music composition – Modern Music Theory Improvisation and Application

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Polytonality: For Concerto/OrchestralWriting lesson

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PART 1:

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

Sheet music showing a polytonal example with E minor/Db Major and Eb Major/C Major labels. — Musical notation illustrating polytonality with E minor/Db Major and Eb Major/C Major.

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:

Sheet music showing C# minor, Fm7, A minor, Ab Major, and Gm6/A chords with annotations as examples for polytonality. — Musical notation illustrating chord progressions in polytonality, featuring C# minor, Fm7, Aminor, Ab Major, and Gm6/A.

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:

Sheet music showing the chord labels 'D minor' and 'Db Major' in red text to demonstrate polytonality. — Musical chart depicting D minor and Db Major for a polytonal music example.

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:

Musical notation of a slash chord labeled 'G/C' with staff lines and symbols. — Illustration of a G/C slash chord as notated in music theory.

Here is the Chart:

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Hi Guys,

Today, a quick look at the unique compositional and playing style of guitar maestro Earl Klugh.

EXAMPLE 1:

In the first example we will take a basic I IV V I [C to F to G to C] chord sequence and employ “Inversions”.

The employment of simple chord inversions are the key to getting creative in this beautiful, skeletal and spacious guitar style, along with the compositional process.

First we will create a short piece of music to then elaborate on:

Let’s begin with a simple C root position chord that then moves up into its 1st inversion with a melody note of B natural, which, will resolve down to the note A for chord IV [F Major].

From here we will employ a root position chord of G Major.

Now, we need to create a cadence.

In this case we could make this V7d or G/F or employ a simple F Major chord that resolves back to C/E or C 1st inversion.

Here, is the whole little structure that we can embellish in the next part.

PART 2: EMBELLISHMENTS:

Now, that we have a base, a little melody and a structure to work from, we can start to fill it out and colour it in.

First, we will add some simple melodic slides: These, are outlining – C Dm and C/E – and create percussive/melodic movement.

Next, we will exploit chord iii and make it Major and a Dominant 7th: From here, we will use this to modulate to chord Vi [A minor] the relative minor of C Major.

This gives a new emotional colour and pull as it moves away from the Major key.

Finally, we need to cadence. We will employ a ii V chord sequence to get us back to chord I [C Major].

To create a climax to the cadence, we will add colour with 6ths as melodic and rhythmic embellishments that push us to resolve to the tonic chord of C Major.

FULL EXAMPLE:

IN CONCLUSION:

This was just a brief look at this amazing style that is employed by the likes of Earl Klugh and Pat Metheny.

The use of chord inversions and basic harmony creates a very melodic and rhythmic world where composition presents itself naturally, within the movement of the chords themselves.

This is because, the melodies or melodic inflections result from the way that the chord inversion connect and resolve, thus, making the compositional process a natural and fluid one, resulting in spacious, rich melodic sounds that compliment the guitars resonance and fingerboard shapes.

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