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

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33The tritone is an essential element to this variation. As seen in a previousexample, melodic material is built on the root and tritone chords. The followingprogression illustrates another way of how the tritone is integral to the harmonicprogression of this variation:LJ > 2:/Ex. 21 : Compositebasses and trombone parts, measure 151The above progression is used throughout the variation. Most of the chordsbehind the melodic lines are major triads built over a minor second up or down from theroot of the chord. Additionally, the accompanying sixteenth notes in this passage arebased on the fifth and lowered sixth of the chorale melody used in this variation, whichadds chromatic elements.Variation V. The harmonic texture of the last variation is simple and direct. Thefirst of the three sections within the variation is eight bars long and organizedharmonically in two-measure segments. A new chord may be found in each measure, amajor or a minor triad. A two-bar segment has a starting chord moving a third down toanother chord. Every other measure, the progression (not always major to minor or viceversa)is a half step lower. The resulting progression is e minor - C major, F major - Dminor, F-sharp minor - D major, and G major - e minor.
—34iY ftaV g 6 K s ~7^ -.L^s ,;^[i o &kp^•^r*f 3 'f 3 's- 5s*- 5 1— 5^'Ex. 22: Low reeds harmonic progression, measures 173-180The next section begins in e minor with an F-sharp that resolves to an E on thenext chord, e minor 7. The remainder of this section is treated in the same manner, withsuspensions resolving into chords. The final section concludes with an e minor chordwith an F-sharp in the first clarinet.
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 32 and 33: P29intervallic relationship of a fi
Page 34 and 35: 131Variation II.The harmonic materi
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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