menard - compositional techniques of ravel and their relevance in the private studio

Compositional Techniques of Ravel And Their Relevance in the Private Studio

Tonya H. Menard

A Thesis submitted to the Graduate Faculty of

JAMES MADISON UNIVERSITY

In

Partial Fulfillment of the Requirements

For the degree of

Doctor of Musical Arts in Piano Performance, Literature, and Pedagogy

Music

May 2012

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ii

Dedication

This document is dedicated to my husband Tim, my two children Max and

Abbie, and my father A.L. Holland. You have sacrificed your time, your money, your

space, and your patience while I pursue my dream of being Dr. Tonya. It is not

possible to repay you for the support, the encouragement, and the love you have all

shown while I spend countless hours taking time away from you in order to achieve

this goal. You are my inspiration and I thank you all for helping me make my music.

iii

Acknowledgements

I would very much like to thank Dr. John Hilliard for his gracious and relaxed

way of teaching. I have rarely been in a classroom where I felt the freedom to

experiment, explore, and make mistakes without criticism or judgment. His

encouragement, his love of teaching, and his brilliance in the subject of

compositional techniques have inspired me since I was in his theory classes as an

undergraduate twenty years ago. This project and the discoveries within are a

direct result of Dr. Hilliards celebratory demeanor over the subject matter and his

students. Thank you, sir, for your contribution in my life.

I would also like to thank Mrs. Suzanne Guy and Dr. Eric Ruple for their roles

in my returning to James Madison University to pursue a doctoral degree. Mrs.

Guys assistance in preparation for the audition, as well as her example as a fellow

Tidewater Music Teachers Forum member led me to seek improvement in my own

teaching and playing. She is an exquisite model of excellence in the field of piano

pedagogy.

In the few years before there was a doctoral program at JMU, Dr. Ruple

would mention the possibilities of the degree to me each year at the Virginia Music

Teachers Association State Conference. Then it was only a distant what if.

Fortunately, with the help of Suzanne Guy and my family, the possibility became a

reality and I joined the School of Music at JMU for the second time following a Music

Education degree in 1992. Since then, Dr. Ruple has encouraged and supported me

as well as pushed the limits of my playing abilities beyond my imagination. Many

thanks are due.

iv

Others who have made a profound contribution to the success of this work

include Dr. Mary Jean Speare for her assistance with all doctoral needs including the

proof reading and aid in revisions to this document; Dr. Gabriel Dobner for his

coaching of ensemble work for performance and his help with this document; Mrs.

Carol Ann Barry, Mrs. Melissa Sumner, Ms. Erin Murphy, Mr. Ednaldo Borba, and Mr.

Uhnyak Goo for their encouraging words and beautiful music during the

collaborative recital of many of the works included here; and the many MTNA

members across the nation who responded to my inquiry regarding their inclusion

of twentieth-century material.

Additional thanks to: Mr. Corey Blake, Ms. Katie Dooley, Ms. Brenda Johnson,

Mr. Luis Gonzales, Mr. Joseph Mann, Mr. David McDevitt, Mr. Jonathan Keener, Dr.

Patricia Brady, Mrs. Jackie Forehand Phillips, Pastor Ann Held, and my wonderful

family, without whom this project would not have been possible.

v

Table of Contents Dedication.. ii

Acknowledgments. iii

List of Figures.............vi

Abstract.........viii

Implementation of Ravels Twentieth-Century Techniques...................1

MTNA State Theory Testing Facts.....3

Rhythmic Concepts and How to Teach Them..12

Harmonic Concepts and How to Teach Them..25

Read It, Write It, Apply It.....51

Conclusion55

Bibliography.58

vi

List of Figures Figure 1..13

Figure 2..14

Figure 3..15

Figure 4..17

Figure 5..17

Figure 6.18-19

Figure 7..21

Figure 8..21

Figure 9..22

Figure 1026

Figure 1129

Figure 1230

Figure 1331

Figure 1432

Figure 1533

Figure 1634

Figure 1735

Figure 1835

Figure 1937

Figure 2037

Figure 2238

Figure 2339

vii

Figure 2441

Figure 2542

Figure 2643

Figure 27...43-44

Figure 28....45

Figure 2946

Figure 3048

Figure 3149

viii

Abstract:

Compositional Techniques of Ravel and their Relevance in the Private Studio is poised

to encourage music teachers to include twentieth-century compositional techniques in

their lessons and for Music Teachers National Association (MTNA) affiliated state

organizations to include them in their theory test programs. There is an astonishing

deficit of music theory education given to private students regarding twentieth-century

music even though we have deeply crossed over into the twenty-first century. This thesis

addresses the challenges of teaching twentieth-century theory by discussing the

accessibility of compositional techniques used by Maurice Ravel and the importance of

teaching these concepts to private students. A survey of MTNA states which include

twentieth-century theoretical concepts in their theory tests is incorporated within this

discussion and the results are surprisingly wanting. Maurice Ravel provides an excellent

array of techniques that are approachable for even the lower level student and are an

excellent tool for fostering the advancement of standard theoretical practices in the

private studio.

Implementation of Ravels Twentieth-Century Techniques

The disciplines of teaching piano lessons, traditional music theory, and 20th-

century theory are typically alienated from each other in such a fashion and including

them in private piano lessons is quite rare. Having the time to work with a student on

repertoire and technique is challenging enough, but to add theory concepts in the weekly

lesson begins to push the limits of any effective musical learning. Because of this time

constraint, it is difficult to approach the topic of twentieth-century techniques with any

consistency. In recent years, piano teachers have included more contemporary music in

their studios; however, the theory within the music is often neglected. Some twentieth-

century music can be complicated to learn and memorize, therefore most of the lesson

and practice time is spent simply preparing a piece for performance. In fact, too often,

teachers feel they do not have time to teach much more than fundamentals, but this

approach leaves students who are serious about their music with inadequate training. A

grasp of the theoretical and structural elements would enhance the learning and

memorization process.

Twentieth-century composers like Maurice Ravel have a broad palate of

repertoire from a compositional standpoint. Approaching his compositional techniques is

not as difficult as some may think, and could in fact, be enjoyable and motivating to pre-

college students, which could also result in students who are more prepared for higher

educational institutions. Private music teachers and university professors who include

theoretical study of twentieth-century concepts help students appreciate and understand

scores, the composers, and their own musicality on a richer, more intellectual level while

encouraging their students in turn, to teach these concepts to their future students. In this

2

way, the techniques of twentieth-century masters would be common knowledge to young

students, and would allow for more intensive score study and musical connection to the

repertoire once a student reaches the college level.

This document will give an explanation and survey of Music Teachers National

Association (MTNA) affiliated state organizations regarding details of their inclusion of

twentieth-century concepts into theory test programs. In order to prove the accessibility

of twentieth-century theory for pre-college students, there will be an analysis of many

compositional techniques Ravel used while bringing to light the simplicity and

teachability of each concept. Discovering an answer to the lack of twentieth-century

theory education among private music students and possible resource solutions is

important for the twenty-first century teacher, as the last portion of this document will

point out. I will offer ideas along the way about how to incorporate more twentieth-

century theoretical techniques into the private lesson and will include the benefits of such

an endeavor.

MTNA State Theory Testing Facts

In my personal experience with the MTNA affiliate Virginia Music Teachers

Association (VMTA), I have felt pride as my students participated in the state theory

testing. The high standard of Virginias music organizations has kept them in a constant

state of progression. The vigilance of my local and state organizations to foster

improvement in theory and other areas made me feel secure in our all-inclusive quest.

Although I began this project with the knowledge that VMTA did not include 20th-

century techniques in their 13 levels of testing (primer through level 12), subsequent

discussions have prompted a resolution to add them into the theory syllabus.

In my research, I conducted a survey of states affiliated with Music Teachers

National Association (MTNA) that participate in regulated theory testing for their pre-

college private students. Of our fifty United States, thirty-three responded saying they

have some type of regulated testing. Only six include the past centurys techniques in

their test, and most of those are quite limited. The six states that responded positively

were New Hampshire, Texas, Tennessee, California, Illinois, and Kansas. I did not

include states that were limited to whole-tone and pentatonic scales as these are fairly

accessible concepts. The following chart shows the general content each state includes:

4

PARTICIPATING STATE 20th Century Theoretical Concepts Included in State Theory Exams

New Hampshire Definitions: Level 6 Texas Bitonality: Level 11 Tennessee Terms and Composers in Music History

Portion of Exam: Level 7 and 8 California Styles, Scales, Rhythmic and Harmonic

Elements, Percussive Elements, Textures, Listening Skills, Serialism, and

Composers: Level 8 and up

Illinois Rhythmic and Harmonic Elements: Level 10 and up

Kansas Styles, Scales, Rhythmic and Harmonic Elements, Textures: Level 7 and up

The details of the states requirements in the chart above are found in the

statements included in the appendix which were sent in response to the nationwide

research question: Do you include any twentieth-century compositional techniques in

your State Theory Examinations, and if so, what are they and at which levels do they

appear? Texas includes only the definition of the term bitonal in their level 11 theory

test, which is for students in eleventh grade. Tennessee uses a Musicianship Syllabus

instead of a single theory test and includes twentieth-century concepts in levels 7 and 8 of

the Music History section. Carole Batson, a former member of Tennessees Theory Test

committee wrote the following regarding their Level 8 test, which is the highest level in

their state:

Terms that are used are: aleatoric music, musique concrete, electronic music, minimalism. Composers that students should study are Bla Bartk, Leonard Bernstein, Karlheinz Stockhausen, John Cage, Philip Glass and Charles Ives. There are a few questions each student should answer about each one, and are instructed to listen to 2 compositions by composers in the list. The test is an objective test using matching and multiple choice.1

1 Carole Batson, e-mail to [email protected], March 1, 2011, [email protected] (accessed March 1 2011).

5

It is compelling to include composers and styles into Virginias music theory testing

program as Tennessee has done however, it would require adding a music history element

which would further complicate the updating of the syllabus. This method is separate

from the format discussed here and is not an immediate answer to theory test revision, but

should be considered in long-term application. Ms. Batsons response though relevant to

the twentieth-century concern providing for contemporary music information, is in a

music history format and therefore is only included in the above chart because of its

relationship to pre-college education, not because it is in a theory test.

New Hampshires test only contains modern techniques in the level 6 vocabulary

section. Constance Chesebrough, New Hampshire Music Teachers Association president

stated in an electronic mail:

The New Hampshire Music Teachers Association uses the KITS (Keynote Independent Theory Service) Music Theory Course in conjunction with its non-competitive evaluations each spring. The course consists of a primer and six theory levels. Level 6 discusses the following 20th century techniques in its vocabulary section: Expressionism, avant-garde, 12-tone, tone row, atonal and polytonal.2

Although these terms and their definitions are important, evaluators cannot be assured the

students understand these twentieth-century concepts. It is possible they simply

memorized a definition in order to pass the test. There are no other applications of the

terms required in New Hampshire.

Kansas has an extensive Music Progressions program which includes possible

performance of a twentieth-century work and describing the distinguishing features of the

piece. Sally Buxton, Kansas Music Progressions Chair, describes the inclusion:

2 Constance Chesebrough, e-mail to [email protected], February 25, 2011, [email protected] (accessed February 25, 2011).

6

When the students are asked to describe their performance pieces, or when

they are asked to describe pieces on the Listening CD, it [is] always assumed by the teachers that the students must be familiar with 20th-Century style, just as well as the others. Using contemporary literature has always been important to Music Progressions because its use has always been promoted by those who compiled the tests The upper levels must identify modes, whole tone, and pentatonic scales on the written-theory and listening tests. They must identify bitonal, atonal and modal pieces on the listening tests. You [cannot] tell from the tests that all music history styles are included on the Listening-test CDs from Levels 3 - 10. There are contemporary pieces at almost every level each year. Because of copyright problems with recently composed pieces, I even composed some with a contemporary sound that we could use. At Levels 1 & 2, when the teachers perform the Listening tests live for the students, there are contemporary pieces at each level on each set of tests. (We have two complete sets, in case a student repeats a level from one year to the next.)3

Kansas starts its contemporary requirements at a much lower level than any other state on

the list. The teachers there have been able to accomplish this because Ms. Buxton has

written pieces with modern techniques for the lower level student to be included in the

tests. The listening portion she describes is a separate entity from the written work and

students are asked to answer questions about the music they are hearing without seeing

the score. Listening sections are common on state theory tests across the country but as

shown in this research, no other group has incorporated as much twentieth-century

listening as Kansas.

Dr. Mary Beth Molenaar is the Piano Division Coordinator at Northwestern

University Music Academy in Illinois and provided the following terms and levels from

her state.4

3 Sally Buxton, e-mail to [email protected], July 27, 2011, [email protected] (accessed July 29, 2011). 4 Dr. Mary Beth Molenaar, email to [email protected], March 16, 2011, [email protected] (accessed March 16, 2011).

7

X Polytonality XI (None) XII Atonality XII Bitonality XII Tonal Center XII Quartal harmony XII Augmentation/Diminution

The above indicates that modern concepts are not mentioned until level 10, skip level

11, and are heavy in level 12a level the majority of pre-college students do not reach in

piano study. While Illinois teachers should be commended for requiring knowledge of

these concepts, it is not necessary to wait until a student is in such a high level of study to

introduce them, as will be defended in the following pages.

The last state to be discussed is California, which had the most extensive

inclusion of the six states beginning with level 8 and finishing with level 10, their highest

level. Karen Rogers, California Association of Professional Music Teachers Evaluations

Chairperson sent the details of their twentieth-century inclusion:

Level 8 Students are required to identify listed characteristics of twentieth-century Music in these ways:

1. Match the characteristic with the style period. 2. Identify the style period of a musical excerpt from a printed score. 3. Identify the style period of a musical excerpt aurally.

In addition, students are required to be able to write a whole-tone scale beginning on any note CHARACTERISTICS OF TWENTIETH-CENTURY MUSIC

May include bitonality, polytonality, atonality A variety of textures, including clusters Use of changing meters and asymmetrical rhythms Influence of jazz, ragtime and blues Piano often used percussively

8

Level 9

1. Identify the style period of a printed musical excerpt and answer questions

about it. 2. Identify listed Impressionistic and twentieth-century composers. 3. Write a pentatonic scale. 4. Aurally identify whole-tone and pentatonic scales (along with major / 3 kinds

of minor / chromatic etc.)

Level 10 The greatest emphasis on twentieth-century compositional techniques is at this

level. Atonality Bitonality Polytonality Tonal center Quartal harmony Serialism (including identification of a given tone row in retrograde, inversion or

retrograde inversion forms) Again, questions are asked about printed musical excerpts. Students also aurally

identify the style period of an excerpt. 5

Identifying the style period by matching characteristics visually with a score and

aurally in a listening portion of the test are comprehensive ways of helping the student

retain information. The variety of Californias terms is extensive in comparison with the

other five states on the list and is a good example of what state theory chairpersons across

the country should be thinking about when revising their tests. However, they still cater

to a smaller percentage of students who reach the higher level of theoretical study.

Although California is a leading example, knowledge and understanding of past-

century techniques by pre-college music students is regrettably lacking and it will take

5 Karen Rogers, e-mail to [email protected], March 2, 2011, [email protected] (accessed March 2, 2011).

9

much effort to change the teaching patterns of American music teachers. In Virginia,

although there is a certain degree of enthusiasm for additions to the theory test, there is

some disagreement as to what levels these new concepts should be introduced.

Discussions are currently at the preliminary stage, and therefore on should not speculate

where the concepts will begin, nor should it be assumed that all of the concepts presented

here will appear in the tests. What is certain is that improvements will be made. Along

with these modifications comes the prospect of higher standards for future music students

in Virginia, which could influence improvements across the country.

The following progressive suggestions have been recommended to the local theory

chairpersons in Virginia as a starting place for inclusion of twentieth-century techniques

into the state theory tests. They have been presented to Virginias local theory

chairpersons and state officers to be reviewed and musical examples will be assigned to

varied sections of the test. The concepts will then be presented to the membership body

during the business meeting at the 2011 VMTA conference to encourage discussion,

volunteer assistance with making revisions and eventual vote.

10

Theory Level

Twentieth-Century Concepts

3 Clusters 4 Bitonality, Contrametrics 5 Rhythmic Augmentation and Diminution, Split thirds, 6 Clusters, Polyrhythms (hemiolas), Asymetrical Rhythms 7 Polyrhythms (6/8 with 3/4 etc.), Pandiatonicism, Split thirds, Whole tone

and Pentatonic Scales 8 Polytonality, Quartal/Quintal chords, Asymetrical Rhythms,

Contrametrics, Rhythmic Augmentation and Diminution 9 Clusters, Polyrhythms (advanced and ensemble examples), Parallelism,

Split thirds 10 Atonality, Tonal Center, Polytonality, Whole tone and Pentatonic Scales 11 Twelve Tone, Tone Row, Atonality, Tonal Center, Quartal/Quintal

chords, Pandiatonicism, Contrametrics, Parallelism, Polyrhythms 12 Pitch Count, Prepared Piano Markings, Percussive Piano Markings, All

concepts in levels 8-11.

The above concepts will be placed in the following categories: Matching, Fill in

the Blank, Listening, Vocabulary, and Identifying Musical Examples. Possible

discussion within VMTA membership may also include styles and composers. Since

MTNA does not interfere or make suggestions for state decisions about testing,

Virginias teachers must begin the careful process of improving the quality of private

music education independently. Foreseeing conflict of opinion, the matter must be

presented with both delicacy and optimism especially considering the subtle comments

made below by anonymous teachers regarding this topic.

Many of the responses to the question of states using twentieth-century concepts

in the theory tests were negative. It should be no surprise that teachers feel strongly

about the topic of music education. Only a small percentage of teachers approached were

questioning their ability to teach younger students these concepts and one anonymous

response suggested it would take an extra class outside of lessons to prepare them for an

exam containing these concepts. One teacher wrote back in a friendly email saying If

11

you have taught children, you know it takes a good long time to have them leave basic

theory anyway, let alone complex issues!6 She is correct that the basics take a long time

to teach, however, the teaching suggestions integrated in this document prove that these

issues do not have to be considered complex and students can learn them as easily as

learning key signatures. It is the goal of the author that twentieth-century techniques

begin to be considered part of the basics. The thinking process about these techniques

must change if students are going to learn these techniques within the standard

curriculum. Thankfully, the majority of teachers approached with the question were

supportive of making changes and anxious to find solutions to the problem. The next

question for teachers will likely be How do we teach these concepts without proper

resources? Since this is a legitimate concern, the subsequent pages will address this

question and give suggestions for the content of a resource that will aid teachers in

presenting twentieth-century techniques to their students of all ages.

6 Theresa Smith, e-mail to [email protected], February 26, 2011, [email protected] (accessed February 26, 2011).

Rhythmic Concepts and How to Teach Them Ravels piano compositions are studied and performed across the world in

conservatories, music schools and concert halls. His works range from repertoire

appropriate for intermediate students, to those works more suited for the accomplished

concert pianist. Extracting some of his techniques from a select group of pieces, we find

that the techniques themselves are not out of reach for a pre-college or early

undergraduate student. In fact, elementary students could learn the concepts even if they

cannot play Ravels compositions. Unusual rhythmic devices are in a broad category of

twentieth-century tools that are only identifiable to a trained ear. For this reason, it is

imperative that young students become familiar with the varying rhythmic patterns if they

wish to gain a more thorough understanding of twentieth-century rhythmic techniques.

Just as it is proven that students have better rhythmic skills if they have been exposed to

music at a very young age, complicated twentieth-century rhythms should be introduced

in pre-college lessons to ensure a more intrinsic understanding of these advanced musical

skills beyond intermediate levels, regardless of the students age.

One easily attainable concept for lower level students is contrametrics, an

unfamiliar term used by Robert Palmer, a composition instructor at Cornell University in

the late 1970s, to describe a rhythm only slightly more difficult than syncopation.7

Contrametrics are contradicting rhythms within a standard meter that create the illusion

of a changed time signature. Looking at Figure 1 below of Ravels Valse nobles et

sentimentales movement VII, the actual time signature given at the beginning of the work

is 3/4, however from measure 102-106, the organization of the tied notes creates the

7 Robert Palmer, 20th Century Rhythmic Techniques: A Provisional Compendium (classroom lectures presented at Cornell University between the years 1978-1980).

13

sensation of duple meter.8 Although similar rhythmic displacements can be seen in some

romantic music, the twentieth-century composers began to expand the ideas and change

the way the music was notated.

Figure 1: Valse nobles et sentimentales mvt. VII: Moins vif

Similarly in Ravels Concerto in G mvt. I, the time signature is 4/4, but in the third

measure of Figure 2, the accents in the right hand change to generate a triple meter on the

off beats (note the changed counts inserted above the right hand showing where the meter

changes.)9

8 Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols (London: Peters, 2008), 20. 9Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris: Durand, 1932), 13.

14

Figure 2: Concerto in G mvt I: Allegramente

CONTRAMETRICS 1 2 3 1 2 3 1 2

3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3

Later, composers such as Alban Berg used this concept, but chose a new form of

notation. Instead of using tie markings or only accents, they carried the eighth note beam

across the bar line. Figure 3 is taken from Bergs Sonata for piano Op. 1 which

combines the cross beaming with accents to show contrametrics.10

10 Alban Berg, Sonate Fur Klavier Op. 1, Neuausgabe von Klaus Lippe (Alban Berg Gesamtausgabe) (Vienna: Universal Edition, 2006), 2.

15

Figure 3: Sonata for piano Op. 1

In approaching contrametrics (and rhythmic diminution and augmentation

addressed later in this document), an old game of copy me is useful. When students are

in preschool and early elementary school they play this game with their music teachers

requiring listening to the teacher clap four quarter notes, then the children try to clap four

quarter notes. This game makes its way through various basic rhythmic patterns until the

majority of the class is successful in repeating what they hear. The older the student, the

more complicated the rhythms can become. In the case of contrametrics, teachers can

vacillate between 4/4, 3/4, 7/8, 5/8, etc., all the while counting aloud and clapping

subdivisions of eighths or sixteenths and mixing the patterns. The more complicated it

gets, the more fun the students begin to have creating enthusiastic eagerness to try this

concept at the piano.

Isolating the rhythm from the context of the piece with the game is useful. In

addition to this, the student could write in the counts in line with where the accents fall

instead of where the actual beats in the measures occur. This is helpful for the student to

remember how the passage is supposed to feelas was done in the previous

contrametrics example. If the student feels the rhythm through clapping, tapping, or even

walking, speaks the rhythm while engaged in the physical activity, and then sings the

tune in rhythm in conjunction with the larger movements, the difficult task is essentially

conquered. Dexterity in fingering can be rehearsed on the fall board of the piano, or

16

applied to the keys of a clarinet or vocal cordswhatever instrument the student uses.

The goal is to feel the rhythm.

Following the success of playing the isolated correct timing, the student must

incorporate the passage into the rest of the piece. Using the same technique as above, the

teacher can count in two previous measures having the student speak the rhythm at the

precise time of the contrametric entrance. Once this is accomplished, it is time to

approach the instrument. Counting aloud is highly recommended, as is singing the

melody line. Internalizing the sound enriches the quality of the external music as most

music teachers would arguably agree. Upon accomplishing the task after this process it is

likely that students will not have unevenness in the rhythm when approaching the passage

in the music and they will feel confidence and pride in being able to perform this timing

illusion.

The same action can be taken when approaching Rhythmic Diminution and

Augmentation. These are tools Ravel used that refer to the extending or reducing of

rhythmic values or phrases within a single motive. For instance, movement VII of Valse

nobles et sentimental contains a B-flat augmented chord in measure 10 that is eleven

beats long, followed by a three beat G augmented chord, then a four beat C augmented

chord. After the fermata rest, these same tonalities, albeit written enharmonically,

reappear in contrametrics at only two beats each (see Figure 4.) 11

11 Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols (London: Peters, 2008), 16.

17


In Figure 5 Ravel does just the opposite with the same chords later in the movement

beginning at m.102 creating an augmentation of rhythms just before the return of the A

section.12



18

In the second movement of his ensemble piece, Chansons madcasses, Ravel decides to

create diminution with time signatures. He begins in 4/4, reduces the motive to 3/4 and

then 2/4. This technique is best understood while observing the right hand chord

movement in the piano part of Figure 6.13

Figure 6: Chansons madcasses mvt II: Aoua!

13Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris: Durand, 1926), 12.

19

Figure 6 Continued

When applying the previous contrametrics clapping game to this concept of

diminution and augmentation, one simply must begin with a number of beats, then

increase or decrease the counting patterns depending on the desired result. For instance,

when teaching augmentation, the students should copy the successive pattern of

1-2-1-2-

1-2-3-1-2-3-

1-2-3-4-5-1-2-3-4-5

etc.

then, work backward for diminution. This pattern can be done with singing pitches for

the beat durations as well, which internalizes the rhythm, reinforcing comprehension.

Following the simple addition of numbers, the student should apply the same activity to

20

the rhythm of the piece he or she is playing. After trying these exercises, they can then

be applied while the student plays an instrument. Although diminution is widely and

more abstractly used in twentieth-century music, pianist Alfred Brendel called it

foreshortening when referring to Beethovens use of the technique describing it as the

driving force of his sonata forms and a basic principle of his musical thought.14

Therefore, this concept should be a bit more familiar and easily attained for students than

contrametrics. The only difference is in the namesomething a four year old could

pronounce after a little practice. The game may seem juvenile to some music teachers,

but that is the point. These concepts are not too difficult for young children and therefore

should be introduced, then reinforced by theory books, method books, standardized state

theory testing, and finally by independent music teachers and college professors. There

is no reason why we should withhold this information from our students until they are 20

years old in an advanced theory college classroom.

The more advanced idea of polyrhythms can be reserved for the more mature high

school student. It is not new when one considers the hemiola has been around for

hundreds of years; however, Ravel showed that he could build upon an old concept and

make something that is more complicated and intriguing than its predecessor. As shown

in Figure 7, he used the hemiola in the Concerto in G by having the piano play triplets

while the orchestra plays straight eighth notes.15

14 William Kinderman, Beethoven, 2nd ed., (Oxford: Oxford University Press, 2009), 35. 15 Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris: Durand, 1932), 1.

21


Moreover, in La Valse mvt. VII, Ravel used what looks at first glance to be a simple

eighth against quarter rhythm, but when examining the top voice more closely, there are

dotted quarters representing the melody which make the right hand feel like 6/8 time

while the left hand is clearly in 3/4. This strategy creates a rhythmic sound that had been

used many times before, but the notation makes it a polyrhythm (see Figure 8.)16

Figure 8: Valse nobles et sentimentales mvt. VII: Moins vif (R.H. 6/8, L.H. 3/4)

The last example of polyrhythms comes from the chamber piece Chansons

madcasses. It is reasonable to assume that Ravel did not use this combination for solo

piano simply because it is too complicated for just two hands. The following example is

full of rhythmic challenges. In the two measures provided, the flute shares its rhythm


22

with the left hand second beat of the piano and then rests the remainder of the measure.

The cello plays a strongly effective glissando in the off-beat of beat one and a sextuplet in

the off-beat of beat three. The voice uses different asymmetrical sixteenths in the third

beats of each measure while the piano maintains the intensity with a crescendo (marked

in a previous measure) accompanied by a percussive and aggressive pulse with the drive

of a ceremonial drum of the Madagascan tribe it depicts. During this mayhem in Figure

9, the singers text surrounding it reads The carnage was long and terrible; but despite

the lightening that they vomited and which wiped out entire armies, they were all

exterminated. Aoua! Aoua! Dont trust the whites!17

Figure 9: Chansons madcasses mvt II: Aoua! (Multiple rhythmic values)

Not only is polyrhythm used here, but Ravel also adds bitonality and rhythmic

diminution.

This type of polyrhythm is decidedly more difficult than the previous concepts

discussed and will obviously only work in an ensemble situation. If, however, there are

17 Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris: Durand, 1926), 12-13.

23

students in the private studio that play different instruments it is worth experimenting

with. The Ravel Chansons madcasses is possible for an older high school or early

college ensemble, although it will create some challenges. The individual parts are not

too difficult to learn, but putting them together takes patience and time. Counting aloud

is imperative with this piece and practicing with the ensemble at half speed or less.

Increasing the tempo helps the players hear how the parts fit together. Simple

composition exercises are also helpful with this and other twentieth-century concepts.

This process is as easy as learning key signatures, while also encouraging creativity and

critical thinking. Simplifying the explanation to a younger student, the teacher could

compose an improvised duet on the spot by asking the student to play a slow, four quarter

note pattern with the left hand, then a right hand pattern of dotted notes, sixteenths, and

rests of the students choice. Once these improvisations have been successfully executed,

the teacher can ask the student to play them with hands together. Adding a new pattern in

the upper register creating a third rhythmic element and explaining that this technique is

called polyrhythm is the only step remaining. To reinforce the concept, the teacher can

assign a short composition for the student to complete that includes polyrhythms, which

can be performed and explained by the student at the next group studio class.

These kinds of activities can of course vary in length. Efficiency in the lesson in

usually crucial so the recommendation is to take no longer than ten minutes. After

engaging in the activity described above, the student has reinforced simple rhythms,

added a new concept, listened, participated, improved hand coordination, and then during

the following week, created a composition. Through all these steps, a student is assured

24

to conquer the concept. That is certainly ten minutes worth the price the parents are

paying for lessons.

Harmonic Concepts and How to Teach Them

Harmonic elements in the early twentieth-century play an even bigger role

perhaps than the developing rhythms. Most musicians who listen to contemporary music

can easily identify new rhythm patterns, but the harmonic intricacies of Ravel can keep

interested musicians in a constant state of discovery. The first of these harmonic

advances to be discussed is pandiatonicism. Leon Dallin, a twentieth-century music

scholar, explained the term pandiatonicism in the following manner:

Coined by Nicolas Slonimsky to describe music which, in reaction to excessive tonal chromaticism and atonality, reverts to the resources of the diatonic scale. Only the absence of characteristic melodic and harmonic functions sets it apart from conventional diatonic music, so pandiatonicism is used sparingly by contemporary composers.18

Pandiatonicism was a reaction to the many expressionist sounds of the day and in

Ravels music, it took on a simplistic, almost sweet character. In this accessible piano

duet entitled The Enchanted Garden from his Mother Goose Suite, the key signature

suggests C major, however upon listening to the harmonies, nowhere do we hear the

expected tonic, subdominant and dominant tonalities. On the original page there is one

accidental (not shown) that does not change the mode, and the C major scale is used in its

entirety. Yet, the melody and its underlying homophonic texture do not suggest C major.

It is beautiful, mysterious, and simplistic, all the while using pandiatonicism. Figure 10

shows the beginning of both duet parts.19

18 Leon Dallin, Techniques of Twentieth Century Composition 3rd ed. (Iowa: W.M.C. Brown Company Publishers, 1974), 135-136. 19 Maurice Ravel, Ma Mre Loye (Mother Goose Suite) for one piano, four hands, ed. Gayle Kowalchyk and E.L. Lancaster (USA: Alfred, 2003), 34-35.

26

Figure 10: Mother Goose Suite mvt. V The Enchanted Garden

Once a student has mastered all the notes from low C to high E, he or she could learn the

entire A section, and experience pandiatonicism before ever learning a B major scale.

Pandiatonicism is playable by elementary students but finding material to support

the concepts at this level is difficult. There are currently no piano method theory books

on the market that discuss twentieth-century techniquessurprising, since they are now

so old. It is as if for the first few years of a students lessons, the teaching world is

27

ignoring all progressive music composed after the 19th century. This neglect is poor

preparation for a pianists understanding of twentieth-century music. There are countless

examples of both classical and teaching pieces students play that show I-IV-V chords,

making the students ear keen to recognizing the patterns, provided they are taught what

these concepts mean. Assigning a piece like The Enchanted Garden and asking a

student to then try to find the I-IV-V chords in the A section helps the student

independently discover pandiatonicism. When it is discovered there are no standard

chords in the example, the teacher needs to simply to declare Really! Then this must

be an example of pandiatonicism! You found it! Suddenly the student is the master and

will more readily remember this concept before many others that were spoon-fed during

lessons.

Pandiatonicism is simple to teach and the young student does not have to

comprehend the complexities surrounding the origins of the technique as described by

Slonimsky, although many would probably understand if given the chance. The idea that

a piece is played in one key, but never comes to familiar chord progressions including

tonic and dominant, and that the melody is usually unpredictable is refreshing and

exciting to the ear. It is a challenge in that it is new and different to the student,

especially given the four-chord songs that are so prevalent in the popular music

surrounding their lives. They have learned something most children (and adults for that

matter) in music do not know and they enjoy it because they feel special, they feel smart,

and they have the building blocks for future creativity.

Two more of Ravels special techniques that became widely used in the

twentieth-century are bitonality and polytonality. These concepts are now common, but

28

along with the other devices presented here, are apparently not theoretically encouraged

across the country given the testing responses later examined. Playing piano with the

right hand in one key and the left hand in another can be highly challenging even to an

advanced college student. However, if the concept is taught earlier, when confronted

with Ravel and others like him later in life, a student is better equipped to deal with

twentieth-century concepts. Again, the Valse nobles et sentimentales has an example in

Figure 11 where the upper voices are in E Major and the lower voices are in F Major,

even though the key signature is one flat.20


29

Figure 11: Valse nobles et sentimentales mvt. VII: Moins vif (Upper Voices E Major, Lower Voices F Major)

In the theoretically related concept of bimodality in the Concerto in G, Ravel writes an

arpeggiated passage with the right hand in A minor, and the left in A major. This

combination provides a dissonant sonority while keeping the tonic pitch the same and

only altering the third of the chord (see Figure 12.)21

21 Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris: Durand, 1932), 17.

30


Bitonality: Left Hand A Major Right Hand A minor

In both of the above examples, Ravel provides a key signature of one flat and alters the

pitches with accidentals. In Chansons madcasses however, Ravel notates different key

signatures to represent bitonality. Movement II, Aoua! in Figure 13 shows the flute,

cello, and left hand of piano with no sharps or flats, while the voice and the right hand

piano parts contain six sharps. 22

22 Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris: Durand, 1926), 10.

31


The Oxford Companion to Music defined polytonality as the Simultaneous use of

two or more keys. If two keys are superposed the technique is known as bitonality; more

complex combinations are rare.23 This passage, then, is one of those rare cases. In the

third movement of Chansons madcasses, Il est doux, Ravel expands from two

tonalities to three. The piano has no sharps or flats, the flute and voice contain a D-flat

major key signature, but then the voice moves to E-major while singing Women

approach (see Figure 14.)24

23 The Oxford Companion to Music, s.v. Polytonality. 24 Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris: Durand, 1926), 17.

32

Figure 14: Chansons madcasses mvt. III: Ilest doux

Assuming there has been a steady diet of theory including the basics of the circle

of fifths (major and minor); the young student is more than ready to receive information

on bitonality. Once the student is prepared, the teacher can approach these topics with

ease. The following scenario is a proof that younger students have the ability to

comprehend this concept.

In experimenting with a ten-year-old student who has only had white key major

and minor pentascales and a few full major scales, I proceeded to ask her to play the D

major pentascale with her right hand then the C major pentascale with her left hand.

This small task was easy for her and so then I said Now lets try them at the same time!

The result was a simple dissonant pentascale that inspired excited enthusiasm and a

suggestion to try F major in the right hand and E major in the left. After the task was

accomplished and several more keys had been played, we discussed the term bitonality

and that she had already learned what college students are learning. The thrill of success

33

was written on her face. The interaction with the ten-year-old student took approximately

five minutes but unfortunately, it has been scarcely possible to find bitonal repertoire at

the level she could play. This is true of much of the twentieth-century repertoire. There

are some pieces for intermediate and advanced students, but the elementary student is left

with few examples when it comes to contemporary styles. Perhaps this deficit can be

remedied in the near future. In the mean-time, one exercise to try is to have the student

write out a short composition that is in two keys he or she can play easily, such as two

keys a fifth apart: G and D major.

A close look at Ravels Bolro, an accessible late intermediate transcription of his

orchestral work, reveals two more techniques widely used in twentieth-century

progressive musicquartal chords and clusters. The quartal chord is a chord consisting

of only fourths. The chord in the box of Figure 15 when inverted, reads D-G-C, a

succession of fourths.25

Figure 15: Bolro

Ravel also uses a quartal chord shown in Figure 16 from the seventh movement of Valse

nobles et sentimental.26

25 Maurice Ravel, Bolro, transc. Roger Branga (Paris: Durand, 1929), 6. 26 Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols (London: Peters, 2008), 21.

34

Figure 16: Valse nobles et sentimentalA-D#-G:

In addition, the concept extends to triadic and quintal chords which contain only thirds or

fifths respectfully, and can be extended from four notes to ten or more in one chord

(sometimes the need to roll the chord arises if it cannot be reached). Since quartal

chords are not difficult to recognizesimply counting the intervals is a basic skill

learned for the early elementary level theory teststhis concept should involve only

asking questions such as:

What are the notes in this chord?

Since they could be inverted, what would happen if you spread them out

according to their order on the keys?

Now that you know the new order what intervals do you have?

Depending on the answer to the question, the student would then know the chord was a

quartal, quintal or triadic chord, be able to physically recognize the relationship of keys

on the keyboard, and memorize the chord almost immediately.

Moving forward toward easily learned concepts and memorization, the cluster is a

very familiar device to most educators that combines diatonic or chromatic seconds into

35

one chord and can be notated in different ways. In Figure 17, Ravel writes out the notes

of a four-tone cluster in Bolro.27

Figure 17: Bolro:

Some later composers such as George Crumb have used these and larger clusters yet

notated them with blocks, as in his composition A Little Suite for Christmas (See Figure

18.)28 This particular example shows that the cluster should be chromatic.

Figure 18: A Little Suite for Christmas mvt. 4: Adoration of the Magi

Clusters have been used recently in method books for young beginners as a

discovery of sound, and also in some sheet music solos by contemporary composers of

teaching materials as a fun and expressive tool. One would assume the popularity of this

concept to coincide with its importance, but it is still frequently ignored in theory method

books and testing. The term cluster is simple enough for a preschooler and certainly

27 Maurice Ravel, Bolro, transc. Roger Branga (Paris: Durand, 1929), 6. 28 George Crumb, A Little Suite for Christmas, A.D. 1979, (New York: Peters, 1980), 9.

36

easy for them to playmuch easier in fact, than playing individual notes. For this

reason, to include them in theory testing for the early elementary student is practical.

Certainly after six months of piano lessons a six year old could read C-D-E-F as a cluster

in one chord and be able to identify it as such. The joy gained when practicing clusters

with a student of any age helps him or her realize all legitimate music is not high-brow

and serious (although there are moments when clusters are serious), but it is permissible

to enjoy the playfulness of music. The student goes home with knowledge of a twentieth-

century compositional technique, making the parents happy and in turn, solidifying that

the student will stay in music lessons for a longer period of time.

Another device frequently used by composers of the past century is parallelism.

Ravels repetitive use of this device in the piano and cello parts of Chansons madcasses

is a perfect example of using parallel fifths, fourths, and octaves for expression as they

build throughout the entire verse that describes the deception of the white man to the

tribe (See Figure 19):29

In the time of our fathers whites came down into this island. We said to them Here is the land; let your women cultivate it. Be just be good, and become our brothers. The whites promised, but though they made some retrenchments. A menacing fort was raised; thunder was shut into the mouths of bronze; their priests wanted to give us a God we knew nothing about finally they spoke of obedience and slavery: wed rather die! The carnage was long and terrible but despite the lightening that they vomited and which wiped out entire armies, they were all exterminated. Aoua!30

29 Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris: Durand, 1926), 10-11. 30 Ibid.

37


In Figure 20, Ravel uses parallelism in the student piece The Enchanted Garden

secondo part:31

Figure 20: Mother Goose Suite mvt. V The Enchanted Garden

If the student is old enough to have discussed parallel lines in math class, and can

play open fifths in one hand or octaves using two hands, he or she is prepared to grasp the

concept. It can probably be assumed that by the time a student reaches level seven in

piano music, he or she has played countless parallel intervals in scales, simple finger

31 Maurice Ravel, Ma Mre Loye (Mother Goose Suite) for one piano, four hands, ed. Gayle Kowalchyk and E.L. Lancaster (USA: Alfred, 2003), 38.

38

exercises, etudes, and pieces. Placing ism at the end of the word and declaring it a

twentieth-century concept is all the teaching required for this device. Finding it in a score

and circling each occurrence with a colored pencil for the next lesson is reinforcement,

and eventually seeing it on a state level theory test is the assessment.

The next easily recognizable concept for students is that of split thirds. Although

Stravinsky is attributed with this term many others including Ravel used the technique in

their compositions. Split thirds occur when a chord includes the major and minor third

simultaneously as in the B chord from Concerto in G mvt. III, shown in Figure 22. 32

Figure 22: Concerto in G mvt. III. Presto

The left hand (scored in treble clef) lines connecting the d-natural and d-sharp to the f-

natural means they all play simultaneously. Since the tempo is presto the sonority will

lead the ear to hear the split third in connection with the B chord in the right hand. He

notates the split third in a different fashion in Chanson Madcasses mvt. II Aoua! by

using the G and G# in the continuing sonority of the E7 chord from beat one in measures

one and two (See Figure 23.)33

32 Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris: Durand, 1932), 43. 33 Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris: Durand, 1926), 9.

39

Figure 23: Chanson Madcasses mvt. II Aoua!

One could consider the low A natural (the fourth of the chord) as a displaced or inverted

chromatic cluster with the split third. These chords are recognizable because of the same

pitch being written out twice with different accidentals. The student need only figure out

the root of the chord, then make certain the split pitch is in fact the 3rd of the chord.

Because it is so unusual, it is quite memorable. This chord will be memorized before

most of the others in the piece, and of course the concept is easily recognized in

assessment testing.

The last twentieth-century theoretical technique to be presented here is called

twelve tone pitch count. Dr. John Hilliard, Composer in Residence and professor of

composition and music theory at James Madison University defines this concept thus:

Starting from a certain point, count each entrance of a new pitch of the 12 pitch classes. Once the 12 have been reached, begin the count over again. This type of analysis is not 12 tone, because composers do not repeat the 12 in any particular order. An assumption of the technique is that a composer will save one, two or

40

three notes for a type of modulatory effectusing new notes heard for dramatic purpose.34

Pitch count and the method of pitch saving, where pitches 11 and /or 12 have been saved

for a special moment in the music such as a key change or mood change, has been

attributed particularly to Edgard Varse since he used this method in every piece he

wrote. Judging from the research I have done involving the writings about Ravel as well

as the knowledge and compositional history in which Dr. Hilliard is an expert; together

we believe this connection between Ravel and Twelve Tone Pitch Count is a new

discovery. This monumental find is exciting and of course, motivating to myself as a

supporter of teaching theory to pre-college students. The examples will give an

overview of the concept, but the true excitement of this discovery was in the consistency

of discretion over the placement of the pitches during the pitch saving process. Please

refer to the numbers written in the score of Valse nobles et sentimentales mvt. VII in

Figure 24.35

34 Dr. John Hilliard, interviewed by author, James Madison University Harrisonburg, VA, November 4, 2010. 35 Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols (London: Peters, 2008), 16.

41


4

3

2

1

5 7

6 9

8

10

12

11

1

4

3

2

6

5

7 8

11

10

9

12

The boxed numbers are beside new pitch classes as they appear in order. Number 12 is

highlighted and number one immediately follows or is shared in the same chord to show

the start of a new sequence. More often than not, Ravel places number 12 at a key

change or important musical event such as the start of a new musical idea or the end of a

phrase (pitch saving). The opening shows all twelve pitches revealed within the first line,

42

and then the second number 12 waits to arrive on the downbeat of the first key change.

In the second example (Figure 25) from the Valse, he presents the twelfth pitch in the last

beat of the first phrase of a new theme and key change.36


4

3

2

1

6

5

7 10

9

8

KEY CHANGE 11

12

In the final example of La Valse he gives the twelfth pitch on the downbeat of the key

change from one bitonality to the next (See Figure 26).37

36 Ibid, 18. 37 Ibid.

43


F# Major

G Major

12

Ravel repeats this technique in the first movement of Chansons madcasses

beginning with the first measure then waiting five pages before giving us pitch number

12, and purposefully places the twelfth pitch in the transitional measures just before the

key change (See Figure 27.).38

Figure 27: Chansons madcasses mvt I: Nahandove

1 2 3 4 5 6 etc

38 Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris: Durand, 1926), 1-5.

44

Figure 27 Continued five pages later

HERE: TRANSITION TO KEY CHANGE

12

Ravel uses this technique so often in his music. Continuing analysis shows the

Concerto in G begins in a similar fashion as both previous pieces, introducing the first

eleven pitches in the first two measures. However, as seen in Figure 28, Ravel saves the

twelfth pitch again for the top of the next page at the new musical idea as it is inserted

into a glissando. 39

39 Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris: Durand, 1932), 1,2.

45


12 34 56 7 8 9 10

11

Figure 28 Continued on next page

NEW MUSICAL IDEA

12

46

He continues in this fashion of pitch counting and pitch saving throughout the rest of the

work with pitch 12 occurring on pages 4 and 10 as seen in the two examples of Figure

29.40


NEW MUSICAL IDEA

12

40 Ibid, 4,10.

47

NEW MUSICAL IDEA

12

In the finale of the first movement, Ravel decides to use a type of harmonic

diminution. Figure 30 shows that instead of stretching the twelfth pitch over many

measures, he begins to condense the appearances to every two measures in the orchestra

and with an exciting final sweep covering all twelve pitches within six chords on the last

six beats of the piece.41

41 Ibid, 26.

48


12

12

12

12

12

Pitches 1-12

12

Pitch counting may seem like a difficult concept, but Ravel even uses it in the student

piece introduced at the beginning of this section. In the B section of The Enchanted

Garden, Ravel brings the twelve-tone pitch count to this modest work. Amazingly, he

guides us through pitches 1-11 but leaves the piece without the twelfth pitch, as if to

49

humorously say I can, but I wont (See Figure 31.) 42 Perhaps this exclusion is what

illuminated the enchantment of the garden.

Figure 31: Mother Goose Suite mvt VII: The Enchanted Garden

2

1

4

3

5

6 7 8

9

10

11 Alas, no 12 (A#)

Pitch counting is a most intriguing and fascinating technique, but is perhaps one

of the easiest to learn of all the concepts presented here. If the student has learned the

chromatic names of the notes, that F sharp and G flat are the same pitch, and can count to

12, then he or she is ready for this concept. Searching for and numbering the pitches as

42 Maurice Ravel, Ma Mre Loye (Mother Goose Suite) for one piano, four hands, ed. Gayle Kowalchyk and E.L. Lancaster (USA: Alfred, 2003), 37.

50

they appear in the score is all that is required to do a pitch count. The accomplishment

comes when one can recognize the significance of the placement of the last pitches, such

as when they fall at a key change or other transition in the music. The concept can

therefore be taught in a lower to medium level of study. The complication comes yet

again in being able to play the repertoire since it is generally more advanced. Therefore,

along with this report comes the challenge for contemporary composers to consider

creating student works that emphasize accessibility to twentieth-century technique.

Read ItWrite ItApply It

Some of Ravels compositional techniques are among the state theory tests in the

six mentioned states of the survey discussed previously and others, such as contrametrics

and pitch counting are nowhere. To the credit of the test creators, they include some

concepts not discussed here, such as Atonality, 12 tone/tone row, as well as

aleatoric, electronic and minimalism, avant-garde and expressionism. These

are all easily teachable concepts that should be addressed in the private lesson, pre-

college and college alike and should not be left solely to the classroom theory teacher. It

would be beneficial if before a student entered as a freshman in college, he or she had

experienced a bitonal or polytonal piece, atonality or twelve-tone technique, or even a

work that included prepared piano. By including these techniques, the teacher is

providing a broad musical education, helping the student begin to build an extensive

repertoire list and knowledge of progressive music, perhaps even leading the young

musician into composition.

Following a consistent education in theory including the basics of the circle of

fifths (major and minor), I-IV-V chord progressions, standard and asymmetrical time

signatures, more advanced rhythms including asymmetrical rhythmic patterns etc., the

student is more than ready to receive information on pandiatonicism, bitonality,

contrametrics and other techniques. One method that would be logical in promoting

these as well as basic theory concepts is putting together in one resource what I have

termed Read It, Write It, Apply It. Most theory books include only an explanation of a

theory concept followed by writing exercises. Most lesson books include a brief

explanation of a new topic and a piece to play that includes that concept. Some adult all-

52

in-one type books put all of these things in one method book, but lack quantity and

quality leaving adult students frustrated and bored, ultimately searching for other material

to buy to hold their interest. One private adult student paid over one-hundred dollars for

a college Music Theory textbook in order to feel she had enough practice with concepts

to be able to apply them to her music.

A pre-college resource should affect as many senses as possible so the student has

a better chance of retaining the information. Read It, Write It, Apply It is a phrase that

is both logical and memorable. Since students cannot smell or taste music, it is important

to use the other three senses of seeing, hearing, and feeling to help them physically

experience the concepts. Below are the steps that would be appropriate for such a

resource.

READ IT

1. Terms these should include theoretical techniques from all periods of Western

music

2. Complete definitions with extended, easily understood descriptions

3. Three musical examples showing precisely and clearly the concept in question

4. Supporting artwork that would appeal to both children and adults providing a

visual connection to the concept

5. Examples and short histories of composers who used the techniques and if

possible, background on why they chose them

53

WRITE IT

6. Writing exercises with clear instructions and examples of what the student is to

accomplish

7. Composition exercises so the student can create the concept, reinforcing and

solidifying his or her understanding of what they are learning

8. Printing paper should be of good quality for reading and writing and the binding

sturdy enough to endure the work that will be done to guard against deterioration

9. Interactive cd-rom or dvd that contains a program of writing exercises that could

play back what the student has created as well as test them on various concepts

APPLY IT

10. Three compositions to play per concept by either known twentieth-century

composers, or if no piece is available for the level of student, a composition by a

living composer or author of the method which emphasizes the concept in

question

11. Each composition should be preceded by instructions on finding the concepts,

marking them (perhaps in colored pencil) and with technical instructions on how

to play them

12. Multimedia examples in the form of CD, MP3, DVD, and downloadable digital

applications for computers and portable devices which would help the student see

and hear the concepts they are learning

13. An electronic version of the book for e-reader devices would be wise in this

technological age

54

14. Performance check box for the teacher to mark when the student has performed a

piece after clearly explaining the technique to othersthis could be in a group

class setting, a recital, a home party, or simply for the student who follows the

individual in private lessons

Conclusion Recent positive feedback from Virginia teachers concerning the idea of including

Ravels techniques mentioned here and other twentieth-century techniques, such as

twelve-tone and prepared piano, have been encouraging and give hope for a progressive

expansion toward the application of twentieth-century theory. In addition to this

document, it is my hope to prompt a nationwide discussion on the matter. I agree

somewhat with MTNAs stance on allowing the states to create and implement their own

testing; however, it would be wise for the national association to have a standardized

exam inclusive of all musical time periods that state music teachers associations could

choose to use or not use according to their overall philosophies. A standardized test

would at least provide a guideline and at most provide an exam that states could

implement if they were not interested in creating their own. Whether or not MTNA

decides to provide such an exam, it is up to the local teacher to include twentieth-century

music and theory in the private lesson.

Changing the teaching habits of teachers who are not promoting twentieth-century

theory will not be an easy task. Helping teachers to become interested in the process and

seeing the benefits of helping their students become more informed about twentieth-

century music is key to the success of such an undertaking. Benefits to the student have

been addressed in this document, but the following benefits to the teacher are equally

important:

1) Some teachers may need to update their twentieth-century skills before

presenting them to students. Therefore, professional development is added to

their resume leading to the possibility of charging more money for lessons.

56

2) Students who perform twentieth-century music in public usually will be given

the opportunity to display the intricacies of harmony, rhythm, and unique

sounds. The teacher too, may gain greater recognition for their interesting,

progressive repertoire choices.

3) Students who enjoy the twentieth-century challenge in their lessons tend to

tell their friends. The friends then tell their parents they want to take piano

lessons from said teacher.

4) The combination of progressive teachers with happy and challenged students

usually results in satisfied parents. Using twentieth-century music in the

studio may also prevent the teacher from becoming mired in repetitive

repertoire helping to energize the studio even after years of teaching.

5) Teachers with students who are more advanced in pre-college training have

students who are more successful in college auditions and who are more

prepared for the pressures a major in music can bring. As students move into

colleges more prepared, college professors gain respect for their new students

previous teacher, therefore aiding in creating a positive working relationship

between the private teacher and the university professor.

Aside from the above benefits of teaching twentieth-century repertoire and theory,

giving a student permission to play something that is angular without resolve is freeing

for the student and the teacher. Challenging students in this way can also create a sense

of musical adventure if the music is properly explained. Without clear explanation,

contemporary pieces can be too easily misunderstood and considered not worthy of being

played by the uninformed musician. Students learn opinions of these works from their

57

music teacher. Enthusiastically introducing techniques like those of Ravel to a student as

commonly as one introduces Beethoven and Bach is a great start to students enjoying

more twentieth-century music. When a teacher has high expectations of a student, no

matter what style of music is being played, usually the student rises to the occasion.

Exposing lower level students, elementary age through adults, to pieces by the twentieth-

century masters is a responsibility of music educators and needs to be addressed with

enthusiasm and respect for the massive amount of variety in the repertoire. Ravels

compositional techniques are an excellent place to begin.

58

Bibliography:

Berg, Alban. Sonate Fur Klavier Op. 1, Neuausgabe von Klaus Lippe (Alban Berg Gesamtausgabe). Vienna: Universal Edition, 2006.

Crumb, George. A Little Suite for Christmas, A.D. 1979. New York: Peters,

1980. Dallin, Leon. Techniques of Twentieth Century Composition. 3rd ed. Iowa:

W.M.C. Brown Company Publishers, 1974. Demuth, Norman. Ravel. Westport, Conn.: Hyperion Press, 1979. Ellis, Diana Lea. A Performers Analysis of Maurice Ravels Chansons

madcasses. DMA diss. University of North Texas, 2004. Howat, Roy. The Art of French Piano Music: Debussy, Ravel, Faur, Chabrier.

New Haven, Conn.; London: Yale University Press, 2009. Kinderman, William. Beethoven 2nd ed. Oxford: Oxford University Press, 2009. Larner, Gerald. Maurice Ravel. London: Phaidon, 1996. Latham, Alison., ed., The Oxford Companion to Music. Oxford: Oxford

University Press, 2002. Mawer, Deborah., ed. The Cambridge Companion to Ravel. NY: Cambridge

University Press, 2000. Music Teachers National Association. www.mtna.org (accessed February 16,

2011). Myers, Rollo H. Ravel: Life and Works. Westport, Conn.: Greenwood Press,

1973. Nichols, Roger. Ravel. London: J.M. Dent, 1977. Orenstein, Arbie. Ravel: Man and Musician. NY: Columbia University Press,

1975. ------., ed. A Ravel Reader: Correspondence, Articles, Interviews. NY: Columbia

University Press, 1990. Palmer, Robert. 20th Century Rhythmic Techniques: A Provisional

Compendium Classroom lectures, presented at Cornell University between the years 1978-1980.

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Ravel, Maurice. Chansons Madcasses pour chant, flte, violoncello et piano.

Paris: Durand, 1926. ------. 1929. Roger Branga transc., Bolro. Paris: Durand. ------. 1932. Lucien Garban transc., Concerto En Sol pour deux pianos. Paris:

Durand. ------. 2003. Gayle Kowalchyk and E.L. Lancaster ed., Ma Mre Loye (Mother

Goose Suite) for one piano, four hands. USA: Alfred. ------. 2008. Roger Nichols ed., Valses nobles et sentimentales for Piano Solo.

London: Peters. Zank, Stephen. Larrire pense in Music of Maurice Ravel: Sound, Style, and

Virtuosity. PhD diss., Duke University, 1996.

menard - compositional techniques of ravel and their relevance in the private studio

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