MUS-T331
MUSICAL SKILLS IV
Indiana University
Jacobs School of Music
Fall 2020
Daniel Cueto, Instructor
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TABLE OF CONTENTS
Unit 1 Overview 3
Takadimi 4
Scales and Collections 6
Sonorities 7
Other Sonorities 8
Polyrhythms 9
Unit 1 Focus Melodies
Ives, “The Cage” 11
Barber, Hermit Songs, Op. 29, “The Desire for Hermitage” 12
Schoenberg, Das Buch der hängenden Gärten, Op. 15, II. Hain in diesen Paradiesen 14
Messiaen, Quatuor pour la fin du temps, V. Louange à l’Eternité de Jésus 16
Unit 1 Focus Rhythms
Carter, Four Lauds for Solo Violin, “Riconoscenza per Goffredo Petrassi” 17
Tower, Night Fields (String Quartet No. 1) 18
Cage, Living Room Music, I. To Begin 19
Lutyens, String Trio, Op. 57, movement 1 20
Unit 2 Overview 21
Trichords 22
Melodic Transformations 23
Unit 2 Focus Melodies
Schoenberg, Variations for Orchestra, Op. 31, Theme 24
Dallapiccola, 6 Carmina Alcaei, I. Expositio & II. Canon perpetuus 25
Bartók, String Quartet No. 6, Sz. 114, Mesto 26
Lutyens, “O Saisons, O Châteaux!” Op. 13 27
Unit 2 Focus Rhythms
Stravinsky, Three Pieces for Clarinet Solo, movement 3 28
Carter, Eight Pieces for Four Timpani, “Canaries” 29
Gubaidulina, Ten Preludes for Solo Cello, movement 1 30
Boulez, Sonatine for Flute and Piano 31
Unit 3 Overview 32
All-Interval Tetrachords 33
Unit 3 Focus Melodies
Lutoslawski, Five Songs, III. Zima (Winter) 34
Higdon, Sonata for Alto Saxophone and Piano, movement 1 35
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Mamlok, Der Andreas Garten, IX. Der Mond 36
Zwilich, Passages, III. Round 37
Unit 3 Focus Rhythms
Ran, Inscriptions, movement 2 38
Ligeti, Sonata for Viola Solo, II. Loop 39
Hurel, Pour Luigi 41
Staff paper 44
Clock faces 48
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UNIT 1
Goals and Contents
1. Develop the ability to recognize, notate and perform pentatonic, octatonic, and
whole-tone collections; diatonic modes; acoustic and augmented scales
2. Develop the ability to recognize, notate and perform extended tertian sonorities,
quartal and quintal sonorities, and well-known twentieth-century sonorities
3. Develop strategies for singing prepared and unprepared melodies featuring the
above scales and sonorities
4. Develop strategies for performing prepared and unprepared rhythms featuring
rapidly shifting subdivisions, including quintuplets
5. Develop strategies for performing prepared and unprepared rhythms featuring
polyrhythms of 2:3, 3:4, 2:5, 3:5, and 4:5 and their inverses
6. Develop nuanced listening-based analytical strategies for music featuring the
above elements
7. Broaden familiarity with repertoire featuring the above elements
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SCALES AND COLLECTIONS
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SONORITIES
Triads: Quartal and Quintal:
M m d (o) A (+) Q4 Q5
Seventh Chords:
MM7 Mm7 mm7 mM7 ø7 o7
Ninth Chords:
M9 m9 MM9 Mm9 mm9 Mb9 Mmb9
Eleventh Chords:
Mm9/11 mm9/11 Mm9/#11
Thirteenth Chords:
M13 m13 Mm13 mm13 Mb13 Mmb13
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OTHER SONORITIES
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POLYRHYTHMS
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POLYRHYTHMS (CONT.)
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FOCUS MELODIES
Charles Ives, “The Cage” (1906)
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Samuel Barber, Hermit Songs, Op. 29 (1953): “The Desire for Hermitage,”
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4 Schoenberg: Das Buch der hängenden Gärten, Op. 15
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Arnold Schoenberg, Das Buch der hängenden Gärten, Op. 15 (1908):
II. Hain in diesen Paradiesen
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Olivier Messiaen, Quatuor pour le fin du temps (1941): V. Louange à
l’Éternité de Jésus, mm. 1–18
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FOCUS RHYTHMS
Elliott Carter, Four Lauds for Solo Violin (1984): “Riconoscenza per
Goffredo Petrassi,” mm. 1–26
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Joan Tower, Night Fields (String Quartet No. 1) (1994): mm. 63–78
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John Cage, Living Room Music (1940): I. To Begin, mm. 1–18
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Elisabeth Lutyens, String Trio, Op. 57 (1964): movement 1, mm. 1–41
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UNIT 2
Goals and Contents
1. Develop the ability to recognize, notate and perform prime form and non-prime
form trichords
2. Develop the ability to recognize, notate and perform melodic transformations:
transposition, inversion, retrograde, and retrograde inversion
3. Develop strategies for singing prepared and unprepared melodies featuring the
above trichords and transformations
4. Develop strategies for singing prepared and unprepared atonal and twelve-tone
melodies
5. Develop strategies for performing prepared and unprepared rhythms featuring
asymmetrical meter and metric/tempo modulation
6. Develop nuanced listening-based analytical strategies for music featuring the
above elements
7. Broaden familiarity with repertoire featuring the above elements
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TRICHORDS
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MELODIC TRANSFORMATIONS
Transposition: Changes only the starting pitch, maintaining the interval structure of
the original.
Inversion: Changes the direction of the intervals.
Retrograde: Reads the melody “backwards” (right to left), not changing the direction
of the intervals.
Retrograde Inversion: Reads the melody “backwards”, also changing the direction
of the intervals.
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FOCUS MELODIES
Arnold Schoenberg, Variations for Orchestra, Op. 31 (1928): Theme, mm.
34–57
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Luigi Dallapiccola, 6 Carmina Alcaei (1943): I. Expositio & II. Canon
perpetuus
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Béla Bartók, String Quartet No. 6, Sz. 114 (1939): movement 1, mm. 1–13
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Elisabeth Lutyens, “O Saisons, O Châteaux!” Op. 13 (1946): mm. 91–108
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FOCUS RHYTHMS
Igor Stravinsky, Three Pieces for Clarinet Solo (1919): movement 3, mm.
1–34
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Elliott Carter, Eight Pieces for Four Timpani (1950): “Canaries”
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Sofia Gubaidulina, Ten Preludes for Solo Cello (1974): movement 1, mm.
1–41
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Pierre Boulez, Sonatine for Flute and Piano (1946): mm. 222–256
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UNIT 3
Goals and Contents
1. Develop the ability recognize, notate and perform the two all-interval
tetrachords and their inversions
2. Continue to practice, develop, and refine skills from the first two units
3. Continue to develop listening-based analytical strategies for music featuring all
elements studied thus far, as well as elements more difficult to categorize
4. Broaden familiarity with repertoire featuring the above elements
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ALL-INTERVAL TETRACHORDS
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FOCUS MELODIES
Witold Lutoslawski, Five Songs (1958): III. Zima (Winter), mm. 1–23
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Jennifer Higdon, Sonata for Alto Saxophone and Piano (1990):
movement 1, mm. 1–22
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Ursula Mamlok, Der Andreas Garten (1987): IX. Der Mond, mm. 1–45
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Ellen Taaffe Zwilich, Passages (1982): III. Round, mm. 198–212; 222–235
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FOCUS RHYTHMS
Shulamit Ran, Inscriptions for Solo Violin (1991): movement 2, excerpt
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György Ligeti, Sonata for Viola Solo (1991): II. Loop, mm. 1–64
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Philippe Hurel, Pour Luigi (1994): mm. 1–24
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