks # 1 and #2
• Finishing up with scales in 19th and 20th century music
• Singing the octatonic scale and octatonic melodies
• Quiz on writing intervals
• Stravinsky's Firebird
Theory IV Week 5
• Pitch-class Sets: normal order and prime form

• Continuing with Firebird
• Continuing with transposition and inversion
• Introduction of the the twelve trichords
• Continuing with IPE preparation
• Continuing with Ways of Listening
• Beginning Rite of Spring
• Quiz on normal order and prime form
Theory IV
Revisit Listening Journal Assignment 2. Pick a piece from a different category.

Feel free to consult your classmates regarding the pieces they chose.
Once you have picked your piece, follow the same instructions that are listed on
Assignment 2.
Please remember that the core of this assignment is to write a detailed description
of what you hea r. This description takes two forms: a timeline, and a short prose
journal entry. Here are a few pointers, based on the completed assignments:
You do not need to write any biographical or historical information.

You also do not need to make general observations about style.
The only research you need to do is to be clear on what kind of
ensemble is playing the music and who wrote it.
If you're not sure how a sound is being made, please describe it with
whatever terms make sense to you. You can use sonic words like plunk
and smooooosh, or you can use descriptive phrases like "long drawn-out
raspy dissonant chords."
The prose entry does not have to trace the entire timeline, it is fine to
describe two or three points in great detail to make your point about
which elements of the piece are primary.
Aflnal. reminder: The heart ofyour assignment is a detailed description of what

you hear.
Theory IV Class Notes - Prime Form page 1 of4 A. Brinkman
Finding Prime Form
Definition: prime form is the ordered circular permutation of a pc set that has the smallest span (interval
from first to last pc), with the largest possible "end interval" on the right, transposed to begin on zero. All
sets that can be derived from each other by transposition or inversion followed by transposition will map
into the same prime form. Thus prime form is a handy way of showing equivalence among pc-sets of the
same cardinality (same number of notes).
We will calculate prime forms using musical notation and integer notation.
Steps in finding prime form (from music notation). As our first example, we will find the prime form for
the set shown below:
1. Write the pitches on the staff in ascending order. Do not include any duplicate pitches (no matter what
octave or spelling): -
2. Calculate the interval (in semi tones) between each adjacent note. Include the interval from the last note
to the first note transposed up an octave (wraparound):
• 3 4 2
3
3. Find the largest interval (here, 4), and rewrite the pitches, using the top note of the largest interval as
the first note. This is the "normal order" of the set-the circular permutation with the smallest interval
from the lowest to highest note. The interval from the lowest to highest note will be the mod 12 inverse
of the largest interval in step 2. Here the interval from the lowest to highest note is 8 (12- 4):
8
• •
4. Now examine intervals within the set, beginning with the outside pair. If the intervals in the first pair
are identical, move in symmetrically from both ends until you find the first nonequal pair, or until you
determine that the interval pattern is symmetrical (reads the same from both ends). In our example, the
first pair is unequal. We will call the first unequal intervals the "end intervals."
b. b.
r;. 2
• 3 3
I
Theory III Class Notes - Prime Form page 2 of4 A. Brinkman
5. If the largest end interval is on the right, as it is here, this is a transposition of the prime form. Calculate
the prime form by beginning with pc 0 and successively adding the intervals in the set to get each pitch
class in the prime form. Since the interval pattern here is 2-3-3, the prime form is 0 2 5 8:
0 2 5 8
+2 +3 +3
If the largest end interval is on the left, the set must be inverted. The easiest way to do this is to calcu-
late the prime form from the intervals in reverse order. For example, if the interval pattern in the normal
order is 3 3 2 [note largest end interval on left], the prime form is again 0258, but we are using the orig-
inal intervals from right to left:
• 6.
'l
2
....
0 2 5 8
+2 +3 +3
In some cases you will find in step 3 (above) that the largest interval occurs more than once, and thus more
than one version of the set will meet the "smallest span" criteria. Consider the sonority (Bb, Db, D, F, Ab)
from Stravinsky's Rite of Spring [Burkhart Anthology, 5th ed., p. 465]:
Step 1. Write notes in ascending order:
•
Step 2. Calculate intervals (Don't forget the wrap-around interval):
bM ( b.J
bi b; • 2
1 3 3
3
Step 3. Since the largest interval (3) occurs more than once, we must compare each circular permutation
that begins after this interval, i.e., beginning with Db, F, and Ab. Each of these circular permutations will
span interval 9 from lowest to highest note:
'·
9 9 9
bM b; •
b; • •
Step 4. Now compare the intervals of each of the circular permutations, starting with the ends of each:
(a) (b) (c)
&b; 1 3
. b•
3 2
•
b;
... 0
3
b.
3 1
t?;
2 30
t;.
3
•
The largest "end interval" (3) occurs in circular permutations (b) and (c) . Break the tie by looking at the
next interval (the one next to the 3, circled). The 2 next to the end 3 in set (b) is larger than the 1 next to the
end 3 in (c), so set (b) packs its notes to the right more than set (c) does to the left, and is the best normal
order. Now, set b has its largest end interval on the left so it must be inverted to find prime form; we calcu-
late the prime form from the intervals in (b) in reverse order:
0 1 4 6 9
+1 +3 +2 +3
To summarize: If more than one circular permutation has the same largest end interval, then it is necessary
to go to the next interval, and so on. Remember: the goal is first to find the circular permutation that has the
smallest interval from the first to the last note, and then, within this span, the interval pattern that packs the
pitches most compactly to one end. Once you understand this, the rest is easy.
Finding Prime Fonn From the Integers
It is just as easy (and often faster) to calculate prime form directly from the pitch class integers. The steps
model the process described above, As an example, consider the pc set {B, F, G,A, D, C} = {b 57 9 2 0}.
1. Write in ascending numerical order the integer representation of each pitch class. [note: a=lO, h=11]
0 2 5 7 9 b
2. Calculate the interval between each pair of adjacent pitch classes, including the interval from the last
pc to the first pc.
0 2 5 7 9 b (0)
2 3 2 2 2 1
3. Find the circular permutation with the smallest span between the first and last pc, by using the circular
permutation beginning after the largest interval. Remember the shortcut, and begin after the largest
interval. If the smallest span occurs in more than one circular permutation, you will have to compare
each of those that share the smallest span to find the "best" order.
5 7 9 b 0 2
2 2 2 1 2 (3)
4. Examine intervals to find the largest "end interval." Start with the first and last interval. If these are the
same, move in symmetrically to the second and second-to-last interval, and so on, until you find an
unequal pair, or until each pair has been found to be equal. [If more than one circular permutation share
the same smallest span , choose the one with the largest end interval .] In this instance , the first intervals
on the ends are identical, so it is necessary to move in to the next interval-2 and 1.
5. Calculate the prime form from the intervals. Here, the largest end interval is on the left, so the set has to
be inverted (by reversing the intervals) , thus the prime form is:
0 2 3 5 7 9
+2 +1 +2 +2 +2
With a bit of practice you will be able to combine several steps: Try writing out the pes in ascending order,
writing the intervals below (don't forget the wrap-around) , and examine the intervals to determine where to
break the circle and whether or not the set needs to be inverted.
The Set Table
Once you have found the prime form you can look up the set name and lots of other information in a set
table. The attached table shows the following information:
1. The set name. The first number is the cardinality of the set, i.e. , the number of elements; the second is
the position in the list of sets. Note that complementary sets have the same ordinal number. The com-
plement of a set is all of the pes that do not occur in the set. For example the complement of 3-3(014) is
(2356789ab), a member of sc 9-3(012345689). The set names were first used by Allen Forte (The
Structure of Atonal Music. Yale University Press , 1973).
2. The prime form of the set.
3. The Z-related set. Sets are said to be Z-related if they have the same interval content (as shown by the
interval vector) but cannot be reduced to the same prime form. A zero in this column indicates that the
set is not Z-related to another set. A nonzero entry gives the ordinal number of a set of the same cardi-
nality, that has the same interval content. Z-related sets always come in pairs. For example, sc 4-15
(0146) and 4-29(0137) are Z-related. (Check this out in the table.) Note that each hexachord (six-note
set) has the same interval content as its complement, thus the complement is either in the same set class
or it is Z-related.
4. TheM-related set class. This gives the ordinal number of the set obtained by multiplying each pc by 5
or 7. I will discuss these operators (M5 and M7) in class. These multiplicative operators map half steps
into perfect fourths or fifths , and vice versa. All other intervals remain the same or remain in the same
interval class. Thus the operator tends to map chromatic sets into diatonic sets and vice versa. Try mui-
tiplying each element of 012 by 5 and 7 and set you get.
5. The interval vector (actually interval-class vector), which shows the multiplicity of each interval class
in the set.
6. The number after the interval vector is my own invention. I call it the vector map. This is an octal
(base-8) number that indicates which intervals occur in the interval vector. For now , it is sufficient to
know that sets with identical vector maps have the same entries in their interval vectors (but not neces-
sarily the same number of each interval).
7. The invariance vector (after Robert Morris). The first four digits indicate how many times a set maps
into itself under transposition, transposition after inversion, M5, and M7. The last four digits are the
number of times the set maps into its complement under the same operations.
8. The interval pattern in the prime form. This includes the "wrap-around" to the first pc.
Trichords
( Below are all the possible trichords. For each trichord you will see the prime form on the left, and an inversion of
the trichord on the right. Some trichords cannot be inverted. These trichords are symmetrical and only appear by
themselves on the chart below.
. .
2. (013) mverswn
' I. (012)
& &o I &o II & 0 J
. . . .
mverswn 4. (015) mverswn
' : (014)
&o 0 II I &o n II 0 n I
. .
5. (016) mverswn 6. (024)
I I
' &o II &
u
& 0 0
&
(
. . . .
7. (025) mverswn 8. (026) mverswn
I I
' 0
n II &
u
& 0
II &
0
&
inversion 10. (036)

' : (027)
0
0 II &
II 0 I &
I
. .
mverswn 12. (048)
' : (037)
0 II &
0
0 I &
0 @o I
0
11 1
10 2
9 3
8 4
7 5
6
0
11 1
10 2
9 3
7
6
18111
D:t5:27 Set_Table
5-14 {01257} z 0 • 5 (2211ll 1 77 (10000111) <11l25>
1-1 {0} z 0 • 1 [000000] 0 (1111bbbb) <c> <11424>
5-15 {01268} z 0 a15 (2202221 67 (11112222)
5-16 {Oll47} z 0 al2 (2ll211] 77 (10000110) <12ll5>
2-1 {01} z 0 • 5 [100000] 40 (11009988) <lb> <121U>
20 (11119999) <2a> 5-17 {01368} zl7 al7 (212l201 76 (11001122)
2-2 {02} z 0 • 2 [010000] 77 (10000110) <13125>
z 0 • 3 [001000] 10 (11119999) <l9> 5-18 {01457} z38 alB (212221]
2-l {Ol} z 0 al9 [2121221 77 (10010220) <12ll5>
2-4 {04} z 0 • 4 [000100] 4 (11119999) <68> 5-19
5-20 z 0 • 6 [211231 1 77 (10000111) <14124>
2-5 {05} • 0 • 1 [0000101 2 ( 11009988) . <57>
5-21 {01458} z 0 a21 [2024201 56 (1010llll) <13134>
2-6 {06} z 0 • 6 [000001] 1 (2222aaaa) <66> <13l14>
5-22 {01478} z 0 a22 [2023211 57 (11112222)
<11a> 5-2l {02l57} z 0 • 2 ( 132ll01 76 (10001211) <21225>
l-1 {012} z 0 • 9 [2100001 60 (110077U) <12225>
{Oll57} z 0 • 9 [ 1312211 77 (10000201)
.'
l-2 {013} z 0 • 7 [1110001 70 (10005655) <129> 5-24
<138> 5-25 {02l58} z 0 alO [ 12ll21 1 77 (10000110) <21234>
3-3 {014} z 0 all [1011001 54 (10005655)
<147> 5-26 {02458} z 0 a26 [122l11] 77 (10100202) <22134>
3-4 {015} z 0 [1001101 46 (10105656) <122l4>
43 (10016776) <156> 5-27 {Oll58} z 0 • 3 (1222l0] 76 (10001110)
l-5 {016} z 0 • 5 [ 1000111
77 (10010220) <21324>
z 0 • 6 (020100] 24 (11117777) <228> 5-28 {02l68} z 0 a28 (1222121
l-6 {024} • 4 [1221311 77 (10000200) <12l24>
{025} • 0 • 2 (0110101 32 (10005655) <237> 5-29 {01368} z 0
3-7 z 0 all [ 1213211 77 (10000201) <1l224>
3-8 {026} z 0 • 8 [010101] 25 (10016776) <246> 5-30 {01468}
22 (110077U) <255> 5-31 {Oll69} z 0 all [1141121 77 (100103l0) <123ll>
3-!1 {027} • 0 • 1 [010020] <1323l>
11 (11118888) <ll6> 5-32 {OU69} • 0 al6 [11l2211 77 (10000110)
l-10 {036} • 0 alO [0020011
(11116666) <22224>
z 0 • l [001110] 16 (10005655) <l45> 5-3l {02468} z 0 al3 [0404021 25
3-11 {037} 37 (11002200) <222ll>
• 0 al2 [OOOlOOI 4 (3l3l9!199) <4U> 5-l4 {02469} z 0 • 8 [Ol22211
3-12 {048} • 1 [Ol2UOI l6 (1100l300) <22l23>
5-35 {02479} z 0
70 (11005511) <1119> 5-36 {01247} zl2 al6 [2221211 77 (10010110) <112l5>
4-1 {0123} z 0 a2l [3210001 <l11l4>
a22 [2211001 74 (10003411) <1128> 5-37 {Ol458} zl7 al7 [2123201 76 (11001122)
4-2 {0124} z 0 77 (10000110) <11l34>
alB
,_,
4-3 {0134}
{0125}
z
z
0
0
a26
al4
[2121001
[2111101
74
76
(11003322)
(1000132l)
<1218>
<1137>
5-38 {01258}
{012l45}
z18
z 0 al2
[2122211
[54l2101 76 (11001100) <111117>

4-5 {0126} z 0 al6 [210111 1 67 (10002432) <1146> 6-1
63 (1111U44) <1155> 6-2 {012l46} z 0 all [ 44l211 1 77 (10000100) <111126>
4-6 {0127} z 0 • 6 [210021] <111216>
a20 [201210] 56 (11003l33) <1317> 6-l {012l56} z36 a25 [43l2211 77 (10000000)
4-7 {0145} z 0 <112116>
z 0 • 8 [200121] 47 (11114444) <1416> 6-4 {012456} z37 a26 [4323211 77 (11000000)
4-8 {0156} 77 (10000100) <111l15>
4-!1 {0167} z 0 • 9 [200022] 43 (22226666) <1515> 6-5 {012367} z 0 alB [4222321
(11113333) <2127> 6-6 {012567} zlB alB [4212421 77 (11000011) <113115>
4-10 {02l5} z 0 alO [1220101 72
76 (10101313) <1227> 6-7 {012678} z 0 • 7 [4202431 67 (22222222) <lUlU>
4-11 {0135} z 0 all [121110]
a27 75 (10002432) <2136> 6-8 {02l457} z 0 • 8 [3432l01 76 (11111111) <211125>
4-12 {0236} z 0 11121011
all [1120111 7l ( 10012442) <1236> 6-9 {012l57} z 0 • 9 I l422lll 77 (10100101) <111225>
4-ll {0136} z 0
• 4 [1111201 76 (10001323) <2U5> 6-10 {013457} z39 a46 [33ll211 77 (10000000) <121125>
4-U {0237} z 0
a29 77 (l0000l31) <1326> 6-11 {012457} z40 a40 [lll2ll) 77 (10000010) <112125>
4-15 {OU6} 29 [1111111
• 5 [110121] 67 (10002432) <1425> 6-12 {012467} z41 a12 [ ll22l2) 77 (10010000) <112215>
4-16 {0157} 0
4-17 {Ol47} 0 al7 [1022101 56 (11113l3l) <31l5> 6-13 {Oll467} z42 .so [l242221 77 (11000000) <121215>
alB [ 1021111 57 ( 10012442) <1335> 6-U {013458} z 0 a14 [323430) 76 (10101010) <1211l4>
4-18 {OU7} 0
al9 [101310] 56 (101035l5) <13U> 6-15 {012458} z 0 all [ l2l421) 77 (10000100) <112134>
4-19 {DUB} 0
0 • 7 [1012201 56 (1100l333) <1434> 6-16 {OU568} z 0 a16 [l22431) 77 (10100101) <131124>
4-20 {0158} <112l14>
<2226> 6-17 {012478} z43 a17 [322ll2) 77 (10010000)
...,
4-21 {0246} 0 a21 [030201) 25 (11116666)
0 • 2 [021120] 36 (10003411) <22l5> 6-18 {012578} z 0 • 5 [l22242) 77 (10000100) <1132U>
4-22 {0247} <1213U>
4-23 {0257} 0 • 1 [021030] 32 (11005511) <2325> 6-19 {013478} zU [313431) 77 (10000010)
a24 (020301] 25 (11116666) <2244> 6-20 {014589} z 0 a20 [3036l0) 56 (33lllll3) <131l13>
4-24 {0248} 0
0 a25 [020202] 25 (22226666) <2424> 6-21 {023468} z 0 al4 [2424121 77 (10000100) <211224>
4-25 {0268} <112224>
4-26 0 • 3 (012120) l6 (11003l22) <3234> 6-22 {012468} z 0 a22 [241422] 77 (10100101)
{0358} <212124>
4-27 0 al2 [0121111 37 (10002432) <23l4> 6-23 {023568} z45 a23 [2342221 77 (11110000)
{0258}
.'
0 a28 [0040021 11 ( 44448888) <lll3> 6-24 {013468} z46 al9 [23ll31) 77 (10000000) <121224>
4-28 {0369} <122124>
4-2!1 {0137} z15 al5 [1111111 77 (10000331) <1245> 6-25 {013568} z47 • l [2ll241) 77 (10000000)
6-26 {013578} 1148 [232l41] 77 (11000000) <122214>
0 a35 [432100] 74 (1100l300) <11118> 6-27 {013469} z 0 a27 [225222] 77 (10010110) <121233>
5-l {01234} <12213l>
0 a23 (3321101 76 ( 10001211) <11127> 6-28 {01356!1} z49 a28 (224322) 77 (11110000)
5-2 {012l5} <213123>
0 a27 [322210) 76 (10001110) <11217> 6-29 {02l679} z50 a42 [224232] 77 (11000000)
5-3 {01245} 77 (20020220) <123123>
{012l6} 0 a29 [3221111 77 (10000200) <11136> 6-30 {013679} z 0 aJO [224223]
5-4 77 (10000100) <13122l>
{01237} 0 a14 [ 321121] 77 (10000111) <11U5> 6-31 {014579} z 0 a15 [223431]
5-5 • 1 [1432501 76 (11001100) <221223>
5-6 {01256} 0 a20 [311221) 77 (10000111) <11316> 6-l2 {024579} • 0
[310132] 67 (10012332) <11415> 6-33 {023579} z 0 • 2 [143241] 77 (10000100) <212223>
5-7 {01267} 0 • 7 <122223>
0 al4 [232201] 75 (11002200) <21126> 6-34 {01357!1} z 0 a21 [142422] 77 (10000100)
5-8 {02l46} 25 (66666666) <222222> r--
0 a24 [2312111 77 (10000201) <11226> 6-35 {02468a} z 0 al5 [060603) r--
5-!1 {01246} 77 (10000000) <1111l5> I
0 a25 [223111 1 77 (10000110) <12126> 6-36 {012347} z 3 a47 [433221]
5-10 {01346}
0 all [2222201 76 (10101111) <21135> 6-37 {012368} z 4 MB (432l21] 77 (11000000) <lJ ... <'">
5-11 \2347} 77 (11000011) <1.
I
36 al2 (222121) 11 (11110000) <12216> 6-38 {012378} z 6 • 6 [421242) "<!"
5-12 b.356} a24 (333321] 77 (10000000) <21. ·"'
(10000201) <112U> 6-3!1 {023458} zlO if)
5-13 \ 01248} z 0 alO (221311 1 77 I c.::
::--:: t•iiMi.s.::;-r;,'
·,,·,. · 22 ·or 2'1· '
,_ .. Set_Table
6-40 {012358} z11 m11 [333231] 77 (10000010) <111234> 8-15 {01234689} z29 m29 [555553] 77 (10000000) <11112213>
6-41 {012368} z12 mu <111324> 8-16 {01235789} z 0 m5 [554563] 77 (10000000) <11122113>
(332232] 77 (10010000)
6-42 {012369} z13 m29 [324222] 77 (11000000) <111333> 8-17 {01345689} z 0 ml7 [546652] 77 (11110000) <12111213>
6-43 {012568} z17 m43 [322332] 77 (10010000) <113124> 8-18 {01235689} z 0 m18 [546553] 77 (10010000) <11121213>
6-44 {012569} z19 m19 [313431] 77 (10000010) <113133> 8-19 {01245689} z 0 al9 [545752) 77 (10100000) <11211213>
6-45 <211233> 8-20 {01245789} z 0 • 7 [545662] 77 (11000000) <11212113>
{023469} z23 m45 [234222] 77 (11110000)
6-46 <112233> 8-21 {0123468a} z 0 m21 [474643] 77 (11110000) <11112222>
{012469} z24 m10 [233331] 77 (10000000)
6-47 77 (10000000) <112323> 8-22 {0123568a} z 0 m 2 [465562] 77 (10000000) <11121222>
{012479} z25 m36 [233241]
77 <113223> 8-23 {0123578a} z 0 • 1 [465472] 77 (11000000) <11122122>
6-48 {012579} z26 m37 [232341) (11000000)
<121323> 8-24 {0124568a} z 0 m24 [464743] 77 (11110000) <11211222>
6-49 {013479} z28 m49 (224322) 77 (11110000)
6-50 ( 11000000) <132123> 8-25 {0124678a} z 0 m25 [464644] 77 (22220000) <11221122>
{014679} z29 m13 [224232) 77
8-26 {0134578a} z 0 • 3 [456562) 77 ( 11000000) <12112122>
<1111116> 8-27 {0124578a} z 0 m12 (456553] 77 (10000000) <11212122>
7-1 {0123456} z 0 m35 [654321] 77 (11000000)
{0134679a} z 0 11128 (448444) 77 (44440000) <12121212>
7-2 {0123457} z 0 m23 [554331) 77 (10000000) <1111125> 8-28
<1111134> 8-29 {01235679} zl5 m15 (555553) 77 (10000000) <11121123>
7-3 {0123458} z 0 m27 [544431] 77 (10000000)
7-4 {0123467} z 0 m29 [544332) 77 (10000000) <1111215>
<1112115> 9-1 {012345678} z 0 m 9 (876663] 77 (11000000) <111111114>
7-5 {0123567} z 0 ml4 [543342] 77 (10000000)
7-6 {0123478} z 0 m20 [533442] 77 (10000000) <1111314> 9-2 {012345679} z o m 7 (777663] 77 (10000000) <111111123>
77 (10010000) <1113114> 9-3 {012345689} z 0 ml1 [767763] 77 (10000000) <111111213>
7-7 {0123678} z 0 m 7 [532353)
z o m34 77 ( 11000000) <2111124> 9-4 {012345789} z 0 m 4 (766773) 77 (10100000) <111112113>
7-8 {0234568} [454422]
z 0 m24 [453432] (10000000) <1111224> 9-5 {012346789} z 0 m 5 (766674] 77 (10010000) <111121113>
7-9 {0123468} 77
7-10 {0123469} z 0 m25 [445332] 77 (10000000) <1111233> 9-6 {01234568a} z 0 • 6 (686763] 77 (11110000) <111111222>
{01234578a} z 0 • 2 [677673] 77 (10000000) <111112122>
7-11 {0134568} z 0 m11 (444441] 77 (10100000) <1211124> 9-7
7-12 {0123479} z36 m12 [444342] 77 (11110000) <1111323> 9-8 {01234678a} z 0 • 8 (676764) 77 (10010000) <111121122>
<1121124> 9-9 {01235678a} z 0 • 1 [676683] 77 (11000000) <111211122>
7-13 {0124568} z 0 m30 [443532] 77 (10000000)
7-14 {0123578} Z 0 II 5 (443352] 77 (10000000) <1112214> 9-10 {01234679a} z 0 mlO [668664] 77 (11110000) <111121212>
7-15 {0124678} z 0 m15 (442443] 77 (11110000) <1122114> 9-11 {01235679a} z o m 3 (667773] 77 (10000000) <111211212>
7-16 {0123569} z o m32 (435432] 77 (10000000) <1112133> 9-12 {01245689a} z 0 ml2 [666963] 77 (33330000) <112112112>
7-17 {0124569} z37 m37 [434541] 77 (11000000) <1.1 21133>
7-18 {0145679} z38 m38 (434442] 77 (10000000) <1311123> 10-1 {0123456789} z o m 5 (988884] 77 (11000000) <1111111113>
7-19 {0123679} z o m19 [434343] 77 (10010000) <1113123> 10-2 {012345678a} z 0 m 2 (898884] 77 (11110000) <1111111122>
7-20 {0125679} z 0 m 6 [433452] 77 (10000000) <1131123> 10-3 {012345679a} z 0 • 3 (889884] 77 (11110000) <1111111212>
7-21 {0124589} z 0 m21 [ 424641] 77 (10100000) <1121313> 10-4 {012345689a} z 0 • 4 (888984] 77 (11110000) <1111112112>
7-22 {0125689} z 0 11122 (424542] 77 ( 11110000) <1131213> 10-5 {012345789a} z 0 • 1 (888894] 77 (11000000) <1111121112>
7-23 {0234579} z o m 2 (354351] 77 (10000000) <2111223> 10-6 {012346789a} Z 0 1R 6 (888885] 77 (22220000) <1111211112>
7-24 {0123579} z 0 m 9 [353442] 77 (10000000) <1112223>
7-25 {0234679} z 0 mlO (345342] 77 (10000000) <2112123> 11-1 {0123456789a} z 0 m 1 (aaaaa5] 77 (11110000) <11111111112>
7-26 {0134579} z 0 m26 (344532] 77 (10100000) <1211223>
7-27 {0124579} z 0 m 3 (344451] 77 (10000000) <1121223> 12-1 {0123456789ab} z 0 m 1 (ccccc6) 77 (ccccOOOO) <111111111111>
7-28 {0135679} z 0 m28 (344433] 77 (10010000) <1221123>
7-29 {0124679} z 0 m 4 (344352] 77 (10000000) <1122123>
7-30 {0124689} z 0 m13 (343542] 77 (10000000) <11.22213>
7-31 {0134679} z 0 m31 [336333] 77 (10010000) <1212123>
7-32 {0134689} z 0 m16 (335442 1 77 (10000000) <1212213>
7-33 {012468a} z 0 m33 [262623] 77 (11110000) <1122222>
7-34 {013468a} z o m 8 [254442] 77 ( 11000000) <1212222>
7-35 {013568a} z 0 • 1 [254361] 77 (11000000) <1221222>
7-36 {0123568} z12 m36 [444342] 77 (10010000) <1112124>
7-37 {0134578} zl"/ m17 [ 434541] 77 (.11 000000) <1211214>
7-38 {0124578} z10 m18 [434442] 77 (10000000) <1121214>
8-1 {012.34567} z 0 m23 [ 765442] 77 (11000000) <11111115>

8-2 {01234568} z 0 m22 [665542] 77 (10000000) <11111124>
8-3 {01234569} z 0 m26 ( 656542] 77 (11000000) <11111133>
8-4 {01234578} z {) 1114 [655552] 77 (10000000) <11111214>
8-5
8-6
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8-7 {01234589} z 0 m20 [645652] 77 (11000000) <11111313>
8-8 {01234789} z 0 8
Ill [644563] 77 (11110000) <11113113>
8-9 {01236789} z 0 m9 [644464] 77 (22220000) <11131113>
8-10 {02345679} z 0 mlO [566452] 77 (11110000) <21111123>
8-11 {01234579} z 0 m11 [565552) 77 (10100000) <11111223>
8-12 z 0 1127 [556543] 77 (10000000) <12111123>
8-13 'B4679} z 0 m13 [556453] 77 (10010000) <11112123>
8-14 I 45679} z 0 m 4 [555562] 77 (10000000) <11211123>
Theory IV Week 6
• Continuing with prime form and normal order

• Continuing with trichords, both aural and written
• Continuing with IPE prep
• Continuing with Rite of Spring
• Beginning to review for the midterms
• Write out from memory the twelve trichords
• Review for midterm
•Have a great Spring Break
TheoryN
This is the final assignment based on assignment 2. Pick a piece from a different
category. Feel free to consult your classmates regarding the pieces they chose.
Once you have picked your piece, follow the same instructions that are listed on
Assignment 2.
Please remember that the core of this assignment is to write a detailed description of
what you hear. This description takes two forms: a timeline, and a short prose journal
entry. Here are a few pointers, based on the completed assignments:
You do not need to write any biographical or historical information. You

also do not need to make general observations about style.
The only research you need to do is to be clear on what kind of ensemble
is playing the music and who wrote it.
If you're not sure how a sound is being made, please describe it with
whatever terms make sense to you. You can use sonic words like plunk and
smooooosh, or you can use descriptive phrases like "long drawn-out raspy
dissonant chords."
The prose entry does not have to trace the entire timeline, it is fine to
describe two or three points in great detail to make your point about which
elements of the piece are primary.
Aflnal hint: start by writing a detailed timeline. Then, in your prose section, show
how the events in the dmeline are instances of key elements of how the piece is
composed, or what makes the piece convincing.
Adoration of the Earth
(The Wise One)
Dance of the Earth
LentoJ=42
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Theory IV Week 7
• Review for midterms

• Take midterms
• Continue working on IPE material
Theory IV
Instructor: deVaron
Listening Journal Assignment #5
This is a web-based assignment for your listening journal featuring a collection of living
European composers.
1) Go to: htt_p://www.last.fm/home
2) On the right, where it says type in an artist or genre, type in Georg Friedrich Haas.
This should take you a "radio station" that will play one to three-minute segments of many
composers like Haas. If this doesn't happen, see planB below. If it does, continue with steps 3,
4 and 5 below.
3) Listen to as many as you like, at least five.
4) Out of those five or more, pick your favorite and listen to it several times, keeping the
vocabulary for the Ways of Listening in mind.
5) Write a timeline and at least three paragraphs on the fragment you heard. Be sure to describe
as specifically as possible the sounds that you hear, and to link your description to the music
elements listed on the Ways of Listening.
PlanB:
If the streaming audio on last.fm does not work, please google and listen to at least 5 of the
following short works. If you prefer to google the composer and choose a work on your own,
feel free to do that instead. You will probably find them on last fm. Once you have done so,
follow steps 3, 4 and 5 above.
Have fun!
Rebecca Saunders- Quartet

Elena Mendoz.a- Nebelsplitter
Gerard Grisey - Les Espaces Acoustiques
Peter Eotvos - Chinese Opera
Toshio Hosokawa- Feme-Landschaft: II
Alberto Posadas- liturgia fractal
Mark Andre - ... als... II
Beat Furrer - Fama
Rebecca Saunders- crimson
PierluigiBillone - 1 +I =I
Misato Mochizuki- SiBleu, Si Calme
Matthias Pintscher- Choe
Olga Neuwirth - clinamen / nodus
Theory IV Week 8
• Second Viennese School

• Composing with PC sets
• Continuing with analysis using PC sets
• Introduction of interval vectors
• Preparing for IPE next week
• Quiz on intervals
II.
Langsam (.1)
liujJerst kztrz PP
gut t'" Takt

.
- pp poco rtt.
VI.
Sehr I angsam (tJ')

----
l .
,.., -......,.o._
' tJ
pp
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rakt
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G- .
Theory IV Week 9
• IPE #2
• Further exploration of composing with PC sets
• Further score analysis using PC sets
• Quiz: prime form, normal order, and interval vector of larger sets
Theory IV
Instructor: deVaron

Below are eleven living composers, all of whom enjoy frequent performances, critical
acclaim, and a public following.

Ellen Taaffe Zwilich
Richard Danielpour
Aaron J Kernis
George Walker
Augusta Read Thomas
Chen Yi
John Corigliano
Thomas Ades
Betsy Jolas
Bright Sheng
Olly Wilson
Paul Moravec
Gabriela Lena Frank
Listen to some of their work on line, then:

1) Write a time-line of your favorite two minutes of the piece

2) Describe it according to the ways of listening terms and guidelines.

Remember: it is not necessary to write a narrative of the entire piece. Instead:
• Identify the principle elements of the piece;
• Describe a few moments in detail that support why you chose those elements.
Theory IV Week 10
• Twelve-tone technique, starting with analysis

• Quiz on hearing trichords
Theory IV
Instructor, deVaron

Let's go to New York!
New York City is one of the world's centers of contemporary music.

For many years it had a reputation for a geographical and stylistic divide between
"Uptown" composers and "Downtown" composers. While this divide has dissolved in
most respects, there is still a stylistic difference between the two. Rather than hear
generalizations from me about the differences, it would be more fruitful for you to
sample a bit of music from each group, and then settle on a piece you like, and wish to
study more closely. Once you have decided on a piece, listen to it several times, and
write a listening journal assignment about it. For this assignment, you do not need to
write a timeline.
Make sure your assignment is at least three paragraphs long, and centers on the bullet
points on the ways oflistening sheet. Remember to describe, in as much detail as you can,
what you are hearing.
Here are some well-known composers associated with the "Downtown" style:
William Duckworth, Elodie Lauten, Julia Wolfe, David Lang, Michael Gordon, Evan
Ziporyn.
And here are some associated with the "Uptown" style:

Ellen Tafte Zwillich, Nils Vigeland, Marjorie Merryman, Robert Sirota, Sebastian
Currier.
•• WIE RIN I<H FR OH!, No. 1 of DREI UEOER. Or>. 25 ll'tl>mo
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•• Gesang
Voice
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om ich frob!
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Wehem, "W i<' Bin kh huh•" from Three Song<, Op. 25 if) 1956 Uniwr.all::dnion A.C .. Vienna 0 rcnt.,.•cd. All rights reserved. U<cd by
p<.:rmi!ision ot European Amc:rkan 1\1u,ic D i..;trihut!;r' L.LC .... o il' US a nd C anadian agent Umversa l Edit1on A.G .. Vi..:nna.
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Theory IV Week 11
• Continuing with Twelve-tone analysis

• Composing using Twelve-tone technique
• Total Serialism and indeterminate structures
• Quiz using Twelve-tone analysis
For this assignment, you will take another virtual trip to New York City. If you
wrote on the "Downtown" composers for your last assignment, take the subway uptown
and sample several of the composers from that list. If you wrote on the "Uptown"
composers last time, try the "Downtown" group.
lfyou have listened to several composers from each group, and want to branch out
further, below is another list of important composers who spent a significant amount of
time in New York. All the composers on the previous assignment were living composers;
all of these are deceased. Stefan Volpe was the principle teacher for Boyer College faculty
member Matthew Greenbaum.
Morton Feldman
Milton Babbitt
Peter Lieberson (a student of Babbitt's who later abandoned twelve-tone technique)
Stefan Volpe
Donald Martino
After you have chosen a piece that captures your interest, find a 30" to 2' segment
that is representative of the piece as a whole. Write a time line of that section. After you
have completed the timeline, write a journal entry that explains why you chose that
section, and why it is the best window into the piece. Remember to use the headings on
the "Ways of Listening Sheet" as a guide, and to keep your writing focused on the sounds
you are hearing, moment by moment, as the piece unfolds.
I IJI ANTON WEBERN (!883-1945)
I"Y =--
Symphonie, Op. 21
Ruhig schreitend (first movement)
uff_.n
-
OJ
Ruhig sdu-eitendld •ca50)
Hi1I. 'P
2 3
-
Kl• 1·in•U•.,
,., "'!'
fl
IOor la_.,
sall· llrl ol
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-
p
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p
-- .,
t . Gg
" p
,..,
Horf•<
- •.A
Br
=---
II
p
'" ===--=-
lOT
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. piu. .. .... .....
.... cojf . _,., I"'·
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p --=
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II.
10
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t.
PI' ., p
II
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pia.
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t.
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pp ! p
l. G, , " ·- :
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p ==-- p--= .,
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171..
l"'· d. p blf· = = - -
w-
Reprinted from Symphonie, Op. 21, pp. 2-8. © Copyright 1929 by Universal Edition, A.G., Vienna.
Copyright renewed. Used by permission of European American Music Distributors Corp. Sole U.S.
Agent for Universal Edition, Vienna.
166
141 WEBERN Symphonie, Op. 21 767
fJ - - . : -. 16 17
c11.la.ndo calando tempo
•!:) 20
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=-- •lt
p lid'" ... -....
w
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768 141 W EB ERN Symphonie, Op: 21
____ _ tempo
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11;1 W EBER N Symphonie, Op. 21 769
:
29
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770 14/ WEB ERN Symphonie, Op. 21
rit - - - - - tempo rit - -- - tempo

645 46 48
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141 WEB ERN Symphonie, Op. 21 771
ll.l .
..,...__ 56 57 ...
&8
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772 f/jf WEBERN Syrnphonie, Op. 21
_ _ _ tempo rit. _ _ _ _ tempo

A62
rit. _ - - - 63 6-t
nt . _
Ill.
J
The Symphony <
Bid. movements, the f
II variations. Some
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numbers 1, 2, etc.
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pate an inversion (
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Brn
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f'J
in all the parts. Th1
pp
SJJ.cc_essio.n of tiny I
JOT
Brf. describe this techn:
What meets th(
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I .Gg =--.:::=
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regarding octave re!
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COMPOSER:
COMPOSITION:
(
BASIC SET:
'
p ...
t
RI
Hexachords:
Tetrachords:
Trichords:
{___
Theory IV Week 12
• Finish indeterminacy
• Brief review of Ways ofListening:
Sound Mass technique
Timbralists and Electronic Music
American Tinkerers
Spectralists
Minimalists
• Continuing with IPE prep
• Assignment of final project
• Begin 20th century tonality: Hindemith, Prokofiev, Britten
Theory IV
Instructor: deVaron
Listen to the excerpt from "Hothouse" by Paul Koonce that I sent you via email. A
hothouse is defined as: "An environment conducive to vigorous growth or
development."
Listen as closely as you can, connecting your observations to the vocabulary we

have been using. In addition you may want to consider the following questions:
How is the texture created?
What acoustic instruments can you hear in the recording?
How is the illusion of depth created?
Does the piece play with tension and resolution?
Remember: it is not necessary to write a minute-by-minute narrative of the piece.

Pick a few important moments that support the points you are making, and describe those
moments in as much detail as you can.
TheoryN
Instructor: deVaron
Final Project
For your final project, you will write a short composition that will be performed in class.
Here are the guidelines:
0
Your composition must be at least 18 measures long.
0
It must use at least two of the techniques we've studied in class. A list appears below.
0
You must use one technique from group A and one technique from groupB. It is fine to re-
use material from either of the set theory assignments or the 12-tone assignment.
0
Your composition must be for two instruments, or solo piano.
0
You, or other students you know, will perform your composition.
0
Performances will take place during the following two class sessions:
0
You must rehearse your piece. Please, no sight-reading.
0
If possible, produce your composition with music notation software for legibility
(Finale, Sibelius, whatever you have access to).
0
Accompanying your composition must be a brief (one-page) typewritten analysis that states
the techniques you used, and briefly explains how you used them.
Techniques we have studied in class include:
Group A:
12-tone technique (Schoenberg, Webern,Berg and Dallapiccola)
Pitch-class sets (Schoenberg, Webern,Berg,Bartok, Stravinsky)
GroupB:
Centricity/20th century tonality (Debussy, Prokofiev,Bartok,Britten)
Modality (Debussy)
Octatonic (Stravinsky)
Bitonality (Prokofiev)
Minimalism/phase shifting (Reich)
Material from the "Larger Pitch Collections in Terms of Trichords" sheet:
whole tone, pentatonic, chromatic and diatonic clusters, quartal
and quintal harmonies, etc.
Krzysztof Penderecki (b. 1933)
Threnody for the Victims of Hiroshima
(to rehearsal 25)
The Threnody, composed in 1960, with its evocative title and striking sonic character, brought
Polish composer Krzysztof Penderecki international recognition. The piece is significant for its
graphic notation, invented by Penderecki and employed in many of his later compositions.
Though he initially gave it a generic title, after hearing a performance of the work, Penderecki
renamed it to memorialize the victims of the world's :first atomic bomb.
ABBREVIATIONS AND SYMBOLS
Sharpen a quarter-tone. f
Sharpen three quarter-tones. *

Flatten a quarter-tone. •
Flatten three quarter-tones. <I
Highest note of the instrument (no definite pitch). A
Play between bridge and tailpiece. t

Arpeggio on 4 strings behind the bridge. }'t
Play on the tailpiece (arco) by bowing the tailpiece at an angle of
90oo to its longer axis.
Molto vibrato.
Very slow vibrato with a Y4 tone frequency difference produced

by sliding the :finger.
Very rapid non-rhythmisized tremolo.
ordinaria ord.
sul ponticello s. p.
sul tasto s. t.
collegno c.l.
legno battuto l. batt.
Threnody for the Victims of Hiroshima, by Krzysztof Penderecki. © 1961 CRenewed) EMI Deshon Music, Inc.
Exclusive Worldwide Print Rights Administered by Alfred Music Publishing Co ., Inc. All rights reserved . Used by
permission.
j9.-it Krzysztof Penderecki Threnody for the Victims of Hiroshima (t o r eh earsal25)
&
1·6 . . . •. .. . ····· - - sub.: .{
1· 12 ... . . ....... .
.ff"•·.- - ------ ------..-.
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f•.f"
.
24 Violins
13·18 . .. . . . ;" .. .. .. . .· . .. - -
19·24 , .. . .... .... . .... . .. ...... .. , . .......... .. .. ...

1·5 :.j r.A.r
10Violas
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1·5
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•• f-:-------------------------io
10
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8 Double basses 1·41 .... .... .. ... !!__ __________--..:.

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j sub.! ppp
___________________________________
6 · 10
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1· 4
BD.b.
5·8 li ..............
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Krzysztof Penderecki Threnody for the Vwtims of Hiroshima (to rehearsal .25)
• 0
...,.
1-6
l "?f
'
'
--
7-12
jmf
24 Vln.
;
,;
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-_. 19-24
jmf
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-
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t I j .,L t triml e
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t t ! t .,L.,L 1 Lstmile ;
'
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t f .,4 It ± Lstmile
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5-8
il5" ; 15"
*Each instrumentalist chooses one of the four given groups and executes it (within a fixed space oftime)
as rapidly as possible.
Kriysztof Penderecki Threnody for the Victims of Hiroshima (to rehearsal25)
*> J.boll. plu. arco
t I! t 1
Lumlle
--------------- ! t I f+ r t·lmll·
plu. azeo l.bett. arco
24 Vln.
r--- -- -- · ' =ml=-le- - - - - + - - - - - - - - - - - - - - -----:.:.

-'lj:--->j,L!'>i'+._t-r
l.betl. arco pin.
__________ ______ --lt----'f-i Jtttt----1t-t-+!---.,.r:::Ld..=il·j_ _ _ _ _ _ _ _ _
10 Vla.
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....I
'
l.ban . nrco plu..

simile
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pin. l .batl. arco
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Theory IV Week 13
• Final IPE
• Finish 20th Century Tonality
• Begin review for final exams
• Full steam ahead on fmal projects
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Theory IV Week 14
• Continuing with review for fmal exams

• Performances of final projects
• Listening Joumals due
Theory IV
Instructor: deVaron
Theory IV, assignment #1
1) Become thoroughly familiar with the following modes:

Dorian, Phrygian, Lydian, Mixolydian, and Aeolian.
Ask yourself these questions as you sing them:

What scale degrees give them their characteristic sound?
What intervals between two degrees jump out as different or exotic?
Where are there three whole-steps in a row?
Where is the tritone?
What else gives the scale its unique color or mood?
Discover for yourself what gives each scale degree its unique personality.
2) Drill each mode using the following patterns:

a) drm rmf mfs ............. tdr d
b) drmf rmfs mfsl... ...... tdrm d
c) dm rfms fl ....... tr d
3) Once you are familiar with the mode, improvise your way around in it. Without
worrying about what you are going to write, or about anything else, just play in the
musical landscape that the mode creates. Solfege syllables are optional at this point.
4) Once you have played a bit in that space, continue to do so, reeling the activity in a bit:
now make sure you use solfege syllables and pay attention to intonation.
5) Compose a melody that fulfills the following requirements:

a) It unambiguously expresses one of the five modes above
b) It contains at least two distinct phrases
c) It is at least 16 measures long
d) It includes dynamics
e) It is singable
2 important notes:
1) You will be singing this at your first IPE.
2) Ifyou want to imply antecedent consequent structure (period structure),feelfree, but
remember that such a structure is based on Junctional harmony. Modal tunes are not based
on such harmony, so it is likely that their sound will not directly match the antecedent
consequent structures that we studied in Theory Ill.
Theory IV - Assignment #2 NAME: -:---------
. Identify each of the Scales/Modes used in the following passages of Debussy's

"Engulfed Cathedral" (The score will be handed out in class).
a. Measures 1-2 (all notes):
b. Measures 1-6 (all notes; consider G to be Tonic):
c. Measures 8-13 (all notes; consider E to be Tonic):
d. Measures 28-31 (all notes; consider C to be Tonic):
e. Measures 32-38 (all notes; consider C to be Tonic):
f. Measures 47-54 (all notes; G# is Tonic)

Theory IV: Assignment #3 (Debussy Cello Sonata) NAME: --------
The questions below pertain to Debussy's Sonata for Cello and Piano (1915). There are
two recordings on the Classical Music Library. There's at least one recording on
. ,
YouTube. In general, watch out for clefs!
1. Measures 1-2 are in what mode/scale? (Dis tonic)
2. Measures 3-5 change to what mode/scale? (Dis still tonic)
3. Measures 21-23 belong to what scale? (none of the notes are outside this scale)
4. In Measure 29 the Cello recapitulates a theme from the first part of the Sonata. In what
measure did we first hear this theme (where does this theme come from)?
5. In Measures 29-31 the Piano plays in what scale?
6. In Measures 31-33 the Cello plays in what scale? (Consider C to be the Tonic)
7. Measure 37 is in what scale?

Hint #1: Careful of the tenor clef
Hint #2: An F# would complete this scale, but it doesn't appear in the music of this measure.
8. Measures 39-42 repeat what measures from earlier in the Sonata?
9. The Coda begins in measure 43. At measure 45 we hear material first heard where in
the sonata (measure number)?
Micro Homework# 1
Name
------------------------------
Label the following intervals in the four ways described in class on Monday.
Here is a review.
Ordered Pitch intervals: The number of half-steps with a + or-
Unordered pitch intervals: just the number of half steps
Ordered pitch-class intervals: Clockwise around the clock face.

Also, if the second note is below the flrst, transpose the second note up an octave
Unordered pitch-class intervals. The shortest distance around the clock face. All 7ths invert to 2nds, 6ths to 3rds, etc.
•r lj l,j
Ordered pitch interval
Unordered pitch interval
Ordered pitch-class interval
Unordered pitch class interval
J 1r ,J
:>= J J 1r r

Micro Homework #2 Theory IV
Name--------------------------------
Label the following intervals in the four ways described in class on Monday.
Here is a review. ..
Ordered pitch intervals: the number of half-steps with a+ or-.
Unordered pitch intervals: just the number of half-steps.
Ordered pitch-class intervals: the number of half-steps clockwise around the clock face .
Or, think up: if the second note is below the first, transpose the second note up an octave.
Unordered pitch-class intervals: the shortest distance around the clock face. All 7ths invert to 2nds, 6ths to 3rds, etc.
Ordered pitch interval._ _ __
Unordered pitch interval_ _ __
Ordered pitch-class interval._ _ __
Unordered pitch-class interval._ _ __
Ordered pitch interval._ _ __
Unordered pitch interval_ _ __
Ordered pitch-class interval_ _ __
Unordered pitch-class interval_ _ __
J r
Ordered pitch interval_ _ __
Unordered pitch interval _ _ __
Ordered pitch-class interval._ _ __
Unordered pitch-class interval _ _ __

Theory IV
Assignment #5
( Stravinsky: "Infernal Dance" from Firebird
NAME:
-----------------
1. Measures 1-26 have a tonal center on which pitch?
2. Measures 1-26: looking just at the tune, which octatonic collection does Stravinsky
use? (pitch-cla:ss 11 does not belong to the sca:le}
3 . Measure 39: Combine the chord on the downbeat with both bass notes in this
measure. What scale is implied by these notes?
4. Measures 77-80 introduce a new theme: what do the theme and harmony belong to?
(pitch class 4 does not belong to the scale)
(
5. Measures 99-142: This is the long middle section of the dance. The section is tonal.
What key is this section in? (Clue: listen to the chords in the left hand of mm. 99-101) ·
6. Measures 143-156: This return of the opening theme uses which octatonic collection?
(pitch-class 6 does not belong to the scale)
7. Measures 173-188: Here the bass moves in what pattern across this section? (Clue:
listen to the lowest sounding notes in these measures, and look for a pattern.)
8. Measures 177-188 use what kind of harmony?
9. Measures 193-208 are based on which character's motive from the Firebird?
10. Measures 247-258 use what scale? (pitch-classes 0 and 2 do not belong)
Name-------------------------------
Find the normal order and prime form for the following groups of pitches.
.
Example: This is normal order
,,_ ,,. •
6
,,.
2
•
0
For Prime Form:
F • • • • start each series at

zero, reading from
6 4 2 left to right:
0 4 6
026
Here's your set. Bring all pitches Pick the order that Pretend top and bottom 046.
within an octave. starts with the top notes are zero, and Pick the series that
Transpose the bottom note of the
note to the top, and measure the distance has the lowest
largest interval.
write in unordered to the other pitches. numbers packed
pitch intervals. to the left: 026.
normal order (on staff)
prime form (expressed as numbers)._ _ _ __
prime form (expressed as numbers)______
prime form (expressed as numbers).______
prime form (expressed as numbers)._ _ _ __

Nrnne________________________
Find the normal form and prime form for the following four-note collections.
Express normal form as notes on the staff, and prime form as numbers.
Example:
7 6 3 0
J.w r I• •· ft· • • • • • •
For Prime Form:
'
start each series at
zero, reading from
3 5 3 0 1 4 7 left to right, and pick
the series that has the
Here's your set. Bring all pitches Pick the order that Pretend top and bottom lowest numbers
within an octave. starts with the top
Transpose the bottom notes are zero, and packed to the left:
note of the measure the distance 0147.
note to the top, and largest interval.
write in unordered to the other pitches.
pitch intervals.
Norma! Form
Prime Form_________
Norma! Form
Prime Form._________
Normal Form
Prime Form._________
Theory IV
Instructor: deVaron
Name__________________________________
Composing with Pitch-class Sets, Part One
Step 1. Begin at a keyboard, playing trichords and tetrachords, taking note of which ones
please you. Experiment with different spacings.
Step 2. Choose two distinct chords, either trichords or tetrachords, or one of each. Make sure
one of them is not a tertian (third-based) sonority such as a triad or a 7th chord. Make sure you
are intrigued by their sound…or at least mildly interested!
Step 3. Consider these chords as sets, label them A and B, and find the prime form and the
interval vector of each.
Set A Prime form:_________________ Set A interval vector_________________________
Set B Prime form:_________________ Set B interval vector_________________________
Step 4. (optional) On a lined piece of paper, write out all 12 transpositions of each set. If the
set is invertible, you can write out the 12 transpositions of the inversion as well.
Step 5. Write a piano piece, 12 to 16 measures in length, that features the play between these
two sets. You can take Schoenberg Op. 19, #6 as your guide. There is no need to think
melodically for this assignment unless you wish to. The next assignment using pitch-class sets
will be melodic.
*** Please hand in this page, as well as the composition assignment itself ***
Theory IV
Assignment 6
Name____________________________
Accompanying this assignment is a score for Schoenberg's Piano Piece Op. 19/6. On the score, you'll find boxes that
mark pitch collections. For each collection, write out the normal form, prime form, and interval vector on the chart below.
Normal form Prime form Interval vector
a. &
b. &
c. &
d. &
e. &
f. &
g. &
h. &
TheoryN , Assignment 6, page 2 NAME: --------
Schoenberg, Piano Piece, Op. 19/6
2. list the two most common Set-Oasses that Schoenberg uses in this piece. Base your
answer on the number of times the set appears in the score, NOT page one of this
assignment.
3. Looking at the interval vectors for these two common set-classes, what is the most
common interval used in this piece?
4. The melodic material for this piece is very minimal. Nonetheless, Schoenberg bases
this melodic material primarily on one interval class. What is that interval class?
5. Measure 9 has the densest pitch material in the entire piece. Schoenberg uses all but 3
pitch-classes. Which pitch classes are NOT used in this measure?
6. All twelve pitch-classes are called the "aggregate." Does Schoenberg ever complete
the aggregate after the chord in m. 9?
7. Leading up to m. 9, Schoenberg eventually uses all twelve pitch classes (he "completes
the aggregate"). In what measure does Schoenberg complete the first aggregate of this
piece? What pitch class completes the aggregate?
Theory IV
Composing with Pitch-class Sets Part Two
Step 1: Pick a tetrachord or pentachord you like
Step 2: Determine its prime form and interval vector
Step 3: Note the most frequently occurring interval class
Step 4: Write all the transpositions ofthe set in integer notation
Step 5: Use the most common interval class to determine common tones between sets. If
an interval class (other than 6) occurs twice in a set, there will be transposition of
that set that contains two ofthe same pitches as the original. These are called
common tones under transposition, or common diads. Ifan interval class occurs
three times in a set, there will be three common tones under transposition, and so
forth.
Step 6: Write a melody, at least 16 measures long, that uses transpositions ofthis
set. Make sure to use common diads as a link between sets at least twice. Label
these diads with brackets in the piece you write. It's fine to repeat transpositions.
Example: The set-class with prime form (0145) has interval vector <201210>. The
interval vector shows that this set will have two common tones when we transpose it by
either 1 or 4. Let's start with a member ofthis set-class starting on 2: [2, 3, 6, 7].
Now let's transpose it +4 to [6, 7, 10, 11]. Note that the [6, 7] diad is common to both
sets.
Theory N
Instructor: deVaron
Assignment on Quartina, by Luigi Dallapiccola
1) Fill in the Matrix for Quartina, by Luigi Dallapiccola

Step 1: Take as the basic set the first 12 pitches of the melody
Step 2: Transpose the row so that it starts on O and fill in the top row of the matrix
Step 3: Invert the row around O and write it descending from the O in the very first box
Step 4: At the bottom of the page write the prime form of the two hexachords, the three
tetrachords, and the four trichords.
Next analyze the score:

Each system contains one melodic statement of the row, and one harmonic statement. In the
second system, the melodic statement is in the top two staves, in all other systems it is just the top
stafl: and the harmonic statement is in the bottom two staves.
Write on the score the row form, (P3, RI4, R9, etc.) of each of the 4 melodic lines. The first one is
going to be PIO, because you are taking the first melody as the basic set, thus it is in prime form.
You can label it right next to the first note of the row.
Extra credit:
Also write on the score the row form for the first two lines of harmony. Here is a hint: in the first
chord, the order of pitches, from top to bottom, is 1, 2, 4, 3. In the first measure of the second
staff, note that the B-natural in the melody also functions as the 5th note of the accompanying
(chordal) row.
Please remember to put your name on both the score and your matrix.
Luigi Dallapiccola
"Quartina,'' no. 11 from Quaderno musicale di Annalibera (1952-53)
(
(
---------------------
-
tiOtl arp.
. 10
( aoattnwtiu.)
• .J. - J
il
- I
I
14
.,"
.. --
-
-
-- ..
-
....,.. r 3 ;} & _,
- pPp
j
., A r ........,
}
t-1
e q--= 'If
-
&...-. -
'
I-
L
. '1!.'
L -
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I " 5 i <1 I f:\
.
- ' r II 1 mia. 20 seoondi
NAME:-----'-----
Basic Set (Prime Form):
I
+
-R
t
RI
TheoryW
Twelve-tone Composition Assignment
Revisit the world oftrichords and tetrachords. If you're not sure what tetrachords you
like, try adding a pitch to your favorite trichords.
L Write your favorite set or sets here in prime form. (It's acceptable to have just one
set, but this composition will work fine with two as well.)
Sets ---------------
II. Once you've found your favorite trichords or tetrachords, put different
transpositions and/or inversions together to form a twelve-tone row. Remember, a
row has to have one and only one ofeach pitch. You may only be able to find
rows that have three trichords you like, or two tetrachords. The remaining pitches
will be whatever pitches are left over after you've filled the row as much as you
can with the sets you like.
m. Once you have arrived at a row you like, build a 12-tone matrix on the reverse of
this sheet.
IV. Once your matrix is in place, write a 12-tone piece! Make sure that it fulfills the
following requirements:
It is at least eight measures long.
It uses at least three different row forms.
You label on your score all the row forms you use.
You write it for any two instruments you like, and divide each row between the
instruments however you wish.
NAME:-----'-----
Basic Set (Prime Form):
I
+
-R
t
RI
Theory IV
Assignment on Benjamin Britten's Serenade for Tenor, Horn and Strings
Listen several times to the "Dirgen from Benjamin Britten's Serenade for Tenor, Hom
and Strings (there are many good recordings on youtube) then answer the following
questions.
1) What is the form of the tenor line?
2) What key is the tenor line in?
3) What is the form of the accompaniment?
4) Determine the key of the following entrances. Hint: along with the accidentals
you find, think in terms of which note is featured in each entrance.
Cello M. 6:
Viola M.10:
Violin II M. 14:
Viqlin I M. 19:
Horn in FM. 31:
5) Which of these entrances are in the same key as the vocal line?
6) Which of these entrances, although in a different key, form a consonant

relationship with the vocal line?
7) How would you describe the series of entrances in M. 42?
8) How would you describe the tonality in this piece? Please explain your answer,
using the reverse of this sheet if necessary.

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Theory IV

---Dr. Alexander de Varon

Individual Performance Exam materials

All ofthe above are sung on "moveable do" solfege

All whole-tone materials are sung on pitch-class numbers

General instructions and reminders

Suggestions for Effective Practicing

Try to find a supportive environment

Take 3 to 5 minutes to warm-up

Practicing the material

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Willaert, Allons, allons gay

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Possible Ways to Practice a Challenging Rhythm

( [lJ ::Ill r r- r :Ill: f? f3 .:il : t 'P? :il r II

rD .:11,! ; ; ; :ill, b b b :il , b :il , § . :il , Jr J

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) = .l = 264 > >

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II r-.r:J=.bl. II .J. J. I ;· r-l I ;· r-

1· J ?· .J, i l f" r-i r r== ¥·

Copyright (c) 2002-2.008 Alexander R. Brinkman

Individual Performance Exam #2

Stravinsky, Dance Infema/e while conducting

Etude for singing leaps

All of the excerpts are to be sung on pitch class integers.

4-C: the last four lines of 3

f I t $) I t #OUJ It nW 1#4;}?JZI t #'@

9= ;J pi·F I j J jkil I rr > )r I I J J

2= CF E)'F 1 ' F qr 1#r v•r 1; 6F•F FF1EFc;•r 1

2= rrr•r 6r 1r rr;•r 1cFu•r 1cru•r 1 l 11 I ,

Messiaen: Quatour pour Iafin du temps. ill. Abime des oiseaux

& QJa p (deso:-r:li-:-t----

Messiaen: Quatour pour lafin du temps. N. Intbmede

Decide, modere, un peu vif (J = 96 env.)

c & ;:JiJ ,p;iiJ nt ct

[] 2-1-2 te1rachord4-10(0235) [II 2-1-2 te1rachord4-10(0235)

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