Professional Documents
Culture Documents
Volume One
MILTONOTES
An open-eared exploration of composition in theory & practice.
Entire series
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Key Historical Events in Contemporary Computer Music Dawn of Music Notation Iraq:1800BC Cuneiform (melody in 3rds)
Teaching behind the veil-readopted by Schaeffer as the veil of speakers The concept of sound as divorced from source The appreciation of sound for its own sake regardless of origin A numerical basis of sound
Key Historical Events in Contemporary Computer Music Development of Music Notation Byzantine Empire : c. 390AD differential pitch
A Musical game for composing minuets and trios from dice rolls
Key Historical Events in Contemporary Computer Music 1857 E. Leon Scotts Phonautograph
Key Historical Events in Contemporary Computer Music 1861 Philip Reis Telephone
Key Historical Events in Contemporary Computer Music 1863 Helmholtz publishes On the Sensation of Tone as a Physiological Basis for the Theory of Music
Key Historical Events in Contemporary Computer Music 1874 Elisha Grays Musical Telegraph
Key Historical Events in Contemporary Computer Music 1876 Thomas Edisons Phonograph
Key Historical Events in Contemporary Computer Music 1889 Claude Debussy at LExposition Universelle
Key Historical Events in Contemporary Computer Music 1895 Thaddeus Cahills Telharmonium
Key Historical Events in Contemporary Computer Music 1907 Busonis Sketch of a New Aesthetic of Music
Key Historical Events in Contemporary Computer Music 1913 Russolos The Art of Noises
Key Historical Events in Contemporary Computer Music 1913 Russolos The Art of Noises
Wicked noise-makers
Key Historical Events in Contemporary Computer Music 1915 Varse moves to New York in search of a new music
I dream of instruments obedient to my thoughts and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm
Our musical alphabet must be enriched, I refuse to limit myself to sounds that have already been heard...What I am looking for is new mechanical mediums which will lend themselves to every expression of thought and keep up with thought
An organiser of sound
Key Historical Events in Contemporary Computer Music 1915 Lee De Forest patents vacuum tube
Miniaturisation of electronics
Key Historical Events in Contemporary Computer Music 1929 RCA releases the Theremin
Commercialisation of electronic instrument and in the 1930s the Terpsitone and Rhythmicon
Key Historical Events in Contemporary Computer Music 1924 Respighis The Pines of Rome
Key Historical Events in Contemporary Computer Music 1930 Hindemith and Tochs Grammophonmusik
Audio manipulation
Key Historical Events in Contemporary Computer Music 1948 Schaeffers Etude aux Chemin de Fer Musique Concrte
Found sound, sampling, looping, ltering reverb and the sound object
Key Historical Events in Contemporary Computer Music 1948 Nancarrows Studies for Player Piano
Bionic virtuosity
Key Historical Events in Contemporary Computer Music 1952 Luening and Ussachevsky
Live effects
Key Historical Events in Contemporary Computer Music 1956 Louis & Bebe Barrons Forbidden Planet score
Key Historical Events in Contemporary Computer Music 1957 The IIliac Suite The Birth of Computer Music
Live effects
Key Historical Events in Contemporary Computer Music 1958 Varses Pome Electronique
Raymond Scott (1908-94) was a Jazz musician, jingle writer, electronic artist and inventor, and one of the earliest to fully adopt the music technology as a useful -and protable-part of the composer toolkit rather than esoteric experimentalism - similarly Stevie Wonder in the early 70s embraced the studio to make more efcient the compositional process
Key Historical Events in Contemporary Computer Music 1971 NHK rst digital recording
The extraordinary rate of development of processors allows sound to be manipulated beyond physical constraints. And what used to be housed in 200 tons of hardware can be emulated while checking email. If cars developed like computers they would travel at 470,000 mph, get 100,000 miles to the litre, cost 2p, and could balance on a matchstick.
Now
Additional Reading
Holmes, T., (2008) Electronic and Experimental Music, revised 3rd edition. New York: Routledge. Manning, P. (2004) Electronic and Computer Music .Oxford: Clarendon Press. Toop, D. (2001) Ocean of Sound. Serpents Tail.
MILTONOTES
An open-eared exploration of composition in theory & practice.
Entire series
http://open.spotify.com/user/miltonline/playlist/35NLay3D8FdSFU45xYYjcv
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All music has some duration, and the occurrence of musical events over timerhythm. When there appears to be some underlying regularity of events this is the pulse or beat. Generally ranging from 20-330bpm
Pulse Tempo
Larghissimo very, very slow (20 bpm and below) Grave slow and solemn (2040 bpm) Lento slowly (4060 bpm) Largo broadly (4060 bpm) Larghetto rather broadly (6066 bpm) Adagio slow and stately (literally, "at ease") (6676 bpm) Adagietto rather slow (7080 bpm) Andante Moderato a bit slower than andante Andante at a walking pace (76108 bpm) Andantino slightly faster than andante Moderato moderately (101110 bpm) Allegretto moderately fast (but less so than allegro) Allegro moderato moderately quick (112124 bpm) Allegro fast, quickly and bright (120139 bpm) Vivace lively and fast (140 bpm) (quicker than allegro) Vivacissimo very fast and lively Allegrissimo very fast Presto very fast (168200 bpm) Prestissimo extremely fast (more than 200bpm)
Some pieces or musical moments has no, little or an ambiguous sense of pulse. This will occur when there is insufcient regularity and/or if note events are illdened
Exercise 1: Compose an introduction to a piece where no pulse gives way to ambiguous and then clear pulse
Pulse Tempo feel Even when pulse exists, it may be experienced at more than one level. This can be exploited as half-time or double-time feel. Where the music moves at the same rate, but the sense of pulse can alter.
Exercise 2: Compose a musical section and arrange it with normal, half and double-time feel.
Fixed
Gradual Changes
Direction, shape, extent duration. rubato rallentando ritardendo ritenuto accelerando precipitando etc.
Sudden Shifts
Metronomic
Adjacent tempi can exist in simple rational relationships (double-time, half-time) more complex rational (e.g. 3:4, 5:4) or irrational
Pulse Tempo
Accelerando speeding up (abbreviation: accel.) Allargando growing broader; decreasing tempo, usually near the end of a piece Calando going slower (and usually also softer) Doppio movimento double speed Meno mosso less movement or slower Mosso movement, more lively, or quicker, much like pi mosso, but not as extreme Pi mosso more movement or faster Precipitando hurrying, going faster/forward Rallentando gradual slowing down (abbreviation: rall.) Ritardando less gradual slowing down (more sudden decrease in tempo than rallentando)(abbreviation: specically, ritard.) Ritenuto slightly slower; temporarily holding back. (Note that the abbreviation for ritenuto can also be rit. specic abbreviation is riten. Also sometimes ritenuto does not reect a tempo change but a character chan Rubato free adjustment of tempo for expressive purposes Stretto in faster tempo, often near the conclusion of a section. Stringendo pressing on faster (literally "tightening")
(From wiki) what curves in terms of shape, duration, extent and direction might be associated with these terms?
Tempo I
Exercise 4a: Sequence this metric modulation passage, using melodic and harmonic elements. 4b: Design, notate as above and sequence your own metric modulation sequence
It is possible for two or more tempi to exist at once, even if they have a very complex relationship. Charles Ives introduced the idea of polytempo and Zappa coined the term Xenochrony to describe the studio equivalent of superimposing different tempi.
Meter
An introduction
Pulses or beats almost always exist in logical groups and in a hierarchy of strengths. This meter or time signature indicates how many beats - and what type of beat exist in each measure. Listening examples. Grouping in 2s and 3s
Exercise 6:Write a 4-bar groove in 4/4 and reinterpret in 5/8 or 5/4 and 7/8 and 7/4 Be fully aware of 2 and 3 groupings
Tempo I Tempo II
Exercise 3: Construct this tempo map in a short piece. Tempo I,II,III should exist in rational relationships of your choosing, and modulations should be pivotal. Complete with melodic and harmonic elements.
Exercise 4a: Sequence this metric modulation passage, using melodic and harmonic elements. 4b: Design, notate as above and sequence your own metric modulation sequence Exercise 5: Create a sequence with two superimposed tempi Exercise 6:Write a 4-bar groove in 4/4 and reinterpret in 5/8 or 5/4 and 7/8 and 7/4 Be fully aware of 2 and 3 groupings
MILTONOTES
An open-eared exploration of composition in theory & practice.
Entire series
http://open.spotify.com/user/miltonline/playlist/35NLay3D8FdSFU45xYYjcv
or subscribe to miltonline on spotify follow me on twitter @miltonline for music and more
@miltonline
Your best moves The Music You Like and Understand The Music You Like but Dont Understand
Educational
Inspiring
Ideal
Understand = anything from being virtuosic in the idiom to appreciating the mechanics, skill and artistry within it
NB. this circle is a continuum not 4 distinct spaces Theres always more to learn and dont take your musical taste too seriously
.
So make this bigger, and move left and up within it.
@miltonline
The concept of pulse - an underlying unit of rhythmic regularity - has been established in Lecture 1. This regularity may occur at different levels, a concept that can be exploited in, for example half-time or doubletime feel, but there is usually one predominant tapalong pulse. However, this string of pulses - beats - are rarely entirely equal. There is a hierarchy.
3-2
2-3 ( )
Paydushko horo (2+3; 5/16 or 5/8) Chetvorno horo 3+2+2 or 3+4; 7/16) Rachenitsa (2+2+3 or 4+3; 7/16) Petrunino horo (3+3+2+3=11/16) Yovino Horo (3+3+ 2+2+3+ 2+2+3+ 2+2+2+2+3+2+2=35/16)
Meter Comps
Here we look at a more complex rhythmic interaction from the Flamenco style
The Flamenco comps is a metric structure There are several types- many of them containing 12 beats. They are fully absorbed by the performers and this anchored, mutually felt rhythmic pattern allows for a high degree of rhythmic sophistication
1 2 3 4 5 6 7 8 9 10 11 12
Start This is the basic pattern but there is a huge repertoire of counter-rhythm hand claps, endings and rhythmic devices
8 9 10 11 12 1 2 3 4 5 6 7
Long Start Short Long Short Short
12 + 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 + 10 + 11 +
Start
Exercise 1: Clave/Compas. Select or better still, research/transcribe a metric template (from Bulgarian, South-American, Flamenco or other sources) and construct a groove/piece using the rhythmic structure.
Meters can change, sometimes this is quite natural and can go unnoticed simply adapting to accommodate a melody. Beatles All you Need is Love. 7/4 (or 4 + 3) bars are used very naturally
An example from the classical repertoire is Mussorgskys Pictures at an Exhibition (Promenade) Notice how a simple melodic motif is developed perfectly accessibly using changing meters.
Exercise 2: Compose or select a clear melodic phrase, and use meters of different lengths to develop and reinterpret the melody into a longer piece.
2x 6x
5/4 (3 bars) + 9/8 (1 bar) 5/4 (3 bars) + 9/8 (1 bar) 5/4 (3 bars) + 3/4 (2 bars) + 2/4 (1 bar) 5/4 (3 bars) + 3/4 (2 bars) + 2/4 (1 bar) repeats 11/8 (3+3+3+2) 10/8 (3+3+2+2) 4/4 (2 bars) Solo in 5/4 etc.
Exercise 3: Using the Sacricial Dance (pick at least 2 consecutive pages) as a metric template, compose meter-specic material, and then compose material that occurs less dependently on the structure. The overall metric implication may well be-for example 4/4 -with Stravinskys meter pattern embedded in some layer, or the meter pattern may be overt.
Polymeter
Hindemith - String Quartet no.3-II (0:05-0:19) analysis by Timothy Daust
Polymeter
Messiaen - La Verbe (2:18-2:23) analysis by Timothy Daust
Polymeter
Meshuggah - Rational Gaze (0:00-0:29) all Meshuggah analyses by Jonathan Pieslak
PolyMeter
Meshuggah - Stengah (0:16-0:48)
PolyMeter
Meshuggah - Humiliative (3:50-4:04)
PolyMeter
Meshuggah - New Millenium Cyanide Christ (0:00-0:25)
4+4+3 ostinato
Exercise 4: Compose a piece with at least 2 simultaneous metric implications, make sure you understand how it interlocks.
Exercise 2: Compose or select a clear melodic phrase, and use meters of different lengths to develop and reinterpret the melody into a longer piece. Exercise 3: Using the Sacricial Dance (pick at least 2 consecutive pages) as a metric template, compose meter-specic material, and then compose material that occurs less dependently on the structure. The overall metric implication may well be-for example 4/4 -with Stravinskys meter pattern embedded in some layer, or the meter pattern may be overt. Exercise 4: Compose a piece with at least 2 simultaneous metric implications, make sure you understand how it interlocks.
MILTONOTES
An open-eared exploration of composition in theory & practice.
Elements of Groove
Listening list:
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Another enormous topic, but we will focus attention on two extraordinary rhythmic ensemble disciplines: Rhythmic patterns of Ashanti people of Ghana Hartigan (1995) and an analysis of several drum/bass/guitar grooves of the James Brown Rhythm Sections (1968-1973) Slutsky & Silverman (1997)
Swing will be dened here as the difference in length between an on-beat and off-beat quaver (and on-beat and off-beat semiquaver). Rather than just a straight vs. triplet swung concept of swing.
Repetition/displacement of gures between instruments Time-feel: What is the overall feel of the ensemble, Is feel (swing etc.) the same between instruments? Are there any moments when a rhythmic gap in some instruments allows another instrument to feature? Is there a rhythmic interplay? Are there moments when more than one instrument synchronise material and play a similar rhythmic/ melodic gure (a sort of tutti)? What are the roles of each instrument? Time-keeping, feel, texture, rhyhmic interest. Do these roles change?
A richly syncopated drum tradition whose inuence may be heard in Cuban Son and Rumba, Haitian Vodun, Merengue of Dominican Republic, Brazilian samba and American Jazz.
Groove James Brown Rhythm Section (1960-1973) Identify the elements of time-feel, syncopation, repetition, displacement and ensemble techniques in these seminal grooves. Imitate, assimilate, innovate.
Think (1960)
Think (1960)
Exercise 1: Sequence the elements of an Ashanti Time-line of your choice. Make sure you can identify and have absorbed every part. Exercise 2: Create a piece using some (not necessarily all) of the elements from Exercise 1. You may wish to turn one pattern into a bass-line and bind some of the others to other melodic, harmonic and rhythmic instruments. Exercise 3: Recreate as accurately as possible with MIDI one of the sample James Brown grooves, paying particular attention to articulation and swing values. Exercise 4: Using features which you have absorbed from the James Brown templates, create your own 2, 4 or 8 bar groove, paying particular attention to time-feel. syncopation, repetition, displacement and ensemble mechanics.
MILTONOTES
An open-eared exploration of composition in theory & practice.
Melodic Structures
Entire series
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Conceptualise (or fully compose) pieces based on each of the following images
This species of ant survive oods by hugging each other. The cluster oats but they would drown as individuals
Review
All episodes interlink, so frequent reviewing and re-contextualising of information is highly benecial
When a polymeter appears there will be a point in time when the barlines coincide. The effect of this event may be used musically.
As polymetric phrases fall out of sync, some phrase can be adjusted at some point in their cycle to accommodate their new harmonic/ melodic environment
A single line may embody several musical features subject to meter, and hence polymeter: Note phrasing, dynamic emphasis, melodic emphasis, delay rate, pan rate, lter rate, trem rate and so on.
MILTONOTES
An open-eared exploration of composition in theory & practice.
Melodic Structures
Here we look deeply into the construction of melodies from a classical perspective although its implications run beyond stylistic constraints
A radical traditionalist
2nd Viennese School, Fundamentals of Composition Harmonielehre
Melodic Structures
The Phrase
The smallest structural unit is the phrase, a kind of musical molecule consisting a number of integrated musical events possessing a certain completeness and well adapted to combination with other similar units. ...a unit approximating what one could sing in a single breath. Its ending suggests a form of punctuation such as a comma. Often some features appear more than once in a phrase. Such motivic characteristics will be discussed [later]
Melodic Structures
The Phrase
Melodic Structures
The Phrase
Melodic Structures
The Phrase
Melodic Structures
The Phrase from Chords
Melodic Structures
The Phrase from Chords
Melodic Structures
The Phrase from Chords
Melodic Structures
The Phrase from Chords, Elaborated
Melodic Structures
The Phrase from Chords, Elaborated
Phrase embellishment
Melodic Structures
The Phrase from Chords, Elaborated
Exercise 1a-f Compose 2 different simple phrases using chord tones of 1-3 chords in a major key(1a,1b), a minor key (1c,1d) and the dorian mode (1e,1f). Keep them very simple, clear and memorable. Exercise 2a-c Pick one phrase from each of the major, minor and dorian sets and elaborate using appoggiaturas, upbeats and other available devices.
Melodic Structures
The Motive (Motif)
Melodic Structures
The Motive (Motif)
If a phrase is a molecule, the motif is the atom, the smallest common multiple and greatest common factor providing unity, and through repetition, variation and recombination can form higher structures in the phrase and piece
Melodic Structures
The Motive (Motif)
Often the use of the motif is intuitive, though it neednt be. It forms the invisible musical glue that can unies and forms higher level structures
Melodic Structures
The Motive (Motif)
Usually dened by a simple rhythmic and intervallic structure, a motif is maintained by repetition of which there is: Exact and Modied Variations. Variations preserve some musical features and alter others
Melodic Structures
The Motive (Motif)
Note the simplicity of the motif, and how variations are slight but in different features
Melodic Structures
Motivic Transformations
Melodic Structures
Motivic Transformations
Melodic Structures
Motivic Transformations
Melodic Structures
Motivic Transformations
Melodic Structures
Motivic Transformations
Exercise 3 Write a simple motif, and create 12 variants (using for example, transpositions, elaborations, inversions, retrogrades, retrograde inversions, rhythmic changes, omissions and so on). Exercise 4 Construct a phrase (or 2 or 3) using combined variant forms of your motif from Exercise 3. Try and outline a harmonic sequence.
Melodic Structures
Melodic Structures from Phrases and Motifs
Although it may pain Schoenberg, lets look at phrase and motif construction over the course of a whole piece in the work of the French composer of stunningly progressive minimal work, Erik Satie (1866-1925)
Melodic Analysis
Gnossienne I - P1
Melodic Analysis
Gnossienne I - P2
Melodic Analysis
Gnossienne I - P3
Melodic Analysis
Gnossienne I - P4
Exercise 5 Listen to, and examine the score of, Gnossienne I (or any Satie piece) See if you can identify key motifs (and variations) through phrases, as well as phrases and their repetitions and variations are put together to make the whole piece. Exercise 6 From the techniques observed in Exercise 4, choose a scale or 2, 3 or so chords, simple rhythms and limited motivic material, and a series of phrases. Create a short piece with a series of melodic phrases.
Exercise 1a-f Compose 2 different simple phrases using chord tones of 1-3 chords in a major key(1a,1b), a minor key (1c,1d) and the dorian mode (1e,1f). Keep them very simple, clear and memorable. Exercise 2a-c Pick one phrase from each of the major, minor and dorian sets and elaborate using appoggiaturas, upbeats and other available devices. Exercise 3 Write a simple motif, and create 12 variants (using for example, transpositions, elaborations, inversions, retrogrades, retrograde inversions, rhythmic changes, omissions and so on). Exercise 4 Construct a phrase (or 2 or 3) using combined variant forms of your motif from Exercise 3. Try and outline a harmonic sequence Exercise 5 Listen to, and examine the score of, Gnossienne I (or any Satie piece) See if you can identify key motifs (and variations) through phrases, as well as phrases and their repetitions and variations are put together to make the whole piece. Exercise 6 From the techniques observed in Exercise 4, choose a scale or 2, 3 or so chords, simple rhythms and limited motivic material, and a series of phrases. Create a short piece with a series of melodic phrases.
MILTONOTES
An open-eared exploration of composition in theory & practice.
Entire series
http://open.spotify.com/user/miltonline/playlist/7El79d9SdfBxnSwNruyAeD
or subscribe to miltonline on spotify follow me on twitter @miltonline for music and more
The concepts of motif and phrase have been dened, as well as principles behind their construction and transformation. Lets see how these manifest to form successful melodies in the real world and how we might use these ideas in composition. Key terms: Motif, Phrase, Endings, Intervals, Phrase Hierarchy, CTs, NCTs, Devices, Range, Contour, Diatonicism, Parallelism, Leaps & Lines, Accel/decceleration, Melodic forms.
Endings
Similar
How a phrase ends is often of particular melodic importance. You may notice that different phrases often have similar endings.
Phrase 1
Phrase 2 has unequal length, different starting material but similar motifs and an identical ending, forming a link with Phrase 1
Endings
Modied
Conversely, a phrase may be repeated with small modications to the ending, to create different degrees of resolution even with similar harmony
Phrase A1.1 Phrase A1.2 Phrase A1.1 Phrase A1.3
Phrase A1
Phrase A2
This introduces the concept of phrase hierarchy Phrases made up of smaller phrases which can be modied and recombined
Endings Major
Degrees of Resolution
Minor
Heres an impression of resolution level of diatonic notes in a major scale devoid of harmony (the same categories work for minor also) Its very dependent on content but is a reasonable starting point. Note that the idea of resolution here is independent from consonance/ dissonance - the sound of a note against the underlying harmony.
Chromaticism
Degrees of Resolution
Major
Minor
These are highly context dependent and not hard rules - there are also other settings other than major or minor that can be established, but the idea of varying degrees of melodic resolution is fundamental. Again, this about melodic resolution not consonance/dissonance - the latter being controlled by harmonic context.
Phrase Construction
Degrees of Resolution
We can now see how a sense of resolution (from stable to unstable) can be established between phrases giving a longer arc to melodic construction. This is a fundamental concept in 1000s of melodies.
Phrase A1
Phrase A2
Endings
Degrees of Resolution
Exercise 1 Write two different phrases that share identical resolving endings Exercise 2 Write two phrases with the same (or no) harmony, but with a different note choices at the ending, creating different degrees of resolution.
Sub-divide into 2 levels of phrases noting areas of stability/instability and how harmony accommodates the melody
Note that melody notes, melodic rhythm and harmony all combine to create a multi-layer musical experience
Note the use of varied phrase endings, motivic editing and transformation with harmony
Note the use of varied phrase endings, motivic editing and transformation with harmony
1 Strong
&
&
&
&
Weak
&
&
&
&
Exercise 2a Write 3 similar phrases with different strengths of ending Exercise 2b Write 3 similar phrases but starting on different beats
Exercise 3a-b Write a melody with specic ideas for the features identied previously. Write another melody from the previous by changing. 2 of the features
In addition, to melodic resolution, there is another important musical layer: The consonance and dissonance of a melody against the harmony. The most consonant melodic approach is to use only chord tones (CTs)
NCTs of course can be used, and there are techniques for resolving dissonances. Here Passing Tones (PTs), Diatonic Sequences and Chord Tones Pivots.
Melody from a chord sequence. A Theme and Variations concept (Paganini Caprice 24) This allows the creation of certain canonic forms where material that functions of the same harmony can be superimposed
Exercise 4 Write a 4-bar chord sequence, and an accompanying melody using CTs, create 3 subsequent phrases on the chord sequence
NCTs can be left unresolved as part of a melody and will produce a varying amount of dissonance against the underlying harmony, for which the next page give a general impression of this continuum.
CTs
From another perspective we can look at common dissonances - also known as tensions or extensions and have a quick look at what contexts they are accepted, other than a passing tone or other melodic device.
b9 (aka b2)
b9 (aka b2)
This can be sometimes found unresolved when it is a diatonic. Eg. an F against an Eminor in the key of C, or against an E major in A harmonic minor. It is common against the one chord scales with a b2 eg. Phyrgian (F against E minor in E phrygian) or in Spanish Phrygian (F against E major) and the like. (Caravan, Miserlou for example) It also appears on a major or dominant chord that is acting as a primary or secondary dominant, particularly (but not exclusively) when resolving to a minor chord. Other than this it is rare when non-diatonic.
9
This is the most common dissonant non chord tone, and appears freely on a major, minor, dominant, major 7 chord etc. It is only rare when non diatonic e.g. on a iii chord in a major key, but non diatonic examples are found particularly in a parallel context. Every Breath You Take,(Police) or Twin Peaks Theme shows its diatonic usage, while Castles Made of Sand, Come On Pt.1 (1:16) and Little Wing (Hendrix) has parallel non-diatonic examples.
#9
Acting as a blue note on a major or dominant chord is a commonly accepted melodic dissonance on any resolving dominant chord or over any I major or I dominant chord or general tonality. Its use on the IV or IV7 chord is actually quite rare due to the peculiarity of a b6 over b3. Examples of a b3 in major/dominant context abound.
11(4)
Although traditionally a dissonance that requires resolution, the 11th (or 4) is often left unresolved on a I chord a major or dominant context (being diatonic), and is common on minor chord as there is no clash with the 3rd. It is a little more rare, but still heard, in a non-diatonic form (e.g. on the IV chord in major, the IV chord in blues however tolerates it easily due to the pentatonic context). All minor chords (and half-diminished chords) happily accept the 4th melodically although non-diatonic uses are a bit more rare.
#11(#4)
The #11 is a common NCT on major, major7 and dominant chords. The least dissonan use is diatonic e.g. Chord IV in major, Chord I in Lydian or bVImaj in a minor (or borrowed minor) context. It is also often used on tritone-substituted dominant chords. However it is common particular in jazz-tinged styles to include on major, major7 and dominant chords and on minor chords in a Satie-esque exotic moments. (Blue 7 dominant, Satie minor, Blue in Green Major)
b6(b13)
The b6 or b13 with the presence of the 5th is quite a strong dissonance often quickly resolved The exception being on resolving dominant chords (particularly to minor chords) where it is often supported.
6(13)
The 6 or 13 in the melody, unless non-diatonic is readily supported by major, minor and dominant chords alike.
Giant Steps - John Coltrane Notice how accepted NCTs are used alongside to marry a memorable melody and a complex chord sequence
Exercise 5 Write a melody devoid of harmony. Harmonise it in 3 ways so that all notes are in example a) All chord tones b) Resolved dissonances c) Accepted NCTs
Traditional melodies usually have a few leaps using chord tones and devices, and the rest of the material step wise. However it is possible to use less traditional intervals as important melodic motifs.
Exercise 6 Write a melody based on extended intervals (4th,5ths and 7ths) or interval structures ( for example +2,+7,-1) using accepted NCTs
b2 4 b6 or b3 or 5 or 2 #4 6
b7 or 7
b2 4 b6 or b3 or 5 or 2 #4 6
Phrygian #4 Aeolian #4 Dorian #4
b7 or 7
Dorian b2/#4 Mel. Min b2/#4
my favorite music is those few notes an Egyptian shepherd plays on his ute: he is a part of the landscape around him, and he knows harmonies that arent in our books.
The opening phrase elaborates the notes of a whole-tone scale (Bb, Ab, Gb, E). The whole-tone scale is incompatible with common-practice harmony, because it contains no 5ths and no half steps, making traditional cadences impossible and eliminating tonic-dominant polarity. Debussy used whole-tone scales in many works as a way to confound his listeners tonal expectations and to explore new harmonic possibilities. Here, though, he does not limit himself to the whole-tone scale. He decorates it with chromatic neighbors and passing tones in the first two measures (A,B,G, F). In measure 4 he exchanges it for an ascending chromatic scale (Bb, B, C, Db).
In measure 11 he turns to a pentatonic scale (Gb, Ab, Bb, Db, Eb) with an added note (F). In measure 15, which begins the middle section of the piece, he uses a fully chromatic scale.
At measure 26 (the recapitulation) he returns to the initial whole- tone scale. Then in the very last measure he switches to the other possible whole-tone scale (B, A, G, F, Eb, Db), which is how the piece ends. In this very short piece Debussy exchanges pitch materials almost compulsively, but he steadfastly avoids the major- minor diatonic scale.
Exercise 7 Write a melody over a 2, 1 or 0 note ostinato, exploring scales which the harmony allows.
Exercise 1 Write two different phrases that share identical resolving endings Exercise 2 Write two phrases with the same (or no) harmony, but with a different note choices at the ending, creating different degrees of resolution. Exercise 3a-b Write a melody with specic ideas for the features identied previously. Write another melody from the previous by changing. 2 of the features Exercise 4 Write a 4-bar chord sequence, and an accompanying melody using CTs, create 3 subsequent phrases on the chord sequence Exercise 5 Write a melody devoid of harmony. Harmonise it in 3 ways so that all notes are in example a) All chord tones b) Resolved dissonances c) Accepted NCTs Exercise 6 Write a melody based on extended intervals (4th,5ths and 7ths) or interval structures ( for example +2,+7,-1) using accepted NCTs Exercise 7 Write a melody over a 2, 1 or 0 note ostinato, exploring scales which the harmony allows.
MILTONOTES
An open-eared exploration of composition in theory & practice.
Entire series
http://open.spotify.com/user/miltonline/playlist/7El79d9SdfBxnSwNruyAeD
or subscribe to miltonline on spotify follow me on twitter @miltonline for music and more
This episode we look at approaches to composition, that in some way have delegated decisions to outside inuences such as the use of chance and indeterminacy in composition, cryptograms and the sonication of nonmusical data and physical processes.
Why?
Indeterminacy (like improvisation) and chance could be a component (big of small) of composition. From making a series of randomised chords, or predetermined motif work or the effective use of a noise wave-form LFO.
The transfer of non-musical data (for example someones initials converted to a motif, or a key from another piece) can act as a form of tribute, signature or aesthetic link. It can also act as a compositional challenge and selfimposed to enhance creativity and encourage new musical ideas.
The delegation of compositional control, has a philosophical implication. Can a composer create a piece that includes elements out of her control? At what degree of uncertainty, white noise LFO or level of improvisation does it no longer become the piece? Can we just point at a sound (like 433) and claim it as a piece? Which parts are important? Cadenza to Jazz to Electronica
Chance
The use of chance in composition has a varied and long heritage. Dening chance or aleatoric music as music in which some element of the composition is left to chance would imply many types and degrees of chance music.
Chance
Chance
Chance
Determined
Using this very simple system allows a more nuanced and useful understanding of chance music
Chance
Determined
Melodic contour, rhythms, structure, text etc.
Indeterminate
Which 1 of 4 Modes
Chance
A Musical game for composing minuets and trios from dice rolls
Chance
Left to chance
Which of the set of motifs are selected
Chance
Chance
Left to chance
The order and which of the musical fragments are selected
Chance
Chance
Left to chance
Which operations on which tracks
Chance
Chance
Left to chance
Everything else
Chance
Chance
1 Layer of Randomness
Chance
2 Layers of Randomness
Chance
3 Layers of Randomness
Chance
Chance
Exercise 1 Write a musical passage which divides various musical features into determined, and randomly generated. Render some versions. Exercise 2 Alter which of the features in Exercise 1 are determined or random and render some versions. Exercise 3 Create a synth line (or several layers) experimenting with controlling LFOs with step and/or continuous noise functions. Exercise 4 Randomly generate an adjective and noun, and create the opening (or all) of a work based on the phrase. Repeat with a different randomly generated phrase.
So compositions can allow areas and degrees of randomness and indeterminacy. From interpretation, cadenzas, jazz to extremely random. Pockets of chaos But they can also include pre-determined material, (overt or hidden).
Translation Cryptogram
Acting as a tribute, or a test of compositional skill, the Bach motif has appeared in 100s of works since the 17th century.
Translation Cryptogram
Contrapunctus V (2:20)
Contrapunctus IV
Translation Cryptogram
Translation Cryptogram
Schumann: Sechs Fugen ber den Namen: Bach No. 4 & 5 (1845)
Translation Cryptogram
Translation Cryptogram
Translation Cryptogram
Translation Cryptogram
German System
A=A B = Bb C=C D=D E=E F=F G=G H=B M=E L=A R(e) = D S (Es) = Eb T(i) = B As = Ab Ignore the rest
Translation Cryptogram
C J Q X
D K R Y
E L S Z
F M T
G N U
I P W
Translation Cryptogram
A, Bb, B, F
Translation Cryptogram
Arnold Schoenberg
A, Eb, C, B, Bb, E, G
Schoenbergs Seraphita
Translation Cryptogram
Brahms
Bb, A, B, Eb
Translation Cryptogram
Haydn
B, A, D, D, G
Translation Cryptogram
Bla Brtok
Bb, E, B, A
Translation Cryptogram
Cage
C, A, G, E
Translation Cryptogram
Dimitri Schostakovich
D, Eb, C, B
In many of Schostakovichs work, and tributes to him. String Quartet No. 8
Translation Cryptogram
Sacher Hexachord
Eb, A, C, B, E, D
Swiss conductor and patron Paul Sacher, used by Babbitt and Boulez (Messagequisses)
Translation Cryptogram
Robert Schumann
Eb, C, B, A
Translation Cryptogram
Niels Gade
G, A, D, E
The monogram for Danish composer Niels Gade (1817-1890) is used in Schumanns Nordische Lied No.41, Op.68
Translation Cryptogram
Translation Cryptogram
Translation Cryptogram
Exercise 5 Create your own monogram using the German or French system. Compose a phrase/passage/piece of your signature. Experiment with motivic transformations (R, I, RI), phrase constructions, harmonisations etc. Exercise 6 Generate another cryptogram for someone (or something) else. Compose a phrase/passage/piece interweaving this, and your monogram.
Amusical
Musical
Letters in a name
Note names
Amusical
Musical
Any pitch
A 65 F3
C 67 G3
T 84 C5
G 71 B3
Codon permutations
Amusical
Musical
Rhythm
ee
xx x
.x
A L W
B M X
C N Y
D O Z
E P
F Q
G R
H S
I T
J U
K V
One of countless letter to rhythm mapping templates Letter frequency and rhythmic sets will play a compositional role
Exercise 7 Create a rhythmic pattern from the given - or your own - mapping template using your name, initials or somesuch.
Exercise 8 Combine a rhythmic with a melodic mapping template, you may want to use two source names so that for example all As arent the same length.
Brazilian Composer
Translation Mapping
Amusical
Musical
Vertical Horizontal
Pitch Time/Rhythm
Why stop at 2 discrete dimensions? How much can be extracted? What data can be used?
Angela Palmers Inside Out exhibition ! Ruskin Gallery, Oxford University, UK. 2 February 2004. ! Royal College of Surgeons, Hunterian Museum, UK. 29 January 19 May 2007. Music of the Body exhibition !Science Circus, Guildford, Surrey, UK. 20 September 2008.
Microcosmos (2007)
Translation Mapping
Exercise 10 Create your own mapping system from a data source and realise it compositionally.
Exercise 1 Write a musical passage which divides various musical features into determined, and randomly generated. Render some versions. Exercise 2 Alter which of the features in Exercise 1 are determined or random and render some versions. Exercise 3 Create a synth line (or several layers) experimenting with controlling LFOs with step and/or continuous noise functions. Exercise 4 Randomly generate an adjective and noun, and create the opening (or all) of a work based on the phrase. Repeat with a different randomly generated phrase. Exercise 5 Create your own monogram using the German or French system. Compose a phrase/passage/piece of your signature. Experiment with motivic transformations (R, I, RI), phrase constructions, harmonisations etc. Exercise 6 Generate another cryptogram for someone (or something) else. Compose a phrase/passage/piece interweaving this, and your monogram. Exercise 7 Create a rhythmic pattern from the given - or your own - mapping template using your name, initials or somesuch. Exercise 8 Combine a rhythmic with a melodic mapping template, you may want to use two source names so that for example all As arent the same length. Exercise 9 Create a melody from an image. Harmonise. Exercise 10 Create your own mapping system from a data source and realise it compositionally.
MILTONOTES
An open-eared exploration of composition in theory & practice.
Process
Entire series
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or subscribe to miltonline on spotify follow me on twitter @miltonline for music and more
Process
This episode deals with the use of compositional systems from the simple to highly complex, and using physical and algorithmic processes. Compositional systems may be used quite freely to introduce creative options, or at the furthest extreme as a hands-off process that might be heard clearly by the listener.
Process
Comprehensive system on many musical aspects beyond prevailing tutor books - an attempt at scientic unication
Process
Process
Process
Process
Process
Exercises
Exercise 1 Write a passage of music using the Schillinger system on rhythm, melody and/or harmony.
Process
Score for Metastasis (1953-54) Iannis Xenakis (1922-2001) deep mathematical and music connection.
Process
Avant-Garde composer. Predetermined dragging of chairs and benches as well as drone music and minimalism
Process
Process
Exercises
Exercise 2 Simulate musically a physical process (e.g. metronomes, drips, popcorn, tides, orbits etc.
Process
Process
Tape piece for phased vocal phrase. Slow technological phasing. Aural examination of a preachers voice and pigeon. South Bank Show documentary (Rain) http://www.youtube.com/watch? v=q0DQRfm0uL8 or start watching entire documentary here (recommended): http:// www.youtube.com/watch?v=e_pR1sHHeQU&feature=related Complete piece http://www.dailymotion.com/video/x90h1r_steve-reich-its-gonna-rainpart-1_music
Process
Canonic structures and superimpositions that dont t traditional harmony, but form powerful compelling textures
Process
analysis Jarviepp
Process
Process
Process
Steve Reich - Piano Phase (1967) Violin Phase (1967) Phase Patterns (1970)
Algorithmic cyclical process whereby motifs are micro-rhythmically transformed to rhythmic displacements. 12-note, 8-note, 4-note phase
"I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music. What I'm interested in is a compositional process and a sounding music that are one and the same thing" - Steve Reich
Process
Piece formed by the gravitational pull of swinging microphones and feedback responses
Process
(1968)
Carter & Rzewski Written for any number of musicians playing melody instruments, plus any number of nonmusicians playing anything, contains a 65-note melody in F played in a cumulative sequence (1, 1-2, 1-2-3, and so on) by the entire ensemble in unison; once the entire melody is played, the sequence is reversed with the melody continued, but with notes from the beginning shed with each repetition (2-3-...65, 3-4-...65, and so on), until only one note remains. That nal note is held until all the players have reached it, at which point all begin improvising. Rzewskis instructions are: Always play loud, never stop or falter, stay together as long as you can, but if you get lost, stay lost. Do not try to nd your way back into the fold. Continue to follow the rules strictly.
Process
Process
Process
Process
Process
With delay and varying EQ a motivic phrase automatically generates an ambient soundworld. Album also includes pieces derived from fragments of Pachelbels Canon in D
Process
Process
Process
Process Principles attached to longer scale harmonic form (See New York, and Cello Counterpoint)
Process
Exercises
Process
Algorithmic Construction
Process
Algorithmic Construction
Process
Algorithmic Construction
5,8 OMNIA558
Process
Algorithmic Construction
Process
Algorithmic Construction
Process
Algorithmic Construction
Process
Algorithmic Construction
Process
Process
Computer processing has been harnessed since the 50s in order to provide composers with new ideas as well as algorithmically generated pieces. Even creating millions of version of the same piece.
Process
Process
http://vimeo.com/25041544
Process
Process
Exercises
Exercise 4 Construct an algorithm for a piece (with or without computer assistance) operating on more than one musical layer
Process
Exercises
Exercise 1 Write a passage of music using the Schillinger system on rhythm, melody and/or harmony Exercise 2 Simulate musically a physical process (e.g. metronomes, drips, popcorn, tides, orbits etc.). Exercise 3 Write a piece of music based on an overt Reichian process. Exercise 4 Construct an algorithm for a piece (with or without computer assistance) operating on more than one musical layer
MILTONOTES
An open-eared exploration of composition in theory & practice.
Tuning
Entire series
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or subscribe to miltonline on spotify follow me on twitter @miltonline for music and more
Tuning
This episode deals with the scientic principles and creative possibilities of tuning from concepts of just intervals, expressive intonation and electronic realisation of microtones.
Tuning
Wavelength & Frequency Hz. The Frequency of Human Hearing The Law of Octave Equivalence Harmonic Series
Tuning
Tuning
A reference pitch
Pitch ination and variation for centuries. In 1939 a standardised system of 440Hz was agreed although some European schoolhs go up to 442Hz or 443Hz
Wavelength:
What division of the string?
!2/3
1/2
1/4
1/1
Frequency:
!3/2
2/1
4/1
1/1
Note that frets (and pitch steps) are based on division rather than absolute length of a string. Hence, pitch is a logarithmic function with the perception of steps based on multiplications (and divisions). We can however use the handy cent with using a logarithmic function turns the octave into 1200 equal steps, with 100 cents equalling a 12th of the octave (equal semitone).
Note that frets (and pitch steps) are based on division rather than absolute length of a string (e.g. Frets are !5.61% of the remaining string). Hence, pitch is a logarithmic function with the perception of steps based on multiplications (and divisions) of frequency (or wavelength). We can however use the handy cent with using a logarithmic function turns the octave into 1200 equal steps, with 100 cents equalling a 12th of the octave (equal semitone), and 600 cents dividing the octave.
Tuning
Harmonic
Nearest Pitch
Harmonic Series
1 2 3 4 5 6 7 8 9 10
7/1 Bb 8/1 C
9/1 D
1/10 10/1 E
String players can touch the string at any of these nodes to reveal the harmonic.
+2
-14
+2
-32
+4
-14
-49
+2
+41
-32
-12
Memorise this pattern up to the 11th harmonic including cent discrepancies. Observe the narrowing of the intervals. Chord voicings respond well to a similar pattern which will be looked at in more detail in Voicings.
+2
-14
+2
-32
+4
-14
-49
+2
+41
-32
-12
Tuning Exercise
Exercise 1 Electronically realise the rst 16 notes of the harmonic series. You can create these with cent deviations from Equal temperament or by generating tones as multiples of a fundamental frequency. Listen to each harmonic against a drone to appreciate its sonority. Sketch an opening of a piece that is somehow linked to the harmonic series.
The Pythagorean concept of Acoustic Purity: Intervals from simple ratios Selecting notes and constructing scales from the Harmonic Series
1/1
3/2
2/1
3/1
Struck
1/1 C Root
2/1 C 8ve
+2
-14
Pitch C D E F G A B C
+/0 +4 +8 -2 +2 +6 +10 0
Pitch C Db Eb F Gb Ab Bb C
5/4
ET + 2 cents
ET - 14 cents
Tuning Exercise
Exercise 2 Construct a major triad with a clear electronic tone and using cent discrepancies (-14 cents on major third) (+2 cents on fth)
+2
-14
1/3
-2c
1
+0c
3
+2c
9
+4c
5
-14c
1 1/5
+14c
1/3
-2c
1
+0c
3
+2c
9
+4c
5
-14c
1 1/5
+14c
Tuning Exercise
Exercise 3 Alongside the major triad, construct a minor triad, and other triads, 7ths and other chords using just intonation using cent discrepancies from the previous page. Create a chord sequence using carefully tuned chords. Compare to an even-tempered rendition. Consider if the moving bass line skips to even tempered or just intonated scale degrees.
As we saw with the major 3rd, different routes are available to get to closely related scale degrees, and so there are different types of pitches depending on which harmonics are used. Even limiting to the the 5th harmonic a large array of scale degrees emerge.
1/27
-6c
1/9
-4c Bb-125/72 954c
1/3
-2c F-125/96 458c Db-25/24 884c A 5/3 884c F 4/3 498c Db 16/15 112c A++ 128/75 924c F++ 512/375 540c
1
+0c C-125/64 1158c Ab25/16 772c E 5/4 386c C 1/1 0c Ab+ 8/5 814c E++ 32/25 428c C++ 128/125 42c
3
+2c G-375/128 640c Eb75/64 274c B 15/8 1088c G 3/2 702c Eb+ 6/5 316c B++ 48/25 1130c G++ 192/125 744c
9
+4c
27
+6c
81
+8c
125
-42c
25
-28c
F#-25/18 182c D10/9 182c Bb 16/9 996c F# 64/45 610c D+ 256/225 224c
Bb45/32 590c F#45/32 590c D 9/8 204c Bb+ 9/5 1018c F#+ 36/25 632c
F135/128 82c C#135/128 92c A+ 27/16 906c F+ 27/20 520c Db+ 27/25 134c
C405/256 794c
5
-14c
1 1/5
+14c
1/25
+28c
1/125
+42c
A fraction of the scale degrees which emerge from harmonics 3 & 5, the yellow block are the most common. Warmer & cooler colours represent sharper & atter groups. The cream colour is the most common just intonated scale.
Even limiting to the rst 5 harmonics, an indenite number of degrees may be generated.
1/729 -12c 625 -55c 125 -41c 25 -27c 5 -14c 1 1/5 +14c 1/25 +27c 1/125 +41c 1/625 +55c
Bb. 1250/729 934c F#. 1000/729 547c D--800/729 161c Bb1280/729 974c F#< 512/729 588c D-/
4096/3645
1/243 -10c
F. 625/485 435c Db. 250/243 49c A400/243 863c F320/243 476c Db< 256/243 90c A+<
2048/1215
1/9 -4c
D. 625/576 141c Bb-125/72 955c F#-25/18 569c D10/9 182c Bb 16/9 996c F# 64/45 610c D+ 256/225 223c
Bb++ 2048/1125 1037c Bb++ 2048/1875 651c
1/3 -2c
A-625/384 843c F-125/96 456c Db-25/24 71c A 5/3 884c F 4/3 498c Db 16/15 112c A++ 128/75 925c F++ 512/375 539c Db++ 16/15 153c
1 +0c
E-625/512 345c C-125/64 1159c Ab25/16 773c E 5/4 386c C 1/1 0c Ab+ 8/5 814c E++ 32/25 427c C++ 128/125 41c Ab+> 1024/625 855c
3 +2c
B-1875/1024
9 +4c
F#+
5625/4096
27 +6c
Db+
16875/16384
Eb>
youdontwant
Bb>
toknowsrsly
1047c
549c D--
51c A
3375/2048
753c E
10125/8192
G-375/256 661c Eb75/64 275c B 15/8 1088c G 3/2 702c Eb+ 6/5 316c B++ 48/25 1129c G++ 192/125 743c Eb+> 768/625 357c
1125/1024
163c Bb225/128 977c F#45/32 590c D 9/8 204c Bb+ 9/5 1018c F#+ 36/25 631c D++ 144/125 245c Bb+> 1152/625 1059c
865c F675/512 478c C#135/128 92c A+ 27/16 906c F+ 27/20 520c Db+ 27/25 133c A+> 216/125 947c F+> 864/625 561c
367c
C2025/1024 1180c
18225/26384
184c
Ab> 405/64 792c E+ 81/64 408c C+ 81/80 22c Ab> 81/50 835c E+> 162/125 449c C+> 648/625 63c
294c B+ 243/128 1110 G+ 243/160 723c Eb> 243/200 337c B+> 243/125 1151c G+> 972/625 765c
Bb> 3645/256 998c F#> 729/512 612 D+> 729/640 225c Bb> 729/400 1039c F#> 729/500 653c D+> 729/625 266c
202c Bb+<
32768/18225
904c F+<
1016c F#+<
silliness
Ab++
16384/1125
629c D/
dont ask 243c
131c A++<
long
833c
E++<
65536/50625
B++<
32768/16875 1149c
945c
447c
Shrutis
C
1/1
Db-25/24
Db256/243
Db
16/15
Db+
27/25
D10/9
D
9/8
D+
256/225
Eb75/64
Eb
32/27
Eb+
6/5
E100/81
E
5/4
Pitch Name
Ratio
70
90
112
133
182
204
223
275
294
316
365
386
Cents (rounded)
E+
81/64
F320/243
F
4/3
F+
27/20
F#45/32
F#
64/65
F#+
36/25
G40/27
G
3/2
G+
243/160
Ab25/16
Ab
128/81
Ab+
8/5
408
477
498
520
590
610
631
680
702
723
773
792
814
A400/243
A
5/3
A+
27/16
Bb225/128
Bb
16/9
Bb+
9/5
B50/27
B
15/8
B+
243/128
B++
48/25
C
2/1
863
884
906
977
996
1018
1067
1088
1110
1129
1200
Tuning Shrutis and Ragas A Raga is a an Indian Classical Music form that includes specic rhythms, feels, motifs and microtonal scale forms. Well concentrate on the latter here. Since they occur over a drone and are essentially monophonic this allows for very specic and expressive tuning
Tuning Suha Raga Second quarter of the night Expression: Graceful, loving, night
Descending only
C 1/1 0
Tonic
D 9/8 204
Condent, joyful
F 4/3 498
Moonlight, peace
G 3/2 702
Joy
C 2/1 1200
Octave
(Tonic Bb on recording)
Tuning Bhairav Raga Late Morning Raga Expression: Calm and Loving
C 1/1 0
Tonic
Db256/243
90
Tender
E 5/4 316
Calm
F 4/3 498
Peace
G 3/2 702
Sun
Ab
128/81
792
Desire
B 15/8 1088
Pleasure
C 2/1 1200
Octave
(Tonic E on recording)
C 1/1 0
Tonic
Db256/243
90
Tender
E 5/4 316
Conscious, effort to stay awake
F 4/3 498
Moonlight, peace
F# 64/45 498
Intense, mysterious
A 5/3 1018
Soft, Callm
B+
243/128
1110
Active, sensuous
C 2/1 1200
Octave
Tuning Exercise
Exercise 4 Render one of these ragas (or research and invent one), carefully tune the shrutis - building a virtual instrument or set of instruments to achieve this. Play to a drone and compare to ET counterparts. Compose an opening of a piece in an alap style, slowly introducing and enjoying each of the shrutis and revealing the character of the raga.
Tuning 11-Limit What of the other harmonics? We can reach other divisions by using the 7th and 11th Harmonic, again from ET.
+2
-14
+2
-32
+4
-14
-49
Tuning 11-Limit
Tuning 11-Limit
(3/2)12=129.746 27=128
Pythagorean Comma 129.746/128
!23.5 cents
Tuning Temperament
Temper, temper
Tuning
C Db D Eb E F F# G Ab A Bb B C 0 90 192 294 390 496 588 696 792 888 996 1092 1200
!24cents over 4 5ths 4 quarter commas Pure 5th= 702c Tempered= 696c
purer 3rd
-6c 702c
Tuning
C Db D Eb 0 94 196 298 392 502 592 698 796 894 1000 1090 1200 -4c -4c -4c -4c -4c
3rd
E F F# G Ab
3rd
A Bb B C
3rd
702c
-4c
Tuning
C Db D Eb E F F# G Ab A Bb B C 0 100 200 300 400 500 600 700 800 900 1000 1100 1200 700c 700c 700c -2c -2c -2c -2c 700c -2c 700c 700c -2c -2c -2c -2c -2c -2c 700c -2c 700c 700c 700c 700c 700c
Ratio = 2
(Cents/1200)
Clockwise from left: Campagnolis ngerboard diagram (1797) Woldermars Violin Method (1803) and Split key harpsichord 1715
111.1cents
88.8cents
100cents
1/9=22.2cents
Tuning Exercise
Exercise 5 Recreate or invent a 7-note (or split accidental) tuning system using cent discrepancies. Write a passage of music that exploits the vertical possibilities.
Complexity of Instrument Design Challenges of pedagogy and wider interest in performing music, owning a piano The drive through romantic harmony into 12-tone serialism Filtered out of the system
Consideration of the vertical and the horizontal. A time for harmonic sonority, and a time for expressive intonation. Microtonal infection, bends, glides, dips, portamento, vibrato etc. are hugely expressive devices but their extensive discussion will be saved for another episode. Here we concentrate on the destinations of such motions, but here is a brief overview of ideas.
+50c
+100c
+150c
-50c
-100c
-150c
or
-150c
Tuning Exercise
Exercise 6 Recreate or invent an atypical ET system, and compose a passage of music exploiting the intonation possibilities. Experiment with expressive intonation.
C7
F7
G7
C7
Busoni (1866-1924) In response to Cahills Telharmonium "Let us take thought," he exulted, "how music may be restored to its primitive, natural essence; [...] let it follow the line of the rainbow and vie with the clouds in breaking sunbeams.
Corrective technology (Pristine vs. sterile) Timbral expression Non equal-tempered auto-tuning?
Tuning Exercise
Exercise 7 Compose a passage of music using autoned vocals to a non 12-TET system.
MILTONOTES
An open-eared exploration of composition in theory & practice.
Structure
Entire series
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or subscribe to miltonline on spotify follow me on twitter @miltonline for music and more
This episode looks at concepts of structure (and form) in composition. By looking at examples of folk and popular songs, jazz charts, classical forms, electronic pieces and indeterminate and process works, well build a catalogue of structures and structural concepts for analysis and compositional application.
Structure
Levels Firstly we need to address what factors contribute to our perception of structure. In fact as we saw in Pulse and Meter, Melodic Structures and Phrase, Contour and Melodic forms there are several levels on which structure is based. On the following simple example you can see the different levels of motif/phrase/section/piece
Structure
Levels
Structure is achieved by the repetition of similar events, as well as the disruption of repeated events.
Structure
Levels
Structure
Meter Level
Structure
Motif Level
Structure
Phrase Level
Structure
Passage (Higher Phrase) Level
Structure
Section Level
Structure
Levels
In this episode we will look at the higher level structure of sections, but we should always be aware that structure is achieved by the repetition of similar events, as well as the disruption of repeated events.
Melodic Analysis
Gnossienne I - P1
A
Melodic Analysis
Gnossienne I - P2
B C
Melodic Analysis
Gnossienne I - P3
A
Melodic Analysis
Gnossienne I - P4
B
Structure
Form
A B Three sections, the most famous A only occuring at two points. The ending is given an effective poignancy by omitting the last bar. B has three versions (B is quieter, and B is quieter and shortened). C B A B C B A B C B A B C B 8x2 4x2 6x2 4x2 8x2 4x2 6x2 4+3
Structure
Levels of Organisation
Pulse Accented Beats Meter Motif/Figure Phrase Passage Section Piece Cycle/Album/Set/ Symphony
Structure
Forms
Charles Keil divides all musical forms into 3 types Sectional Developmental Variational
Structure
Form
Well look at some specic forms but will open up the idea that sections can be created not just by traditional melodic structures but by timbre, texture and feel
Structure
Sectional Clear cut sectional units (A, B, C, Verse, Middle 8, coda etc.)
Structure
Sectional Strophic Form Unrelieved repetition, chain, medley. AAAAAAAA
Unrelieved repetition
ABCDEFG(A)
Unrelieved variation Medley e.g. Blue Danube - Strauss
AABBCCDDEE
Structure
Sectional Binary Form
A piece made up 2 sections A & B complementary and of roughly similar lengths. Traditionally major binary forms have A in the tonic key B in dominant key, ending in tonic Traditionally minor binary forms have A in the tonic key B in relative major key, ending in tonic
AB or AABB
Structure
Sectional Ternary Form
ABA
De Capo operatic aria form
or AABA
e.g. 32-bar form with middle eight
Structure
Sectional Rondo form
A recurring theme with contrasting episodes
ABACABAC
Symettrical
ABACADAE
Asymettrical
ABCBA
Arch form Special case of symettrical rondo without intermediate themes See Mozart examples
Structure
Sectional Palindromic
Rondo forms can be palindromic on a sectional level
ABACABA
But palindromes neednt be rondo forms
ABCADEDACBA
Palindromes can even exist on the note level...
Structure
Sectional Palindromic
Structure
Sectional Palindromic rhythms
Structure
Sectional Crab/Table Canon
Structure
Dammit Im mad. Evil is a deed as I live. God, am I reviled? I rise, my bed on a sun, I melt. To be not one man emanating is sad. I piss. Alas, it is so late. Who stops to help? Man, it is hot. Im in it. I tell. I am not a devil. I level Mad Dog. Ah, say burning is, as a deied gulp, !In my halo of a mired rum tin. I erase many men. Oh, to be man, a sin. Is evil in a clam? In a trap? No. It is open. On it I was stuck. Rats peed on hope. Elsewhere dips a web. Be still if I ll its ebb. Ew, a spider eh? We sleep. Oh no! Deep, stark cuts saw it in one position. Part animal, can I live? Sin is a name. Both, one my names are in it. Murder? Im a fool. A hymn I plug, deied as a sign in ruby ash. A Goddam level I lived at. On mail let it in. Im it. Oh, sit in ample hot spots. Oh wet! A loss it is alas (sip). Id assign it a name.N ame not one bottle minus an ode by me: Sir, I deliver. Im a dog Evil is a deed as I live. Dammit Im mad.
Structure
Variational Theme and Variations
A theme with related variations traditionally based on the harmonic progression and motivic material
A A1 A2 A3 A4 A5 A6
e.g. Theme and Variations on a Theme by Mozart - Sor Note that each section may itself have an internal structure (AABB) and the whole form may have an intro/outro and/or elaborated outro/coda. See also Paganini - Caprice 24 and many others. The Rondo may also include intermediate variations:
A B A1 C A2 D A3
Structure
Variational Theme and Variations further ideas
Brittens Young Persons Guide to the Orchestra has each variation showcasing a different section of the orchestra, and his Nocturnal for Solo Guitar, starts with the variations, only revealing the Dowlands underlying theme in the last section. Elgars Enigma Variations is a set of 14 variations on an original theme - each a musical portrait, capturing the personality of his close circle of friends. Variations include rhythmic, harmonic & melodic references and even a Dorabellas stutter, W.N.s laugh and particular experiences they shared. Elgar claimed all a based on a hidden theme that is not played and took the secret to the grave.
Structure
Variational
Structure
Stylistic Variational
The common Blues and Jazz forms involving improvisation may be considered a special type of theme and variation. Typically a melody is played over a specic harmonic structure (A, AB, ABAC, AABA etc.) and then that harmonic form (and perhaps some motivic and rhythmic material from the melody are used for improvised solos, and another realisation of the melody is used to end the piece. The whole form may be topped and tailed by an intro, outro or intermediate sections (see All Blues). The stylistic forms you need to know are a 12-bar blues (sometimes interpreted as a 24-bar blues), an 8, 16-bar blues (Need Your Love So Bad) or other (Come On Pt. 1), and a rhythm changes (many examples)
Structure
12-Bar Blues (major)
I7 IV7 V7
I7 I7 I7
I7 I7 V7
Note this form wasnt decided a priori it evolved, and still many structures have an indenite length on the I chord, moving to the IV on cue
Structure
12-Bar Blues (minor)
i7 iv7(IV7) bVImaj7 V7 i7 i7 V7
Structure
8-Bar Blues (major)
I7 V7
IV7 I7 IV7
#IV7 I7 V7
I V7/II ii7
Rhythm Changes
Structure I V7/II ii7 A A B A I I7 IV V7 iv V7 iv iii V7/II ii7 iii V7/II ii7 iii V7/II ii7 V7 V7 V7
I V7/II ii7 I I7 IV
V7
Structure
Developmental
Built directly from smaller units - the most established in Western Art music being the Sonata form. This is beyond the scope of this episode. However the idea of a structure that is through-composed an unfurling stream of consciousness with no clear sectional delineations is well established in ambient electronic music
Structure
Structural Components
Here are some of the devices that through repetition and variation starting with the most common Melody Lyrics Key Harmony Orchestration/Instrumentation Meter Rhythmic Subdivision/Groove/Feel Dynamics Timbre/Texture
Structure
Popular Song Form - Building Blocks Intro Verse Prechorus Chorus Bridge Collision Solo Interlude Vamp Outro
Note that features may be shared - an intro can use the choruss chords for example
Structure
Wind Cries Mary Hendrix Intro Verse Prechorus
ends with material and similar to
Chorus
Whispers
Outro
based on intro
Structure
Better Be Home Soon Crowded House
Structure
Grow Your Own Intro Bridge Vamp Interlude Collision Solo Outro Chorus Prechorus
Verse
Structure
Electronic Structural Components
In the absence of traditional key areas, melodic and harmonic expectations, lyrics and forms, electronic dance music and IDM has developed structural components and forms based more directly on instrumentation, rhythmic components and feel, dynamic changes and timbre
Intro Hook Break Mid-8 Key Sample Build Arhythmic Outro Drop Solo
Structure
Introductions Sectional
A unique section that only appears once such as the original jazz form arrangements. Starting directly on a section that features throughout the track. Or an adapted (usually thinned and/or shortened) variation of a later important section or components
Fade
Duration, curve
or...
Structure
Endings Sectional (New)
A modied section breaking expectation, new material or a logical conclusion
e.g. Syrinx ends with the other whole tone scale
Sectional (Recap)
A repeat of an earlier section with minimal alteration
Fade
Duration, curve
or...
Exercise 1 Take an existing piece/section of yours (or write a new one) and rewrite in 7 different structures (including at least one from each of the 3 categories of sectional, variational and developmental).