An introductory course in piano techniques especially adapted for the performance of twentieth century music

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AN INTRODUCTORY COURSE IN FIANO TECHNIQUES ESPECIALLY ADAPTED FOR THE PERFORMANCE OF TWENTIETH CENTURY MUSIC

A THESIS P resen ted to t h e F a c u l t y o f t h e S c h o o l o f M usic U n iv e r s it y o f S ou th ern C a l i f o r n ia

In P a r t i a l F u l f i l l m e n t o f t h e R e q u ir e m e n t s f o r t h e D e g r e e M a s te r o f M u sic

by I v y M e Iv in a Goade June

1950

UMI Number: EP61857

All rights reserved INFO RM ATIO N TO A LL USERS The quality of this reproduction is dependent upon the quality of the copy subm itted. In the unlikely event that the author did not send a com plete m anuscript and there are m issing pages, these will be noted. Also, if m aterial had to be removed, a note will indicate the deletion.

UMI Dissertation Publishing

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This thesis, written by ...................................

under the guidance of h3.V... Paculty Committee, and a p p r o ved by all its members, has been presented to and accepted by the Council on Graduate S tu d y and Research in partial fulfill­ ment of the requirements f o r the degree of

.........................JLr.ast.ejc._„2.£_IiiJiS.LQ......................... ............... D ean Date

J^ne„„1950. ..................

Faculty Committee

Chairman

TRESIS Ce x t e m p o r a r y m u s i c m a g e s new d e m a n d s

or t h e

To m e e t t h e s e d e m a n d s , niques,

based

e a rly grades

( 20t h C e n t u r y ) technical

fo r the

equipment

th e development

of t h e p i a n i s t .

of s p e c i a l p i a n o t e c h ­

on c o m p o s i t i o n a l t e c h i n q u e s , of p ian o

pianoforte

should b e g in

in th e

study. PREFACE

R elieving

that

students

of contem porary l i t e r a t u r e understanding preparation presents

of i t s

for

this

v/ork w i t h t h e h o p s

posers,

solos

but ra th e r

Before

for the

should have tak e n t h e

minor,

demands,

it

w ill

for

the author

form a b r i d g e b e ­

or t o

early grades

to

first

(three

dim inished,

forms)

in th e scales,

courses

of t h e

of a l l

s tu d y of t h i s

steps

is

b y c o n t e m p o r a r y com­

for students

up o n t h e

It

supplant the

in tr o d u c e t h e music

centuries

entering

o f m a j o r and m i n o r

or s u f f i c i e n t

a supplement to th e t r a d i t i o n a l

e e n t h a nd n i n e t e e n t h

study

c o n te m p o ra ry t h e o r y and t e c h n i c .

which have been d e s i g n e d

(major,

that

c o n s id e re d as a s u b s t i t u t e

many e x c e l l e n t

aspect

individual technical

and

approach the

fo r th e piano w ithout s u f f i c i e n t

unique t h e o r e t i c a l

its

tween t r a d i t i o n a l n o t t o be

in general

book,

eight­

ages. the

student

t h e o r y and perform ance four types

of t r i a d s

and a u g m e n t e d ) d i m i n i s h e d s e v e n t h ,

and s o - c a l l e d d om inant s e v e n t h

chords.

Re s h o u l d a l s o h a v e

some

understanding

of t h e

s u b d o m i n a n t and. b e less

to say,

prim ary harmonies

able to

another

to read com positions

p l a y them i n t h e

indispensable of a t

of t o n i c ,

least

dominant,

sim pler keys.

pre-requisite

th e grade

is the

of t h e

and Need­

ability

sim pler

n u m b e r s f r o m Anna M a g d a l e n a B a c h ’ s y o t e B o o k , o r S c h u m a n n ’ s Al bum f o r t h e

Yo ung.

---------------------------------------------------------------------------------------------------

Since th e technique

author b e lie v e s

fo r th e performance

indissolubly

t h a t th e development

of t r a d i t i o n a l music

l i n k e d t o an u n d e r s t a n d i n g

t h e same p r i n c i p l e

w ill

is

of the th eo ry

be a p p l i e d t o t w e n t i e t h

of a

of music,

c e n tu ry music.

TAB I S OB COMTEI'TS CHAPTER

PAGE

I. II.

1 An I n t r o d u c t o r y

Course

in

E s p e c i a l l y Adapted f o r T w e n t i e t h C e n t u r y Music

Piano Techniques the Performance

of 11

The Modes

11

The D o r i a n Mode

12

The P h r y g i a n Mode

17

The L y d i a n Mode

20

The M i x o l y d i a n Mode

24

The Whole T o n e S c a l e

23

The P e n t a t o n i c

32

Scale

Linear C ounterpoint

36

Parallelism

39

O stinato

42

Fourth

45

Chords

B i-Tonality

51

A tonality

56

III. BIBLIOGRAPHY

59 74

CIKFTTR I Regardless that

of

t h e new m u s i c

the b e st

title

modern m u s i c , Abraham h a s

to

individual reaction

is here t o choose

contemporary music,

entitled

his

little

use in

some c i r c l e s

to

pungency,

book w r i t t e n

vein. from

t h e m u s i c o f T i n pan A l l e y . also,

because

of its

T h 1 s Mode r n S t u f f , much as we l i k e in f a v o r of a more d i g n i f i e d

The new m u s i c was c h o s e n b e c a u s e it

in a l i g h t e r

avoid c o n fu s io n which a r i s e s

had t o be d i s c a r d e d

b e a r i n g as

such as

o r 'This b o d . e r r S t u f f a s G e r a l d

to designate

Obviously,

we m u s t a d m i t

possibilities

C o n t e m p o r a r y m u s i c mas r e j e c t e d , unw ieldiness.

it,

The t e r m new m u s i c s e e m s

from s e v e r a l

Mo d e r n m u s i c was r e j e c t e d its

stay.

to

does a s i m i l a r i t y

of i t s

historical

its

term.

significance,

to th e are nova of th e

fourteenth

century. The f i r s t to

c la s s ify the

their have

step

in making c l e a r t h e p u r p o s e

m usical p u b lic

reactions a definite

into three

of t h i s

groups according

to

t o t h e new m u s i c .

We s h a l l b e g i n w i t h t h o s e who

antipathy

In t h i s

for

it.

child,

we m i g h t p l a c e

only music

students,

but

also th e ir

t e a c h e r s and members o f t h e i r h o u s e h o l d s .

thinking

be t h e y

group,

not

unbiased

work i s

adolescent,

or a d u l t , A little

on t h e

part

o f a n y member o f t h i s

group should

c o n v i n c e him o f t h e f a c t

that

t h e r e m u s t be mo r e t o

the

than meets th e

ear,

a memb er o f t h i s in s a y in g t h a t

since

it

fraternity,

the

h a s s o many d e v o t e e s . the w rite r

subject

Having been

can s p e a k w i t h a u t h o r i t y

o n l y v/ay t o d e v e l o p a n a p p r e c i a t i o n

for a

subject

bo

e 1e m e n t s *

controvert}!.? This

In t h e

s t u d y we p r o p o o e t o

second

classification

and t h e i r t e a c h e r s who, of i t ,

are

which a re

i s t o make

1

curious

to

a

thorough

the

c a l l e d new m u s i c .

73

causes

They,

of i t s

assist. shall

'place t h o s e

although th e y are not

learn

study

too,

students

particularly

of th o se s tr a n g e we w i s h t o

fond

sounds

a i d b?/ t h i s

wo r k . The m e m b e r s o f t h e t h i r d

g r o u p a r e t h o s e who,

understand­

i n g a n d a p p r e c i a t i n g t h e new m u s i c , h a v e d e v e l o p e d no p i a n o technique.-

The

same c o u r s e

of s t u d y w i l l be a d a p t a b l e

to th e ir

needs. Having

d e c i d e d upon t h o s e

whom we w i s h t o r e a c h ,

p r o b l e m i s when and how we b e g i n . composer,

theorist,

and t e a c h e r

i n an a d d r e s s b e f o r e national

the

s t •'tad t h e

convention

A s s o c ia tio n meeting

Ernest

Krenek,

known

case most a d m i r a b l y

of t h e y u s i c

in Poston

well

our next

in 1933.

Teachers He s a i d :

The b u r d e n of t h ' s t a s k ( c l o s i n g t h e g a p b e t w e e n t h e c o n t e m ­ p o r a r y c o m p o s e r a n d h i s a u d i e n c e ) r e s t s ms i n l y on t h e s h o u l d e r a o f t h e men and women o c c u p i e d w i t h m u s i c a l e d u c a t i o n . . . 7/ 01 i t i s c l e a r t h a t t h i s a t t i t u d e ( i n t e r e s t i n t h e now m u s i c ) c a n o n l y become a p e r m a n e n t s t a t e o f m i n d , i f t h e y o u n g e r g e n e r a t i o n i s s y s t s m a t i c a l l y t r a i n e d t o c o n s i d e r c o n t e m p o r a r y m u s i c a s an i n t r i n s i c p a r t of t h e s u r r o u n d i n g 'world. Mr.

Krenek f u r t h m

appreciation

states

t h a t he a t t r i b u t e s

for nineteenth

s t u d e n t s 'were r a i s e d only a te c h n ic a l

on t h e

fitness,

c e n t u r y music etudes

hut

■which h a v e p r e v e n t e d p e o p l e

also

the

to the

general fact

publics1

that

most

o f C z e r n y w h i c h d e v e l o p e d not a whole s e t

in g e n e r a l

of m u sic a l

from r e a l i z i n g

that

ideas music

3

c o u l d be b a s e d on a n e n t i r e l y

different

idiom*

B e f o r e t h e came a s s o c i a t i o n n v - o t i n g Mr.

Krenek a g a i n

in C le v e la n d in

1940,

states:

ye a r e s t i l l s p e n d i n g c o n s i d e r a b l e t i n e i n o u r c o u r s e s on t r a i n i n g t h e s t u d e n t in i d io m s and s t y l e s t h a t l i e h i s t o r i c a l l y f a r b e f o r e B e e t h o v e n and e v e n Ba c h . . . t h u s , t h e moment 7/h e n t h e m o d e r n i d i o m l o g i c a l l y h a s t o be d e a l t w i t h i s p u s h e d s o f a r t o w a r d s t h e end o f t h e c u r r i c u l u m , even i n g r a d u a t e s t u d i e s , t h a t p r a c t i c e . l l y no t i m e i s l e f t t o h a n d l e i t w i t h a n y a m o u n t o f thoroughness. Another music s t u d e n t s reaching

the

o u t s t a n d i n g c o m p o s e r a n d t e a c h e r who f e e l s t h a t sh o u ld he

college

oriented

level

i s Dr.

i n t h e new m u s i c e r n e s t Kan i t z .

q u a l i f i e d , t o speak, w i t h a u t h o r i t y , than

t h ir t y years

induction

of

of e x p e r i e n c e

college

students

niques of com position. the U niversity courses

in

fo r he has

long b e f o r e He i s ’w e l l

to h is

credit

i n b o t h E u r o p e and. A m e r i c a

in to the

In a r e c e n t

use

mor e in th e

of c o n te m p o ra r y t e c h ­

interview

w ith Dr.

Xanitz at

of S o u t h e r n C a l i f o r n i a w h e r e h e i s now t e a c h i n g

counterpoint

and c o m p o s i t i o n he s t a t e d :

Up t o t h e t i m e o f B e e t h o v e n , c h i l d r e n , and o t h e r b e g i n n e r s i n t h e s t u d y o f m u s i c , h a d t o be r i v e n b y t h e i r t e a c h e r s m u s i c o f t h e i r c o n t e m . p o r o . r i e s , b e c a u s e l i t t l e e l s e wa s a v a i l a b l e i n p u b lis h e d form. D u rin g t h e second h a l f of t h e n i n e t e e n t h c e n ­ t u r y , a t r e n d began w h i c h considered, a l l music of t h e contem ­ p o r a r i e s a s ' t o o m o d e r n 1 and d i f f i c u l t f o r b e g i n n e r s , no m a t t e r wh a. t t h e t e c h n i c a 1 p r ob l e m s we r o . T h i s v i e wp 0i n t wa s ma i n 1 y a r r i v e d , a t b e c a u s e o f t h e ’ d i f f e r e n t 1 kind, o f l a n g u a g e u s e d i n those pieces. T h i s c o n d i t i o n h a s be c o me e v e n w o r s e i n o u r own tim e. K ith r a r e e x c e p tio n s , p o p u la r music i s to d ay the only type o f c o n t e m p o r a r y m u s i c v / h i c h o u r y o u n g s t e r s know . , . . . . . T h i s c an , h o ? / e v e r , be r e m e d i e d . C o m p ose rs, t h e y o u n g e r ones i n p a r t i c u l a r , should v e t b u s y "writing e a s y p i e c e s f o r b e g i n n e r s n o t o n l y f o r p i a n o b u t a l s o f o r oth r i n s t r u m e n t s as w e l l as f o r v o i c e i n s i m p l e L i e d e r a n d a l s o v a r i o u s v o c a l and. i n s t r u m e n t a l e n s e m b l e s , a 1l i n t h e i d i o m o f t o d a y . . . m u s i c t e a c h e r s i n t u r n s h o u l d u s e c o n t e m p o r a r y ' music f o r t h e i r s t u d e n t s . . . T h e y

s h o u l d m**.k e a r e n 1 e f f o r t t o ch o o s g f r o m t h e s e c on p os i t i o ns t h e g r e a t o r pvr-°t o f t h e i r s t u d e n t s 1 r e p e r t o i r e r a t h e r t h a n f r o m t h e m u s i c o f t h e p a s t o r m u s i c of l i v i n g c o m p o s e r s a r i t t e r j i n t h e language of th e p a s t . T h e y w i l l be a mazed t o s e e how r e a d i l y urrp^' e i u d i c e d y o u n g s t e r s a c c e p t and e n j o y t h e c o n t e m p o r a r y i d i o m . . ." ??rd t h e y o u n g p e o p l e , i f made f a m i l i a r w i t h t h i s t y p e o f m u s i c r i g h t a t t h e b a a I n n i n m of t h e i r m u s i c a l e d u c a t i o n , w i l l g r o w u p i n t h e s p i r i t o f t h e i r own t i m e s m u s i c a l c u l t u r e and id e a s .

sition

While t h e r e

may be a few l e a d e r s

who b e l i e v e

that the student

idiom s,

discarding a ll

agree.

One m i g h t a s l o g i c a l l y

learning

to sp e ll

spelling,

fcgay,

to

spelling.

should

adopt th e language

oblivion

We p r e f e r t h e

o f ,7ssh i n g t o n .

w i t h modern

premise t h a t

and

of com position

In an a d d r e s s b e f o r e t h e at

out th e

s e e m s t o be a t t i m e s

that

of r e s t r a i n t

while

and a n o v e r t h r o w

developed in e a r l i e r tension

of a lr e a d y

we d o n o t

there

propose

harmony,

existing

student,

be he

child

of music

in th e

the

challenge

paragraph.

or a d u l t ,

traditional

g i v e n by Hr.

We s h a l l ,

fo r the

to the

idiom.

yusic

a total

order.

lack

Therefore,

place

introduction

of the of t h e

t h e o r y a nd p e r f o r m a n c e

R ather,

we p r o p o s e

K r e n e k v/ h i c h was q u o t e d

however,

at the

modern ha rmony i s b u t an e x ­

t o d e v e l o p a work t o t a k e t h e

s y s t e m s r ow i n u s e

clumsy

r u l e s and p r i n c i p l e s

type s of m u s ic a l

many e x c e l l e n t

often

1945 c o n v e n t i o n h e p o i n t s

of a l l the

a student

t a k e n by Oeorye

Teachers N ational A sso ciatio n fact

cannot

should begin with p h o n e tic

attitude

its

o f compo­

the w riter

our i l l o g i c a l

Am erican composer and t e a c h e r

U niversity

field

start

is tr a d itio n a l,

the English

relegating

traditional

that

in th e

narrow h i s

term

in

to

accept

an e a r l i e r

1 1s u r r o u n d i n g

5 w orld” to

include,

broadening th e

in our work,

u n d e r s t a n d i n g and a p p r e c i a t i o n

music s t u d e n t by i n c l u d i n g th e study

new m u s i c

point to

sideration

is

approach.

Ho p r o g r e s s i v e

lesson

unbelievable

on t h e

music

as i t

unravelling

of t h e

five

c e i v e d by t h e l l e s s r s .

of th e

musical, a p p r o a c h .

of th e

one hand

or

in th e

finger exercises

of the

One h a s

a nd e v e n J o h n W i l l i a m s

Such a b s t r u s e

subjects

con­

o n ly t o examine as Grace Helen the

compilers

frightening

catalogue.

now b e c o me m u s i c s i n c e t h e y a r e n o l o n v e r t r e a t e d me a ns

endless

as T o n i c , D o m i n a n t ,

C.

I I I ni n t h e U. S.

s

neither

i s now s u p p l a n t e d b y a m o r e

course

as

in

to discover th at

for th at

gym nastics, but r a th e r

involved

so d i a b o l i c a l l y

by such e d u c a t o r s

bogy of te c h n iq u e

on t h a t

past.

John Thompson, B u e n t a C a r t e r ,

"liusic

' Thi s c o n ­

e v e n t wo a s ,

a n d S u b d o m i n a n t a r e no l o n g e r r e s e r v e d labeled

stu d y of

m ysteries

Han on a n d C z e r n y .

Oxford c o u r s e ,

once h o r r i b l e

the

w o u l d drear:: o f b a s i n g

to the to rtu re

i n t r o d u c t o r y books w r i t t e n

Nash, Angela D i l l a r ,

today,

h a s been done

victim s

somewhat a t

o u r p l a n w i l l be b a s e d

teacher,

may b e ,

introduced to the

in t h e lower g ra d e s .

C major s c a l e with

would he s u b j e c t h i s repetition

s h o u ld be

we s h o u l d d i g r e s s

n ecessary because

perform ing the

the

of t h e b e g i n n i n g

new m u s i c w i t h h i s

c o n s i d e r t h e modern a p p r o a c h t o

of t r a d i t i o n s !

a first

students

in t h e e a r l y g r a d e s ,

techniques

the

s tu d y of t h e

thus

of w h a t m i g h t be t e r m e d t h e o l d m u s i c . Having d e c i d e d t h a t

this

only the m usical w orld,

Scales

as tir e s o m e

o f und e r s t and. i n g w h a t

is

meant by a key, none.

if

o r why one k e y h a s

o u r p u r p o s e were t o d e a l

approach to piano study, ever, to

this

much i s

technic

of th e

seven sharps

we c o u l d

sufficient

in th e t r a d i t i o n a l

to

e x c l u s i v e l y w i t h t h e modern cite

discard

the

idiom is

Solomon.

Ho,

a f ew c a s e s ,

is

keep them i n

c ov e r e d t h e i r v s l u e

this

th eir right

later

grades,

place.

place,

a f te r the

!,V/hat !

which,

v/e o n l y except

in

stu d e n t has d i s -

f o r h ims e l f . the

fact th at

s h o u l d b e i n t r o d u c e d t o t h e new mus i c a t a nd h a v e t o u c h e d b r i e f l y

technic

point,

o f K i n g D a v i d o r Mi ng

have t h e i r

How t h a t we h a v e e s t a b l i s h e d

study,

understanding

o f M r , C z e r n y a n d Mr. ITanon !” much

They s t i l l

in t h e

How­

involved.

t o t h e im m o rtal works

indeed.

make a p l e a t o

through the

t e a c h e r may s a y a t

im m o rtal works

as t h e y m ig h t r e f e r

many m o r e e x a m p l e s .

show t h a t t h e m o d e r n a p p r o a c h

sim pler t h e o r e t i c a l elem ents Some h o r r i f i e d

and a n o t h e r has

in t r a d i t i o n a l

music,

music s t u d e n t s

an e a r l ; / s t a g e

of t h e i r

upon t h e a p p r o a c h t o p i a n o

we s h o u l d c o n s i d e r t h e t y p e s

of

s t u d e n t s t o b e r e a c h e d , i n t h e w o r k v/ hi ch we p r o p o s e t o d e v e l o p . At t h e

top

im m ediate,

of t h e l i s t namely th e

i s t h e s t u d e n t whose n e e d college

major in stru m en t h e r e t o f o r e instrum ent. third for

student m ajoring

has been

In most c a s e s t h i s

group of our e a r l i e r

type

However,

his

classification

theoretical

a keyboard

student belongs of t h e

u s u a l l y h e h a s a l r e a d y an u n d e r s t a n d i n g

new m u s i c .

i n t h e o r y whose

other than of

i s most

in th e

m usical

public,

appreciation

fo r the

knowledge a l o n e

is

not

sufficient,

f o r ho w i l l n e e d d i r e c t e d

theoretical

knowledge t o t h e keyboard.

The n e x t g r o u p of s t u d e n t s cause

of th e d e g re e

a music degree

of u rgency ,

as h is

any of our e a r l i e r his

introduction

its

place

goal.

in

is

the

importance,

pre-college

Members o f t h i s

aspect

be­

student

with

g r o u p may b e l o n g t o

Regardless

theoretical

in t h e developm ent

applying h is

of se c o n d a r y

classifications.

to th e

drill

of h is r e a c t i o n s ,

o f t h e new m u s i c a n d

of a w e l l rounded

technic

should not

be d e l a y e d . Last,

we s h a l l

previously. would

like

in t h i s

of i t .

this

class

g r o u p c o u ld be

quite

as w i l l be

From t h e a. n e e d f o r technical

music t h a t It

its

introduced

a p r e p a ra to ry course equipment n e c e s s a ry

in th e a ssig n m en ts

who

to the e ffe c t

that

of t h e

and t h e a t t a i n m e n t

in t h e work u nd er p r e p a r a t i o it

may be s e e n t h a t

for the

performance

to s tu d e n ts

there

to develop o f t h e nee;

of t h r e e

groups.

enough t o be used as s u p p l e m e n t a r y m a t e r i a l o f a s t u d e n t who h a s

such as se le c tio n s

or the

to

f o r w h a t comes

of s t u d y d e s i g n e d

w i l l be e q u a l l y v a l u a b l e

s im p le s t music,

elements

foregoing d isc u ssio n ,

s h o u l d be s im p le

H o t e Bo o k ,

parents

o f s t u d e n t s w i l l b e s t d e v e l o p an a p p r e c i a t i o n

of such s k i l l s

the

referred

t h e new m u s i c ,

care

a former s ta te m e n t

now m u s i c t h r o u g h u n d e r s t a n d i n g

is

those

into

s u r e t h a t t h e y do n o t

v/e r e p e a t , now,

am ateur,

included

t o know s o m e t h i n g o f w h a t g o e s

since they are out

consider the curious

learned to read

only the

f r o m Anna M a g d a l e n a E a c h 13

e a s i e r n u m b e r s f r o m S c h u m a n n ’ s Al bum f o r t h e

8 !'oumg, a n d ha s t a k e n application

the

w ill

in th e o r y and i t s

as t h e

form ation

construction

of t h e

four types

a rudim entary

of s c a l e s of t r ia d s .

understandirg

fo rm an a d e q u a t e b a c k g r o u n d f o r t h e

of

introduction

nev; m u s i c . 80 f a r

able

and t h e

steps

such

knowledge t o g e t h e r w ith

tonality

first

to te c h n ic a l d r i l l

by t e t r a c h o r d s This

only th e

today.

in t h i s

as

can be

In 1938,

article

ascertained,

Truest

Krenek

there in th e

is

no s u c h w o r k a v a i l ­

address quoted

earlier

said;

T here i s n o t h i n g i n modern m u sic which i s c o m p a r a b l e t o t h e p i a n o t e a c h i n g s y s t e m s o f c l a s s i c a n d r o m a n t i c s t y 1e s . There­ f o r e , I p r o p o s e v e r y e a r n e s t l y t h a t p i a n o t e a c h e r s and c o m p o s e r s n e t t o g e t h e r a nd e l a b o r a t e c o n s c i e n t i o u s l y a new s y s t e m o f p i a n o e x e r c i s e s e m b r a c i n g n o t o n l y t h e t e c h n i c a l demands b u t a l s o t h e s p i r i t o f g e n u i n e modern m u s i c " . Again

in 1910 b e f o r e t h e

same a s s o c i a t i o n

he s a i d ;

I t i s known t h a t many t e a c h e r s i n s p i t e o f t h e i r b e t t e r i n t e n t i o n s , f i n d t h e m s e l v e s p r e v e n t e d from i n c l u d i n g c o n t e m ­ p o r a r y t e c h n i q u e s in t h e i r program b e ca u se t h e lack of a d e q u a te me t h o d s s e e n s t o make t h e nia t t e r u n f i t f o r a c a d e w i c t r e a t me n t . Ad e 1a i d e Tr 0wb r i cl g e p e r r y wh o h a s r e c e n t l y p ub 1 1 s h e d h e r third taught

edition

o f t h e Gompendi um o f P i a n o p a t s r i a l

f o r many y e a r ’s t h e

U niversity

courses

of Southern C a li f o r n ia

a n d who h a s

in piano pedagogy a t

the

said recen tly :

I h a v e r e c e i v e d many r e q u e s t s f r o m t e a c h e r s i n a l l p a r t s o f t h e U n i t e d S t a t e s f o r t h e name o f some c o u r s e t h a t w i l l i n t r o ­ duce t h e elem en tally s t u d e n t t o t h e t e c h n i q u e s of c o n te m p o r a r y music. H o w e v e r , i n t h e r e c e n t e x h a u s t i v e r e s e a r c h w h i c h I made i n p u b l i s h i n g t h e t h i r d e d i t i o n o f my C o m p e n d i u m , I f o u n d no such work. There is a g r e a t need f o r th e o r g a n i z a t i o n of such a course.

9

A p e r s o n 91 s e a r c h b y t h e v ; r i t e r o f t h e tw enty-five

publishing

an a s s i s t a n t

companies,

w o r k we h a v e

i n mind i s

fruitless.

o f Cur D a y s e r i e s

g e n e r a l l y a c c e p t e d b y modern w r i t e r s ,

a t i o n b u t no l o g i c a l collection is

sequence Hence,

ical

aspects

of any o f our t h r e e of t h e

n ew mus i c

and

i n t h e many a t t r a c t i v e

student to the

the devices such a s : chords,

its

is if

some e x p l a n ­ it

were

evident th at the

in a there

elem entary sim pler th e o r e t­ to the

p e rf o r m a n c e as

s o l o n u m b e r s now p u b l i s h e d

foregoing d isc u ssio n ,

of s tu d y f o r th e

piano

tvhile

for

grades.

In view of t h e

the

there

bheir a p p lic a tio n

exem plified

Inc.

very l i t t l e

groups to th e

of a t e c h n i q u e a d e q u a t e t o

a course

is

introduce

development

the e a r ly

there

se ems q u i t e

a need for a course d esig n ed to

of

E a r t ok and. t h e

as t h e r e m ig h t be it

selling

th e harmonic d e v ic e s

In t h e F i s h e r work,

of p i e c e s .

piano student

of E e la

with

approach to the

p u b l i s h e d by C a rl F i s h e r ,

P a r t o k ! s e x c e l l e n t w o r k i s b a s e d on a l l

explanatory m aterial.

in th e

The n e a r e s t

the yjcrocosmos

of over

a s an i n t e r v i e w

o f J o h n d e K e y s e r who s p e c i a l i z e s

t h e new mus i c . , h a v e b e e n

has t o r s

as w e l l

catalogues

I propose to

elem entary grades designed to techniques

of t h e

double

double m eters.

exotic

scales,

c h o r d s and b i - t o n a l i t y ,

arbitrary

studert

only

of composers

scales,

m u ltip le meters

S u g g e s t i o n s v rill be g i v e n f o r

of study to accustom th e

introduce

new mus i c , u s i n g

t h a t have been a d o p t e d by t h e m a j o r i t y

modal s c a l e s ,

organize

fourth

and.

attractive

methods

t o nev; h a n d and. k e y b o a r d s h e p e s .

10

Studies the

in co rp o ratirg the

aforem entioned

techniques w ill

e x p l a n a t o r y and t e c h n i c a l m a t e r i a l .

be d e s i g n e d t o juvenile.

the

course w i l l

a p p e a l t o t h e a d u l t b e g i n n e r as w e ll as t h e

U nfortunately,

who h a v e w r i t t e n

the m ajo rity

for the

the

interest

education has

in c lu d e d music s tu d y .

o p p o r tu n ity f o r music s tu d y first

of contemporairy composers

e a r l i e r g ra d e s have f a i l e d

the f a c t th a t

to begin w ith

F inally,

follow

of the

past

consider

in a d u lt

Many a d u l t s d e n i e d

in t h e i r

principles.

few y e a r s

to

the

e a rly y ears are not

However,

it

has taken

ashamed

fortitude

t o c a r r y around w ith them o t h e r w i s e w o rth y c o m p o s itio n s b e a r i n g such

infantile

na me s a s

or "The G i n g e r b r e a d It v a lu e not

is

mu s i c

L u l l a b y ” , " The L l e r r y - g o - H o u n d ” ,

Man” .

t o be hoped t h a t such

a 'work a s p r o p o s e d w i l l b e

o n ly in d e v e l o p i n g an a p p r e c i a t i o n

through u n d erstan d in g also

rrD o l l y f s

i n t h o s e who l a c k

that

in d e v e lo p in g t h e n e c e s s a r y t e c h n i c a l c r us ad e r .

of

o f t h e new m u s i c appreciation but

e q u i p m e n t o f t h e new

CHAPTER I I AN INTRODUCTORY COURSE IN PIANO TECHNIQUES ESPECIALLY ADAPTED FOR THE PERFORMANCE OF TWENTIETH CENTURY MUSIC The Modes One i m p o r t a n t a d d i t i o n t o t h e m u s i c century is the

use of a w id e r v a r i e t y

of s c a l e s

m a j o r and m i n o r so e x t e n s i v e l y u s e d i n t h e preceding

of t h e t w e n t i e t h other than the

music of th e

centuries.

Leading

in p o p u la r ity

are th e

f o u r e c c l e s i a s t i c a l modes.

T h e s e modes - a r e s o c a l l e d b e c a u s e t h e y w e r e u s e d C hristian

t wo

church of th e m iddle ages.

in th e

early

Two o t h e r m o d e s , t h e

I o n i a n and t h e A e o l i a n w i l l n o t be t r e a t e d ,

in t h i s

wo r k s i n c e

t h e y h a v e be c o me p a r t

o f t r a d i t i o n a l ha rm ony a s m a j o r and

natural

minor r e s p e c t i v e l y .

(or o rig in a l) Of t h e

f o u r modes,

f a v o r e d by t h e w r i t e r s

t h e D o r i a n s e e ms t o b e t h e

of t h e

tw entieth

century.

one m o s t

12

L e s s o n One rn

i h e D o r i a n Mode

p r e pa r a t o r y D r i l l s X. S e a l e s

;1 0 n e

A l t h o u g h t h e a n c i e n t s e a 1c s we r 0 b u i 1 1 u p o n f i x e d Th u s wh e i 1e t h e c o w p o s e r s t r an s p o s e t h era f r e e 1 y . o n 1y t h e f o i l o w i n g t ora 1 1 :o e a r 1 y t im c s c o n s t i t u t e d i t h a s become t h e custom t o d a y t

i t upon any of t h e the octave.

~a g

twelve

ton

pitch e s , Q ^«7j seqas nce o b u i 1A vvi h 1n

-JJ I

1'he s t u d e n t s h o u l d d r i l l on p l a y i n g s c a l e s i n t h e D o r i a n p o ^ e f r o m many p i t c h e s t o b e c ome f a n i l i a r w i t h i t s c h a r a c t e r i s t i c effect. The t e a c h e r s h o u l d s e l e c t f r o m t h e f o l l o w i n g f o r m u l a s t h e o n e 'most c o n g e n i a l t o h i s e a r l i e r s c a l e w o r k ; n o . 1 F o r m i n g s c a l e s b y t h e t e t r a c h o r d a p p r o a c h , we j o i n two m in o r t e t r a c h o r d s by a whole s t e p

no.

2

R e l a t i n g t h e s c a l e t o t h e m a j o r s c o l e we b e g i n on t h e second t o n s of t h e m ajo r s e a l s and p l a y t h r o u g h t h e oct ave

u~o-

no.

o

B

R e l a t iinn gg t h e s e a l s t o t h e p a r a l l e l A e o l i a n o r I T a t u r a l It is i n o r , w■s r a i s e t h e s i x t h t o n e one h a l f s t o p . t b o t a i s ed. 6 1 h t h a e g i v ss t h T n 1/ “ c h a r o c t r i s t i c f 1a v o r o f t h e u r »n **U w ° | D o r i a n mode. LIV I w zr Fingering

F o r t h e f i r s t a p p r o a c h t o s c a l e s i n t h e D o r i a n mo d e , t h e a u t h o r p r e f e r s t h e t o t r a c h o r d a p p r o a c h i n v/ h i c h t h e l o w e r t e t r a c h o r d i s 'C1ay e d< i n t h e l o f t h a n d a n d t h e u p p e r t e t r a c h o r d i s p l a y e d i n ' t h e r i g h t h a3 r d ,, u s i n g f i n g e r s 1- 2 - 3 - 4 r e g a r d l e s s o f vs . E y oe l1iim mi n a t i r gg tth.e h. e p r oobbllee m o f f i nn g o r i n g , b l a c k o r w h i t e ko ys Ey ri n r e oa 11 wi 1la.o. t i n g t h e bhc s tnuiddeenr t i s f r er e« t o «. dd eo v\rno t eo mor t t ec n t i oon n t o es sa s2 iI m modal f l a v o r .

■.he 0 n t h n f o^" " i s c l e a r a n d h C COn r e a d i l y f i n d t h e s c a l e f r o m o'v->0;r ]r o y ) the- s t u d e r t i s r e a d -V t o s ol ' v ; t h n p r o b l e m s i n v 0 1 v o f I n c"1"i s y I n n t h n o r t i r e 2 c e i n one n i -. t h e - n o . U ' ■' s l o f t t o t h •- n h n v>Jc s r 7 u ' l m c c . ' f '• ::• S C ' o f .."i 1V ^ fue n u t h 0 r p r o f 0 V i z s o u s e t h i s o p p o r t 11n t o h r ; o ’; o n e y f r o ' s t h e t r o d i t i 0 10 0 ! f 1 UU 0 V 1 ’' V ■;h 1 Ch .j i Fo o

t h o

F o r t a ii

To a o a r t P o l k

f r o r . •i H c
1 1 o w 0 1 0 c. _L -L c i ,

A lfredo

Hans o n , Howard

nRounci. U a n c e " ( n o . 9 ) f r om F or C h ild r e n Vol. I I B o o s e y Hawkes ” Game o f l a g -17 ( n o . 2 0 ) f r o m F o r Ch i l o r on V o 1 . 11 P o o s e y Hamko s " P l e a s a n t r y " l l ,! ( n o . 2 7 ) f r o m For Children V o l.II B o o s e y I-Iawke s ’1P e r c o u s e ” f r o m 11 C h i l d r e n ’ s p i e c e s 1s s oc i a t ed H u s ic Pub. " p a s t o r a l D a n c e ” from Five L i t t l e Dances Schirm er "Toy Dance" from Five L i t t l e Dances Schirmer I-Iomr.iage t o I I o n t a v e r d i "prom enade" from Twelve p i e c e s f o r C h i l d r e n L e e d s Hus i c Corp. Bo. 5 f ro m Humanlap F o l k Dan c e s B o o s e y Hawkes N o . 6 f r om R urn a n i a n F o 1 k D an c 8 s B o osey ilawkes J i g ( T r i s a ) f r om 11 C h i l d r e n ’ s P i e c e s A ssociated B a s i c Pub. 1’ P r e 1 ud i o " f r om .11 C h i l d r e n ’s P i e c e s i\, ^ ^ o c i d. Pus ic F u b . "Clou Dance

Carl F isch er In c .

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33 I-any o t h e r f o r m s o f p e n t a t o n i c s c a l e s may ho f o r m e d f r o m t h e system' used by t h e e a r l y G r e e k s . In t h i s s y s t e m , two c o n ­ j u n c t f o u r t h s were used as a f o u n d a t i o n . ’. V i t h i n t h e s e f o u r t h s were p l a c e d a n o t h e r i n t e r v a l as d e s i r e d . F r o m t h i s p l a n , many ■ i n t e r e s t i n g s c a l e s may b e f o r m e d . The r e s u l t i n g c o m b i n a t i o n s o f 2 n d s ' and. 3 r d s make e x c e l l e n t p r e p a r a t o r y e x o r c i s e s f o r a r p e g g i o p i a y ins?. The f o l l o w i n g s c a l e s and t h e i r f i n g e r i n g s h a v e b - e n found t o be t h e most p r a c t i c a l f o r t e c h n i c a l u s e :

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39 Lesson L ig h t Fnrallelism In t h e l a t e n i n e t e e n t h c e n t u r y , com posers b eg an t o t i r e o f v j r i t i n g m u s i c t h a t was b a s e d upon t o n a l i t ; / , o r t h e r e l a t i o n ­ s h i p o f c h o r d s a n d m e l o d y t o a c e n t r a l k e y . ’ One o f t h e f i r s t d e v i c e s u s e d i n b r e a k i n g a w a y f r o m t o n a l i t y was w h a t i s known a s parallelism . In t h i s d e v i c e , a chord s t r u c t u r e i s r e p e a t e d a t definite intervals. Any i n t e r v a l may be c h o s e n o r t h e p a t t e r n ma;/ b e r e p e a t e d on t h e s u c c e s s i v e t o n e s o f on e o f t h e l e s s fam iliar scales. used

The f o l l o w i n g e t u d e Pentatonic sc ale s:

is b u i l t

upon on e

of t h e

less

frequently

Note t h a t in m e a s u r e s 1 - 6 , a m ajor t r i a d in r o o t p o s i t i o n i s b u i l t upon e a c h t o n e o f t h e f i r s t s c a l e ; a m i n o r t r i a d i n f i r s t i n v e r s i o n i s b u i l t upon t h e s e c o n d s c a l e i n t h e d e s c e n d i n g passage in measures 7-11. In t h e m i d d l e s e c t i o n , m e a s u r e s 1 2 t o 2 1 , a method o f n o t a t i o n is g iv e n f o r t h e s t u d y of t h e r h y t h m i c p r o b le m of d u p l e t s a g a i n s t t r i p l e t s (2 a g a i n s t 3 ) . The u s u a l n o t a t i o n , i s g i v e n a t t h e end of t h e s t u d y . S o l o Numbers f o r S u b s e q u e n t G r a d e s Using P a r a l l e l i s m U* I •

Pinto

U. I .

Firto

U. I .

Pinto

IT. I .

Milhaud

"Run, Run" from Seenas In fa n ta s " S l e e p i n g Time" from Scenas in f a n t a s " Hobby H o r s e " f r o m Scenas I n f a n ta s " F lo w e rs in t h e House" The H o u s e h o l d Muse

Schirmer Sch i r m e r Schirmer from LIkan-Vogel

Tw o Ag a i n s t T h r e e U. I .

Hebikov

" The F a i r ; / " f r o m Silhouettes

Schirmer

it tide i n P a r a l l e l i s m I X _

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44 S o l o Nu mb e r s f o r S u b s e q u e n t Or a cl es U sinp: O s t i n a t o L.I. L. I . or U. I . U. I . IJ. I . I.I. L .I. IT. I .

P a r t ok

O r e t c h an i n o f f

trD an c e Tun e " f r orn For C hildren "Autumn” O p.3, no. 5 from L e t ’ s S i g h t Read

’’T he A w a k e n i n g ” f r o m Th e H o u s e h o I d T.Tus e ’’F o r t u n e T e l l i n g ” from Milhaud The H o u s e h o l d . Muse P h i l l i p s , B u r r i L . Homage t o M o n t e v e r d e ’’F a i r y T a l e ” f r o m prokofieff Music f o r C h i l d r e n

Bo os ey-Hawke s

R ussianAme r i c a n Pub

Milhaud

Pinto

II. I .

Pinto

U.E.

Rebikov

L. I .

Rebikov

U.E.

Rebikov

U.E.

Rebikov

I.I.

Rebikov

L. I .

Ta n s ma n

U.E.

Toch

L.I.

To c h

"Run, Run” from Scenas I n f a n ta s " S l e e p i n g Time” from Scenas In fa n ta s " F l a y i n g S o l d i e r s ” from Silhouettes " S t r o l l i n g M u s i c i a n s ” from Silhouettes "Evening in t h e Meador” f r Silhouettes "Lame V / i t c h ” f r o m Silhouettes " L i t t l e G i r l Rocking h e r D o l l y " from Silhouettes " B o u r e e ” from Piano M in ia tu re s "Single F i l e ” from E c h o e s f r o m a S m a l l To?/n "How I Lay Me" f r o m E c h o e s f r o m a S m a l l Town

Elkan-Vome 1 E l k a n -Von; el L eeds Music Co r p . Schirm er Schirm er Schirm er Schirm er cm Schirm er Sch i r m e r Schirm er D elkas

45 L e s s o n Ten F o u r th Chords We h a v e g r o w n s o a c c u s t o m e d t o c h o r d s b u i l t u p o n t h e i n t e r v a l o f a t h i r d t h a t we f o r g e t t h a t i t w a s n o t t h e f i r s t i n t e r v a l u s e d when man c h a n g e d f r o m u n i s o n s i n g i n g t o h a r m o n y . The f i r s t a t t e m p t s a t h a r m o n y w e r e made when some v e n t u r e some s i n g e r o f t h e 9 t h o r 1 0 t h c e n t u r y A . D . , t i r i n g o f s i n g i n g t h e s a me t o n e s t h a t h i s f e l l o w c h o i r me mb e r s -were s i n g i n g , ° b r o k e away a n d f o l l o w e d t h e l i n e of t h e i r m e l o d y a t t h e i n t e r v a l * o f a fourth, thus:

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i

Later, an o th e r bold c h a ra c te r rep eated th e f i r s t an o c t a v e h i g h e r w h i c h a d d e d t h e i n t e r v a l o f t h e f i f t h ,

n

melody thus*

a xz

S i n c e t h e a c c o m p a n y i n g v o i c e was known a s - t h e o r g a n a t i n g o r o r g a n i z i n g v o i c e , t h e p r o g r e s s i o n o f two o r t h r e e v o i c e s a t " t h e i n t e r v a l s o f t h e 4 t h o r t h e 4 t h a n d 5 t h came t o b e known a s organum. Here

is

an e x a m p l e o f o r g a n u m f r o m t h e n i n t h

century:

T u rn in g t o t h e m u sic of t h e e a r l y c e n t u r i e s in t h e i r s e a r c h f o r new t o n a l e f f e c t s , c o n t e m p o r a r y c o m p o s e r s h a v e borrowed th e use of th e i n t e r v a l of a f o u r t h as a harmonic interval.

46

Prelim inary D r i l l B e f o r e d e a l i n g v / i t h c h o r d s b u i l t upon f o u r t h s , t h e s t u d e n t s h o u l d d r i l l on h e a r i n g t h a t i n t e r v a l a l o n e and f i n d i n g i t q u i c k l y from, a n y p l a c e on t h e k e y b o a r d . To f i n d a f o u r t h and a h a l f s t e p .

i

£

above any t o n e ,

i

count

u p t wo w h o l e

steps

¥■

A f t e r some p r a c t i c e on f i n d i n g t h e i n t e r v a l a s d i r e c t e d a b o v e , g r e a t e r f a c i l i t y may b e a t t a i n e d b y m e m o r i z i n g a n d d r i l l ­ i n g on t h e f o l l o w i n g t a b l e w h i c h c l a s s i f i e s t h e i n t e r v a l a c c o r d ­ ing t o t h e use of b l a c k and w h i t e k e y s . no.

1

White t o w h ite Prom a l l w h i t e k e y s e x c e p t P. N o t i c e t h a t t h e r e a r e two w h i t e keys between in each c ase .

no. 2

Black to b la c k Prom a l l b l a c k k e y s e x c e p t P s h a r p N o t i c e t h a t t h e r e i s one b l a c k key between in each c a s e .

no

White t o b l a c k P r o m P —two w h i t e k e y s b e t w e e n

no

Black to w hite F r o m P s h a r p - t w o b l a c k k e y s b e t w e e n i8 ?

D rill

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l

1:

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in

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Jtlt/

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s a me p l a n

3a:

ip *

5:

B e f o r e p i a y i n n t h e e t u d e on f o u r t h c h o r d s , a n a l y z e t h e i n t e r v a l , s c a r e f u l l y from t h e s t a n d p o i n t of b l a c k and w h i t e key comb i n ' t i e r s i F o r i n s t a n c e , t h e f i r s t e i g h t m easures a re formed f r o m tv/o f o u r t h s : which a r e t h e lo w e s t key in each group of b la c k k e y s ( i . e . th e g r o u p of 2 end t h e g r o u p o f b . )

40 2

.

spi

t h e w h ite keys ly in - im m ed lately t o the r i g h t o f each g r o u p of b l a c k k e y s ( i . e . t h e g r o u p o f 2 a n d t h e g r o u p o f 3)

The f i r s t f o u r m e a s u r e s f i n d t h e m a s a s o l i d c h o r d a n d t h e l a s t f o u r as a b r o k e n c h o r d . F o te , however, t h a t a p e c u l i a r t w i s t is g i v e n to t h e rh y th m by f o r c i n g a p a t t e r n t h a t would n o r m a l l y "follow a f o u r b e a t r h y t h m : into

a 3 beat pattern

Up

1

Etude i n F o u r th

±

T(.:« o = cl.

n

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50 S o l o Nu mb e r s f o r S u b s e q u e n t G r a d e s Using 4 t h s and 4 t h Chords U.E.

Bauer,

U. I .

Milhaud

IT. I .

Milhaud

U .I.

Milhaud

U. I .

Pinto

U. I .

Pinto

L,

I.

Toch

Marion

Parade

(4th Chords)

M ercury Music Corp.

"C o o k in g ” from The H o u s e h o l d Muse ( 4 t h s ) Elkan-Vogel "F lo w e rs i n t h e House" from The H o u s e h o l d M u s e ( 4 t h Chord* ) Elkan-Vogel "Music T o-G ether" from T h e H o u s e h o l d Muse ( 4 t h s and 4 t h Chords) Elkan-Voge1 " S l e e p i n g Time" from Scenas I n f a n t a s (4-ths) Schirmer "Hobby H o r s e " fr o m Scenas In fa n ta s (4 th s) Schirmer " F u l l of Fun" from E c h o e s f r o m a S m a l l Town (4 th Chords)

51 Lesson " l e v e n

l b s u s e o f t h e p e d a l i s o p t i one 1 . If it is too d i f f i c u l t s r l t h p ode 1 , o r] on*- l e g a t o e f f e c t i s a c c e p t s b i o . h o t i c a t h a t by t h e u s e o f b u t one f i r r - o r , t h e 8dried c o m p l i c e t i o n o f f i r f p r i ^ g ' or o b i e ~ s i c a v o i d e d . - b e e t h e n o t e s o r a t h o r o u g h l y no s t o r e d t h e u m s l f i r r- o r i n ~ s h o u l d b e u s e d i n e a c h h e r e .

g >8 *fe