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 ...
139FinaleThe Finale to Dies Natalis displays similarities to the beginning of the work, boththe introduction and chorale. It begins with a single bar of timpani on E, commencingnext with half-note chords in the same style as the introduction. However, these chordspossess altered harmonies over an E pedal: B-flat augmented to A-flat augmented, then fminor to G-flat major. The chords begin in the bass clarinets and bassoons and are takenover by the oboes and English horn. These uncommon harmonies placed in the doublereeds create an interesting texture. As other instruments are added, they crescendo tosforzandi chords, and eventually build to a full ensemble forte with accented half notes.This 8-measure section is reminiscent of chiming bells with descending, arpeggiated, Gmajor seventh half-note chords. Open scoring of these chords is reminiscent of Hanson'semphasis on perfect fifths.The last four measures of this section are the four measures added by Hanson, notpresent in the orchestra version of Dies Natalis. The four bars continue with descending,arpeggiated G major seventh chords, but add chimes on all four beats of each measureand add syncopation on beats two and four by clarinets, cornets, and third and fourthhorns. Secondary to the strong beat open harmonies during these four measures are thesyncopated accents in percussion, occurring every three beats.The next section is the return of the melodic material in four-bar phrases from theintroduction, built on the perfect fifth heptad (resembling A Lydian mode). The rhythm isslightly different than before, as is the melody itself.i j gin1r jmir«-
40Ex. 27: Melody in all clarinets with baritone, measures 216 through 219The pedal is present throughout the finale except in the chorale statements, whichbegin in measure 240. These are presented by the bassoons, contrabassoon, trumpets,horns, trombones, and basses in one-bar segments, separated by two-measureinterjections of secondary melody and harmonic accompaniment. All instruments returnfor the C section of the chorale with the sfortzando, minor chord.The final section of the finale is maestoso, the triumphant return to G major. Asseen earlier in the finale, sforzandi occur on the offbeats of chords, bringing a declarativefinality to the piece. The last three chords are all G major without added color tones,bringing tonal emphasis to the end of the piece. The work concludes with a dramaticfortepiano crescendo.
- 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 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 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
40Ex. 27: Melody in all clarinets with baritone, measures 216 through 219The pedal is present throughout the finale except in the chorale statements, whichbegin in measure 240. These are presented by the bassoons, contrabassoon, trumpets,horns, trombones, <strong>and</strong> basses in one-bar segments, separated by two-measureinterjections <strong>of</strong> secondary melody <strong>and</strong> harmonic accompaniment. All instruments returnfor the C section <strong>of</strong> the chorale with the sfortz<strong>and</strong>o, minor chord.The final section <strong>of</strong> the finale is maestoso, the triumphant return to G major. Asseen earlier in the finale, sforz<strong>and</strong>i occur on the <strong>of</strong>fbeats <strong>of</strong> chords, bringing a declarativefinality to the piece. The last three chords are all G major without added color tones,bringing tonal emphasis to the end <strong>of</strong> the piece. The work concludes with a dramaticfortepiano crescendo.
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