At 8:11 AM -0400 5/27/10, Christopher Smith wrote:
Andrew, I don't get this. I checked the vocal score (took me until
this morning) and although all 12 pitches occur at some point in
this piece, it is neither twelve-tone (as I understand it) nor
atonal.
Am I missing something?
My reaction was similar, although I don't have the score handy so
it's from memory. I suspect that Aaron is counting appoggiaturas as
notes in a tone row, but the piece IS based on a harmonic
accompaniment as I recall, a shifting one as is common in all recits,
and not even the melody ever struck me as being 'atonal.' To
paraphrase Freud, sometimes a recit is just a recit!
John
--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[email protected])
http://www.music.vt.edu/faculty/howell/howell.html
"We never play anything the same way once." Shelly Manne's definition
of jazz musicians.
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