February 21 - Passed, Non-Tense

Quiz 6 in Theory, with excerpts drawn from everybody's favorite murderer-composer, Carlo Gesualdo (he cornered and collared his wife and her lover), plus Claudio Monteverdi, Heinrich Schutz,


Henry Purcell, Arcangelo Corelli,


Antonio Vivaldi,


and J.S. Bach. Yes, a bunch of dead white guys, but these were the folks that pushed the envelope back then and have survived in the notation, and sooner or later, we all become a bunch of passed-on people of purple, one supposes...

After the Marin loop, through driving rain, home to record two excerpts from Op. 55 The Passion According to St. Matthew (mine, not JSB's, and based on Medieval excerpts found in HAM -- which at the time seemed to be as close to the times as I could get-- as well as a couple of Stanford Theory exercises).


IV. CHORALE "Now As They Were Eating"



[The Stanford chorale melody -- soprano of accompaniment -- in dissonant harmony, with more angsty melodies above, for a setting of the Last Supper in six verses of various timbres]

V. LAMENTI ESTAMPIE "Said Jesus at Gethsemene"
VI. CHANT OSTINATI "My Soul Is Sorrowful"
VII. ALL-INTERVAL ORGANUM "Father If It Be Possible"



[The above three cycle around trinitarianly, based on:
V. Lamento di Tristano (3-verse melody) above the Robertsbridge Codex Organ Estampie No. 1 (right hand of keyboard) and descending aeolian scale in parallel fifths.
VI. Three chants -- Hec Dies (F Lydian) , Psalm 146 with Antiphon (E Phrygian), and Alleluia: Angelus Domini (G Mixolydian) -- respectively for each verse, against bitonal / Stravinskian / minimalist ostinati in contrary motion.
VII. A very dissonant 12-tone tonality cluster-enrichment of the three parallel harmonizations (P8, P5, P4) of Nos Qui Vivimus from the Scholia Enchiriadis, against a D dorian drone.]