classical – modern music theory and application

My Top 5 20th Century Classical Books that I use

Posted on March 26, 2024April 1, 2024 by Modern Music Theory

My Top 5 20th Century Classical Books that I use for music composition

Please watch video above for detailed info:

Hi Guys,

As requested [from my polytonality video/blog], here are the main [Top 5] books that I use for 20 Century [or 21st Century] classical composing:

Before we start None of these books has guitar Tablature or anything like that they are all standard musical notation: [I would also recommend taking any of these books out of the library if interested or downloading free copies to begin with as they can be expensive].

At number 5 I have:

[English Translation] “The Technique of my musical Language” by Olivier Messiaen

This is a fantastic book that not only covers Messiaen’s unique harmonic aspects, but it also delves into his rhythmic approach/concepts.

Here is another example;

Of course he also gives many examples of his use of modes of limited transposition and their harmonic development:

Number 4

At number four I have “Twentieth Century Harmony” by Vincent Persichetti:

This is a great “All rounder” of a book that covers most bases from, polytonality to intervals to multi scales to mirror harmony and 12 tone etc.

Here we have some “Mirror Writing” examples.

Here we have an example of extended multi scales.

And finally some polytonality:

Number 3

At number three I have “The musical language of Pierre Boulez” by Jonathan Goldman:

This book gives great clarity to Boulez’s compositional intellect and deductive reasoning. Boulez’s use of augmentation and diminution and the approach of opposites becomes crystal clear.

The other side of his writing that many people don’t acknowledge is his mastery of “Structure”

Number 2

At number two I have “Anthology of Twentieth Century Music” edited by Robert.P.Morgan:

This is a book of analysis of many great works by the 20c classical composers like, Stravinsky, Bartok, Charles Ives, Britten and Schoenberg etc.

Here is an example from Bergs Lyric Suite:

This book also looks at works and the compositional process by composers like Stockhausen:

Number 1

My number one book is “Music Lessons” by Pierre Boulez:

This is not a book of technique with musical examples but a collection of Boulez’s lectures put into essay form.

This is a book that explores the art of deductive reasoning on the part of the composer and the art of creating material from the material in an organic way.

This is also a book about understanding the music/material, the process, why you are composing it, how it is happening and discovering your own deductive reasoning in the process.

It’s very difficult to explain this book in words as it is a bit like opening up your own head and looking into your own brain and seeing the correct pathways and completing them as opposed to just guessing and not completing the natural organic pathways.

This may sound a bit pretentious, but, such is the way of music. It does require a deep understanding and it does need considerations to ponder on if one wishes to compose original material with a unique language that makes the composition stand out from the crowd and avoid banality.

IN CONCLUSION

In conclusion this a brief look at the top 5 books that I use. I find it useful to have technical books, example books [from other composers works] and also a book that takes me into the depths of my thoughts and my own reasoning. For me a book is like a close friend that nudges the way, nothing is forced, but the mind is focused, as the material makes itself known.

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Polytonality:For Concerto/Orchestral Writing

Posted on February 27, 2024March 16, 2024 by Modern Music Theory

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Polytonality: For Concerto/OrchestralWriting lesson

Please watch the video above for detailed analysis:

Hi Guys

Today, a quick look at composing with Polytonality for orchestral and concerto writing.

What is Polytonality?

Polytonality is the use of two or more keys at the same time:

Example 1:

Db Major/C Major [Basic root position]

poly-tonality-orchestral-composing-chords-example

In this first example we have 4 bars of Polytonality with Eminor/DbMajor and EbMajor/CMajor

This then resolves itself with a “Tonal” diatonic cadence of B7/D# to Em:

This method is really useful because we can use the polytonal approach sparingly with it’s thicker and richer harmonic texture whilst then then playing its opposite it with the thinner aspect of diatonicism.

This way the Polytonal nature of the music compliments the diatonic cadences and visa versa.

Example 2:

Polytonality-Orchestral Example

This example explores “Implication”. In this case it is implying the melodic minor but avoiding the cliche by employing the richness of Polytonality:

From here, we will again employ diatonic harmony for a cadence.

To complete this short orchestral example we will go back into Polytonality with another melodic minor implication by employing Dminor/DbMajor:

Here is the chart:

poly-tonality-orchestral-composing-example

Example 3:

Polytonality-Orchestral Example

In this final example we will just “Reverse” the chords. This time it is DbMajor/Cmajor which is then played the other way around with CMajor/DbMajor.

finally, we will employ a slash chord for an “Implied” cadence: This will also lighten the harmony:

Here is the Chart:

FREE PDF DOWNLOAD:

polytoanlity Download

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String Skipping/Intervallic Guitar Part 3-HARMONY

Posted on April 4, 2023April 6, 2023 by Modern Music Theory

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String Skipping/Intervallic Guitar Part 2-HARMONY

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

Today, one last look at “Intervallic string skipping” for a contrapuntal-esque picking style.

The first thing to do is take one position on the guitar fingerboard and find the “Harmony” embedded within that position.

I have taken the A Major position [F#m Relative]

Now, let’s make an A Major basic arpeggio from the 1st string and the 6th string.

Straight away, you will notice that the notes on the 1st string and the notes on 6th string are the same but in different octaves. This gives us an easy and excellent way to exploit the High to Low or Low to High counterpoint effect.

Now let’s do the same with a piece of scale: [Starting on an “Upstroke”]

Again, the octave makes this flow and connect easily from the low to high.

The next point is to take a chord sequence and use this “String skipping/intervallic” effect: Here we have Vi ii V7 I

HARMONY

Th next essential point is to acknowledge the harmony in this position:

We will do this by exploiting the Cycle of 4ths in this simple 5 fret position.

Here you can see that we have a huge amount of harmony available to us right under our fingertips. These chords don’t have to be Major, they can be minor, diminished, augmented etc. This gives us even more material to work with.

If we move down a fret [Semitone] then we have another set of harmony in 4ths awaiting us.

Along, with this we have chord inversions and all of the inversions of A Major:

So, as you can see there is a huge amount of harmony right in front of us even in this one position that we can exploit and create lots of music from.

Lastly, let’s create another “String skipping intervallic” example:

I’m going to create a phrase outlining a D Maj#11 chord.