TWENTIETH- - Synapse Music

EXERCISES
Part A: Analysis
Minimalism and Beyond 317
1. Listen to a recording of Riley's In C (1964). Excerpts from this work are given in
Example 15- 1. Try to notate the other figures that make up the work.
2. Li sten to a recording of Glass's Strung Qut (1967). The opening is given in Example
15-4. Using a watch with a second hand, identify the introduction of new pitches (not
pitch classes) as well as other significant events in the piece, such as changes in articulation.
The piece is played twice without pause on the only available recording.
3. Analyze the harmonies and nonchord tones of the B major progression in Example 15-8.
4. Do the same for Exarople 15-9 (entire excerpt). You will find two chords that are almost
traditional augmented-6th chords, but not quite.
5. Number the chords in Exarople 15- 12, and label them according to root and type.
Next, label any chromatic mediant progressions as "" and any doubly chromatic
mediant progressions as "." Analyze the other root relationships. Are there any
repeated or sequenced progressions involving these chords?
6. Analyze the harmonies and nonchord tones in Example 15-13, being sure to take the
vocal li ne into consideration. Identify the root and quality of the tertian chords in
mm. 7, 8, 9 and I I. The non tertian chord in m. 10 will require a different approach.
7. Listen to the entire third movemcnt of Rochberg's String Quartet NO.5. Diagram the
form. Identify as many tonal areas and important cadences as you can (the movement
begins in A mi nor).
8. Listen to the entire third movement of Rochberg's String Quartet No.6. Write down the
two lines that constitute the four-measure theme (the key is D major). Then try to follow
the theme through the subsequent variations. After several variations (how many?), the
theme is augmented into an eight-measure form for one variation- this happens again
later. In other variations, the original lines of the theme are almost totally obscured, but
the basic four-bar structure is still audible in most cases. Rochberg occasionally ends a
variation on T instead of V, and in two variations he inverts the descending contour of the
original melody. Try to identify and characterize each variation.
Part B: Composition
1. Compose In F, an imitation of Riley's In C, for instruments and/or vocalists in your
class. See the discussion of / 11 C in the text.
2. Compose a phase piece in imitation of Reich's Clapping Music for some combination
of performers in your class. See the discussion of this work in the text.
3. Try to compose a neoromantic excerpt in imitation of the first movement of
Rochberg's String Quartet No.3. This is a difficult assignment, because the tonal
music should not sound silly or mawkish when it enters. Write this for some combination
of performers in your class.