classical music – Modern Music Theory Improvisation and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the amazing orchestral chord from “The Rite of Spring” [“Augurs of Spring ” – Les augures printaniers] by composer Igor Stravinsky.

PART 1:

What is the “Augurs of Spring” chord?

This is a Bi-Tonal chord consisting of two parts or two different tonalities. In the Bass we have a chord of F flat Major and in the treble we have a chord of Eb7

Musical notation displaying the F flat Major and Eb7 chords, highlighting Stravinsky's "Rite of Spring" chord [augurs of spring chord] — Musical notation illustrating the bi-tonal chord of F flat Major and Eb7 from Stravinsky’s ‘The Rite of Spring.’

Stravinsky calls this F flat Major as opposed to its enharmonic [E Major] because, he employs an Eb Major key signature making it easier to read and follow, whilst removing any # accidentals that could create messiness. [The extra flats make it legible].

stravinsky_rite_of_spring_chord_augurs_of_spring

BUT……

In our modern analysis we can think of it this way,

"Les Augures printaniers" sheet music displaying F flat Major and Eb7 Stravinsky chords with annotations.

Here, is how the rite of spring chord sounds in an orchestral context:

From Stravinsky’s score: Here, we can see Stravinsky’s mastery, displayed by his execution of rhythmic brilliance.

Below, is how it sounds as a pad on an modern keyboard

PART 2: GUITAR VOICING’S

Due, to the nature of the guitar we really need an extra finger and an extra string to do this unique chord justice.

But, here are two guitar voicing’s for harmony, strumming and chordal picking:

Voicing #1

Musical notation diagram illustrating a bi-tonal "Rite of Spring" chord with tablature for guitar, depicting an F flat Major and Eb7 chord by Stravinsky. — Guitar voicing example for the Bi-Tonal chord from Stravinsky’s ‘Rite of Spring.’

Voicing #2

stravinsky_rite_of_spring_chord_guitar-lesson-voicing

PART 3:

Investigating the harmony:

In the example below, we can see the amazing way Stravinsky’s “Rite of Spring” chord resolves and how the structure of the harmony moves.

stravinsky_rite_of_spring_chord_augurs_of_spring_analysis

stravinsky_rite_of_spring_chord_augurs_of_spring_harmony

CHORD PAIRS:

Due to the nature of the two chords being a semitone apart we can create some interesting chord pairs lines/licks from this:

stravinsky_rite_of_spring_chord_augurs_of_spring_bi_tonality

Okay, now let’s develop this a bit,

stravinsky_rite_of_spring_chord_augurs_of_spring_bi_tonal_lesson

PART 4:

We, can also build on this concept and create some interesting guitar or solo instrument lines with this approach:

Here is a lick/line example:

A music score highlighting E Major and Eb Major sections improvised Stravinsky "Rite of Spring" chord — Musical notation highlighting the transition between E Major and Eb Major chords in Stravinsky’s ‘Rite of Spring.’

Musical score displaying E Lydian and Eb Major sections, with annotated rhythmic divisions for Stravinsky's "Rite of Spring" chord — Musical notation illustrating the E Lydian and Eb Major scales, highlighting the rhythmic structure and chord pairs from Stravinsky’s ‘Rite of Spring’.

In Conclusion:

This was just a quick look at the potential of just one chord!

This Bi-tonal and Polytonal approach opens up so much in terms of inspirational ideas, originality and fresh harmonic perspectives.

In this way, cliches can be rung of banality and forged into something interesting and unique and thoroughly challenging.

“Les Augures Printaniers/The Rite of Spring” is such a great example of this, possessing a little world within itself. Add, to this Stravinsky’s brilliant exploitation of rhythm and we have a [Bi-tonal]chord that’s an all time classic!

FREE PDF DOWNLOAD:

stravinsky_riteofspring_chord Download

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Messiaen’s 3rd mode Backing Track

Hi Guys,

Today we will look at a backing track for Messiaen’s 3rd Mode of limited transposition.

Here is the 3rd mode in its most commonly used form in jazz/fusion: [This is a 9 note scale]

Here is the outline to the chords in the backing track: Remember, these are all formed from the same 3rd mode.

Here is the Chord Chart and Video/Track:

Messiaen’s 3rd mode Backing Track

CHORD CHART:

PDF DOWNLOAD:

messiaen-mode-3-chart Messiaen Mode 3 Download

Here is some more information/Examples on Messiaen’s 3rd Mode: [Video and Tab/Notation]

Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Mode 3 has 4 Transpositions and is very useful for jazz. The second transposition was Messiaen’s favourite of his modes.

Messiaen, mode 3, 2nd transposition, detailed, lesson, music theory, examples, — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Messiaen mode 3 lesson — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Below are some examples employing this scale for improvisation which in turn can be used to create interesting composition.

MESSIAEN MODE 3 [2ND TRANSPOSITION]: EXAMPLE 1

Messiaen, 3rd mode, improvisation, composition, lesson, example, transposed, jazz, fusion, classical, music — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

INTERVALLIC IDEA: EXAMPLE 2

Messiaen, intervallic, mode, 3, example, intervals, improvisation, composition, technique, transposed, 5rd, mode, — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Many composers like Tora Takemitsu and improvisers like Allan Holdsworth have manipulated this mode in one form or another. In the example below this mode sort of weaves in and out of itself. nother. As you can see in the example belomode sort of weaves in and out of itself.

Weaving in and out of F major 7th: EXAMPLE 3

Messiaen, mode, 3, transposed, Weaving, in and out, of F major 7th, lesson, improvisation, composition, how, to — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

WEAVING IN AND OUT OF A ALTERED: EXAMPLE 4

Messiaen, mode 3, improvisation, Composition, example, for jazz, classical, music — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Below is a Short Compositional Study where I use Messaien’s Modes.

Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

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Tag: classical music

Stravinsky “Rite of Spring” Chord: Analysis/Harmony and Application

Messiaen’s 3rd Mode Backing Track

Mode 3 has 4 Transpositions and is very useful for jazz. The second transposition was Messiaen’s favourite of his modes.

Below are some examples employing this scale for improvisation which in turn can be used to create interesting composition.

MESSIAEN MODE 3 [2ND TRANSPOSITION]: EXAMPLE 1

INTERVALLIC IDEA: EXAMPLE 2

Many composers like Tora Takemitsu and improvisers like Allan Holdsworth have manipulated this mode in one form or another. In the example below this mode sort of weaves in and out of itself. nother. As you can see in the example belomode sort of weaves in and out of itself.

Weaving in and out of F major 7th: EXAMPLE 3

WEAVING IN AND OUT OF A ALTERED: EXAMPLE 4

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Mode 3 has 4 Transpositions and is very useful for jazz. The second transposition was Messiaen’s favourite of his modes.

Below are some examples employing this scale for improvisation which in turn can be used to create interesting composition.

MESSIAEN MODE 3 [2ND TRANSPOSITION]: EXAMPLE 1

INTERVALLIC IDEA: EXAMPLE 2

Many composers like Tora Takemitsu and improvisers like Allan Holdsworth have manipulated this mode in one form or another. In the example below this mode sort of weaves in and out of itself. nother. As you can see in the example belomode sort of weaves in and out of itself.

Weaving in and out of F major 7th: EXAMPLE 3

WEAVING IN AND OUT OF A ALTERED: EXAMPLE 4

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