An Analytical and Educational Survey of Howard Hanson's Dies ...
An Analytical and Educational Survey of Howard Hanson's Dies ... An Analytical and Educational Survey of Howard Hanson's Dies ...
21Ex. 2: Piano reduction of choraleThe second phrase begins with the two measures of chords also found in theintroduction, though dynamically the second measure is less and therefore treated like anecho. The progression is the same, but the first and third chords add the ninth of thechord, so the progression is G major 9 - e minor - G major 9 - C major 7. The additionsof the ninth to the chords of the progression enrich the harmonic texture. The secondphrase is orchestrated in all clarinets and bassoons; baritones double the bassoon and bassclarinet line at the end of the phrase. The melody is traded between the first clarinet andthird clarinet. The overall dynamic level of this section is piano, which combines with thelight orchestration to contrast with the A and C sections. In particular, the context of the
22B section emphasizes the immediate contrast in orchestration and dynamics of the Csection.The third and final phrase is anticipated at the second phrase with a sfortzandominor sixth chord in second bassoon, contrabassoon, baritone saxophone, basses, andtimpani, one beat after the second phrase ends. All winds and timpani enter with thisdeclarative final phrase, brass at forte and woodwinds at fortissimo. This compositionalphrasing contributes a dramatic effect by abruptly changing orchestration and dynamics.Hanson ends the phrase with a deceptive cadence, and then extends the chorale anothersix measures at subito piano, serving as a transition into the first variation. A dominantseventh (D7) chord is sustained over a G pedal in the transition, while piccolo and firstbassoon have a two-measure soli of the first six notes in the chorale, foreshadowing thefirst variation. The instability of the sustained dominant chord over the root indicatesforthcoming harmonic development, while the introduction of soli melodies impliesapproaching variations on the melody.
- 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 20 and 21: 17InstrumentationTime of Performanc
- Page 22 and 23: 19on the secondary seventh of the d
- 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
21Ex. 2: Piano reduction <strong>of</strong> choraleThe second phrase begins with the two measures <strong>of</strong> chords also found in theintroduction, though dynamically the second measure is less <strong>and</strong> therefore treated like anecho. The progression is the same, but the first <strong>and</strong> third chords add the ninth <strong>of</strong> thechord, so the progression is G major 9 - e minor - G major 9 - C major 7. The additions<strong>of</strong> the ninth to the chords <strong>of</strong> the progression enrich the harmonic texture. The secondphrase is orchestrated in all clarinets <strong>and</strong> bassoons; baritones double the bassoon <strong>and</strong> bassclarinet line at the end <strong>of</strong> the phrase. The melody is traded between the first clarinet <strong>and</strong>third clarinet. The overall dynamic level <strong>of</strong> this section is piano, which combines with thelight orchestration to contrast with the A <strong>and</strong> C sections. In particular, the context <strong>of</strong> the
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