MARK ALBURGER, 2018

November 3 - Fresh Voices XVIII

GOAT HALL PRODUCTIONS
FRESH VOICES XVIII FESTIVAL OF NEW WORK
Life As We Know It -- Who Knew?

8pm, Saturday, November 3, 2018

Community Music Center, 544 Capp Street, San Francisco, CA

PART ONE

MATTHEW OWENS (b. 1950)

The Garden (2013, excerpts from Act I)

II. Lullaby

III. You dreamed me

IV. We dreamed you

V. Menuet

VI. Bourree
VII. Saint Martin
     Jill K. Wagoner, soprano (Woman I)
     Jacqueline Goldgorin, soprano (Woman II)
     Angela Jarosz, soprano (Rabbit)
     Mark Alburger, tenor (Grit)
     Natalie Erskine, soprano (St. Martin)

NED ROREM (b. 1923)

Our Town (excerpt)
Emily's Aria
Cara Garbrielson, soprano

DOUG BRANDT

Our Little Secret (excerpt)

Izzie Speaks
Jill K. Wagoner, soprano

Intermission

PART TWO

MATTHEW OWENS

The Garden (excerpts from Acts I & II)

I.vii. Shadow song

II.i.

Peacock song

(Andy Ly, cellist)

II.v.

Caterpillar

II.vii.

Dino

II.viii.

I thought the world of you today, dear
     Ryann Swale, soprano (Shadow, Fault-Finder)
     Jacqueline Goldgorin, soprano (Peacock)
     Natalie Erskine, soprano (St. Martin)
     Megan Cullen, soprano (Dino)

ZACHARY M. WATKINS

Songs
Epitaph for Fire and Flower
The Lake
Meghan Dibble, mezzo-soprano

MARK ALBURGER (b. 1957)

To Those Who Come After: Three Elegies, Op. 256 (2016)
I. Truly, I live in a time of darkness

II.

I came to the cities at a time of disorder

III.

You who'll be borne up out of the flood
Harriet March Page, mezzo-soprano
Mark Alburger, tenor

Brief Pause

PART THREE

GIORGIO SPAGNOLI & JOHN GEHL

Senior at Play (Excerpts)

     Teressa Foss, soprano (Kathryn)
     Mark Alburger, tenor (Martin)
     Harriet March Page, mezzo-soprano (Vicki)

WILLIAM BOLCOM (b. 1938)

Cabaret Songs, Volume 2 (1983)
IV. The Actor
Jill K. Wagoner, soprano

MATTHEW OWENS

The Garden (excerpts from Act III)
I. Old blue heron

XI.

Bouree (reprise)

     Cara Garbrielson, soprano (Old Blue Heron)
     Angela Jarosz, soprano (Rabbit)

     Margaret Fondbertasse, pianist, for the Watkins songs.
   Megan Cullen, pianist, for all the other works

***

Marvelous show, as usual!

Picking up Megan

the

way

to the fest

this

221st

day of

summer,

high up 5 to 89

(San Francisco, 76),

highest since September 27's 97, and perhaps not to be surpassed until sometime in 2019...

Earlier and later, edit page 45 new-edition Mice and Men, Op. 45 (1992): Act III, and compose

Cliff Variations, Op. 287 (2018)
Theme and 30 Passacaglic Life Changes
Variation XII [Buddy Baker (1818-2002) - The Fox and the Hound (1981): Best of Friends]

November 2 - Local Interest

220th day of summer,

and how many more of these days will we get, since high temps always plummet in November, but for now, this one is back down 3 to the familiar 84 -- marking 80 days in the 80's for the year, and 137 or thereabouts for temperatures in this realm or higher (90's, 100's)...

across town

for a

supply-run is the big adventure out of the day,

then

return to rehearse with Harriet re Three Elegies: To Those Who Come After, Op. 256, and Giorgio Spagnoli's Seniors at Play (John Gehl), both on tomorrow's Fresh Voices XVIII program (8pm, Saturday, November 3, 2018, Community Music Center, 544 Capp Street, San Francisco, CA. Also edit page 44 new-edition Mice and Men, Op. 45 (1992): Act III and compose

Cliff Variations, Op. 287 (2018)
Theme and 30 Passacaglic Life Changes
Variation XI [George Bruns (1914-1983) - Yo Ho a Pirate's Life for Me (1967)]

November 1 - All Sol's Day

[Sol Fa, sol good to go for Quiz 11 (Chord Cycles), to be given sometime after 7:55am, Thursday, November 8, Diablo Valley College Music Building, Pleasant Hill, CA]

Four-Part Harmony

S - Soprano
A - Alto
T - Tenor
B - Bass

The four voices above, highest-to-lowest, can be literal voices, four tones in a keyboard chord,
four instruments, etc.

https://en.wikipedia.org/wiki/Four-part_harmony

Voicing of Root-Position Triads in Four-Part Harmony

With 3 tones, and 4 voices, one tone will be doubled (stated twice in the chord)

Typical voicing is "Root-Root-Third-Fifth,"
with one Root as Bass and the other found in one of the Upper Voices (Soprano, Alto, Tenor)

Keyboard-Style Voicing

S
Treble Clef will contain A
T

Bass Clef will contain B

Closed-Spacing Realizaton of Root-Position Chords

Over a given Bass-Clef Root,
in Treble Clef, choose a Soprano Chord-Tone,
Alto and Tenor will be the next available Chord Tones downward.

(Note the 2nd and 3rd Treble-Clef Measures look like Inversions,
but they are still Root-Position Triads, given the Root Bass Notes)

The space between Tenor and Bass can be as much as two octaves,
or as little as a Unison

Voice-Leading

The smooth connection of adjacent chords

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

Common Tone(s)

Note(s) shared by two different Chords

Examples
   D
                                         B
                G       G Chord G
                E
C Chord C                       C
                                         A
                         F Chord   F

G is the Common Tone shared by the C and G Chords

C is the Common Tone shared by the C and F Chords

                                                B
               G                              G
               E     E Minor Chord E      E
C Chord C                                       C
                              A Minor Chord A

C Chord shares two Common Tones (E and G) with E Minor Chord

C Chord shares two Common Tones (A and C) with A Minor Chord

Root Movement    Number of Common Tones      Examples

4th (or 5th)                        1                                   C to G, or C to F
3rd (or 6th)                        2                                   C to Em, or C to Am
2nd (or 7th)                       0                                    F to G (no Common Tones)

Two Guidelines for Traditional Common-Practice Voice-Leading of Root-Position Triads

1. If there's a Common Tone, and it makes sense to keep it, do so,
move other Upper Voices as smoothly as possible.

2. If no Common Tone,
move all Upper Voices in Contrary Motion with respect to the Bass.

Traditional Limits of Voice Movement

Upper Voices - most movement is by Step or 3rd, occasionally 4th

Bass - no more than a 5th (but Octave leaps OK) -- i.e. no 6ths or 7ths

Doubling in Inversions

Either Root or Bass may be Doubled - in First Semester Theory, often Bass Doubling is easier

Another Unusual Interval

Diminished 3rd = d3 = 1 step notated with 3 letter names
(ex. F# Ab) - Enharmonic equivalent of M2 (ex. F# G#, or Gb Ab)

Dominant 9th Chord - ex D9

Dominant 7th Chord + Major 9th (between Root and 9th)

Octatonic and Blues Scales; Richard Berry's Louie-Louie (1955) I-IV-V-IV Rhythmic Pattern

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

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

https://www.youtube.com/watch?v=z-2CKsaq5r8

https://en.wikipedia.org/wiki/Richard_Berry_(musician)

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

Keyboard-Solfege - Richard Rodgers - The Sound of Music (1959): Do-Re-Mi (Melody)

With no common tone, the movement of 4 voices in traditional voice-leading is 3-against-1 -- S,A,T in contrary motion to B and we play it out in Music Theory,

the

start-it-early

219th

day

summer,

high

5 to 87 --

tying with October 8, 12, 16, 19

as the warmest since September 27's 97 (Pleasant Hill, 85). Edit page 43 new-edition Mice and Men, Op. 45 (1992): Act III and compose

Cliff Variations, Op. 287 (2018)
Theme and 30 Passacaglic Life Changes
Variation X [John Williams (b. 1932) - Raiders of the Lost Ark (1981): I. Indiana Jones March]