An Analytical and Educational Survey of Howard Hanson's Dies ...

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17InstrumentationTime of Performance: 15 minutesC PiccoloPercussion:st1and 2 nd FlutesTimpanist1 and 2 nd OboesEnglish HornE-flat Clarinet(1) Xylophone, Tubular Chimes(1) Snare Drum(1) Bass Drumst1, 2 nd , 3 rd , and 4 th Clarinets(1) Tenor DrumAlto Clarinet(1) CymbalsBass Clarinetst1 and 2 nd BassoonsContrabassoonst1and 2 nd Alto SaxophonesTenor SaxophoneBaritone Saxophonest1 , 2 nd , and 3 rd Cornetsst1 , 2 nd , and 3 rd Trumpetsst1, 2 nd , 3 rd , and 4 th Hornsst1, 2 nd , and 3 rd TrombonesBaritone (treble clef)Baritone (bass clef)Basses (Tubas)
18Chapter 3: Analysis of Dies NatalisIntroductionThe introduction of the work serves two primary purposes: to create a harmoniccenter and to create motion and interest by introducing melodic material. The beginningof Dies Natalis starts with a heartbeat: a steady pulse in the timpani, above which triadicharmonies are gradually layered. The rhythmic G pedal of the timpani establishes the rootof the primary key center of the piece. Hanson has a certain affinity for the pedal in hiswriting: "I've been almost overaddicted to pedal points. I'm a pedal man and I'm inclinedto sit on the pedal for a long time, sometimes, perhaps, too long" (Williams, 1988, p. 18).The solo timpani continues for eight measures using quarter notes and simple eighth noterhythms interspersed. At this point, harmonic material is introduced above the G pedal, inthe chord progression G major 7 - e minor - G major 7 - C major 7. After the first cycleof progression, the seventh is dropped from the C major 7 chord. These half-noteprogressions are actually quoting two measures of the chorale, 45 and 46. This continuesfor an eight-bar phrase, changing color through instrumentation between trombones withbasses and clarinets, bassoons, and horns.Next, melodic material is introduced in four-bar phrases in the form of a perfectfifth heptad, discussed previously in the section on Hanson's compositional style. Thefollowing example is the first setting of the melody:In the internal structure of this melodic material section, four melodic lines appear. Thefirst begins on the seventh (F-sharp), the second begins on the root (G), the third begins
Page 2 and 3: Digitized by the Internet Archivein
Page 4 and 5: Columbus State UniversityAN ANALYTI
Page 6 and 7: 3Table of ContentsChapter 1 :Howard
Page 8 and 9: Chapter 1 : Howard HansonBiographyH
Page 10 and 11: Sweden. He visited the studio of Na
Page 12 and 13: he used different terminology and f
Page 14 and 15: 11Promotion ofAmerican MusicHanson
Page 16 and 17: 13Compositional StyleHanson is wide
Page 18 and 19: 15Chapter 2: Dies NatalisDies Natal
Page 22 and 23: 19on the secondary seventh of the d
Page 24 and 25: 21Ex. 2: Piano reduction of chorale
Page 26 and 27: 23Five Variations: Style OverviewEa
Page 28 and 29: 25Five Variations: Melodic Elements
Page 30 and 31: 27the chords that the melodies arpe
Page 32 and 33: P29intervallic relationship of a fi
Page 34 and 35: 131Variation II.The harmonic materi
Page 36 and 37: 33The tritone is an essential eleme
Page 38 and 39: 35Five Variations: Rhythmic Element
Page 40 and 41: 37Five Variations: Dynamics and Orc
Page 42 and 43: 139FinaleThe Finale to Dies Natalis
Page 44 and 45: Chapter 4: Teacher's Guide41
Page 46 and 47: 43The first variation has a small n
Page 48 and 49: 45Sequence for LearningPrerequisite
Page 50 and 51: 47Objectives• Students will perfo
Page 52 and 53: 49Chimes: m. 208-215All drums with
Page 54 and 55: Ai,!rrrr51Lesson IIObjective:• St
Page 56 and 57: 53Lesson HIObjective:• Students w
Page 58 and 59: 5515. nelmodo Gregoriano - (Italian
Page 60 and 61: '—57Composition AssignmentStudent
Page 62 and 63: 59Evaluation SheetName:Date:Title o
Page 64 and 65: 61Chapter 5: Student's GuideStudent
Page 66 and 67: 63Hanson's use of the chorale almos
Page 68 and 69: irr'r-F'rrr'rrrr65Dies Natalis Chor
Page 70 and 71:
s»67O Morning Star, How Fair and B
Page 72 and 73:
69(Butterworth, 1998)Plate 9: 1972
Page 74 and 75:
.7114. mosso -15. nelmodo Gregorian
Page 76 and 77:
73Evaluation RubricYour Name:Your I
Page 78 and 79:
75ReferencesButterworth, N. (1998).
Page 80 and 81:
Appendices77
Page 82 and 83:
79Appendix B: Premiere of Dies Nata
Page 84 and 85:
i81Appendix D: Hymn Musical Setting
Page 86 and 87:
83Appendix F: Hanson Photographs(Bu
Page 88 and 89:
11851970 The Mystic Trumpeter1974 L
Page 90 and 91:
87Appendix H: DiscographyThe Cornel
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