Music 312 Mini-Etude #1: Writing for High Voice & Classical Guitar (Fall 2009)

Overall Requirements

Duration — 2'-4' in total length

Instrumentation — high voice, soprano or tenor, and classical guitar

Texture — focus on the following

1. Clear voice leading
2. Variety in chord voicing
3. Every octave of the classical guitar

Pitch Language — diatonic modes either separately or in some combination:

1. Modal requirements
   1. Dorian mode
   2. Phrygian mode
   3. Lydian mode
   4. Mixolydian mode
   5. Or, an original mode that you devise
2. Harmonic requirements
   1. Triadic & diatonic, and/or extended triadic & diatonic verticalities
   2. Triadic & chromatic triadic harmonies, and/or extended triadic & chromatic verticalities
3. Modulation/tonicization requirements
   1. One modulation to a key that is a diatonic third relationship removed from the orginal tonic
   2. One modulation to a key that is a chromatic third relationship removed from the orginal tonic
   3. One modulation to/tonicization of a key that is a tritone relationship removed from the orginal tonic

Metric Stability — symmetrical meters, including simple and duple meters (2/4, 6/8, 3/4, 9/8 etc.)

Phrase Structure Stability — symmetrical phrase structures

Options— add expressivity to your work using the following:

1. Modal mixture; bi-modality; poly-modality
2. Additional modulations or tonicizations to closely-related keys
3. Mixed meter; asymmetrical meters; asymmetrical phrase structures

Text Setting — Text setting should be primarily syllabic with occasional use of melisma. Strive for an artful and creative setting. Choose a text that is associated or related to the art work you have chosen at the Yale Art Gallery.

Required Reading — Download and read the following from Blatter's Instrumentation/Orchestration:

1. Alfred Blatter, "Instrumentation: The Voice" from Instrumetation/Orchestration
2. Alfred Blatter, "Instrumentation: The Fretted Strings: The Guitars from Instrumetation/Orchestration

Required Browsing — Carefully browse the following guitar method books on reserve at the Music Library:

1. Anthony Glise, Classical Guitar Pedagogy
2. David Mead, Chords and Scales for Guitarists
3. Len Vogler, The Encyclopedia of Picture Chords for Guitar and Keyboard

Repertoire Examples: Voice — Download and study the following song examples:

1. Benjamin Britten, "A Cradle Song" from A Charm of Lullabies Op. 41 (1947), for mezzo-soprano
2. Benjamin Britten, "The Nurse's Song" from A Charm of Lullabies Op. 41 (1947), for mezzo-soprano
3. Aaron Copland, "There came a wind like a bugle" #2 from Twelve Poems of Emily Dickinson (1950), for soprano
4. Aaron Copland, "Going to heaven" #11 from Twelve Poems of Emily Dickinson (1950), for soprano
5. Charles Ives, "The Housatonic at Stockbridge" #15 from 114 Songs (1919–24)
6. Charles Ives, "At the River" #45 from 114 Songs (1919–24)
7. Charles Ives, "Slugging a Vampire" #41 from 129 Songs

Repertoire Examples: Guitar — Study the following guitar examples on reserve at the Music Library:

1. Anthony Glise, editor, Complete Sonatas of Sor, Giuliani and Diabelli for classical guitar
2. David Grimes, editor, Complete Giuliani Studies for classical guitar
3. Heitor Villa-Lobos, composer, Collected Works for Solo Guitar for classical guitar
4. Heitor Villa-Lobos, composer, Concerto of Guitar and Orchestra for classical guitar

Additional Materials — Peruse the following texts on reserve at the Music Library:

1. Davis, Sheila The Craft of Lyric Writing (Musi 275 reserve shelf/Prof. Dan Harrison)
   
   
2. Aldwell and Schachter, Harmony and Voice-Leading:
   Dissonance and Chromaticism I (pp. 375-462)
   Dissonance and Chromaticism II (pp. 469-615)
   (Musi 210/211 reserve shelf/Prof. Eve Poudrier)
   
   
3. Gauldin Harmonic Practice in Tonal Music:
   Part III: Chromatic Harmony (pp. 471-685)
   Part IV: Advanced Chromatic Techniques (pp. 703-771)
   
   
4. Laitz The Complete Musician:
   Part 6: Chromaticism (pp. 538-611)
   Part 7: Expressive Chromaticism (pp. 616-699)
   (Musi 205 reserve shelf/Mr. Jacques Wood)
   
   

Score Preparation — the score requirements include:

1. Portrait orientation, 8.5"x11" page
2. Title page with complete information - title, composer, text author, year
3. Preface page (back of cover page in a double sided layout) - include the complete text
4. 1st score page - title, composer, text author, copyright
5. Subsequent pages - page numbers, abbreviated instrument names
6. Tempo markings at the beginning and throughout as needed
7. Dynamics throughout (remember dynamics go above the staff in vocal music)
8. Articulations throughout
9. Phrasings throughout
10. Rehearsal letters and measure numbers throughout
11. Other performance or expression markings
12. Spiral-bound; two-sided printing

TOUR - Yale Art Gallery: Thursday, 9/17, Composition Seminar Class Time

We'll be taken on a tour of the Yale Art Gallery. You'll need to find a work of art in the gallery with which you'll associate your art song.

DEMOS - Soprano, tenor, and classical guitar: Thursday, 9/24, Composition Seminar Class Time

You'll be writing for Lucy Fitz Gibbons, soprano, OR Casey Breves, tenor, and Simon Powis, classical guitarist. They'll visit class on 9/24 to demonstrate their 'instruments.'

DUE: Week of 10/19, Individual Composition Lesson Time

Three copies of the full score and an audio recording of your art song must be submitted at your weekly composition lesson to Dr. A. Export the audio recording from either Sibelius 5 or Finale 2008.

DUE: Week of 10/19, Individual Composition Lesson Time

An in-lesson presentation of your art song to Dr. A and your teacher in Dr. A's office. Show the score. Play the recording. Provide an analysis of your piece.

WORKSHOP: Thursday, 11/5, Composition Seminar Class Time

Three copies of the final version of the full score and audio recording must be submitted by Thursday, 11/12, to Prof. Alexander.

CONCERT: Thursday, 12/3, Late Afternoon, Yale Art Gallery