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1326974
N ys te l, D avid J .
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HARMONIC PRACTICE IN TEE GUITAR MUSIC
OP MANUEL M. PONCE
THEISIS
MASTER OF ARTS
By
David J* Nystel, BM
Denton, Texas
December, 1985
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HARMONIC PRACTICE IN THE GUITAR MDSIC
OP MANUEL M. PONCE
APPROVED
Major Professor
Minor Professor^
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Nystel, David J., Harmonic Practice in the Guitar Music
written over a twenty year period. Second, a work from Ponce 's
r.c
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TABLE OP CONTENTS
Page
LIST OP T A B L E S .................... Iv
LIST OP I L L U S T R A T I O N S ................................. v
Chapter
Theme
Variations I-VI
Finale
Motives
Auxiliary Actions
Root movement
Tonal Framework
BIBLIOGRAPHY............................................ 66
iii
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LIST OF TABLES
Table Page
iv
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L IS T OP ILLO S T R A T IO E S
Figure Page
1* Ponce, Concerto for Piano, cited in Stevenson's
Music in Mexico, p 256 .......... 13
2. Ponce, Concerto for Violin, cited in Stevensons
Music in Mexico, p. 236 ........ . . 13
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Figure Page
vi
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Figure Page
' vii
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Figure Page
viix
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Chapter I
able repertoire for the guitar* Still, Segovia was not sat
isfied with the scope of the music available to him and took
out Europe, Asia, and the Americas the extent of the guitar's
ensued, one that would last some twenty-five years and would
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2
posers who had "aaved the guitar from the music written ex
violin*
Hot only in his guitar music but also in his other com
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3
City but left after only one year, dissatisfied with the
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4
g
fact, later study with Bossi)* Bossi told him:
teach Debussy to his students and among his first students was
Teatro Arbeau that included his first major work, the Concerto
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5
pupil, Chavez, would take much further. Ponce, who also wrote
essays supporting the cause of a Mexican national music,
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6
ican art music. But Ponce deserves credit for having laid the
foundation for these men with his role "as the first composer
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7
post-romantic composition*^
17. Ibid*
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8
by Stevenson:
2:0. Ibid.
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9
did not compose for the guitar again until his move to Paris
at that time also made Paris his residence. The two men re
For the last fifteen years of his life, Ponce devoted his
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10
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11
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Chapter II
one from Concerto for Piano (1912) and the other from Concerto
4. Ibid.
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13
.|-.g*=It -Z
=S ffs
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14
inal arrangement.
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15
in Paris from 1925 to 1933, and the works written after his
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16
but are:
derived from Spanish folk song and the doubling of the melody
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17
and others fit so well into what Mayer-Serra terms "the forms
Allegro
r e fill j t f j j
5R v pi
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18
and C#)
Audante
.3
g- I ! ! J i
i
P' -T r-
~
Ilia.-1lilS i
it* p. JIB |_____
4 II
-
1'f
>i?
W l f U ' f - *^ l 1 is
\
"f*
The first true guitar work by Ponce was the Sonata Mexi
cans (1923). This grew outof a short piece that Ponce wrote,
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19
r r
Pig. 6 Ponce, Sonata Mexicans., third movement,
measures 1-7.
are for the most part diatonic with some alterations. In Figure
seventh chord between the augmented sixth chord and the tonic
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20
Allegro cnoderato
-pis
m m
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21
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22
nintho
1 4
4 12
pean post-romanticism.3-
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23
from 1925 to 1955 that most of Ponce's guitar works were com
The Sonata III and the Sonatina Meridional use what Otero
Allegro moderate
xSr
-8g1
ft- r r r r
Fig, 11 Ponce, Sonata III, first movement,
measures 1 *
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24
piu tranqnillo
ff
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25
r energtco T
the chord (V<| in Bb) makes it appear that it will resolve to Bb,
the principal key of this section, but instead the A and C# make
the next measure). Note how the soprano and bass resolve out
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26
Meno mosso r
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27
EE
>
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28
Vivo
m
1
clearly)
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claras ambas voces
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30
bands'^
other hand, the Concierto del Stir (1941) for: guitar and
m e n accessible)*
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Pigs 24 Ponce, Concierto del Sur. first movement,
measures 342-249.
Cdmo
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32
progression of G to D.
3iu coireo
Summary
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35
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Chapter III
26# "Theme Varie et Finale," notes for the record album Music
for Guitar, perf# by Alberto Ponce (Arion Peters ARN
90402).
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35
Chapter IV.
Theme
the basis for the variations that follow. The harmonic pro
i - iv - VII - III - VI - ii - V7 - i
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56
from it. Ponce replaces the E with a D, however, and the chord
in Table I ).
rr
o r? * n oi ol i j *-1: 'j 1- j . jr a " i 4l < .' > ..31 - 3
t i ts=
IT r * r
f:
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37
t i
*
fo\ 1 H
i N
1^ 1 &
1 12 ! s 1 ^
<b u
1 ^
N 1 N
(S)
'ey
- I^ 1 %
* !
03 r
3 " M
O
w
h --- M
Eh 1
<
M
o
JJj
<
> ca 3> 1 Si
Vc *- -
vSi H 1 := CD
< \2) VJ
1
m
8
ti ' 1
<4
En s -C.
c V? I
03 k I ~
o _&
<4 J
H I
Q -a (S)
O -Si ft
M U> I 1 -- o~>
a 1
o U*
s
(K ! =>
u_
&
'j>
iss.. rLJ
s
I* Ui
-|<D i
$
OJ> S3 S3
S3 M o o
o H H
-P
H * -P
aJ cj
+3 H H
<D Gj H H
S - iH ?h U
u a! H a!H
as >H > >
E H > M >
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38
measures 2 and 4.
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39
Variation I
C I II c rv :fccn
r w ~
5s
i m
LT
Fig* 28~Fonce, Theme Varie et Finale, Variation I,
measures 1-8.
tical to the second part of the theme but the use of neighbor
it f " i
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40
Variation II
of the variation.
rather than in E.
r f ^ r
r
C I..... CIII
t
0i al 0 i 0
== jU l#
_ % =
r f f ^ iim. IT
T
r frail.
Fig. 30 Ponce, Theme Varie et Finale, Variation II
measures 1-10.
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41
Variation III
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42
neighbor tied over into each strong beat* In Figure 32, the
cn-
Variation IV
cending minor third are seen* This melodic line is stated over
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43
"VAR. IV Agitato
Variation V
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44
intact
VAR. V Vivace
C I I I ------------
I a te m p o
h.., J 3 ? i r T T ? i i T H . i - = i :r a p Tc m -_*0-
- , " --k g
nti 1 1 -i
Variation VI
P V e x p re s s . j
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45
Finale
all sonata form (Table II}* The overall key of the movement is
J itii
Theme A states an E minor chord for four measures and then
F IN A L E Vivo scherzanclo
#
f * dfoiso W >
} :
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46
TABLE II
A .1-12 -
B 55-44 a#
G(a) 61-84 e, a, F, G#
C(b) 85-108 C, B* F
A 109-120 e
C(a) 131-158 e
B 139-148 a
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47
sists of two distinct parts* In the first part, the minor third
in that the C# pedal resolves down a minor third to A#, the key
of theme B*
motive seen at the end of theme A* This theme uses the Phrygian
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48
cvm
C VI
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in measure 35* This theme is repeated over first a four measure
measures 77-84#
cadence in E minor#
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50
^ 2| cresc.
8 4 8 4
1 2 1 2
jtAXJxra
F T r~ F
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51
the following:
N-ii-iv-II+-V-i
The coda begins in measure 163 with the motive from Var
point marks the change of mode in the coda from minor to major
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52
46).
E major and G minor for eight measures. The final eleven meas
ures of the finale are all E major, ending with an upward scalar
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Chapter IV
that Ponce learned from Paul Dukas during his years in Paris
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54
sion*
Motives
oscillatory pattern
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55
ing and descending minor thirds form the melodic line found in
37). In the main theme of the finale, the minor third motive is
==i
r u n i
i
I
Fig. 4 9 ~ M a i n theme of finale.
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56
Auxiliary Actions
boring tonal areas within the overall structure* For the pur
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57
work.
Root Movement
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53
level, this time on C#. At the end of this second tonal level,
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59
cadences may be round throughout not only the theme and varia
Tonal Framework
work.
Within this larger form, the work falls into formal parts: the
form of the theme with its variations, and the form of the
not only the theme but also all but one of the variations. The
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60
mental line. For example, at the end of the first part of the
neighbor tone actions are seen in .the melodic line of the second
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b) J
f fi r r r t? F j
- 1 >
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62
important chord voicings and tonal areas are shown within the
structure such as the two keys seen in the second part of the
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63
I JP 7r~
I
i =*
3: .
*-
;-W,g
', { f j
I" IT. -
w*r *T r"
g ""I'^rc
_,x j =----
L L------------:
------- W
Exposition: [a J transition
7/ J IT
//
3E =Z
i -
p ^
'iff
$w
=
g
* -g-far
Developzfitrt:
a*
&j S o t f t - A b h i-------------- * t r t =
* & -
- Q; g. m- * * * v uj t * __ - -
V w s : j
Ft? J -p- I [a] *!#* * *
R ecapitulation: -
//
frC
-A t-,-
4 ~ = j= ^ . -------------- io
------ ------- 5 * c -------
j i f ryJ p 5
1 Coda: P art I 1 Part I I I
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a
VKf- -e-1*
3EE
I
?Z35*5~
J.. M
* F f
M _S&*&
r > -e-
dfc 9 * ,tf 3e j i.gpp -A
P
f ^-r ^ * r:
F - *"' .-^*>
rh :**>
^3?
'r T ^ t *=
I M f M
- f
,_J t .
/
s minor third
r S = oscillatory pattern
> i s tritone
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t
65
the development.
Summary
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BIBLIOGRAPHY
Books
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67
Articles
Encyclopedia Articles
Music
Ponce, Manuel M., Concierto del Sur, Hew York, Peer inter
national Corp., 1970.
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___________ , Sonata Mexicana3 New York, Peer Inter
national Corp., 1967.
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