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 ...
P29intervallic relationship of a fifth followed by a minor second is projected down. Thedownward projection in measure 149 actually has been transposed up a half step due toharmonic progression, but nevertheless, itis a good example of involution.I,h/^> * >Ex. 12: Involution of the melody, measures 148 and 149Variation V. The fifth variation uses the first six notes of the chorale, and may beorganized into three sections. In the first section, the six-note melody occurs in everymeasure, introduced by different instruments. The second section's melody is mostlyharmony, a line creating suspensions that resolve as they move. The third section is afinal return of the six-note melody in clarinets. The following is an example of themelody that is played in canon in the first and third sections of the variation:*t hi- f tt fi^rftffiPEx. 13: Flute solo, measure 177
30Five Variations: Harmonic ElementsVariation I.The first variation yields interesting and colorful chords thatcontribute to harmonic development. The first of three sections in Variation I begins inG-sharp minor and evolves to C augmented major 7 and then G minor with a major 7,resolving to B minor in first inversion at the beginning of the second section. The secondsection works in a similar way, evolving from B minor to E-flat augmented major 7, to Gdominant 7 with a lowered ninth (A-flat), and finally to G minor with major 7.^mr^rrri #— i» dt* *f* p pEx. 14: Reduction of chord progressions, measures 64 through 67mJD>m&mp p ¥[**•m m se=&MEx. 15: Reduction of chord progressions, measures 73 through 76The third section of Variation I is in F-sharp melodic minor for four measures, Amelodic minor for four measures, and then a brief progression to D minor. The variationends in D minor with third and fourth clarinets on B above the chord, leading into the Bpedal of the following variation.
- 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 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 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
30Five Variations: Harmonic ElementsVariation I.The first variation yields interesting <strong>and</strong> colorful chords thatcontribute to harmonic development. The first <strong>of</strong> three sections in Variation I begins inG-sharp minor <strong>and</strong> evolves to C augmented major 7 <strong>and</strong> then G minor with a major 7,resolving to B minor in first inversion at the beginning <strong>of</strong> the second section. The secondsection works in a similar way, evolving from B minor to E-flat augmented major 7, to Gdominant 7 with a lowered ninth (A-flat), <strong>and</strong> finally to G minor with major 7.^mr^rrri #— i» dt* *f* p pEx. 14: Reduction <strong>of</strong> chord progressions, measures 64 through 67mJD>m&mp p ¥[**•m m se=&MEx. 15: Reduction <strong>of</strong> chord progressions, measures 73 through 76The third section <strong>of</strong> Variation I is in F-sharp melodic minor for four measures, Amelodic minor for four measures, <strong>and</strong> then a brief progression to D minor. The variationends in D minor with third <strong>and</strong> fourth clarinets on B above the chord, leading into the Bpedal <strong>of</strong> the following variation.
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