Modern Music Theory Improvisation and Application
Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
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Hi Guys,
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] .
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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]
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:
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:
Example 3:
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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