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 ...
63Hanson's use of the chorale almost exactly quotes the original chorale melody.There are two significant changes that Hanson makes for Dies Natalis. Firstly, theanacrusis is discarded so that the first note begins on the strongest beat of the measure.Secondly, the form has been altered from the original A-A-B-C hymn form so that the Asection does not repeat. Itis also interesting to note the changes Hanson makes byshortening phrases and the note length at the end of phrases.Theme and Variations in Dies Natalis for Band. The chorale serves as a theme inDies Natalis from which variations are made. Most of the variations only use a shortfragment from the chorale melody. A composer can use a theme and variations form toexplore different musical possibilities based on the same original material. Changes inmelody, harmony, rhythm, dynamics, and other elements from the original theme mayoccur during variations. Here are some examples of the chorale melody altered in thevariations.First variation:fTTslommi |UJ ||jttFJf=fgj p fiurfr^m^'fniP^mrmrmrf
ii«64Second variation:# _Q_ mK»-oansttz sfz sfz sfz SttzIEThird variation:I^1i * _ mnif * ittr^rCTiftLDl^rCTsFourth variation:S> > >e> >ribl^^ECS>> >
- 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 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 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
63<strong>Hanson's</strong> use <strong>of</strong> the chorale almost exactly quotes the original chorale melody.There are two significant changes that Hanson makes for <strong>Dies</strong> Natalis. Firstly, theanacrusis is discarded so that the first note begins on the strongest beat <strong>of</strong> the measure.Secondly, the form has been altered from the original A-A-B-C hymn form so that the Asection does not repeat. Itis also interesting to note the changes Hanson makes byshortening phrases <strong>and</strong> the note length at the end <strong>of</strong> phrases.Theme <strong>and</strong> Variations in <strong>Dies</strong> Natalis for B<strong>and</strong>. The chorale serves as a theme in<strong>Dies</strong> Natalis from which variations are made. Most <strong>of</strong> the variations only use a shortfragment from the chorale melody. A composer can use a theme <strong>and</strong> variations form toexplore different musical possibilities based on the same original material. Changes inmelody, harmony, rhythm, dynamics, <strong>and</strong> other elements from the original theme mayoccur during variations. Here are some examples <strong>of</strong> the chorale melody altered in thevariations.First variation:fTTslommi |UJ ||jttFJf=fgj p fiurfr^m^'fniP^mrmrmrf
Change language