MARK ALBURGER, 2018: February 8 - You Say Carmana / I Say Carmina

[Let's call the whole thing Orff -- Carl, that is -- contemplating modern music influenced by Medieval Harmony, as found in Diablo Valley (Pleasant Hill) Music Theory Quiz 4 (Scales and Modes) -- later in the class beginning 8am, Thursday, February 15]

Contrary Motion

In counterpoint (note-against-note), one part moving down (by any interval), while another part moves up (by same or different interval)

Four G Scales / Modes

Solfege for Mixolydian: Do Re Mi Fa Sol La Te Do

https://en.wikipedia.org/wiki/G_major

https://en.wikipedia.org/wiki/Mixolydian_mode

Intervals from Perfect Fifth (P5) to Perfect Octave (P8), and Number of Steps in Each

P5 = 3 1/2 Steps
m6 = 4
M6 = 4 1/2
m7 = 5
M7 = 5 1/2
P8 = 6

m6 is 1/2 step larger than P5
M6 is 1 step larger than P5
M7 is 1/2 step smaller than P8
m6 is 1 step smaller than P8

https://en.wikipedia.org/wiki/Minor_sixth

https://en.wikipedia.org/wiki/Major_sixth

https://en.wikipedia.org/wiki/Minor_seventh

https://en.wikipedia.org/wiki/Major_seventh

https://en.wikipedia.org/wiki/Octave

Inversions of Intervals

P inverts to P
M inverts to m
A inverts to d

1 inverts to 8
2 inverts to 7
3 inverts to 6
4 inverts to 5

Quality of Intervals in Major Scales

If the upper note of an interval is in the major scale of the lower note, the interval will be P or M

Compound Time (subdivisions in 3... subdivisions of 2 are known as simple time)

6/8 = 6 beats per measure, with the eighth note getting the beat, or
2 beats per measure, with the dotted quarter getting the beat

9/8 = 9 beats per measure, with the eighth note getting the beat, or
3 beats per measue, with the dotted quarter getting the beat

Sixteenth Notes (half as long as Eighth Notes)

Flagged down and up + Sixteenth Rest

Beamed 16ths

Power Chords (Open Fifths)

Root (any given lower note) in association with P5 above it

Ex. A with E above = A5

https://en.wikipedia.org/wiki/Perfect_fifth#Bare_fifth,_open_fifth,_or_empty_fifth

Triads

Major Chord has a Root in association with the M3 and P5 above it - Ex. C = C Major Chord
Minor Chord has a Root in association with the m3 and P5 above it - Ex. Cm = C Minor Chord

https://en.wikipedia.org/wiki/Triad_(music)

https://en.wikipedia.org/wiki/Major_chord

https://en.wikipedia.org/wiki/Minor_chord

Dictation / Keyboard-Solfege

Thomas of Celano (c. 1210-1270) - Dies Irae (Day of Wrath) (c. 1240)

Solfege in D Dorian: Me Re Me Do Re Te Do Do / Me Me Fa Me Re Do Te Re Me Re Do
Fingering (R.H.): 4 3 2 1 5
(L.H.): 2 3 4 5 1

N.B. C Major Pentascale, with D Dorian Do on 2nd (R.H.) or 4th (L.H.) Finger

https://en.wikipedia.org/wiki/Dies_irae

[Music Referenced in Quiz 4]

Free Organum Composer (b. c. 970) - Cunctipotens Genitor (1000, based on Kyrie IV)

http://markalburgermusichistory.blogspot.com/2008/06/composers-of-free-organum-b-c-970.html

Orkney Islands (b. c. 1085) - Hymn to St. Magnus "Nobilis Humilis" (c. 1115)

http://markalburgermusichistory.blogspot.com/2008/01/anon-orkney-islander-b-c-1085-st-magnus.html

Anon (b. c. 1070) - Song of the Ass (c. 1100)

http://markalburgermusichistory.blogspot.com/2008/06/anon-b-c-1070-song-of-ass-c-1100.html

School of Compostela (b. c. 1095) - Florid Organum Cunctipotens Genitor (1125, based on Kyrie IV)

http://markalburgermusichistory.blogspot.com/2008/06/anon-compostelan-b-c-1095-florid.html

http://www.toddtarantino.com/hum/kyriecunctorganum.html

Leonin (c. 1133-1190) - Hec Dies (The Is the Day) (c. 1175)

http://markalburgermusichistory.blogspot.com/8133/01/leonin-c-1133-1190.html

https://en.wikipedia.org/wiki/Léonin

Richard Coeur-de-Lion (1157-1199) - Ja Nuns Hons Pris (1180)

http://markalburgermusichistory.blogspot.com/8157/09/richard-i-coeur-de-lion-lion-heart.html

https://en.wikipedia.org/wiki/Richard_I_of_England

Italy (b. c. 1270) - Trotto (c. 1300)

http://markalburgermusichistory.blogspot.com/2008/06/composers-of-iialian-dances-b-c-1270.html

Perotin (c. 1170-1210) - Hec Dies (This Is the Day) (c. 1200)

http://markalburgermusichistory.blogspot.com/8210/01/perotin-c-1170-c-1210.html

https://en.wikipedia.org/wiki/Pérotin

Guillaume de Machaut (c. 1300-1377) - Notre Dame Mass (c. 1364): I. Kyrie (based on Kyrie IV)

http://markalburgermusichistory.blogspot.com/2008/01/guillaume-de-machaut-c-1300-april-1377.html

https://en.wikipedia.org/wiki/Guillaume_de_Machaut

https://en.wikipedia.org/wiki/Messe_de_Nostre_Dame

http://imslp.org/wiki/Missa_de_Notre_Dame_(Machaut,_Guillaume_de)

Conrad Paumann (c. 1415-1473) - Mit Ganczem Willen (With My Whole Heart) (1452)

http://markalburgermusichistory.blogspot.com/8410/01/conrad-paumann-c-14151473.html

https://en.wikipedia.org/wiki/Conrad_Paumann

***

Harmony in Fifths, Octaves, and Thirds (as manifested in French Medieval Free Organum on Kyrie IV, and the Orkney Islands Hymn to St. Magnus) for the Music Theoreticians --

followed by Quiz 3, with excerpts drawn from Native American and Gregorian sources, as well as the c. 850 Scholia Enchiriadis.

This

after

the

bright-eyed

morning transit

and

before

another

stimulating

stalling-for-time,

leading

more Piano Substitution service,

specifically the advanced students, representing no less than 4 discreet subsections, but all apparently focsussing the narrow Common Practice, c. 1700-1875... specifically J.S. Bach, Schubert, Chopin, and Liszt... certainly not without interest, of course... Somehow performance practice and style seem to keep coming up, notions that seem less-than-totally-familiar here.