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Henri Challan's French Romantic Figured-Bass Pedagogy

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Henri Challan's French Romantic Figured-Bass Pedagogy EASTMAN SCHOOL OF MUSIC University of Rochester From Exercise to Composition: Henri Challan’s French Romantic Figured-Bass Pedagogy Derek Remeš Candidate for the Degree Doctor of Musical Arts Performance and Literature (Organ) Assisted by Athene Mok, soprano March 23, 2017 at 10:00am Christ Church, Rochester, NY Presentation Outline Part I: Basic Patterns in Challan’s Pedagogy Exx. 1–5: Basic Voice-Leading Patterns Exx. 6–18: Selected Basses by Henri Challan Part II: Connections with French Romantic Repertoire Ex. 19: Guilmant, Elevation in F Major, Op. 39/1 Ex. 20: Fauré, “Pie Jesu” from Requiem, Op. 48 Ex. 21: Franck, Chorale No. 1 (mm. 1–64) Ex. 22: Vierne, Meditation, Op. 31/7 Part III: Application in Original Compositions Ex. 23: e Basic Ternary Model Ex. 24: Exercise vs. Composition Ex. 25: Remeš, Elegy Ex. 26: Remeš, Fantasy Part I: Basic Patterns in Challan’s Pedagogy Example 1: Cadences as Dened by Challan (1947/2, 19–23) a. Perfect Cadences b. Perfect Cadence Variants [in order of decreasing nality] c. Imperfect Cadences [i.e. any chord not 5/3] 1 1 3 3 œ ˙ œ ˙ œ ˙ œ œ ˙ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ & œ ˙ œœ ˙ œ ˙ œ œ ˙ œ œ œœ œ ˙ w œ œ œ œ ˙ œ œ œœ ˙ œ ˙ œ ˙ œœ ˙ œœ ˙ œ ˙ œ ˙ œ ˙ œ ˙ ˙ ˙ ˙ w ˙ œ œ ˙ œ œ ˙ œ ˙˙ [Suspended + + + + + Cadence] 6 6 6 4 6 d. Plagal Cadence 7 e. Complete9 Cadences 6r [Perf.7 + Imp./Imp.6r 5e+ Perf.] f. Plagal6r 5e Variants 6r 5e 6r 5e 4e 6 g. Imperfect Plagal Cadences w ˙ w ˙ w ˙ & b œ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ w b˙w ˙ w b˙ w ˙ ˙ ˙ œ ˙ œ b œ ˙ < > œ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ w < > w w < >˙ w ˙ w ˙˙ ˙ œ ˙ œ ˙ < >œ ˙ œ ˙ ˙ ˙ ˙ w w œ <b>œ ˙˙ ( b ) ( ) ( ) 5 6 ( ) [5th omitted] [ii - I] b b 6tb 6 6r h. Deceptive Cadences [V to “not I”] i. Modulating Deceptive Cadences j. Avoided Cadence k. Half Cadences (phrase ending 6on dominant)4e œ œ ˙ & ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w bw œ ˙ œ œ ˙ œ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ b˙ ˙ #˙ w w œ ˙ ˙ œ ˙ œ ˙ ˙ ˙ reversible ˙ ˙ reversible ˙ b ˙ ˙ w ˙ ˙ ˙ œ ˙ # ˙ + <#>œ œ b + Example 2: Additional Patterns + 7 6 7 5 c. Boulanger’s Passing, Neighbor, and Cadential s a. Plagal ( ) Cadence b. Plagal (diminished) Cadence 6t 6 5 6 6 6 (Bonet 2006, 110–112) 6r d. Parallel 10ths e. “Fauré” f. “6–5” 4e œ œ œ ˙ œ œ ˙ ˙ œ œ bœ˙ bœ ˙ bb˙˙ ˙ bœ˙ nœ ˙ bn˙˙ ˙ œ œ ˙˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙ ˙œ œ & ˙ ˙ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ œ +œ ˙ œ œ ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ œ ˙ œ œ ˙ œ œ œ ˙˙ ˙ ˙ ˙ ˙ ˙ P ˙ b + N Cad. 6 6 b b b b + 6r 6 5ed 6r 4e b b 5e 6r 5e 6r 5e 6 6t 6 5 6 5 Example 3: Pedal Point/Common-Tone5td 6r Patterns4 c. Chromatic-ird Root Motions (with Riemannian labels)* a. Canonic Voice-Exchange b. Omnibus Progression (wedge voice-leading w/ 2 c.t.’s) (invertible and reversible) Parallel/Leiton (PL) Leiton/Parallel (LP) Relative/Parallel (RP) Parallel/Relative (PR) (invertible and reversible) w œ œ n˙ b˙ n˙ b˙ ˙ ˙ ˙ ˙ ˙ b˙ & ™ wœ œ ™ b w w ww ˙ b˙ ˙ #˙ ˙ #˙ ˙ b ˙ ™ œ œ œ ™ ˙w b˙ n˙ b˙ nw ˙ b ˙ ˙ ˙ ˙ ˙ b˙ œ b˙ ˙ m3 + + b + Root: M3 M3 m3 Example6 4: Sequences6r 6 (partial7 list) 4 6r 7 6t *Always one common-tone. Chords may include sevenths as well, making terminological overlap with the Omnibus progression. a. “10–12” down a third b. “10–6” down a third c. “10–8” down a step d. “10–6” down a step e. “12–10” up a step f. “6–10” up a step ˙ ˙ ˙ œ œ ˙ ˙ ˙ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ bœ ˙ œ ˙ & ˙ < >˙ ˙ ˙ ˙ ˙ ˙ <#>˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ bœ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ #œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ # ˙ œ ˙ œ ˙ ? ˙ ˙ ˙ < > ˙ ˙ ˙ ˙ ˙ <#>˙ Outer 10 12 10 12 10 6 10 6 10 8 10 8 10 6 10 6 12 10 12 10 6 10 6 10 Voices: # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Example{ 5: Vidal’s Parallel 6ths (Bonet 2006, 106–7) ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ ˙ (One voice moves contrary while the others move parallel.) ˙ ˙ ˙ ˙ reversible 6 Derek6 Remeš, 6DMA Lecture Recital (2017) 3 6 6 6 6 *Example 6: Challan (1960/1, #1): 5/3 Chords *Example 7: Challan (1960/1, #33): 6/3 Chords “10–12” down a third sequence HC Perfect Cad. Parallel 6ths HC Parallel 6ths Perfect Cad. DEC 6 DEC 5 # ## 3 œ ˙ œ œ œ 3 œ & 4 œ œ œ œ œ œ ˙™ ˙™ œ œ œ œ œ œ ˙ œ ˙™ &b4 ˙œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ ˙ ˙ ™ ™ ˙™ ˙™ œ œ œ œ ˙™ ˙™ ˙ œ ˙ œ ˙ œ ˙™ œ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ?# #3 œ œ œ ˙ œ œ œ œ ™ ? 3 œ ˙ œ ˙™ ˙™ ˙ œ œ œ œ ˙™ ˙™ # 4 œ œ œ œ ˙™ œ œ œ ˙ œ ˙ b4 œ œ œ ˙ ˙™ œ œ œ œ œ œ ˙™ ™ 6 6 6 6 ™ 5 6 6 6 6 6 ˙™ { *Example 8: Challan (1960/1, #65): 6/4 Chords { 6 chord on 4th degree doubles bass before cadence N Cad. P P P P Cad. Perfect Cad. HC 5 DEC # 6r 6r 6r 6r 6r 6r 6r c œ œ œ ˙ œ œ œ & ˙œ œ œ œ œ œ œ #œ œ #œ ˙œ œ ˙ #˙ w œ œ œ œ #œ ˙ œ œ #˙ ˙ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙ œ œ œ œ œ ˙ œ œ ?# ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ ˙ ˙ c #œ œ ˙ œ œ œ ˙ œ œ œ œ œ œ ˙ ˙ œ œ ˙ 5 6 5 6 6 6 5 6 H 6 6 # 6 6 6 6 6 6 5 5 6 6 6 # { 3 4 3 4 # 4 4 4 4 4 # 4 *Example 9: Challan (1960/2, #91): Modulation and Sequences Cad. “6–10” down 10 “6–5” 5 “12–10” up a step sequence a step sequ. P “6–10” down a third sequ. Perfect Cad. N Parallel 6ths Cad. / HC HC in 6r vi Cad. 6r 6r 6r 6r ## œ œ œ ˙ œ Œ œ œ œ œ œ œ & c œ œ œ œ œ œ œ œ œ œ Œ œ œ œ ˙ œ ##œ œ ˙œ ˙ #œ ˙ ˙ œ œ ˙ œ œ ˙ œ Œ ˙™ œ œ œ œ ˙ ˙ œ ˙ œ #œ œ œ˙ œ œ œ ˙ ˙ œ œ ˙ œ œ w˙ ˙ ˙ œ œ ˙ œ œ œ œ ?# œ œ œ œ œ œ œ ˙ ˙ œ ˙ ˙ ˙ ˙ #œ œ œ ˙ #œ Œ œ œ œ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ #c ˙™ œ œ œ œ œ ˙ ˙ ˙ œ Œ #œ ˙ œ œ ˙ œ œ ˙ œ #œ œ #œ nœ œ œ œ ˙ œ œ #˙ œ #œ w ˙ œ Œ 5 6 5 6 6 6 5 6 5 6 5 œ# 6 6 G 6 6 6 5 6 6 œ6 6 6 6 6 6 6 5 3 4 3 4 3 # # 4 # 4 4 3 {*Example 10: Challan (1960/3, #132): Dominant seventh chords enharmonic switch tonicizes subdominant 7 Parallel 10ths Sequence Coda with tonic pedal point B “6–10” down step A Très modéré (reversed) OMN OMN OMN Sequence OMN A’ 11 Perfect Cad. Plagal Cadence # # j bœ bœ n˙ œ nœ # c œ œ œ Œ j‰ nœ œ œ ‰ bœ bbœ nœ bœ # nœ #œ nœ œ œ Œ Œ Œ Œ & œ œ œ #œ œ˙ #œ œ ˙œ œ #œ nœ œ #œ œ nœ œ œ nœ n œ b ˙ b˙ ˙ #w nœ nœ œ #œ œ˙ œ œ ˙œ œ #˙ œ œ œ œ w œ œ J cresc . J f mf ˙ œ œ œ #œ œ w p HC Sequ. dim. p j j b˙ b b˙ w œ œw ˙ œ œ œ œ nœ œ œ bœ n œ b˙ #˙ œ nœ œ œ œ w œ ˙ œ #w ?###c œ #œ œ œ Œ œ œ œ ‰ nœ œ nœ ‰ œ bœ nœ bœ n œ #œ œ ˙ œ Œ œœ Œ œ Œ Œ w œ œ œ ˙ œ œ J J n˙ bœ #˙ œ œ ˙ œ œ œ ˙ ˙ œ œ œ œ œ œ 5 6 5 +4 6 - +6 5 6 5 # +4 6 +6 5 +4 Y +6 5 +4 N +4 N N 6 § - 6 6 # +4 §6 - 6 +4 6 - 6 5 6 5 # 7 5 0 +4 0 6 0 5 0 # ï § ! ! ! ï ï 4 ï + {*Example 11: Challan (1960/3, #150): Dominant seventh chords (Challan says this exercise is especially Fauréan.) Presque lent, expressif Sequence Plagal ( ) in F 12 Planing Sequence (w/ cross relations) Planing B Sequence Sequence PL OMN PL OMN A 6 or HC4e in B b ? n b3 œ ˙ nœ ˙ bœ bœ nœ #˙ œ nn˙˙ ˙œ nœ œ œ nœ &b 4 œ bœ œ #˙ nœ ˙ bœ œ b˙ œ œ ˙ œ œ bœ œ ˙˙ #œ nœ œ #nœ ˙ œ n œ #œ n˙˙ n˙ nœ œ œ #˙ ˙ œ nœ n˙ bœ ˙ bœ œ œ bœ œ ˙ bœ ˙™ œ œ b œ œ f œ #œn ˙ pp p œ œ p™ p cresc. mf PL PL PL œÓ œ ˙ #œ #˙ nœ nœ˙ œ œ œ œ œ˙ ˙ b˙ bœ œ œ ˙ œ nœ œ nœ# ˙ œ #œ #œ n #œ # #œ n œ n œ œ bœ nœ #˙ nnœ˙ œ œ ˙ ? b3 œ œ œ œ™ œ ™ œ b˙ nœ b˙œ bœ nœnbœ˙ n ™ œ nœ œ bœ œ nœ œ #œ #œ œ nœ nœ # b 4 œ œ œ œ œ œ œ œ nœ # œ #œ 3 6 5 +6 +6 - 6 +6 - !6 +6 - !6 6 6 ! +6 6 +4 +4 - § - - § +4 6 +4 +6 - #6 +4 §6 +4 +6 - +4 +6 - 6 - +4 +6 +6 - 6 - +4 +6 +6 - § ! ï !4 !4 # §4 § - § - { *Indicates that an exercise will be performed.
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