HOUSEKEEPING

! Tuts in 92FT

CMPO 101 ! Final minor assignment today

INTRODUCTION TO COMPOSITION & SONIC ART From now on, work solidly on your major assignment!
Bring drafts to your tutor

VARIATION TECHNIQUES
ORGANICISM IN INSTRUMENTAL/VOCAL MUSIC & SONIC ARTS
! CMPO 201 workshop thoughts?

COHERENCE/INTEREST/FLOW VARIATION & ORGANICISM

! Why variation?
! Probably the hardest aspects of composing are: Variation is a key way of introducing new concepts/designs (interest)
while maintaining redundant elements (coherence)

! BALANCING COMPETING DEMANDS OF: ! ORGANICISM

COHERENCE & INTEREST The idea that music show grow organically from a small idea (cell,
motif, seed) typically stated at the start of the piece
! CREATING A SENSE OF:
! c.f. biological growth patterns
FLOW & LOGIC
! CREATING A SENSE OF:

DIRECTION & UNFOLDING

VARIATION
KEY VARIATION TECHNIQUES

! Most notably in the music of J.S.Bach, numerous organic

variation techniques emerged and were formalised

! 6 very common techniques are

! TRANSPOSITION
MOST COMMON
! INVERSION

! RHYTHMIC RECASTING

! FRAGMENTATION

! ADDITION

! RETROGRADE
 VARIATION VARIATION
KEY VARIATION TECHNIQUES KEY VARIATION TECHIQUES

! EXAMPLE
! Many techniques have equivalents in Sonic Arts, but not all!
Invention No. 4 J. S. BACH
Invention 4
1
! p. 197 Course Anthology
Johann S
I/V Technique SA Technique Invention 4
Saturated with 2 motifs in constant counterpoint
$
" ! 83 $Johann $$
$ $ $ Sebastian
$$$ $ $ $
% $ Bach $(1685-1750)
$ BWV
TRANSPOSITION PITCH SHIFTING / RESAMPLING
2
! One scalar with leap of diminished 7th
$
775

$ $ $ $ $
$ $ $ $ #$ $ '$ $
INVERSION N/A
" ! 83 $ $ $ $ $ $ $ %$ &' $$$$
$$
! One triadic
%$ $ ! 83 & %$
RHYTHMIC RECASTING TIME STRETCHING 2
Primary variation techniques
$ $ $ $$$$ $ $ $
FRAGMENTATION/ # 3 &' &' $ $$$$ $
TRIMMING !8 $ $ $ $ %$ $ $
! transposition
ADDITION $$$$ $ $$$$ $$$$$$
" ! %$
6

RETROGRADE BACKWARDS ! inversion

$$$$$ $ $$$$ $$$$ $
$
2
$ # $$ $ $ %$ $ $ $ $ $$ $ $ $ $ $$ $$ $ $$ $ $ $ $
" ! %$
6

$ $ $ $
!
2 $ $$
# $ %$ $ $ $ $ $
$ $ $ $$$$
! $ $
* $
$
"! $ ) ) $$$$$$ * ) $ $ $ $
12

$
*
$ $ $ $ $ $ * 2 $ $ $ $ $
(
"! $ ) ) $ #) ! $$ $ $ $ $ $ $ $ $ $ $ $ $$ $$ $$ $ ' $ $$ $ $ $ $ $
$ $
12

2
$$$$ $
(
# $ $ $$$$$ $$$$$$ $ $$$$ $$$$ $
! $ + $ $ $$
" ! $ $ $ $' $' $$ ' $
18

+ 2
" ! $ $ $ $' $' # $' $$$$ $ $ $ $$
18

! $ $ $ $ $ $ $ $ $ $ $$ $$ $ $ $ $ %$ $ $ $ $ $ $
1
2 $
Invention 4
VARIATION # ! $$ $$$$$ $$$$$$ $$$$$$ $$$$$$ * ) )
$$$$ $ " ! $ $ $ $ $ $ $ $ $ $ $ $ ,$ %$$$ $ $ % $ $ $ $ $ ,$ $
2

KEY VARIATION TECHNIQUES

Johann Sebastian Bach (1685-1750) 24

$$
BWV 775

$$$$ $
2
$$$$ $ $ $ $ $ $ $ %$ $
"! $$$$
$$ $ %$ #" &$ $ $ $ %$ $ &$ &$ $ &$ &$ $ %$ $ & $ $ &$ $ %$ $ $
30

$ $ $ $ &$
TRANSPOSITION
3
%$
2 2
8

$$$ $$$$ $ $ $
" ! $ $ $ $ $ $ $ $ $ $ $ $ ,$ $ #
$$$$ $ $ $ $ $
$$ ,$* , $ $ $ $% $ $ $ %$
24
#
! &' &' $$$$ %$ $ ! $' $' $' $' $ %$ ) ) $ ,$$ $
"
$ ! $$$$$$
2 %$ $ $
3

$ $
8

$$$$$ $ $$$$ $$$$ $

" ! %$
$ $ $ $$$$$ $$$$$$ $$$$$$
#" $
$ $ $ $ $ &$ & $ $ $ $ $ '
%$ %$ $ $ ' $$ $ $$$$$$
# $Public$ Domain +
* $ '
6

$
35

2 2 $ &$
! $$$$$$ ) ) , $ %$ ,$ $ $
# $ %$
$
$ $ $ $ $
$ $ $ $$$$$$ !
$ %$ $ $ $ $ $ $
$ ! TRANSPOSITION $ $ $ $%$ $
! $ $ $ $ " $
$ "$ $ $
"$
&$
"$ $ $ $
$ $' $$$

*
$$$$$$ * $$$$ $ $ $ $ $ $ $$$$$ $$$$$ $
$ ! Most important,
Public Domain
most prevalent development technique
"! $ ) ) $ ) $ $ $ $ $ $ $ $ $' $ #" $ $$$$ $ ( &$
12 41

$ $
2 $$$$ $
(
2 &$ $ $ &$ %$ $ $ &$ Three flavours (c.f. planing): modal, chromatic & modified
# $ $$$$$ $$$$$$ $ $$$$ $$$$ $ ! $ $ $ %$ $ $ $ $ $ $ $$$$
$$
! $ $ $ $ $$ " $ $
$ $
! Modal transposition allows for variation to a motif without
+ $ $ $ $ $ %$ "$ $ $ ) changing the underlying collection
"! $ $ $ $' $' $' $$$$ $ # " $ &$ $ $ %$ &$ ' $ $ $ $ $ $ $ $ $ $ $ $'
47

$
18

$$ $ $ %$ $ &$
2 2 ! Chromatic transposition allows for variation in underlying
# $ $ * ! &$ $ $ $ $ $ $ $ $ $$$$
$ $ $$ )
! $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ %$ ) ) " $ $' $$$ $ $ collection
$ $'

$$ $ $$$$
,$ $ , $ $ $ $ $ % $ $ $ %$
! Modified transposition changes the intervals from the original but
" ! $ $ $ $ $ $ $ $ $ $ $ $ ,$ $
24

%$ $$
$
2 +
maintains the general contour
# $ $
! $$$$$$ * ) ) $ , $ %$ $ % $ $ ,$ $ $
$'
$ $
Public Domain

Mutopia-2003/05/17-67 This music is part of the Mutopia project: http://www.MutopiaProject.org/

It has been typeset and placed in the public domain by Allen Garvin.
Unrestricted modification and redistribution is permitted and encouragedcopy this music and share it!

KEY VARIATION TECHNIQUES VARIATION

TRANSPOSITION KEY VARIATION TECHNIQUES
BACH EXAMPLES INVERSION

! Original motif # $ !" % % % % % % %%%%%

&%
! INVERSION
%%%%%% %%%%
%
! Modal transposition #$ $%
! Next most prevalent development technique
! inverts contour upside
%%% % % % % '%
! Chromatic transposition # $ % '% % &% ! again, can either maintain pitch collection, introduce new pc, or be
approximate

#$ &% % % % '% % &% &%

! Modified transposition % % % &%

#$ % % % % % % % % % % %
%

#$ ( (
 KEY VARIATION TECHNIQUES
INVERSION # $ !" % % % % % % %%%%% KEY VARIATION TECHNIQUES
&%
BACH EXAMPLES VARIATION IN BEETHOVEN
%%%%%% %%%%
%
#$ $%

%%% %%%%%
# $ % '% % &%
! Sonata in F minor, Op. 2, No. 1 LUDWIG VAN BEETHOVEN
# $ !" % % % % % % %%%
& % % '% % %
p. 198 Course Anthology
! Original motif
# $ % % &% &% % % % &% &%
% Demonstrates use of motivic fragmentation and rhythmic recasting,
% %%%% %%%% in addition to other techniques
#$ % $% %
Uses development to create forces of PUSH and PULL in a phrase
! Inversion
#$ % % % % % % % %
%%%% ! Phrases tend to PUSH FORWARDS in middle, then PULL BACK
%%% %%%%%
# $ % '% %
towards end of phrase
&%
#$ ( (

#$ &% % % % '% % &% &%

% % % &%

#$ % % % % % % % % % % % !
%

!
3

#$ ( (

!
3

! !
KEY VARIATION TECHNIQUES KEY VARIATION TECHNIQUES
VARIATION IN BEETHOVEN VARIATION IN BEETHOVEN 3 3

TRANSPOSITION EXAMPLES INVERSION EXAMPLES

"""""
!
3

! !
! BASIC IDEA !
presentation

!
!
(statement) 3 3

!
3
b. 3
!
3
! BASIC IDEA

!
! DOMINANT TRANSPOSn 3

!
3

!
(response) 3 b. 20

! !
3
! CONTOUR INVERSION
!
b. 9 rhythm maintained 3
3

! !
! > BASS REGISTER
!
3 subsidiary idea

! !
tonal ambiguity 3 change of articulation
! !
start of transition
!
3

! !
3 3
3 3
3
3 3
"""""""""""""""

! !
3
3 3

!
"""""

! !! ! !
3
3 3

!
3
3

!! !
3 3 3

!!
3

! 3

!
!! !
3 3

! !! !
3
3 3

KEY VARIATION TECHNIQUES ! KEY VARIATION TECHNIQUES

"""""

! !
VARIATION IN BEETHOVEN ! !!
VARIATION IN BEETHOVEN
! !
3 3 33

!
3

FRAGMENTATION EXAMPLES 3
! RHYTHMIC RECASTING EXAMPLES
! !
"""""

!! ! !!
a (triadic) b3(scalar/turn)
!
3 3 33

!
3 a b
3 3 3

!
3
"""""

3
! BASIC IDEA 3 ! BASIC IDEA 3

! ! !
3 3 3 3

!
3 3
3
3
b. 5 b. 7 3

!
!
"""""

"""""

! b + APPOGGIATURA ! b AUGMENTED
! !
3 33 motivic liquidation 3
3
b. 11 3 + cadential formula

!
b. 15
!
3

! !
(inv turn)
"""""

! a AS CHORD ! b AUGMENTED
+ b FRAGMENT 3 3

! ! ! !
3 3

!
3 b. 41

!
b. 95

!
3

! b FRAG. TRANSPOSED ! b SIMPLIFIED (-TURN)

3 3 3 3
3
3

! !
!
3
"""""

"""""

!
3 3

! ! ! !
3

3
3 3

!
3 3

3 3
KEY VARIATION TECHNIQUES
VARIATION IN BEETHOVEN VARIATION
PUSH & PULL MORE ADVANCED DEVELOPMENT TECHNIQUES

! As we listen, notice effects of FRAGMENTATION in b. 5 ! CONTEMPORARY DEVELOPMENT TECHNIQUES

More radical FRAGMENTATION
temporal and harmonic acceleration
OCTAVE DISPLACEMENT mid-melody
! increasing tension, forward motion, instability
VERTICALISATION (chord derived from melodic line)
Variation of TIMBRAL CONSTITUENTS
! Effects of CADENCE More radical changes of PITCH COLLECTION
temporal & harmonic deceleration
PARAMETRIC DISCONNECTION
! decreasing tension, stasis, stability
SOUND OBJECT COMPOSITION

VARIATION ADVANCED DEVELOPMENT TECHNIQUES

ADVANCED DEVELOPMENT TECHNIQUES MOTIVIC SATURATION
MOTIVIC SATURATION IN EARLY C20 MOTIVIC RELATIONSHIPS

!
#" $
3
&
3
( &
! Saturation of chromatically developed motifs in the works of % '% '% '% % '% % (
'%
the Second Viennese School (Schoenberg, Webern, Berg), Dies ist ein Lied fr dich al - lein

esp. in the period c. 19071920

%!
!
#" $ '
3
!
#" $ '
EXAMPLE &% % % (% % )% &% (% % )%
von kin - di - schem Wh - nen von from - men Tr - nen
! ANTON WEBERN 1. from Fnf Lieder

& (') "# (' ('* " ! #!

! % $ 3 $
$ & # & '$ ! '$ (
$" % ' !
3
! p. 201 Course Anthology
' ' +' *
3
TECHNIQUES Durch Mor - gen - gr - ten klingt es ein leicht be - schwing - tes.

! High degree of fragmentation and motivic counterpoint

&
%!
!
#" $ & # !" $ $ %$ ' ' $& %$
3 3
'
! Much transposition, inversion, rhythmic recasting, intervallic % '% '% '% %$ %$ $ % $&
changes, retrograde, octave displacement etc Nur dir al - lein mcht es ein Lied das rh - re sein

! Verticalisation (chord constructed from melody)

IMITATION & DEVELOPMENT IN PIANO

ACCOMPANIMENT

IMITATION + RHYTHMIC
VERTICALISATION DIMINUTION
&
FRAGMENTATION
 VARIATION
MORE ADVANCED DEVELOPMENT TECHNIQUES

ANTICIPATION
! EXAMPLE
Cassandras Dream Song BRIAN FERNEYHOUGH
IMITATION + VERTICALISATION p. 202 Course Anthology

! Extremely complex example of notation

! However, uses traditional techniques of motivic development

Beethovenesque PUSH & PULL!

! Develops from a single sound [monad]

CASSANDRAS DREAM SONG

CASSANDRAS DREAM SONG GESTURAL FAMILY TREE

MONAD ADDITION PITCH MICROVARIATION

CADENCE?

MORE ADDITION & MICROVARIATION TIMBRAL DEV.

MOTIVIC DEVELOPMENT
LESSONS TO LEARN MINOR ASSIGNMENT 6

! Unfolding development of related ideas to create more

sophisticated discursive forms

! Smaller cells/motifs/monads are easier to develop

! Longer themes may require fragmentation ! Final minor assignment!
! Transposition is the most frequently-used developmental Take incoherent piece and make it coherent!
technique

! Audible, directed relationships in development

dont overdevelop