Christopher Dunn-Rankin Posted June 11, 2008 Posted June 11, 2008 Send me a piece that you feel exemplifies your work.
theusii Posted June 12, 2008 Posted June 12, 2008 I have posted some of my works on the choral/vocal forum. 2 SATB MUSIC and THANK YOU GOD FOR THIS DAY. However, I am sending you this one to get a further idea of my current stage. Hope of Tomorrow.pdf Hope_09_18_07.sib PDF Hope of Tomorrow
Christopher Dunn-Rankin Posted June 12, 2008 Author Posted June 12, 2008 This is a wonderful piece. I don't know if you're in a position to have music performed, but if you can't, and you'd like a performance, I can probably have this one performed sometime this coming year. You had wanted to learn more chromatic music. So let's begin with a pretty standard exercise in chromatic voice leading. Please harmonize the attached bass line for SATB choir (on 2 staves, please). You will notice that it is a chromatic, non-tonal bass line. You should write your soprano, alto, and tenor voices melodically, rather than creating certain chords. Attached is the bass line, followed by my own version.
theusii Posted June 14, 2008 Posted June 14, 2008 Thank you very much,Sir, for your wonderful comments on my choral piece. Unfortunately, I do not have a means to have it performed. We do not have a good choir and musicians around. Unlike in your country, where music performances is relatively typical, here in the Philippines, especially on our part of the country, music is not not included in the list. However, thank you for the offer. Yes, I would like it to be performed, Sir. What made you like the the chorale piece? Regarding our lesson, the influence of the diatonic and tertian harmony affects me a lot in working the exercise. However, I will put forth all my efforts to it.
theusii Posted June 15, 2008 Posted June 15, 2008 Sir, here is my first attempt to getting acquainted with non-tonal contemporary writing. lesson1.pdf lesson1.sib PDF lesson1
Christopher Dunn-Rankin Posted June 16, 2008 Author Posted June 16, 2008 Fantastic. You've done a nice job in considering just the counterpoint, without following a strict harmonic structure. I like how each phrase is thematically related, too. So - next exercise will build off of the first. LESSON 2 - Limitation, Melody and Harmony a) Choose 5 pitches that you personally like (for example, C, Db, F, A, B). They should not form a scale. Using only those five pitches, compose 5 short melodies. You may repeat notes. b) Choose your favorite melody. Harmonize the melody using a motif drawn from a second melody of your choice. You may transpose the harmonic material, but the melodic material must remain unchanged.
theusii Posted June 20, 2008 Posted June 20, 2008 Hi, My apology for taking quite a while to get back for my lesson. There are some responsibilities that had taken me away from the computer. Here it goes, I tried, as far as I have understood it, to do my assignment.
theusii Posted June 20, 2008 Posted June 20, 2008 Sorry, here is the attached assignment lesson 2.pdf lesson 2.sib PDF lesson 2
Christopher Dunn-Rankin Posted July 17, 2008 Author Posted July 17, 2008 I like this. Nice variance in the bass line. Your chords do not get repetitive or old. Next thing to do - work backwards. Pull out several moments (melodic motions, motifs, whatever) that you like. Use them as the thematic material for an INSTRUMENTAL work, involving four instruments of your choice. The piece should be atonal, but can use a pitch center if you desire. You may use any pitches you like, but the thematic material should reflect the previous exercise.
theusii Posted July 17, 2008 Posted July 17, 2008 Most kind Sir, Just want to ask for some clarification. How long should each moments be? Sine I am not very familiar with atonal music, in my opinion, some general theories and terms related to atonality will be helpful. Of course that is according to your discretion. Sincerly, Rolan
Christopher Dunn-Rankin Posted September 3, 2008 Author Posted September 3, 2008 Sorry for the delay. I've been in the process of getting back to school, so I've been quite busy. Each moment (motif, phrase, whichever) should be between 3 and 5 notes. This particular exercise is about developing material from small sections. I'd say to choose no more than three motifs. "Atonality" is simply the absence of tonality. TECHNICALLY speaking, modal music is atonal, though most atonal music is much further removed from any sort of pitch hierarchy. Essentially, for purposes of this exercise, treat each note as its own entity, rather than how it stands in relation to other notes (for example, C and G are C and G, not tonic and dominant).
theusii Posted September 29, 2008 Posted September 29, 2008 Hi christopher, I apologize for the delay. I have been also busy with some important matters concerning my apostolate with the young people in our parish. I will be working with the assignments you have given me tonight so as to be able to move forward. Do you have an email? I have much to tell and the forum is rather a public place to begin with. Sincerly, theusII
Christopher Dunn-Rankin Posted September 29, 2008 Author Posted September 29, 2008 It's fine. Take your time with the assignment. You can reach me through PM on this forum - I'll get notification - my e'mail is currently full to bursting. When creating your atonal piece, take a few minutes to sketch out a basic structure - it will help you in organizing your motifs.
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