Music 312 Mini-Etude #2: Writing for Duos & Trios (Fall 2008)

Overall Requirements

Duration — 2'-4' in total length

Instrumentation — a duo or trio chosen from flute, oboe, clarinet (doubling bass clarinet), violin, viola, and violoncello

Pitch Language — linear and vertical interval projection based on selected interval collections

Instead of using a specific scale or mode, pitch organization should be conceived in terms of intervals. Proceed as follows:

1. Choose 3 intervals.
2. Begin your piece by projecting these 3 intervals linearly (melodically) and vertically (harmonically). As you compose, other intervals will result from the successive statment of your basic intervals. Focus on making your chosen three the most musically salient.
3. Continue your piece using a set of 3 additional, different intervals and compose contrasting music that projects these new intervals.
4. Now choose freely from among all six intervals to create your own mode. This may be a "non-octave repating" mode -- i.e. a pitch field or pitch constellation.
5. To continue your piece, start a new section using Steps 1 through 4 above. Continue this process through-out your Mini-Etude #2.

Texture — the texture must include strict canonic imitation. Choose from among the following possibilities:

1. Canon at the unison
2. Canon at the other intervals
3. Canon in inversion
4. Canon in rhythmic augmentation or diminution

Metric Variety — changing meters, including asymmetrical meters (5/8, 7/8, etc.)

Phrase Structure — separate phrases using clear cadences

Repertoire Examples — Study the following examples:
ViCH Listening List

1. Aaron Copland, Sextet for string quartet, clarinet, and piano (1937)
   
2. Elliott Carter, 8 Etudes and a Fantasy for woodwind quartet (1950)
3. Edgard Varèse, Octandre [first movement] (1924)
4. Béla Bartók, 44 Duets for Two Violins (1931–32)
   No. 37 - Prelude and Canon
   No. 41 - Scherzo

Score Preparation — the score requirements include:

1. Landscape orientation, 8.5"x11" page
2. Title page with complete information - title, composer, instrumentation
3. Preface page (back of cover page in a double sided layout) - include any special instructions
4. 1st score page - score transposition, title, composer, full instrument names, copyright
5. Subsequent pages - page numbers, abbreviated instrument names
6. Tempo markings at the beginning and throughout as needed
7. Dynamics throughout
8. Articulations throughout
9. Phrasings and/or bowings throughout
10. Rehearsal letters and measure numbers throughout
11. Other performance or expression markings
12. Spiral-bound; two-sided printing

Audio recording — create an audio CD of your Mini-Etude #2, exporting the audio recording from Sibelius 5 or Finale 2008

DUE: Thursday, 12/4, Composition Seminar Class Time

Two copies of the full score and audio recording must be submitted by the due date to Prof. Klingbeil.