Flory, Pamela Jean, “Six chansons of Paul Hindemith: An Analysis in Relation to Performance” (). Un cygne.?vance sur l’ enu. Un cygne – Hindemith, Paul (Musica Database) (A swan is breasting the flow ; Un cygne avance sur l’eau). Hindemith, Paul ( – ) [Germany]. Choir Midi Learning Files for works by Paul Hindemith. Paul Hindemith. ( biography). Google Enter your search terms Un Cygne – The Swan. Tutti. Soprano.
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You can find the score here: Practice singing the part that’s in your own vocal range. You can practice along with the recording to hear how your part fits in with the other parts. Analyze the opening phrase from the beginning till the downbeat of measure 5 and the closing phrase from jn pickup of measure 18 till the endfocusing on the chord structures. It appears that in this piece Hindemith was focusing on chords built in fourths quartal harmony rather than in thirds tertiary harmony. A few chords, especially at cadences, are tertiary triads, but most are not.
For each chord, analyze its structure as a stack of fourths or fifthstaking into account the possibility that a note might be “missing” from the chord, a note which would complete its analysis as a stack of fourths or fifths. For example, the first chord is analyzable as the quartal triad B-E-A with a doubled B on top ; the second chord the first chord of measure 1 is analyzable as B- E -A-D-G, a four-note chord that’s essentially quartal with an unstated E ; the third chord is analyzable as a four-note quartal chord G -C -F -B, and so on.
Choir Midi Learning Files – Hindemith Six Chansons
In retrospect, you can see that the second chord can also be analyzed as a three-note quartal passing chord A-D-G where the B is a hinsemith tone exists in the same voice in all three chords and the other three voices move by step from the first chord to the third chord. Continue analyzing the chords in this way for the opening phrase and the ending phrase, writing each chord out as a stack of fourths or fifths on a separate piece of staff paper except when you think a tertiary interpretation is hindsmith reasonable.
Consider the C-naturals in the soprano to be ornamental non-chord neighbor tones not a very significant part of your harmonic analysis. Write out your analysis on staff paper cygnw computer-printedreordering the chord voicings as a stack cyggne fourths or fifths or, rarely, as a tertiary chord to show the underlying quartal harmonic structure. Bring your analysis to class to hand it in, or submit it in the Canvas dropbox associated with this class.
In your comments and for the class discussion you may want to consider the hindsmith questions. What, if anything, are the traditional scale-based, classical harmonic implications of these chord progressions?
What, if anything, do you think is a tonic note? How do you justify that interpretation? How are they like, and how are they unlike, tertiary chords?
As you listen to and study the whole piece, you might also want to think about how the composer controls the rhythm of the text setting and the use of recurring harmonic and rhythmic ideas to emphasize the formal structure of the poem. Can’t change a rubric once you’ve started using it. You’ve already rated students with this rubric. Any major changes could affect their assessment results.
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6 Chansons (Hindemith, Paul)
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