Tonal Counterpoint/Composition (aka: Tonal Syntax)

Music 206, Spring 2004; MW 12:30-1:20

Princeton University Department of Music

People:

* Dan Trueman, Professor (Precepts MW 1:30-2:20); dan@music.princeton.edu

* Brooke Joyce, Preceptor (Precepts TTh 12:30-1:20); wjoyce@princeton.edu

Overview:

Like last semester, this will be a hands-on, practical course in composition, though this semester we will focus on tonal forms. Since most of the music we will be working on will be instrumental (as opposed to vocal), I am hoping that we can turn the class into a flexible ensemble so that we can play each others projects in class (and, more often, in precept) with whatever instruments we have available. We will begin by briefly reviewing some elements of tonal harmony and voice-leading, especially in the context of the modal counterpoint that we studied last semester. The first major composition assignment will be a figuration prelude, inspired by the various preludes of Bach (including the famous C-major prelude from the WTC, the prelude from the Bach G-major cello suite, and others). We will then look at some of the dance suite binary forms of Corelli (the Opus 5 Violin Sonatas) and Bach (mostly from the French and English Suites, though also from the Cello Suites and Violin Sonatas/Partitas) and compose some of our own. The binary forms of most of the suites will be the starting point for beginning more “Classical” style compositions, and for getting more deeply into the sonata forms. Our main point of reference for composing sonata style movements will be the Beethoven Opus 18 string quartets; these pieces are particularly intriguing in how they both look backwards to the 18^th-century styles of Mozart and Haydn and forward to the more Romantic styles of later Beethoven, Schubert, and the other Romantics. Depending on how much time we have at the end of the semester, we will also look at some of Schubert’s string quartets and piano sonatas, and perhaps some of the Chopin Preludes.

Texts:

required:

* Keyboard Music, J.S. Bach (Dover collection)

* String Quartets, Beethoven (Dover collection)

relevant texts:

* 18^th-Century Counterpoint, Robert Gauldin

* Sonata Styles, Charles Rosen

* Violin Sonatas, Corelli (Dover collection)

* Piano Sonatas, Mozart (Dover collection)

* String Quartets, Schubert (Dover collection)

* Preludes, Chopin (Dover collection)

Grading:

There will be a series of composition assignments during the semester which will require weekly attention. Depending on the project, there may be compositions due on consecutive weeks, or, for larger compositions, only part of the project may be due during a particularly week. We will grade these assignments using the same 0-7 scale that we used in the fall. However, you will have an opportunity to rework these compositions before the end of the semester; all of the composition assignments will be handed in at the end of the semester as a portfolio that will constitute the largest chunk of your grade for the semester (note: however, if you don’t turn in an assignment on time initially, it can not be included in the final portfolio). Once again, these assignments will be due at the beginning of class, mostly each Monday, and late assignments will not be accepted; exceptions will be granted only due to extenuating circumstances, of which we must be notified by your Dean, Advisor, or Doctor.

Finally, there will be a final composition project, due with your portfolio on Deans Date. There will be some flexibility on what this composition will comprise, and it will depend to some extent on where we are at the end of the semester.

Grading Breakdown:

-- Composition Portfolio: 60%

-- Class/Precept Participation (including playing yours and others pieces, when appropriate): 20%

-- Final Project: 20%

Listening:

Much of the music we will be looking at will be available online at:

http://libweb5.princeton.edu/musicreserves/logon.asp

USER: MUS206

PASS: ????

I urge to listen often and study the scores daily; composing this kind of music comes most easily and successfully when it really becomes part of your ears, mind, and body!