MARK ALBURGER, 2018: October 11

[George Sand and Frederic Chopin heading for the heady transports of Quiz 8, sometime after 7:55am, Thursday, October 18, Diablo Valley College Music Theory, Pleasant Hill, CA]

Diatonic (Greek "progressing through notes")

Musical characteristics derived from 1-7 note mode / scale collections
(sequential note-movement is primarilly whole steps [or larger],
typically with a small percentage of half-steps)

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

Chromatic (Greek "colorful")

Musical characteristics derived from 8-12 note mode / scale collections
(sequential note-movement features a higher percentage of half-steps)

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

C Chromatic Scale

Sharps on the way up, Flats on the way down
(no need for E# or B# ascending, or Cb and Fb descending

Solfege - White Notes as Major - Do Re Mi Fa Sol La Ti Do / Do Ti La Sol Fa Mi Re Do
             - Black Notes Ascending - Change all vowels to "i", pronounced "ee"
                                                      Di   Ri      Fi   Si   Li    Do
                                                      no need for raised Mi or Ti, as next half steps above are F and D
             - Black Notes Descending - Change most vowels to "e", pronounced as if saying letter "A"
                                                       Te Le Se Me
                                                       no need for lowered Do or Fa, as next half steps down are B and E
   Lower Re one half-step to Ra (pronounced "Rah")

Fingering (L and R.H.s) - Thumbs on most White Notes, 2nd fingers for two sequential White Notes
                                            3rd fingers on Black Notes

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

More on Non-Chord / Non-Harmonic / Embelishing / Added Tones

Neighboring Tone (NT)

A Neighboring Tone is created in a melodic movement from one Chord Tone (Consonance) through a
Non-Chord / Added Tone (Dissonance) back to the same Chord Tone

In the above example, from Henry VIII's Pastime with Good Company (from Quiz 5 -- Treble and Bass Clefs, in the Key of G Minor) the G is an Upper Neighbor to the F# Chord Tones in a D Chord (D F# A).

The Melodic Movement is from Chord Tone F# (Consonant, the Third of D),
to the "next-door" Upper Neighber G (Dissonant, not a member of D)
back to the Same Chord Tone -- F# (Consonant, the Third of D)

It is possible to have Lower Neighbors -- F# E F# in the spirit of above Example

Neighbors can be Complete -- as above examples -- or
Incomplete -- still working with above... F#-G or G-F# (Upper Incomplete Neighbors)
... F# E or E F# (Lower Incomplete Neighbors)

Appoggiatura (App)

Any Accented Dissonance-- on a Downbeat, or otherwised stressed (accent / sycopation)
N.B. Passing and Neighboring Notes can be Unaccented or Accented
(the latter are additionally Appoggiaturas)

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

Diatonic vs Chromatic Movement

Added Tones may be be Diatonic or Chromatic

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

Five Basic Seventh Chords

Major Seventh Chord (Maj7 or M7) = Major Triad (MT) + M7 interval (from Root)

Dominant Seventh Chord (7) = Major Triad (MT) + m7 interval

Minor Seventh Chord (m7) = Minor Triad (mT) + m7 interval

[Half-Diminished Seventh (ø or ho) = Diminished Triad (dt) + m7 interval

(Fully-)Diminished Seventh (ø) = Diminished Triad (dt) and d7 interval]

Major 7th Chords appear naturally on scale-degrees I and IV -- IM7 and IVM7

Minor 7th Chords appear naturally on scale-degrees ii, iii, and vi -- ii7, iii7, and vi7

[The Half-Diminished 7th appears naturally on scale-degree viio -- viiø7 or viiho7

The (Fully-)Diminished 7th appears on scale-detree viio in Harmonic / Melodic (Ascending) Minor
-- viio7

Seventh Chords in C Major

CM7 Dm7 Em7 FM7 G7 Am7 Bø7

IM7 ii7 iii7 IVM7 V7 vi7 viiø7

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

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

https://en.wikipedia.org/wiki/Half-diminished_seventh_chord

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

Polytonality - Music in several keys simultaneously

Bitonality - Music in two keys simultaneously
In some such musics, upper and lower staves may be analyzed separately

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

F (Natural and Harmonic) Minor / Ab and Db Major

Dictation / Keyboard-Solfege

Charles Ives (1874-1954) - Variations on America (1891)

Spanish Variation

Treble Clef: F (Harmonic) Minor - Do Do Re Ti Do Re Me Me Fa, etc.

R.H. 2 2 3 1 2 3 4 4 5, etc.

L.H. 4 4 3 5 4 3 2 2 1, etc.

http://markalburgermusichistory.blogspot.com/8874/10/charles-ives-1874-1954.html

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

https://en.wikipedia.org/wiki/Variations_on_%22America%22

Augmented Triad

AT = M3 + A5

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

Four C Chords (in Treble Clef)

Quiz 7 for the Theoreticians (musical examples from J.S. and C.P.E. Bach, W.A. Mozart, Gruber, and Chopin),

preceeded by more impressive Student Compositions,

on the

198th day of

summer,

high up 3 to 80

Pleasant

Hill,

76;

Martinez,

71;

Pinole, 69;

Berkeley, 67;

San Francisco, 66.

Score-study at

Erling's,

before assisting in the move of Alex's equipment over to St. Teresa's, for the third rehearsal of San Francisco Composers Chamber Orchestra's Time Travails, in preparation re 8pm Saturday, October 13, St. Mark's Lutheran Church, 1111 O'Farrell Street, SF, CA...

***

SAN FRANCISCO
COMPOSERS CHAMBER ORCHESTRA
Mark Alburger, Music Director

Time Travails
7pm, Thursday, October 11, 2018
St. Teresa of Avila Catholic Church, 1490 19th Street (at Connecticut), San Francisco, CA
Mark Alburger, conducting

Program

7:00    Harry Bernstein
              String Quartet (8')
                0000 0000 11210

7:30    Alex Ness
              Contrafacts (2018) (13')
                1111 1100 Pf Perc 11111 (13)
                    I. Pretty Little Eyes (4')
                    II. You You You (5')
                    III. Me Me Me (4')

8:00    Stardust
              Home (11')
                3111 1100 Pf Perc 11111 (15)

8:30    Break

8:45    Roberto Becheri
              War Poems (2018) (11')
                1111 1110 2Narr 3Perc 11111 (17)
                    (As a fanfare / As a parade march) - "They were summoned"
                        (excerpt from Till the Boys Come Home, 1914,
                        Lena Guilbert Brown Ford)
                    (As a romance) - "The train was full"
                        (excerpt from The Mobilization in Brittany, 1917,
                        Grace Fallow Norton)
                    (As a funeral march) - I Have a Rendezvous with Death, 1916,
                        Alan Seeger)
                    (As a lullaby / As a hymn) - "Keep the home fires burning"
                        (excerpt from Till the Boys Come Home, 1914,
                        Lena Guilbert Brown Ford)

9:15    Erling Wold
             She Who Is Alive (2018) (14')
                3111 2110 Voice Pf 2Perc 11111 (19)
                    I. Overture
                    II. April on the Island
                    III. You are like a star...
                    IV. April's Dream
                    V. April's Apogee

9:45    Kat Walsh
             Three Dances for Four Woodwinds (7')
                1111 0000 00000
                    I. Gigue (3')
                    II. Minuet (3')
                    III. Reel (2')

***

Home late for the editing of page 22 new-edition Mice and Men, Op. 45 (1992): Act III...

October 11 - Smokin'