classical – Page 2 – Modern Music Theory Improvisation and Application

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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:

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polytoanlity Download

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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.