/t)!

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

L I S T O F T A B L E S . . , . . , , . , , , , , , , , P a g e

LIST OF ILLUSTRATIONS,, . ,., . . * , *f*,*,*,*,*, , , yv

Chapter

I. MUSICAL BIOGRAPHY . . . . . , . , , . . ,,

BeginningsThe Goldmark YearsThe Years with BoulangerThe Jazz PeriodThe Abstract PeriodThe American Folk Song Period

II. THE PRINCIPLE OF PANDIATONICISM. . . . . . . . 23

Tonality and AtonalityBitonalityStructureHarmonic FunctionPandiatonic CadencesModes and ScalesAccidentalsThe Seven-Tone SystemSummary

III. COPLAND'S METHODS OF PANDIATONICHARMONIZATION. . . . . . . . . . . . , , 45

OstinatoScale PatternsParallel ThirdsParallel Fourths and FifthsSecundal SonoritiesBichordal SonoritiesPedalArpeggiosCanonCombined ThemesModes in Pandiatonic Writing

IV. CONCLUSIONS. . . . . . . . . . . . . . . . . 74

APPENDIX . . . . . . . . , , . . . . . . , . , . . . . 77

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . ,, . *. . 84

iii

LIST OF TABLES

Devices Used by Copland in PandiatonicPassages * . .. 0 0 * 0 0 0 .

Modes and Harmonic Framework Used inAppalachian Spring 0 * . * * . .4

Modes and Harmonic Framework Used inRodeo. * 0 .a . . . * 0 . .

Modes and Harmonic Framework Used inBllyfthe Kid 0.. .. . .

Comparison of Modes Used in Copland'sThree Ballets . . . . * * * .

. 0 0 0 0 0

.0 0 0 0 0

, 0 0 0 0

0 0 0 0 0

S 0 0 0 0

iv

Table

I.

II.

Iii.

IV.

V.0

Page

77

78

79

80

82

LIST OF ILLUSTRATIONS

Figure Page

1. Casella, "Galop Final " Eleven Children'sPiees,measures 4 -7". . . . ..". ."." 26

2, Slonimsky, example of pandiatonic writing fromThesaurus of Scales and Melodic Patterns,p. 495. ."." . .r. ." ".. 0 0 " " 0 .." .". 26

3. Stravinsky, "Danse Busse," Petroushka,measures 1-4 . . . . . . . . . . . . . . . .27

4. Persichetti, example of pandiatonic writingfrom 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.,.. . w.".. .. 29

7. Slonimsky, Thesaurus of Scales and MelodicPatterns,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, measures89-92 . . . . . . . . . . . . . . . . . . . 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'sPieces, measures 3-12. . . . . . . . . . . . 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, measures20--22 -.-.-.-.- * - -.-.-.-.-.. . . . . . . . 36

18. Copland, Appalachian Spring, cited in Dallin'sTechniques of Twentieth Century Composition,p. 127 . . . . . . - - . . . . . . . . . . . 37

19, Slonimsky, Thesaurus of Scales and MelodicPatterns, 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 pandiatonicmode from Twentieth century Harmony, p. 224. 39

23. Stravinsky, "Gigue," Duo Concertant for Violinand ,ano, measursi666.7T,~. . . . . 40

24, Casella, "Galop Final " Eleven Children'sPieces, measures 47.5. . . . . . .~. . . . 40

25. Stravinsky, "The Shrove-Tide Fair," Petroushka,measures 59_67 ., . .* . . . . , . . . . . . 41

26. Slonimsky, Thesaurus of Scales and MelodicPatterns, pF7T2 71 . . . . . . . . . ,., 42

27. Stravinsky, "Ecologue I," Duo Concertant forViolin 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, measures331-336, , * , , , , * , . . . . . . . 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, measures180-185 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,measures 1-8 .. . . . . . . . . . .. . . 5?

49. Copland, BiL:. the Kid, measures 603-606 . . . . 58

50, Copland, Billy fle jjj, measures 289-292 . . . . 58

51, Copland, Biltlyhel Kd, measures 299-302 . , , . 59

52, Copland, Appalachian Spring, measures 366-368. . 59

53. Copland, "Buckaroo Holiday," Rodeo, measures110-111 . . . . . . . . . . . . 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

Figure

61.

62.

63.

64.

65.

66.

67, Copland, Applachian Spring, measures 16-21, ,

68. Copland, Applachian Sr ,

69. Copland, "Buckaroo Holiday,"measures 107-109 . . . .

70. Copland, Appalachian pri,

71. Copland, Applachian Spring,

72. Copland, "Buckaroo Holiday,"measures 270-274 . . . .

73, Copland, "Buckaroo Holiday,"measures 114-116 . . . .

74, Copland, "Buckaroo Holiday,"measures 394-398 . . . .

75. Copland, Appla hn Spring,

76, Copland, "Buckaroo Holiday,"measures 310-315 . . . .

measures 549-55

Rde ,. , . . , . . 0

measures 394-39

measures 531-53

Rodeo,$

* . . . . . .

Rodeo,. 0 0 . 0 0 0.

Rodeo,

measures8-8.

Rodeo,

2.

0

7,

7. .

. 0

. .

0 .

0 .

0 0 0 . . . . 0 0 0

Copland, ily the Kid, measures 106-11 .*"

Copland, Appaachian Spring, measures 333-337,

Copland, Apalachian Spring, measures 366-368,

Copland, "Buckaroo Holiday," Rodeo,measures 286-290 . . . . . . . , . , , , .

Copland, Applachian Spring, measures 69-71,,

Copland, Billy the Kid, measures 11N-116 .a.a.

72

77. Copland, fBila the Kid, measures 44-48 *

viii

Page

64

64

65

65

66

67

67

68

68

69

69

70

."

.0

CHAPTER I

MSICAL BIOGRAPHY

Beginnings

Aaron Copland, born November 14, 1900, lived his first

twenty years in Brooklyn on a street he described as "drab."1

His father, Harris Copland, a hard-working immigrant from

Lithuania, successfully owned a neighborhood department store,

above which the family lived. Sarah, his mother, who assisted

with the family business, was more artistic in nature than her

business-minded husband. It is likely that much of Copland's

early musical interests were inspired by her, She had a pleas-

ant voice and often would sing and accompany herself when the

family gathered for informal "sings." However, Copland's main

impetus in serious music study was his own desire. "Music as

an art," he said, "is a discovery I made all by myself," 2

The piano was young Copland's first musical interest, and

his first teacher was his older sister, Laurine. After giving

her brother lessons for about six months, she declared that

because of his rapid progress she could teach him nothing more.

After wor ing at the piano by himself for another year and a

half, Copland decided he wanted to study from a professional

teacher and persuaded his parents to let him,

1 Aaron Copland, Our New Music (New York, 1941), p. 212.

2 lbid., p. 213.

1

2

The first formal training Copland received was piano les-

sons from Leopold Wolfsohn. While studying with Wolfsohn,

Copland made his first public appearance and heard his first

public concert. At this stage, his widening musical interests

were beginning to include composition. "The idea of becoming

a composer seems gradually to have dawned upon me some time

around 1916 . . , 3

Realizing that to compose one must have a knowledge of

harmony, Copland asked Wolfsohn to find him a harmony teacher.

Beginning in the fall of 1917, he went to Manhattan every week

to study harmony, counterpoint, and composition with the noted

Rubin Goldmark, who later served Juilliard Graduate School of

Music as head of its composition department. Although unaware

at the time of the momentous step he was taking, Copland began

his career as a composer.

The Goldmark Years

The four years that Copland spent with Goldmark proved to

be an excellent beginning for his compositional studies. Spe-

cies counterpoint, fugue, song forms, variation forms, and es-

pecially the sonata form, which Goldmark considered the supreme

vehicle for musical expression, were all part of his work. Look-

ing back, Copland felt that the value of this training was that

Goldmark

. . . had an excellent grasp of the fundamentals of musicand knew very well how to impart his ideas. This was a

3 Ibid., p. 213.

3

stroke of luck for me. I was spared the flounderingsthat so many musicians have suffered through incompe-tent teaching at the start of their theoretical train-ing.

During this period, Copland continued to make progress as

a pianist. Since he had been with Wolfsohn for several years,

Goldmark encouraged Copland to study with a second teacher,

Victor Wittgenstein. By the winter of 1919, however, Copland

had become disappointed with his results and at Goldmark's sug-

gestion, left Wittgenstein to study with Clarence Adler.

It was through his studies in piano rather than composi-

tion that Copland became familiar with modern composers. The

conservative Goldmark "actively discouraged this commerce with

the 'moderns'," 5 and felt a student's merit was measured by

his ability to master sonata form. By contrast, Copland's

first lesson with Adler was marked by the presentation of

Ravel's Sonatine, which Copland thought a "revolutionary piece

at the time,"6 Through his exploration in new piano litera-

ture and his frequent attendance of opera and symphony con-

certs, Copland was discovering works by Debussy Scriabin,

Hugo Wolf, and other more modern composers.

Because of his interest in these composers, Copland was

considered to be the enfant terrible of Goldmark's class and

was often the butt of many good-humored jokes. This situation

Ibid., p. 214,

5 lbid., p. 215.

Julia Smith, Aaron Copland (New York, 1955) p. 12, citingMusical Courier (author not given) (September, 1946), 14.

4

did not lessen his interest but instead increased it, Copland

said, "The fact that this music was in some sense forbidden

only increased its attractiveness. "7

Two of Copland's pieces during these years testify to his

interest in contemporary music and his awareness of modern

techniques, Smith states that both the Scherzo Humoristique:

Le Chat et la Souris (The Cat and the Mouse) and the song Old

Poem "reflect the French impressionist style, with the latter

indicating . . . a beginning interest in a frequent change of

meter,"8 Works such as these were too advanced for Goldmark's

ears, and Copland was informed that his "experiments" would

have to be done independently and that only works in the tra-

ditional vein would be acceptable for their lessons. It was

evident to Copland that he could not fulfill his artistic de-

sires under these limitations, Having decided to forsake col-

lege for the study of music, he felt that Europe offered the

best opportunities for continuing his musical education. In

June, 1921, Copland sailed for France.

The Years With Boulanger

As a young man of twenty-one, Copland threw himself into

a world that was, both geographically and musically, a great

distance from his home. Post-war Paris had succeeded Berlin

as the cultural center of the world, and its innovative, stimu-

lating atmosphere was precisely what made study in Europe a

7Copland, 2.2 cit.

8 Smith, _®;. cit., p. 14.

5

"must" for any ambi t i ous young musician. The romanticism of

the nineteenth century was being supplanted by new aesthetic

concepts , including Jtravinsky's dynamism, Schoenberg's ex-

pressionism, and Bartok's nationalism. The beginnings of the

neo-classical movement, which would find more adherents in

the middle of the decade, were being felt, It was into this

exciting environment that Copland came to find a suitable

composition teacher.

Copland's tour in Europe began with a summer's stay at

Fontaitsbleau, a music school established for Americans. The

summer there, he felt, would enable him to become more famil-

iar with the language and to receive some intermediate in-

struction while looking for a teacher for the fall. His com-

position teacher at Fountainbleau was Paul Vidal, of the Paris

Conservatoire, whom Copland soon discovered to be as conserva-

tive in musical matters as Goldmark. Copland conscientiously

prepared his lessons for Vidal, but without the interest or

enthusiasm he had hoped to gain from his stay in France.

It was almost by chance that Copland found his teacher.

Through his association with other students, he began to hear

of an excellent harmony teacher, Nadia Boulanger, along with

"ecstatic reports of her manner of presentation."1 0 Copland's

initial reaction was only slight interest, since he felt his

studies in harmony had been adequately covered under Goldmark.

9Copland, _.iS., pp. 217-218.

1 0 Arthur Berger, Aaron Copland (New York, 1953), p. 7.

6

Finally, at the insistence of one of his fellow classmates, he

attended one of her lectures, the subject of which was an analy-

sis of a passage from Boris Godounoff. "I had never before,"

Copland later said, "witnessed such enthusiasm and such clar-

ity in teaching. I immediately suspected that I had found my

teacher." 1 1

As the summer continued, Copland visited Boulanger's

classes whenever possible, becoming more certain that he should

study with her. Despite earlier reservations concerning study-

ing composition with a woman, in the fall he moved into Paris

to begin his study.

Copland's lessons in composition, orchestration, and score

reading took place in Boulanger's apartment in the late after-

noon. His days were usually occupied with preparing assign-

ments for his lessons, while the evenings were often spent at

concerts or the theatre. Continuing his efforts as a pianist,

he spent several hours a day in serious practice; his teacher

was Ricardo Vi'ies, who had also taught Poulenc. Preferring to

do his own serious composing in the evening, he often worked

at the piano late into the night.

Copland found Boulanger's unpedantic style of teaching

and her interest in modern music perfectly suited to his own

musical temperament. She greatly encouraged his investigation

of new music; for score reading practice she often had Copland

read at the piano a movement from a Mahler symphony with which

1lCopland, M. cit., p. 218,

7

he was unfamiliar. When later asked to explain Boulanger's

method of teaching, Copland said that she simply reacted to

the efforts of her students instead of laying down rigid

rules. She seemed to be able to inspire her students with

confidence and a sense of worth. Copland maintains that when

he brought her something he had composed, he always felt he

was with someone who knew all the answers. Her "musical in-

stinct was so sure that she could immediately point out the

weak spot and tell you why it was weak , . #"12In addition to sharpening his various musical skills, the

Paris years marked Copland's beginning as a writer of musical

criticism. During 1924, he wrote and published "Gabriel

Faure, a Neglected Master," appearing in that October's Musical

Qfarrly. He has since become as respected for his literary

contributions to the musical world as for his compositions.

Shortly before Copland's stay in France was over, Boulanger

was invited to make several concert appearances in the United

States. As an organist, she asked Copland to provide her with

a new work to perform on her tour. Copland accepted and soon

left France for his return home with a commission from his for-

mer teacher.

The significance of the years Copland spent with Boulanger

is great, as indicated by Copland's remark when asked later to

cite the most important musical event of his life: ". . . my

12Edward T. Cone, "Conversations with Aaron Copland," Per-spectives of New wusic, XIII (Spring-Summer, 1968), 61,

8

introduction to Nadia Boulanger and her acceptance of me as a

pupil." 13

The Jazz Period

Upon his return to the United States, Copland felt he

should begin supporting himself as his parents had helped fi-

nance his three-year trip abroad. Sending out cards announcing

himself as a teacher of piano and theory, he took residence in

his first studio. During this time, he continued to write and

orchestrate his Symphony forCy and Orchestra for Boulanger.

This work was premiered January 11, 1925, by Boulanger and the

New York Symphony Orchestra. With this, his first orchestral

performance, Copland scored an artistic success. Though some

critics were certainly not as passionate in their praise as

others (some, in fact, were rather cool), Copland's fame as a

composer had begun.

Some of the materials Copland employed in the Jazz Period

are found in the Organ symphony . Smith states that the middle

section of the work "marks the first appearance of 'blues', as

such, in any of Copland's music to date."114 The far-reaching

significance of this section of the Organ Symphony is that

""+ . .it is the first evidence of the blues element which,added to the fast jazz rhythmic mood (first encountered in the

Finale of the Dance symphonyy [1925]), was shortly afterward

13 Smith, . cit.., p. 45.

14Ibid. , p. 78.

9

consciously adopted by Copland in order to make his music sound

more American."15

The jazz-inspired rhythmic aspect of Copland's music is

certainly an important one. This is true not only of the works

in the Jazz Period but also of the works in the different styles

that followed. Berger states that rhythms suggestive of jazz

"are still to be found today in Copland's music, but the devel-

opments to which they are subjected often remove them very far

indeed from the character of their source 0 ."16

Although his first "blues-type" melody appears in the Or-

an Sphony and jazz rhythms were initially heard in the Dance

Symphony, his first consciously written jazz piece was An Immor-

tality, a work for women's chorus written in 1925. Some of its

jazz components are a polytonal and polyrhythmic "riff" style

bass, a syncopated major melody employing a flattened third,

and a three-part jazz-canon at the unison.

After completing this first full experiment in the jazz

idiom, Copland wanted to see what else he could extract from

the jazz vein. The next work to follow was Music for the Thea-

tre (1925), which some musicians consider his best work. 1 7 Some

jazz devices appearing in this work are the use of a "riff" in

the bass; a "hot blues break" played by the clarinet; the use

of traditional jazz devices, such as the trumpet's use of the

15ibid., p. 79.

1 6Berger, .22. cit., p. 50.

1 7Smith, op. cit., p. 84.

10

"wa-wa" mute; and jazz polyrhythms. Music for the Theatre oc-

cupies an important place in Copland's career as a composer

and the evolution of his own style, and in the acceptance of

jazz as an acceptable source of material for serious composi-

tion. It is an important work in the development of Copland's

musical style because it marks a separation from the French,

or European, manner of composing into a consciously American

style with its new jazz idiom,1 As to its broader importance,

Slonimsky states that Music for the Theatre possesses a certain

historical significance inasmuch as it gives expression of jazz

music in a classical dance form for the first time."l9

Copland's next major work of the Jazz Period, the Concerto

for Piano and Orchestra, was not completed until the last months

of 1926. Its first public performance was in Boston on January

28, 1927. Although the following day's reviews in the Post,

Herald, and Transcripts were quite unfavorable,20 Copland ac-

cepted the criticism with his typical good nature. The worth

of the work gradually was realized; fifteen years after the

Concerto's premier, Oscar Thompson described it as "the most

impressive symphonic work in the jazz idiom by an American or

European composer.," 2 1 With the completion of the Concerto,

8Ibid,, p. 86

19Ibid.

20Ibid. , p. 95.

21Oscar Thompson, Great Modern Composers (New York, 1943),p. 44.

11

Copland felt he had said everything he could within the limita-

tions of the jazz idiom,22 He now began to look for other ma-

terials.

During August of 1927, evidences of Copland's harmonic ex-

plorations were seen in the ang for soprano voice and piano,

The materials used in this experimental work were later fully

exploited in the works of his Abstract Period, Smith describes

the work as

Contrapuntal in technique (without a trace of jazz), thisshort work (lento molto, 3/2) employs the serial tech-niques (a kind of tone row) withoV, however, actuallydestroying all sense of tonality.

Copland began his next major work, ymphonic Ode, about the

same time as Song was composed, Written over a period of two

years and in several countries, it was not performed until 1932.

A five-sectioned work in one movement, the Ode has only one

theme; however, an over-all design of slow--fast--slow gives it

a feeling of exposition, development, and recapitulation. The

form might be indicated as A-B-C-B-b, with A, C, and ) the slow

sections and B in faster tempo.2k

The retrospective importance of the Ode is in its pivotal

relationship to the whole body of Copland's music; it completed

the works that preceded it and foretold aspects of the works to

follow, Jazz was still an inspiring element of the Ode, but the

jazz influence was felt in more subtle ways and occurs beside

22Copland, _o. cit., p. 220,

23Smith, _of. cit., p. 99,

24ibid., p. 115.

12

material that had nothing to do with jazz. The work's main kin-

ship to the Jazz Period--a kinship shared by most of Copland's

music--is its jazz-derived rhythms.

The Ode was certainly a turning point in Copland's evolv-

ing style, In it he ", . . was beginning to rid himself of such

composer's paraphernalia as scales, arpeggios, fill-in sonori-

ties, literal jazz references, and similar devices character-

istic of the jazz-inspired works . . ."2 Copland himself has

remarked that the works that follow it are not as grandiose or

fulsome.26

Since Copland felt that the Symphonic Ode was a culminating

work, he also felt the need to follow it with something differ-

ent. Although he did not have the Piano Variations in mind at

the time, 2 7 retrospective examination shows the stylistic bridge

the Ode forms--on one side is the Piano Concerto at the height

of the Jazz Period and on the other the Piano Variations and the

Abstract Period.

The Abstract Period

Copland's second period of style produced abstract works that

were appreciated and understood by only a limited audience. These

works, Short Symh2n, Statements, and Piano Variations, were not

performed often because, in Copland's view, they are "difficult

25lbid.

26Copland, 2, cit., p. 228.

2 7 Cone, _2. nfl., p. 64.

13

to perform and difficult for an audience to comprehend." 2 8 To

many audiences, this type of music, in which the development of

an idea is more important than traditional melody, is considered

too coldly intellectual. 2 9

The absolute conception of these works was quite unlike

the jazz-oriented. compositions Copland had come to fame with.

This, plus their advanced constructional techniques, caused the

general music public, along with most musicians, to fail to

realize the worth of these works. Today, many critics consider

the efforts of this period to be Copland's best music. 3 0

The Piano Variations, written in 1930, is described by

Berger as "a masterpiece of musical construction" 3 1 and stands

as a milestone in Copland's career. Not only did he write a

piece that is masterful in itself, but in doing so he discovered

that transparent texture that has since been so characteristic

of his music. In fact, Flanagan states that it is in the Varia-

tions that "the 'Copland sound' is finally crystallized." 3 2

The theme and its twenty variations spring from a four-note

motive, E-C-Eb-#, which unifies the work. These notes are also

the first four tones of Copland's row-- -C-Eb-C-A-D-Ft-G#-8-G-Bb-F.

28Copland, 2, _cit., p. 228,

2 9Harold C. Schonberg, Them Lives of the Great Composers (NewYork, 1970), p. 549.

3 0Jack Frymire, "Copland 68," Music & Artists, I (November,1968), 48,

3 1 Berger, o. cit.., p. 45.

32William Flanagan, "Aaron Copland," HiFi/Stereo Review,XVI (June, 1966), 48.

14

As the work develops, the row is transposed to begin on differ-

ent pitches, with a return to the original row on E for the coda.

It is important to recognize that Copland, as any good com-

poser, always shapes his material to suit his composition--his

rows do not dictate the music. "His music," says Thompson,

"does not yield the effect of having been composed in fulfill-

ment of a creed."3 3

Copland has always been in essence a tonalist,34 By infus-

ing his serially-oriented composition with his own personality,

he emerges with what some would call a musical contradiction--a

tonally-designed twelve-tone work.

Another departure from strict serial technique is the num-

ber of tones Copland uses in his rows. Both the Theme and Varia-

tion I use only ten notes of the row; the eleventh tone, fBb, is

added in Variation II. The final tone F, although appearing

briefly in Variation VII, finally comes into its own in Varia-

tion X when it becomes the basis for a new row transposition,

F-Db-E-D.

The Piano Variations is different from the other works of

this period in that, because of its polytonal-serial aspects,

it is more sharply dissonant. Although it was not received well

at its first performances, it has since become regarded as one

of the important works in contemporary piano literature.35

3 3 Thompson, p. cit., p. 43.

3tArthur Berger, "The usic of Aaron Copland," Musical Quar-t&ry, XXXI (October, 1945), 436.

3 Smith, ~ff. ji., p. 128.

15

The Short Symphony followed the Piano Variations in 1933.

In addition to serial techniques, there appear polytonal as

well as tonal passages. In this work, Copland increased his

mastery of both the symphonic form and clean, transparent style

of orchestration. The work was not heard in the United States

until 1944.36

Between 1933 and 1935, Copland worked on his Statements,

the final work of his Abstract Period. The work consists of

six movements entitled "Militant," "Cryptic," "Dogmatic," "Sub-

jective," "Jingo," and "Prophetic." In this work, tonal, poly-

tonal, atonal, and serial elements are combined to create a

work that shows Copland at his best.

The works of the Abstract Period demonstrate Copland's mat-

uration as a composer and his increasing ability to successfully

meld diverse materials together. Moreover, the challenge of

taking an absolute musical idea, extracting its essence, and ex-

panding it to intellectually staggering proportions was met with

Copland's characteristic sureness,

These works, however, did not enjoy wide public acceptance.

Because the average American audience was not able to understand

many contemporary works, Copland's aesthetic direction changed,

and a new style period began.

The American Folk Song Period

The American Folk Song Period was a natural result of Cop-

land's desire to involve the layman in an appreciation of

36 Ibid,, p. 150.

16

contemporary music and a decision to employ a simpler harmonic

language. In an autobiographical sketch Copland remarks,

It seemed to me .that we composers were in danger of work-ing in a vacuum. Moreover, an entirely new public formus ic had grown up around the radio and the phonograph.It made no sense to ignore them and to continue writingas if they did not exist. I felt that it was worth theeffort to see if I could 't say what I had to say in thesimplest possible terms,'7

For this reason his abstract, serial themes were replaced by

singable cowboy and Shaker tunes, and diatonicism, rather than

the row, became the harmonic basis.

Although the situation of the day may have spurred Copland

to action, this new musical development was not simply the re-

sult of an arbitrary decision. The diatonicism that did not

fully assert itself until this style period can be found, though

certainly not in a position of dominance, in his earlier works.

A typical Copland practice has been to interpolate non-

diatonic tones upon a foundation that is basically diatonic.

During the early stages of the Jazz Period, these interpolations

were often polytonal. By the time of the Symphonic Ode, these

piled-on dissonances no longer stand apart from the key of a

given passage as a separate, polytonal superimposition. "They

are fused somehow," says Berger, "into the prevailing texture." 3

With this technique, Copland creates a dissonance more subtle and

less conventional than straight polytonality.

Even at the height of the Abstract Period in the Piano Varia-

tions, a diatonic order can be found. At one point, unadorned

37Berger, Aaron bpland, p. 67.

38Ibid., p. 68.

17

major triads enter the texture, a highly unusual procedure in

traditional twelve-tone writing.

Stronger evidence of this earlier diatonic order is the use

of passages that are purely diatonic, which contain no non-dia-

tonic dissonance. Two examples are the opening trumpet canon

in the Piano Concerto and the "Lento" from the Short Syphony.3 9

With the composition of the works of the Folk Song Period,

Copland's interpolations above his diatonic foundations became

less dissonant. Subsequently, purely diatonic combinations ap-

peared with greater and greater frequency.

A very important work in the development of Copland's style

during this period is El Salon Mexico, completed in 1936. In

this work, the composer discovers two techniques that are basic

to the music of this period--the quotation of folk music, and

the use of a simpler, more easily understood musical language.40

Some of the Mexican tunes quoted are "El Mosco," "El Palo Verde,"

"La Jesusita," and "El Malacate." The work develops in G major

and E major, and the harmonies, says Smith, ". . . are either

triads or appropriate (to the folk tunes) polytonal combina-

tions," 41

Three ballets, written between 1938 and 1944, constitute

the backbone of this period, Several other large works were

written during this time, but the ballets, the essence of the

Folk Song Period, overshadow them.

3 9 Berger, "The Music of Aaron Copland," p. 437.

4 Smith, o:.c 2ift., p. 175.

41lbid.

18

It is in Bijjy the Kid (1938) that the style of this pe-

riod becomes crystallized. Familiar cowboy tunes abound--"The

Old Chisolm Trail," "Git Along Little Bogies," "Goodbye, Old

Paint," and "0 Bury Me Not on the Lone Prairie." To give these

tunes an appealing freshness, Copland places them in polyhar-

monic and polyrhythmic settings.

While Copland employs many authentic folk songs in these

works, they are seldom quoted literally. Usually they are modi-

fied melodically, rhythmically, or (one of his favorite prac-

tices) expanded by phrase extension. Occasionally a song is

transformed to create a mood opposite its original; what once

was frivolous becomes broad and tender. By taking the sub-

stance of folk songs and then transforming and shaping them,

Copland's music "distills far more than it quotes."43

In 1942, four years after fBill the Kid, Copland received

a commission for a second cowboy ballet, which was entitled

Rodeo. Just as its predecessor, Rodeo makes use of such folk

and cowboy tunes as "Sis Joe," "Bonyparte," and " cLeod's Reel."

Declaring the work to be one of Copland's most accessible and

easily understood orchestral works, Smith terms it "Americana

at its best,".

The work for which Copland is probably best known, the bal-

let Appalachianring, was premiered in 1944 and was awarded

Berger, Aaron Copland, p. 60,

43Frymire, _ cit.., p. 48.

Smith, _p. citf., p. 143.

19

the Pulitzer Prize for Music the following year. Much of the

ballet has the flavor of Shaker hymns and dance songs but only

one actual tune is used, the Shaker song entitled The Gift to

be Simle. Although there is less quotation of folk tunes than

in the other ballets, the diatonic trend of the entire period

reaches its peak in this work.t Flanagan states, "If the

phrase 'Copland sound' has any meaning, Appalachian

[defines] it." 46

Copland's compositional career has been marked by the orig-

inal way he dresses familiar material. Whether that material is

jazz or twelve-tone, the final Copland product is subtle and so-

phisticated refinement of the original. Thus, it is logical that

in this period he would use diatonic harmony in a modern manner,

a technique termed pandiatonicism by Slonimsky. Pandiatonic

writing occurs in all of the ballets, as well as in some later

film scores and incidental theatre music. An investigation of

Copland's use of this technique will be undertaken in chapter

three of this paper.

During this time, Copland was also engaged in writing sev-

eral works of a serious and absolute nature, Among these are

the Piano Sonata, the Clarinet Concerto, Sonata for Violin and

Piano, and the Third Symphony. Many of these works are closer

in harmonic content to the serially oriented works of the Abstract

4Berger, "The Music of Aaron Copland," p. 437.

46Flanagan, R. cit., p. 51.4?Nicolas Slonimsky, Music Since 1900 (New York, 1937),

p. xxiv.

20

Period than they are to the diatonically conceived ones of the

Folk Song Period. These serious works were not composed with

the popular music audiences in mind but were written to satisfy

the co-poser's need for a more serious creative outlet. As

Copland alternated between the absolute and the folk song works,

his attitude concerning the use of specific references to na-

tive American music began to change. Feeling that American

composers were becoming more self-reliant, Copland stated, ". ..

we can be certain that when our music is mature, it will also be

American in quality. American individuals will produce an Amer-

ican music, without any help from conscious Americanisms." 4 }

Although Copland has continued to employ "Americanisms" for his

more popularly styled film and theatre music, he no longer does

in his absolute works.

The past few years have seen Copland make a complete re-

turn to his earlier serial techniques. In 1962 there appeared

Connotations, his first all-out orchestral twelve-tone work.

It is based on three four-note chords heard at its outset, from

which many lines are drawn, 5 0 Evans states that while Copland's

earlier serial works were "essays in a tentative serialism,"5 1

Connotations is "the fully committed working out of a row." 5 2

"8Smith, 2. cit., p. 223.

4 9Thompson, a. cit., p. 46.

50Peter Evans, "Copland on the Serial Road," Perspectives ofNew Music, II (Fall-Winter, 1963), 141.

5 11bid.

521bid., p. 149

21

The composer's feeling is that Connotations is the logical cli-

max of his other serial works--the Piano Variations, the Piano

Quartet (1950) and the Piano Fantasy (1957).

Copland's final work to date is Insc ;,, first performed

in 1968. It is scored for large orchestra with varied percus-

sion. Noting the presence of both serial and diatonic elements

in the work, Henderson states that their combination produces

"music of a stimulating independence of spirit." 4

Bernstein, however, suggests that Copland's latest ventures

into serialism were not musically comfortable for the composer.

When Bernstein asked why Copland bothered with such things as

tone rows and rules of retrograde inversion, Copland replied,

"Because I need more chords. I've run out of chords." 5 5 Bern-

stein also feels that Copland's reason for no longer composing,

aside from age, is that younger composers are leading the art

down avenues which he could not or did not wish to go.56

While the music world may not be certain as to the materials

Copland may choose to work with in a particular instance, it can

be sure the final product will bear Copland's own individual im-

print. Bernstein says that although Copland's style ranges from

53 Flanagan, pp. j. , p. 49,

5 4 Robert Henderson, "Copland's Inscap,!" Tempo (Winter, 1968-1969), 29.

5 5 Leonard Bernstein, "Aaron Copland--An Intimate Sketch,"HUgh Fidelity/Musical America, XX (November, 1970), 5?,

56Ibid.

22

"New York jive to New Mexico twang . . , so strong is the force

of Copland's personality that it shines through all of his mu-

si ."57

5 kLeonar Bernstein, "Young People's Concert," unpublishedscript, CBS-TV, December 27, 1970.

CHAPTER II

THE PRINCIPLE OF PANDIATONICISM

The term "pandiatonicism" first appeared in 1937 in Nico-

las Slonimsky's Music Since 190_0. The term was used to de-

scribe a harmonic device that had become an important feature

in works of certain twentieth-century composers. 3lonimsky's

basic definition of pandiatonicism is "the technique of free

use of all seven notes of the diatonic scale in melodic, con-

trapuntal and harmonic combinations . . . "i

According to Blom, early approximations of pandiatonicism,

as used by Glazunov and Tschaikowsky, were "progressions of per-

fect fourths (e.g., E.A.D.G.) and arpeggios of thirds (e.g., A.B.

rsic] D.F.A.C.E.G,) . . ."2 Pandiatonicism itself did not emerge

until the early twentieth century, Blom says, when it developed

at first as a "modern white-key piano technique" and as a reac-

tion against both the harmonic chromaticism of the nineteenth

century and the "pan-chromaticism" of the twentieth-century aton-

alists. 3 It became more fully established with the rise of the

Illonimsky, 22,!ci.

2Eric Blom, "Pandiatonicism," Grove's Dictionary of Musicand Musicians, edited by Eric Blom, Vol. VI (NewYork,~1954,p. 543

3lbid. Neither the term "pan-chromaticism" nor "modernwhite-key piano technique" is defined by Blom.

23

24

neo-classical movement around 1925.4 Some writers consider

pandiatonicism to be an important technique of twentieth cen-

tury composition.5 Others, such as Austin, deny it is any form

of "principle of harmonic motion or structure" and is, at least

in the hands of some composers, only "a temporary costume."6

Among those who consider it a legitimate technique, there is

considerable disagreement concerning aspects of its structure

and function. This chapter will consider some of these disputes.

Tonality and Atonality?

An investigation of the tonal properties of pandiatonicism

is fundamental to understanding it as a harmonic technique. Not

all who have written about pandiatonicism have discussed its re-

lationship to tonality, but among those who have, differing views

are held.

One view, as expressed by Blom, is that pandiatonicism is

"firmly rooted in tonal harmony."8 Apel does not comment as di-

rectly as Blom does, but he does state that the harmony usually

4Willi Apel "Pandiatonicism," Harvard Dijtiona r of Music(Cambridge, 1969), p. 639.

5lbid,

6William W. Austin, Music in the Twentieth century (NewYork, 1966), p. 424.

71n this study, a passage will be considered tonal if thereis one tone to which all others are subordinate, and atonal ifthere is no such tone. An atonal passage, however, may be con-structed of traditionally tonal materials (i.e., major and minorchords),

8B lone, _op".camt..

25

has a "tonal staticity."9 Some tonality is implied in Hansen's

assertion that the harmonic progressions "will ultimately end

on tonic."1 0 Slonimsky, declaring it to be a "consolidation

of tonality,"11 further explains his position: ", . . the bass,

the fifth from the bass, and the tenth from the bass determine

the prevalent harmony."12 None of these writers states con-

clusively that pandiatonicism is tonal or atonal. Though one

may lean toward a tonal viewpoint, an exact position is not

stated,

Blom's discussion notes that "the perfect fourth on the

fundamental is seldom if ever used," 1 3 which is a view also

held by Slonimsky.l4 These two writers are the only ones to

impose this qualification. To restrict the fourth, however,

is to contradict the basis for the pandiatonic principle--."the

free use of all seven notes of the diatonic scale . . 0"15 It

would re-define the term as the free use of six notes of the

diatonic scale, with the avoidance of the other. For the pur-

poses of this study, the use of the fourth above the fundamental

will be unrestricted.

Slonimsky cites Casella's eleven Children's Pieces as an16

example of pandiatonic writing,. The pieces that employ

%tpel, f.l, cit.

1 %Peter S. Hansen, Twentieth Century Music (Boston, 1967),p. 179,

11S lonimsky, off?,,c t o121

13 Blom, ~ov. ct, , p. 534.

14 lonimsky, cit. 15Ibid. 16

26

pandiatonicism are number three, "Valse Diatonique;" number

eight, "Minuetto;"" and number eleven, "Galop Final." Though it

is at times obscure in the "Minuetto," all three pieces are ton-

al. The excerpt from "Gmlop Final" is in C major.

jwgripteAlle

_ _4'

Fig. 1-Casella, "Galop Final," Eleven Children's Pieces,measures 4.7.

Allegretto

1I

A Allegro $I IL. lirmmommmm--

w ---wom"NAW

ommummoomXl!k V""own

v

Sf

ommoomm"

(rib.

4dl

ALU

OFMI od 'Affw -.,

F-A

_ _ _ _I

_ _ _ _ _ OW Il

VG

Fig. 2-Slonimsky, example of pandiatonic writing fromThesaurus of Scales and Melodic Patterns, p. 195.

- ", &-,a I - -- - 11 -

t

d9 I

V

i

27

In his Thesaurus, Slonimsky has written examples of dif-

ferent types of pandiatonic writing. The illustrations of four,

five, and six part harmony all have tonal endings. (See Figure

2.)

Apel denotes several works that contain pandiatonic writ-

ing. 1 7 The pandiatonic passages found in Stravinsky's Petrou-

shka are tonal. The opening theme from the "Danse Russel" is in

a Mixolydian mode in G major. (See Figure 3.)

plane 4 .1

Fig. 3--Stravinsky, "Danse Russe," Petroushka, measures 1-4.

Persichetti's statement that "the horizontal chord succes-

sion has no tonal direction"18 does not definitely pre-suppose

a state of tonality. Neither do his illustrative examples and

references totally clarify this area. The progressions in

1 7Apel, . cit. The works referred to are Satie's Embr-ons desseches; Poulenc's Suite (1920); Debussy's "Doctor GradusElTParnasswn," Coin des enfants; Stravinsky's Petroushka andSerenade (1925).

18incent Pe rs ichetti, Twentieth Center Harmn (NewYork, 1961) , p. 224.

28

Figure 4 show no clear tonal direction, but the final chord

seems to establish Bb as the point of repose.

4'

b K ..,-.,... 5t .,.. H

Fig. 4--Persichetti, example of pandiatonic writing fromTwenti th Century Harmo p. 224.

Some of the works cited by Persichetti as containing pan-

diatonic writing seem to uphold the tonal principle and some

do not. The passage in Figure 5 is tonal (C major).

Fl. I

Via.

Ch.

Fig. 5-Copand, Appalachian irin, measures 372-375

l1_bid., p. 225. The works are Stravinsky's Duo Concertantfor Violin and Piano, Dah's Divertimento for Viol and Piano,opland#s ATAppaachian ,pring, Hanson's Lament f or Beowulf, andHonegger's Jeanne d'Arc.

w

ir-

tj i ban"boom

Of -.momar "" T

. .nrs

Yr

1, F

{

.ifYY.ww rwrwrr..

... r.ara. i ell+w .xflrrrw!wF 'r bMf AYMM1 lY

J rwwafs.Nk.ryr +' e A+u. I adwwMW. .+YVeen MKiYy -

OF .06

AhL MOO"IYeyM

Aft

SKI+Ar+Y 1+f MM .AAiY!. A+ . Y. :.qVA iYi

aWY. +MiMV Aia -

'-. M..frWa'«P' w.v wdtlMYM111f4wM M MwY x1Y b 1 - - -

I Pt.+rgRA l4n.w+Y

A

iff-= - d

I

.

d

I

'dt

29

The tonality of Dahl's Divertimento is not as clear, as

seen in Figure 6.

Fig. 6--Dahl, "Coda," Divertimento for Viola and Piano,measures 18-22.

The passage from Hanson's Lament for Beowulf (see Figure

13) appears to have no definite tonality.

Of the writers surveyed, Miller's view is the most clearly

stated. He says that "although pandiatonic music is not neces-

sarily atonal, neither is it solidly tonal . . 0"20 This study

will assume that pandiatonic music is neither tonal nor atonal

by necessity, but may be either by preference of the composer.

Bitonality

Some pandiatonic chords, because of their vertical arrange-

ment, have the appearance of being bitonal. In Figure 7, the

second vertical structure appears to be the superimposition of

2 0 Hugh Milton Miller, History of Music, third edition (NewYork, 1969), p. 534.

30

the IV and V triands in C major. Other similar combinations can

be seen in Figures 7 and 8,

= ftWO=1A 4-~.

-Ai_

Fi.7--Slonims

te rns, p. 195.

Piano

Harp

cy, Thesaurus of Scales and Melodic Pat-

AIts

Fig. 8--Stravinsky, "Danse Russe," ?etroushka,111-112,

measures

There is also an appearance of bitonality in passages where

individual voices outline different triads. (See Figures 9 and 10.)

A- N wFig. 9-Stravinsky, "Hymne , " Serenade , measures 58-60

i,:

I

; -~ .

_.

R,

iAL

poolI''y

qw-0

'

.,_ _ . .

31

(3) t. ---.

Ft. ______________ _______________ ______________ ____________

(if AI ~- ~ ~ ~-s -~ ______

s---- - -

- ~ ~ ~rrwr. wrrr.

! _w.a~~ .w~r+."......+ w- .. ~ _ _ __ww....rrr

II-_ _ _ _ *0t k % I

_ _ _ _ _ _ _ _ _ _low-

Fig. lO--Copland, Appalachian Spring, measures 15-21

However, Blom states that these sonorities cannot be con-

sidered bitonal because there is no superimposition of key. He

says, "The combination of the tonic chord with the sub-dominant

or dominant triads, peculiar to pandiatonic usage, cannot be

described as bi-tonality, as the notes are taken from the same

diatonic scale." 2 1 These will be referred to as bichordal So-

norities.

Structure

Slonimsky describes the structure of pandiatonic chords as

being of ". . . tertian harmony in the lower strata, in quartal

harmony in the higher tones." 2 2 Hansen's view is broader and

claims ". . . the chords are not limited to structures built in

thirds . 23

2

CAse, _. _22Slonimsky,_

cot.jn.

23Hnsn,_o. _'"

vI,,

Via.

Vc.

32

The pandiatonic chords in Figures 11 and 12 can easily be

identified as being tertian, Others (see Figure 13) are non-

tertian,

49 p2

IF.

w attar Z3e.. qwusm bo.,w t

u~ 1 4N

Fig. 1L--Honegger, Jeanne d frc, Scene IV, measures 89-92.

& II

men kind-est, To his folk.. the mostmp

men kind- est, To his folk. the most

Ah

111 .1 14. f

& F e fm

Fig, 12--Hans on, Lament f or Beuf, measures 163-166

33

-ing, be wound..... with

- -ing, be ......wound....... with the weep -

til it at last the

tilit at last e the

Fig. 13--Hanson, Lament foBr Beowulf, measures 109-110

For this study, it will be assumed that pandiatonic har-

mony is built in thirds only when the composer prefers it and

that it is non-tertian when that is his preference.

Harmonic Function

Slonimsky views pandiatonic harmony as functional2L and

states that "the harmonic function of the principle triads re-

mains strong." 25 On three different occasions he describes

24The succession of chords is determined by the traditionalroot movement by fifth relationship.

2 5 Nicolas Slonimsky, "Introduction," The New Book of ModernComposers, edited by David Ewen (New York,1976TTp .

34

the ultimate harmonic function as being determined by the bass, 2 6

In substantiation he writes, "A clear example of functional pan-

diatonic writing is found in the 'Waltz' on the white keys from

Casella's Children's Suite for piano. The function of the tonic

and the dominant is observed, but the melodic and harmonic flow

is free."2 7

Vivacissimo (one beat to a measure)

min

saco. senmre OFeg

Fig, 14--Satie, "Valse Diatonique," Eleven Children'sPieces , measures 3-12.

The "Galop Final" (Figure 15) of the same work shows a sim-

ilar tonic-dominant relationship in pandiatonic block chords.28 29

An opposite view is held by Hansen, Persichetti, and

30Apel, who all assert that pandiatonic harmony is non-functional.

26Slonimsky, Music Since 1900, pp. 46, 293, 34527Nicolas Slonimsky, "Introduction," The book of Modern Com-Posers, edited by David Ewen (New York, 1942),~1l5

2 ansen, _U. cit. 2 9Persichetti, . cit.

3 0 Apel, 22. cit.

35

p7C0 allarg.

firtungaI

Fig. 15--Satie, "Galop Final," Eleven Children's Pieces,measures 71_-80.

fIsI rin' ! ,*.i.n.m UIU M .t A -o_

T r I faP -- -r* r z -A :

# #

111

Ztrl

____+~E 5TEi _

I! WMi

_ _f __ __

t -A

Fig. 1 6 .-- Stravinsky, "The Shrove-Tide Fair," Petroushka,measures 42-52.

af

TL1.3.

Ob. iit.

01.1.

,"1. I31III

Ew1 it.IV.

PI 1.,I I.

S TO.

Vt.'.

.t. r _ ._ ,... _.._ .._--_..

-I

.I' af

T

(IjbR&

Si

I IYL

!"_ .""1

'"'."r

'"..,

...

t

36

Dallin even states that this absence of functionality is the

only feature that makes pandiatonicism unique from other non-

chromatic music, 3 1 Figure 16 contains an example of non-func-

tional pandiatonic harmony in which the triadic voices move in

step-wise parallel motion. In Figure 17 the B-minor and Ct-

minor arpeggios in the left hand alternate in a non-functional

manner.

For the purposes of this study, pandiatonic harmony may

either be functional or non-functional.

A21 r 1tL~

Fig, 17--Stravinsky, "Rondoletto, " Serenade, measures20-22.

Pandiatonic Cadences

Dallin contends that "traditional . , . cadence formulas

are foreign to the style"3 2 of pandiatonicism. Slonimsky adds

that "cadential pandiatonic formations favor the inclusion of

the second, sixth, and seventh from the bass."3 I3oth Dallin's

31Leon Dallin, Tchnius of Twentieth C9nte pCowpoiion,rev, ed,, edited by Frederick W. Westphal (Dubuque, Iowa, 1964),p. 127.

32Ibid.

3 3 Slonimsky, Masic Since 1-200, p. xxiv.

:.wsi uMW p+rnK r ryw

O'NOM moo No~

_a- Plop"

x

.. _

37

reference to Appalachian Spring (Figure 18) and $lonimsky's

original examples (Figure 19) illustrate this characteristic

absence of traditional chord spelling and voice leading.

S492-

Iv.

Fig. 18--Copland, Ajplachian Sprng, measures 370-375,cited in Dallin's Techniques of TweniTehCent Composition,p. 127.

AJ "'IT-i7 0 z"

1 I_ _ . ..I-. .- -00.... . !A r

Fig. 19- S onimsky, Thesaurus of Scales and Melodic Pat-1

tns , p. 194.

Modes and Scales

All the pandiatonic writings previously quoted have been

in the major mode. This fact substantiates Slonimsky's assertion

11 if EE- ---. - - 4-

spy'.ie~ II 4~ _____

ff A rldft AM

jot,Kira -11001 !l 4

fit'AL J.

II1

I .it

4t

TT- r

i

lL .I I

-

T v 'WI I :*

I II

38

that "major tonalities are by far the most frequent in pandia-

tonic usage , " An example of minor mode pandiatonicism

occurs in Copland's BillY the Kid. The following example is

in Bb-minor (natural form).

Ob.

a~414' 44, 4

IIL

I _ _

Fig, 20--.Copland, Billy te Kid, measures 41-J43

The church modes are sometimes used for pandiatonic pur-

poses--Figure 3 is Mixolydian and Figure 21 is Dorian on C.

Persichetti notes that to avoid tiring the ear with the

continual repetition of the same scale, the mode of a pandia-

tonic passage is often changed. He illustrates this procedure

341bid.

i+

rT p

;}n

39

I _ _t___pI

I I P ~~ II,- -W

Fig. 21--Copland, B the Kid, measures 27-32

(Figure 22) by changing from what appears to be C major to Db

major.

Adaio

H.(sord),Ya.P p

Fig. 22--Persichetti, example of a change of pandiatonicmode from Twentieth Century armo, p. 224.

Expanding the original concept, Persichetti writes that

any scale--even a synthetic one--may be the basis for pandia-

tonic writing. 3 5 However, none of the literature surveyed re-

veals any pandiatonicism based on a synthetic scale.

Accidentals

As Miller points out, pandiatonicism began as a revolt

against chromaticism, and for this reason it "minimizes the

35Persichetti, a2. it., p. 225.

use of accidentals."3 6 C-major, having no accidentals, is the

favorite key. Even when other keys are used, the music often

has a C-major appearance (see Figure 23); since all the notes

are naturally found in the scale of the key, no accidentals

are needed.

lA A t _...

.mw

33

Fig. 23--Stravinsky, "Gigue," Duo Concertant for Violinand Piano, measures 66-68.

However, some composers avoid key signatures and place

the accidentals at the point of each occurrence. This could

result in a pandiatonic passage with several accidentals,

meno forte

4.As +mpre molstacc.

Fig, 2*--Casella, "Galop Final," Eleven Children's Pieces,measures 4750.

36M11ler, 92. cit.

it 41L AWL

.10" mom

INN I

37 bi.

Occasionally, even when key signatures are used, accidentals

are added to effect a change of mode without a change of signa-

ture.

I I~I~2

arrou. _ are.AMr.-

_ I Irv

Fig. 25--Stravinsky, "The Shrove-Tide Fair," Petroushka,measures 59-67,

The number of accidentals, by itself, is not a determin-

ing factor in identifying pandiatonic writing. A pandiatonic

passage may have many or few accidentals , and key signatures

may be used or abandoned.

The Seven-Tone SystemIn one of his explanations of pandiatonicism, Slonimsky

states, "The pandiatonic technique may be described by analogy

I

ObLU

Fttsr n

; LU

iB

nn

,

""'

[y I -1-L ___I

with the twelve-tone technique as the seven-tone system."3 8

This conception puts equal importance on all diatonic tones.

However, it is contradictory to Slonimsky's earlier advocacy

of the avoidance of the fourth scale degree. (See p. 25,)

Slonimsky further identifies pandiatonicism with the

twelve-tone principle by constructing pandiatonic serial rows.

He names these rows pandiatonic progressions and defines them

as "tonal rows composed of all seven different tones of the

diatonic scale." 3 9 Figure 6 contains some of Slonimsky's

Fig. 26-Slonimsky, Thesaurus of c es and Melodic Pat-terns, p. 192.

3 8 Slonimsky, The Book of Modern Composers, p. 15.

3 9Slonimsky, Thesaurus of Scales and Melodic Patterns,p. viii.

43

pandiatonic progressions. However, in none of the literature

surveyed was there any evidence of these serial-type progres-

sions. Neither does any other author refer to them,

3lonimsky states that the seven-tone system makes possible

melodic pointillism (see Figures 26 and 27). Berger simply

states that pointillism and "pan-diatonism" are the same term.4 0

A S

'"r { wws - eMe Rd f.-, werw .. .,.w.

*_qw ztW .brafl1 ., ~- .. , rr.ww ~ ex w

Fig. 27--Stravinsky, "Ecologue I," Duo Concertn forXioin and Piano, measures 32-34.

Summary

Pandiatonicism is a harmonic tool upon which differing

viewpoints are held. For the purposes of this study, the fol-

lowing will be assumed:

1. Definition.--A sonority will be considered pandia-

tonic if its members are from the same diatonic mode but cannot

be classified, according to traditional analysis, as diatonic

triad members or properly approached and resolved non-harmonic

tones.

4IBerger, "The Music of Aaron Copland," p. 431.

44

2. Tonality.--Pandiatonic writing may be tonal or non-

tonal.

3. Bitonality.--Bitonality cannot exist in pandiatonic

writing, but certain chord spellings may result in bichordality,

4, Harmonic function.--Pandiatonic chords may or may not

contain functional root relationships.

5. Cadences .--Pandiatonic cadences employ non-traditional

chord construction and voice leading,

6. Structure.--Pandiatonic sonorities may or may not be

built in superimposed thirds.

7, Modes and scales.--Major, minor, and the church modes

may be employed in pandiatonicism.

8. Seven-tone system.--The seven-tone system will not be

considered as an organizing method for pandiatonicism.

9. Accidentals,--Accidentals may or may not be used,

CHAPTER III

COPLAND'S METHODS OF PANDIATONIC HAJ{MNIZATION

An examination of Copland's ballets reveals the compos-

er's use of certain compositional devices to create much of

his pandiatonic harmony. In some cases these devices are

pandiatonic in themselves. At other times pandiatonicism is

the result of the device in combination with the rest of the

texture. The purpose of this chapter is to investigate Cop-

land's use of these devices.

Ostinato

The ostinato figure is frequently used by Copland as an

integral part of a pandiatonic passage. A simply structured

ostinato appears in Figure 28, in which only three tones are

used. The tone F, occurring on beats one and three, alter-

nates with the G (and its grace note E) on beats two and four.

This ostinato is the sole accompaniment to the melody in C

major,

_ _o. f

I . =4 I

Vt.

Via.

dir

L )(Asit

ylfyr .+ %o ifiO tiqfr

{

Fig. 28--Copland, Billy the Kid, measures 103-107

45

46

The ostinato in Figure 29 is based on alternating thirds.

The thirds are built on tonic and supertonic, with the upper

note of each third harmonized by tonic. Pandiatonic harmony

occurs in the trumpets, as well as between the ostinato and

melody. Copland develops this ostinato into a more involved

ostinato (see Figure 30) through extension, triadic harmony,

S CCQ

F I

Aly -Y ll Li AL

S~r ter y B ' - o-J )- 4w

s.

F "* 8.& H.9054

Fig. 29-*.Copland, Appa hian spring, measures 240w243

Ob.

Pft*.

Vtu

I ___

_v. 'Pp L#Yu c4w

pFsi - and p hi iT 2-2pizi.

Fig. 30--CoplandL, Apalachian measures 249-252

5

47

and octave displacement of the original thirds. Its combina-

tion with the melody results in pandiatonicism,

The ostinato in the bass voices in Figure 31 remains con-

stant, while the pandiatonic chords above it continually change

the harmony.

S__ t

~r~~. poco a poco

crsc. ,l oa pWoc

Fig. 3l--Copland, Billy the Kid, measures 604-607

fr~v -;~momA~ ~ I Ab

2qaool -,-Tc W

iv.(j i)

Fig. 32--Copland, Aplachian Sprn, measures 69-73

FL

Ob.

KrP.

TrpE

3

Cb.

It

VI. I

Via.

Vc.

z

Z

i

48

In Figure 32, the arpeggios in the second violins are the

basis for another ostinato. The violas and violincellos pan-

diatonically harmonize this ostinato, which is then combined

with the melody in the flutes and first violins.

Multiple ostinatos are illustrated in Figures 33 and 34.

In Figure 33, the four-note descending ostinato in the flutes

PicC

Ob.

Pimio

V.

2

Via.

Vic.

b.

g~ALL" _..." "w "_ _ "' , .. . ... r.

____Ww

~ E7-7~4 - ~ - __ _ __

Fig. 33~Copland, Bil t he Kid, measures 337-340

rit rfkA . It 0ac

and piccolo is imitated one beat later by clarinets and oboe.

The pandiatonio chordal ostinato in the French horns, trom-.

bones, and bass instruments is supplemented by a third osti..

nato figure in the piano. The violin and viola develop the

opening motive from the cowboy song, "Goodbye, Old Paint."

In Figure 3)4, several ostinatos are played against the

melody, These separate ostinatos are in (I) the first flutes

and clarinets, (2) second flutes and clarinets, (3) oboes and

trumpets, (4) second violins, and (5) the piano, The melody

is in the first violins.

1.

Fl.

Ob..11

(II

PC.

T.(

Me,

vu,+

VI, H

Fig. 34--Copland, Appalaohian Spring, measures 54L-546

Lg -T-

ji-

- - rrw yl Mlrf

.016 *TZ

rf *a * As

jual,

AD Am 6"

'": s " .. !'" : .. s .wM ^b . C" mole

woo: roomoff I-A

do

50

Scale Patterns

Berger states that in Copland's canonic writing "a note

may get in for its linear significance rather than for its eu-

phony."1 This observation could well be made in regard to

Copland's pandiatonic writing in general. In many passages,

the linear aspects of the diatonic scale are of importance not

only for the pandiatonic harmonies created by the individual

notes in combination with the rest of the texture, but espe-

cially for the unifying quality of the scale itself.

Disregarding octave displacement, the pattern in Figure

35 is a continuous ascending scale for eight measures, Conse-

quently, every note in the D major scale is at some point pan-

diatonically harmonized by each of the two chords above it.

- - -7 I -Vin.i-- - eab ceedetache cree,

Via.y~r detace res,

delaclW cra

'Cello

pa'.

#4

-~~ reset.

Fig. 35--Copland, "Buckaroo Holiday," Rodeo, measures 331-336

.1Berger, "The Music of Aaron Copland," p. 429,

creac,

51

The following example shows the creation of pandiatonic

seconds at various points by the combination of melody, arpeg-

gios , and scale patterns,

1 xLV1

vaVia.

V'.

Fig. 36--Copland, Billy the Kid, measures 373-375

Pandiatonic seconds are created by the combination of

the duet and scale passage in Figure 37.

-0 0 au. itS

Trb. ..._ - _ _ _ _

fyaf

Fig. 37--Copland, Apahian rin, measures 563-570

The scale pattern from Billy the Kid (see Figure 38) is

later developed by the extension of the scale and the progres-

sive diminution of its note values (see Figure 39).

The pandiatonic sonorities in Figure 40 are underpinned

by a descending scale pattern in C major,

In- PC

Arlo""'FL fm lk A -M AL

ps I'ai m a M. A ME- Am MP f

WON

=mow F

op I t 7! _77- 71r.

- - - le-

,.rn=unlit,

36

- *1*8. _ -At

r++w~i~

Fig. 38--Copland Billy the d measures 438-44l

I

_ __AC V-,

-- f

I il, l ls~li 1 , II , l i i . 1 . - - - . - - - - - - - - - - 4

Fig. 39--Copland, Billy the Kid, measures 451-455

~-

-Oi m

- 4 yw.. .- - - - --

Fig. 40,--Copland , Appaahian Spnring, measures 366- 368

52

vi.

Via

V IC.

bt

Via.

VIk.

Ct,.

Ff. I

Vi. I

-t H

Vi.

Cb.

Ep

... w. ..

a

It f: e i L to _ .4

53

The scalar violin melody in Figure 41 is accompanied by

an ascending scale encompassing three octaves.

vII

V'.

Cb.

I-M lift

Imp- 1

inn .w

Ida

A& An Am-

w

e

lift pizz,

46

low

iZZ,

Fig. 41--Copland, Appalachian Spring, measures 35O-35i

Parallel Thirds

Copland occasionally creates a pandiatonic effect by har-

monizing a melody in strict parallel thirds. These thirds re-

nain constant, without regard for the expressed or implied2

harmony.

In its first appearance in Rodeo, the following theme's

first three measures are harmonized with the full tonic triad

(see Figure 42 A). This diatonic harmonization is later re-

placed by a pandiatonic one (see Figure 42 B) in which the

sixth scale degree (A) lies outside the implied tonic chord.

Authentic cadences are implied at several points in the

flute melody in Figure 43. The parallel thirds (tenths) in

2The harmony is implied by the chordal outlines and ca-dences in the melody and/or by previous harmonization of themelody.

solo (wit humor)

a atthe fr8

I I

g y yR

cop (soAdd

Fig, 42 A--Copland, "Buckaroo Holiday," Rodeo, measures 180-185

su& ___-sub.

Fig. 42 B--Copland, "Buckaroo Holiday," Rodeo, measures 270-274

the bassoon, however, occasionally result in tones not found in

the melodically implied tonic and dominant chords.

Ob.

1.1

t. E:i I(ifn )III

Fg.

Tr.t. It

L-- it IIB . _ _II _II_ I I _1_--1

F' II 14ZF

Fig. L3-opland, ApjA achan pring, measures 505-509

I~ITremb.I

Vla~

S I

----- -- *

.1.=fir

WOW

kW A M . ...... ... .. .

54

I

UJ'

An a tit' tid.

_

1

-.

, _,

.;

,.

.. . ,,..... .M..~, .,.,,,,, ,,.,, ,.,,,.,,R,~,.w

,._.,_ .. .. _ _ a .

,_. _ . _ _....w

lk

iKrt

I-

ame [U

55

The clarinet accompaniment in Figure 44 is in constant

parallel sixths to the piccolo, It also is pandiatonic be-

cause its strict, pre-determined movement results in tones

foreign to the melodically-implied chords.

Noc.

Fl.

Oc.

CaM

Now7 It

. .B"d NOW

u '00 op

1 A YtlM ! !L 71b1

4 pool

am dnow =I 3

k 3

Fig. 44--Copland, Bjl the Kid, measures 209-212

Parallel Fourths and Fifths

In a manner similar to his use of parallel thirds, Cop-

land also employs parallel fourths and fifths pandiatonically.

The illustration in Figure 45 demonstrates his melodic use of

fourths,

wo I"

ddL

Ids. 7-1

ip.L 10 A islow

kRn y' 1wi1104YY 'Ai4 .!RR i.iRrM MRY .................................. YwR MMRMRR;fyR?..................VilF'

FY MM t

17 1- «FYrrR,..

Now- FRFY M RYnMI

.w..RYR..e....Yrr

"Not I

- A-

Fig. 45-Copland, Appalachian Mpring, measures 426-430

Xylo.

I

4w ,m

i

i --

V

-41L ;R t w ;

V

I

r

56

The doubling used in Billy the Kid (see Figure 46) re-

sult in parallel fourths and fifths.

Ur-

_YLL

. . _ _ _ _ _ _ _ ~w -r-- = E tZ Z2~. +W

_ -rawM Y Yw. Yw IM+MIlM- -. w..w_ - aww V+

Fig. 46--Copland Billy the Kid measures 612-616

Parallel fourths and fifths are also used as a pandia-

tonic accompaniment. The key in Figure 47 is F major.

Ft.

Ob.

Tr.(M)

I, t

mf

! C.

inIi

pMzz

IL RMfI -. IFig. LI7-Copland, App hin 'pring, measures 41l4- l6

VIt

Vtc.

Cb.

a '-I . tooI "

Piano1 ro"

5?

In the opening of Copland's "Saturday Night Waltz," the

spirit of a country fiddler is evoked by the use of parallel

fifths stacked one upon the other. These pandiatonic sonori-

ties (see Figure 48) each contain between two and five notes

of the C major scale.

Introduction (4 152)

/gnon legato

f non legat

/n lpez arco pin. arco pizz.

/non legato

Fig. 48--Copland, "Saturday Night Waltz," Rodeo, measures 1-8

Secundal Sonorities

A practice that is used with some frequency in Copland's

ballets to create pandiatonicism is the employment of secundal

sonorities, 3 These sonorities may be found in either melody

or harmony and are sometimes built with octave displacement.

The brass chords on the first beats of the measures in

Figure 49 are built in seconds (G, Ab, Bb); the chord in the

fourth measure of this example is also secundal (Ab, Bb, C).

3Secundal sonorities are those that are built with two ormore consecutive seconds (i.e., G, A, B, C, D, etc.).

11

.Trb.

VS.L

9#".PO

inP CAW !. p a Paoo

146- cil*c. Poo0a*

Fig. 49.Copland, Billy the Kd, measures 603-606

An accompaniment figure in ll the Kid (see Figure 50)

is constructed in parallel seconds (sevenths). Several meas-

ures later, Copland raises this figure two scale degrees and

adds an additional second to create parallel secundal chords.

(See Figure 51.)

Ob.

Bsn r

Fig. 50-Copland, Billy the id, measures 289-292

A technique by which seconds are individually added to

the texture is used in Applachian Spring (see Figure 52).

The excerpt's first measure contains two seconds (C, D), the

58

14

di

Mac

'"Pw {

59

Fig. 51--Copland, Billy the _, measures 299-302

second measure adds another (C, 0, I) and the last has one

more (C, D, E, F).

V.

Vt. It

Via.V.

k L 11 '

M m tea. R -** a W WI N .W R

09 149 YEI

...>. . ..,..,

Fig. 52--Copland, Appalachian Spring, measures 366-368

A five-note chord (C, D, E, F, G) is used in Rodeo, oc-

curring on the second and fourth beats.

A similar five-note chord (G, A, B, C, ,) is illustrated

in Figure 54.

The Lydian mode on F is the context in which the chords

in Figure 55 appear, The half-notes on the third beats con-

tain four consecutive seconds (, E, F, G), and the final

quarter-note chord contains six of the notes of, the scale

(C, 0, i, F, G, A).

'~Arco V

. - __4,

T np

'p

L

=

60

Ns

'- /

Ens.in F

Inn.!!

Via.

D.B.

1t~2t2~~4 ~ 4U

pcol egn

Oi- -

Fig. 53-Cop1and, "Buckaroo Holiday," Rodeo, measures 110-111

'VI.

VI..

VIC.

cb.

osso

-r

}92VI

Fig. 5L-Copiand, Billy the Kid, measures 350-352

din don444 - - ... I =Iw I I wir I rm

f I Ar -7tAMR

I

11

."

61

lit

Fig. 55-CopIand, Bily the . id measures 444-447

Bichordal Sonorities

Copland's pandiatonic harmonies sometimes are arranged

with bichordal spellings. An example of bichordality occurs

FIG,

COb.

Vi.

vCo.

AA____

"'r ;rr' "

__~r' .. wx . . .Mr. nr ...

Fig. 56--Copland, Biliy the Kid, measures 601-602

Gkeorge Thaddeus Jones1, ic op o ition (vanston, 1963),p. 118. Bichordality is the superimposition of chords "from thesame (seven-tone) scale with no suggestion of two keys."

r1r i/rr

xf

rrpt

Trb.

3

I i 1

u

62

in Billy the Kid (see Figure 56). While the strings and wood-

winds sustain a C major chord (with the added sixth, Al the

clarinet arpeggio outlines the notes of a G major chord. The

thirty-second note is analyzed as a pandiatonic lower neighbor.

In the following example, Copland creates pandiatonicism

through the simultaneous occurrence of the tonic and subdomi-

nant arpeggios.

sol

1.

Ftl.

Ob.

CI.

_ jj_ L

LI .i.1_ IA_._^

So

'" - ---

I~w_ 1 T

Fig. 57--Copland, Appalachian Spr , measures 549-552

VI. I

Via.

Vc.

Cb

Fig. 58--Copland, AalaShian Spring, measures 673-682

Appalachian Spring is concluded with a bichordal con-

struction. After the full tonic chord has been established,

4 -iv

pl

I

"1'

Sol

(tn B )II

j

{

r ""

J - I __~

a

63

the violins divide and add the dominant chord above the tonic,

The viola melody in Figure 59 outlines the tonic chord of B

major. The accompaniment in the bassoon, clarinet, and bass

clarinet spells the sub-dominant chord, E major

C1ts.in BI

Bun

via,

'Cello

A r

Fig. 59-Copland, "Saturday Night Waltz," Rodeo, measures 78-79

The overlapping of the tonic, sub-dominant, and dominant

chords is illustrated in Figure 60.

Fli.

InA)

nA) I

'vi '

V1.11

VIZ,.

e y

Yww .Nwwrw+wywww+iYrt.tiwnwn+m-"x n

n Ww -""rrr4w4 Y4 '-nw++ h"' o-..wr~ - '

i r= .. wy .Y 4' jrrt - hlrwMMiMtwww.r+-a.w.R+"r v.l.

.. { I - MCIL"rn "r/.wvr. - _ _ M - +4w+w wu+Mn Nw ew +4 YR" .awnW.w+rw w..er." 't'

a +14".-Arrr .. M....+ nsr..+rm+.+" m

.i+.saw+a+,wr+ alna

-. .....

+. a.z.Wwy .rF+M'-.tirt+. '.l.n^n'

'dMag4eN"rt" # Md wMbiM4b^wrw '""".4 r 1 '^ - - ,. .

' l rY +1rYOYp44M4!Y"rsly4 "M Y YF'Muy eY#eML"k"4++wiN h4rt" - " ' _ w +a^ l..ssrw rsww trrleY/+IrR!lrnYSY +. 'wti4'w r+'a' *"""" "'w"' - - .r. +.«w. ..-+..

. y...syr..rauew Y+MwllrrYrtaxm.yi wrw' aYwar Rrarrrrw4

-

L

>

Solo

}+rYp M4 ls

J rYYtT#!+q wws t rtrsy.4wwrrlwr! ............ l+r+^w!!M1't .........

~~ .7ii 7 , r~...-, ,,. . ._ r .2ZZ2F2Z4.......

'iii ,

n' e-*,z,«, mom

Fig. 60--Copland, Aplachian ring, measures 15.-19

LIZA-

AIL

cpo

# 7

ON,

I

-{-

11 i t

- ------------------- -- ^- --- rte'--

64

Pedal

A device that is found in several of Copland's pandia-

tonic passages is the pedal. It is interesting to note that

the pedal in Figure 61 is on a scale tone that is rather un-

common for a pedal tone (the fourth scale degree in C major).

Pig.

'Vt.

Via.

Cb.

7-1

' I" fyyj M i Y ' 1F

MR " " " OiY

07

'r Or 1 If II w -j It 1!.w/;wn ..r" .wr wwwM. e..n

wIW ' IYMI" *AW

i r - 1" 4

a..

Fig. 61--Copland, Billy _ , measures 106-111

A pedal on the dominant is found in Appalachian Spring

(see Figure 62). Several measures later the pedal is trans-

ferred to tonic (see Figure 63).

VI.I

AI.'

mfpstacc.

non_e_ __to__** _ . -*- ,*-._

Fig. 62--Copland, Aplachian pri n, measures 333-33?

. 71w i

ILl

65

Ob.#. Nt

vut

VC.

Cis.

=7 F F

I '' J

q MLI

Fig. 63--Copland, Appalachian Spring, measures 366-368

An excerpt from Rodeo illustrates Copland's use of a dou-

ble pedal on tonic and dominant.

desk (2 Soli)-non sentimental

I -'--

jf rLzzz.

Fig. 64--Copland, "Buckaroo Holiday," Rodeo, Measures 286-290

.. Nor_ _ - , "

I-

T-Py

.seP-

'a 3sr

"w,,,, ""'

., ~::

1

r """"w,

,

. ." ....

. ,. , .

"+.,M..

,"

66

Arpeggios

The arpeggio is a device used in several different ways in

Copland's pandiatonic writing. In Appalachian Srin& (see Fig-

ure 65) Copland's melody is underpinned by the alternation of

the arpeggiated subdominant and tonic chords. These arpeggios,

which are pandiatonically harmonized themselves, are then pan-

diatonically combined with the melody.

LtZFl.4. I r--.~vi'

V#. ii

VA.

W W

_ _ - eyy1mf

71Y 4 iz .)tt

vC. (j ' .+.

Fig. 65--Copland, Appaachian prl measures 69-71

Pandiatonicism is sometimes created by the use of over-

lapping arpeggios. In Figure 66 the tonic, sub-dominant, and

dominant arpeggios are sounded in quick succession. Since the

ear groups these arpeggios together as chords, the aural ef-

fect, even though all of the chord tones are not sustained,

is that of these primary chords (F major) pandiatonically over-

lapping.

Picc

-l

Fig* 66--Copland, Billy the Kid, measures 111-116

This technique is further illustrated in Figure 67. The over-

lapping arpeggios (with some of the notes sustained) occasion-

ally results in the overlapping of full chords.

ft. !

(in A

Ci,

(in A

)

~) II

VU

Via.

Vt.

rit

}}lt.

_ _ - r _

.......... «.........._._............ 1 r -2+ j},-L - - - I w,

K4.... . ,r .,.,

4(*....4..

: f..i lk.e-o.r~ w wv.~ .w-

.e4a r.M rse. ',+t* w.ppw

..hZI _

4* .,. .M...~ ~ ~. 4* s-

Fig. 67--Copland, Appalachian Spring, measures 16-21

The simultaneous sounding of tonic and dominant arpeggios cre-

ates pandiatonic harmony.

I, -o m

67

,,

Ak

f

I

. A

68

FL

Ob

06.l

sol

tsu

Sol

C L.Sot" _ -

Fig. 68--Copland, Appalahian Spring, measures 549-552

Arpeggios are sometimes employed pandiatonically with oc-

tave displacement. The following from Rodeo illustrates this

practice. The C major arpeggio in the flute is pandiatonically

harmonized by the horns and strings.

Solo

FI I

Cit.! ini B y thur14!! ftXE H w-t ___ )

Ens in F t 2 -<~~-I) - S~~~ d$ senzasordi.

1ia

voe IA.

(cot tegno) y

r-

Fig. 69-Copland, "Buckaroo Holiday," Rodeo, measures 107-109

IF'

-

11

Fw " - wer rw+e s +r .+- w.^..s+w.w r r+r w w . . I

69

Canon

Copland's ballets illustrate how effectively the canon

may be used pandiatonically, A theme from Appalachian Spring

(see Figure 41) is later repeated with free imitation a fourth

higher (see Figure 70).

Ob.1.11

ci

F:1.1I

fmarc.'' 14t - - - - - -, rF - --- I

~fnarc. /at 1.. 7-

fmarc.{1 hmAJ

Fig. 70-Copland, Appalachian Spring, measures 394-39 7

The Shaker tune, "The Gift to be Simple," is developed in

several ways. Figure 71 illustrates a canon at the octave.

(F)

1 Nal, j - I

b.

Jcant.

d.

AR '. 1 1'. F fm-'F

nowIT

I

Fig, 71--Copland, rppalachian Sping, measures 531-537

On the following page, a strict three-voice canon is ii-

lustrated in Figure 72.

Tr.

.1.11

Tart1.!t

ff F

vn rs atfmIf- MW

artlo&a *%Ff W. a A. I _.- t - 1 L -- r' -A -AL-Ilk A - 11 loll 11

._ .

f M41r.MV

L.

.

r

II

t _._

V

""i '"

. err , ~ S #

70

FL1I

Oboes LU

C.A.

Cits. In B

Bias LU

141

Uus.inF

U! & IV

Tpts. In f

T n114 I l

Trom bs14&11

Troin.iiiTuba

sub

1 4F- __

JO I

ww7 .

0 --- 9

so rd. PL2 >*

- --

Al__-r,< r I

2

(11,sen 0rfsord

r ..

._._7

Fig. 72-Copland, "Buckaroo Holiday," Rodeo, measures 270-274

Combined Themes

In a manner similar to his construction of a canon (if the

canon may be thought of as the combining of a theme with itself),

Copland pandiatonically joins different themes to each other. A

theme introduced early in Rodeo (see Figure 73) later is combined

I - --..- --------..-L--- ---.--

V.it II

fft

I I -

with a completely different theme, producing pandiatonic har-

monies (see Figure 74).

Fig. 73-Copland, "Buckaroo Holiday," Rodeo, measures 114-116

Plano

Yin,

Via.

Yin

stag.

/7 if stacc.Off-

stacca- fZ

sf' C,

ci

.,-~.s-a-,..-

*j~.~ai ;zztaj7 ttc I"

Fig. 74--Copland, "Buckaroo Holiday," Rodeo, measures 394-398

A rhythmic, energetic theme of Appalachian Spring (Cf, Fig-

ure 5) is later combined with the broad, majestic one illustrated

in Figure 75.

..

. ...

l r uy x }gyNw a .'M' +M w"!w w++M+{'b >w..bNnywrw,

MM4yM1 M + + P

8lM r~ i# }+Y1ayk, ++~l Ui # 0 r # iyMt A

VI

AOL

-00- -,-.I )

T. B

Trb.

VI. I

V1. i

basi

474

Fig. 75--Copland, Apjplachian Spring, measures 80-83

Modes in Pandiatonic Writing

Although Copland uses the unaltered major scale for the

9 of most of his pandiatonic writing, he does use other

P-J

i ,

y olo-H4

-- 'I - --- ______

Tpts.l B jA~

n - _ _ _ _--- -_ _ _ _ _ _

___.__K

"in..

via

Fig. 76-GCopland, "Buckaroo Holiday," Rodeo, measures 310-315

'j _ -:

ivy

BY 1 F .dc xkie i

"L. .:

-

Imo.. I I

, .,.

T i

-

V

Y .

73

modes to a lesser extent (see Appendix, Table V). Figure 55

is in Lydian mode, Figure 76 illustrates the Mixolydian mode

transposed to D, and Figure ? is Dorian transposed to F.

VI.

v 1s

VkC.

~- _

wo-

7 i swywnyr _.. ~ ,r .r ~." e yy.a wn ~ .y n. r r ww .. .n.a. w.r.~w~wwwwryinn-.r

Fig. 77--Copland, Billy the Kid, measures 44-48

CHAPTER IV

Conclusions

In Billy the Kid (1938), Rodeo (1942), and Appalachian

Spring (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

frequency with which they are used.

The ostinato is used more frequently (see Appendix, Table

I) than any of the other devices used by Copland in his pandia-

tonic writing. The device can at various times be found in the

bass, treble, or middle ranges of the orchestra. In cases where

a multiple ostinato is used, all the orchestral ranges may con-

tain an ostinato. On occasion, Copland will create an ostinato

for pandiatonic purposes and will then develop that ostinato

into a more involved one. The diatonic scale, either ascending

or descending, is often used for its unifying qualities in cer-

tain pandiatonic passages. At times, the scale passage is em-

ployed as an accompaniment figure, and at other times it is

used melodically. Octave displacement is sometimes used in con-

junction with the scale patterns.

Parallel thirds and fourths are an important device in Cop-

land's pandiatonic writing. He uses parallel thirds, without

attempting to make them conform to the prevailing harmony.

74

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 appear-

ance of two chords of the diatonic key superimposed upon one

another. There is no suggestion of two different keys. Bi-

chordal sonorities occur as the result of overlapping chords,

the simultaneous occurrence of different arpeggios, and other

similar methods.

A device that is found in several of Copland's pandia-

tonic passages is the pedal. This device occurs on the tonic,

sub-dominant, and dominant. Double pedals are occasionally

used, employing tonic and dominant. The pedal can be found in

the bass voices, treble voices, and as an interval pedal,

The arpeggio is a device used in several different ways

in Copland's pandiatonic writing. At times, the melody is

harmonized by the alternation of tonic and sub-dominant ar-

peggios. Pandiatonicism is sometimes created by the use of

overlapping arpeggios. Arpeggios are sometimes employed pan-

diatonically with octave displacement.

75

76

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.

The diatonic materials used by Copland in his pandiatonic

writing are the major, minor, and certain church modes (Dorian,

Mixolydian, and Lydian). Their frequency of use is illustrated

in the Appendix, Table V.

Another writer says the result of Copland's artistic use

of pandiatonicism provided "one of the few valid links between

popular, diatonic music, and the much more complex intervallic

procedures of 'serious' music."1 It is a tribute to Copland's

skill that he has been able to communicate with simplicity,

without drifting into banality,

1Norman Kay, "Aspects of Copland's Development," Tempg,LXXXVII (Winter, 1970), 27.

77

APPENDIX

0

C)

C ( ( Q. a

o0(9

0

'N

0a

Ca

$443) tow " to 11t) (~ CO to ) H t0 sCs*a*f s * "* a a a a

0 C * H H to S' C H0

C C) (D C

a a0 $C4 t

COD

S a t H C H C H H C C

C' r C to c M o

0

" p

rwi t 0 C9 0 C9 t

Oo a

C) Cr r.!C C)

I C

0

43

44. ""4

0O 043 H(4 PC '"

0 eo M

U)As i

0cc

0)low

'"4f

C

(4

$4(4

P4

t

(0

CD

(04

0

0

"4

0

* +"* CV

00 bflC (4"4$4$4

0 4

i

i

i

E

f

E

+)01 0

'cad 00 ''H

0 + q *.4

0 0

C r C) c 0H H (4 0 VH V $4 bC

4 Q PC ( QO

P4 Cm P 0

0C)-"

fr

C C1-'-4 0 0

00 0 0

k +)0 PC 0

W4 - 00

0EQt

4-) 00

C -

4 0 0

0 00W.0 $49 (C

0- C)0 PC )$4CPC 430 0c

0 3 O 43P

43C) VC)y

C'r1 0 4O

V4 $C14C

$4 q- 00

004 WOfOOPC$4g4(4

O 0'"4

0 0 0

W4 Q cN

O-0P 00

44 NO 14 t0

1- . 0 d

PC 0 C'4 00

(40 0P

OC OQ-E

4 -Q '4"4 0

CC30CC

0C)VkO C

43VC 43V

0 '04

C C4 C"4 '"443 n-$'"4 0 C

00 043 0'"40'"4 0 W$4C $4 $40

'rdc4" "4-80

&44& &4$4

* *$4 *PCPC * p *43

PC 0 PC

a 43

78

:iUeo ,zeHr r

00 t C9) O HM '44 00S t 9 S 5I9 9 9

!4 to 0 t O 0 U (0 t1 0

00

04 sense 0 H 0 H to C C

0r4 C1) r ~ r C) H V0

Woo Jed

C to a

o un--C. S * * * * * * *

seaznsrep * C

eas 'O r S H . *- 4

44 H

C) Cr) CSCHH "C00C9CS " C

CC U)

0 00W 0-000 000'-1*-- H *

H ~CS

4 nsen- -

se ns) C H O CS) C0

r9"

4)

~selrnstew * CtoH

-p gu aagig ..i= ,, ,' 'ggblELIM -Jim ae g

Q?0O$4$4$44 $44 $Q4 "' ~ U

0000000 00rM n n n n n n n r n

000 M M &.+00 ~ m C

w)ro,

t

as

z4

H

C,

fig

0.

79

;ue a a

c9 9 9

*is.H

0) Cs (C' Co Ha 10L e

eq H 0 H Co H H

0

00H4

H t ow-q 4 0 e0 4 C qs nsee H00 Co HH e H

H 4UOOJ #d eq#tO * * .l' * alt al! * *

H - * * * * * * * * * * H

se nsvw r-a

'{ a C * C ! +

C) -C H C Cc

~ . * * *. * * * * * --o

Seons9epj * * o .- . . * *o .*

o Co (C) H e C-) '4' * C* * - * e

'- 9 C9 9- W O C 9 e t

co H H- ,

ai- a i a a r

o0n0

co se)nseej CtH*- o 0) 0 C t* * *co* '

C. 0 He Co- M -

.C9

0srI'e t it (0o 0C He0H e H * C

(1)

0 on on In n ' j o '" 1 -r-a

0 0 0. *00 0 , 0 1"'4Cd M

C'cicrz

VA2ti

~40

00

80

TABLE IV

MODES AND HARMONIC FRAMEWORK USED IN BILLY THE KID

Pandiatonic DiatonicMode

Measures Per Cent Measures Per Cent

A Major

C Major

Bb Major

F Major

Eb Major

Cm Dorian

Bbm Dorian

Fm Dorian

Db Major

D Major

G MixolydianB Major

Ab Major

F Lydian

A Mixolydian

G Major

&x Dorian

Rests

TOTALS

* ,

12

23

35

4

33

3

15

4

8

71

. .0

16

19

4

6

* .,

1.9

3.8

5,6

046

5,3

.5

2,4

.6

1,3

11,2

. ,

2.6

3.0

.7

1,0

409

8

8

23

9

5

65

6

7

6

31

45

4

I, -M -, -- -IIII- m q1 1a " a

1.3

1,3

3,8

1.4

, ,

*0

10*7

1,0

1,1

1,0

5#0

7,2

1,8

0 0

, ,

253 4015-228W36"228 36.5253

Io"wwwm""MMw t,*.s-

81

TABLE IV--Continued

Chromatic Polytonal Totals

Measures Per Cent Measures Per Cent Measures Per Cent

16

a

5

a#

4

6

0 .

0 0

6

5

4

0 a

0 a

2o6

. a

6 a

0

. a

1.

. .

.7

. .

C D

F/Ab5

c aj

* a

. .a

* .

. a

* .

S0

# a

" #

" .

.3

2.4

10.6

1.3

* .a

* a

a a

* a

. a

. .

. .a

. .a

26

35

110

57

4

38

3

15

69

18

84

6

47

70

13

15

6

8

4.2

5.6

18.2

9.1

.6

6.1

.5

2.4

11,3

2.9

13.3

1.0

7.6

11*2

2.2

2.5

1o0

1.3

a

0

0

46 7.48 14.3 624 100.0

i

,,. __ ,,,i-

82

TABLE V

COMPARISON OF MODES USED IN COPLAND'STHREE BALLETS

A. pachian pring

Mode Measures Per Cent

Major 679 99,6

Rest 3 4

TOTAL 682 100.0

B. Rodeo

Mode Measures Per Cent

Mixolydian 7 .9

Major 762 97,9

Rest 9 1.2

TOTAL 778 100,0

83

C. Bill the Kid

Mode Measures Per Cent

Mixolydian 75 11.9

Dorian 67 9,2

Lydian 19 3.0

Subtotal 151 241

Major 465 74,6

Rest 8 1,3

TOTAL 624 100.0

D. Combined Works

Mode

Dorian . .MixolydianLydian .

SubtotalMajor, .Rest , .TOTAL

0

0

0

0

9

0

0

0

.9

.0

.4

.0

.*

.0

.0

.

0

.

0

0.0

.0

1

0

.0

0

0

0

9

.

.9

.9

9

0

0

0

.9

* . 0 .

* . . .

* 0 0 .

* 0 . .

. . 0 .

* 0 0 0

* a *

*Percentages are the average ofof the three works.

* * .

* 0 0

* 0 0

* 0 .

* 0 .

* . .

* 0 .

0

*

0

.0

.0

0

0

0

0

a

.9

.0

M

0

I

9

.0

.0

.0

0

0

0

Per Cent*

3.04.31.08.390.71.0

the combined percentages

BIBLIOGRAPHY

Books

Austin, William W., Music in the Twentieth Century, New York,W. W. Norton & Company, Inc., 1966.

Bauer, Marion Twentieth CCentur Music, New York, G. P. Putnam'sSons, 1947.

Berger, Arthur, Aaron Copland, New York, Oxford UniversityPress, 1953.

Copland Aaron, Our New :Mu , New York, McGraw Hill, Inc.,1941.

Dallin, Leon, Techniques of Twentieth Century Composition, rev.ed,, edited by Frederick W. Westphal, Dubuque, Iowa, Wm. C.Brown Company, 1964.

Duckles, Vincent, Mus ic Reference and Research Materials, FreePress of Glencoe, 193.

Forte, Allen, Contemporary Tone Structures, New York, Bureau ofPublications, Teachers College, Columbia University, 1955.

Hansen, Peter S., Twentieth Centur Music, Boston, Allyn andBacon, Inc., 1967.

Jones, George Thaddeus, Music Composit in, Evanston, Ill., Sum-my-Birchard Company, 1963.

Krohn, Ernst C., compiler, The History of Music: An Index tothe Literature Available in a Selected Groupof Musicolog-ical Publications, St. Louis, Wington University, 1952.

Miller, Hugh Milton, History of Music, 3rd ed., New York, Barnes& Noble, Inc., 199.

Persichetti, Vincent, Twentieth Century Harmony, New York, W. W.Norton & Company, Inc., 1961.

Schonberg, Harold C., The Lives of Great Composers, New York,W. W. Norton & Company, Inc., 1970.

84

85

Slonimsky, Nicholas, "Introduction," hem Book of Modern Com-posers ,edited by David Ewen, New York, Alfred A. Knopf,1942.

"Introduction," The New Book of ModernComposers edited by David Ewen, New York, Alfred A.Knopf, 1961.

, Music Since JJ(Q, New York, W. W. Norton,193?.

1, Thesaurus of Scales and Melodic Patterns,New York, Coleman-Ross Company, Inc., 194?.

Smith, Julia, Aaron Copland, New York, E. P. Dutton & Company,Inc., 1955.

Thompson, Oscar, editor, Great Modern Composers, New York,Dodd, Mead & Company, 1943.

Articles

Berger, Arthur U., "The Music of Aaron Copland," Musical Quar-terly, XXXI (October, 1945), 420-447.

Bernstein, Leonard, "Aaron Copland--An Intimate Sketch," jjRhFidelity/Musical America, XX (November, 1970), 53-55.

Cole, Hugo, "Aaron Copland," TJpQ, LXXVI (Spring, 1966), 1-6.

, "Aaron Copland II," Tmpg, LXXVII (Summer, 1966),1-6.

Cone, Edward T., "Conversations with Aaron Copland," Perspec-tives of New Music, XIII (Spring, Summer, 1968), 57-72.

Crankshaw, Geoffery, "Aaron Copland," The Chesterian, XXXII(Spring, 1958), 97-101.

Evans, Peter, "Copland on the Serial Road" Persjecties ofNew Music, II (Fall-Winter, 1963), 141-149.

Fine, Irving, "Review of Records," Musical Quarterly, XL(October, 1954).

Flanagan, William, "Aaron Copland," HiFi/Stereo Review, XVI(June, 1966), 47-49.

Frymire, Jack, "Copland 68," Music & Artists, I (November,1968), 47-48.

Henderson Robert, "Copland's Inscape," Tempo, LXXXVIII (Winter,19685, 29-30

86

Kay, Norman, "Aspects of Copland's Development," Tempo, XCIV(Winter, 1970), 23-29.

Encyclopedia Articles

Apel, Willi, "Pandiatonicism," Harvard Dictionary of Music,Cambridge, The Be lknap Press of Harvard University Press,1969.

Blom, Eric, "Pandiatonicism," Grove's Dictionary of Music andMusicians, edited by Eric Blom, Vol. VI, New York, Mac-millan & Co., Ltd., 1954.

Music

Casella, Alfredo, Eleven Children's Pieces, New York, Associ-ated Music Publishers, Inc., T949.

Copland, Aaron, A palachian Spring, New York, Boosey & Hawkes,Inc., 1945.

Billy the Kid, Ballet Suite , London, Boosey &Hawkes, Ltd. , 1941.

Rodeo, Selections, London, Boosey & Hawkes,WLtd. 96.

Dahl, Ingolf, Divertimento for Viola and Piano, New York,G. Schirmer, Inc., 1951.

Hanson, Howard, Lament for Beowulf , Evens t on, Ill., Sunmy-Birchard Publishing Co. , 1925.

Honegger, Arthur, Jeanne d'Arc, New York, Editions Salabert,1939.

Stravinsky, Igor, Duc Concertant for Violin and Piano, London,Boosey & Hawkes, Ltd., 1938.

Petroushka, London, Boosey & Hawkes, Ltd.,19480

Serenade in A, London, Boosey & Hawkes, Ltd.,1947.

Unpublished Materials

Bernstein, Leonard, "Young People's Concert," unpublished scripttelevised by CBS - TV, December 27, 1970.