Literature homework help
General description:
Write a polyphonic piece in the style of Palestrina for three adjacent voices using a text of your choice (must be approved beforehand – see below under ‘Text’).
Treble, bass, and/or alto clefs are available. Be sure to include three separate staves. Time signature: 4/2 or cut time.
Modal Possibilities: Aeolian, Dorian, or Mixolydian. The beginning notes used in each voice should be primary scale degrees in the mode.
Mode
D Dorian
G Mixolydian A Aeolian
First tones
D, A
G, D
A, E, D
Frequent interior cadences
D, A, F G, D, C A, D, C
The project will consist of two halves, each defined by a unique point of imitation. The project must include passing tones (black notes) and suspensions. Use of white note passing tones, neighbor tones, the cambiata, and double suspensions are optional.
First half description (see U7.P5 notes):
– Length must be at least 16 measures long.
– Any voice may be designated as the “leader.” The other two “followers” must imitate the leader at either the octave, fourth, or fifth. The point of imitation must be at least five notes. One of the three scenarios presented in class must be used (see U7.P5 notes).
– Additional reentries of the initial melody (or varied reentries) should appear after a rest (remember: all rests must occur on the strong beat). A varied reentry should retain at least the contour of the initial melody.
– The first half must conclude with an overlapping cadence, during which the second half of the piece will commence with a new point of imitation.
Second half description (see U7.P6 notes):
– Length must be at least 12 measures long.
– The new point of imitation introduced during the overlapping cadence at the end of the first half must occur in a voice other than the initial leader. It should also contrast with the initial point of imitation. Usually the second point of imitation develops at a faster rate than the initial one.
– The imitating voices in the second half must imitate at least the first three notes of the new point of imitation.
– Additional reentries of the initial melody (or varied reentires) should appear after a rest (remember: all rests must occur on the strong beat). A varied reentry should retain at least the contour of the initial melody (unless inversion is used).
– A combination 6/5 chord plus a consonant 4th must be used for the final cadence. (See U7.P4 notes). The final cadence will determine the mode of the piece.
Text Setting (see U7.P6 notes):
– The project must consist of a text setting approved beforehand. A syllabic analysis of the text containing the stressed and unstressed syllables must be provided, especially if the language is other than English. Recommendation: Use a two-part text (one line for each half of the project). The Benedictus from the Catholic Mass may be used.
– Follow the guidelines outline by Stewart, Part 1, 1.5 Treatment of Text (pgs.20-22 in pdf).
Assignment is worth 30% of final grade. Grading will be based on stylistic and notational accuracy, including the stylistic implementation of the text.
Write a polyphonic piece in the style of Palestrina for three adjacent voices using a text of your choice (must be approved beforehand – see below under ‘Text’).
Treble, bass, and/or alto clefs are available. Be sure to include three separate staves. Time signature: 4/2 or cut time.
Modal Possibilities: Aeolian, Dorian, or Mixolydian. The beginning notes used in each voice should be primary scale degrees in the mode.
Mode
D Dorian
G Mixolydian A Aeolian
First tones
D, A
G, D
A, E, D
Frequent interior cadences
D, A, F G, D, C A, D, C
The project will consist of two halves, each defined by a unique point of imitation. The project must include passing tones (black notes) and suspensions. Use of white note passing tones, neighbor tones, the cambiata, and double suspensions are optional.
First half description (see U7.P5 notes):
– Length must be at least 16 measures long.
– Any voice may be designated as the “leader.” The other two “followers” must imitate the leader at either the octave, fourth, or fifth. The point of imitation must be at least five notes. One of the three scenarios presented in class must be used (see U7.P5 notes).
– Additional reentries of the initial melody (or varied reentries) should appear after a rest (remember: all rests must occur on the strong beat). A varied reentry should retain at least the contour of the initial melody.
– The first half must conclude with an overlapping cadence, during which the second half of the piece will commence with a new point of imitation.
Second half description (see U7.P6 notes):
– Length must be at least 12 measures long.
– The new point of imitation introduced during the overlapping cadence at the end of the first half must occur in a voice other than the initial leader. It should also contrast with the initial point of imitation. Usually the second point of imitation develops at a faster rate than the initial one.
– The imitating voices in the second half must imitate at least the first three notes of the new point of imitation.
– Additional reentries of the initial melody (or varied reentires) should appear after a rest (remember: all rests must occur on the strong beat). A varied reentry should retain at least the contour of the initial melody (unless inversion is used).
– A combination 6/5 chord plus a consonant 4th must be used for the final cadence. (See U7.P4 notes). The final cadence will determine the mode of the piece.
Text Setting (see U7.P6 notes):
– The project must consist of a text setting approved beforehand. A syllabic analysis of the text containing the stressed and unstressed syllables must be provided, especially if the language is other than English. Recommendation: Use a two-part text (one line for each half of the project). The Benedictus from the Catholic Mass may be used.
– Follow the guidelines outline by Stewart, Part 1, 1.5 Treatment of Text (pgs.20-22 in pdf).
Assignment is worth 30% of final grade. Grading will be based on stylistic and notational accuracy, including the stylistic implementation of the text.
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