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Presentation Outline

Part I: Basic Patterns in Challan’s Pedagogy


Exx. 1–5: Basic Voice-Leading Patterns
Exx. 6–18: Selected Basses by Henri Challan

Part II: Connections with French Romantic Repertoire


Ex. 19: Guilmant, Elevation in F Major, Op. 39/1
Ex. 20: Fauré, “Pie Jesu” from Requiem, Op. 48
Ex. 21: Franck, Chorale No. 1 (mm. 1–64)
Ex. 22: Vierne, Meditation, Op. 31/7

Part III: Application in Original Compositions


Ex. 23: The Basic Ternary Model
Ex. 24: Exercise vs. Composition
Ex. 25: Remeš, Elegy
Ex. 26: Remeš, Fantasy
Part III: Application in Original Compositions
Example 24: Generalized generic dichotomy

Exercise Composition
Example 23: Basic Ternary Model in Challan’s Treatise shorter longer

Introduces thematic material and establishes tonic key more triadic more upper tertians

A Modulation to nearby key through sequences


Additional A’ section often initiates tonal departure more consonant more dissonant
Ends with HC in tonic or Perf. Cad. in new key
more homophonic more ornamented
New thematic material or development
Evaded cadences defer closure more diatonic more chromatic / enharmonic
B More distant modulation through sequences
Climax occurs in key most distant from tonic four-voices throughout textural variety
Ends with retransition (sequences over dominant pedal)
strict voice leading parallels, false relations
Opening material returns, usually altered voice overlaps, etc. allowed
A’ Sequences rewritten to return to tonic
Ends with only Perf. Cad. in tonic key thematic soprano voice thematicization of any voice
(or no theme) (esp. invertible counterpoint)

Tonicizes subdominant with tonic pedal point no modulation or modulation to


Coda Thematic combination signals closing function only to close keys distant keys
Ends with plagal cadence variant
regular phrasing irregular phrasing (elisions,
(default: 4 + 4 periods) interruptions, extensions)

non-motivic motivic saturation

didactic purpose liturgical, programmatic,


or expressive function

no agential intent anthropomorphization


within narrative arc

13 Derek Remeš, DMA Lecture Recital (2017)


Example 25: Remeš, Elegy HC in I

{
Plagal (dim.) ascending stepwise sequence of y
A Andante espressivo e sostenuto
motive x motive y y’ y (frag.) x A’ x (reharmonized)
8
3 œ̇ œ œ
& b4 ˙ œœ œ ˙˙ b#œœ œ̇ œ ™ œœ n œœ b œœ™ œ ˙™
œ œœ œœ œ™ œ œ # ˙ œœ # œœ œœ œ œœ œœ # œœ ˙ œ œœ œœ œœ œœ™ œ œ̇ # ˙
Œ œ œ œ œ œ ˙ n œ # ˙˙ œœ # ˙˙ Œ n ™
Organ mp imitation
œ ˙ #œœ ˙ nœ œœ œœ nœœ œ̇ ˙ œ œ #œ œ ˙ œ #œ nœ œœ œ œ
legato
? 43 Œ
b
œœ œ
œ œœ œ œœ œœ œ̇ œ œ nœ œ œ œ œ ˙™
œ̇ œ ˙ nœ Œ œ̇ #œ œ̇ œ œ™ œ
œ œ œ œ ˙ œ #œ nœ
# # +6
# +4 # 6 # 6r n b
+ 4e
# + 4 + 4e 6 6
(Man.) 4w 5 +4
#
6 6r 6 6r 7 6 6 6r 9r 8e 6 r6 4e 6 6t 6 7 6r
susp. cad.

modulation to minor dominant through sequence of y pedal point

{
G n initiates modulation 20 sequence solidifies new key and alludes to C Major 1st Plagal ( 4e ) in E Major or HC in A Minor?
15 rit. U U
œ œ œ œ œ œn œ œ
&b ™ ˙™
œ œœ #˙˙ œ̇ nœ œ nœ œ j j Œ

œ œ n œœ ˙˙ œ̇ œ œ
™ œJ n œ œ̇ n œ # œ˙ ™ œ œ™ œ # œ̇ ™ n ˙ # ˙˙ ™™
œ̇ œ œ̇™ œJ œ œ̇ n œ œ n œ̇™ œ œ œ™ œ n ˙˙

œ˙ ™
j
œ˙ ™
œ œj œ œj œ nœ̇ œ œ™ œ nœ œ #œj œ n˙ nœj œœ U
? b œj œ #œj œ nœ̇ nœ œ™ œ œ nœ œ #˙
œ ˙˙ œœ
j
œ nœœ ˙™
˙ nœ ˙™ nœ̇ œ œ ˙™ Œ
™ ˙™
œ œ œ œ œ œ œ œ ˙™ n˙
n 6rd ˙ œ
#6r n n #
#6r n6rd # + 4 n6rd n7t n # Ó
6rd d r 6
n5
+4 6 7t 7t 7 6 6r 6td
#
6 6 6r 6 6t 4 5 6td (+Ped.)
4 #

{
falling chromatic seventh chords stabilized by bass pedal Cadence y y
29 x (frag.) x (frag.) y
34 deferred
œ̇ œ ™ n œ œ n œœ œ˙ ™
j
# œ˙ ™ œ œ ™ œ n œ˙ ™ ˙ n œ˙™ œ œ™ œ b œ˙™ œ ˙ œ˙ ™ nœ œ ™ œ œ̇ ™
&b j œ j j œ œ œ ˙
œ n œ˙ ™ œ œ œ ™ œ œ̇ # œ œœ œ̇ œ œ n œœ ˙˙
™ più mosso
j ˙ n˙ œ œœ œ œ̇ œ nœ ˙
œ̇ n ˙ n œ Œ
nb˙˙ ™™ #˙˙ ™™ n#˙˙ ™™ n˙˙ ™™ cross #rel.
#˙˙ ™™ ˙˙ ™™ ˙™
œ œ bœ
mp
˙ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
? Œ œ œ œ ˙ œ œ œ
b
chr. bass ascent
?b œ ˙ œ œ œ œ œ bœ
˙™ ˙™ ˙™ ˙™ ˙™ ˙™
Œ Œ ˙ bœ œ œ œ œ œ œ
œ œ #œ ˙ œ #œ œ ˙
+4 n6t 6 6 n 6rd n6t 6 + 4
+4
b 7t + 2r
n 7t 7 6t 5w # 6 6t 9
n 8 7
+
6t
susp. cad.
6 6r 6t 6 6r 6t 6 6t

{
y elided 2nd Plagal ( 4e ) 54 dream-monologue (meter and tonality suspended, enharmonics, solo texture, thematic premonition)
HC in bVI
Plagal ( 4e ) sequence of y over dominant pedal in G minor in D or HC in g? Quasi recitativo x x enharmonic switch
U , ,
˙™ ˙™ ˙™ ˙™ ˙™ ˙™
45
U U
œj œ nœ œ™ œj ˙ U ˙ œ œ œ œ ™ œ œ #˙ nœ #œ #œ #œ ™ œ #œ n˙
& b œ̇ œ™ nœ #œ œ œ œ œ ˙ nœ #œ œ œ œ#˙ œ nœ #œ œ œ n˙ ˙™ #˙˙ Œ
> ˙™ ˙™ #˙ ˙™ ˙™
>
˙˙ ™™™ ˙˙˙ ™™™ ˙˙˙ ™™™
U b ˙˙˙ ™™™ ˙˙˙ ™™™ ˙˙˙ ™™™
U
solo f p
p
œ œ œ œ œ œœ˙
f
œ œ œ œœ˙ II. ##˙
f
? œ #œ œ œ œ œ œ˙ œ ˙™
˙™ ˙˙
b ∑ ∑ ∑ ∑
U
˙™ ˙™ ˙™ ˙™
foreshadows z foreshadows z
œ p
#œ. j U œ. j U
˙™ #œ ™ nœ #œ. #˙
?b œ ˙ ˙ Œ ∑ ∑ ∑ ∑ ∑ ∑
œ œ œ œ™ œ œ. ˙
# # ˙
6 4e
5
4y 2r 8
# 2r 4e # 7 6t 7
+ 7 6t 7
+
5
sequence of x reaches high point so far Tempo I sequence from mm. 21–24 in Bb major (remembered innocence)
˙™
72
64 U
˙ HC in IV,
œ bœ œ œ™ œ ˙
&b ˙ œ œ œ œ b˙ œ œ œ œ bœ œ bœ
œ bœ̇ ™ œ œ˙ œ œ
œ œ̇ ™ œœ
œJ bœ nœ œ œ œJ œ œ ˙œ œ b œ̇ ™ bœ œ œ bœ ˙
˙™ œ̇ œ™ œ œj ˙™
œ œ #œ
più mosso f

˙™
II.
Ϫ
p dolce
œ œœ ˙˙ j
C Eb G F ? J œœ bœ™
˙ œ bœœ ˙˙ bœœ n˙˙

œ œ̇ b˙ bœ b˙
˙ œ
œ #œ n œ œ
b 4w b 6rd 6 +6
#
4e 7t 6rd 7t
continuous downward scale throughout, yet reaching upward (Man.) 7 7 9r 8e 4w
b7t 4w
6

14 Derek Remeš, DMA Lecture Recital (2017)


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