On Thu May 27, at ThursdayMay 27 3:28 PM, John Howell wrote:
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!
Well, I know you can write a twelve-tone serial melody and harmonise
it in a way that is totally tonal (Bill Evans did it twice, also Bill
Holman several times, Bob Brookmeyer as well, the rock group Chicago,
and... well, modesty prevents me) but this isn't twelve-tone, unless
Andrew is using some definition that I didn't know. And it certainly
isn't atonal. I'm thinking, as much as it pains me, that Andrew must
be mistaken.
Christopher
_______________________________________________
Finale mailing list
[email protected]
http://lists.shsu.edu/mailman/listinfo/finale
