Tuesday March 19, 10:30-12:30, MM 316
Review Powerpoints:
Transformational Voice-leading
Introduction to 12-tone theory
Webern's "Wie bin ich froh,” no. 1 from Drei Lieder, op. 25, is a twelve-tone piece based on the following row: F#-F-D-E-D#-C-A-C#-G#-B-A#-G. What kind of contour does the melody display? What is untraditional about this contour? What melodic intervals does Webern favor?
Provide prime forms for each of the discrete trichords in the row. Is this a derived row?
List the measure number, voice (soprano, piano, rh, or piano lh) and first pitch of each consecutive series used in Op. 25, No. 1. Select the correct row form next to its first pitch (voice and piano each have their possible row forms, with the exception of m. 5 and the end of m. 11). NB: the last pitch of each row is the same as the first pitch of the following series.
Anacrusis to m. 1, piano rh: F#; m. 2, sop: G; m. 2, piano rh: G; m. 3, piano lh: F#; m. 4, sop: G; m. 5, piano rh: G; m. 6, sop: G; m. 7, piano rh: G#; m. 8, piano rh: G#; m. 9, sop: G; m. 10, piano rh: F#; m. 11, sop: G
There are three characteristic rhythmic/harmonic figures in the piece: the 16th-note triplet, the 8th-note dyad and the four-note chords. Do the triplets all belong to the same pc set? List their prime form(s). Most of the 8th-note dyads outline which interval class? What intervals are emphasized in the spacing of the four-note chords (look at the lower two pitches and the upper two pitches)?
How many sections do you find in Op. 25, no. 1. What criteria did you use to determine your sectional division? Are there specific pitches (in register, or motives) that mark the beginning and end of each section? Cite sectional beginning and ending pitches and m. no. in your answers.
Add any other interesting observations regarding text-setting, texture, spacing, dynamics and/or form.