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The first 10 episodes of MiltOnNotes - an open-eared compositional exploration - combined in one 537-slide tome, complete with multiple exercises and embedded Spotify playlists.
Citation preview
MILTONOTES
Volume One
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
Sound, Music & Technology
Milton [email protected]
MILTONOTESAn open-eared exploration of
composition in theory & practice.
Listening list:
or subscribe to miltonline on spotify
follow me on twitter @miltonline
for music and more
This episode
Entire serieshttp://open.spotify.com/user/miltonline/playlist/35NLay3D8FdSFU45xYYjcv
http://open.spotify.com/user/miltonline/playlist/0eOohflrVSkPXRUb4URBxa
Key Historical Events inContemporary Computer Music
Dawn of Music Notation
Iraq:1800BC Cuneiform (melody in 3rds)
The representation of music
Ancient Greece: c.600BC Pitch and rhythm
Key Historical Events inContemporary Computer Music
Teaching behind the veil-readopted by Schaeffer as the veil of speakersThe concept of sound as divorced from source
The appreciation of sound for its own sake regardless of originA numerical basis of sound
c. 500BC Acousmaticἀκουσματικοί
Pythagorus, Ionian philosopher, mathematician and musician (c.570-c.495BC)
Key Historical Events inContemporary Computer Music
Development of Music Notation
Byzantine Empire : c. 390AD differential pitch
The grid
Middle Ages Europe: c.850AD Grid system
Key Historical Events inContemporary Computer Music
Randomness in Music
Mozart’s Dice Game (1787)
A Musical game for composing minuets and trios from dice rollshttp://sunsite.univie.ac.at/Mozart/dice/
Key Historical Events inContemporary Computer Music
1857 E. Leon Scott’s Phonautograph
Sound can now be made permanent, with one slight problem.
Key Historical Events inContemporary Computer Music
1861 Philip Reis’ Telephone
Sound can now be transmitted across distances rapidly
Key Historical Events inContemporary Computer Music
1863 Helmholtz publishesOn the Sensation of Tone as a Physiological Basis
for the Theory of Music
Basis of additive synthesisAny sound can - in theory - be constructed
Key Historical Events inContemporary Computer Music
1874 Elisha Gray’s Musical Telegraph
Transmission of electronic polyphonic music
Key Historical Events inContemporary Computer Music
1876 Thomas Edison’s Phonograph
Sound can be recorded and reproduced
Key Historical Events inContemporary Computer Music
Solidified sound wave
Key Historical Events inContemporary Computer Music
Ocean of Sound and the birth of Ambient music
1889 Claude Debussy at L’Exposition Universelle
Key Historical Events inContemporary Computer Music
1895 Thaddeus Cahill’s Telharmonium
The first synthesiser
Key Historical Events inContemporary Computer Music
1907 Busoni’s Sketch of a New Aesthetic of Music
The promise of electronic music
Key Historical Events inContemporary Computer Music
1913 Russolo’s The Art of Noises
The democratising of all sound and the destruction of musical elitism
Key Historical Events inContemporary Computer Music
1913 Russolo’s The Art of Noises
Wicked noise-makers
Key Historical Events inContemporary Computer Music
1915 Varèse moves to New York in search of a new music
An organiser of sound
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
Key Historical Events inContemporary Computer Music
1915 Lee De Forest patents vacuum tube
Miniaturisation of electronics
Key Historical Events inContemporary Computer Music
1929 RCA releases the Theremin
Commercialisation of electronic instrument and in the 1930s the Terpsitone and Rhythmicon
Key Historical Events inContemporary Computer Music
1924 Respighi’s The Pines of Rome
Blending of live and pre-recorded music
Key Historical Events inContemporary Computer Music
1930 Hindemith and Toch’s Grammophonmusik
Audio manipulation
Key Historical Events inContemporary Computer Music
1948 Schaeffer’s Etude aux Chemin de FerMusique Concrète
Found sound, sampling, looping, filtering reverb and the ‘sound object’
Key Historical Events inContemporary Computer Music
1948 Nancarrow’s Studies for Player Piano
Bionic virtuosity
Key Historical Events inContemporary Computer Music
1952 Cage’s 4’33”
All sound considered
4’33” live version
Key Historical Events inContemporary Computer Music
1952 Luening and Ussachevsky
Live effects
Key Historical Events inContemporary Computer Music
1956 Louis & Bebe Barron’s Forbidden Planet score
A working electronic music studio
Key Historical Events inContemporary Computer Music
1957 The IIliac Suite The Birth of Computer Music
Live effects
Key Historical Events inContemporary Computer Music
1958 Varèse’s Poème Electronique
Major display of electronic work a graphic score with a familiar look
Key Historical Events inContemporary Computer Music
1958 Dissevelt’s Whirling
Birth of pop electronic music
Key Historical Events inContemporary Computer Music
1959 Cindy Electronium
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 profitable-part of the composer tool-kit rather than esoteric experimentalism - similarly Stevie Wonderin the early 70s embraced the studio to make more efficient the
compositional process
Key Historical Events inContemporary Computer Music
1964 The Moog
The development of synthesis
Key Historical Events inContemporary Computer Music
1971 NHK first digital recording
The extraordinary rate of development of processors allows sound to bemanipulated 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.
Key Historical Events inContemporary Computer Music
1983 MIDI patented
A musical language for computers
Key Historical Events inContemporary Computer Music
Now
Applied vs. ‘Pure Music’
How does computer composing differ from composing?
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. Serpent’s Tail.
MILTONOTES
Pulse, Tempo & Metre
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
http://open.spotify.com/user/miltonline/playlist/17tSOtdKr1SWxaHx6gLmIV
Listening list:
or subscribe to miltonline on spotify
follow me on twitter @miltonline
for music and more
This episode
Entire serieshttp://open.spotify.com/user/miltonline/playlist/35NLay3D8FdSFU45xYYjcv
Pulse
Musical events in time
All music has some duration, and the occurrence of musical events over time-
rhythm. When there appears to be some
underlying regularity of events thisis the pulse or beat.
Generally ranging from 20-330bpm
Pulse
Tempo■ Larghissimo — very, very slow (20 bpm and below)■ Grave — slow and solemn (20–40 bpm)■ Lento — slowly (40–60 bpm)■ Largo — broadly (40–60 bpm)■ Larghetto — rather broadly (60–66 bpm)■ Adagio — slow and stately (literally, "at ease") (66–76 bpm)■ Adagietto — rather slow (70–80 bpm)■ Andante Moderato — a bit slower than andante■ Andante — at a walking pace (76–108 bpm)■ Andantino – slightly faster than andante■ Moderato — moderately (101–110 bpm)■ Allegretto — moderately fast (but less so than allegro)■ Allegro moderato — moderately quick (112–124 bpm)■ Allegro — fast, quickly and bright (120–139 bpm)■ Vivace — lively and fast (≈140 bpm) (quicker than allegro)■ Vivacissimo — very fast and lively■ Allegrissimo — very fast■ Presto — very fast (168–200 bpm)■ Prestissimo — extremely fast (more than 200bpm)
Pulse
Musical events in time
Some pieces or musical moments has no, little or an ambiguous sense of pulse.This will occur when there is insufficient regularity and/or if note events are ill-
defined
Zero gravitation, John Adams
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.
Ray Charles, Wynton Marsalis
Exercise 2: Compose a musical section and arrange it with normal, half and double-time feel.
Pulse
Tempo Changes
Fixed SmallNatural
Fluctuations
GradualChanges
Sudden Shifts
Direction,shape,extent
duration.
rubatorallentandoritardendo
ritenutoaccelerandoprecipitando
etc.
During performance,unconscious or not.
Metronomic
Boulez’s conveyor belt
Adjacent tempi canexist in
simple rational relationships (double-time, half-time)
more complex rational (e.g. 3:4, 5:4)or irrational
Pulse
Tempo
Natural fluctuations inJames Brown, ‘I Got You’ Millyard SOS
Pulse
Tempo Curves
■ 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 più mosso, but not as extreme■ Più 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: rit. or more
specifically, ritard.)■ Ritenuto — slightly slower; temporarily holding back. (Note that the abbreviation for ritenuto can also be rit. Thus a more
specific abbreviation is riten. Also sometimes ritenuto does not reflect a tempo change but a character change instead.)■ 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?
Pulse
Metric modulation
A shift from one tempo (or meter) to another via a pivotal note value
For example
q=e
200bpm 100 bpm2:1
Pulse
Metric modulation
100bpm 150 bpm
q=q.2:3
Pulse
Metric modulation
100bpm 150 bpm
q=q.2:3
Pulse
Metric modulation
100bpm 80 bpm5:4
qx=q(
Pulse
Metric modulation
Tempo I
Tempo II
Tempo III
Tempo I
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.
Pulse
Metric modulation Exercise 2&3from String Quartet No.1 Elliot Carter
Exercise 4a: Sequence this metric modulation passage, using melodic and harmonic elements.4b: Design, notate as above and sequence your own metric modulation sequence
Pulse
Polytempo and Xenochrony
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.
Exercise 5: Create a sequence with two superimposed tempi
Meter
Pulses or beats almost always existin 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
An introduction
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
Exercise 5: Create a sequence with two superimposed tempi
Exercise 4a: Sequence this metric modulation passage, using melodic and harmonic elements.4b: Design, notate as above and sequence your own metric modulation sequence
Tempo I
Tempo II
Tempo III
Tempo I
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 1: Compose an introduction to a piece where no pulse gives way to ambiguous and then clear pulse
Exercise 2: Compose a musical section and arrange it with normal, half and double-time feel.
Lecture 1 Compositional Exercises
MILTONOTES
Meters, Patterns & Polymeter
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
Listening list:
or subscribe to miltonline on spotify
follow me on twitter @miltonline
for music and more
This episode
Entire serieshttp://open.spotify.com/user/miltonline/playlist/35NLay3D8FdSFU45xYYjcv
http://open.spotify.com/user/miltonline/playlist/2PUE08bmuKp9l7RL95NtSz
The Music There Is
@miltonline
The Music There Is
Tc There Is
.
The Music You’ve Heard
Make it a mission to expand this
The Music You Like butDon’t Understand
The Music You Like and Understand
The Music You Don’t Like But Understand
The Music You Don’t Like and Don’t Understand
Educational
Inspiring
Ideal
Understand =anything from being virtuosic in the idiom to appreciating
the mechanics, skill and artistry within it
Your best moves
NB. this circle is a continuum not 4 distinct spaces
There’s always more to learn and don’t take your musical
taste too seriously
Tc There Is
.So make this bigger,
and move left and up within it.
@miltonline
Meter
A Hierarchy of Pulse
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 double-time feel, but there is usually one predominant ‘tap-
along’ pulse.However, this string of pulses - beats - are rarely
entirely equal. There is a hierarchy.
Meter
Types of Meters, Beats and Bars
Pulses or beats almost always existin 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.
For example 4/4 120bpmThe crotchet is the predominant common pulse and they are grouped in 4 beats.
7/8 would imply that quavers are the common beats and are grouped in 7s
Meter
Types of Meters, Beats and Bars
What determines the groups?
Dynamic emphasis
Rhythmic repetition
Harmonic and melodic implications
Meter
Listening and transcribing
What determines a bar?
What repetition, harmonic and melodic exist?
Can the rhythm be broken logically into 2-beat and 3-beat division.
Clave
16 examples
Meter
Son Clave
Meter
Rumba Clave
Meter
Bossa Clave
( )
3-2
2-3
Meter
Bulgarian Folk Dance
The exploration of meter in folk music is hugely extensive. In Bulgaria folk music alone,a rich history of dance forms has amassed many metric forms.
Many may be considered additive, formed by an extension of beats.Here are 5 to transcribe
Paydushko horo
Chetvorno horo
Rachenitsa
Petrunino horo
Yovino Horo
Meter
Bulgarian Folk Dance
The exploration of meter in folk music is hugely extensive. In Bulgaria folk music alone,a rich history of dance forms has amassed many metric forms.
Here are 5: Transcribe your own.
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
Playing with beat divisions: Hemiola
A meter can stay constant while groupings change.A hemiola is a musical figure where 2 groups of 3 notes
are followed or replaced with 3 groups of 2,implying-for example - a 6/8 to 3/4 change
Meter
Compás
Here we look at a more complex rhythmic interaction fromthe Flamenco style
The Flamenco compàs is a metric structureThere 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
Meter
Compás
Soleares
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
Meter
Compás
Siguriyas
8 9 10 11 12 1 2 3 4 5 6 7
Start
Short
ShortLong
Long
Short
A ‘rhythmic mode’ of Soleares
Meter
Compás
Alegrias
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.
Meter
Changing Meter
Meters can change, sometimes this is quite natural and can go unnoticedsimply adapting to accommodate a melody.
Beatles All you Need is Love.
7/4 (or 4 + 3) bars are used very naturally
Meter
Changing Meter
An example from the ‘classical’ repertoire is Mussorgsky’sPictures 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.
Meter
Changing Meter
Meter changes can be extreme lurching the pulse and messing with your musical brain.
Dream Theater Erotomania
From guitar entry
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.
2x
6x
Meter
Changing Meter
Complex changing meters has a long history,let’s look at the Sacrificial Dance from Stravinsky’s
seminal 1913 ballet The Rite of Spring
Exercise 3: Using the Sacrificial Dance (pick at least 2 consecutive pages) as a metric template, compose meter-specific material, and then compose material that occurs less dependently on the structure. The overall metric
implication may well be-for example 4/4 -with Stravinsky’smeter pattern embedded in some layer, or the meter pattern may be overt.
Polymeter
(not polyrhythm)Multiple meters may be implied at the same time.
SImple examples may be a delay set to a triplet or dotted quaver.Often, during solos, a soloist can use phrase that imply
different meters over an underlying groove, or rhythmic hits(Hancock -Hang Up Your Hang Ups 5:30 onwards)
However many compositional examples exist even from pop music:The Cars Touch and Go has in the verse a 5/4 bass and drum pattern and a
simultaneous 4/4 in the vocals and keys.
The use of polymeter in 20th Century ‘classical’ and contemporary metal is wide-spread.
For example, Ligeti’s Arc-en-ciel implies different and changing meters (as well as polyrhythms) in each hand.
Here are some more examples.
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
Benjamin Britten, Peter Grimes -Interlude IVAll Britten analyses 2008 Timothy Daoust
Benjamim Britten, Peter Grimes - Interlude IV (1:16)
Benjamim Britten, Peter Grimes - Interlude IV (1:16)
Same passage re-scored
Exercise 4: Compose a piece with at least 2 simultaneous metric implications, make sure you understand how it interlocks.
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.
Lecture 2 Compositional Exercises
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 4: Compose a piece with at least 2 simultaneous metric implications, make sure you understand how it interlocks.
Exercise 3: Using the Sacrificial Dance (pick at least 2 consecutive pages) as a metric template, compose meter-specific material, and then compose material that occurs less dependently on the structure. The overall metric implication
may well be-for example 4/4 -with Stravinsky’smeter pattern embedded in some layer, or the meter pattern may be overt.
MILTONOTES
Elements of Groove
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
Listening list:
or subscribe to miltonline on spotify
follow me on twitter @miltonline
for music and more
http://open.spotify.com/user/miltonline/playlist/7El79d9SdfBxnSwNruyAeD
Elements of Groove
Ensemble and feel
Another enormous topic, but we will focus attention on two extraordinary rhythmic ensemble disciplines:
Rhythmic patterns of Ashanti people of GhanaHartigan (1995)
andan analysis of several drum/bass/guitar grooves of
the James Brown Rhythm Sections (1968-1973)Slutsky & Silverman (1997)
Elements of Groove
Swing
Swing will be defined here as the difference in length betweenan on-beat and off-beat quaver (and on-beat and off-beat semiquaver). Rather than just a straight vs. triplet swung
concept of swing.
Elements of Groove
Swing
Elements of Groove
Latency
Elements of Groove
Time-feel
Elements of Groove
Syncopation
Syncopation is the emphasis of ‘weaker’ beats. By weaker beats we generally mean off-beat quavers and
semiquavers. Although stressing beats 2 & 4 over1 & 2 also falls into this category.
How can off-beats be relatively more emphasised than anon-beat?
No on-beat, or tied on-beat.Louder more articulated offbeat
Melodic/Harmonic emphasis
Elements of Groove
Identify the syncopated features
Elements of Groove
Rhythmic Repetition
An addition to feel, interesting rhythmic/melodic components can sense a groove through repetition.
Repeating phrase present a time-feel, and also create a sense of expectation allowing for musical variation.
Notice the repeated and slightly varied rhythmic device
Elements of Groove
Rhythmic DisplacementRepeating rhythmic figures tend to occur at 1, 2 or 4 bar
intervals. However a rhythmic figure can be repeated on a different beat of the bar. A simple displacement maybe 2
beats, where the beats ‘strength’ is similar. Three beatdisplacements also occur as well as at other subdivisions,
and create a subtle infectious polymetric feel.
Elements of Groove
Rhythmic Displacement
3 - beat (dotted minim) displacement
dotted semi-quaver displacement - disrupting any swing/weighting that may exist
Rhythmic/melodic figures can also be repeated and displaced between instruments
Elements of Groove
Elements of Ensemble Groove
Repetition/displacement of figures 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 allowsanother instrument to feature? Is there a rhythmic interplay?
Are there moments when more than one instrument synchronise material and play a similar rhythmic/melodic figure (a sort of tutti)?
What are the roles of each instrument? Time-keeping, feel, texture, rhyhmic interest.Do these roles change?
West African Drumming
Ashanti People of Ghana
A richly syncopated drum tradition whose influencemay be heard in Cuban Son and Rumba, Haitian Vodun, Merengue of Dominican Republic, Brazilian samba and
American Jazz.
West African Drumming
Sikyi (Si-chee) Ashanti People of Ghana 1
Sikyi : Ashanti People of Ghana 2
Adowa : Ashanti People of Ghana 1
Adowa : Ashanti People of Ghana 2
Gahu : Ashanti People of Ghana 1
Gahu : Ashanti People of Ghana 2
Akom Style 1: Ashanti People of Ghana
Akom Style 2 (3/4)
Metric Illusions
Akom Style 2 (6/8)
Metric Illusions
Groove
James Brown Rhythm Section (1960-1973)
Identify the elements of time-feel, syncopation, repetition, displacement
and ensemble techniques in theseseminal grooves.
Imitate, assimilate, innovate.
Think (1960)
Think (1960)
I Don’t Mind (1962)
I Don’t Mind (1962)
Out Of Sight (1964)
I Got You (1965)
Don’t Be A Dropout (1966)
Cold Sweat Pt. 1 (1967)
Cold Sweat Pt. 1 (1967)
I Can’t Stand Myself Pt. 1 (1967)
I Got The Feelin’ (1968) - Verse
I Got The Feelin’ (1968) - Bridge
Licking Stick (1968)
Give It Up or Turnit A Loose (1968) - Verse
Give It Up or Turnit A Loose (1968) - Bridge
Mother Popcorn (1969) - Verse
Mother Popcorn (1969) - Bridge
Funky Drummer (1969) - Pattern 1
Funky Drummer (1969) - Pattern 2
Get Up (1970) - Verse
Get Up (1970) - Bridge
Got To Getcha (1970) - Verse
Got To Getcha (1970) - Bridge
Funky Women (1970)
Super Bad Pts. 1 & 2 (1970) - Verse (1/2)
Super Bad Pts. 1 & 2 (1970) - Verse (2/2)
Super Bad Pts. 1 & 2 (1970) - Bridge
Talkin’ Loud & Sayin’ Nothing (1970) - Verse
Talkin’ Loud & Sayin’ Nothing (1970) - Bridge (1/2)
Talkin’ Loud & Sayin’ Nothing (1970) - Bridge (2/2)
Give It Up or Turnit A Loose ‘Live’ (1970) - Verse
Give It Up or Turnit A Loose ‘Live’ (1970) - Bridge
Hot Pants Pt. 1 (1971)
Make It Funky Pt. 1 (1971)
Papa Don’t Take No Mess Pt. 1 (1973)
The Payback (1973) - Intro
The Payback (1973) - Verse
Exercise 1: Sequence the elements of an Ashanti Time-line of your choice.Make sure you can identify and have absorbed every part.
Lecture 3 Compositional Exercises
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 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.
Exercise 3: Recreate as accurately as possible with MIDI one of the sample James Brown grooves, paying particular attention to articulation and swing values.
MILTONOTES
Melodic Structures
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
Listening list:
or subscribe to miltonline on spotify
follow me on twitter @miltonline
for music and more
This episode
Entire serieshttp://open.spotify.com/user/miltonline/playlist/1vWvLOvDYElkzQkuZr7Fp7
http://open.spotify.com/user/miltonline/playlist/7El79d9SdfBxnSwNruyAeD
Quick intermission before our scheduled
Episode
Conceptualise (or fully compose) piecesbased on each of the following images
This species of ant survive floods by hugging each other. The cluster floats but they would drown as individuals
Review
All episodes interlink, so frequent reviewing and re-contextualising of information is highly
beneficial
Polymeter Use
Alignments
When a polymeter appears there will be a point in time when the barlines coincide. The effect of
this event may be used musically.
Polymeter Use
Break out Clauses
A polymetric phrase may be held indefinitely, but often the implications is broken by added or
subtracted beats torealign the measures.
Polymeter Use
Melodic/Harmonic Adjustments
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
Polymeter Use
Lateral thinking of polymeter
A single line may embody several musical features subject to meter, and hence polymeter:
Note phrasing, dynamic emphasis, melodic emphasis, delay rate, pan rate, filter rate, trem
rate and so on.
MILTONOTES
Melodic Structures
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
Here we look deeply into the construction ofmelodies from a ‘classical’ perspective although its implications run beyond stylistic constraints
Arnold Schoenberg (1874-51)
A radical traditionalist2nd Viennese School,
Fundamentals of CompositionHarmonielehre
Melodic StructuresThe 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 StructuresThe Phrase
Concentrated in one voice, implies an inherent harmony
Melodic StructuresThe Phrase
Even with elaborate melodies, harmony (usually I and V) is clear.
Melodic StructuresThe Phrase
Length of phrases can vary widely, depending on metre and tempo
Melodic StructuresThe Phrase from Chords
Phrases are often derived from skeletal chord forms
Melodic StructuresThe Phrase from Chords
Simple elaborations of skeletal chord forms
Melodic StructuresThe Phrase from Chords
Passing notes to chord forms
Melodic StructuresThe Phrase from Chords, Elaborated
Passing notes and note repetitions toelaborated chord forms
Phrase embellishment
Melodic StructuresThe Phrase from Chords, Elaborated
Appoggiaturas and changing tones.
Melodic StructuresThe 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 StructuresThe Motive (Motif)
Melodic StructuresThe 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 StructuresThe Motive (Motif)
Often the use of the motif is intuitive, though it needn’t be. It forms the invisible musical glue
that can unifies and forms higher level structures
Melodic StructuresThe Motive (Motif)
Usually defined by a simple rhythmic and intervallic structure, a motif is maintained by
repetition of which there is:
Exact and Modified Variations.
Variations preserve some musical features and alter others
Melodic StructuresThe Motive (Motif)
Note the simplicity of the motif, and how variations are slight but in different features
Melodic StructuresMotivic Transformations
Melodic StructuresMotivic Transformations
Melodic StructuresMotivic Transformations
Melodic StructuresMotivic Transformations
Melodic StructuresMotivic 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, let’s 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 AnalysisGnossienne I - P1
2 scales, 3 chords, 1 piece
Melodic AnalysisGnossienne I - P2
Melodic AnalysisGnossienne I - P3
Melodic AnalysisGnossienne 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
Phrase, Contour & Melodic Forms
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
Listening list:
or subscribe to miltonline on spotify
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This episode
Entire serieshttp://open.spotify.com/user/miltonline/playlist/7El79d9SdfBxnSwNruyAeD
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The concepts of motif and phrase have been defined, as well as principles behind their
construction and transformation. Let’s 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.
EndingsSimilar
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
EndingsModified
Conversely, a phrase may be repeated with small modifications to the ending, to create different
degrees of resolution even with similar harmony
Phrase A1 Phrase A2
Phrase A1.2 Phrase A1.3Phrase A1.1 Phrase A1.1
This introduces the concept of phrase hierarchyPhrases made up of smaller phrases which can be modified and recombined
EndingsDegrees of Resolution
Here’s an impression of resolution level of diatonic notes in a major scale devoid of harmony (the same categories work for minor also)
It’s 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.
Major
Minor
ChromaticismDegrees 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 ConstructionDegrees 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
from Gnossienne 1 - Satie
Unstable #4Resolution
Stable Root
EndingsDegrees 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.
Phrase Endings & HarmonyLinking phrases with similar or
modified endings
Sub-divide into 2 levels of phrases noting areas of stability/instability and how harmony accommodates the melody
Phrase Endings & HarmonyLinking phrases with similar or
modified endings
from Across the Universe - BeatlesNote that melody notes, melodic rhythm and harmony all combine
to create a multi-layer musical experience
Phrase Endings & HarmonyLinking phrases with similar or
modified endings
Note the use of varied phrase endings, motivic editing and transformation with harmony
from Angel Eyes - Matt Dennis
Phrase Endings & HarmonyLinking phrases with similar or
modified endings
Note the use of varied phrase endings, motivic editing and transformation with harmony
Phrase Endings & RhythmStrength of ending
Rhythm contributes to the sense of finality of a phrase (not that a phrase always needs it). The ‘strength’ of the beat on which the phrase ends contributes to a sense of continuity or finality.
1 32 4& & & &
Strong
Weak1 32 4& & & &
Phrases & Rhythm
Exercise 2a Write 3 similar phrases with different strengths of ending
Exercise 2b Write 3 similar phrases but starting on different beats
Melody Contour & Range
Melodic TypologyAlthough there are millions of possible melodies, analysts have proposed
systems to categorise them into various groups. We won’t favour one but at least look at the various identifying features.
Range (Highest to lowest notes)
Contour (Position of highest and lowest notes)
Leap & Line (Stepwise motion or intervallic leaps)
Long Term Goals (A journey between 2 notes) Chopin
Motivic Material(Identifying motifs or articulations)
Scale/Diatonicism/Chromaticism(Set of notes used)
Consonance/Dissonance(How the melody interacts with harmony)
Melody Contour & Range
Melodic Typology
Exercise 3a-b Write a melody with specific ideas for the features identified previously. Write another melody from the previous by changing. 2 of the features
Melody & Harmony
Consonance & Dissonance
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)
Melody & Harmony
Consonance & Dissonance
NCTs of course can be used, and there are techniques for resolving dissonances.Here Passing Tones (PTs), Diatonic Sequences and Chord Tones Pivots.
Melody & Harmony
Consonance & Dissonance
Melody & Harmony
Consonance & Dissonance
Melody & Harmony
Consonance & Dissonance
Melody & Harmony
Consonance & Dissonance
Melody & Harmony
Consonance & Dissonance
Melody & Harmony
Consonance & Dissonance
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
Melody & Harmony
Consonance & Dissonance
Exercise 4 Write a 4-bar chord sequence, and an accompanying melody using CTs, create 3 subsequent phrases on the chord sequence
Melody & Harmony
Consonance & Dissonance
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.
Melody & Harmony
Consonance & Dissonance
Melody & Harmony
Consonance & Dissonance
This schematic shows the continuum of consonance and dissonance with reference tothe chordal context (ie if we are looking at a ii or a iii chord, a I or a IV etc.
There are some exceptions to this, for example the use of the b3(aka #9) in a major context, which is a stylistically perfectly accepted dissonance in many African-
American sourced music forms (Jazz, Blues and by assoiciation Rock, pop, funk etc.)
CTsDiatonic
Non-ClashNCTs
Non-DiatonicNon-Clash
NCTs
DiatonicClashNCTs
Non-DiatonicClashNCTs
Melody & Harmony
Consonance & Dissonance
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)
Melody & Harmony
Consonance & Dissonance
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.
Melody & Harmony
Consonance & Dissonance
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.
Melody & Harmony
Consonance & Dissonance
#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. It’s 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.
Melody & Harmony
Consonance & Dissonance
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.
Melody & Harmony
Consonance & Dissonance
#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)
Melody & Harmony
Consonance & Dissonance
b6(b13)The b6 or b13 with the presence of the 5th is quite a strong dissonance often
quickly resolvedThe exception being on resolving dominant chords (particularly to minor chords)
where it is often supported.
Melody & Harmony
Consonance & Dissonance
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 ColtraneNotice how accepted NCTs are used alongside tomarry a memorable melody and a complex chord
sequence
Melody & Harmony
Intervallic Features
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
Melody & Harmony
Intervallic features
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.
Melody & Harmony
Intervallic features
Melody & Harmony
Intervallic features
Melody & Harmony
Intervallic features
Melody & Harmony
Intervallic features
Melody & Harmony
Intervallic Features
Exercise 6 Write a melody based on extended intervals (4th,5ths and 7ths) or interval structures ( for example +2,+7,-1) using accepted NCTs
Melody & Harmony
Pedal Tone/Pitch AxisYou’ll notice that the more angular examples of intervallic tunes had less (or no chords)
Since harmony dictates consonance and dissonance, we can open up melodic possibilitiesby simplifying the harmonic context. For example a drone permits a wide array of scales to
be implied compositionally (or through improvisation). Indian classical music (discussed later) is monophonic and allows an enormous amounts
of expressive melodies unconstrained by even temperament.Even limiting ourselves to a 7 note system, even temperament, only one type of degree and no
b4, Satie’s F-minor chord (on which he uses Dorian #4 and Melodic Minor #4) actually has16 logically accompanying modes and scales.
b2or2
4or#4
b6or6
b7or7
R b3 5
Melody & Harmony
Pedal Tone/Pitch Axis
b2or2
4or#4
b6or6
b7or7
R b3 5
PhrygianAeolianDorian
Phrygian #4Aeolian #4Dorian #4
Melodic MinorHarmonic Minor
Harmonic Minor b2
Melodic Minor #4Harmonic Minor #4
Harmonic Minor b2/#4
Dorian b2Mel. Min b2
Dorian b2/#4Mel. Min b2/#4
Melody & Harmony
Pedal Tone/Pitch Axis
Ravel’s Bolero (1928) is an orchestral work based almost exclusively on a bass ostinato(bass loop) which includes only a C and G. This allows the insistent melody to
be transformed into several parallel beautiful scales while maintaining musical interest.
French composer Maurice Ravel (1875-1937)
Melody & Harmony
Pedal Tone/Pitch Axis
C Major(R,2,3,4,5,6,7)C Mixolydian b6 (Aeolian Major/Hindustani/Mode 5 of MM)(R,2,3,4,5,b6,b7)C Phrygian(R,b2,b3,4,5,b6,b7)C Phrygian Dominant(R,b2,3,4,5,b6,b7)
E Mixolydian b6E Phrygian
Bolero Modes
Melody & Harmony
Pedal Tone/Pitch Axis
.Take the bridge of Satch Boogie - Joe Satriani for example
The A acts as a pivot to a menagerie of exotic scales/harmonies.
Or no harmony whatsoever as in Debussy’s Syrinx unpublished in his life time.
Melody & No Harmony
“my favorite music is those few notes an Egyptian shepherd plays on his flute: he is a part of the landscape around him, and he knows harmonies that aren’t 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.
Melody & Harmony
Intervallic Features
Exercise 7 Write a melody over a 2, 1 or 0 note ostinato, exploring scales which the harmony allows.
Exercise 7 Write a melody over a 2, 1 or 0 note ostinato, exploring scales which the harmony allows.
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 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 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 specific ideas for the features identified previously. Write another melody from the previous by changing. 2 of the features
MILTONOTES
Chance & Translation
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
Listening list:
or subscribe to miltonline on spotify
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This episode we look at approaches to composition, that in some way have delegated
decisions to ‘outside’ influences such as the use of chance and indeterminacy in composition,
cryptograms and the ‘sonification’ of non-musical 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 someone’s 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 self-imposed 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 4’33”)
and claim it as a piece?Which parts are important?
Cadenza to Jazz to Electronica
Chance and AleatoricMusic
The use of chance in composition has a varied and long heritage.
Defining 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
Types of randomness
Range
Step
Dotted or Drunk
Chance
Ockeghem’s Missa Culuvsis ToniA composition by Johannes Ockeghem (1410-97)
which allows a choice of modal interpretations.One composition: multiple realisations.
Chance
Determined Left to chance/Indeterminant
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
Mozart’s Dice Game (1787)
A Musical game for composing minuets and trios from dice rollshttp://sunsite.univie.ac.at/Mozart/dice/
Chance
Determined
Harmonic structure
Form
Set of motifs
Left to chance
Which of theset of motifsare selected
Mozart’s Dice Game
Chance
DuChamp’s Erratum Musical (1913)Composition by the dadaist artist Marcel DuChamp.
A fixed number of pre-determined notes (and words in the vocal version) from a set of possibilities are randomly selected to form the work.
Chance
Determined
Prepared materials
Number of events
Left to chance
The order and which of the musical fragments are selected
Duchamp’s Erratum Musical
Chance
Cage’s Williams Mix (1952)Environmental sounds collected over 9 months by the Barrons,
then tape-spliced according to a set of rules determined by coin tosses.
Chance
Determined
Prepared environmental materials
Length of piece
Operations
Left to chance
Which operations on which tracks
Cage’s Williams Mix
Chance
Cage’s 4’33 (1952)
Measured ‘Silence’ Focusing attention on unintended sound
Chance
Determined
Duration(s)
Time
Place
Left to chance
Everything else
Cage’s 4’33”
Chance
The Use of Randomness in Synthesis
Noise wave as tone
Noise wave as LFO (with continuous and step values)
Chance
1 Layer of Randomness
Chance
2 Layers of Randomness
Chance
3 Layers of Randomness
Chance
Randomness and Creativity
The forcing of new ideas
Random Word Generator
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.
Chance
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 includepre-determined material,
(overt or hidden).
The BACH motif
Translation
Cryptogram
(B = Bb H=B S= Eb)
B A C H
Acting as a tribute, or a test of compositional skill, the Bach motif has appeared in 100s of works since the 17th century.
The BACH motif
Contrapunctus V (2:20)
Contrapunctus IV
Translation
Cryptogram
The BACH motif
The unfinished Contrapunctus XIV, C.P.E. Bach’s("At the point where the composer introduces the name BACH [for which the English notation would be B♭-A-C-B ] in the countersubject to this fugue, the composer died."
Translation
Cryptogram
The BACH motif
Schumann: Sechs Fugen über den Namen: Bach No. 4 & 5 (1845)
Translation
Cryptogram
The BACH motif
Webern Tone Row String Quartet Op. 28
Translation
Cryptogram
The BACH motif
Translation
Cryptogram
1845 — Robert Schumann: Sechs Fugen über den Namen: Bach, for organ, pedal piano, or harmonium, Op. 601855 — Franz Liszt: Fantasy and Fugue on the Theme B-A-C-H, for organ (later revised, 1870, and arranged, 1871, for piano)1878 — Nikolai Rimsky-Korsakov: Variations on BACH, for piano1900 — Max Reger: Fantasia and Fugue on B-A-C-H for organ1910 — Ferruccio Busoni: Fantasia contrappuntistica for piano (first version; later versions 1912 and 1922)1926–28 — Arnold Schoenberg: Variations for Orchestra, Op. 311937–38 — Anton Webern: String Quartet (the tone row is based on the BACH motif)1968 - Alfred Schnittke: Quasi Una Sonata 1981 - Schnittke: Symphony No. 3 - used alongside the monograms of several other composers.1856 - Johannes Brahms: Fugue in A-flat minor for organ, WoO 81930 - Marios Varvoglis: Canon, Chorale and Fugue on BACH1932 - Alfredo Casella: Due Ricercari sul nome B-A-C-H, Op. 521932 - Francis Poulenc: Valse-improvisation sur le nom Bach for piano1934 - Hanns Eisler: Prelude and Fugue on B-A-C-H, Op. 46 for string trio1937 - Marios Varvoglis: Prelude, Chorale and Fugue on BACH1942-46 - Charles Koechlin: Offrande musicale sur le nom de B-A-C-H, Op. 1871952 - Jean Coulthard: Variations on BACH for piano1952 - Luigi Dallapiccola: Quaderno musicale di Annalibera for piano1954 - Dallapiccola: Variazioni ("Variations", orchestral version of Quaderno musicale di Annalibera)1951-55 - Dallapiccola: "Canti di liberazione"1964 - Arvo Pärt: Collage over B-A-C-H for strings, oboe, harpsichord and piano1974 - Rudolf Brucci: Metamorfosis B-A-C-H for strings1993 - Ron Nelson: Passacaglia (Homage on B-A-C-H) for concert band
What about other letters/notes?
Translation
Cryptogram
German System
A = AB = BbC = CD = DE = EF = FG = GH = BM = EL = A
R(e) = DS (Es) = Eb
T(i) = BAs = Ab
Ignore the rest
Translation
Cryptogram
French System
A B(or Bb)
C D E F G
H(or B)
I J K L M N
O P Q R S T U
V W X Y Z
Translation
Cryptogram
Alban Berg/Hanna Fuchs-Robettin
A, Bb, B, F
Berg’s Lyric Suite
Translation
Cryptogram
Arnold Schoenberg
A, Eb, C, B, Bb, E, G
Schoenberg’s Seraphita
Translation
Cryptogram
Brahms
Bb, A, B, Eb
Schnittke’s Quasi Una Sonata
Translation
Cryptogram
Haydn
B, A, D, D, G
Ravel’s Menuet sur le nom d’Haydn
Translation
Cryptogram
Béla Bártok
Bb, E, B, A
Translation
Cryptogram
Cage
C, A, G, E
Pauline Oliveros and Simon Jeffes of PCO in Cage Dead
Translation
Cryptogram
Dimitri Schostakovich
D, Eb, C, BIn many of Schostakovich’s work, and tributes to him.
String Quartet No. 8
Translation
Cryptogram
Sacher Hexachord
Swiss conductor and patron Paul Sacher,used by Babbitt and Boulez (Messagequisses)
Eb, A, C, B, E, D
Translation
Cryptogram
Robert Schumann
Used in Schumann’s Carnaval (in SCHA, ASCH and AsCH forms)
Eb, C, B, A
Translation
Cryptogram
Niels Gade
The monogram for Danish composer Niels Gade (1817-1890) is used in Schumann’s Nordische Lied No.41, Op.68
G, A, D, E
Translation
Cryptogram
Cross MotifSymbol from Gregorian Melodies
Franz Lizst (1811-86)
Translation
Cryptogram
Cross MotiveCrucifixion and star-crossed lovers
Tchaikovsky (1840-93)mm1-2 of Pathétique Symphony
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.
Translation
Cryptogram
Translation
Other Mappings
Lettersin a name
Notenames
Amusical Musical
Translation
Other Mappings
Lettersfrom anywhere
Any pitch
Amusical Musical
Translation
Other Mappings
ASCII to midi note conversion
Translation
Other Mappings
DNA A C T G
ASCII 65 67 84 71
MIDI F3 G3 C5 B3
DNA to midi note conversion
Translation
Other Mappings
Codon permutations
AAAAACAATAAGACAACCACTACGATAATCATTATGAGAAGCAGTAGG
CAACACCATCAGCCACCCCCTCCGCTACTCCTTCTGCGACGCCGTCGG
TAATACTATTAGTCATCCTCTTCGTTATTCTTTTTGTGATGCTGTTGG
GAAGACGATGAGGCAGCCGCTGCGGTAGTCGTTGTGGGAGGCGGTGGG
Translation
Other Mappings
Lettersfrom anywhere
Rhythm
Amusical Musical
Translation
Other Mappings
h q ee xxe xex exx ‰e !x!x !x‰ ‰.x Œ
A B C D E F G H I J K
L M N O P Q R S T U V
W X Y Z
One of countless letter to rhythm mapping templatesLetter 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 aren’t the same length.
Translation
Rhythmic Mapping
Translation
Types of Mappings
Discrete/Continuous
One to One
One to Many
Many to One
Parallel
Translation
Villa-Lobos (1857-1959)
Brazilian Composer
Translation
Villa-Lobos’ millimetrization
New York Skyline
Translation
Villa-Lobos’ millimetrization
New York Skyline Melody (1939) and more
Exercise 9 Create a melody from an image. Harmonise.
Translation
Mapping
Translation
Other Mappings
Vertical Pitch
Amusical Musical
Horizontal Time/Rhythm
Translation
Data Sonificiation
Why stop at 2 discrete dimensions?
How much can be extracted?
What data can be used?
Primal Sound (2004,2007)The coronal suture of the skull (which should now be chiefly investigated) has
let us assume a certain similarity to the closely wound line that the needle of a
phonograph cuts into the receptive, revolving cylinder of the machine.
Suppose, for instance, one played a trick on this needle and caused it to
retrace a path not made by the graphic translation of a sound, but self-
sufficing and existing in nature – good, let us say it boldly, if it were (e.g.) even
the coronal suture – what would happen? A sound must come into being, a
sequence of sounds, music…Feelings of what sort? Incredulity, awe, fear,
reverence yes, which of all these feelings prevents me from proposing a name
for the primal sound that would then come to birth?
Ur-Geräusch (Rilke 1919, p 1087)
Translation
Data Sonificiation
Primal Sound (2004,2007)
Image ©2004 Palmer
Primal Sound (2004,2007)
Image ©2005 Supranowitz
Primal Sound (2004,2007)
Primal Sound (2004,2007)
Primal Sound (2004,2007)
Angela Palmer’s 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.
Translation
Data Sonificiation
Head Music (2004)
Translation
Data Sonificiation
Microcosmos (2007)
Generative Composition Emergent Music
Translation
Data Sonificiation
Exercise 10 Create your own mapping system from a data source and realise it compositionally.
Translation
Mapping
Exercise 10 Create your own mapping system from a data source and realise it compositionally.
Exercise 9 Create a melody from an image. Harmonise.
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 aren’t the same length.
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.
MILTONOTES
Process
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
Listening list:
or subscribe to miltonline on spotify
follow me on twitter @miltonline
for music and more
This episode
Entire serieshttp://open.spotify.com/user/miltonline/playlist/7El79d9SdfBxnSwNruyAeD
http://open.spotify.com/user/miltonline/playlist/4YtsVORmc2f7BDYJGBBrNG
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
Joseph SchillengerSystem of Musical Composition (1946)
Process
Comprehensive system on many musical aspects - beyond prevailing tutor books - an attempt at scientific unification
Process
Schillinger System: Permutations in melody and pitch scales
Process
Schillinger System: Permutations in scales, modulation and harmony
Process
Schillinger System: Rhythmic permutation (3+1)+(2+2)+(1+3)
Process
4:3 (3+1)+(2+2)+(1+3)
6:5 (5+1)+(4+2)+(3+3)+(2+4)+(1+5)
Realise in terms of rhythm, melody, harmony etc.
ProcessExercises
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.
Avant-Garde composer. Predetermined dragging of chairs and benches as well as drone music and
minimalism
La Monte Young - Poem (1960)
Process
Ligeti’s Poeme Mechanique (1962)
Process
Simultaneous tempi and wind down.
ProcessExercises
Exercise 2 Simulate musically a physical process (e.g. metronomes, drips, popcorn, tides, orbits etc.
Terry Riley’s In C (1964)
Process
Superimposition of 53 randomly started musical fragmentsFirst minimal piece.
Tape piece for phased vocal phrase. Slow technological phasing.Aural examination of a preacher’s 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-rain-part-1_music
Steve Reich - It’s Going to Rain (1965)
Process
Ligeti’s Lux Aeterna (1966)
Process
Canonic structures and superimpositions that don’t fit traditional harmony, but form powerful compelling textures
Ligeti’s Lux Aeterna (1966)
Process
analysis ©Jarviepp
Process
Process
Algorithmic cyclical process whereby motifs are micro-rhythmically transformed to rhythmic displacements. 12-note, 8-note, 4-note phase
Steve Reich - Piano Phase (1967)Violin Phase (1967) Phase Patterns (1970)
Process
"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
Piece formed by the gravitational pull of swinging microphones and feedback responses
Steve Reich - Pendulum Music (1968)
Process
Frederic Rzewski - Les Moutons des Panurge (1968)
Process
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 final note is held until all the players have reached it, at which point all begin improvising. Rzewski’s 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 find your way back into the fold. Continue to follow the rules strictly.”
Carter & Rzewski
Karlheinz Stockhausen - Spiral (1968)
Process
A composition as a series of fixed transformations rather than a fixed structure.
Shepperd Tone piece
http://www.youtube.com/watch?v=RqRd555v0Hg
James Tenney - For Ann (Rising) (1969)
Process
Piece for 2 performers formed by 12-point displacement of rhythmic motif.
Steve Reich - Clapping Music (1972)
Process
Degradation through room resonance
Alvin Lucier - I Am Sitting In a Room (1974)
Process
With delay and varying EQ a motivic phrase automatically generates an ambient soundworld.
Album also includes pieces derived from fragments of Pachelbel’s Canon in D
Brian Eno - Discreet Music (1975)
Process
Oscillations and interferences on a wire
Alvin Lucier - Music on a Long Thin Wire (1979)
Process
Tone Row slowly unfolded then collapsed
James Tenney - Chromatic Canon (1980)
Process
Process Principles attached to longer scale harmonic form (See New York, and Cello Counterpoint)
Steve Reich - Electric Counterpoint (1987)
Process
ProcessExercises
Exercise 3 Write a piece of music based on an overt Reichian process.
Algorithmic Construction
Process
Thomas Tallis (1505-1585)
Spem in Alium
Algorithmic Construction
Process
Algorithmic Construction
Process
O M N I A 5 5 8
5,8
Algorithmic Construction
Process
Algorithmic Construction
Process
Algorithmic Construction
Process
Algorithmic Construction
Process
Process
Digital Technology and 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’.
Digital Technology and 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
http://vimeo.com/25041544
Process
Iannix - software that harnesses computer processing to musical algorithms
ProcessExercises
Exercise 4 Construct an algorithm for a piece (with or without computer assistance) operating on more than one musical layer
ProcessExercises
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
Tuning
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
Listening list:
or subscribe to miltonline on spotify
follow me on twitter @miltonline
for music and more
This episode
Entire serieshttp://open.spotify.com/user/miltonline/playlist/35NLay3D8FdSFU45xYYjcv
http://open.spotify.com/user/miltonline/playlist/1vWvLOvDYElkzQkuZr7Fp7
This episode deals with the scientific principles and creative possibilities of tuning from concepts
of just intervals, expressive intonation and electronic realisation of microtones.
Tuning
Tuning
• Wavelength & Frequency
• Hz. The Frequency of Human Hearing
• The Law of Octave Equivalence
• Harmonic Series
Tuning
How many octaves from 20Hz-20,000Hz?
Tuning
A reference pitch
Pitch inflation and variation for centuries.
In 1939 a standardised system of 440Hz was agreed although some European schoolhs go up
to 442Hz or 443Hz
Tuning
Harmonic Series
1/2 1/4Wavelength: !2/3
Frequency:
1/1
2/1 4/1!3/2 1/1
What division of the string?
How much faster does the string oscillate?
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 into1200 equal steps, with 100 cents equalling a 12th of the octave (equal semitone).
Tuning
Harmonic Series
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 Series
String players can touch the string at any of these nodes to reveal the harmonic.
ƒλ1/1
1/2
1/3
1/4
1/5
1/6
1/7
1/8
1/9
1/10
1
2
3
4
5
6
7
8
9
10
NearestPitchHarmonic
1/1
2/1
3/1
4/1
5/1
6/1
7/1
8/1
9/1
10/1
C
C’
G’
C’’
E’’
G’’
Bb’’
C’’’
D’’’
E’’’
Tuning
Harmonic Series
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.
-49-32 +41-14+2 -12+4+2 -14 +2 -32Cent deviation from Equal temperament
Tuning
Harmonic Series
If we imagine that the harmonic series tells us something about the nature of music - although one doesn’t have to believe that - then we can
propose some ‘natural’ outcomes.
-49-32 +41-14+2 -12+4+2 -14 +2 -32Cent deviation from Equal temperament
Tuning
Harmonic Series
The first triad to emerge is a major triad. (With a major 3rd 14c flatter and a 5th 2c sharper
than ET (Equal Temperament).
The first seventh chord to emerge is a dominant 7th (with a significantly flatter 7th (-32c) than ET)
‘Natural’ voicings are large in the bass register and progressively closer at higher registers
The first heptatonic scale is Lydian Dominant (aka Lydian b7, Mixolydian #11, or the Overtone or
Harmonic scale). The 3rd, b7 and especially the #11 (-49c) significally flatter than ET
The first common pentatonic scale to emerge is the major pentatonic
Exercise 1 Electronically realise the first 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.
Tuning
Exercise
Tuning
Acoustic Purity
• The Pythagorean concept of Acoustic Purity: Intervals from simple ratios
• Selecting notes and constructing scales from the Harmonic Series
Tuning
The Just 5th
1/1 2/1 3/13/2 Struck
Tuning
The 3-Limit Scale
1/1C
Root
2/1C’
8ve
3/2G
5th1
9/8D
Maj 2nd2
27/16A
Maj 6th3
81/64E
Maj 3rd4
4/3F
4th-1
Tuning
The Pure 5th vs. Even Tempered
3/2G
5th702
700E.T.5th
2 cents
Tuning
The Pure 5th vs. Even Tempered
3/2G
5th702
700E.T.5th
9/8D
Maj 2nd204
200E.T.2nd
27/16A
Maj 6th906
900E.T.5th
81/64E
Maj 3rd408
400E.T.2nd
2 cents 6 cents8 cents4 cents
4/3F
4th498
-2 cents
500E.T.2nd
Tuning
3-Limit Concept
Cent deviation from Equal temperament -14+2
Tuning
The 3-Limit Major Scale (Pythagorean)
Pitch Ratio Cent +/-C 1/1 0 0D 9/8 204 +4E 81/64 408 +8F 4/3 498 -2G 3/2 702 +2A 27/16 906 +6B 243/128 1110 +10C 2/1 1200 0
Ascending Pure 5ths (except F)
Tuning
The 3-Limit Locrian Scale (going down pure 5ths)
Pitch Ratio Cent +/-C 1/1 0 0Db 256/243 90 -10Eb 32/27 294 -6F 4/3 498 -2
Gb 1024/729 588 -12Ab 128/81 792 -8Bb 16/9 996 -4C 2/1 1200 0
Tuning
The Pure 5thFrom the 5th Harmonic
5/4
Tuning
The Pure 5th vs. Even Tempered vs. Pythagorean
5/4G
5th386
400E.T.5th
-14 cents
81/64E
Maj 3rd408
+8 cents
22 cents ! 81/80
Syntonic Comma ! 22 cents
Tuning
The Pure Major Triad
1/1
5/4
3/2
ET - 14 cents
ET + 2 cents
Exercise 2 Construct a major triad with a clear electronic tone and using cent discrepancies (-14 cents on major third) (+2 cents on fifth)
Tuning
Exercise
Tuning
5-Limit Concept
-14+2Cent deviation from Equal temperament
5ths from 3rd Harm.
Tuning
5-limit chromatic scale
1/3-2c
1+0c
3+2c
9+4c
5-14c
A5/3
884c
E5/4
386c
B15/8
1088c
F#45/32590c
1F
4/3498c
C1/10c
G3/2
702c
D9/8
204c
1/5+14c
Db16/15112c
Ab8/5
814c
Eb6/5
316c
Bb9/5
1018c
3rdsfrom5th
Harm.
Tuning
5-limit chromatic scale
1/3-2c
1+0c
3+2c
9+4c
5-14c
A5/3
884c
E5/4
386c
B15/8
1088c
F#45/32590c
1F
4/3498c
C1/10c
G3/2
702c
D9/8
204c
1/5+14c
Db16/15112c
Ab8/5
814c
Eb6/5
316c
Bb9/5
1018c
Pure major triad
Pure minor triad
Pure major 7th
Pure minor 7th
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.
Tuning
Exercise
Pure major triad Pure minor triad Pure major 7th Pure minor 7th
Tuning
Types of 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.
A fraction of the scale degrees which emerge from harmonics 3 & 5, the yellow block are the most common. Warmer & cooler colours represent sharper & flatter groups. The cream colour is the most common just intonated scale.
5-Limit Chromatic Palette
1/27-6c
1/9-4c
1/3-2c
1+0c
3+2c
9+4c
27+6c
81+8c
125-42c
Bb--125/72954c
F--125/96458c
C--125/641158c
G--375/128
640c
25-28c
B-50/271066c
F#--25/18182c
Db--25/24884c
Ab-25/16772c
Eb-75/64274c
Bb-45/32590c
F-135/128
82c
C-405/256
794c
5-14c
G-40/27280c
D-10/9182c
A5/3
884c
E5/4
386c
B15/8
1088c
F#-45/32590c
C#-135/128
92c
1Eb
32/27294c
Bb16/9996c
F4/3
498c
C1/10c
G3/2
702c
D9/8
204c
A+27/16906c
E+81/64408c
1/5+14c
F#64/45610c
Db16/15112c
Ab+8/5
814c
Eb+6/5
316c
Bb+9/5
1018c
F+27/20520c
C+81/8082c
1/25+28c
D+256/225
224c
A++128/75924c
E++32/25428c
B++48/251130c
F#+36/25632c
Db+27/25134c
1/125+42c
F++512/375
540c
C++128/125
42c
G++192/125
744c
Tuning
5-Limit Chromatic Palette
Even limiting to the first 5 harmonics, an indefinite number of degrees may be generated.
1/729-12c
1/243-10c
1/81-8c
1/27-6c
1/9-4c
1/3-2c
1+0c
3+2c
9+4c
27+6c
81+8c
243+10c
729+12c
625-55c
Bb.1250/729
934c
F.625/485
435c
C.625/3241137c
G.625/432
639c
D.625/576
141c
A--625/384
843c
E--625/512
345c
B--1875/1024
1047c
F#+5625/4096
549c
Db+16875/16384
51c
Ab>50625/32768
753c
Eb>youdontwant
255c
Bb>toknowsrsly
957c
125-41c
F#.1000/729
547c
Db.250/243
49c
Ab--125/81751c
Eb--125/108
253c
Bb--125/72955c
F--125/96456c
C--125/641159c
G--375/256
661c
D--1125/1024
163c
A3375/2048
865c
E10125/8192
367c
B135/1281069c
F#>729/512
571c
25-27c
D---800/729
161c
A-400/243
863c
E-100/81365c
B-50/271067c
F#--25/18569c
Db--25/2471c
Ab-25/16773c
Eb-75/64275c
Bb-225/128
977c
F-675/512
478c
C-2025/1024
1180c
G6075/4096
682c
D18225/26384
184c
5-14c
Bb-1280/729
974c
F-320/243
476c
C-160/811118c
G-40/27640c
D-10/9182c
A5/3
884c
E5/4
386c
B15/8
1088c
F#-45/32590c
C#-135/128
92c
Ab>405/64792c
Eb>1215/1024
294c
Bb>3645/256
998c
1F#<
512/729588c
Db<256/243
90c
Ab128/81792c
Eb32/27294c
Bb16/9996c
F4/3
498c
C1/10c
G3/2
702c
D9/8
204c
A+27/16906c
E+81/64408c
B+243/128
1110
F#>729/512
612
1/5+14c
D-/4096/3645
202c
A+<2048/1215
904c
E+<512/405
406c
B+<256/1351108c
F#64/45610c
Db16/15112c
Ab+8/5
814c
Eb+6/5
316c
Bb+9/5
1018c
F+27/20520c
C+81/8022c
G+243/160
723c
D+>729/640
225c
1/25+27c
Bb+<32768/18225
1016c
F+<8192/6075
518c
C+<2048/2025
20c
G+<1024/675
722c
D+256/225
223c
A++128/75925c
E++32/25427c
B++48/251129c
F#+36/25631c
Db+27/25133c
Ab>81/50835c
Eb>243/200
337c
Bb>729/4001039c
1/125+41c
F#+<silliness
629c
Db+<32768/30375
131c
Ab++16384/1125
833c
Eb++4096/3375
335c
Bb++2048/1125
1037c
F++512/375
539c
C++128/125
41c
G++192/125
743c
D++144/125
245c
A+>216/125
947c
E+>162/125
449c
B+>243/1251151c
F#>729/500
653c
1/625+55c
D/don’t ask
243c
A++<long
945c
E++<65536/50625
447c
B++<32768/16875
1149c
Bb++2048/1875
651c
Db++16/15153c
Ab+>1024/625
855c
Eb+>768/625
357c
Bb+>1152/625
1059c
F+>864/625
561c
C+>648/625
63c
G+>972/625
765c
D+>729/625
266c
Shrutis
C Db-- Db- Db Db+ D- D D+ Eb- Eb Eb+ E- E
1/1 25/24 256/243 16/15 27/25 10/9 9/8 256/225 75/64 32/27 6/5 100/81 5/4
0 70 90 112 133 182 204 223 275 294 316 365 386
E+ F- F F+ F#- F# F#+ G- G G+ Ab- Ab Ab+
81/64 320/243 4/3 27/20 45/32 64/65 36/25 40/27 3/2 243/160 25/16 128/81 8/5
408 477 498 520 590 610 631 680 702 723 773 792 814
A- A A+ Bb- Bb Bb+ B- B B+ B++ C
400/243 5/3 27/16 225/128 16/9 9/5 50/27 15/8 243/128 48/25 2/1
863 884 906 977 996 1018 1067 1088 1110 1129 1200
Pitch Name
Ratio
Cents(rounded)
Tuning
Shrutis and Ragas
A Raga is a an Indian Classical Music form that includes specific
rhythms, feels, motifs and microtonal scale forms. We’ll
concentrate on the latter here.
Since they occur over a drone and are essentially monophonic this allows for very specific and
expressive tuning
Tuning
Suha Raga
Second quarter of the night
Expression: Graceful, loving, night
C D Eb+ F G Bb+ C1/1 9/8 9/5 4/3 3/2 9/5 2/10 204 316 498 702 1018 1200
Descending only
(Tonic Bb on recording)
Tonic Confident, joyful Tender, loving Moonlight, peace Joy Desire Octave
Tuning
Bhairav Raga
Late Morning Raga
Expression: Calm and Loving
C Db- E F G Ab B C1/1 256/243 5/4 4/3 3/2 128/81 15/8 2/10 90 316 498 702 792 1088 1200
(Tonic E on recording)
Tonic Tender Calm Peace Sun Desire OctavePleasure
Tuning
Sohini Raga
Deep into the night before dawn
Expression: Effort to remain
C Db- E F F# A B+ C1/1 256/243 5/4 4/3 64/45 5/3 243/128 2/10 90 316 498 498 1018 1110 1200
DescendingOnly
DescendingOnly
Tonic Tender Conscious,effort to stay awake
Moonlight, peace Active,sensuous
OctaveIntense,
mysterious Soft,Callm
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.
-49-32-14+2 +4+2 -14Cent deviation from Equal temperament
Tuning
11-Limit
Harry Partch’s (1901-74) 43-note universe
Tuning
11-Limit
Harry Partch’s microtonal dissonance
Tuning
Polyphonic Tuning Systems
Tuning
The Spiral of Fifths
(3/2)12=129.746
27=128
Pythagorean Comma129.746/128
!23.5 cents
Tuning
Temperament
Temper, temper
Tuning
Quarter Comma
!24centsover 4 5ths
4 quartercommas
Pure 5th=702c
Tempered=696c
-6c
-6c
-6c
-6c
696c
C 0
Db 90
D 192
Eb 294
E 390
F 496
F# 588
G 696
Ab 792
A 888
Bb 996
B 1092
C 1200
purer 3rd
purer 3rd
702c
Tuning
Sixth Comma
!24centsover 6 5ths
6 1/6commas
-4c
-4c
-4c
-4c
-4c
-4c
C 0
Db 94
D 196
Eb 298
E 392
F 502
F# 592
G 698
Ab 796
A 894
Bb 1000
B 1090
C 1200
More 3rds tempered, to a lesser degree than 1/4 comma
3rd3rd
3rd
3rd
698c
702c
Tuning
Bach’s Well Tempered Clavier
Tuning
Bach’s Well Tempered Clavier
Tuning
Equal Temperament (ET) 12-TET
-2c
-2c
-2c
-2c
-2c
-2c-2c
-2c
-2c
-2c
-2c
-2c
C 0
Db 100
D 200
Eb 300
E 400
F 500
F# 600
G 700
Ab 800
A 900
Bb 1000
B 1100
C 1200
!24centsover 12 5ths
12 twelfthcommas
-2c
700c700c
700c
700c
700c
700c
700c 700c
700c
700c
700c
700c
Tuning
Equal Temperament makes Cents
Cents = 1200 * log(ratio)
log(2)
Ratio = 2(Cents/1200)
Tuning
Another Solution
Tuning
Mozart’s semitones
Tuning
Splitting Accidentals
Clockwise from left: Campagnoli’s fingerboard diagram (1797)Woldermar’s Violin Method (1803) and Split key harpsichord 1715
Tuning
55-division tuning
1/9=22.2cents
88.8cents 100cents
111.1cents
Tuning
55-division tuning
C 0C# 88.9
Db 111.1D 200D# 288.9
Eb 311.1E 400F 500F# 588.9
Gb 611.1G 700G# 788.9
Ab 811.1A 900A# 988.9
Bb 1011.1B 1100C 1200
E-G# 388.9c(Pure is 386c)
3rd
3rd
Ab-C 388.9c(Pure is 386c)
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.
Tuning
Where did it go?
• 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
Tuning
Vertical vs. Horizontal
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.
Tuning
Expressive intonation: Bends
Direction
Contour & Pattern
Duration
Start/End/Stopping Points
Tuning
Expressive intonation: Vibrato
Shape
Width
Frequency
Tuning
Expressive intonation: Vibrato
Tuning
Other divisions
24-TET
24 quarter-tones
50 cents each
or+50c +100c +150c -50c -100c -150c -150c
Tuning
Other divisions
48-TET
48 eighth-tones
25 cents each
Tuning
Other divisions
7-TET
14-TET
n-TET
Each 1200/n cents
Tuning
Other Divisions
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.
Tuning
Blues microtones
C7 C7F7 G7
Tuning
Blues microtones
Tuning
Blues microtones
Tuning
Technology and Microtones
Tuning
Technology and Microtones
Busoni (1866-1924) In response to Cahill’s 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.”
Tuning
Technology and Microtones
Tuning
Technology and Microtones
• 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.
Tuning
Compositional Exercises
Exercise 1 Electronically realise the first 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.Exercise 2 Construct a major triad with a clear electronic tone and using cent discrepancies (-14 cents on major third) 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.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.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.Exercise 6 Recreate or invent an atypical ET system, and compose a passage of music exploiting the intonation possibilities.Exercise 7 Compose a passage of music using autoned vocals to a non 12-TET system.
MILTONOTES
Structure
© Milton [email protected]
An open-eared exploration of composition in theory & practice.
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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, we’ll build a catalogue of structures and structural concepts for
analysis and compositional application.
StructureLevels
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 formsthere are several levels on which
structure is based. On the following simple example
you can seethe different levels of
motif/phrase/section/piece
StructureLevels
Structure is achieved by the repetition of similar events, as well as the disruption of repeated events.
StructureLevels
StructureMeter Level
StructureMotif Level
StructurePhrase Level
StructurePassage (Higher Phrase) Level
StructureSection Level
StructureLevels
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 AnalysisGnossienne I - P1
2 scales, 3 chords, 1 piece
A
Melodic AnalysisGnossienne I - P2
B
B
C
Melodic AnalysisGnossienne I - P3
A
B
B’ C
Melodic AnalysisGnossienne I - P4
B
B’’
StructureForm
A A
B B
C C
B B
A A
B B’
C C
B 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).
8 x 2
4 x 2
6 x 2
4 x 2
6 x 2
4 x 2
8 x 2
4 + 3
StructureLevels of Organisation
Pulse
Accented Beats
Meter
Motif/Figure
Phrase
Passage
Section
Piece
Cycle/Album/Set/Symphony
StructureForms
Charles Keil divides all musical forms into 3 types
Sectional
Developmental
Variational
StructureForm
We’ll look at some specific 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
Clear cut sectional units (A, B, C, Verse, Middle 8,
coda etc.)
Sectional
Structure
Strophic Form
Sectional
Unrelieved repetition, chain, medley.
AAAAAAAA
ABCDEFG(A)
AABBCCDDEE
e.g. Blue Danube - Strauss
Medley
Unrelieved repetition
Unrelieved variation
Unrelieved variation with repeats
Structure
Binary Form
Sectional
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
Ternary Form
Sectional
ABA De Capo operatic aria form
or AABAe.g. 32-bar form with middle eight
Structure
Rondo form
Sectional
A recurring theme with contrasting episodes
ABACABAC ‘Symettrical’
ABACADAE‘Asymettrical’
ABCBAArch form Special case of symettrical rondo without
intermediate themes
See Mozart examples
Structure
Palindromic
Sectional
Rondo forms can be palindromic on a sectional level
ABACABA
But palindromes needn’t be rondo forms
ABCADEDACBA
Palindromes can even exist on the note level...
Structure
Palindromic
Sectional
Haydn Symphony No. 47
Structure
Palindromic rhythms
Sectional
The Afro-Cuban rhythm Cáscara
x0xx 0x0x x0x0 xx0x
2-3 Cuban Son
Structure
Crab/Table Canon
Sectional
Structure
“Dammit I’m 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. I’m in it. I tell.
I am not a devil. I level “Mad Dog”.Ah, say burning is, as a deified 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 fill 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? I’m a fool.
A hymn I plug, deified as a sign in ruby ash.A Goddam level I lived at.
On mail let it in. I’m it.Oh, sit in ample hot spots. Oh wet!
A loss it is alas (sip). I’d assign it a name.Name not one bottle minus an ode by me:
“Sir, I deliver. I’m a dog”Evil is a deed as I live.
Dammit I’m mad.
Structure
Theme and Variations
Variational
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
Theme and Variations further ideas
Variational
Britten’s Young Person’s Guide to the Orchestrahas each variation showcasing a different section of
the orchestra, and his Nocturnal for Solo Guitar, starts with the variations, only revealing the Dowland’s
underlying theme in the last section.
Elgar’s 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 Dorabella’s 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
The Enigma theme - note the motivic variants. Pi?
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 specific 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 I7 I7
IV7 I7 I7IV7
V7 IV7 I7 V7
Note this form wasn’t decided a priori it evolved, and still many structures have an indefinite length on the I chord,
moving to the IV on cue
Structure
12-Bar Blues (minor)
i7
iv7(IV7)
bVImaj7 V7
i7
V7 i7
Structure
8-Bar Blues (major)
I IV7I7
V7/II ii7 V7
#IVº7
I I7 IV7 I7 V7
StructureRhythm Changes
I
IVI7
V7/II ii7 V7
I
iii V7/II ii7 V7
iv V7/II ii7 V7iii
V7/VI
V7/V V7
I
IVI7
V7/II ii7 V7
I
iii V7/II ii7 V7
iv V7/II ii7V7iii I
V7/II
I
IVI7
V7/II ii7 V7
I
iii V7/II ii7 V7
iv V7/II ii7V7iii I
A
A’
B
A’
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
Vamp
Outro
Note that features may be shared - an intro can use the chorus’s chords for example
Interlude
Structure
Wind Cries Mary - Hendrix
Intro
Verse
Prechorus
Chorus
Solo
Verse
Prechorus
Chorus
Verse
Prechorus
Chorus
Verse
Prechorus
Chorus
based on intro
ends with material and similar to
CriesWhispers Screams Cries
Outro
Structure
Better Be Home Soon - Crowded House
Verse
Prechorus
Chorus
SoloInterlude
Verse
Prechorus
Chorus
Verse
Prechorus
Chorus’
Chorus’’(short)
Bridge
Structure
Grow Your Own
Intro
VersePrechorus
ChorusBridge
Collision
Solo
Vamp
Outro
Interlude
Structure
Intro
Break
DropBuild
Mid-8
Outro
Electronic Structural ComponentsIn 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
SoloKey Sample
Hook
Arhythmic
Structure
Introductions
SectionalA 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
FadeDuration, curve
or...
Structure
Endings
Sectional (New)A modified section breaking expectation, new material or
a logical conclusione.g. Syrinx ends with the other whole
tone scale
Sectional (Recap)A repeat of an earlier section
with minimal alteration
FadeDuration, 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).