Josef Matthias Hauer: Compositional Tropes Techniques: Zwölftonspiel

Hi Guys,

Today, a look this great but lesser known Austrian composer:

Many people associate the abandonment of traditional tonality, wether 12 tone/serialism or some other form with the second Viennese school of composers, especially that of Arnold Schoenberg.

But, there was another thinker, composing at the same period of time [some say before] creating in his own unique atonal form…..

His name was Josef Matthias Hauer.

Hauer took a different approach by exploiting atonality and employing “Tropes”.

These consist of an “unordered pair” of complementing “Hexatonic” six note sets/groupings that employ all 12 notes of the chromatic scale. [The key being to play the first 6 notes before moving onto the next 6 notes].

EXAMPLE 1:

image showing Hauer tropes in 2 hexatonic sets

Guitar Version:[Sextuplets]

Image demonstrating an example of Joseph Mattius Hauer tropes for music composition.

EXAMPLE 2: [Exploiting Both Whole Tone Scales]

Although, they are hexachords these tropes can also work well divided into three 4 note groupings of “Tetrachords”

HAUER’S 44 TROPES: [479 million permutations into 44]

Example of Hauer’s personal writing’s:

We, will take this as our “Trope”

image depicting Hauer's trope sets

Now, let’s extend this to two octaves:

Image showing an example of Josef Mattias Hauer tropes for music composition.

From here, we will play the same trope in an intervallic manner: [Strict-each note in order ]

Image showing Josef Mattias Hauer tropes in intervallic form for music composition and improvisation

This time, let’s play each trope with the notes in a different order: [Not strict]

Josef Mattias Hauer's intervallic music tropes fro composition and improvisation

Here, we have “Trope”-in an Arpeggio Form;

Example.1

image of Josef Mattias Hauer arpeggio tropes for music composition

Example. 2

demonstration that shows JJosef Mattias Hauer tropes as arpeggios for music composition technique.

Example. 3

Demonstration image of Josef Mattias Hauer tropes as arpeggios for music composition technique.

Finally, the trope as a lick:

image for Josef Mattias Hauer improvised line
Josef Matthias Hauer Guitar Examples of Trope manipulation

From, our tropes we can create chords.

These can be,

Dyads–2note chords,

Tri-chords–3 note chords,

Quartal–4 note chords,

Penta–5 note chords

Hexatonic–6 note chords.

For this short blog we will exploit 2 note voicing’s.

Here, is an example of our two hexatonic’s as “Dyads”

image demonstrating an example of Josef Mattias Hauer dyad ic2 note chordal tropes for music composition. Music theory lesson guitar tablature and music notation.

We could also superimpose the retrograde of our trope on top of our trope:

image example of Joseph Mattius Hauer superimposing music tropes

From this, we can exploit some more harmony with dyads:

image demonstrating an example of Josef Mattias Hauer superimposition dyads

Here, is an example displaying some harmonic movement and chordal development that I quickly manipulated form our trope. [See-Chords in video chapter above]

image of Josef Mattias Hauer musical tri -chords
Hauer Compositon Tropes Example

This was just a very brief look at Hauer’s tropes. It’s an amazing concept because original harmonic content and original ideas develop naturally as the material reveals itself.

These simple tropes give birth to a wealth of creative content that can lead one into directions that may not have ever been taken or otherwise thought of or even considered.

Alternate Picking Tips: Grip for Fast Playing

Alternate Picking: Essential Grip for fast articulated picking

Hi Guys

Today, a “Re-Post” that some of you have been searching for:

It’s the look at alternate picking plectrum/pick grip page.

PLEASE NOTE: This page/blog is only for anyone who might be having problems with holding the pick for long periods when improvising, or moving from the improvised line back to chord melody.

It’s not so important how you hold the pick or what finger you use. But, it is essential not to have a wobbly thumb and/or finger .

Three pictures demonstrating how to grip the guitar pick correctly for fast alternate picking guitar phrases in the syle of malmsteen, mclaughlin and al di meola and other guitar shredders.

A lot of guitar players when they start out with alternate picking often change the grip just as they are about the pluck the string! This makes it impossible to gauge distance.

When the thumb is rigid and the grip is solid, distance, articulation and timing fall into place automatically.

Pic 1: Good solid grip

Example of how to grip the guitar pick correctly for fast alternate picking in the syle of guitarists like malmsteen, mclaughlin and al di meola

Pic 2: Pick confidently plucks string

Image depicting how to grip the guitar pick correctly for fast alternate picking guitar technique

Below [Pic 3]: BAD!

At the last moment the pick is turned as it is about to pluck the string and the thumb and finger wobble/collapse:

Here are a couple of exercises for practicing whilst getting the feel of gripping the pick firmly.

The first is a simple A minor Pentatonic scale in sextuplets.

Counting basic 1 2 3 4 5 6:

This starts on a down stroke:

Next we have the same thing but in groups of four 16th notes.

alternate-picking-guitar-techniques-exercise

It’s a good idea to play around with these two exercises by mixing the groups of 4 and 6 together and create little phrases out of them.

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

Harmonising Melodies with Diminished Chords: [Chord Melody]

Hi Guys,

Following on from our previous lesson, we will now exploit the diminished 7th chord from our harmonised diminished scale examples.

To recap, here, is our basic shape:

To begin with, let’s take a very basic fragment of melody:

Now, we will simply harmonise this with our diminished 7th shape:

Guitar tab displaying example of how harmonising melodies with Diminished Chords is so easy on guitar. Brilliant lessonthta's easy to understand

Notice, that straight away we have a sophisticated harmonic Palate and accompanying chord melody.

Let’s now stretch this further and broaden out on our diminished 7th chord shape by adding a couple of extra melodic notes:

Lesson in harmonising melodies with Diminished Chords for easy on guitar and all musical instruments

From here, we will now harmonise the same piece of melody with slash chords from our previous lesson/video [on harmonising the diminished scale]:

Guitar tablature displaying how to harmonise melody with slash chords from the diminished scale.

Lastly, here are two examples with diminished 7th chords from the 5th and 6th strings. Both harmonising perfect cadences.

Below, we have an example from “Stella” where we have both the minor7b5 and the diminished 7th [also Dominant7th].

Music notation and guitar tab displaying example how harmonising melodies with Diminished Chords on jazz standards is easy.

In the next example, we have lots of colourful diminished 7th movement from the Gershwin classic “Someone to watch over me”.

Guitar tab displaying jazz standard example how harmonising melodies with Diminished Chords is so easy on guitar and all musical instruments

Here, is the same but with the original Ab13 chord

Guitar tab displaying jazz standard example how harmonising melodies with Diminished Chords is so easy on guitar and all musical instruments

To conclude, we will harmonise a simple ascending melody and add passing diminished 7th chords and vary it:

This was just a quick look at how to exploit melodies with the diminished 7th shape from our lesson on harmonising the diminished scale.

What you will notice, is how easily we can apply them as passing chords and colourful harmonic decorations to create really sophisticated accompaniments and chord melody functions.

For a really in depth take on this, it is a good idea to take a look at some Barry Harris material as this contains a huge wealth of possibilities. Also, for guitarists, Pat Martino’s approach to chords.