166 IMPORTS AND ALLUSIONS

NOTES
1. Robert Craft, Stravinsky: Chronicle of a Friendship, 1948–71, p. 103.
2. Donald Jay Grout, A History of Western Music, pp. 714–715.
3. William Austin, Music in the 20th Century, p. 330.
4. George Rochberg, Music for the Magic Theater, p. 6. “Notion” appears as “notation” in the
original.
5. Ibid., p. 6.
6. George Crumb, Ancient Voices of Childen.
7. A thorough list is given in Chapter 4 of David Osmond-Smith’s Playing on Words.
8. Michael Hicks, “Text, Music, and Meaning in the Third Movement of Luciano Berio’s
Sinfonia.”
9. Bernard Holland, “Alfred Schnittke, Eclectic Composer, Dies at 63.”
10. David Fanning and Laurel Fay, “Shostakovich, Dmitry.”
11. Ligeti, György. György Ligeti in Conversation, p. 56.
12. Deem, George. How to Paint a Vermeer, p. 14.
13. Reginald Smith Brindle, The New Music, pp. 137–138.
14. Ian Carr, Miles Davis, p. 145.
15. Ev Grimes, “Ev Grimes Interviews John Cage,” p. 48.
16. Brindle, The New Music, p. 123.
17. Michael Nyman, Experimental Music, p. 43.

EXERCISES

Part A: Analysis

1. Bartók: Fourteen Bagatelles, Op. 6 (1908), No. 4, mm. 1–8.

This excerpt contains the beginning of a folk song harmonization by Bartók
(the remainder of the piece simply repeats mm. 5–8). Bartók uses different
compositional techniques in the harmonization of each phrase. Analyze both
the song and the accompaniment in detail, summarizing your findings in prose
with musical examples. Do not neglect such issues as voice leading and scale
formations. Melody (upper voice) : D minor pentatonic
Accompaniment : D Aeolian
 IMPORTS AND ALLUSIONS 167

2. Look back at Example 8-1. The “Clarinet in Si≤” (B≤) sounds a M2 lower than written,
and “Trumpet II in La” (A) sounds a m3 lower than written.
(a) List the chords used in the accompaniment (bassoons and trombones) using
lead-sheet symbols such as C7 and FM7.
(b) How much of this harmonic accompaniment conforms to traditional harmonic
progressions in E≤? Be specific.
(c) Point out some dissonances between the accompaniment and the upper parts
that would be difficult to explain in traditional terms.
(d) Comment on imitation in this excerpt.

3. A very basic harmonic pattern for a twelve-bar blues in B≤ is:

| B≤7 | ‘ | ‘ | ‘ | E≤7 | ‘ | B≤7 | ‘ | F7 | E≤7 | B≤7 | ‘ ||
Discuss how Example 8-8 compares to the first eight measures of that pattern.
Remember to transpose the clarinet and horn parts.

4. One B≤ “blues scale” can be derived by combining the three 7th chords listed in
the previous exercise, producing a nine-tone scale: B≤–C–D≤–D–E≤–F–G–A≤–A.
Part of the flavor that we associate with the blues results from the use, either
melodically or harmonically, of the altered and unaltered “blues notes” (D≤/D and
A≤/A) in close proximity. Point out any examples that you can find of this technique
in Example 8-8. hellooo ! Bb blues scales is the following : Bb-Db-Eb-Fb-F-Ab-Bb
The blue note in Bb is Fb !
Db blue note βρίσκουμε στην G blues & Ab blue note στην D blues
Mην ξεχασουμε & αυτα που ξερουμε!