polytonality – Modern Music Theory Improvisation and Application

Enhance Your Compositions with Polytonality Techniques

Posted on July 1, 2025September 7, 2025 by Modern Music Theory and Application

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Polytonality: For Concerto/OrchestralWriting lesson

Please watch the video above for detailed analysis:

Hi Guys,

This is the Re-Post that you requested.

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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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polytoanlity Download

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Stravinsky “Rite of Spring” Chord: Analysis/Harmony and Application

Posted on May 22, 2025September 7, 2025 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the amazing orchestral chord from “The Rite of Spring” [“Augurs of Spring ” – Les augures printaniers] by composer Igor Stravinsky.

PART 1:

What is the “Augurs of Spring” chord?

This is a Bi-Tonal chord consisting of two parts or two different tonalities. In the Bass we have a chord of F flat Major and in the treble we have a chord of Eb7

Musical notation displaying the F flat Major and Eb7 chords, highlighting Stravinsky's "Rite of Spring" chord [augurs of spring chord] — Musical notation illustrating the bi-tonal chord of F flat Major and Eb7 from Stravinsky’s ‘The Rite of Spring.’

Stravinsky calls this F flat Major as opposed to its enharmonic [E Major] because, he employs an Eb Major key signature making it easier to read and follow, whilst removing any # accidentals that could create messiness. [The extra flats make it legible].

stravinsky_rite_of_spring_chord_augurs_of_spring

BUT……

In our modern analysis we can think of it this way,

"Les Augures printaniers" sheet music displaying F flat Major and Eb7 Stravinsky chords with annotations.

Here, is how the rite of spring chord sounds in an orchestral context:

From Stravinsky’s score: Here, we can see Stravinsky’s mastery, displayed by his execution of rhythmic brilliance.

Below, is how it sounds as a pad on an modern keyboard

PART 2: GUITAR VOICING’S

Due, to the nature of the guitar we really need an extra finger and an extra string to do this unique chord justice.

But, here are two guitar voicing’s for harmony, strumming and chordal picking:

Voicing #1

Musical notation diagram illustrating a bi-tonal "Rite of Spring" chord with tablature for guitar, depicting an F flat Major and Eb7 chord by Stravinsky. — Guitar voicing example for the Bi-Tonal chord from Stravinsky’s ‘Rite of Spring.’

Voicing #2

stravinsky_rite_of_spring_chord_guitar-lesson-voicing

PART 3:

Investigating the harmony:

In the example below, we can see the amazing way Stravinsky’s “Rite of Spring” chord resolves and how the structure of the harmony moves.

stravinsky_rite_of_spring_chord_augurs_of_spring_analysis

stravinsky_rite_of_spring_chord_augurs_of_spring_harmony

CHORD PAIRS:

Due to the nature of the two chords being a semitone apart we can create some interesting chord pairs lines/licks from this:

stravinsky_rite_of_spring_chord_augurs_of_spring_bi_tonality

Okay, now let’s develop this a bit,

stravinsky_rite_of_spring_chord_augurs_of_spring_bi_tonal_lesson

PART 4:

We, can also build on this concept and create some interesting guitar or solo instrument lines with this approach:

Here is a lick/line example:

A music score highlighting E Major and Eb Major sections improvised Stravinsky "Rite of Spring" chord — Musical notation highlighting the transition between E Major and Eb Major chords in Stravinsky’s ‘Rite of Spring.’

Musical score displaying E Lydian and Eb Major sections, with annotated rhythmic divisions for Stravinsky's "Rite of Spring" chord — Musical notation illustrating the E Lydian and Eb Major scales, highlighting the rhythmic structure and chord pairs from Stravinsky’s ‘Rite of Spring’.

In Conclusion:

This was just a quick look at the potential of just one chord!

This Bi-tonal and Polytonal approach opens up so much in terms of inspirational ideas, originality and fresh harmonic perspectives.

In this way, cliches can be rung of banality and forged into something interesting and unique and thoroughly challenging.

“Les Augures Printaniers/The Rite of Spring” is such a great example of this, possessing a little world within itself. Add, to this Stravinsky’s brilliant exploitation of rhythm and we have a [Bi-tonal]chord that’s an all time classic!

FREE PDF DOWNLOAD:

stravinsky_riteofspring_chord Download

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Polytonality:For Concerto/Orchestral Writing

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

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 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:

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: