Composition with Structural Chromaticism, Final Draft:
Making use of the melodic materials completed in your first draft, develop a short (24-32-bar) piano work that tonicizes a borrowed, chromatic, or borrowed chromatic mediant or submediant, and then returns to the home key.
{ Guidelines for Draft 1 (pdf) }
Due Wednesday, December 4
ANALYSIS II, PART II
1. Phrase graphs: Now that you’ve gained more familiarity with the harmony of a late-19th century song or aria, diagram 1-2 phrases (approximately 6-8 essential chords) using reduction and elaboration techniques you learned in weeks 1-5.
2. Motivic features: extending your work in step 1, describe at least one additional motivic feature, focusing on one of two possibilities:
- melodic development — write out at 3-4 versions of a melodic motive found in the work, showing how each is a divergent modification of the first. In 2-3 sentences, what purpose does this transformation serve?
OR
- individuated harmony — how does Dahlhaus’ discussion of individuated harmony help you to understand “non-functioning” chords or progressions in the work?
If your work is submitted by the deadline (in class on December 4), you will receive feedback & grade on this analysis on Friday, with an opportunity to submit revisions for extra credit. The revisions will be due no later than noon on Wednesday, December 11.
Franz Liszt — Symphonic Poem No. 3 “Les Preludes” — Orchesteraufnahme Weimar, cond. Christian Theilemann
Richard Wagner — Tristan Und Isolde
Vorspiel [ Wiener Philharmonike, cond. Wilhelm Furtwängler (1952) | score ]
Liebestod (“Mild Und Leise”) [ Jessye Norman / Wiener Philharmoniker, cond. H. v. Karajan | score ]