Transparency Masters for Listen, seventh edition Joseph Kerman and Gary Tomlinson 1 2 3 4 5 6 7 8 9 10 11 12 13a–b 14 15 16 17 18 19 20 21 22 23 24 25 26a–b 27 28 29 30 31 32a–b 33 Listening Chart 1: Wagner, Prelude to The Valkyrie Listening Exercise 1: Rhythm, Meter, and Syncopation Listening Exercise 2: Rhythm, Meter, and Tempo Listening Exercise 3: Pitch and Dynamics Orchestral Seating Plan Listening Exercise 4: The Orchestra in Action Diatonic and Chromatic Scales Listening Exercise 5: Melody and Tune Listening Exercise 6: Texture Major and Minor Modes Listening Exercise 7: Mode and Key Listening Exercise 8: Musical Form Listening Chart 2: Britten, The Young Person’s Guide to the Orchestra The Medieval Modes Plainchant, “In paradisum” Hildegard of Bingen, “Columba aspexit” Bernart de Ventadorn, “La dousa votz” Pérotin, “Alleluia. Diffusa est gratia” Machaut, “Dame, de qui toute ma joie vient,” rst stanza Dufay, “Ave maris stella” Josquin, Pange lingua Mass, Kyrie; from the Gloria Map: Dispersion of the High Renaissance Style Josquin, “Mille regrets” Palestrina, Pope Marcellus Mass, from the Gloria Gabrieli, “O magnum mysterium” Monteverdi, The Coronation of Poppea, from Act I Purcell, Dido and Aeneas, Act III, nal scene The Basic and Festive Baroque Orchestras Ritornello Form Listening Chart 3: Vivaldi, Violin Concerto in G, rst movement Listening Chart 4: Vivaldi, Violin Concerto in G, second movement Listening Chart 5: Bach, Brandenburg Concerto No. 5, I Fugue Form 5 10 11 13 21 22 28 31 35 36 38 42 45 51 52 53 55 59 61 67 71–72 74 74 76 86 91 94 114 121 122 126 129 132 UNIT I: Fundamentals UNIT II: Early Music: An Overview UNIT III: The Eighteenth Century No. Page(s)Title CONTENTS i 34 35 36 37 38 39 40 41 42a–c 43a–b 44 45 46 47a–b 48a–c 49a–b 50a–c 51 52a–b 53 54 55 56a–c 57a–c 58a–e 59a–b 60a–b 61a–b 62a–b 63 64a–b 65a–b 66a–d 67 68a–b 69a–b 70 71 72 73a–b Listening Chart 6: Bach, The Well-Tempered Clavier, Book 1, Fugue in C Major Handel, Julius Caesar, “La giustizia” Handel, Messiah, “There were shepherds”; “Glory to God” Handel, Messiah, Hallelujah Chorus Bach, Cantata No. 4, “Christ lag in Todesbanden” (Stanzas 3, 4, and 7) Map: Centrality of Vienna in the Classical Period The Classical Orchestra Sonata Form Listening Chart 7: Mozart, Symphony No. 40 in G Minor, rst movement Listening Chart 8: Haydn, Symphony No. 95 in C Minor, second movement Listening Chart 9: Haydn, Symphony No. 95 in C Minor, third movement Listening Chart 10: Haydn, Symphony No. 95 in C Minor, fourth movement Double-Exposition Form Listening Chart 11: Mozart, Piano Concerto No. 23 in A, rst movement Mozart, Don Giovanni, from Act I, scene iii Listening Chart 12: Beethoven, Symphony No. 5 in C Minor, rst movement Listening Chart 13: Beethoven, Symphony No. 5 in C Minor, complete work A Typical Romantic Orchestra Schubert, “Erlkönig” R. Schumann, Dichterliebe, “Im wunderschönen Monat Mai” R. Schumann, Dichterliebe, “Die alten, bösen Lieder” C. Schumann, “Der Mond kommt still gegangen” Listening Chart 14: Berlioz, Fantastic Symphony, fth movement Verdi, Rigoletto, from Act III, scene i Wagner, The Valkyrie, Act I, scene i Puccini, Madame Buttery, from Act II, “Un bel dì” Listening Chart 15: Tchaikovsky, Overture-Fantasy, Romeo and Juliet Listening Chart 16: Brahms, Violin Concerto in D, third movement Listening Chart 17: Mahler, Symphony No. 1, third movement, Funeral March Map: Paris and Vienna as Musical Centers Listening Chart 18: Debussy, from Three Nocturnes, Clouds Listening Chart 19: Stravinsky, The Rite of Spring, Part I (excerpt) Berg, Wozzeck, Act III, scenes iii and iv Listening Chart 20: Ives, Second Orchestral Set, II, “The Rockstrewn Hills Join in the People’s Outdoor Meeting” Listening Chart 21: Ravel, Piano Concerto in G, rst movement Listening Chart 22: Bartók, Music for Strings, Percussion, and Celesta, second movement Listening Chart 23: Prokoev, Alexander Nevsky Cantata, 5, “The Battle on Ice” Listening Chart 24: Ligeti, Lux aeterna Listening Chart 25: Reich, Music for 18 Musicians (excerpts) Saariaho, From the Grammar of Dreams (Songs 1, 3, and 4) 135 144 147 148 152 155 162 169 173 179 182 185 189 191 198–199 218 220 232 241 243 244 248 258 266–267 276–277 280 285 294 299 318 320 324 332–335 338 342 346 353 364 369 372 UNIT IV: The Nineteenth Century UNIT V: The Twentieth Century and Beyond ii 74a–c 75 76 77 78 79 80 Adams, El Niño, “Pues mi Dios ha nacido a penar,” “When Herod Heard,” and “Woe unto Them That Call Evil Good” Navajo song, “K’adnikini’ya’” Inca processional music, “Hanaq pachap kusikuynin” Japanese gagaku, Etenraku Balinese gamelan, Bopong Japanese kabuki, Dojoji South African popular song, “Anoku Gonda” 375 64 82 203 206 301 409 Copyright © 2012 by Bedford/St. Martin’s ISBN-13 978-0-312-67212-6 ISBN-10 0-312-67212-8 All rights reserved. Manufactured in the United States of America. For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000) Instructors who have adopted Listen, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this set of transparency masters for their students. iii Transparency 1 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St. Martin’s Wagner, Prelude to The Valkyrie 2 min., 41 sec. 0:00 A Scale theme in low strings; crescendo and rise in pitch 0:48 B Preliminary climax: Lightning theme in horns and woodwinds 0:59 A Scale theme, brie y subsiding; then crescendo 1:20 B؅ Main climax: Lightning theme, extended, in full brass 1:45 Collapse: Timpani roll; sporadic lightning strikes; diminuendo 2:09 A Scale theme Access Interactive Listening Chart 1 at bedfordstmartins .com/listen DVD 9 LISTENING CHART 1 kerman_ch00_002-006.indd Page 5 10/14/10 3:05:31 PM user-f499 /Users/user-f499/Desktop/KERMAN kerman_transparency_001-119.indd Page 1 12/1/10 2:08:04 AM user-f494kerman_transparency_001-119.indd Page 1 12/1/10 2:08:04 AM user-f494 volume 208/FREE058/work/indd/volume 208/FREE058/work/indd/ Transparency 2 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St. Martin’s 16 Rhythm, Meter, and Syncopation In Unit I of this book, we illustrate the concepts that are introduced with listening examples drawn from the Companion DVD. Follow the timings in these Listening Exercises, which are simpli ed versions of the Listening Charts provided for complete compositions later in the book. The charts are explained on page xxviii. For samples of duple, triple, and compound meters, listen to the following tracks on the DVD. Duple meter Count  two |  two . . . etc., for about half a minute. Duple meter Count  two THREE four |  two THREE four . . . etc. Triple meter Count  two three |  two three . . . etc. Compound meter Count  two three FOUR  ve six |  two three FOUR  ve six . . . etc. Syncopation: In Scott Joplin’s “Maple Leaf Rag,” listen to the piano left hand, with its steady  two |  two beat in duple meter, while the right hand cuts across it with syncopations in almost every measure. DVD 10, 14 LISTENING EXERCISE 1 12, 19 17 10 kerman_ch01_007-011.indd Page 10 10/18/10 7:04:37 PM user-f494 /207/BSMB003/work%0/indd%0 kerman_transparency_001-119.indd Page 2 12/1/10 2:08:04 AM user-f494kerman_transparency_001-119.indd Page 2 12/1/10 2:08:04 AM user-f494 volume 208/FREE058/work/indd/volume 208/FREE058/work/indd/ Transparency 3 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St. Martin’s Rhythm, Meter, and Tempo A more advanced exercise: Our excerpt, from the middle of Rhapsody on a Theme by Paganini, for piano and orchestra, by Sergei Rachmaninov, consists of four continuous segments in different meters and tempos, here labeled A, B, C, and D. (If you note a family likeness among the segments, that is because they are all variations on a single theme. See page 174.) 0:00 A The piano starts in duple meter ( two |  two). The loud orchestral interruptions are syncopated. (After the interruptions the meter is somewhat obscured, but it gets clearer.) 0:33 Clear duple meter by this time; then the music comes to a stop. 0:49 B No meter. The piano seems to be engaged in a meditative improvisation, as if it is dreaming up the music to come. 1:45 Orchestral instruments suggest a slow duple meter? Not for long. 2:24 C Slow triple meter ( two three |  two three) 3:47 Ritardando (getting slower) 3:56 D Fast triple meter, assertive (note one or two syncopated notes) 4:26 Faster triple meter LISTENING EXERCISE 2 DVD 11 kerman_ch01_007-011.indd Page 11 9/12/10 1:08:16 PM user-f499 /Users/user-f499/Desktop/KERMAN:207:BSM003 kerman_transparency_001-119.indd Page 3 12/1/10 2:08:04 AM user-f494kerman_transparency_001-119.indd Page 3 12/1/10 2:08:04 AM user-f494 volume 208/FREE058/work/indd/volume 208/FREE058/work/indd/ Transparency 4 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St. Martin’s Pitch and Dynamics High and low pitch and loud and soft dynamics are heard so instinctively that they hardly need illustration. Listen, however, to the vivid way they are deployed in one of the most famous of classical compositions, the “Un nished” Symphony by Franz Schubert. Symphonies usually consist of four separate big segments, called movements; musicologists are still baf ed as to why Schubert wrote two superb movements for this work and started but never  nished the rest.   0:00 Quiet and mysterious Low range pp 0:15 Rustling sounds Middle range 0:22 Wind instruments High 0:35 Single sharp accent sf 0:47 Gets louder Higher instruments Long crescendo, leading to f, then ff, added more accents 1:07 Sudden collapse piano followed by diminuendo 1:15 New tune First low, then high (Marked pp by Schubert, but usually played p or mp) 1:52 Cuts off sharply; big sound ff, more accents (Similar pitch and dynamic effects for the rest of the excerpt) 3:07 Sinking passage Individual pitches, lower and lower 3:45 Ominous Lowest pitch of all pp LISTENING EXERCISE 3 12 DVD kerman_ch02_012-024.indd Page 13 10/14/10 3:10:10 PM user-f499 /Users/user-f499/Desktop/KERMAN kerman_transparency_001-119.indd Page 4 12/1/10 2:08:04 AM user-f494kerman_transparency_001-119.indd Page 4 12/1/10 2:08:04 AM user-f494 volume 208/FREE058/work/indd/volume 208/FREE058/work/indd/ Transparency 5 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St. Martin’s Timpani Trumpets Percussion Harps French horns Trombones Tuba Double basses Clarinets Bassoons Second violins Flutes Oboes Violas Cellos First violins Conductor ORCHESTRAL SEATING PLAN kerman_ch02_012-024.indd Page 21 10/1/10 8:02:12 PM user-f494 /204/MHBR203/fra16762_disk1of1/0077316762/fra16762_pagefiles kerman_transparency_001-119.indd Page 5 12/1/10 2:08:05 AM user-f494kerman_transparency_001-119.indd Page 5 12/1/10 2:08:05 AM user-f494 volume 208/FREE058/work/indd/volume 208/FREE058/work/indd/ Transparency 6 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St. Martin’s DVD The Orchestra in Actio n Take a break from reading now and listen to The Young Person’s Guide to the Orchestra, a work devised by Benjamin Britten in 1946 to introduce the many tone colors of orchestral instruments. A full chart of this work is given on page 45. For now, the chart below will lead you one by one through the various sections and instruments of the orchestra. 0:00 Full orchestra 0:42  choir 1:11  choir 1:42  choir 2:07  2:26 Full orchestra 2:50 Flutes and piccolo 3:29 Oboes 4:32 Clarinet family: bass clarinet (1:42), clarinet (1:57), and E- at clarinet (1:46) 5:14 Bassoon 19–24 2:24 19 20 0:39 1:42 LISTENING EXERCISE 4 kerman_ch02_012-024.indd Page 22 9/12/10 1:10:01 PM user-f499 /Users/user-f499/Desktop/KERMAN:207:BSM003 6:11 Violins 6:56 Violas 7:45 Cellos 8:43 Double bass 9:40 Harp 10:31 French horns 11:11 Trumpets 11:47 Trombones, tuba 12:48  14:43 Full orchestra 21 22 23 24 0:45 1:34 2:32 3:29 0:40 1:16 kerman_ch02_012-024.indd Page 22 9/12/10 1:10:01 PM user-f499 /Users/user-f499/Desktop/KERMAN:207:BSM003 kerman_transparency_001-119.indd Page 6 12/14/10 9:50:27 AM user-f494kerman_transparency_001-119.indd Page 6 12/14/10 9:50:27 AM user-f494 volume 203/MHBR231/wiL10849_disk1of1/0078110849/wiL10849_pagefiles/volume 203/MHBR231/wiL10849_disk1of1/0078110849/wiL10849_pagefiles/ Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St. Martin’s Transparency 7 B Ł ŁŁ² Ł ŁŁ² Ł Ł Ł ŁŁ² Ł ŁŁ² Ł ŁŁ² Ł Ł Ł Ł CHROMATIC SCALE (one octave) DIATONIC SCALE (one octave) C Half step Whole step Half step D Half step Whole step Half step E Half step Half step F Half step Whole step Half step G Half step Whole step Half step A Half step Whole step Half step Half step Half step C DEFGABCC D ² (E − ) C ² (D − ) F ² (G − ) G ² (A − ) A ² (B − ) kerman_ch03_025-031.indd Page 28 9/14/10 2:42:50 PM user-f494 /204/MHBR203/fra16762_disk1of1/0077316762/fra16762_pagefiles Diatonic and Chromatic Scales kerman_transparency_001-119.indd Page 7 12/1/10 2:08:05 AM user-f494kerman_transparency_001-119.indd Page 7 12/1/10 2:08:05 AM user-f494 volume 208/FREE058/work/indd/volume 208/FREE058/work/indd/ [...]... Trumpets 2 Timpani (kettledrums) Harpsichord or organ Transparency 29 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s RIT [RIT] Solo 1 TONIC KEY [RIT] Solo 2 [RIT] Solo 3 OTHER KEYS [RIT] Solo 4 TONIC KEY Transparency 30 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s L I S T E N I N G C H A RT 3 Vivaldi,... Spirit: Three honored as one Amen Transparency 21 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN Josquin, Pange lingua Mass, Kyrie 0:09 Kyrie eleison Lord have mercy 0:53 Christe eleison Kyrie eleison 1 8 2 Christ have mercy 2:10 1 Lord have mercy (continued) Transparency 21 (continued) LISTEN Listen, Seventh Edition, by Joseph Kerman and Gary... adversity: (Section 3) 1:08 3:26 Per me guerreggia, guerreggia, Per me guerreggia Amor, guerreggia Amor e la Fortuna, e la Fortuna I have fighting for me, I have fighting for me Love and Fortune Transparency 27 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN Purcell, Dido and Aeneas, Act III, final scene (Italics indicate repeated words and lines.)... long as I care for you and you care for me 1:55 Tune played by the jazz band, today’s “big band” (with saxophone breaks: see page 382) Free sequence (“I care for you”/ “You care for me”) — cadence kerman_ch04_032-038.indd Page 35 10/14/10 3:14:46 PM user-f499 /Users/user-f499/Desktop/KERMAN Transparency 9 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s... keys in a more complicated way than before kerman_ch05_039-045.indd Page 42 9/12/10 1:15:04 PM user-f499 Transparency 12 /Users/user-f499/Desktop/KERMAN:207:BSM003 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN IN G EXE RCI S E 8 DVD Musical Form 16, 18 “The Star-Spangled Banner” has one of the simplest forms, a a b “Oh, say can you see ... then oboe, clarinet (same order as above!) 1:47 16:30 THEME Full orchestra Climax: slower than before The tune is superimposed on the fugue Access Interactive Listening Chart 2 at bedfordstmartins.com/listen Transparency 14 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s The Medieval Modes Middle C C Ł DORIAN Ł Ł Ł D Focal point P H RY G I A N Ł Ł... sprang forth In the building of the temple Of the most pure loving heart 0:56 B Iste turis He is the high tower of Lebanon 1:29 B؅ Ipse velox The swift hart sped to the fountain 2:03 C O pigmentarii O you makers of incense 3:15 D O Maximine O Maximinus (two more stanzas) Transparency 17 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St... Diffusa est gratia in labiis tuis; propterea benedixit te deus Grace has been poured out upon your lips; therefore, God has blessed you 2:36 Chant in aeternum eternally 3:06 alleluia, alleluia—— 1 4 Transparency 19 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN Guillaume de Machaut, “Dame, de qui toute ma joie vient” 0:00 a Dame, de qui toute... cent fois plus de bien et de joie Qu’en cent mille ans desservir ne porroie For the gracious hope, Sweet lady, I have of seeing you, Gives me a hundred times more joy and boon Than I could deserve in a hundred thousand years 1 6 Transparency 20 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN 0 :00 Dufay, “Ave maris stella” STANZA 1 : Plainchant... the tune transformed into a slow, romantic melody in oboe 1; oboe 2 joins in two-part polyphony 1:42 4:32 Variation 3 Clarinet family Solos for bass clarinet (1:42), clarinet (1:57), and E-flat clarinet (1:46) 2:24 5:14 Variation 4 Bassoon Typical qualities of the bassoon: staccato (comic effect) and legato (melodious) Piccolo and flute play in harmony Transparency 13b Listen, Seventh Edition, by Joseph . adopted Listen, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this set of transparency masters for their students. iii Transparency 1 Listen, Seventh Edition, . Transparency Masters for Listen, seventh edition Joseph Kerman and Gary Tomlinson 1 2 3 4 5 6 7 8 9 10. AM user-f494kerman _transparency_ 001-119.indd Page 1 12/1/10 2:08:04 AM user-f494 volume 208/FREE058/work/indd/volume 208/FREE058/work/indd/ Transparency 2 Listen, Seventh Edition, by Joseph Kerman