Compositional Techniques of Ravel

And Their Relevance in the Private Studio

Tonya H. Menard

A Thesis submitted to the Graduate Faculty of

JAMES MADISON UNIVERSITY
In
Partial Fulfillment of the Requirements
For the degree of
Doctor of Musical Arts in Piano Performance, Literature, and Pedagogy
Music

May 2012

UMI Number: 3507131

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Dedication

This document is dedicated to my husband Tim, my two children Max and

Abbie, and my father A.L. Holland. You have sacrificed your time, your money, your
space, and your patience while I pursue my dream of being Dr. Tonya. It is not
possible to repay you for the support, the encouragement, and the love you have all
shown while I spend countless hours taking time away from you in order to achieve
this goal. You are my inspiration and I thank you all for helping me make my music.





























ii


Acknowledgements

I would very much like to thank Dr. John Hilliard for his gracious and relaxed

way of teaching. I have rarely been in a classroom where I felt the freedom to
experiment, explore, and make mistakes without criticism or judgment. His
encouragement, his love of teaching, and his brilliance in the subject of
compositional techniques have inspired me since I was in his theory classes as an
undergraduate twenty years ago. This project and the discoveries within are a
direct result of Dr. Hilliards celebratory demeanor over the subject matter and his
students. Thank you, sir, for your contribution in my life.

I would also like to thank Mrs. Suzanne Guy and Dr. Eric Ruple for their roles

in my returning to James Madison University to pursue a doctoral degree. Mrs.

Guys assistance in preparation for the audition, as well as her example as a fellow
Tidewater Music Teachers Forum member led me to seek improvement in my own
teaching and playing. She is an exquisite model of excellence in the field of piano
pedagogy.

In the few years before there was a doctoral program at JMU, Dr. Ruple

would mention the possibilities of the degree to me each year at the Virginia Music
Teachers Association State Conference. Then it was only a distant what if.
Fortunately, with the help of Suzanne Guy and my family, the possibility became a
reality and I joined the School of Music at JMU for the second time following a Music
Education degree in 1992. Since then, Dr. Ruple has encouraged and supported me
as well as pushed the limits of my playing abilities beyond my imagination. Many
thanks are due.

iii

Others who have made a profound contribution to the success of this work

include Dr. Mary Jean Speare for her assistance with all doctoral needs including the
proof reading and aid in revisions to this document; Dr. Gabriel Dobner for his
coaching of ensemble work for performance and his help with this document; Mrs.
Carol Ann Barry, Mrs. Melissa Sumner, Ms. Erin Murphy, Mr. Ednaldo Borba, and Mr.
Uhnyak Goo for their encouraging words and beautiful music during the
collaborative recital of many of the works included here; and the many MTNA
members across the nation who responded to my inquiry regarding their inclusion
of twentieth-century material.

Additional thanks to: Mr. Corey Blake, Ms. Katie Dooley, Ms. Brenda Johnson,

Mr. Luis Gonzales, Mr. Joseph Mann, Mr. David McDevitt, Mr. Jonathan Keener, Dr.
Patricia Brady, Mrs. Jackie Forehand Phillips, Pastor Ann Held, and my wonderful
family, without whom this project would not have been possible.





















iv

Table of Contents
Dedication.. ii
Acknowledgments. iii
List of Figures.............vi
Abstract.........viii
Implementation of Ravels Twentieth-Century Techniques...................1
MTNA State Theory Testing Facts.....3
Rhythmic Concepts and How to Teach Them..12
Harmonic Concepts and How to Teach Them..25
Read It, Write It, Apply It.....51
Conclusion55
Bibliography.58

List of Figures
Figure 1..13
Figure 2..14
Figure 3..15
Figure 4..17
Figure 5..17
Figure 6.18-19
Figure 7..21
Figure 8..21
Figure 9..22
Figure 1026
Figure 1129
Figure 1230
Figure 1331
Figure 1432
Figure 1533
Figure 1634
Figure 1735
Figure 1835
Figure 1937
Figure 2037
Figure 2238
Figure 2339

vi

Figure 2441
Figure 2542
Figure 2643
Figure 27...43-44
Figure 28....45
Figure 2946
Figure 3048
Figure 3149

vii

Abstract:
Compositional Techniques of Ravel and their Relevance in the Private Studio is poised
to encourage music teachers to include twentieth-century compositional techniques in
their lessons and for Music Teachers National Association (MTNA) affiliated state
organizations to include them in their theory test programs. There is an astonishing
deficit of music theory education given to private students regarding twentieth-century
music even though we have deeply crossed over into the twenty-first century. This thesis
addresses the challenges of teaching twentieth-century theory by discussing the
accessibility of compositional techniques used by Maurice Ravel and the importance of
teaching these concepts to private students. A survey of MTNA states which include
twentieth-century theoretical concepts in their theory tests is incorporated within this
discussion and the results are surprisingly wanting. Maurice Ravel provides an excellent
array of techniques that are approachable for even the lower level student and are an
excellent tool for fostering the advancement of standard theoretical practices in the
private studio.

viii

Implementation of Ravels Twentieth-Century Techniques

The disciplines of teaching piano lessons, traditional music theory, and 20thcentury theory are typically alienated from each other in such a fashion and including
them in private piano lessons is quite rare. Having the time to work with a student on
repertoire and technique is challenging enough, but to add theory concepts in the weekly
lesson begins to push the limits of any effective musical learning. Because of this time
constraint, it is difficult to approach the topic of twentieth-century techniques with any
consistency. In recent years, piano teachers have included more contemporary music in
their studios; however, the theory within the music is often neglected. Some twentiethcentury music can be complicated to learn and memorize, therefore most of the lesson
and practice time is spent simply preparing a piece for performance. In fact, too often,
teachers feel they do not have time to teach much more than fundamentals, but this
approach leaves students who are serious about their music with inadequate training. A
grasp of the theoretical and structural elements would enhance the learning and
memorization process.
Twentieth-century composers like Maurice Ravel have a broad palate of
repertoire from a compositional standpoint. Approaching his compositional techniques is
not as difficult as some may think, and could in fact, be enjoyable and motivating to precollege students, which could also result in students who are more prepared for higher
educational institutions. Private music teachers and university professors who include
theoretical study of twentieth-century concepts help students appreciate and understand
scores, the composers, and their own musicality on a richer, more intellectual level while
encouraging their students in turn, to teach these concepts to their future students. In this

2
way, the techniques of twentieth-century masters would be common knowledge to young
students, and would allow for more intensive score study and musical connection to the
repertoire once a student reaches the college level.
This document will give an explanation and survey of Music Teachers National
Association (MTNA) affiliated state organizations regarding details of their inclusion of
twentieth-century concepts into theory test programs. In order to prove the accessibility
of twentieth-century theory for pre-college students, there will be an analysis of many
compositional techniques Ravel used while bringing to light the simplicity and
teachability of each concept. Discovering an answer to the lack of twentieth-century
theory education among private music students and possible resource solutions is
important for the twenty-first century teacher, as the last portion of this document will
point out. I will offer ideas along the way about how to incorporate more twentiethcentury theoretical techniques into the private lesson and will include the benefits of such
an endeavor.

MTNA State Theory Testing Facts

In my personal experience with the MTNA affiliate Virginia Music Teachers
Association (VMTA), I have felt pride as my students participated in the state theory
testing. The high standard of Virginias music organizations has kept them in a constant
state of progression. The vigilance of my local and state organizations to foster
improvement in theory and other areas made me feel secure in our all-inclusive quest.
Although I began this project with the knowledge that VMTA did not include 20thcentury techniques in their 13 levels of testing (primer through level 12), subsequent
discussions have prompted a resolution to add them into the theory syllabus.
In my research, I conducted a survey of states affiliated with Music Teachers
National Association (MTNA) that participate in regulated theory testing for their precollege private students. Of our fifty United States, thirty-three responded saying they
have some type of regulated testing. Only six include the past centurys techniques in
their test, and most of those are quite limited. The six states that responded positively
were New Hampshire, Texas, Tennessee, California, Illinois, and Kansas. I did not
include states that were limited to whole-tone and pentatonic scales as these are fairly
accessible concepts. The following chart shows the general content each state includes:

4
20th Century Theoretical Concepts
Included in State Theory Exams
Definitions: Level 6
Bitonality: Level 11
Terms and Composers in Music History
Portion of Exam: Level 7 and 8
Styles, Scales, Rhythmic and Harmonic
Elements, Percussive Elements, Textures,
Listening Skills, Serialism, and
Composers:
Level 8 and up
Rhythmic and Harmonic Elements: Level
10 and up
Styles, Scales, Rhythmic and Harmonic
Elements, Textures: Level 7 and up

PARTICIPATING STATE
New Hampshire
Texas
Tennessee
California

Illinois
Kansas

The details of the states requirements in the chart above are found in the
statements included in the appendix which were sent in response to the nationwide
research question: Do you include any twentieth-century compositional techniques in
your State Theory Examinations, and if so, what are they and at which levels do they
appear? Texas includes only the definition of the term bitonal in their level 11 theory
test, which is for students in eleventh grade. Tennessee uses a Musicianship Syllabus
instead of a single theory test and includes twentieth-century concepts in levels 7 and 8 of
the Music History section. Carole Batson, a former member of Tennessees Theory Test
committee wrote the following regarding their Level 8 test, which is the highest level in
their state:
Terms that are used are: aleatoric music, musique concrete, electronic music,
minimalism. Composers that students should study are Bla Bartk, Leonard
Bernstein, Karlheinz Stockhausen, John Cage, Philip Glass and Charles Ives. There
are a few questions each student should answer about each one, and are instructed to
listen to 2 compositions by composers in the list. The test is an objective test using
matching and multiple choice.1

1
Carole Batson, e-mail to menardtm@dukes.jmu.edu, March 1, 2011,
batson7050@comcast.net (accessed March 1 2011).

5
It is compelling to include composers and styles into Virginias music theory testing
program as Tennessee has done however, it would require adding a music history element
which would further complicate the updating of the syllabus. This method is separate
from the format discussed here and is not an immediate answer to theory test revision, but
should be considered in long-term application. Ms. Batsons response though relevant to
the twentieth-century concern providing for contemporary music information, is in a
music history format and therefore is only included in the above chart because of its
relationship to pre-college education, not because it is in a theory test.
New Hampshires test only contains modern techniques in the level 6 vocabulary
section. Constance Chesebrough, New Hampshire Music Teachers Association president
stated in an electronic mail:
The New Hampshire Music Teachers Association uses the KITS (Keynote
Independent Theory Service) Music Theory Course in conjunction with its noncompetitive evaluations each spring. The course consists of a primer and six
theory levels. Level 6 discusses the following 20th century techniques in its
vocabulary section: Expressionism, avant-garde, 12-tone, tone row, atonal and
polytonal.2
Although these terms and their definitions are important, evaluators cannot be assured the
students understand these twentieth-century concepts. It is possible they simply
memorized a definition in order to pass the test. There are no other applications of the
terms required in New Hampshire.
Kansas has an extensive Music Progressions program which includes possible
performance of a twentieth-century work and describing the distinguishing features of the
piece. Sally Buxton, Kansas Music Progressions Chair, describes the inclusion:

2
Constance Chesebrough, e-mail to menardtm@dukes.jmu.edu, February 25, 2011,
cchesebrough@roadrunner.com (accessed February 25, 2011).

When the students are asked to describe their performance pieces, or when
they are asked to describe pieces on the Listening CD, it [is] always assumed by
the teachers that the students must be familiar with 20th-Century style, just as well
as the others. Using contemporary literature has always been important to Music
Progressions because its use has always been promoted by those who compiled
the tests The upper levels must identify modes, whole tone, and pentatonic
scales on the written-theory and listening tests. They must identify bitonal, atonal
and modal pieces on the listening tests. You [cannot] tell from the tests
that all music history styles are included on the Listening-test CDs from Levels 3
- 10. There are contemporary pieces at almost every level each year. Because of
copyright problems with recently composed pieces, I even composed some with a
contemporary sound that we could use. At Levels 1 & 2, when the teachers
perform the Listening tests live for the students, there are contemporary pieces at
each level on each set of tests. (We have two complete sets, in case a student
repeats a level from one year to the next.)3
Kansas starts its contemporary requirements at a much lower level than any other state on
the list. The teachers there have been able to accomplish this because Ms. Buxton has
written pieces with modern techniques for the lower level student to be included in the
tests. The listening portion she describes is a separate entity from the written work and
students are asked to answer questions about the music they are hearing without seeing
the score. Listening sections are common on state theory tests across the country but as
shown in this research, no other group has incorporated as much twentieth-century
listening as Kansas.
Dr. Mary Beth Molenaar is the Piano Division Coordinator at Northwestern
University Music Academy in Illinois and provided the following terms and levels from
her state.4

3
Sally Buxton, e-mail to menardtm@dukes.jmu.edu, July 27, 2011, strbux@cox.net
(accessed July 29, 2011).
4
Dr. Mary Beth Molenaar, email to menardtm@dukes.jmu.edu, March 16, 2011, mmolenaar@northwestern.edu (accessed March 16, 2011).

7
X Polytonality
XI (None)
XII Atonality
XII Bitonality
XII Tonal Center
XII Quartal harmony
XII Augmentation/Diminution

The above indicates that modern concepts are not mentioned until level 10, skip level
11, and are heavy in level 12a level the majority of pre-college students do not reach in
piano study. While Illinois teachers should be commended for requiring knowledge of
these concepts, it is not necessary to wait until a student is in such a high level of study to
introduce them, as will be defended in the following pages.
The last state to be discussed is California, which had the most extensive
inclusion of the six states beginning with level 8 and finishing with level 10, their highest
level. Karen Rogers, California Association of Professional Music Teachers Evaluations
Chairperson sent the details of their twentieth-century inclusion:
Level 8
Students are required to identify listed characteristics of twentieth-century Music
in these ways:
1. Match the characteristic with the style period.
2. Identify the style period of a musical excerpt from a printed score.
3. Identify the style period of a musical excerpt aurally.
In addition, students are required to be able to write a whole-tone scale beginning
on any note

CHARACTERISTICS OF TWENTIETH-CENTURY MUSIC

May include bitonality, polytonality, atonality
A variety of textures, including clusters
Use of changing meters and asymmetrical rhythms
Influence of jazz, ragtime and blues
Piano often used percussively

Level 9
1. Identify the style period of a printed musical excerpt and answer questions
about it.
2. Identify listed Impressionistic and twentieth-century composers.
3. Write a pentatonic scale.
4. Aurally identify whole-tone and pentatonic scales (along with major / 3 kinds
of minor / chromatic etc.)
Level 10
The greatest emphasis on twentieth-century compositional techniques is at this
level.
Atonality
Bitonality
Polytonality
Tonal center
Quartal harmony
Serialism (including identification of a given tone row in retrograde, inversion or
retrograde inversion forms)
Again, questions are asked about printed musical excerpts. Students also aurally
identify the style period of an excerpt. 5

Identifying the style period by matching characteristics visually with a score and
aurally in a listening portion of the test are comprehensive ways of helping the student
retain information. The variety of Californias terms is extensive in comparison with the
other five states on the list and is a good example of what state theory chairpersons across
the country should be thinking about when revising their tests. However, they still cater
to a smaller percentage of students who reach the higher level of theoretical study.
Although California is a leading example, knowledge and understanding of pastcentury techniques by pre-college music students is regrettably lacking and it will take

5
Karen Rogers, e-mail to menardtm@dukes.jmu.edu, March 2, 2011,
res1ctmd@verizon.net (accessed March 2, 2011).

9
much effort to change the teaching patterns of American music teachers. In Virginia,
although there is a certain degree of enthusiasm for additions to the theory test, there is
some disagreement as to what levels these new concepts should be introduced.
Discussions are currently at the preliminary stage, and therefore on should not speculate
where the concepts will begin, nor should it be assumed that all of the concepts presented
here will appear in the tests. What is certain is that improvements will be made. Along
with these modifications comes the prospect of higher standards for future music students
in Virginia, which could influence improvements across the country.
The following progressive suggestions have been recommended to the local theory
chairpersons in Virginia as a starting place for inclusion of twentieth-century techniques
into the state theory tests. They have been presented to Virginias local theory
chairpersons and state officers to be reviewed and musical examples will be assigned to
varied sections of the test. The concepts will then be presented to the membership body
during the business meeting at the 2011 VMTA conference to encourage discussion,
volunteer assistance with making revisions and eventual vote.

10

Theory
Level

Twentieth-Century Concepts

3
4
5
6
7

Clusters
Bitonality, Contrametrics
Rhythmic Augmentation and Diminution, Split thirds,
Clusters, Polyrhythms (hemiolas), Asymetrical Rhythms
Polyrhythms (6/8 with 3/4 etc.), Pandiatonicism, Split thirds, Whole tone
and Pentatonic Scales
Polytonality, Quartal/Quintal chords, Asymetrical Rhythms,
Contrametrics, Rhythmic Augmentation and Diminution
Clusters, Polyrhythms (advanced and ensemble examples), Parallelism,
Split thirds
Atonality, Tonal Center, Polytonality, Whole tone and Pentatonic Scales
Twelve Tone, Tone Row, Atonality, Tonal Center, Quartal/Quintal
chords, Pandiatonicism, Contrametrics, Parallelism, Polyrhythms
Pitch Count, Prepared Piano Markings, Percussive Piano Markings, All
concepts in levels 8-11.

8
9
10
11
12

The above concepts will be placed in the following categories: Matching, Fill in
the Blank, Listening, Vocabulary, and Identifying Musical Examples. Possible
discussion within VMTA membership may also include styles and composers. Since
MTNA does not interfere or make suggestions for state decisions about testing,
Virginias teachers must begin the careful process of improving the quality of private
music education independently. Foreseeing conflict of opinion, the matter must be
presented with both delicacy and optimism especially considering the subtle comments
made below by anonymous teachers regarding this topic.
Many of the responses to the question of states using twentieth-century concepts
in the theory tests were negative. It should be no surprise that teachers feel strongly
about the topic of music education. Only a small percentage of teachers approached were
questioning their ability to teach younger students these concepts and one anonymous
response suggested it would take an extra class outside of lessons to prepare them for an
exam containing these concepts. One teacher wrote back in a friendly email saying If

11
you have taught children, you know it takes a good long time to have them leave basic
theory anyway, let alone complex issues!6 She is correct that the basics take a long time
to teach, however, the teaching suggestions integrated in this document prove that these
issues do not have to be considered complex and students can learn them as easily as
learning key signatures. It is the goal of the author that twentieth-century techniques
begin to be considered part of the basics. The thinking process about these techniques
must change if students are going to learn these techniques within the standard
curriculum. Thankfully, the majority of teachers approached with the question were
supportive of making changes and anxious to find solutions to the problem. The next
question for teachers will likely be How do we teach these concepts without proper
resources? Since this is a legitimate concern, the subsequent pages will address this
question and give suggestions for the content of a resource that will aid teachers in
presenting twentieth-century techniques to their students of all ages.

6
Theresa Smith, e-mail to menardtm@dukes.jmu.edu, February 26, 2011,
SSmith2124@aol.com (accessed February 26, 2011).

Rhythmic Concepts and How to Teach Them

Ravels piano compositions are studied and performed across the world in
conservatories, music schools and concert halls. His works range from repertoire
appropriate for intermediate students, to those works more suited for the accomplished
concert pianist. Extracting some of his techniques from a select group of pieces, we find
that the techniques themselves are not out of reach for a pre-college or early
undergraduate student. In fact, elementary students could learn the concepts even if they
cannot play Ravels compositions. Unusual rhythmic devices are in a broad category of
twentieth-century tools that are only identifiable to a trained ear. For this reason, it is
imperative that young students become familiar with the varying rhythmic patterns if they
wish to gain a more thorough understanding of twentieth-century rhythmic techniques.
Just as it is proven that students have better rhythmic skills if they have been exposed to
music at a very young age, complicated twentieth-century rhythms should be introduced
in pre-college lessons to ensure a more intrinsic understanding of these advanced musical
skills beyond intermediate levels, regardless of the students age.
One easily attainable concept for lower level students is contrametrics, an
unfamiliar term used by Robert Palmer, a composition instructor at Cornell University in
the late 1970s, to describe a rhythm only slightly more difficult than syncopation.7
Contrametrics are contradicting rhythms within a standard meter that create the illusion
of a changed time signature. Looking at Figure 1 below of Ravels Valse nobles et
sentimentales movement VII, the actual time signature given at the beginning of the work
is 3/4, however from measure 102-106, the organization of the tied notes creates the

7
Robert Palmer, 20th Century Rhythmic Techniques: A Provisional Compendium
(classroom lectures presented at Cornell University between the years 1978-1980).

13
sensation of duple meter.8 Although similar rhythmic displacements can be seen in some
romantic music, the twentieth-century composers began to expand the ideas and change
the way the music was notated.
Figure 1: Valse nobles et sentimentales mvt. VII: Moins vif

Similarly in Ravels Concerto in G mvt. I, the time signature is 4/4, but in the third
measure of Figure 2, the accents in the right hand change to generate a triple meter on the
off beats (note the changed counts inserted above the right hand showing where the meter
changes.)9

8
Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols
(London: Peters, 2008), 20.
9
Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris:
Durand, 1932), 13.

14
Figure 2: Concerto in G mvt I: Allegramente
CONTRAMETRICS

2 3 1

1 2

1 2

Later, composers such as Alban Berg used this concept, but chose a new form of
notation. Instead of using tie markings or only accents, they carried the eighth note beam
across the bar line. Figure 3 is taken from Bergs Sonata for piano Op. 1 which
combines the cross beaming with accents to show contrametrics.10

10
Alban Berg, Sonate Fur Klavier Op. 1, Neuausgabe von Klaus Lippe (Alban Berg
Gesamtausgabe) (Vienna: Universal Edition, 2006), 2.

15
Figure 3: Sonata for piano Op. 1

In approaching contrametrics (and rhythmic diminution and augmentation

addressed later in this document), an old game of copy me is useful. When students are
in preschool and early elementary school they play this game with their music teachers
requiring listening to the teacher clap four quarter notes, then the children try to clap four
quarter notes. This game makes its way through various basic rhythmic patterns until the
majority of the class is successful in repeating what they hear. The older the student, the
more complicated the rhythms can become. In the case of contrametrics, teachers can
vacillate between 4/4, 3/4, 7/8, 5/8, etc., all the while counting aloud and clapping
subdivisions of eighths or sixteenths and mixing the patterns. The more complicated it
gets, the more fun the students begin to have creating enthusiastic eagerness to try this
concept at the piano.
Isolating the rhythm from the context of the piece with the game is useful. In
addition to this, the student could write in the counts in line with where the accents fall
instead of where the actual beats in the measures occur. This is helpful for the student to
remember how the passage is supposed to feelas was done in the previous
contrametrics example. If the student feels the rhythm through clapping, tapping, or even
walking, speaks the rhythm while engaged in the physical activity, and then sings the
tune in rhythm in conjunction with the larger movements, the difficult task is essentially
conquered. Dexterity in fingering can be rehearsed on the fall board of the piano, or

16
applied to the keys of a clarinet or vocal cordswhatever instrument the student uses.
The goal is to feel the rhythm.
Following the success of playing the isolated correct timing, the student must
incorporate the passage into the rest of the piece. Using the same technique as above, the
teacher can count in two previous measures having the student speak the rhythm at the
precise time of the contrametric entrance. Once this is accomplished, it is time to
approach the instrument. Counting aloud is highly recommended, as is singing the
melody line. Internalizing the sound enriches the quality of the external music as most
music teachers would arguably agree. Upon accomplishing the task after this process it is
likely that students will not have unevenness in the rhythm when approaching the passage
in the music and they will feel confidence and pride in being able to perform this timing
illusion.
The same action can be taken when approaching Rhythmic Diminution and
Augmentation. These are tools Ravel used that refer to the extending or reducing of
rhythmic values or phrases within a single motive. For instance, movement VII of Valse
nobles et sentimental contains a B-flat augmented chord in measure 10 that is eleven
beats long, followed by a three beat G augmented chord, then a four beat C augmented
chord. After the fermata rest, these same tonalities, albeit written enharmonically,
reappear in contrametrics at only two beats each (see Figure 4.) 11

11
Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols
(London: Peters, 2008), 16.

17
Figure 4: Valse nobles et sentimentales mvt. VII: Moins vif

In Figure 5 Ravel does just the opposite with the same chords later in the movement
beginning at m.102 creating an augmentation of rhythms just before the return of the A
section.12


Figure 5: Valse nobles et sentimentales mvt. VII: Moins vif

12
Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols
(London: Peters, 2008), 20.

18

In the second movement of his ensemble piece, Chansons madcasses, Ravel decides to
create diminution with time signatures. He begins in 4/4, reduces the motive to 3/4 and
then 2/4. This technique is best understood while observing the right hand chord
movement in the piano part of Figure 6.13


Figure 6: Chansons madcasses mvt II: Aoua!

13
Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris:
Durand, 1926), 12.

19


Figure 6 Continued

When applying the previous contrametrics clapping game to this concept of
diminution and augmentation, one simply must begin with a number of beats, then
increase or decrease the counting patterns depending on the desired result. For instance,
when teaching augmentation, the students should copy the successive pattern of
1-2-1-21-2-3-1-2-31-2-3-4-5-1-2-3-4-5
etc.
then, work backward for diminution. This pattern can be done with singing pitches for
the beat durations as well, which internalizes the rhythm, reinforcing comprehension.
Following the simple addition of numbers, the student should apply the same activity to

20
the rhythm of the piece he or she is playing. After trying these exercises, they can then
be applied while the student plays an instrument. Although diminution is widely and
more abstractly used in twentieth-century music, pianist Alfred Brendel called it
foreshortening when referring to Beethovens use of the technique describing it as the
driving force of his sonata forms and a basic principle of his musical thought.14
Therefore, this concept should be a bit more familiar and easily attained for students than
contrametrics. The only difference is in the namesomething a four year old could
pronounce after a little practice. The game may seem juvenile to some music teachers,
but that is the point. These concepts are not too difficult for young children and therefore
should be introduced, then reinforced by theory books, method books, standardized state
theory testing, and finally by independent music teachers and college professors. There
is no reason why we should withhold this information from our students until they are 20
years old in an advanced theory college classroom.
The more advanced idea of polyrhythms can be reserved for the more mature high
school student. It is not new when one considers the hemiola has been around for
hundreds of years; however, Ravel showed that he could build upon an old concept and
make something that is more complicated and intriguing than its predecessor. As shown
in Figure 7, he used the hemiola in the Concerto in G by having the piano play triplets
while the orchestra plays straight eighth notes.15

14
William Kinderman, Beethoven, 2nd ed., (Oxford: Oxford University Press, 2009), 35.
15
Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris:
Durand, 1932), 1.

21
Figure 7: Concerto in G mvt I: Allegramente

Moreover, in La Valse mvt. VII, Ravel used what looks at first glance to be a simple
eighth against quarter rhythm, but when examining the top voice more closely, there are
dotted quarters representing the melody which make the right hand feel like 6/8 time
while the left hand is clearly in 3/4. This strategy creates a rhythmic sound that had been
used many times before, but the notation makes it a polyrhythm (see Figure 8.)16

Figure 8: Valse nobles et sentimentales mvt. VII: Moins vif (R.H. 6/8, L.H. 3/4)

The last example of polyrhythms comes from the chamber piece Chansons
madcasses. It is reasonable to assume that Ravel did not use this combination for solo
piano simply because it is too complicated for just two hands. The following example is
full of rhythmic challenges. In the two measures provided, the flute shares its rhythm

16
Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols
(London: Peters, 2008), 18.

22
with the left hand second beat of the piano and then rests the remainder of the measure.
The cello plays a strongly effective glissando in the off-beat of beat one and a sextuplet in
the off-beat of beat three. The voice uses different asymmetrical sixteenths in the third
beats of each measure while the piano maintains the intensity with a crescendo (marked
in a previous measure) accompanied by a percussive and aggressive pulse with the drive
of a ceremonial drum of the Madagascan tribe it depicts. During this mayhem in Figure
9, the singers text surrounding it reads The carnage was long and terrible; but despite
the lightening that they vomited and which wiped out entire armies, they were all
exterminated. Aoua! Aoua! Dont trust the whites!17

Figure 9: Chansons madcasses mvt II: Aoua! (Multiple rhythmic values)

Not only is polyrhythm used here, but Ravel also adds bitonality and rhythmic
diminution.
This type of polyrhythm is decidedly more difficult than the previous concepts
discussed and will obviously only work in an ensemble situation. If, however, there are

17
Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris:
Durand, 1926), 12-13.

23
students in the private studio that play different instruments it is worth experimenting
with. The Ravel Chansons madcasses is possible for an older high school or early
college ensemble, although it will create some challenges. The individual parts are not
too difficult to learn, but putting them together takes patience and time. Counting aloud
is imperative with this piece and practicing with the ensemble at half speed or less.
Increasing the tempo helps the players hear how the parts fit together. Simple
composition exercises are also helpful with this and other twentieth-century concepts.
This process is as easy as learning key signatures, while also encouraging creativity and
critical thinking. Simplifying the explanation to a younger student, the teacher could
compose an improvised duet on the spot by asking the student to play a slow, four quarter
note pattern with the left hand, then a right hand pattern of dotted notes, sixteenths, and
rests of the students choice. Once these improvisations have been successfully executed,
the teacher can ask the student to play them with hands together. Adding a new pattern in
the upper register creating a third rhythmic element and explaining that this technique is
called polyrhythm is the only step remaining. To reinforce the concept, the teacher can
assign a short composition for the student to complete that includes polyrhythms, which
can be performed and explained by the student at the next group studio class.
These kinds of activities can of course vary in length. Efficiency in the lesson in
usually crucial so the recommendation is to take no longer than ten minutes. After
engaging in the activity described above, the student has reinforced simple rhythms,
added a new concept, listened, participated, improved hand coordination, and then during
the following week, created a composition. Through all these steps, a student is assured

24
to conquer the concept. That is certainly ten minutes worth the price the parents are
paying for lessons.

Harmonic Concepts and How to Teach Them

Harmonic elements in the early twentieth-century play an even bigger role
perhaps than the developing rhythms. Most musicians who listen to contemporary music
can easily identify new rhythm patterns, but the harmonic intricacies of Ravel can keep
interested musicians in a constant state of discovery. The first of these harmonic
advances to be discussed is pandiatonicism. Leon Dallin, a twentieth-century music
scholar, explained the term pandiatonicism in the following manner:
Coined by Nicolas Slonimsky to describe music which, in reaction to excessive
tonal chromaticism and atonality, reverts to the resources of the diatonic scale.
Only the absence of characteristic melodic and harmonic functions sets it apart
from conventional diatonic music, so pandiatonicism is used sparingly by
contemporary composers.18
Pandiatonicism was a reaction to the many expressionist sounds of the day and in
Ravels music, it took on a simplistic, almost sweet character. In this accessible piano
duet entitled The Enchanted Garden from his Mother Goose Suite, the key signature
suggests C major, however upon listening to the harmonies, nowhere do we hear the
expected tonic, subdominant and dominant tonalities. On the original page there is one
accidental (not shown) that does not change the mode, and the C major scale is used in its
entirety. Yet, the melody and its underlying homophonic texture do not suggest C major.
It is beautiful, mysterious, and simplistic, all the while using pandiatonicism. Figure 10
shows the beginning of both duet parts.19

18
Leon Dallin, Techniques of Twentieth Century Composition 3rd ed. (Iowa:
W.M.C. Brown Company Publishers, 1974), 135-136.
19
Maurice Ravel, Ma Mre Loye (Mother Goose Suite) for one piano, four hands, ed.
Gayle Kowalchyk and E.L. Lancaster (USA: Alfred, 2003), 34-35.

26
Figure 10: Mother Goose Suite mvt. V The Enchanted Garden

Once a student has mastered all the notes from low C to high E, he or she could learn the
entire A section, and experience pandiatonicism before ever learning a B major scale.
Pandiatonicism is playable by elementary students but finding material to support
the concepts at this level is difficult. There are currently no piano method theory books
on the market that discuss twentieth-century techniquessurprising, since they are now
so old. It is as if for the first few years of a students lessons, the teaching world is

27
ignoring all progressive music composed after the 19th century. This neglect is poor
preparation for a pianists understanding of twentieth-century music. There are countless
examples of both classical and teaching pieces students play that show I-IV-V chords,
making the students ear keen to recognizing the patterns, provided they are taught what
these concepts mean. Assigning a piece like The Enchanted Garden and asking a
student to then try to find the I-IV-V chords in the A section helps the student
independently discover pandiatonicism. When it is discovered there are no standard
chords in the example, the teacher needs to simply to declare Really! Then this must
be an example of pandiatonicism! You found it! Suddenly the student is the master and
will more readily remember this concept before many others that were spoon-fed during
lessons.
Pandiatonicism is simple to teach and the young student does not have to
comprehend the complexities surrounding the origins of the technique as described by
Slonimsky, although many would probably understand if given the chance. The idea that
a piece is played in one key, but never comes to familiar chord progressions including
tonic and dominant, and that the melody is usually unpredictable is refreshing and
exciting to the ear. It is a challenge in that it is new and different to the student,
especially given the four-chord songs that are so prevalent in the popular music
surrounding their lives. They have learned something most children (and adults for that
matter) in music do not know and they enjoy it because they feel special, they feel smart,
and they have the building blocks for future creativity.
Two more of Ravels special techniques that became widely used in the
twentieth-century are bitonality and polytonality. These concepts are now common, but

28
along with the other devices presented here, are apparently not theoretically encouraged
across the country given the testing responses later examined. Playing piano with the
right hand in one key and the left hand in another can be highly challenging even to an
advanced college student. However, if the concept is taught earlier, when confronted
with Ravel and others like him later in life, a student is better equipped to deal with
twentieth-century concepts. Again, the Valse nobles et sentimentales has an example in
Figure 11 where the upper voices are in E Major and the lower voices are in F Major,
even though the key signature is one flat.20

20
Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols
(London: Peters, 2008), 18.

29
Figure 11: Valse nobles et sentimentales mvt. VII: Moins vif
(Upper Voices E Major, Lower Voices F Major)

In the theoretically related concept of bimodality in the Concerto in G, Ravel writes an
arpeggiated passage with the right hand in A minor, and the left in A major. This
combination provides a dissonant sonority while keeping the tonic pitch the same and
only altering the third of the chord (see Figure 12.)21

21
Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris:
Durand, 1932), 17.

30
Figure 12: Concerto in G mvt I: Allegramente
Bitonality: Left Hand A Major Right Hand A minor

In both of the above examples, Ravel provides a key signature of one flat and alters the
pitches with accidentals. In Chansons madcasses however, Ravel notates different key
signatures to represent bitonality. Movement II, Aoua! in Figure 13 shows the flute,
cello, and left hand of piano with no sharps or flats, while the voice and the right hand
piano parts contain six sharps. 22

22
Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris:
Durand, 1926), 10.

31
Figure 13: Chansons madcasses mvt II: Aoua!

The Oxford Companion to Music defined polytonality as the Simultaneous use of
two or more keys. If two keys are superposed the technique is known as bitonality; more
complex combinations are rare.23 This passage, then, is one of those rare cases. In the
third movement of Chansons madcasses, Il est doux, Ravel expands from two
tonalities to three. The piano has no sharps or flats, the flute and voice contain a D-flat
major key signature, but then the voice moves to E-major while singing Women
approach (see Figure 14.)24

23
The Oxford Companion to Music, s.v. Polytonality.
24
Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris:
Durand, 1926), 17.

32
Figure 14: Chansons madcasses mvt. III: Ilest doux

Assuming there has been a steady diet of theory including the basics of the circle
of fifths (major and minor); the young student is more than ready to receive information
on bitonality. Once the student is prepared, the teacher can approach these topics with
ease. The following scenario is a proof that younger students have the ability to
comprehend this concept.
In experimenting with a ten-year-old student who has only had white key major
and minor pentascales and a few full major scales, I proceeded to ask her to play the D
major pentascale with her right hand then the C major pentascale with her left hand.
This small task was easy for her and so then I said Now lets try them at the same time!
The result was a simple dissonant pentascale that inspired excited enthusiasm and a
suggestion to try F major in the right hand and E major in the left. After the task was
accomplished and several more keys had been played, we discussed the term bitonality
and that she had already learned what college students are learning. The thrill of success

33
was written on her face. The interaction with the ten-year-old student took approximately
five minutes but unfortunately, it has been scarcely possible to find bitonal repertoire at
the level she could play. This is true of much of the twentieth-century repertoire. There
are some pieces for intermediate and advanced students, but the elementary student is left
with few examples when it comes to contemporary styles. Perhaps this deficit can be
remedied in the near future. In the mean-time, one exercise to try is to have the student
write out a short composition that is in two keys he or she can play easily, such as two
keys a fifth apart: G and D major.
A close look at Ravels Bolro, an accessible late intermediate transcription of his
orchestral work, reveals two more techniques widely used in twentieth-century
progressive musicquartal chords and clusters. The quartal chord is a chord consisting
of only fourths. The chord in the box of Figure 15 when inverted, reads D-G-C, a
succession of fourths.25
Figure 15: Bolro

Ravel also uses a quartal chord shown in Figure 16 from the seventh movement of Valse
nobles et sentimental.26

25
Maurice Ravel, Bolro, transc. Roger Branga (Paris: Durand, 1929), 6.
26
Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols
(London: Peters, 2008), 21.

34

Figure 16: Valse nobles et sentimentalA-D#-G:

In addition, the concept extends to triadic and quintal chords which contain only thirds or
fifths respectfully, and can be extended from four notes to ten or more in one chord
(sometimes the need to roll the chord arises if it cannot be reached). Since quartal
chords are not difficult to recognizesimply counting the intervals is a basic skill
learned for the early elementary level theory teststhis concept should involve only
asking questions such as:
What are the notes in this chord?
Since they could be inverted, what would happen if you spread them out
according to their order on the keys?
Now that you know the new order what intervals do you have?

Depending on the answer to the question, the student would then know the chord was a
quartal, quintal or triadic chord, be able to physically recognize the relationship of keys
on the keyboard, and memorize the chord almost immediately.
Moving forward toward easily learned concepts and memorization, the cluster is a
very familiar device to most educators that combines diatonic or chromatic seconds into

35
one chord and can be notated in different ways. In Figure 17, Ravel writes out the notes
of a four-tone cluster in Bolro.27
Figure 17: Bolro:

Some later composers such as George Crumb have used these and larger clusters yet
notated them with blocks, as in his composition A Little Suite for Christmas (See Figure
18.)28 This particular example shows that the cluster should be chromatic.
Figure 18: A Little Suite for Christmas mvt. 4: Adoration of the Magi

Clusters have been used recently in method books for young beginners as a
discovery of sound, and also in some sheet music solos by contemporary composers of
teaching materials as a fun and expressive tool. One would assume the popularity of this
concept to coincide with its importance, but it is still frequently ignored in theory method
books and testing. The term cluster is simple enough for a preschooler and certainly

27
Maurice Ravel, Bolro, transc. Roger Branga (Paris: Durand, 1929), 6.
28
George Crumb, A Little Suite for Christmas, A.D. 1979, (New York: Peters, 1980), 9.

36
easy for them to playmuch easier in fact, than playing individual notes. For this
reason, to include them in theory testing for the early elementary student is practical.
Certainly after six months of piano lessons a six year old could read C-D-E-F as a cluster
in one chord and be able to identify it as such. The joy gained when practicing clusters
with a student of any age helps him or her realize all legitimate music is not high-brow
and serious (although there are moments when clusters are serious), but it is permissible
to enjoy the playfulness of music. The student goes home with knowledge of a twentiethcentury compositional technique, making the parents happy and in turn, solidifying that
the student will stay in music lessons for a longer period of time.
Another device frequently used by composers of the past century is parallelism.
Ravels repetitive use of this device in the piano and cello parts of Chansons madcasses
is a perfect example of using parallel fifths, fourths, and octaves for expression as they
build throughout the entire verse that describes the deception of the white man to the
tribe (See Figure 19):29
In the time of our fathers whites came down into this island. We said to them
Here is the land; let your women cultivate it. Be just be good, and become our
brothers. The whites promised, but though they made some retrenchments. A
menacing fort was raised; thunder was shut into the mouths of bronze; their
priests wanted to give us a God we knew nothing about finally they spoke of
obedience and slavery: wed rather die! The carnage was long and terrible but
despite the lightening that they vomited and which wiped out entire armies, they
were all exterminated. Aoua!30

29
Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris:
Durand, 1926), 10-11.
30
Ibid.

37
Figure 19: Chansons madcasses mvt II: Aoua!

In Figure 20, Ravel uses parallelism in the student piece The Enchanted Garden
secondo part:31

Figure 20: Mother Goose Suite mvt. V The Enchanted Garden

If the student is old enough to have discussed parallel lines in math class, and can
play open fifths in one hand or octaves using two hands, he or she is prepared to grasp the
concept. It can probably be assumed that by the time a student reaches level seven in
piano music, he or she has played countless parallel intervals in scales, simple finger

31
Maurice Ravel, Ma Mre Loye (Mother Goose Suite) for one piano, four hands, ed.
Gayle Kowalchyk and E.L. Lancaster (USA: Alfred, 2003), 38.

38
exercises, etudes, and pieces. Placing ism at the end of the word and declaring it a
twentieth-century concept is all the teaching required for this device. Finding it in a score
and circling each occurrence with a colored pencil for the next lesson is reinforcement,
and eventually seeing it on a state level theory test is the assessment.
The next easily recognizable concept for students is that of split thirds. Although
Stravinsky is attributed with this term many others including Ravel used the technique in
their compositions. Split thirds occur when a chord includes the major and minor third
simultaneously as in the B chord from Concerto in G mvt. III, shown in Figure 22. 32
Figure 22: Concerto in G mvt. III. Presto

The left hand (scored in treble clef) lines connecting the d-natural and d-sharp to the fnatural means they all play simultaneously. Since the tempo is presto the sonority will
lead the ear to hear the split third in connection with the B chord in the right hand. He
notates the split third in a different fashion in Chanson Madcasses mvt. II Aoua! by
using the G and G# in the continuing sonority of the E7 chord from beat one in measures
one and two (See Figure 23.)33

32
Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris:
Durand, 1932), 43.
33
Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris:
Durand, 1926), 9.

39
Figure 23: Chanson Madcasses mvt. II Aoua!

One could consider the low A natural (the fourth of the chord) as a displaced or inverted
chromatic cluster with the split third. These chords are recognizable because of the same
pitch being written out twice with different accidentals. The student need only figure out
the root of the chord, then make certain the split pitch is in fact the 3rd of the chord.
Because it is so unusual, it is quite memorable. This chord will be memorized before
most of the others in the piece, and of course the concept is easily recognized in
assessment testing.
The last twentieth-century theoretical technique to be presented here is called
twelve tone pitch count. Dr. John Hilliard, Composer in Residence and professor of
composition and music theory at James Madison University defines this concept thus:
Starting from a certain point, count each entrance of a new pitch of the 12 pitch
classes. Once the 12 have been reached, begin the count over again. This type of
analysis is not 12 tone, because composers do not repeat the 12 in any particular
order. An assumption of the technique is that a composer will save one, two or

40
three notes for a type of modulatory effectusing new notes heard for dramatic
purpose.34
Pitch count and the method of pitch saving, where pitches 11 and /or 12 have been saved
for a special moment in the music such as a key change or mood change, has been
attributed particularly to Edgard Varse since he used this method in every piece he
wrote. Judging from the research I have done involving the writings about Ravel as well
as the knowledge and compositional history in which Dr. Hilliard is an expert; together
we believe this connection between Ravel and Twelve Tone Pitch Count is a new
discovery. This monumental find is exciting and of course, motivating to myself as a
supporter of teaching theory to pre-college students. The examples will give an
overview of the concept, but the true excitement of this discovery was in the consistency
of discretion over the placement of the pitches during the pitch saving process. Please
refer to the numbers written in the score of Valse nobles et sentimentales mvt. VII in
Figure 24.35













Dr. John Hilliard, interviewed by author, James Madison University Harrisonburg, VA,
November 4, 2010.
35
Maurice Ravel, Valses nobles et sentimentales for Piano Solo, ed. Roger Nichols
(London: Peters, 2008), 16.
34

41
Figure 24: Valse nobles et sentimentales mvt. VII: Moins vif

12

11

8
10

2
1

4
6

11
10
9

12

The boxed numbers are beside new pitch classes as they appear in order. Number 12 is
highlighted and number one immediately follows or is shared in the same chord to show
the start of a new sequence. More often than not, Ravel places number 12 at a key
change or important musical event such as the start of a new musical idea or the end of a
phrase (pitch saving). The opening shows all twelve pitches revealed within the first line,

42
and then the second number 12 waits to arrive on the downbeat of the first key change.
In the second example (Figure 25) from the Valse, he presents the twelfth pitch in the last
beat of the first phrase of a new theme and key change.36

Figure 25: Valse nobles et sentimentales mvt. VII: Moins vif
7

10
9

4
3
2

KEY CHANGE
12
11

In the final example of La Valse he gives the twelfth pitch on the downbeat of the key
change from one bitonality to the next (See Figure 26).37











36
37

Ibid, 18.
Ibid.

43
Figure 26: Valse nobles et sentimentales mvt. VII: Moins vif
F# Major

12
G Major

Ravel repeats this technique in the first movement of Chansons madcasses
beginning with the first measure then waiting five pages before giving us pitch number
12, and purposefully places the twelfth pitch in the transitional measures just before the
key change (See Figure 27.).38
Figure 27: Chansons madcasses mvt I: Nahandove

12 3 4

56

etc

38
Maurice Ravel, Chansons Madcasses pour chant, flte, violoncello et piano (Paris:
Durand, 1926), 1-5.

44
Figure 27 Continued five pages later

HERE: TRANSITION TO KEY CHANGE

12

Ravel uses this technique so often in his music. Continuing analysis shows the
Concerto in G begins in a similar fashion as both previous pieces, introducing the first
eleven pitches in the first two measures. However, as seen in Figure 28, Ravel saves the
twelfth pitch again for the top of the next page at the new musical idea as it is inserted
into a glissando. 39

39
Maurice Ravel, Concerto En Sol pour deux pianos, transc. Lucien Garban (Paris:
Durand, 1932), 1,2.

45
Figure 28: Concerto in G mvt I: Allegramente

12 34 56

8 9 10

11

Figure 28 Continued on next page

NEW MUSICAL IDEA

12

46
He continues in this fashion of pitch counting and pitch saving throughout the rest of the
work with pitch 12 occurring on pages 4 and 10 as seen in the two examples of Figure
29.40
Figure 29: Concerto in G mvt I: Allegramente

NEW MUSICAL IDEA

12

40
Ibid, 4,10.

47

NEW MUSICAL IDEA

12

In the finale of the first movement, Ravel decides to use a type of harmonic
diminution. Figure 30 shows that instead of stretching the twelfth pitch over many
measures, he begins to condense the appearances to every two measures in the orchestra
and with an exciting final sweep covering all twelve pitches within six chords on the last
six beats of the piece.41

41
Ibid, 26.

48
Figure 30: Concerto in G mvt I: Allegramente

12

12

12

Pitches 1-12

12
12
12

Pitch counting may seem like a difficult concept, but Ravel even uses it in the student
piece introduced at the beginning of this section. In the B section of The Enchanted
Garden, Ravel brings the twelve-tone pitch count to this modest work. Amazingly, he
guides us through pitches 1-11 but leaves the piece without the twelfth pitch, as if to

49
humorously say I can, but I wont (See Figure 31.) 42 Perhaps this exclusion is what
illuminated the enchantment of the garden.

Figure 31: Mother Goose Suite mvt VII: The Enchanted Garden

4
2

10

11

Alas, no 12 (A#)

Pitch counting is a most intriguing and fascinating technique, but is perhaps one
of the easiest to learn of all the concepts presented here. If the student has learned the
chromatic names of the notes, that F sharp and G flat are the same pitch, and can count to
12, then he or she is ready for this concept. Searching for and numbering the pitches as

42
Maurice Ravel, Ma Mre Loye (Mother Goose Suite) for one piano, four hands, ed.
Gayle Kowalchyk and E.L. Lancaster (USA: Alfred, 2003), 37.

50
they appear in the score is all that is required to do a pitch count. The accomplishment
comes when one can recognize the significance of the placement of the last pitches, such
as when they fall at a key change or other transition in the music. The concept can
therefore be taught in a lower to medium level of study. The complication comes yet
again in being able to play the repertoire since it is generally more advanced. Therefore,
along with this report comes the challenge for contemporary composers to consider
creating student works that emphasize accessibility to twentieth-century technique.

Read ItWrite ItApply It

Some of Ravels compositional techniques are among the state theory tests in the
six mentioned states of the survey discussed previously and others, such as contrametrics
and pitch counting are nowhere. To the credit of the test creators, they include some
concepts not discussed here, such as Atonality, 12 tone/tone row, as well as
aleatoric, electronic and minimalism, avant-garde and expressionism. These
are all easily teachable concepts that should be addressed in the private lesson, precollege and college alike and should not be left solely to the classroom theory teacher. It
would be beneficial if before a student entered as a freshman in college, he or she had
experienced a bitonal or polytonal piece, atonality or twelve-tone technique, or even a
work that included prepared piano. By including these techniques, the teacher is
providing a broad musical education, helping the student begin to build an extensive
repertoire list and knowledge of progressive music, perhaps even leading the young
musician into composition.
Following a consistent education in theory including the basics of the circle of
fifths (major and minor), I-IV-V chord progressions, standard and asymmetrical time
signatures, more advanced rhythms including asymmetrical rhythmic patterns etc., the
student is more than ready to receive information on pandiatonicism, bitonality,
contrametrics and other techniques. One method that would be logical in promoting
these as well as basic theory concepts is putting together in one resource what I have
termed Read It, Write It, Apply It. Most theory books include only an explanation of a
theory concept followed by writing exercises. Most lesson books include a brief
explanation of a new topic and a piece to play that includes that concept. Some adult all-

52
in-one type books put all of these things in one method book, but lack quantity and
quality leaving adult students frustrated and bored, ultimately searching for other material
to buy to hold their interest. One private adult student paid over one-hundred dollars for
a college Music Theory textbook in order to feel she had enough practice with concepts
to be able to apply them to her music.
A pre-college resource should affect as many senses as possible so the student has
a better chance of retaining the information. Read It, Write It, Apply It is a phrase that
is both logical and memorable. Since students cannot smell or taste music, it is important
to use the other three senses of seeing, hearing, and feeling to help them physically
experience the concepts. Below are the steps that would be appropriate for such a
resource.
READ IT
1. Terms these should include theoretical techniques from all periods of Western
music
2. Complete definitions with extended, easily understood descriptions
3. Three musical examples showing precisely and clearly the concept in question
4. Supporting artwork that would appeal to both children and adults providing a
visual connection to the concept
5. Examples and short histories of composers who used the techniques and if
possible, background on why they chose them

53

WRITE IT
6. Writing exercises with clear instructions and examples of what the student is to
accomplish
7. Composition exercises so the student can create the concept, reinforcing and
solidifying his or her understanding of what they are learning
8. Printing paper should be of good quality for reading and writing and the binding
sturdy enough to endure the work that will be done to guard against deterioration
9. Interactive cd-rom or dvd that contains a program of writing exercises that could
play back what the student has created as well as test them on various concepts
APPLY IT
10. Three compositions to play per concept by either known twentieth-century
composers, or if no piece is available for the level of student, a composition by a
living composer or author of the method which emphasizes the concept in
question
11. Each composition should be preceded by instructions on finding the concepts,
marking them (perhaps in colored pencil) and with technical instructions on how
to play them
12. Multimedia examples in the form of CD, MP3, DVD, and downloadable digital
applications for computers and portable devices which would help the student see
and hear the concepts they are learning
13. An electronic version of the book for e-reader devices would be wise in this
technological age

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14. Performance check box for the teacher to mark when the student has performed a
piece after clearly explaining the technique to othersthis could be in a group
class setting, a recital, a home party, or simply for the student who follows the
individual in private lessons

Conclusion
Recent positive feedback from Virginia teachers concerning the idea of including
Ravels techniques mentioned here and other twentieth-century techniques, such as
twelve-tone and prepared piano, have been encouraging and give hope for a progressive
expansion toward the application of twentieth-century theory. In addition to this
document, it is my hope to prompt a nationwide discussion on the matter. I agree
somewhat with MTNAs stance on allowing the states to create and implement their own
testing; however, it would be wise for the national association to have a standardized
exam inclusive of all musical time periods that state music teachers associations could
choose to use or not use according to their overall philosophies. A standardized test
would at least provide a guideline and at most provide an exam that states could
implement if they were not interested in creating their own. Whether or not MTNA
decides to provide such an exam, it is up to the local teacher to include twentieth-century
music and theory in the private lesson.
Changing the teaching habits of teachers who are not promoting twentieth-century
theory will not be an easy task. Helping teachers to become interested in the process and
seeing the benefits of helping their students become more informed about twentiethcentury music is key to the success of such an undertaking. Benefits to the student have
been addressed in this document, but the following benefits to the teacher are equally
important:
1) Some teachers may need to update their twentieth-century skills before
presenting them to students. Therefore, professional development is added to
their resume leading to the possibility of charging more money for lessons.

56
2) Students who perform twentieth-century music in public usually will be given
the opportunity to display the intricacies of harmony, rhythm, and unique
sounds. The teacher too, may gain greater recognition for their interesting,
progressive repertoire choices.
3) Students who enjoy the twentieth-century challenge in their lessons tend to
tell their friends. The friends then tell their parents they want to take piano
lessons from said teacher.
4) The combination of progressive teachers with happy and challenged students
usually results in satisfied parents. Using twentieth-century music in the
studio may also prevent the teacher from becoming mired in repetitive
repertoire helping to energize the studio even after years of teaching.
5) Teachers with students who are more advanced in pre-college training have
students who are more successful in college auditions and who are more
prepared for the pressures a major in music can bring. As students move into
colleges more prepared, college professors gain respect for their new students
previous teacher, therefore aiding in creating a positive working relationship
between the private teacher and the university professor.
Aside from the above benefits of teaching twentieth-century repertoire and theory,
giving a student permission to play something that is angular without resolve is freeing
for the student and the teacher. Challenging students in this way can also create a sense
of musical adventure if the music is properly explained. Without clear explanation,
contemporary pieces can be too easily misunderstood and considered not worthy of being
played by the uninformed musician. Students learn opinions of these works from their

57
music teacher. Enthusiastically introducing techniques like those of Ravel to a student as
commonly as one introduces Beethoven and Bach is a great start to students enjoying
more twentieth-century music. When a teacher has high expectations of a student, no
matter what style of music is being played, usually the student rises to the occasion.
Exposing lower level students, elementary age through adults, to pieces by the twentiethcentury masters is a responsibility of music educators and needs to be addressed with
enthusiasm and respect for the massive amount of variety in the repertoire. Ravels
compositional techniques are an excellent place to begin.

58
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