Sponsored by Yale College New Music.
Featuring Jennifer Beattie, mezzo-soprano, and Adam Marks, piano
Thursday, 10/8, 2015: Rm. 106 @ 2:30 pm – “Writing for Voice & Piano” Workshop
Oct/Nov, 2015 – Composing your Art Song
Monday, 11/16, 2015 – Submit a completed, detailed compositional plan for your art song as either a .sib or .xml file (no .pdf or handwritten submissions) in your Composition Seminar Drop Box for Dr. A, who once it is approved by her, will forward it to Jen and Adam.
Monday, 11/30, 2015 – Using the materials from your compositional planning, complete your entire art song. It should be between 2′ and 5′ in length. Submit this first version of your entire art song as either a .sib or .xml file (no .pdf or handwritten submissions) in your Composition Seminar Drop Box for Dr. A, who once it is approved by her, will forward it to Jen and Adam.
Monday, 12/14, 2015: Rm. 106 @ 12:30-3:30 pm – Art Song Critique Workshop I with Jen and Adam back in residence at Yale.
Monday, 1/4, 2015: Incorporating the various critiques of your art song to date, submit the revised, polished version of your entire art song as either a .sib or .xml file (no .pdf or handwritten submissions) directly via e-mail to Dr. A, who once it is approved by her, will forward it to Jen and Adam. You must also include a Word doc: with the following:
- Your bio: 150 word count limit
- Program notes: 150 word count limit
- Title: the title of your song as you wish it to appear in the program
- Lyrics: the lyrics as they are in your song. This might be the same as the original text of the poem it you set it strictly “as is.” However, if you’ve repeated text, added other words or syllables, or re-arranged the poem, then it would be that text instead.
Thursday, 1/21, 2015: Rm. 106 @ 2:30-6:30 pm – Art Song Critique Workshop II with Jen and Adam back in residence at Yale.
Monday, 2/1, 2015: Incorporating the final critiques of your art song, submit the polished, FINAL version of your entire art song as either a .sib or .xml file (no .pdf or handwritten submissions) directly via e-mail to Dr. A, who once it is approved by her, will forward it to Jen and Adam.
Saturday, February 20th, 2015 – Dress rehearsal in Rm. 106, Stoeckel Hall. Time TBA.
Saturday, February 21st, 2015 – Art Song Concert @ St Anthony’s Hall. Time TBA.
Composing your Fragments or Songs:
Consult Jen & Adam’s ArtSongResidency_Handout AND:
- Review Jen’s info on her voice.
- Pick a text in the public domain as advised.
- Study recommended Art Song repertoire.
- Review Adam’s piano writing instructions.
- Consult with Jen & Adam via e-mail: jenniferbbeattie@gmail.com and adam@adammarks.com
Here’s what’s prescribed:
A. Notate the scansion of your ENTIRE text. Create rhythmic motives with your scansion choices, with at least three rhythmic note values, though you may certainly use many more. Use these rhythmic motives and derivations of them throughout your art song.
- 1. Use a moderate metronome marking of your choice – what’s best for your text?
- 2. Use a mixed meter scheme of your own design – what’s best for your text?
- 3. Lyrics should be notated below the singer’s notes, using the lyrics tool in your notation program.
- 4. Vocal dynamics should be notated above the singer’s notes, NOT below.
B. Next, notate an overall harmonic reduction that outlines the harmonic structure that you will use in your entire art song. This may conform to a verse/chorus setting, OR, a variety of other phrase structures that you design. The text must strongly influence your harmonic phrase structures.
- 1.Your art song MUST be either G or A pitch-centric, so that it conforms to Jen’s voice range.
- 2. Use a minimum of two different modes tetrachordally combined; i.e., the first four notes of one mode combined with the last four notes of another mode. Examples include: phrygian-dorain; or lydian-mixolydian; other synthetic scales that you design; but NONE of the following – major key, minor key, atonal or serial pitch techniques.
- 3. Modulate at least once to a third-related mode from your original G or A pitch center. Use the same modal scale combination, or switch to another modal scale combination. Return to your original pitch center, or modulate to another third-related mode.
- 4. Harmonies: Use combinations of secundel, quartal/quintal, tertian chords with one or two additional pitch(es) to create different tetrachords or pentachords, as well as extended tertian harmonies.
- 5. Optional: modal mixture; chromaticism; altered diminished or dominant harmonic treatments.
C. Next, notate at least 6 different cadences that you will use within the structural parts of your art song. Where will you use them? How will you use them?
D. Finally, notate at least 6 different chord progressions that you will use within the structural parts of your art song. Where will you use them? How will you use them?
E. Your pre-compositional design materials must be in the final version of your art song.