Living Scores Learn - Jacob Druckman

Improving the practice and performance of contemporary music

Book I

I. Danseuses de Delphes

  • General: description of the musical mood is very figurative, like in Druckman’s piece. Every piece has clear musical directions at the beginning and in the course of the pieces. The describe the musical mood in a quite detailed manner.

  • Use of major second intervals

  • Use of parallel chord progressions

  • Use of 11 chords, constructed of consecutive thirds

  • Use of similar material in slightly altered forms or orchestrations

  • Different harmonization of the same material

  • Dynamics used are p-pp-ppp

  • Comparable material as Reflections 1 & 5

II. Voiles
  • Use of whole-tone scales and pentatonic scales
  • Use of parallel chords
  • Reappearance of the theme under a different form, slightly altered harmonies, etc.
  • Shifting of different musical materials over each-other: rearranging with little means
  • Use of patterns, also in combination with melody
  • Use of parallel patterns in different voices
  • Comparable material as Reflections 3 & 4
III. Le Vent dans la plaine
  • Use of idiomatic patterns in combination with melody
  • Use of parallel chords
  • Use of major second intervals
  • Transposition in different octaves
  • Use of loud jumping chords
  • Comparable material as Reflections 2 & 6 & 4
IV. Les sons et les parfums tournent dans l’air du soir
  • Use of parallel chords
  • Use of major second intervals
  • Transposition in different octaves
  • Use of loud jumping chords
  • Use of recurrent themes and repetition
V. Les collines d’Anacapri
  • Use of patterns as coloring material, in combination with melody
  • Use of patterns with accents as occurrent melody, as in Druckman 2 & 6
  • Use of polyrhythms
  • Pentatonic beginning
  • Use of clear harmony with poly harmonies, comparable to Druckman 1
  • Use of transposition in different octaves and idiomatic writing like in Druckman 2 & 6
  • Use of major second intervals
  • Use of complex measures as in Druckman 4
VI. Des pas sur la neige
  • Use of major second intervals
  • Comparable material as Reflections 1 & 3
  • Last chord of the piece: extreme position as in Druckman 6
VII. Ce qu’a vu le vent d’Ouest
  • Use of idiomatic writing and arpeggios
  • Use of seventh- and ninth-chords, also in parallel
  • Use of poly-chords
  • Use of harmony extensions and chord extensions
  • Use of major second intervals
  • Use and elaboration of repeated material, slightly altered and orchestrated
  • Use of inversion
  • Use of whole-tone and Q-harmony
  • Use of pattern with melody, also in parallel
  • Comparable material as almost all Druckman movements
VIII. La fille aux cheveux de lin
  • Use of seventh-chords
  • Pentatonic feel
  • Use of re-harmonization of similar material
  • Use of parallel chords
IX. La sérénade interrompue
  • Use of a pattern written out over two hands in ⅜ measure, as in Druckman 6
  • Use of major second intervals
  • Use of a pattern plus melody as in Druckman 4
X. La Cathédrale engloutie
  • Use of Parallel open chords without thirds
  • Comparable material as in Druckman 5
  • Use of extreme chord positioning
  • Use of fifth extensions
  • Use of seventh poly-chords
  • Use of seconds and parallel chords
  • Use of sus-chords and harmony extensions
  • Use of major second intervals
  • Use of idiomatic arpeggios
XI. La Danse de Puck
  • Use of patterns in combination with melody
  • Use of poly-chords
  • Comparable material as in Druckman 2 & 4 & 6
  • Use of scales as coloring material
  • Use of seventh chords
XII. Minstrels
  • Use of major second intervals
  • Use of patterns
  • Ornamentation of existing material
  • Use of sus-chords and poly chords
  • Use of pentatonic scales
  • Use of parallel chords

Book II

I. Brouillards
  • Use of poly-chords and poly-harmonies
  • Use of consecutive fifths harmonies
  • Pentatonic scales vs. diatonic scales
  • The rhythm of left and right hand can be compared to Druckman 6
  • Idiomatic writing
  • Extreme position of chords on the instrument
  • The melody is written in an ‘en dehors’ way
  • Comparable material as Druckman 1 & 2 & 6
II. Feuilles Mortes
  • Use of 7 and 9 chords, use of sus-chords, use of quartal harmony
  • Use of parallel progressions
  • Use of different harmonization of one theme or similar material
  • Use of idiomatic patterns plus a melody
  • Use of poly-chords
III. La puerta del Vino
  • Use of poly-chords - 7-chords
  • Pentatonic scales vs. diatonic scales
  • Use of polyrhythms and poly-harmonies
  • Use of grace notes
  • Use of idiomatic patterns plus a melody
  • Use of chromatic progression and chromatism
  • Use of re-exposition of themes
  • Comparable material as Druckman 1 & 4 & 6
IV. Les fées sont d’exquises danseuses
  • Idiomatic writing
  • Use of poly-chords
  • Use of parallel progression
  • Use of idiomatic patterns plus a melody
  • Use of 7-chords
  • Use of written-out polychords
  • Use of chromatic progression and chromatism
  • Use of written-out harmonies
  • Use of trills as in Druckman 5
  • Use of re-exposition of themes
  • Thinning end as in Druckman 2
  • Comparable material as almost all Druckman movements
V. Bruyères
  • Use of parallel chords and sus-chords
  • Use of 7-9-chords
  • Use of different harmonization of one theme or similar material
  • Use of idiomatic patterns plus a melody
  • Use of different treatment for similar material
  • Use of re-exposition of similar material
VI. General Lavine _Eccentric_
  • Use of stylistic ‘objets-trouvés’
  • Use of parallel progression
  • Use of patterns, repetition and similarity
  • Development of similar material
  • Use of 7-chords
  • Use of different harmonization of one theme or similar material
  • Use of similarity
  • Comparable material as Druckman 6
VII. La terrasse des audiences du claire de lune
  • Use of 7-chords, poly-chords and parallel chords
  • Use of new scales comparable to poly-chords written out in Druckman 1
  • Similar use of material, applied in a slightly different way
  • Use of polyphonic patterns
  • Use of different harmonization of one theme or similar material
  • Use of parallel progression
  • Use of re-exposition of a theme
VIII. Ondine
  • Use of diatonic clusters, also typical for Druckman 1 & 3
  • Use of quartal harmony
  • Use of parallel progression
  • Use of pentatonic scales and new scales coming from poly-chrods
  • Use of different harmonization of one theme or similar material
  • Use of sus-chords and 7-9-chords
  • Use of idiomatic patterns plus a melody
  • Use of polyrhythms
  • Comparable material as Druckman 2 & 6
IX. Hommage à S. Pickwick Esq. P.P.M.P.C.
  • Use of polyphonic harmonization
  • Use of idiomatic patterns plus a melody
  • Use of complex patterns
  • Use of scale-patterns
  • Use of a soft coda: pp
  • Use of an appoggiatura as a melody at the end of this movement
  • Use of parallel chords
  • Use of new scales that come out of the use of chords and poly-chords
  • Comparable material as Druckman 4 & 5 & 6??
X. Canope
  • Use of parallel chords
  • The rest comparable to the other movements
XI. Les tierces alternées
  • Use of 7-9-11 chords
  • Use of idiomatic patterns (plus a melody)
  • The rest comparable to the other movements
XII. Feux d’artifice
  • Use of new scales out of chords and poly-chords
  • Use of poly-harmonization
  • Use of idiomatic patterns (plus a melody)