Holly Mead - Composer, Pianist

Here are exercises 7-10 at the end of Chapter Four of Twentieth Century Harmony, pg. 107-108!

In Chapter Four of Twentieth Century Harmony, Persichetti discusses quartal harmony.

The chapter concludes with ten compositional prompts. Here are exercises 1-4 and 6!

Here are exercises 6, 8-13, 17, and 19 at the end of Chapter Three of Twentieth Century Harmony, pg. 91-92.

In Chapter Three of Twentieth Century Harmony, Persichetti discusses the cycle of fifths, thirds, and seconds, and sevenths, ninths, fifteenths, seventeenths, and twelve-note chords.

The chapter concludes with twenty compositional prompts. Here are exercises 1-5!

Here are the remaining five "applications" at the end of Chapter Two of Twentieth Century Harmony, pg. 65!

Here are exercises 14 and 16-20 on pages 64 of Chapter Two of Twentieth Century Harmony.

Here are exercises 8-13 on pages 63-64 of Chapter Two of Twentieth Century Harmony.

In Chapter Two of Twentieth Century Harmony, Persichetti discusses scale materials: modes, synthetic scale formations, pentatonic and hexatonic scales, and the chromatic scale.

The chapter concludes with twenty-five (!) "applications" (i.e. compositional prompts). Here are exercises 1-4 and 6-7.

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Here are the remaining six "applications" at the end of Chapter One of Twentieth Century Harmony, pg. 30.

In Chapter One of Twentieth Century Harmony, Persichetti discusses the overtone series and why we perceive some intervals as consonant and others as dissonant.

The chapter concludes with twelve "applications" (i.e. compositional prompts). Here are the first six!

In the introduction of his book Twentieth Century Harmony, Vincent Persichetti says:

"This text aims to define harmonic activity and make it available to the student and young composer. A detailed study of the essential harmonic technique of the twentieth-century

Russo uses the term Kaleidoscopic Ostinatos to refer to two or more ostinatos of differing lengths that occur simultaneously.

For this next exercise, I created an accompaniment with four ostinao patterns of different lengths:

• Pattern a is three…