Developing theory skills for modulation, interludes and hymn bridges

Transcription

1 Inspired Service Playing: How to move from here to there Workshop for AGO National Convention, Boston Tuesday, June 24, 2014 Joyce Shupe Kull, FAGO, ChM, DMA AGO National Councillor for Education Developing theory skills for modulation, interludes and hymn bridges Example 1. CIRCLE OF 5THS ORDER OF KEYS Major Keys capital letters Minor Keys lower case letters Flat Keys Descending 5ths Sharp Keys Ascending 5ths Orientation: The circle is a representation of the relationships of all the keys to each other. Skill: Learn to think in the interval of a perfect 5th ascending and descending. Mastery exercises: Play major tonics around the circle of 5ths, hands separately, clockwise in the direction of sharps. C-G-D-A: notice that the inversion of a 5th is a 4th. Thus the D may be brought down and you can alternate around the circle, up a 5th, down a 4th. Be sure to advance the 5ths by whole steps: C-G, D (a whole step up from C) A (a whole step up from G). Say the keynotes aloud with their key signatures in sharps or flats: G = one sharp; D = 2 sharps. Then reverse the order, alternating the 5ths and 4ths for the descending circle of 5ths, counterclockwise around the circle in the direction of flats : C down to F, up to B-flat, down to E-flat, up to A-flat, and so on. Play the order of sharps (also added in 5ths); then play the order of flats in descending 5ths (or ascending 4ths). Note that sharps and flats are added in reverse order. Next level: later play minor tonics around the circle, in each direction. 1

2 Emphasizing major keys first, play major triads on each keynote or tonic. Notice that adjacent tonic chords have a common tone: C-E-G and G-B-D share the G. C-E-G and F-A-C share the C, for example. Next level: later play minor triads on each minor keynote (tonic). Primary triads: Practice I, IV, V (7) I cadences around the circles both ways: When practicing cadences, play them in the closest possible position. That is, keep the common tones in adjacent tonic (I), subdominant (IV) and dominant (V) triads. Practice in every key, hands separately, then together. Say the chord names as you go: D (major) chord, A (major) chord, D (major) chord. Next level: later play minor cadences in three positions. Notice that the Major and minor tonics on the same note share a common V chord, although their position on the chart is three steps apart. (Ex. C major at 12 o clock; c minor at 9 o clock) The shared V chord is very useful in modulation. Beginning Modulation: You can connect the keys going around the circle with a sequence. (See: Christa Rakich. Cozy up to the Circle. TAO, October 2011): 48. The connection between the keys is made by the quarter notes moving in whole steps, first in the soprano, then in the alto. The note that is different from C major in the key of F is B-flat. This is the first soprano passing tone in measure 1. The note that is different from F major in the key of B-flat is E-flat. This is the first alto passing tone, beats 3-4 in measure 1. Be aware of the adjustment needed in measure 4 in order to shift to sharps (5 o clock on the Circle, moving counterclockwise). 2

3 The resolution to the next tonic chords (on beat three, then beat one, next measure) is by half steps, first inwards, then outward, alternating. Play the sequence hands separately, then together until this pattern is automatic. This and the following exercise establish contrary motion between the hands, a helpful device in avoiding parallel 5ths and octaves in your hymn interludes and bridges. Using a similar sequence, practice playing around the circle clockwise (in the direction of sharps). As in the previous example, the quarter notes move in whole steps, the passing tones pointing to the next key. The resolution to the tonic chords on beats 3 and then 1, are by half steps, first outward, then inward. Again, practice hands separately and together until the pattern is well-established. [Intrepid keyboardists will try the sequences in minor: use the same treble clef notes and substitute minor keynotes in the bass clef A up to D, down to G, up to C in the direction of flats. In the direction of sharps, keep the same treble notes and start with A down to E, up to B, down to F-sharp, etc. One may not find the sound as pleasing, but it is a useful mental discipline.] You can use the circle of keys in modulation. Composers have long used the circle of 5ths in the same key as an expansion tactic, and these sequences can be very beautiful. Example 5. 3

4 Practice the non-modulating sequence above in every major and minor key. You will use major, minor and diminished triads from the same scale, not moving around the circle. Secondary triads in the scale: ii, iii, vi, viiº6 Practice scales in either hand as root position triads, saying F major, g minor, a minor, B-flat major, and so on. Notice that the relative minors to F (d) and the two keys on either side, C (a) and B-flat (g), are the secondary triads in F as named in the scale triad exercise. These are closely related keys, and as we have seen, the chords are all found in the original F scale. Learn to play triad scales in every key. Example 6. The planetary system of chords within a key includes the chords harmonically closest to the I chord (Sun) out to the farthest chords from the tonic. Thus, remembering the planetary orbits of the solar system, the chord on the third note of the scale (iii) is on Mars; vi is on Earth; the twins IV and ii are on Venus; V (sometimes preceded by I 6/4), and viiº are on Mercury. All chords are inclined to travel toward the Sun (normal progression). If your modulation lands on a planet (chord) too close to the Sun (I), your creation can planet hop to outward chords (retrogression) before heading inward. Or you can prolong your visit on one planet chord (repetition), similar to what we did by expanding cadence chords to fill whole measures of block or arpeggiated single chords, before heading toward the sun, perhaps even planet hopping on the way inward as well (elision, such as the plagal cadence IV-I). Knowing the hierarchy of chords is extremely useful in modulation. This leads to another sequence to practice that contains most of the options (except iii and viiº) in the above solar system : of chords. Note that the bass notes descend in thirds before cadencing on V-I. Practice in every key. 4

5 Example 7a. Example 7b. Minor The chord progression in example 7 is especially useful in what is called Common Chord modulation, using a common or pivot chord. In diatonic music (that stays within scale tones), for instance, in the key of F, common chord modulation can by accomplished from any of the tonic chords major and minor in the key F and the two adjacent keys (B-flat and C). Then follow the Solar System: for example if you land on A minor (iii in F), then you could use one or more of the vi, ii, and IV chords in the new key to get to V-I. Interchangeability of major and minor modes: another point useful in modulation. As noted earlier, parallel major and minor keys (sharing the same keynote) also share a common major V chord. So you can land on a V chord that can take you to either the major or minor key that uses the common V chord (example : V to C major or C minor) The IV or subdominant chord can also appear as a major or minor chord, and offers the same access to much more distant keys. (Example: the g minor iv in D major can move quickly to keys with one, two or three flats in the signature) Four Chord Modulation: a short-cut (See Overduin, Chapter 19) Step 1: Establish the first key, using cadence chords I, IV, V, I, or use the last line of the first hymn for a hymn bridge. Step 2: The four chords: I (IV), V, I, with V I in the new key. The IV chord, in major or minor form, may be from either key. Often use IV in the new key going in the direction of sharps; use the minor iv in the first key going in the direction of flats. One may need to experiment to see which works best. Step 3: I, IV, V, I, establishing the new key with cadence chords, or use the first line of the second hymn in a hymn bridge. 5

6 These steps may be expanded by having each chord fill a whole measure, as demonstrated earlier, with roots in the bass, and moving tones in one or more voices, thus adding the four chords each in steps 1 and 3 to the four chord transition giving about a twelve measure transition. This can become a workable interlude or bridge. Examples of Four Chord Modulation: G Major to E-flat (omitting the establishing of keys in steps 1 and 3): Step 2: (above) G: I iv (c minor chord we are going in the direction of flats) E-flat: vi (same c minor chord) V (B-flat chord), I (E-flat chord). D to E: (again using only step 2 above) D: I V (A major chord) E: IV (same A major chord), V (B major chord), I (E major chord) A to B-flat (step 2 only) A: I iv (d minor chord) B-flat: iii (same d minor chord) V (F chord), I (B-flat chord) Keep your eye on the prize: a practical service use for your modulations, interludes and hymn bridges. Interludes: (See Overduin, Chapter 25: Interludes and Chapter 26 Modulating Interludes) Guidelines for interludes: They are generally not longer than the length of the hymn. Interludes grow from the last note of a stanza, with no break. Use V7 of iv (Tonic with flat 7th on a weak beat) to the minor iv, quickly leaving the tonality of the hymn. Use motifs from the hymn, being careful not to precipitate congregational singing. It is desirable to end on the V chord (no 7th) if the hymn begins on I; end on I if the hymn begins on V. 6

7 Example 8. All musical examples by Joyce Shupe Kull The Judas Maccabaeus example uses a different chord from the V of IV noted above to pivot away from the close of the hymn in measure 4. The final major chord becomes minor, and the 5th of the chord moves up a step, creating a diminished 7th chord (dominant harmony) in D-flat, a whole step down from the E-flat tonality of the hymn. As the interlude begins, ideas from the hymn, not the opening motifs, are used in sequence (a useful expander tool). The interlude ends with a phrygian cadence (bass movement down a half step from c-flat to b-flat), which is a minor iv chord in first inversion going to the V in the original key of E-flat, and ending with a breath helping to cue the congregation for singing. 7

8 Example 9. This modal hymn in g dorian uses a harmonization by Melchior Vulpius (1560?-1616) in The Hymnal Here the V of iv in measure 2 leads to a sequence as the interlude begins. Motifs from the second line of the hymn appear in the middle, and the interlude ends with a variation of the first inversion of the iv chord in the new key, f dorian, the modulation destination. In this example, the fourth tone of the f scale b-flat is raised, creating a chord of the augmented 6th, a very useful chromatic chord (in its various forms) in modulation, especially to distant keys. Study this transition measure and transpose it to other keys. 8

9 Example 10. The interlude on Westminster Abbey modulates immediately to f minor, touches briefly on a Phrygian cadence in g minor and moves to the A-flat destination in the third line via another form of the augmented 6th chord, a version of the ii chord in second inversion known as the ii , sometimes called the French augmented 6th. The dominant pedal in A-flat establishes stability and moves smoothly to the hymn, now a half step higher. 9

10 Hymn Bridges: We will apply some of the lessons learned in hymn interludes to hymn bridges, using the modulating methods discussed above and acquiring more practice in using musical motifs from hymns. (See articles on Hymn Bridges by Dr. Phil Gehring in the May 2005 and Oct issues of TAO.) Here, briefly, is Dr. Gehring s method: 1. Chart the keys you must move through using the circle of keys method. 2. Think in the meter of the second hymn. 3. Select a motif from the second hymn. 4. Sketch the plan on staff paper, with motif transposed into the circle of keys selected. 5. Now you have a key plan, insuring that you will not wander aimlessly. Now let us apply these steps in a bridge linking St. Anne (C major) to Slane (E-flat). Example 11. Modulating Hymn Bridge: ST. ANNE TO SLANE 10

11 Step 1: C to F to B-flat to E-flat Step 2: Use the opening phrase of the second hymn as the motif on which to build the bridge. Step 3: Transpose the motif to the key of the first hymn. Step 4: Sketch the sequence of motifs according to the key plan, ending in the new key. Working with three-voice texture at first, begin with the lowest voice; add voices from the lowest to highest voices for easier part writing. Step 5: Fill in the other parts and add a coda arriving in the new key. The second hymn bridge is a more difficult modulation, the tritone, from B-flat to E-minor not practical with either the Circle of Keys or the Four Chord methods. This calls for some utilitarian chromatic chords, and there are two possibilities offered in Example 12: Example 12. Modulating Hymn Bridge: REGENT SQUARE TO KINGSFOLD 11

12 After the hymn bridge begins in B-flat, the key of Regent Square, it shifts to minor in measure 6 and pivots to E minor through a diminished seventh chord on the raised fourth tone of the E minor scale (A-sharp), leading to the second inversion of the E minor chord, followed by a cadence on the last line of Kingsfold. The second pivot chord, in the last line of the example, is the augmented 6+ 5 chord, also known as the German augmented sixth (sounding like a dominant 7th chord), again leading to the second inversion of the E minor tonic chord. Set a goal to play/improvise hymn interludes and bridges regularly with a minimum amount of sketches. Write out examples at first, then work on getting off the page. Psychology: Decide you will not be judgmental or critical of yourself or others. Reduce fear and procrastination with a schedule. Show up! Remember that there are no mistakes in improvisation. Keep going! Practice a lot! Have fun with your creative work, and good luck! Selected resources: Overduin, Jan. Making Music: Improvisation for Organists. New York: Oxford University Press, Comprehensive and clear. Many exercises. Johns, Michele. Hymn Improvisation. Minneapolis: Augsburg, A course syllabus for Organ Literature at the University of Michigan. Six short chapters on varied improvisation techniques. Basic and very useful skills. Texts by Hancock, Cherwien, Krapf, Conely, Dupré, Ruiter-Feenstra are all excellent resources. Wayne Leupold editions has published several valuable texts, including books by Shannon, Brillhart (French style), Lanning (Beginning Improvisation. Has been used for youth POE lessons). Morningstar Music Publishers has an array of Improvisation and Hymn publications: Burkhardt, Michael. Creative Hymn Playing. (2013) MSM Callahan, Charles. The Art of Hymn Playing, 2 vols., plus CDs. (2006, 2009) MSM , MSM Rotermund, Donald. Off the Page, 2 vols., On or Off the Page. MSM-90-33, MSM-90-56, MSM Westenkuehler, Jerry. Rejoice and Sing! Twenty Festive Hymn Introductions for Organ. (2013) MSM TAO articles: Learn to Improvise in 15 Minutes a Day. Various authors. The series began in A complete listing of the articles (compiled by Andrew Paul Fredel, ChM, and updated by Harold Calhoun at AGO Headquarters and Joyce Kull) is posted on the AGO web site, except for the articles by Leonardo Ciampa that appeared in 2013 and continue monthly TAO monthly articles leading to the AGO/EROI Eastman Pedagogy Conference in November 2011 on teaching improvisation. See the Dec Index to TAO for a complete listing. AGO booklet: Preparing for AGO (Certification) Exams: contains 13 articles on improvisation. 12

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