Today a look at Messiaen’s first mode of limited transposition:
MODE 1
This is the Whole tone scale and has two transpositions and one mode. It is a “Hexatonic” scale that has a dreamy, enigmatic air to it due to lack of resolution as all of the tones are the same distance apart.
Creating an Etude from Messiaen’s Mode 1
The goal of this blog post is to create something interesting out of this scale.
So, here is my little Etude: I am basing this on the style of Robert Fripp [Plectrum guitar technique] and Olivier Messiaen’s compositional approach.
Here is the first bar: This employs a Fripp-esque repetitive picking “Riff”
From here, let’s make a smooth transition with an ascending whole tone scale:
Now, let’s employ some 20c Classical Messiaen style “Intervallic” movement to complete the phrase:
From here, we will descend with the whole tone scale and connect it to the augmented arpeggio:
Let’s now return to and exploit our intervallic movement as we ascend the guitar fingerboard:
Finally, let’s finish with some string skipping whole tone scale and a couple of plucks up high:
IN CONCLUSION
This was just an example of playing around with musical concepts and creating something colourful and interesting from Messiaen’s Mode 1.
Although, this is only a six note scale it has plenty to offer due to it’s non resolving/non diatonic nature. It works really well for riffs, motifs and hooks and really draws the listeners ear in. Even when used sparingly it can really add colour and texture to a composition [or part of] .
Pat Martino Intervallic Studies: Un-Published Book Lesson
PLEASE WATCH VIDEO ABOVE FOR DETAILED INFO:
Hi Guys!
Guitarist Mark Koch one of Pat’s students kindly sent me a copy of Pat’s un-published book on “Intervallic studies“.
It’s a fascinating look at the imaginative thought process and creative concepts that Pat was investigating for the development of the improvising guitarist.
Also, it’s a real eye opener for the development of scale applications and creating fresh lines form nearly every scale imaginable. This book has around 294 examples.
INTERVALLIC STUDY #1 “Whole Tone Scale”
In this first example we will look at the “Whole Tone Scale” Study:
From a music theory perspective if we take away the intervallic approach and place the notes in order we will get a whole tone scale ascending followed by a whole tone scale descending:
Now, we will put them back into the “Disguised” form with the clever approach of the intervallic design:
The key to playing these studies on the guitar is to decide on a methodical fingering and stick to it. [Below=Pat’s Fingering]
Also, it’s a really good idea to play in a staccato manner because there is a tendency for the open strings to resonate sympathetically with the string that has just been plucked.
I am employing strict alternate picking for this study starting on an upstroke:
FULL INTERVALLIC STUDY:
Same Study: From Pat’s book with fingering examples:
INTERVALLIC STUDY #2 “Pentatonic Scale”
Now we will look at how Pat breathes life into the pentatonic scale:
As before we will take this from a music theory perspective and remove the intervallic approach:
Here, we again find the same principle as the previous example. But, this time we have the Pentatonic scales ascending and descending:
Now, let’s disguise this with the use of intervallic exploitation and alternate picking starting on a “Downstroke”:
Same Study from Pat’s unpublished book:
INTERVALLIC STUDY APPLICATION with the “Chromatic Scale”
Finally, we will employ these intervallic concepts through a iim7b5 V7 i cadence.
Once again, we see the intervallic set up:
Now, let’s employ our music theory and place the intervallic notes in order. Here we find that we have the exploitation of the chromatic scale.
This clever approach is really effective because in the second bar beats 2 and 3 we have a literal chromatic scale that then anticipates the coming minor tonic chord of Em with an Em arpeggio.
Full Example:
In Conclusion:
This was just a quick look at the creative thought process and unique approach of Pat Martino, resulting in the application of this material into a minor iim7b5 V7 i improvised line to hear how they work and sound.
This approach to scales and improvising [and composing] with them is highly original and extremely useful when there is a need to bust out of cliches and seek colour and creativity in our playing.
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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