PANDIATONICISM IN THREE BALLETS BY AARON COPLAND TTESIS Presented to the Graduate ...

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PANDIATONICISM IN THREE BALLETS BY
AARON COPLAND
TTESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF USIC
By
Kenny L. Adams, B. M, E.
Denton, Texas
December, 1972
Adams, Kenny L., Pandiatonicism in Three Ballets ,b_ Aaron
Copland. Master of Music (Theory), December, 1972, 86 pp., 5
tables, bibliography, 45 titles.
The term "pandiatonicism" first appeared in 1937 in Nich-
olas Slonimsky's Music Since 1900, and was used to describe an
important twentieth-century harmonic device. Writers dealing
with this subject are in general agreement with Slonimsky's
basic definition of pandiatonicism--"the technique of free use
of all seven notes of the diatonic scale in melodic, harmonic
and contrapuntal combinations . . ." However, they are in
disagreement as to its exact nature and function in such areas
as tonality, tertian structure, and harmonic function.
In Billy he Kid (1938), Rodeo (1942), and Appalachian
Sprin (1944), Copland uses varied compositional devices in the
construction of many of his pandiatonic passages. The purpose
of this study is to identify these devices, to illustrate Cop-.
land's methods of using these devices, and to tabulate the fre-
quency with which they are used.
The ostinato is used more frequently than any of the other
devices used by Copland in his pandiatonic writing. The device
can at various times be found in the bass, treble, or middle
ranges of the orchestra.
The diatonic scale, either ascending or descending, is
often used for its unifying qualities in certain pandiatonic
passages. At times, the scale passage is employed as an accom-
paniment figure, and at other times it is used melodically.
1
2
Octave displacement is sometimes used in conjunction with the
scale patterns,
Parallel thirds and fourths are an important device in
Copland's pandiatonic writing. These thirds are created by
the harmonization of a melody (either above or below) at the
third. Parallel fourths are used in a similar manner in the
harmonization of melodies and accompaniment figures.
Secundal sonorities (those that are built with two or
more consecutive seconds) are often used in Copland's pandia-
tonic harmonies. These sonorities can be found containing
from two to six consecutive members of the diatonic scale.
Copland's pandiatonic harmonies are sometimes arranged
with bichordal spellings. These harmonies have the appearance
of two chords of the diatonic key superimposed upon one an-
other. There is no suggestion of two different keys.
A device that is found in several of Copland's pandia-
tonic passages is the pedal. This device occurs on the tonic,
subdominant, and dominant. Double pedals are occasionally
used, employing tonic and dominant.
The arpeggio is a device used in several different ways
in Copland's pandiatonic writing. Arpeggios are sometimes
employed pandiatonically with octave displacement.
Copland's ballets illustrate how effectively the canon
may be used pandiatonically. The ballets contain a two-part
canon at the octave and a three-part canon at the octave, Pan-
diatonic harmonies are also created by Copland's practice of
joining different themes to each other.
U
3
The diatonic materials used by Copland in his pandia-
tonic writing are the major, minor, and certain church modes
(Dorian, Mixolydian, and Lydian).
@4'
TABLE OF CONTENTS
LI S T O F TA B L E S . . ,. . , , . , , , , , , , , Pa ge
, *f*,*,*,*,*, , , LyvIST OF ILLUSTRATIONS,, . ,., . . *
Chapter
I. MUSICAL BIOGRAPHY . . . . . , . , , . . ,,
Beginnings
The Goldmark Years
The Years with Boulanger
The Jazz Period
The Abstract Period
The American Folk Song Period
II. THE PRINCIPLE OF PANDIATONICISM. . . . . . . . 23
Tonality and Atonality
Bitonality
Structure
Harmonic Function
Pandiatonic Cadences
Modes and Scales
Accidentals
The Seven-Tone System
Summary
III. COPLAND'S METHODS OF PANDIATONIC
HARMONIZATION. . . . . . . . . . . . , , 45
Ostinato
Scale Patterns
Parallel Thirds
Parallel Fourths and Fifths
Secundal Sonorities
Bichordal Sonorities
Pedal
Arpeggios
Canon
Combined Themes
Modes in Pandiatonic Writing
IV. CONCLUSIONS.
. . . . . . . . . . . . . . . . 74
APPENDIX
. . . . . . .. , , . . . . . . , . , . . . . 77
BIBLIOGRAPHY
. . . . . . . . . . . . . . . . . ,, . *. . 84
iii
LIST OF TABLES
Table
Page
I. Devices Used by Copland in Pandiatonic
Passages
77
* . .. 0 0 * 0 0 0 . . 0 0 0 0 0
II. Modes and Harmonic Framework Used in
Appalachian Spring 0 * . * * . .4 .0 0 0 0 0 78
Iii. Modes and Harmonic Framework Used in
Rodeo.
a . . . * 0 . . * 0 . , 0 0 0 0 79
IV. Modes and Harmonic Framework Used in
Bllyfthe Kid 0.. .. . . 0 0 0 0 0 80
V.0 Comparison of Modes Used in Copland's
Three Ballets
. . . . * * * . S 0 0 0 0 82
iv
LIST OF ILLUSTRATIONS
Figure Page
1. Casella, "Galop Final Eleven Children's
"
Piees,measures 4-7". . . . ..". ."." 26
2, Slonimsky, example of pandiatonic writing from
0
Thesaurus of Scales and Melodic Patterns,
p. 495. ."." . .r. ".. ." 0" " 0 ..". ". 26
3. Stravinsky, "Danse Busse," Petroushka,
measures 1-4
. . . . . . . . . . . . . . . .27
4. Persichetti, example of pandiatonic writing
from Twentieth Century Harmony, p. 224 . . . 28
5. Copland, Appalachian pring, measures 372-375, . 28
6. Dahl, "Coda," Divertimento for Viola and Piano,
measuress1T8-22l*W.TT.,.. . .. 29
w."..
7. Slonimsky, Thesaurus of Scales and Melodic
Patterns,p. l95 . . . . .,.".. .. ... . 30
8. Stravinsky, "Danse Russe," Petroushka,
measures 111-112 . . . . . . . . . . . . . 30
9. Stravinsky, "Hymne," Serenade, measures 58-60. . 30
10. Copland, Aplachian Spring, measures 15-21. " . 31
11. Honegger, Jeanne d'Arc, Scene IV, measures
89-92 . . . . . . . . . . . . . . . . . . . 32
12. Hanson, Lament for Beowulf, measures 163-166 . . 32
13. Hanson, Lament for Beowulf , measures 109-110 . . 33
14. Satie, "Valse Diatonique," Eleven Children's
Pieces, 3-12.
measures . . . . . . . . . . . 34
15. Satie, "Galop Final," Eleven Children's Pieces,
measures 74-80 ..," . . . ". .TT7. ."... 35
"
16. Stravinsky, "The Shrove-Tide Fair," Pe troushka,
measures 42-52 . . . . . . 0... ,,.. . 35
vi
Figure
Page
17. Stravinsky, "Rondoletto," Serenade, measures
20--22
-.-.-.-.- * - -.-.-.-.-.. . . . . . . . 36
18. Copland, Appalachian Spring, cited in Dallin's
Techniques of Twentieth Century Composition,
p. 127 . . . . . . - - . .. . . . . . . . . 37
19, Slonimsky, Thesaurus of Scales and Melodic
Patterns, P. 194 . .,. , ~~~ . . . . . . . 37
20. Copland, Bjjy jj2e Kid, measures 41-43 . . . . . 38
21. Copland, Billy the Kid, measures 27-32 . . . . . 39
22. Persichetti, example of a change of pandiatonic
mode from Twentieth century Harmony, p. 224. 39
23. Stravinsky, "Gigue," Duo Concertant for Violin
and ,anom, easursi666.7T,~. . . . . 40
24, Casella, "Galop Final " Eleven Children's
47.5.
Pieces, measures . . . . . .~. . . . 40
25. Stravinsky, "The Shrove-Tide Fair," Petroushka,
measures 59_67 ., . .* . . . . , . . . . . . 41
26. Slonimsky, Thesaurus of Scales and Melodic
Patterns, pF7T2 71 . . . . . . . . . ,., 42
27. Stravinsky, "Ecologue I," Duo Concertant for
Violin and Piano, measures32.3W, .~ . . 43
28. Copland, Billy he. Kid, measures 103-107 . . . . 45
29. Copland, Appalachian Sri , measures 240-243, . 46
30. Copland, Applachian Spring, measures 249-252. . 46
31. Copland, ailly he Kid, measures 604-607 . . . . 47
32. Copland, Appalachian Spring, measures 69-73, . , 47
33. Copland, Billy the , measures 337-340 . . . . 48
34, Copland, Appalachian Spring, measures 541-546. . 49
35. Copland, "Buckaroo Holiday," Rodeo, measures
331-336,
, * , , , , * , . . . . . . . 50
36. Copland, Bill the Kid, measures 373-375 . . . . 51
vii
Figure Page
3?. Copland, Apcalhian Spring, measures 563-570, 51
.
38. Copland, Bi : the Kid, measures 438-441 . . . . 52
39. Copland, Billy the Kid, measures 451-455 . . . . 52
40. Copland, Appalachian Spring, measures 366-368. . 52
41, Copland, Appalachian Spring, measures 350-354, 53
.
42, Copland, "Buckaroo Holiday," Rodeo, measures
180-185 and measures 270-2747 .,. . . . . . 54
43. Copland, Ap.achian Spring, measures 505-509. . 54
44. Copland, Billy the Kid, measures 209-212 . . 55
, .
45. Copland, Appalachian fln&, measures 426-430. . 55
46. Copland, Billy the Kid, measures 612-616 . . . . 56
47. Copland, Appalachian ing, measures 414-416. . 56
48. Copland, "Saturday Night Waltz," Rodeo,
.
. . 5? measures 1-8 .. . . . . . . . . . .
49. Copland, BiL:. the Kid, measures 603-606 . . . . 58
50, Copland, Billy fle jjj, measures 289-292 . . . . 58
51, Copland, BiltlyheKl d, measures 299-302 . , , . 59
52, Copland, Appalachian Spring, measures 366-368. . 59
53. Copland, "Buckaroo Holiday," Rodeo, measures
110-111 .. . . . . . . . . . . w . . . . . 60
54. Copland, Billy the Kid, measures 350-352. . . . 60
55, Copland, Billy the Kid, measures 444-447 . . . . 61
56. Copland, Billy the Kid, measures 601-602 . . . . 61
57. Copland, Appalachian Spr$.ng, measures 549-552. . 62
58. Copland, Appalachian Spring, measures 673-682, . 62
59. Copland, "Saturday Night Waltz," Rodeo,
measures 78-79 . . . . . . . . . *. . . . . 63
60. Copland, Appalachian Spring, measures 15-19. . . 63
viii
Figure
Page
61. Copland, ily the Kid, measures 106-11 .*" 64
62. Copland, Appaachian Spring, measures 333-337, 64
."
63. Copland, Apalachian Spring, measures 366-368,
65
64. Copland, "Buckaroo Holiday," Rodeo,
measures 286-290 . . . . . . . . . 65
, , , ,
65. Copland, Applachian Spring, measures 69-71,, 66
Billy the
66. Copland, Kid, measures 11N-116 .a.a. 67
67, Copland, Applachian Spring, measures 16-21, 67
,
68. Copland, Applachian Sr , measures 549-552. 68
69. Copland, "Buckaroo Holiday,"
Rde ,
measures 107-109 . . . . . , . . , . . 0 0 .0 68
70. Copland, Appalachian pri, measures 394-397, 69
71. Copland, Applachian Spring, measures 531-537. 69
.
72. Copland, "Buckaroo Holiday,"
Rodeo,$
measures 270-274
. . . . * . . . . . . . 0 70
73, Copland, "Buckaroo Holiday," Rodeo,
measures 114-116
. . . . . 0 0 . 0 0 0. . .
74, Copland, "Buckaroo Holiday," Rodeo,
measures
394-398 . . . .
0 .
measures8-8.
75. Copland, Appla hn Spring,
0 .
76, Copland, "Buckaroo Holiday," Rodeo,
measures
310-315 . . . . 72
0 0 0 . . . . 0 0 0
the
77. Copland, fBila Kid, measures 44-48 *