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Teaching and Learning Early 20th-Century Techniques at the Keyboard
Lynnsey Lambrecht Michigan State University
University of Arizona Graduate Student Music Conference Tucson, AZ
February 10, 2018 Example 1: Suggested keyboarding activities.
• Scales • Chord Idioms • Transposition • Sing and Play • Play and Talk • Improvisation • Melody Reinterpretation • Melody Harmonization • Fill-in-the-Blank Activities • Constrained Composition • Recomposition • Model Composition • Composition • Accessible and Representative Repertoire
Example 2: Whole-tone scale.
Example 3: Whole-tone scale with augmented triads.
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Example 4: Alteration of augmented triads and complete whole-tone collections.
Example 5: Charles Ives’ “The Cage” #64, from 114 Songs.
etc.
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Example 6: Octatonic keyboard activities assignment sheet. Select one of the unique octatonic scales (OCT01, OCT12, or OCT23). Record all of the following activities in separate tracks using one octatonic collection without any notation.
a. Play the octatonic scale starting on any pitch in parallel octaves, ascending and descending
one octave.
b. Play the octatonic scale beginning with a different starting pitch and sing the pitches at the same time using pitch-class integers.
c. Play the octatonic scale in contrary motion between the two hands, ascending and
descending one octave from the starting pitch.
d. Play the octatonic scale starting on any pitch in canon between two hands, at the interval of a tenth.
e. Play all of the minor thirds formed by the octatonic scale starting on any pitch, ascending
and descending one octave. Double the lowest note of the minor thirds with your second hand or by singing the note.
f. Play all of the major thirds formed by the octatonic scale starting on any pitch, ascending
and descending one octave. Double the lowest note of the major thirds with your second hand or by singing the note.
g. Play all of the minor triads formed by the octatonic scale starting on any pitch, ascending
and descending one octave. Double the lowest note of the minor triad with your second hand or by singing the note. Feel free to add a repeating figuration or rhythm to your triads.
h. Play all of the major triads formed by the octatonic scale starting on any pitch, ascending
and descending one octave. Double the lowest note of the major triad with your second hand or by singing the note. Feel free to add a repeating figuration or rhythm to your triads.
i. Alternate minor triads and first inversion major triads formed by the octatonic scale,
ascending and descending one octave. Double the root (not bass note!) of each triad in your second hand or by singing the note. Feel free to add a repeating figuration or rhythm to your triads.
j. Play all of the diminished seventh chords formed by the octatonic scale starting on any pitch, ascending and descending one octave. Double the lowest note of the seventh chords with your second hand or by singing the note. Feel free to add a repeating figuration or rhythm to your triads.
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Example 6A: OCT01 ascending and descending scale.
Example 6C: OCT01 octatonic scale in contrary motion between the two hands, ascending and descending one octave from the starting pitch.
Example 6D: OCT0.1 octatonic scale in canon at the interval of a tenth.
Example 6H: OCT01 major thirds for one octave.
Example 6I: OCT01 alteration of minor triads and first-inversion major triads in the right hand with the triad root doubled in the left hand.
etc.
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Example 7A: Familiar melody for symmetrical collections recomposition and melody harmonization activity.
Example 7B: Potential WT solution to symmetrical collections recomposition activity.
Example 7C: Potential HEX solution to symmetrical collections recomposition and melody harmonization activity.
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Example 8: Potential student solution for composition using symmetrical collections.
Example 9: Quartal harmony idiom.
Example 10: Idiom of polychord harmonies built upon major triads with roots separated by an interval of a perfect fourth.
etc.
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Example 11: Prompt for bitonal improvisation activity.1
Example 12: Prompt for bitonal improvisation activity.2
Example 13: Prompt for bitonal improvisation activity.3
1Elyse Mach, Contemporary Class Piano, 7th ed. (New York: Oxford, 2011), 478.2Ibid., 478.3Ibid., 479.
etc.
etc.
etc.
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Example 14: Bartók, ‘Wandering’ from Mikrokosmos Vol. 3, #81.
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Example 15: Bartók, ‘Diminished Fifth’ from Mikrokosmos Vol. 4, #101.
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Example 16: Bartók ‘Subject and Reflection’ from Mikrokosmos, #141.
Example 17A: P5 of a provided 12-tone matrix.
Example 17B: Potential student solution realizing P5 and P9.
Example 18: Webern, Variations mvt. II, op. 27
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