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 ...
25Five Variations: Melodic ElementsVariation I.Each of the five variations in Dies Natalis are based off of melodicfragments from the first phrase of the chorale. The first variation uses the first six notesof the chorale in G-sharp minor instead of the original G major; this is an unexpectedchromatic shift to minor. Horns 1and 2 have the first direct quote from the chorale inminor in measures 61 through 62:Jr f ifjjjgEx. 3: Horns 1 & 2, measures 61-62The melody consequently follows in Trumpets 1and 2, and then is carried toflutes, oboes, English horn, and cornets 1and 2, evolving harmonically as a part of theprogression throughout the ensemble. However, the core melodic elements are the same:over each chord, the melodic structure is 5-3-1-5-6-5 (see example below).s4mf::p#Ex. 4: Flute, measure 63The trumpet solo in the second measure of Variation I in measure 60 and thehorns in measure 69 have a slight variation on the chorale melody. Both trumpet andhorns start on the third instead of arpeggiating the root triad, giving length and emphasisto the new root for the G-sharp minor key center at measure 60 and the B-minor keycenter at measure 69.
%26Ex. 5: Trumpet solo, measure 60The first variation is organized into three sections, all of which are closely related.The first two sections are nearly identical except for instrumentation and slightdifferences in rhythm and harmony. In the third section, the melody is slightly altered tobecome 5-1-3-5-6-6, takes place in F-sharp melodic minor and then A melodicminor, and is presented in two different rhythms. The first is presented in the Englishhorn, bassoon, and French horn:4PP^?i tip JI^^f=fp4 oEx. 6: Melodic rhythm, measures 78 through 81Third and fourth clarinets, alto and bass clarinets, and baritone play a variation of theabove melody, still in F-sharp melodic minor:a *rt ^mmMMmmEx. 7: Melodic rhythm, measures 77 through 78Variation II.The melody in this variation incorporates the first five notes of thechorale melody zspesante, sforzandi whole notes. This occurs three times, each timewith a different pedal: B, F, and then F-sharp. However, these pedals are on the fifth of
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- 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 24 and 25: 21Ex. 2: Piano reduction of chorale
- Page 26 and 27: 23Five Variations: Style OverviewEa
- 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
%26Ex. 5: Trumpet solo, measure 60The first variation is organized into three sections, all <strong>of</strong> which are closely related.The first two sections are nearly identical except for instrumentation <strong>and</strong> slightdifferences in rhythm <strong>and</strong> harmony. In the third section, the melody is slightly altered tobecome 5-1-3-5-6-6, takes place in F-sharp melodic minor <strong>and</strong> then A melodicminor, <strong>and</strong> is presented in two different rhythms. The first is presented in the Englishhorn, bassoon, <strong>and</strong> French horn:4PP^?i tip JI^^f=fp4 oEx. 6: Melodic rhythm, measures 78 through 81Third <strong>and</strong> fourth clarinets, alto <strong>and</strong> bass clarinets, <strong>and</strong> baritone play a variation <strong>of</strong> theabove melody, still in F-sharp melodic minor:a *rt ^mmMMmmEx. 7: Melodic rhythm, measures 77 through 78Variation II.The melody in this variation incorporates the first five notes <strong>of</strong> thechorale melody zspesante, sforz<strong>and</strong>i whole notes. This occurs three times, each timewith a different pedal: B, F, <strong>and</strong> then F-sharp. However, these pedals are on the fifth <strong>of</strong>
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