MiltOnNotes Volume One

MILTONOTES An open-eared exploration of composition in theory & practice.

Volume One

© Milton Mermikides [email protected]


Sound, Music & Technology

Milton Mermikides [email protected]

Listening list: This episode http://open.spotify.com/user/miltonline/playlist/0eOohflrVSkPXRUb4URBxa

Entire series http://open.spotify.com/user/miltonline/playlist/35NLay3D8FdSFU45xYYjcv

or subscribe to miltonline on spotify follow me on twitter @miltonline for music and more

Key Historical Events in Contemporary Computer Music Dawn of Music Notation Iraq:1800BC Cuneiform (melody in 3rds)

Ancient Greece: c.600BC Pitch and rhythm The representation of music

Key Historical Events in Contemporary Computer Music c. 500BC Acousmatic ἀκουσματικοί

Pythagorus, Ionian philosopher, mathematician and musician (c.570-c.495BC)

Teaching behind the veil-readopted by Schaeffer as the veil of speakers The concept of sound as divorced from source The appreciation of sound for its own sake regardless of origin A numerical basis of sound

Key Historical Events in Contemporary Computer Music Development of Music Notation Byzantine Empire : c. 390AD differential pitch

Middle Ages Europe: c.850AD Grid system The grid

Key Historical Events in Contemporary Computer Music Randomness in Music

Mozart’s Dice Game (1787) http://sunsite.univie.ac.at/Mozart/dice/

A Musical game for composing minuets and trios from dice rolls

Key Historical Events in Contemporary Computer Music 1857 E. Leon Scott’s Phonautograph

Sound can now be made permanent, with one slight problem.

Key Historical Events in Contemporary Computer Music 1861 Philip Reis’ Telephone

Sound can now be transmitted across distances rapidly

Key Historical Events in Contemporary Computer Music 1863 Helmholtz publishes On the Sensation of Tone as a Physiological Basis for the Theory of Music

Basis of additive synthesis Any sound can - in theory - be constructed

Key Historical Events in Contemporary Computer Music 1874 Elisha Gray’s Musical Telegraph

Transmission of electronic polyphonic music

Key Historical Events in Contemporary Computer Music 1876 Thomas Edison’s Phonograph

Sound can be recorded and reproduced

Key Historical Events in Contemporary Computer Music

Solidified sound wave

Key Historical Events in Contemporary Computer Music 1889 Claude Debussy at L’Exposition Universelle

Ocean of Sound and the birth of Ambient music

Key Historical Events in Contemporary Computer Music 1895 Thaddeus Cahill’s Telharmonium

The first synthesiser

Key Historical Events in Contemporary Computer Music 1907 Busoni’s Sketch of a New Aesthetic of Music

The promise of electronic music

Key Historical Events in Contemporary Computer Music 1913 Russolo’s The Art of Noises

The democratising of all sound and the destruction of musical elitism

Key Historical Events in Contemporary Computer Music 1913 Russolo’s The Art of Noises

Wicked noise-makers

Key Historical Events in Contemporary Computer Music 1915 Varèse moves to New York in search of a new music

Our musical alphabet must be enriched, I refuse to limit myself to sounds that have already been heard...What I am looking for is new mechanical mediums which will lend themselves to every expression of thought and keep up with thought

I dream of instruments obedient to my thoughts and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm

An organiser of sound

Key Historical Events in Contemporary Computer Music 1915 Lee De Forest patents vacuum tube

Miniaturisation of electronics

Key Historical Events in Contemporary Computer Music 1929 RCA releases the Theremin

Commercialisation of electronic instrument and in the 1930s the Terpsitone and Rhythmicon

Key Historical Events in Contemporary Computer Music 1924 Respighi’s The Pines of Rome

Blending of live and pre-recorded music

Key Historical Events in Contemporary Computer Music 1930 Hindemith and Toch’s Grammophonmusik

Audio manipulation

Key Historical Events in Contemporary Computer Music 1948 Schaeffer’s Etude aux Chemin de Fer Musique Concrète

Found sound, sampling, looping, filtering reverb and the ‘sound object’

Key Historical Events in Contemporary Computer Music 1948 Nancarrow’s Studies for Player Piano

Bionic virtuosity

Key Historical Events in Contemporary Computer Music 1952 Cage’s 4’33”

All sound considered

4’33” live version

Key Historical Events in Contemporary Computer Music 1952 Luening and Ussachevsky

Live effects

Key Historical Events in Contemporary Computer Music 1956 Louis & Bebe Barron’s Forbidden Planet score

A working electronic music studio

Key Historical Events in Contemporary Computer Music 1957 The IIliac Suite The Birth of Computer Music

Live effects

Key Historical Events in Contemporary Computer Music 1958 Varèse’s Poème Electronique

Major display of electronic work a graphic score with a familiar look

Key Historical Events in Contemporary Computer Music 1958 Dissevelt’s Whirling

Birth of pop electronic music

Key Historical Events in Contemporary Computer Music 1959 Cindy Electronium

Raymond Scott (1908-94) was a Jazz musician, jingle writer, electronic artist and inventor, and one of the earliest to fully adopt the music technology as a useful -and profitable-part of the composer toolkit rather than esoteric experimentalism - similarly Stevie Wonder in the early 70s embraced the studio to make more efficient the compositional process

Key Historical Events in Contemporary Computer Music 1964 The Moog

The development of synthesis

Key Historical Events in Contemporary Computer Music 1971 NHK first digital recording

The extraordinary rate of development of processors allows sound to be manipulated beyond physical constraints. And what used to be housed in 200 tons of hardware can be emulated while checking email. If cars developed like computers they would travel at 470,000 mph, get 100,000 miles to the litre, cost 2p, and could balance on a matchstick.

Key Historical Events in Contemporary Computer Music 1983 MIDI patented

A musical language for computers

Key Historical Events in Contemporary Computer Music

Now

Applied vs. ‘Pure Music’

How does computer composing differ from composing?

Additional Reading

Holmes, T., (2008) Electronic and Experimental Music, revised 3rd edition. New York: Routledge. Manning, P. (2004) Electronic and Computer Music .Oxford: Clarendon Press. Toop, D. (2001) Ocean of Sound. Serpent’s Tail.


Pulse, Tempo & Metre


Listening list: This episode http://open.spotify.com/user/miltonline/playlist/17tSOtdKr1SWxaHx6gLmIV



Pulse Musical events in time

All music has some duration, and the occurrence of musical events over timerhythm. When there appears to be some underlying regularity of events this is the pulse or beat. Generally ranging from 20-330bpm

Pulse Tempo ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

Larghissimo — very, very slow (20 bpm and below) Grave — slow and solemn (20–40 bpm) Lento — slowly (40–60 bpm) Largo — broadly (40–60 bpm) Larghetto — rather broadly (60–66 bpm) Adagio — slow and stately (literally, "at ease") (66–76 bpm) Adagietto — rather slow (70–80 bpm) Andante Moderato — a bit slower than andante Andante — at a walking pace (76–108 bpm) Andantino – slightly faster than andante Moderato — moderately (101–110 bpm) Allegretto — moderately fast (but less so than allegro) Allegro moderato — moderately quick (112–124 bpm) Allegro — fast, quickly and bright (120–139 bpm) Vivace — lively and fast (≈140 bpm) (quicker than allegro) Vivacissimo — very fast and lively Allegrissimo — very fast Presto — very fast (168–200 bpm) Prestissimo — extremely fast (more than 200bpm)

Pulse Musical events in time

Some pieces or musical moments has no, little or an ambiguous sense of pulse. This will occur when there is insufficient regularity and/or if note events are illdefined Exercise 1: Compose an introduction to a piece where no pulse gives way to ambiguous and then clear pulse

Zero gravitation, John Adams

Pulse Tempo feel Even when pulse exists, it may be experienced at more than one level. This can be exploited as half-time or double-time feel. Where the music moves at the same rate, but the sense of pulse can alter. Exercise 2: Compose a musical section and arrange it with normal, half and double-time feel.

Ray Charles, Wynton Marsalis

Pulse Tempo Changes Boulez’s conveyor belt

Fixed

Metronomic

Small Natural Fluctuations During performance, unconscious or not.

Gradual Changes

Sudden Shifts

Direction, shape, extent duration.

Adjacent tempi can exist in simple rational relationships (double-time, half-time) more complex rational (e.g. 3:4, 5:4) or irrational

rubato rallentando ritardendo ritenuto accelerando precipitando etc.

Pulse Tempo

Natural fluctuations in James Brown, ‘I Got You’ Millyard SOS

Pulse Tempo Curves ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

Accelerando — speeding up (abbreviation: accel.) Allargando — growing broader; decreasing tempo, usually near the end of a piece Calando — going slower (and usually also softer) Doppio movimento — double speed Meno mosso — less movement or slower Mosso — movement, more lively, or quicker, much like più mosso, but not as extreme Più mosso — more movement or faster Precipitando — hurrying, going faster/forward Rallentando — gradual slowing down (abbreviation: rall.) Ritardando — less gradual slowing down (more sudden decrease in tempo than rallentando)(abbreviation: specifically, ritard.) Ritenuto — slightly slower; temporarily holding back. (Note that the abbreviation for ritenuto can also be rit. specific abbreviation is riten. Also sometimes ritenuto does not reflect a tempo change but a character chan Rubato — free adjustment of tempo for expressive purposes Stretto — in faster tempo, often near the conclusion of a section. Stringendo — pressing on faster (literally "tightening")

(From wiki) what curves in terms of shape, duration, extent and direction might be associated with these terms?

Pulse Metric modulation A shift from one tempo (or meter) to another via a pivotal note value For example

200bpm 100 bpm 2:1 q=e

Pulse Metric modulation

100bpm 150 bpm 2:3 q=q.


100bpm 150 bpm 2:3 q=q.


100bpm 80 bpm 5:4 (

qx=q


Tempo III Tempo I

Tempo I Tempo II

Exercise 3: Construct this tempo map in a short piece. Tempo I,II,III should exist in rational relationships of your choosing, and modulations should be pivotal. Complete with melodic and harmonic elements.

Pulse Metric modulation Exercise 2&3 from String Quartet No.1 Elliot Carter

Exercise 4a: Sequence this metric modulation passage, using melodic and harmonic elements. 4b: Design, notate as above and sequence your own metric modulation sequence

Pulse Polytempo and Xenochrony

It is possible for two or more tempi to exist at once, even if they have a very complex relationship. Charles Ives introduced the idea of polytempo and Zappa coined the term Xenochrony to describe the studio equivalent of superimposing different tempi.

Exercise 5: Create a sequence with two superimposed tempi

Meter An introduction

Pulses or beats almost always exist in logical groups and in a hierarchy of strengths. This meter or time signature indicates how many beats - and what type of beat exist in each measure. Listening examples. Grouping in 2s and 3s

Exercise 6:Write a 4-bar groove in 4/4 and reinterpret in 5/8 or 5/4 and 7/8 and 7/4 Be fully aware of 2 and 3 groupings

Lecture 1 Compositional Exercises Exercise 1: Compose an introduction to a piece where no pulse gives way to ambiguous and then clear pulse Exercise 2: Compose a musical section and arrange it with normal, half and double-time feel.

Tempo III

Tempo I

Tempo I Tempo II

Exercise 3: Construct this tempo map in a short piece. Tempo I,II,III should exist in rational relationships of your choosing, and modulations should be pivotal. Complete with melodic and harmonic elements.

Exercise 4a: Sequence this metric modulation passage, using melodic and harmonic elements. 4b: Design, notate as above and sequence your own metric modulation sequence Exercise 5: Create a sequence with two superimposed tempi Exercise 6:Write a 4-bar groove in 4/4 and reinterpret in 5/8 or 5/4 and 7/8 and 7/4 Be fully aware of 2 and 3 groupings


Meters, Patterns & Polymeter


Listening list: This episode http://open.spotify.com/user/miltonline/playlist/2PUE08bmuKp9l7RL95NtSz



The Music There Is

@miltonline

The Music The

.

The Music You’ve Heard

Make it a mission to expand this

Your best moves The Music You Like and Understand

The Music You Like but Don’t Understand

Educational

Inspiring

The Music You Don’t Like But Understand

Understand = anything from being virtuosic in the idiom to appreciating the mechanics, skill and artistry within it

The Music You Don’t Like and Don’t Understand

Ideal

NB. this circle is a continuum not 4 distinct spaces There’s always more to learn and don’t take your musical taste too seriously

. So make this bigger, and move left and up within it.

@miltonline

Meter A Hierarchy of Pulse

The concept of pulse - an underlying unit of rhythmic regularity - has been established in Lecture 1. This regularity may occur at different levels, a concept that can be exploited in, for example half-time or doubletime feel, but there is usually one predominant ‘tapalong’ pulse. However, this string of pulses - beats - are rarely entirely equal. There is a hierarchy.

Meter Types of Meters, Beats and Bars Pulses or beats almost always exist in logical groups and in a hierarchy of strengths. This meter or time signature indicates how many beats - and what type of beat exist in each measure. For example 4/4 120bpm The crotchet is the predominant common pulse and they are grouped in 4 beats. 7/8 would imply that quavers are the common beats and are grouped in 7s

Meter Types of Meters, Beats and Bars What determines the groups? Dynamic emphasis Rhythmic repetition Harmonic and melodic implications

Meter Listening and transcribing What determines a bar? What repetition, harmonic and melodic exist? Can the rhythm be broken logically into 2-beat and 3-beat division. Clave 16 examples

Meter Son Clave

Meter Rumba Clave

Meter Bossa Clave

3-2

2-3 ( )

Meter Bulgarian Folk Dance The exploration of meter in folk music is hugely extensive. In Bulgaria folk music alone, a rich history of dance forms has amassed many metric forms. Many may be considered additive, formed by an extension of beats. Here are 5 to transcribe

Paydushko horo Chetvorno horo Rachenitsa Petrunino horo Yovino Horo

Meter Bulgarian Folk Dance The exploration of meter in folk music is hugely extensive. In Bulgaria folk music alone, a rich history of dance forms has amassed many metric forms. Here are 5: Transcribe your own.

Paydushko horo (2+3; 5/16 or 5/8) Chetvorno horo 3+2+2 or 3+4; 7/16) Rachenitsa (2+2+3 or 4+3; 7/16) Petrunino horo (3+3+2+3=11/16) Yovino Horo (3+3+ 2+2+3+ 2+2+3+ 2+2+2+2+3+2+2=35/16)

Meter Playing with beat divisions: Hemiola A meter can stay constant while groupings change. A hemiola is a musical figure where 2 groups of 3 notes are followed or replaced with 3 groups of 2, implying-for example - a 6/8 to 3/4 change

Meter Compás Here we look at a more complex rhythmic interaction from the Flamenco style

The Flamenco compàs is a metric structure There are several types- many of them containing 12 beats. They are fully absorbed by the performers and this anchored, mutually felt rhythmic pattern allows for a high degree of rhythmic sophistication

Meter Compás Soleares

1 2 3 4 5 6 7 8 9 10 11 12 Start This is the basic pattern but there is a huge repertoire of counter-rhythm hand claps, endings and rhythmic devices

Meter Compás Siguriyas

8 9 10 11 12 1 2 3 4 5 6 7 Long Start

Short

Long Short

Short

A ‘rhythmic mode’ of Soleares

Meter Compás Alegrias

12 + 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 + 10 + 11 + Start

Exercise 1: Clave/Compas. Select or better still, research/transcribe a metric template (from Bulgarian, South-American, Flamenco or other sources) and construct a groove/piece using the rhythmic structure.

Meter Changing Meter

Meters can change, sometimes this is quite natural and can go unnoticed simply adapting to accommodate a melody. Beatles All you Need is Love. 7/4 (or 4 + 3) bars are used very naturally

Meter Changing Meter

An example from the ‘classical’ repertoire is Mussorgsky’s Pictures at an Exhibition (Promenade) Notice how a simple melodic motif is developed perfectly accessibly using changing meters.

Exercise 2: Compose or select a clear melodic phrase, and use meters of different lengths to develop and reinterpret the melody into a longer piece.

Meter Changing Meter Meter changes can be extreme lurching the pulse and messing with your musical brain. Dream Theater Erotomania From guitar entry

2x

5/4 (3 bars) + 9/8 (1 bar) 5/4 (3 bars) + 9/8 (1 bar) 5/4 (3 bars) + 3/4 (2 bars) + 2/4 (1 bar) 5/4 (3 bars) + 3/4 (2 bars) + 2/4 (1 bar) repeats

6x

11/8 (3+3+3+2) 10/8 (3+3+2+2) 4/4 (2 bars) Solo in 5/4 etc.

Meter Changing Meter Complex changing meters has a long history, let’s look at the Sacrificial Dance from Stravinsky’s seminal 1913 ballet The Rite of Spring

Exercise 3: Using the Sacrificial Dance (pick at least 2 consecutive pages) as a metric template, compose meter-specific material, and then compose material that occurs less dependently on the structure. The overall metric implication may well be-for example 4/4 -with Stravinsky’s meter pattern embedded in some layer, or the meter pattern may be overt.

Polymeter (not polyrhythm) Multiple meters may be implied at the same time. SImple examples may be a delay set to a triplet or dotted quaver. Often, during solos, a soloist can use phrase that imply different meters over an underlying groove, or rhythmic hits (Hancock -Hang Up Your Hang Ups 5:30 onwards) However many compositional examples exist even from pop music: The Cars Touch and Go has in the verse a 5/4 bass and drum pattern and a simultaneous 4/4 in the vocals and keys. The use of polymeter in 20th Century ‘classical’ and contemporary metal is wide-spread. For example, Ligeti’s Arc-en-ciel implies different and changing meters (as well as polyrhythms) in each hand. Here are some more examples.

Polymeter Hindemith - String Quartet no.3-II (0:05-0:19) analysis by Timothy Daust

Polymeter Messiaen - La Verbe (2:18-2:23) analysis by Timothy Daust

Polymeter Meshuggah - Rational Gaze (0:00-0:29) all Meshuggah analyses by Jonathan Pieslak

PolyMeter Meshuggah - Stengah (0:16-0:48)

PolyMeter Meshuggah - Humiliative (3:50-4:04)

PolyMeter Meshuggah - New Millenium Cyanide Christ (0:00-0:25)

Benjamin Britten, Peter Grimes -Interlude IV All Britten analyses 2008 Timothy Daoust

4+4+3 ostinato

Benjamim Britten, Peter Grimes Interlude IV (1:16)

Benjamim Britten, Peter Grimes Interlude IV (1:16)

Same passage re-scored

Exercise 4: Compose a piece with at least 2 simultaneous metric implications, make sure you understand how it interlocks.

Lecture 2 Compositional Exercises Exercise 1: Clave/Compas. Select or better still, research/transcribe a metric template (from Bulgarian, South-American, Flamenco or other sources) and construct a groove/piece using the rhythmic structure.

Exercise 2: Compose or select a clear melodic phrase, and use meters of different lengths to develop and reinterpret the melody into a longer piece. Exercise 3: Using the Sacrificial Dance (pick at least 2 consecutive pages) as a metric template, compose meter-specific material, and then compose material that occurs less dependently on the structure. The overall metric implication may well be-for example 4/4 -with Stravinsky’s meter pattern embedded in some layer, or the meter pattern may be overt. Exercise 4: Compose a piece with at least 2 simultaneous metric implications, make sure you understand how it interlocks.


Elements of Groove


Listening list:

http://open.spotify.com/user/miltonline/playlist/7El79d9SdfBxnSwNruyAeD


Elements of Groove Ensemble and feel

Another enormous topic, but we will focus attention on two extraordinary rhythmic ensemble disciplines: Rhythmic patterns of Ashanti people of Ghana Hartigan (1995) and an analysis of several drum/bass/guitar grooves of the James Brown Rhythm Sections (1968-1973) Slutsky & Silverman (1997)

Elements of Groove Swing

Swing will be defined here as the difference in length between an on-beat and off-beat quaver (and on-beat and off-beat semiquaver). Rather than just a straight vs. triplet swung concept of swing.

Elements of Groove Swing

Elements of Groove Latency

Elements of Groove Time-feel

Elements of Groove Syncopation Syncopation is the emphasis of ‘weaker’ beats. By weaker beats we generally mean off-beat quavers and semiquavers. Although stressing beats 2 & 4 over 1 & 2 also falls into this category. How can off-beats be relatively more emphasised than an on-beat? No on-beat, or tied on-beat. Louder more articulated offbeat Melodic/Harmonic emphasis

Elements of Groove Identify the syncopated features

Elements of Groove Rhythmic Repetition An addition to feel, interesting rhythmic/melodic components can sense a groove through repetition. Repeating phrase present a time-feel, and also create a sense of expectation allowing for musical variation.

Notice the repeated and slightly varied rhythmic device

Elements of Groove Rhythmic Displacement Repeating rhythmic figures tend to occur at 1, 2 or 4 bar intervals. However a rhythmic figure can be repeated on a different beat of the bar. A simple displacement maybe 2 beats, where the beats ‘strength’ is similar. Three beat displacements also occur as well as at other subdivisions, and create a subtle infectious polymetric feel.

Elements of Groove Rhythmic Displacement

3 - beat (dotted minim) displacement

dotted semi-quaver displacement - disrupting any swing/weighting that may exist

Rhythmic/melodic figures can also be repeated and displaced between instruments

Elements of Groove Elements of Ensemble Groove

Repetition/displacement of figures between instruments Time-feel: What is the overall feel of the ensemble, Is feel (swing etc.) the same between instruments? Are there any moments when a rhythmic gap in some instruments allows another instrument to feature? Is there a rhythmic interplay? Are there moments when more than one instrument synchronise material and play a similar rhythmic/ melodic figure (a sort of tutti)? What are the roles of each instrument? Time-keeping, feel, texture, rhyhmic interest. Do these roles change?

West African Drumming Ashanti People of Ghana

A richly syncopated drum tradition whose influence may be heard in Cuban Son and Rumba, Haitian Vodun, Merengue of Dominican Republic, Brazilian samba and American Jazz.

West African Drumming Sikyi (Si-chee) Ashanti People of Ghana 1

Sikyi : Ashanti People of Ghana 2

Adowa : Ashanti People of Ghana 1

Adowa : Ashanti People of Ghana 2

Gahu : Ashanti People of Ghana 1

Gahu : Ashanti People of Ghana 2

Akom Style 1: Ashanti People of Ghana

Akom Style 2 (3/4) Metric Illusions

Akom Style 2 (6/8) Metric Illusions

Groove James Brown Rhythm Section (1960-1973) Identify the elements of time-feel, syncopation, repetition, displacement and ensemble techniques in these seminal grooves. Imitate, assimilate, innovate.

Think (1960)

Think (1960)

I Don’t Mind (1962)

I Don’t Mind (1962)

Out Of Sight (1964)

I Got You (1965)

Don’t Be A Dropout (1966)

Cold Sweat Pt. 1 (1967)

Cold Sweat Pt. 1 (1967)

I Can’t Stand Myself Pt. 1 (1967)

I Got The Feelin’ (1968) - Verse

I Got The Feelin’ (1968) - Bridge

Licking Stick (1968)

Give It Up or Turnit A Loose (1968) - Verse

Give It Up or Turnit A Loose (1968) - Bridge

Mother Popcorn (1969) - Verse

Mother Popcorn (1969) - Bridge

Funky Drummer (1969) - Pattern 1

Funky Drummer (1969) - Pattern 2

Get Up (1970) - Verse

Get Up (1970) - Bridge

Got To Getcha (1970) - Verse

Got To Getcha (1970) - Bridge

Funky Women (1970)

Super Bad Pts. 1 & 2 (1970) - Verse (1/2)

Super Bad Pts. 1 & 2 (1970) - Verse (2/2)

Super Bad Pts. 1 & 2 (1970) - Bridge

Talkin’ Loud & Sayin’ Nothing (1970) - Verse

Talkin’ Loud & Sayin’ Nothing (1970) - Bridge (1/2)

Talkin’ Loud & Sayin’ Nothing (1970) - Bridge (2/2)

Give It Up or Turnit A Loose ‘Live’ (1970) - Verse

Give It Up or Turnit A Loose ‘Live’ (1970) - Bridge

Hot Pants Pt. 1 (1971)

Make It Funky Pt. 1 (1971)

Papa Don’t Take No Mess Pt. 1 (1973)

The Payback (1973) - Intro

The Payback (1973) - Verse

Lecture 3 Compositional Exercises

Exercise 1: Sequence the elements of an Ashanti Time-line of your choice. Make sure you can identify and have absorbed every part. Exercise 2: Create a piece using some (not necessarily all) of the elements from Exercise 1. You may wish to turn one pattern into a bass-line and bind some of the others to other melodic, harmonic and rhythmic instruments. Exercise 3: Recreate as accurately as possible with MIDI one of the sample James Brown grooves, paying particular attention to articulation and swing values. Exercise 4: Using features which you have absorbed from the James Brown templates, create your own 2, 4 or 8 bar groove, paying particular attention to time-feel. syncopation, repetition, displacement and ensemble mechanics.


Melodic Structures


Listening list: This episode http://open.spotify.com/user/miltonline/playlist/1vWvLOvDYElkzQkuZr7Fp7

Entire series http://open.spotify.com/user/miltonline/playlist/7El79d9SdfBxnSwNruyAeD


Quick intermission before our scheduled Episode

Conceptualise (or fully compose) pieces based on each of the following images

This species of ant survive floods by hugging each other. The cluster floats but they would drown as individuals

Review All episodes interlink, so frequent reviewing and re-contextualising of information is highly beneficial

Polymeter Use Alignments

When a polymeter appears there will be a point in time when the barlines coincide. The effect of this event may be used musically.

Polymeter Use Break out Clauses A polymetric phrase may be held indefinitely, but often the implications is broken by added or subtracted beats to realign the measures.

Polymeter Use Melodic/Harmonic Adjustments

As polymetric phrases fall out of sync, some phrase can be adjusted at some point in their cycle to accommodate their new harmonic/ melodic environment

Polymeter Use Lateral thinking of polymeter

A single line may embody several musical features subject to meter, and hence polymeter: Note phrasing, dynamic emphasis, melodic emphasis, delay rate, pan rate, filter rate, trem rate and so on.


Melodic Structures


Here we look deeply into the construction of melodies from a ‘classical’ perspective although its implications run beyond stylistic constraints

Arnold Schoenberg (1874-51)

A radical traditionalist 2nd Viennese School, Fundamentals of Composition Harmonielehre

Melodic Structures The Phrase

The smallest structural unit is the phrase, a kind of musical molecule consisting a number of integrated musical events possessing a certain completeness and well adapted to combination with other similar units. ...a unit approximating what one could sing in a single breath. Its ending suggests a form of punctuation such as a comma. Often some features appear more than once in a phrase. Such ‘motivic’ characteristics will be discussed [later]


Concentrated in one voice, implies an inherent harmony


Even with elaborate melodies, harmony (usually I and V) is clear.


Length of phrases can vary widely, depending on metre and tempo

Melodic Structures The Phrase from Chords

Phrases are often derived from skeletal chord forms


Simple elaborations of skeletal chord forms


Passing notes to chord forms

Melodic Structures The Phrase from Chords, Elaborated

Passing notes and note repetitions to elaborated chord forms


Phrase embellishment


Appoggiaturas and changing tones.

Exercise 1a-f Compose 2 different simple phrases using chord tones of 1-3 chords in a major key(1a,1b), a minor key (1c,1d) and the dorian mode (1e,1f). Keep them very simple, clear and memorable. Exercise 2a-c Pick one phrase from each of the major, minor and dorian sets and elaborate using appoggiaturas, upbeats and other available devices.

Melodic Structures The Motive (Motif)

Melodic Structures The Motive (Motif) If a phrase is a molecule, the motif is the atom, the ‘smallest common multiple and greatest common factor’ providing unity, and through repetition, variation and recombination can form higher structures in the phrase and piece


Often the use of the motif is intuitive, though it needn’t be. It forms the invisible musical glue that can unifies and forms higher level structures


Usually defined by a simple rhythmic and intervallic structure, a motif is maintained by repetition of which there is: Exact and Modified Variations. Variations preserve some musical features and alter others


Note the simplicity of the motif, and how variations are slight but in different features

Melodic Structures Motivic Transformations





Exercise 3 Write a simple motif, and create 12 variants (using for example, transpositions, elaborations, inversions, retrogrades, retrograde inversions, rhythmic changes, omissions and so on). Exercise 4 Construct a phrase (or 2 or 3) using combined variant forms of your motif from Exercise 3. Try and outline a harmonic sequence.

Melodic Structures Melodic Structures from Phrases and Motifs

Although it may pain Schoenberg, let’s look at phrase and motif construction over the course of a whole piece in the work of the French composer of stunningly progressive minimal work, Erik Satie (1866-1925)

Melodic Analysis Gnossienne I - P1

2 scales, 3 chords, 1 piece




Exercise 5 Listen to, and examine the score of, Gnossienne I (or any Satie piece) See if you can identify key motifs (and variations) through phrases, as well as phrases and their repetitions and variations are put together to make the whole piece. Exercise 6 From the techniques observed in Exercise 4, choose a scale or 2, 3 or so chords, simple rhythms and limited motivic material, and a series of phrases. Create a short piece with a series of melodic phrases.

Exercise 1a-f Compose 2 different simple phrases using chord tones of 1-3 chords in a major key(1a,1b), a minor key (1c,1d) and the dorian mode (1e,1f). Keep them very simple, clear and memorable. Exercise 2a-c Pick one phrase from each of the major, minor and dorian sets and elaborate using appoggiaturas, upbeats and other available devices. Exercise 3 Write a simple motif, and create 12 variants (using for example, transpositions, elaborations, inversions, retrogrades, retrograde inversions, rhythmic changes, omissions and so on). Exercise 4 Construct a phrase (or 2 or 3) using combined variant forms of your motif from Exercise 3. Try and outline a harmonic sequence Exercise 5 Listen to, and examine the score of, Gnossienne I (or any Satie piece) See if you can identify key motifs (and variations) through phrases, as well as phrases and their repetitions and variations are put together to make the whole piece. Exercise 6 From the techniques observed in Exercise 4, choose a scale or 2, 3 or so chords, simple rhythms and limited motivic material, and a series of phrases. Create a short piece with a series of melodic phrases.


Phrase, Contour & Melodic Forms


Listening list: This episode http://open.spotify.com/user/miltonline/playlist/0IIbAhOvRgGeKhtqc8NXaZ



The concepts of motif and phrase have been defined, as well as principles behind their construction and transformation. Let’s see how these manifest to form successful melodies in the real world and how we might use these ideas in composition. Key terms: Motif, Phrase, Endings, Intervals, Phrase Hierarchy, CTs, NCTs, Devices, Range, Contour, Diatonicism, Parallelism, Leaps & Lines, Accel/decceleration, Melodic forms.

Endings Similar

How a phrase ends is often of particular melodic importance. You may notice that different phrases often have similar endings. Phrase 1

Phrase 2 has unequal length, different starting material but similar motifs and an identical ending, forming a link with Phrase 1

Endings Modified

Conversely, a phrase may be repeated with small modifications to the ending, to create different degrees of resolution even with similar harmony Phrase A1.1

Phrase A1.2

Phrase A1

Phrase A1.1

Phrase A1.3

Phrase A2

This introduces the concept of phrase hierarchy Phrases made up of smaller phrases which can be modified and recombined

Endings Major

Degrees of Resolution

Minor

Here’s an impression of resolution level of diatonic notes in a major scale devoid of harmony (the same categories work for minor also) It’s very dependent on content but is a reasonable starting point. Note that the idea of resolution here is independent from consonance/ dissonance - the sound of a note against the underlying harmony.

Chromaticism Degrees of Resolution

Major

Minor

These are highly context dependent and not hard rules - there are also other settings other than major or minor that can be established, but the idea of varying degrees of melodic resolution is fundamental. Again, this about melodic resolution not consonance/dissonance - the latter being controlled by harmonic context.

Phrase Construction Degrees of Resolution We can now see how a sense of resolution (from stable to unstable) can be established between phrases giving a longer arc to melodic construction. This is a fundamental concept in 1000s of melodies.

Resolution Unstable #4

Phrase A1

Stable Root

Phrase A2

from Gnossienne 1 - Satie

Endings Degrees of Resolution

Exercise 1 Write two different phrases that share identical resolving endings Exercise 2 Write two phrases with the same (or no) harmony, but with a different note choices at the ending, creating different degrees of resolution.

Phrase Endings & Harmony Linking phrases with similar or modified endings

Sub-divide into 2 levels of phrases noting areas of stability/instability and how harmony accommodates the melody


from Across the Universe - Beatles

Note that melody notes, melodic rhythm and harmony all combine to create a multi-layer musical experience


from Angel Eyes - Matt Dennis

Note the use of varied phrase endings, motivic editing and transformation with harmony


Note the use of varied phrase endings, motivic editing and transformation with harmony

Phrase Endings & Rhythm Strength of ending Rhythm contributes to the sense of finality of a phrase (not that a phrase always needs it). The ‘strength’ of the beat on which the phrase ends contributes to a sense of continuity or finality.

1

&

2

&

3

&

4

&

1

&

2

&

3

&

4

&

Strong

Weak

Phrases & Rhythm

Exercise 2a Write 3 similar phrases with different strengths of ending Exercise 2b Write 3 similar phrases but starting on different beats

Melody Contour & Range Melodic Typology Although there are millions of possible melodies, analysts have proposed systems to categorise them into various groups. We won’t favour one but at least look at the various identifying features. Range (Highest to lowest notes) Contour (Position of highest and lowest notes) Leap & Line (Stepwise motion or intervallic leaps) Long Term Goals (A journey between 2 notes) Chopin Motivic Material (Identifying motifs or articulations) Scale/Diatonicism/Chromaticism (Set of notes used) Consonance/Dissonance (How the melody interacts with harmony)

Melody Contour & Range Melodic Typology

Exercise 3a-b Write a melody with specific ideas for the features identified previously. Write another melody from the previous by changing. 2 of the features

Melody & Harmony Consonance & Dissonance

In addition, to melodic resolution, there is another important musical layer: The consonance and dissonance of a melody against the harmony. The most consonant melodic approach is to use only chord tones (CTs)


NCTs of course can be used, and there are techniques for resolving dissonances. Here Passing Tones (PTs), Diatonic Sequences and Chord Tones Pivots.







Melody from a chord sequence. A Theme and Variations concept (Paganini Caprice 24) This allows the creation of certain canonic forms where material that functions of the same harmony can be superimposed


Exercise 4 Write a 4-bar chord sequence, and an accompanying melody using CTs, create 3 subsequent phrases on the chord sequence


NCTs can be left unresolved as part of a melody and will produce a varying amount of dissonance against the underlying harmony, for which the next page give a general impression of this continuum.


Melody & Harmony Consonance & Dissonance This schematic shows the continuum of consonance and dissonance with reference to the chordal context (ie if we are looking at a ii or a iii chord, a I or a IV etc. There are some exceptions to this, for example the use of the b3(aka #9) in a major context, which is a stylistically perfectly accepted dissonance in many AfricanAmerican sourced music forms (Jazz, Blues and by assoiciation Rock, pop, funk etc.)

CTs

Diatonic Non-Clash NCTs

Non-Diatonic Non-Clash NCTs

Diatonic Clash NCTs

Non-Diatonic Clash NCTs


From another perspective we can look at common dissonances - also known as tensions or extensions and have a quick look at what contexts they are accepted, other than a passing tone or other melodic device.

b9 (aka b2)


b9 (aka b2) This can be sometimes found unresolved when it is a diatonic. Eg. an F against an Eminor in the key of C, or against an E major in A harmonic minor. It is common against the one chord scales with a b2 eg. Phyrgian (F against E minor in E phrygian) or in ‘Spanish’ Phrygian (F against E major) and the like. (Caravan, Miserlou for example) It also appears on a major or dominant chord that is acting as a primary or secondary dominant, particularly (but not exclusively) when resolving to a minor chord. Other than this it is rare when non-diatonic.


9 This is the most common ‘dissonant’ non chord tone, and appears freely on a major, minor, dominant, major 7 chord etc. It is only rare when non diatonic e.g. on a iii chord in a major key, but non diatonic examples are found particularly in a parallel context. Every Breath You Take,(Police) or Twin Peaks Theme shows its diatonic usage, while Castles Made of Sand, Come On Pt.1 (1:16) and Little Wing (Hendrix) has parallel non-diatonic examples.


#9 Acting as a ‘blue note’ on a major or dominant chord is a commonly accepted melodic dissonance on any resolving dominant chord or over any I major or I dominant chord or general tonality. It’s use on the IV or IV7 chord is actually quite rare due to the peculiarity of a b6 over b3. Examples of a b3 in major/dominant context abound.


11(4) Although traditionally a dissonance that requires resolution, the 11th (or 4) is often left unresolved on a I chord a major or dominant context (being diatonic), and is common on minor chord as there is no clash with the 3rd. It is a little more rare, but still heard, in a non-diatonic form (e.g. on the IV chord in major, the IV chord in blues however tolerates it easily due to the pentatonic context). All minor chords (and half-diminished chords) happily accept the 4th melodically although non-diatonic uses are a bit more rare.


#11(#4)

The #11 is a common NCT on major, major7 and dominant chords. The least dissonan use is diatonic e.g. Chord IV in major, Chord I in Lydian or bVImaj in a minor (or borrowed minor) context. It is also often used on tritone-substituted dominant chords. However it is common particular in jazz-tinged styles to include on major, major7 and dominant chords and on minor chords in a Satie-esque exotic moments. (Blue 7 dominant, Satie minor, Blue in Green Major)


b6(b13) The b6 or b13 with the presence of the 5th is quite a strong dissonance often quickly resolved The exception being on resolving dominant chords (particularly to minor chords) where it is often supported.


6(13) The 6 or 13 in the melody, unless non-diatonic is readily supported by major, minor and dominant chords alike.

Giant Steps - John Coltrane Notice how accepted NCTs are used alongside to marry a memorable melody and a complex chord sequence

Melody & Harmony Intervallic Features

Exercise 5 Write a melody devoid of harmony. Harmonise it in 3 ways so that all notes are in example a) All chord tones b) Resolved dissonances c) Accepted NCTs

Melody & Harmony Intervallic features

Traditional melodies usually have a few leaps using chord tones and devices, and the rest of the material step wise. However it is possible to use less traditional intervals as important melodic motifs.






Exercise 6 Write a melody based on extended intervals (4th,5ths and 7ths) or interval structures ( for example +2,+7,-1) using accepted NCTs

Melody & Harmony Pedal Tone/Pitch Axis You’ll notice that the more angular examples of intervallic tunes had less (or no chords) Since harmony dictates consonance and dissonance, we can open up melodic possibilities by simplifying the harmonic context. For example a drone permits a wide array of scales to be implied compositionally (or through improvisation). Indian classical music (discussed later) is monophonic and allows an enormous amounts of expressive melodies unconstrained by even temperament. Even limiting ourselves to a 7 note system, even temperament, only one type of degree and no b4, Satie’s F-minor chord (on which he uses Dorian #4 and Melodic Minor #4) actually has 16 logically accompanying modes and scales.

R

b2 4 b6 or b3 or 5 or 2 #4 6

b7 or 7

Melody & Harmony Pedal Tone/Pitch Axis

R

Phrygian Aeolian Dorian

b2 4 b6 or b3 or 5 or 2 #4 6 Phrygian #4 Aeolian #4 Dorian #4

Melodic Minor Harmonic Minor Harmonic Minor b2

b7 or 7

Dorian b2 Mel. Min b2

Dorian b2/#4 Mel. Min b2/#4

Melodic Minor #4 Harmonic Minor #4 Harmonic Minor b2/#4

Melody & Harmony Pedal Tone/Pitch Axis Ravel’s Bolero (1928) is an orchestral work based almost exclusively on a bass ostinato (bass loop) which includes only a C and G. This allows the insistent melody to be transformed into several parallel beautiful scales while maintaining musical interest.

French composer Maurice Ravel (1875-1937)

Melody & Harmony Pedal Tone/Pitch Axis Bolero Modes C Major (R,2,3,4,5,6,7) C Mixolydian b6 (Aeolian Major/Hindustani/Mode 5 of MM) (R,2,3,4,5,b6,b7) C Phrygian (R,b2,b3,4,5,b6,b7) C Phrygian Dominant (R,b2,3,4,5,b6,b7) E Mixolydian b6 E Phrygian

Melody & Harmony Pedal Tone/Pitch Axis . Take the bridge of Satch Boogie - Joe Satriani for example The A acts as a pivot to a menagerie of exotic scales/harmonies.

Melody & No Harmony

Or no harmony whatsoever as in Debussy’s Syrinx unpublished in his life time.

“my favorite music is those few notes an Egyptian shepherd plays on his flute: he is a part of the landscape around him, and he knows harmonies that aren’t in our books.”

The opening phrase elaborates the notes of a whole-tone scale (Bb, Ab, Gb, E). The whole-tone scale is incompatible with common-practice harmony, because it contains no 5ths and no half steps, making traditional cadences impossible and eliminating tonic-dominant polarity. Debussy used whole-tone scales in many works as a way to confound his listeners’ tonal expectations and to explore new harmonic possibilities. Here, though, he does not limit himself to the whole-tone scale. He decorates it with chromatic neighbors and passing tones in the first two measures (A,B,G, F). In measure 4 he exchanges it for an ascending chromatic scale (Bb, B, C, Db).

In measure 11 he turns to a pentatonic scale (Gb, Ab, Bb, Db, Eb) with an added note (F). In measure 15, which begins the middle section of the piece, he uses a fully chromatic scale.

At measure 26 (the recapitulation) he returns to the initial whole- tone scale. Then in the very last measure he switches to the other possible whole-tone scale (B, A, G, F, Eb, Db), which is how the piece ends. In this very short piece Debussy exchanges pitch materials almost compulsively, but he steadfastly avoids the major- minor diatonic scale.


Exercise 7 Write a melody over a 2, 1 or 0 note ostinato, exploring scales which the harmony allows.

Exercise 1 Write two different phrases that share identical resolving endings Exercise 2 Write two phrases with the same (or no) harmony, but with a different note choices at the ending, creating different degrees of resolution. Exercise 3a-b Write a melody with specific ideas for the features identified previously. Write another melody from the previous by changing. 2 of the features Exercise 4 Write a 4-bar chord sequence, and an accompanying melody using CTs, create 3 subsequent phrases on the chord sequence Exercise 5 Write a melody devoid of harmony. Harmonise it in 3 ways so that all notes are in example a) All chord tones b) Resolved dissonances c) Accepted NCTs Exercise 6 Write a melody based on extended intervals (4th,5ths and 7ths) or interval structures ( for example +2,+7,-1) using accepted NCTs Exercise 7 Write a melody over a 2, 1 or 0 note ostinato, exploring scales which the harmony allows.


Chance & Translation


Listening list: This episode http://open.spotify.com/user/miltonline/playlist/4XZkQfATo0nIycKYL91QTH



This episode we look at approaches to composition, that in some way have delegated decisions to ‘outside’ influences such as the use of chance and indeterminacy in composition, cryptograms and the ‘sonification’ of nonmusical data and physical processes.

Why?

Indeterminacy (like improvisation) and chance could be a component (big of small) of composition. From making a series of randomised chords, or predetermined motif ‘work’ or the effective use of a noise wave-form LFO.

The transfer of non-musical data (for example someone’s initials converted to a motif, or a key from another piece) can act as a form of tribute, signature or aesthetic link. It can also act as a compositional challenge and selfimposed to enhance creativity and encourage new musical ideas.

The delegation of compositional control, has a philosophical implication. Can a composer create a piece that includes elements out of her control? At what degree of uncertainty, white noise LFO or level of improvisation does it no longer become the piece? Can we just point at a sound (like 4’33”) and claim it as a piece? Which parts are important? Cadenza to Jazz to Electronica

Chance and Aleatoric Music

Chance

The use of chance in composition has a varied and long heritage. Defining chance or aleatoric music as “music in which some element of the composition is left to chance” would imply many types and degrees of chance music.

Chance

Types of randomness Range Step Dotted or Drunk

Chance

Ockeghem’s Missa Culuvsis Toni A composition by Johannes Ockeghem (1410-97) which allows a choice of modal interpretations. One composition: multiple realisations.

Chance

Determined

Left to chance/ Indeterminant

Using this very simple system allows a more nuanced and useful understanding of chance music

Chance

Determined

Indeterminate

Melodic contour, rhythms, structure, text etc.

Which 1 of 4 Modes

Chance

Mozart’s Dice Game (1787) http://sunsite.univie.ac.at/Mozart/dice/

A Musical game for composing minuets and trios from dice rolls

Chance

Mozart’s Dice Game Determined

Left to chance

Harmonic structure

Which of the set of motifs are selected

Form Set of motifs

Chance

DuChamp’s Erratum Musical (1913) Composition by the dadaist artist Marcel DuChamp. A fixed number of pre-determined notes (and words in the vocal version) from a set of possibilities are randomly selected to form the work.

Chance

Duchamp’s Erratum Musical Determined

Left to chance

Prepared materials

The order and which of the musical fragments are selected

Number of events

Chance

Cage’s Williams Mix (1952) Environmental sounds collected over 9 months by the Barrons, then tape-spliced according to a set of rules determined by coin tosses.

Chance

Cage’s Williams Mix Determined

Left to chance

Prepared environmental materials

Which operations on which tracks

Length of piece Operations

Chance

Cage’s 4’33 (1952) Measured ‘Silence’ Focusing attention on unintended sound

Chance

Cage’s 4’33” Determined

Left to chance

Duration(s)

Everything else

Time Place

Chance

The Use of Randomness in Synthesis Noise wave as tone Noise wave as LFO (with continuous and step values)

Chance

1 Layer of Randomness

Chance

2 Layers of Randomness

Chance

3 Layers of Randomness

Chance

Randomness and Creativity The forcing of new ideas

Random Word Generator

Chance

Exercise 1 Write a musical passage which divides various musical features into determined, and randomly generated. Render some versions. Exercise 2 Alter which of the features in Exercise 1 are determined or random and render some versions. Exercise 3 Create a synth line (or several layers) experimenting with controlling LFOs with step and/or continuous noise functions. Exercise 4 Randomly generate an adjective and noun, and create the opening (or all) of a work based on the phrase. Repeat with a different randomly generated phrase.

So compositions can allow areas and degrees of randomness and indeterminacy. From interpretation, cadenzas, jazz to extremely random. Pockets of chaos But they can also include pre-determined material, (overt or hidden).

Translation Cryptogram

The BACH motif (B = Bb H=B S= Eb)

B

A

C

H

Acting as a tribute, or a test of compositional skill, the Bach motif has appeared in 100s of works since the 17th century.


The BACH motif

Contrapunctus V (2:20)

Contrapunctus IV


The BACH motif

The unfinished Contrapunctus XIV, C.P.E. Bach’s ("At the point where the composer introduces the name BACH [for which the English notation would be B♭-A-C-Bᅉ] in the countersubject to this fugue, the composer died."


The BACH motif

Schumann: Sechs Fugen über den Namen: Bach No. 4 & 5 (1845)


The BACH motif

Webern Tone Row String Quartet Op. 28


The BACH motif 1845 — Robert Schumann: Sechs Fugen über den Namen: Bach, for organ, pedal piano, or harmonium, Op. 60 1855 — Franz Liszt: Fantasy and Fugue on the Theme B-A-C-H, for organ (later revised, 1870, and arranged, 1871, for piano) 1878 — Nikolai Rimsky-Korsakov: Variations on BACH, for piano 1900 — Max Reger: Fantasia and Fugue on B-A-C-H for organ 1910 — Ferruccio Busoni: Fantasia contrappuntistica for piano (first version; later versions 1912 and 1922) 1926–28 — Arnold Schoenberg: Variations for Orchestra, Op. 31 1937–38 — Anton Webern: String Quartet (the tone row is based on the BACH motif) 1968 - Alfred Schnittke: Quasi Una Sonata 1981 - Schnittke: Symphony No. 3 - used alongside the monograms of several other composers. 1856 - Johannes Brahms: Fugue in A-flat minor for organ, WoO 8 1930 - Marios Varvoglis: Canon, Chorale and Fugue on BACH 1932 - Alfredo Casella: Due Ricercari sul nome B-A-C-H, Op. 52 1932 - Francis Poulenc: Valse-improvisation sur le nom Bach for piano 1934 - Hanns Eisler: Prelude and Fugue on B-A-C-H, Op. 46 for string trio 1937 - Marios Varvoglis: Prelude, Chorale and Fugue on BACH 1942-46 - Charles Koechlin: Offrande musicale sur le nom de B-A-C-H, Op. 187 1952 - Jean Coulthard: Variations on BACH for piano 1952 - Luigi Dallapiccola: Quaderno musicale di Annalibera for piano 1954 - Dallapiccola: Variazioni ("Variations", orchestral version of Quaderno musicale di Annalibera) 1951-55 - Dallapiccola: "Canti di liberazione" 1964 - Arvo Pärt: Collage over B-A-C-H for strings, oboe, harpsichord and piano 1974 - Rudolf Brucci: Metamorfosis B-A-C-H for strings 1993 - Ron Nelson: Passacaglia (Homage on B-A-C-H) for concert band


What about other letters/notes?


German System A=A B = Bb C=C D=D E=E F=F G=G H=B M=E L=A R(e) = D S (Es) = Eb T(i) = B As = Ab Ignore the rest


French System A

B (or Bb)

C

D

E

F

G

H (or B)

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

W

X

Y

Z


Alban Berg/Hanna Fuchs-Robettin

A, Bb, B, F

Berg’s Lyric Suite


Arnold Schoenberg

A, Eb, C, B, Bb, E, G

Schoenberg’s Seraphita


Brahms

Bb, A, B, Eb

Schnittke’s Quasi Una Sonata


Haydn

B, A, D, D, G

Ravel’s Menuet sur le nom d’Haydn


Béla Bártok

Bb, E, B, A


Cage

C, A, G, E

Pauline Oliveros and Simon Jeffes of PCO in Cage Dead


Dimitri Schostakovich

D, Eb, C, B In many of Schostakovich’s work, and tributes to him. String Quartet No. 8


Sacher Hexachord

Eb, A, C, B, E, D Swiss conductor and patron Paul Sacher, used by Babbitt and Boulez (Messagequisses)


Robert Schumann

Eb, C, B, A

Used in Schumann’s Carnaval (in SCHA, ASCH and AsCH forms)


Niels Gade

G, A, D, E The monogram for Danish composer Niels Gade (1817-1890) is used in Schumann’s Nordische Lied No.41, Op.68


Cross Motif Symbol from Gregorian Melodies

Franz Lizst (1811-86)


Cross Motive Crucifixion and star-crossed lovers

Tchaikovsky (1840-93) mm1-2 of Pathétique Symphony


Exercise 5 Create your own monogram using the German or French system. Compose a phrase/passage/piece of your signature. Experiment with motivic transformations (R, I, RI), phrase constructions, harmonisations etc. Exercise 6 Generate another cryptogram for someone (or something) else. Compose a phrase/passage/piece interweaving this, and your monogram.

Translation Other Mappings

Amusical

Musical

Letters in a name

Note names


Amusical

Musical

Letters from anywhere

Any pitch


ASCII to midi note conversion


DNA

A

C

T

G

ASCII

65

67

84

71

MIDI

F3

G3

C5

B3

DNA to midi note conversion

Translation Other Mappings AAA AAC AAT AAG ACA ACC ACT ACG ATA ATC ATT ATG AGA AGC AGT AGG

CAA CAC CAT CAG CCA CCC CCT CCG CTA CTC CTT CTG CGA CGC CGT CGG

TAA TAC TAT TAG TCA TCC TCT TCG TTA TTC TTT TTG TGA TGC TGT TGG

Codon permutations

GAA GAC GAT GAG GCA GCC GCT GCG GTA GTC GTT GTG GGA GGC GGT GGG


Amusical

Musical

Letters from anywhere

Rhythm


h

q

ee

xxe xex exx

‰e

≈x≈x ≈x‰

A

B

C

D

E

F

G

H

L

M

N

O

P

Q

R

S

W

X

Y

Z

‰.x

Œ

I

J

K

T

U

V

One of countless letter to rhythm mapping templates Letter frequency and rhythmic sets will play a compositional role

Translation Rhythmic Mapping

Exercise 7 Create a rhythmic pattern from the given - or your own - mapping template using your name, initials or somesuch.

Exercise 8 Combine a rhythmic with a melodic mapping template, you may want to use two ‘source names’ so that for example all As aren’t the same length.

Translation Types of Mappings

Discrete/Continuous One to One One to Many Many to One Parallel

Translation Villa-Lobos (1857-1959)

Brazilian Composer

Translation Villa-Lobos’ millimetrization

New York Skyline

Translation Villa-Lobos’ millimetrization

New York Skyline Melody (1939) and more

Translation Mapping

Exercise 9 Create a melody from an image. Harmonise.


Amusical

Musical

Vertical

Pitch

Horizontal

Time/Rhythm

Translation Data Sonificiation

Why stop at 2 discrete dimensions? How much can be extracted? What data can be used?


Primal Sound (2004,2007) The coronal suture of the skull (which should now be chiefly investigated) has let us assume a certain similarity to the closely wound line that the needle of a phonograph cuts into the receptive, revolving cylinder of the machine. Suppose, for instance, one played a trick on this needle and caused it to retrace a path not made by the graphic translation of a sound, but selfsufficing and existing in nature – good, let us say it boldly, if it were (e.g.) even the coronal suture – what would happen? A sound must come into being, a sequence of sounds, music…Feelings of what sort? Incredulity, awe, fear, reverence yes, which of all these feelings prevents me from proposing a name for the primal sound that would then come to birth? Ur-Geräusch (Rilke 1919, p 1087)

Primal Sound (2004,2007)

Image ©2004 Palmer


Image ©2005 Supranowitz




Angela Palmer’s Inside Out exhibition •! Ruskin Gallery, Oxford University, UK. 2 February 2004. •! Royal College of Surgeons, Hunterian Museum, UK. 29 January – 19 May 2007. Music of the Body exhibition •!Science Circus, Guildford, Surrey, UK. 20 September 2008.


Head Music (2004)


Microcosmos (2007)

Generative Composition Emergent Music


Translation Mapping

Exercise 10 Create your own mapping system from a data source and realise it compositionally.

Exercise 1 Write a musical passage which divides various musical features into determined, and randomly generated. Render some versions. Exercise 2 Alter which of the features in Exercise 1 are determined or random and render some versions. Exercise 3 Create a synth line (or several layers) experimenting with controlling LFOs with step and/or continuous noise functions. Exercise 4 Randomly generate an adjective and noun, and create the opening (or all) of a work based on the phrase. Repeat with a different randomly generated phrase. Exercise 5 Create your own monogram using the German or French system. Compose a phrase/passage/piece of your signature. Experiment with motivic transformations (R, I, RI), phrase constructions, harmonisations etc. Exercise 6 Generate another cryptogram for someone (or something) else. Compose a phrase/passage/piece interweaving this, and your monogram. Exercise 7 Create a rhythmic pattern from the given - or your own - mapping template using your name, initials or somesuch. Exercise 8 Combine a rhythmic with a melodic mapping template, you may want to use two ‘source names’ so that for example all As aren’t the same length. Exercise 9 Create a melody from an image. Harmonise. Exercise 10 Create your own mapping system from a data source and realise it compositionally.


Process


Listening list: This episode http://open.spotify.com/user/miltonline/playlist/4YtsVORmc2f7BDYJGBBrNG



Process

This episode deals with the use of compositional systems from the simple to highly complex, and using physical and algorithmic processes. Compositional systems may be used quite freely to introduce creative options, or at the furthest extreme as a hands-off process that might be heard clearly by the listener.

Process

Joseph Schillenger System of Musical Composition (1946)

Comprehensive system on many musical aspects beyond prevailing tutor books - an attempt at scientific unification

Process

Schillinger System: Permutations in melody and pitch scales

Process

Schillinger System: Permutations in scales, modulation and harmony

Process

Schillinger System: Rhythmic permutation (3+1)+(2+2)+(1+3)

Process

4:3 (3+1)+(2+2)+(1+3) 6:5 (5+1)+(4+2)+(3+3)+(2+4)+(1+5)

Realise in terms of rhythm, melody, harmony etc.

Process Exercises

Exercise 1 Write a passage of music using the Schillinger system on rhythm, melody and/or harmony.

Process

Score for Metastasis (1953-54) Iannis Xenakis (1922-2001) deep mathematical and music connection.

Process

La Monte Young - Poem (1960)

Avant-Garde composer. Predetermined dragging of chairs and benches as well as drone music and minimalism

Process

Ligeti’s Poeme Mechanique (1962) Simultaneous tempi and wind down.

Process Exercises

Exercise 2 Simulate musically a physical process (e.g. metronomes, drips, popcorn, tides, orbits etc.

Process

Terry Riley’s In C (1964)

Superimposition of 53 randomly started musical fragments First minimal piece.

Process

Steve Reich - It’s Going to Rain (1965)

Tape piece for phased vocal phrase. Slow technological phasing. Aural examination of a preacher’s voice and pigeon. South Bank Show documentary (Rain) http://www.youtube.com/watch? v=q0DQRfm0uL8 or start watching entire documentary here (recommended): http:// www.youtube.com/watch?v=e_pR1sHHeQU&feature=related Complete piece http://www.dailymotion.com/video/x90h1r_steve-reich-its-gonna-rainpart-1_music

Process

Ligeti’s Lux Aeterna (1966)

Canonic structures and superimpositions that don’t fit traditional harmony, but form powerful compelling textures

Process

Ligeti’s Lux Aeterna (1966)

analysis ©Jarviepp

Process

Process

Process

Steve Reich - Piano Phase (1967) Violin Phase (1967) Phase Patterns (1970)

Algorithmic cyclical process whereby motifs are micro-rhythmically transformed to rhythmic displacements. 12-note, 8-note, 4-note phase "I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music.… What I'm interested in is a compositional process and a sounding music that are one and the same thing" - Steve Reich

Process

Steve Reich - Pendulum Music (1968)

Piece formed by the gravitational pull of swinging microphones and feedback responses

Process

Frederic Rzewski - Les Moutons des Panurge

(1968)

Carter & Rzewski Written “for any number of musicians playing melody instruments, plus any number of nonmusicians playing anything,” contains a 65-note melody in F played in a cumulative sequence (1, 1-2, 1-2-3, and so on) by the entire ensemble in unison; once the entire melody is played, the sequence is reversed with the melody continued, but with notes from the beginning shed with each repetition (2-3-...65, 3-4-...65, and so on), until only one note remains. That final note is held until all the players have reached it, at which point all begin improvising. Rzewski’s instructions are: “Always play loud, never stop or falter, stay together as long as you can, but if you get lost, stay lost. Do not try to find your way back into the fold. Continue to follow the rules strictly.”

Process

Karlheinz Stockhausen - Spiral (1968)

A composition as a series of fixed transformations rather than a fixed structure.

Process

James Tenney - For Ann (Rising) (1969)

Shepperd Tone piece http://www.youtube.com/watch?v=RqRd555v0Hg

Process

Steve Reich - Clapping Music (1972)

Piece for 2 performers formed by 12-point displacement of rhythmic motif.

Process

Alvin Lucier - I Am Sitting In a Room (1974)

Degradation through room resonance

Process

Brian Eno - Discreet Music (1975)

With delay and varying EQ a motivic phrase automatically generates an ambient soundworld. Album also includes pieces derived from fragments of Pachelbel’s Canon in D

Process

Alvin Lucier - Music on a Long Thin Wire (1979)

Oscillations and interferences on a wire

Process

James Tenney - Chromatic Canon (1980)

Tone Row slowly unfolded then collapsed

Process

Steve Reich - Electric Counterpoint (1987)

Process Principles attached to longer scale harmonic form (See New York, and Cello Counterpoint)

Process Exercises

Exercise 3 Write a piece of music based on an overt Reichian process.

Process

Algorithmic Construction

Thomas Tallis (1505-1585) Spem in Alium

Process


Process


5,8 OMNIA558

Process


Process


Process


Process


Process

Process

Digital Technology and Process

Computer processing has been harnessed since the 50s in order to provide composers with new ideas as well as algorithmically generated pieces. Even creating millions of version of the same ‘piece’.

Process

Digital Technology and Process Computer processing has been harnessed since the 50s in order to provide composers with new ideas as well as algorithmically generated pieces. Even creating millions of version of the same ‘piece’.

Process

http://vimeo.com/25041544

Process

Iannix - software that harnesses computer processing to musical algorithms

Process Exercises

Exercise 4 Construct an algorithm for a piece (with or without computer assistance) operating on more than one musical layer

Process Exercises Exercise 1 Write a passage of music using the Schillinger system on rhythm, melody and/or harmony Exercise 2 Simulate musically a physical process (e.g. metronomes, drips, popcorn, tides, orbits etc.). Exercise 3 Write a piece of music based on an overt Reichian process. Exercise 4 Construct an algorithm for a piece (with or without computer assistance) operating on more than one musical layer


Tuning


Listening list: This episode http://open.spotify.com/user/miltonline/playlist/1vWvLOvDYElkzQkuZr7Fp7



Tuning

This episode deals with the scientific principles and creative possibilities of tuning from concepts of just intervals, expressive intonation and electronic realisation of microtones.

Tuning

• Wavelength & Frequency • Hz. The Frequency of Human Hearing • The Law of Octave Equivalence • Harmonic Series

Tuning

How many octaves from 20Hz-20,000Hz?

Tuning

A reference pitch

Pitch inflation and variation for centuries. In 1939 a standardised system of 440Hz was agreed although some European schoolhs go up to 442Hz or 443Hz

Tuning Harmonic Series

Wavelength:

!2/3

1/2

1/4

1/1

!3/2

2/1

4/1

1/1

What division of the string?

How much faster does the string oscillate?

Frequency:

Note that frets (and pitch steps) are based on division rather than absolute length of a string. Hence, pitch is a logarithmic function with the perception of steps based on multiplications (and divisions). We can however use the handy cent with using a logarithmic function turns the octave into 1200 equal steps, with 100 cents equalling a 12th of the octave (equal semitone).


Note that frets (and pitch steps) are based on division rather than absolute length of a string (e.g. Frets are !5.61% of the remaining string). Hence, pitch is a logarithmic function with the perception of steps based on multiplications (and divisions) of frequency (or wavelength). We can however use the handy cent with using a logarithmic function turns the octave into 1200 equal steps, with 100 cents equalling a 12th of the octave (equal semitone), and 600 cents dividing the octave.

Tuning Harmonic

λ

ƒ

1

1/1

1/1 C

2

1/2

2/1 C’

3

1/3

3/1

4

1/4

4/1 C’’

5

1/5

5/1 E’’

6

1/6

6/1

7

1/7

7/1 Bb’’

8

1/8

8/1

9

1/9

9/1 D’’’

10

1/10 10/1 E’’’

Nearest Pitch

Harmonic Series

G’

G’’

C’’’

String players can touch the string at any of these nodes to reveal the harmonic.


Cent deviation from Equal temperament

+2

-14

+2

-32

+4

-14

-49

+2

+41

-32

Memorise this pattern up to the 11th harmonic including cent discrepancies. Observe the narrowing of the intervals. Chord voicings respond well to a similar pattern which will be looked at in more detail in Voicings.

-12

Tuning Harmonic Series If we imagine that the harmonic series tells us something about the nature of music - although one doesn’t have to believe that - then we can propose some ‘natural’ outcomes.


+2

-14

+2

-32

+4

-14

-49

+2

+41

-32

-12

Tuning Harmonic Series The first triad to emerge is a major triad. (With a major 3rd 14c flatter and a 5th 2c sharper than ET (Equal Temperament). The first seventh chord to emerge is a dominant 7th (with a significantly flatter 7th (-32c) than ET) ‘Natural’ voicings are large in the bass register and progressively closer at higher registers The first heptatonic scale is Lydian Dominant (aka Lydian b7, Mixolydian #11, or the Overtone or Harmonic scale). The 3rd, b7 and especially the #11 (-49c) significally flatter than ET The first common pentatonic scale to emerge is the major pentatonic

Tuning Exercise

Exercise 1 Electronically realise the first 16 notes of the harmonic series. You can create these with cent deviations from Equal temperament or by generating tones as multiples of a fundamental frequency. Listen to each harmonic against a drone to appreciate its sonority. Sketch an opening of a piece that is somehow linked to the harmonic series.

Tuning Acoustic Purity

• The Pythagorean concept of Acoustic Purity: Intervals from simple ratios • Selecting notes and constructing scales from the Harmonic Series

Tuning The Just 5th

1/1

3/2

2/1

3/1

Struck

Tuning The 3-Limit Scale

1/1 C Root

9/8 81/64 4/3 D E F Maj 2nd Maj 3rd 4th 2 4 -1

3/2 27/16 G A 5th Maj 6th 1 3

2/1 C’ 8ve

Tuning The Pure 5th vs. Even Tempered

700 E.T. 5th 2 cents

3/2 G 5th 702

Tuning The Pure 5th vs. Even Tempered

200 E.T. 2nd 4 cents

400 E.T. 2nd 8 cents

9/8 81/64 D E Maj 2nd Maj 3rd 204 408

500 E.T. 2nd -2 cents

4/3 F 4th 498


3/2 G 5th 702


27/16 A Maj 6th 906

Tuning 3-Limit Concept


+2

-14

Tuning The 3-Limit Major Scale (Pythagorean)

Pitch C D E F G A B C

Ratio 1/1 9/8 81/64 4/3 3/2 27/16 243/128 2/1

Cent 0 204 408 498 702 906 1110 1200

Ascending Pure 5ths (except F)

+/0 +4 +8 -2 +2 +6 +10 0

Tuning The 3-Limit Locrian Scale (going down pure 5ths)

Pitch C Db Eb F Gb Ab Bb C

Ratio 1/1 256/243 32/27 4/3 1024/729 128/81 16/9 2/1

Cent 0 90 294 498 588 792 996 1200

+/0 -10 -6 -2 -12 -8 -4 0

Tuning The Pure 5th From the 5th Harmonic

5/4

Tuning The Pure 5th vs. Even Tempered vs. Pythagorean

400 E.T. 5th -14 cents

+8 cents

5/4 81/64 G E 5th Maj 3rd 386 408 22 cents ! 81/80 Syntonic Comma ! 22 cents

Tuning The Pure Major Triad

3/2

ET + 2 cents

5/4

ET - 14 cents

1/1

Tuning Exercise

Exercise 2 Construct a major triad with a clear electronic tone and using cent discrepancies (-14 cents on major third) (+2 cents on fifth)

Tuning 5-Limit Concept


+2

-14

Tuning 5-limit chromatic scale

3rds from 5th Harm.

1/3

1

3

9

-2c

+0c

+2c

+4c

A 5/3 884c

E 5/4 386c

B 15/8 1088c

F# 45/32 590c

1

F 4/3 498c

C 1/1 0c

G 3/2 702c

D 9/8 204c

1/5

Db 16/15 112c

Ab 8/5 814c

Eb 6/5 316c

Bb 9/5 1018c

5 -14c

+14c

5ths from 3rd Harm.

Tuning 5-limit chromatic scale

1/3

1

3

9

-2c

+0c

+2c

+4c

A 5/3 884c

E 5/4 386c

B 15/8 1088c

F# 45/32 590c

1

F 4/3 498c

C 1/1 0c

G 3/2 702c

D 9/8 204c

1/5

Db 16/15 112c

Ab 8/5 814c

Eb 6/5 316c

Bb 9/5 1018c

5 -14c

+14c

Pure major triad

Pure minor triad

Pure major 7th

Pure minor 7th

Tuning Exercise Exercise 3 Alongside the major triad, construct a minor triad, and other triads, 7ths and other chords using just intonation using cent discrepancies from the previous page. Create a chord sequence using carefully tuned chords. Compare to an even-tempered rendition. Consider if the moving bass line skips to even tempered or just intonated scale degrees.

Pure major triad

Pure minor triad

Pure major 7th

Pure minor 7th

Tuning Types of Degrees

As we saw with the major 3rd, different routes are available to get to closely related scale degrees, and so there are different types of pitches depending on which harmonics are used. Even limiting to the the 5th harmonic a large array of scale degrees emerge.

5-Limit Chromatic Palette

1/27

1/9

1/3

1

3

9

27

81

-6c

-4c

-2c

+0c

+2c

+4c

+6c

+8c

Bb-125/72 954c

F-125/96 458c

C-125/64 1158c

G-375/128 640c

B50/27 1066c

F#-25/18 182c

Db-25/24 884c

Ab25/16 772c

Eb75/64 274c

Bb45/32 590c

F135/128 82c

C405/256 794c

G40/27 280c

D10/9 182c

A 5/3 884c

E 5/4 386c

B 15/8 1088c

F#45/32 590c

C#135/128 92c

Eb 32/27 294c

Bb 16/9 996c

F 4/3 498c

C 1/1 0c

G 3/2 702c

D 9/8 204c

A+ 27/16 906c

E+ 81/64 408c

F# 64/45 610c

Db 16/15 112c

Ab+ 8/5 814c

Eb+ 6/5 316c

Bb+ 9/5 1018c

F+ 27/20 520c

C+ 81/80 82c

D+ 256/225 224c

A++ 128/75 924c

E++ 32/25 428c

B++ 48/25 1130c

F#+ 36/25 632c

Db+ 27/25 134c

F++ 512/375 540c

C++ 128/125 42c

G++ 192/125 744c

125 -42c

25 -28c

5 -14c

1 1/5 +14c

1/25 +28c

1/125 +42c

A fraction of the scale degrees which emerge from harmonics 3 & 5, the yellow block are the most common. Warmer & cooler colours represent sharper & flatter groups. The cream colour is the most common just intonated scale.

Tuning 5-Limit Chromatic Palette

Even limiting to the first 5 harmonics, an indefinite number of degrees may be generated.

1/729 -12c

1/243 -10c

1/81 1/27 -8c -6c

625 -55c

Bb. 1250/729 934c

F. 625/485 435c

C. 625/324 1137c

125 -41c

F#. 1000/729 547c

Db. 250/243 49c

25 -27c

D--800/729 161c

5 -14c 1 1/5 +14c 1/25 +27c

1/9 -4c

1/3 -2c

1 +0c

3 +2c

G. 625/432 639c

D. 625/576 141c

A-625/384 843c

E-625/512 345c

B--

F#+

1875/1024

5625/4096

Ab-125/81 751c

Eb-125/108 253c

Bb-125/72 955c

F-125/96 456c

C-125/64 1159c

G-375/256 661c

D--

1125/1024

A400/243 863c

E100/81 365c

B50/27 1067c

F#-25/18 569c

Db-25/24 71c

Ab25/16 773c

Bb1280/729 974c

F320/243 476c

C160/81 1118c

G40/27 640c

D10/9 182c

A 5/3 884c

F#< 512/729 588c

Db< 256/243 90c

Ab 128/81 792c

Eb 32/27 294c

Bb 16/9 996c

D-/

A+<

E+< 512/405 406c

B+< 256/135 1108c

4096/3645

202c Bb+< 32768/18225

1016c

2048/1215

904c

549c

27 +6c

81 243 729 +8c +10c +12c

Db+

Ab>

Eb>

Bb>

16875/16384

50625/32768

youdontwant

toknowsrsly

51c

753c

255c

957c F#> 729/512 571c

18225/26384

A

E

3375/2048

10125/8192

163c

865c

367c

B 135/128 1069c

Eb75/64 275c

Bb225/128 977c

F675/512 478c

C2025/1024 1180c

G 6075/4096 682c

E 5/4 386c

B 15/8 1088c

F#45/32 590c

C#135/128 92c

Ab> 405/64 792c

Eb> 1215/1024

294c

Bb> 3645/256 998c

F 4/3 498c

C 1/1 0c

G 3/2 702c

D 9/8 204c

A+ 27/16 906c

E+ 81/64 408c

B+ 243/128 1110

F#> 729/512 612

F# 64/45 610c

Db 16/15 112c

Ab+ 8/5 814c

Eb+ 6/5 316c

Bb+ 9/5 1018c

F+ 27/20 520c

C+ 81/80 22c

G+ 243/160 723c

D+> 729/640 225c

D+ 256/225 223c

A++ 128/75 925c

E++ 32/25 427c

B++ 48/25 1129c

F#+ 36/25 631c

Db+ 27/25 133c

Ab> 81/50 835c

Eb> 243/200 337c

Bb> 729/400 1039c

833c

Eb++ 4096/3375 335c

Bb++ 2048/1125 1037c

F++ 512/375 539c

C++ 128/125 41c

G++ 192/125 743c

D++ 144/125 245c

A+> 216/125 947c

E+> 162/125 449c

B+> 243/125 1151c

F#> 729/500 653c

B++<

Bb++ 2048/1875 651c

Db++ 16/15 153c

Ab+> 1024/625 855c

Eb+> 768/625 357c

Bb+> 1152/625 1059c

F+> 864/625 561c

C+> 648/625 63c

G+> 972/625 765c

D+> 729/625 266c

G+< 8192/6075 2048/2025 1024/675 518c 20c 722c F+<

C+<

1/125 +41c

F#+<

Db+<

Ab++

silliness

32768/30375

629c

131c

16384/1125

1/625 +55c

D/

A++<

E++<

long

65536/50625

945c

447c

don’t ask 243c

1047c

9 +4c

32768/16875 1149c

D

184c

Shrutis Pitch Name

C

Db--

Db-

Db

Db+

D-

D

D+

Eb-

Eb

Eb+

E-

E

1/1

25/24

256/243

16/15

27/25

10/9

9/8

256/225

75/64

32/27

6/5

100/81

5/4

Ratio

0

70

90

112

133

182

204

223

275

294

316

365

386

Cents (rounded)

E+

F-

F

F+

F#-

F#

F#+

G-

G

G+

Ab-

Ab

Ab+

81/64

320/243

4/3

27/20

45/32

64/65

36/25

40/27

3/2

243/160

25/16

128/81

8/5

408

477

498

520

590

610

631

680

702

723

773

792

814

A-

A

A+

Bb-

Bb

Bb+

B-

B

B+

B++

C

400/243

5/3

27/16

225/128

16/9

9/5

50/27

15/8

243/128

48/25

2/1

863

884

906

977

996

1018

1067

1088

1110

1129

1200

Tuning Shrutis and Ragas A Raga is a an Indian Classical Music form that includes specific rhythms, feels, motifs and microtonal scale forms. We’ll concentrate on the latter here. Since they occur over a drone and are essentially monophonic this allows for very specific and expressive tuning

Tuning Suha Raga Second quarter of the night Expression: Graceful, loving, night Descending only

C 1/1 0 Tonic

D 9/8 204 Confident, joyful

Eb+ 9/5 316 Tender, loving

F 4/3 498

G 3/2 702

Moonlight, peace

Joy

(Tonic Bb on recording)

Bb+ 9/5 1018 Desire

C 2/1 1200 Octave

Tuning Bhairav Raga Late Morning Raga Expression: Calm and Loving

C 1/1 0 Tonic

Db256/243

90 Tender

E 5/4 316

F 4/3 498

Calm

Peace

G 3/2 702 Sun

(Tonic E on recording)

Ab 128/81

792 Desire

B 15/8 1088 Pleasure

C 2/1 1200 Octave

Tuning Sohini Raga

Deep into the night before dawn Expression: Effort to remain Descending Only

C 1/1 0 Tonic

Db256/243

90 Tender

E 5/4 316 Conscious, effort to stay awake

F 4/3 498 Moonlight, peace

Descending Only

F# 64/45 498 Intense, mysterious

A 5/3 1018 Soft, Callm

B+ 243/128

1110 Active, sensuous

C 2/1 1200 Octave

Tuning Exercise

Exercise 4 Render one of these ragas (or research and invent one), carefully tune the shrutis - building a virtual instrument or set of instruments to achieve this. Play to a drone and compare to ET counterparts. Compose an opening of a piece in an alap style, slowly introducing and enjoying each of the shrutis and revealing the character of the raga.

Tuning 11-Limit What of the other harmonics? We can reach other divisions by using the 7th and 11th Harmonic, again from ET.


+2

-14

+2

-32

+4

-14

-49

Tuning 11-Limit

Harry Partch’s (1901-74) 43-note universe

Tuning 11-Limit

Harry Partch’s microtonal dissonance

Tuning Polyphonic Tuning Systems

Tuning The Spiral of Fifths

(3/2)12=129.746 27=128 Pythagorean Comma 129.746/128

!23.5 cents

Tuning Temperament

Temper, temper

Tuning C

0

Db

90

D

192

Eb

294

E

390

F

496

F#

588

G

696

Ab

792

A

888

Bb

996

B

1092

C

1200

Quarter Comma purer 3rd

!24cents over 4 5ths

696c

4 quarter commas

-6c -6c -6c

Pure 5th= 702c

purer 3rd -6c

702c

Tempered= 696c

Tuning

3rd

3rd

C

0

Db

94

D

196

Eb

298

E

392

F

502

F#

592

G

698

Ab

796

A

894

Bb

1000

B

1090

C

1200

Sixth Comma 3rd

698c -4c

-4c -4c


-4c -4c

3rd

-4c 702c

6 1/6 commas More 3rds tempered, to a lesser degree than 1/4 comma

Tuning Bach’s Well Tempered Clavier

Tuning Bach’s Well Tempered Clavier

Tuning C

0

Db

100

D

200

Eb

300

E

400

F

500

F#

600

Equal Temperament (ET) 12-TET

700c

800

-2c

A

900

700c

C

1200

700c

700c

-2c -2c

700c -2c

-2c

1000

-2c

-2c

700c

Ab

1100

-2c

-2c

700

12 twelfth commas

700c -2c

G

B

700c

700c

-2c

Bb


-2c 700c

-2c 700c

700c

Tuning Equal Temperament makes Cents

Cents = 1200 * log(ratio) log(2)

Ratio = 2

(Cents/1200)

Tuning Another Solution

Tuning Mozart’s semitones

Tuning Splitting Accidentals

Clockwise from left: Campagnoli’s fingerboard diagram (1797) Woldermar’s Violin Method (1803) and Split key harpsichord 1715

Tuning 55-division tuning

111.1cents

88.8cents

100cents

1/9=22.2cents

Tuning 55-division tuning C C# D D#

E-G# 388.9c 3rd (Pure is 386c)

E F F# G G# A A#

0 88.9 Db

111.1

Eb

311.1

Gb

611.1

Ab

811.1

200 288.9 400 500 588.9 700 788.9 900 988.9 Bb

B C

1100 1200

1011.1

Ab-C 388.9c 3rd (Pure is 386c)

Tuning Exercise

Exercise 5 Recreate or invent a 7-note (or split accidental) tuning system using cent discrepancies. Write a passage of music that exploits the vertical possibilities.

Tuning Where did it go?

• Complexity of Instrument Design • Challenges of pedagogy and wider interest in performing music, owning a piano • The drive through romantic harmony into 12-tone serialism • Filtered out of the system

Tuning Vertical vs. Horizontal

Consideration of the vertical and the horizontal. A time for harmonic sonority, and a time for expressive intonation. Microtonal infection, bends, glides, dips, portamento, vibrato etc. are hugely expressive devices but their extensive discussion will be saved for another episode. Here we concentrate on the destinations of such motions, but here is a brief overview of ideas.

Tuning Expressive intonation: Bends

Direction Contour & Pattern Duration Start/End/Stopping Points

Tuning Expressive intonation: Vibrato

Shape Width Frequency

Tuning Expressive intonation: Vibrato

Tuning Other divisions

+50c

+100c

+150c

-50c

-100c

-150c

24-TET 24 quarter-tones 50 cents each

or

-150c


48-TET 48 eighth-tones 25 cents each


7-TET 14-TET n-TET Each 1200/n cents

Tuning Other Divisions

Tuning Exercise

Exercise 6 Recreate or invent an atypical ET system, and compose a passage of music exploiting the intonation possibilities. Experiment with expressive intonation.

Tuning Blues microtones

C7

F7

G7

C7



Tuning Technology and Microtones


Busoni (1866-1924) In response to Cahill’s Telharmonium "Let us take thought," he exulted, "how music may be restored to its primitive, natural essence; [...] let it follow the line of the rainbow and vie with the clouds in breaking sunbeams.”



• Corrective technology (Pristine vs. sterile) • Timbral expression • Non equal-tempered auto-tuning?

Tuning Exercise

Exercise 7 Compose a passage of music using autoned vocals to a non 12-TET system.

Tuning Compositional Exercises Exercise 1 Electronically realise the first 16 notes of the harmonic series. You can create these with cent deviations from Equal temperament or by generating tones as multiples of a fundamental frequency. Listen to each harmonic against a drone to appreciate its sonority. Sketch an opening of a piece that is somehow linked to the harmonic series. Exercise 2 Construct a major triad with a clear electronic tone and using cent discrepancies (-14 cents on major third) Exercise 3 Alongside the major triad, construct a minor triad, and other triads, 7ths and other chords using just intonation using cent discrepancies from the previous page. Create a chord sequence using carefully tuned chords. Compare to an even-tempered rendition. Consider if the moving bass line skips to even tempered or just intonated scale degrees. Exercise 4 Render one of these ragas (or research and invent one), carefully tune the shrutis - building a virtual instrument or set of instruments to achieve this. Play to a drone and compare to ET counterparts. Compose an opening of a piece in an alap style, slowly introducing and enjoying each of the shrutis and revealing the character of the raga. Exercise 5 Recreate or invent a 7-note (or split accidental) tuning system using cent discrepancies. Write a passage of music that exploits the vertical possibilities. Exercise 6 Recreate or invent an atypical ET system, and compose a passage of music exploiting the intonation possibilities. Exercise 7 Compose a passage of music using autoned vocals to a non 12-TET system.


Structure


Listening list: This episode http://open.spotify.com/user/miltonline/playlist/7EsGc9soCKgCZJqCcdk1GX



This episode looks at concepts of structure (and form) in composition. By looking at examples of folk and popular songs, jazz charts, classical forms, electronic pieces and indeterminate and process works, we’ll build a catalogue of structures and structural concepts for analysis and compositional application.

Structure Levels Firstly we need to address what factors contribute to our perception of structure. In fact as we saw in Pulse and Meter, Melodic Structures and Phrase, Contour and Melodic forms there are several levels on which structure is based. On the following simple example you can see the different levels of motif/phrase/section/piece

Structure Levels

Structure is achieved by the repetition of similar events, as well as the disruption of repeated events.

Structure Levels

Structure Meter Level

Structure Motif Level

Structure Phrase Level

Structure Passage (Higher Phrase) Level

Structure Section Level

Structure Levels

In this episode we will look at the ‘higher level’ structure of sections, but we should always be aware that structure is achieved by the repetition of similar events, as well as the disruption of repeated events.

Melodic Analysis Gnossienne I - P1 A

2 scales, 3 chords, 1 piece

Melodic Analysis Gnossienne I - P2 B

C

B

Melodic Analysis Gnossienne I - P3 A

B

B’

C

Melodic Analysis Gnossienne I - P4 B

B’’

Structure Form

Three sections, the most famous A only occuring at two points. The ending is given an effective poignancy by omitting the last bar. B has three versions (B’ is quieter, and B’’ is quieter and shortened).

A

A

8x2

B

B

4x2

C

C

6x2

B

B

4x2

A

A

8x2

B

B’

4x2

C

C

6x2

B

B’’

4+3

Structure Levels of Organisation

Pulse Accented Beats Meter Motif/Figure Phrase Passage Section Piece Cycle/Album/Set/ Symphony

Structure Forms

Charles Keil divides all musical forms into 3 types Sectional Developmental Variational

Structure Form

We’ll look at some specific forms but will open up the idea that sections can be created not just by traditional melodic structures but by timbre, texture and feel

Structure

Sectional Clear cut sectional units (A, B, C, Verse, Middle 8, coda etc.)

Structure Sectional Strophic Form Unrelieved repetition, chain, medley. AAAAAAAA

Unrelieved repetition

ABCDEFG(A) Unrelieved variation Medley

e.g. Blue Danube - Strauss

AABBCCDDEE

Unrelieved variation with repeats

Structure Sectional Binary Form A piece made up 2 sections A & B complementary and of roughly similar lengths. Traditionally major binary forms have A in the tonic key B in dominant key, ending in tonic Traditionally minor binary forms have A in the tonic key B in relative major key, ending in tonic

AB or AABB

Structure Sectional Ternary Form

ABA De Capo operatic aria form

or AABA e.g. 32-bar form with middle eight

Structure Sectional Rondo form A recurring theme with contrasting episodes

ABACABAC ‘Symettrical’

ABACADAE ‘Asymettrical’

ABCBA Arch form Special case of symettrical rondo without intermediate themes See Mozart examples

Structure Sectional Palindromic Rondo forms can be palindromic on a sectional level

ABACABA But palindromes needn’t be rondo forms

ABCADEDACBA Palindromes can even exist on the note level...

Structure Sectional Palindromic

Haydn Symphony No. 47

Structure Sectional Palindromic rhythms

The Afro-Cuban rhythm Cáscara x0xx 0x0x x0x0 xx0x 2-3 Cuban Son

Structure Sectional Crab/Table Canon

Structure “Dammit I’m mad. Evil is a deed as I live. God, am I reviled? I rise, my bed on a sun, I melt. To be not one man emanating is sad. I piss. Alas, it is so late. Who stops to help? Man, it is hot. I’m in it. I tell. I am not a devil. I level “Mad Dog”. Ah, say burning is, as a deified gulp, !In my halo of a mired rum tin. I erase many men. Oh, to be man, a sin. Is evil in a clam? In a trap? No. It is open. On it I was stuck. Rats peed on hope. Elsewhere dips a web. Be still if I fill its ebb. Ew, a spider… eh? We sleep. Oh no! Deep, stark cuts saw it in one position. Part animal, can I live? Sin is a name. Both, one… my names are in it. Murder? I’m a fool. A hymn I plug, deified as a sign in ruby ash. A Goddam level I lived at. On mail let it in. I’m it. Oh, sit in ample hot spots. Oh wet! A loss it is alas (sip). I’d assign it a name.N ame not one bottle minus an ode by me: “Sir, I deliver. I’m a dog” Evil is a deed as I live. Dammit I’m mad.

Structure Variational Theme and Variations A theme with related variations traditionally based on the harmonic progression and motivic material

A A1 A2 A3 A4 A5 A6 e.g. Theme and Variations on a Theme by Mozart - Sor Note that each section may itself have an internal structure (AABB) and the whole form may have an intro/outro and/or elaborated outro/coda. See also Paganini - Caprice 24 and many others. The Rondo may also include intermediate variations:

A B A1 C A2 D A3

Structure Variational Theme and Variations further ideas Britten’s Young Person’s Guide to the Orchestra has each variation showcasing a different section of the orchestra, and his Nocturnal for Solo Guitar, starts with the variations, only revealing the Dowland’s underlying theme in the last section. Elgar’s Enigma Variations is a set of 14 variations on an original theme - each a musical portrait, capturing the personality of his close circle of friends. Variations include rhythmic, harmonic & melodic references and even a Dorabella’s stutter, W.N.’s laugh and particular experiences they shared. Elgar claimed all a based on a hidden theme that is “not played” and took the secret to the grave.

Structure

Variational

The Enigma theme - note the motivic variants. Pi?

Structure Stylistic Variational The common Blues and Jazz forms involving improvisation may be considered a special type of theme and variation. Typically a melody is played over a specific harmonic structure (A, AB, ABAC, AABA’ etc.) and then that harmonic form (and perhaps some motivic and rhythmic material from the melody are used for improvised solos, and another realisation of the melody is used to end the piece. The whole form may be topped and tailed by an intro, outro or intermediate sections (see All Blues). The stylistic forms you need to know are a 12-bar blues (sometimes interpreted as a 24-bar blues), an 8, 16-bar blues (Need Your Love So Bad) or other (Come On Pt. 1), and a rhythm changes (many examples)

Structure 12-Bar Blues (major)

I7

IV7

I7

I7

IV7

IV7

I7

I7

V7

IV7

I7

V7

Note this form wasn’t decided a priori it evolved, and still many structures have an indefinite length on the I chord, moving to the IV on cue

Structure 12-Bar Blues (minor)

i7 i7

iv7(IV7) bVImaj7

V7

i7

V7

Structure 8-Bar Blues (major)

I

I7

I V7/II ii7

IV7 V7

I7

#IVº7 IV7

I7

V7

Rhythm Changes

Structure

A A’ B A’

I V7/II ii7

V7

iii V7/II ii7

V7

I

iv

iii V7/II ii7

V7

I V7/II ii7

V7

iii V7/II ii7

V7

I

iv

iii V7/II ii7V7 I

I7

I7

IV

IV

V7/VI

V7/II

V7/V

V7

I V7/II ii7

V7

iii V7/II ii7

I

iv

iii V7/II ii7V7 I

I7

IV

V7

Structure Developmental

Built directly from smaller units - the most established in Western Art music being the Sonata form. This is beyond the scope of this episode. However the idea of a structure that is ‘through-composed’ an unfurling stream of consciousness with no clear sectional delineations is well established in ambient electronic music

Structure Structural Components Here are some of the devices that through repetition and variation starting with the most common Melody Lyrics Key Harmony Orchestration/Instrumentation Meter Rhythmic Subdivision/Groove/Feel Dynamics Timbre/Texture

Structure Popular Song Form - Building Blocks Intro Verse Prechorus Chorus Bridge Collision Solo Interlude Vamp Outro

Note that features may be shared - an intro can use the chorus’s chords for example

Structure Wind Cries Mary Hendrix Intro

Solo

Verse

Verse

Verse

Verse

Prechorus

Prechorus

Prechorus

Prechorus

Chorus

Chorus

Chorus

Chorus

Whispers

Cries

Screams

Cries

ends with material and similar to

Outro based on intro

Structure Better Be Home Soon Crowded House

Verse

Verse

Verse

Prechorus

Prechorus

Prechorus

Chorus

Chorus

Chorus’

Bridge

Chorus’’

(short)

Solo Interlude

Structure Grow Your Own Intro

Verse

Bridge

Chorus Prechorus

Vamp Interlude

Collision Solo Outro

Structure Electronic Structural Components In the absence of traditional key areas, melodic and harmonic expectations, lyrics and forms, electronic dance music and IDM has developed structural components and forms based more directly on instrumentation, rhythmic components and feel, dynamic changes and timbre

Intro Hook Break

Mid-8 Key Sample Build

Solo Drop

Arhythmic Outro

Structure Introductions Sectional A unique section that only appears once such as the original jazz form arrangements. Starting directly on a section that features throughout the track. Or an adapted (usually thinned and/or shortened) variation of a later important section or components

Fade Duration, curve

or...

Structure Endings Sectional (New) A modified section breaking expectation, new material or a logical conclusion e.g. Syrinx ends with the other whole tone scale

Sectional (Recap) A repeat of an earlier section with minimal alteration

Fade Duration, curve

or...

Exercise 1 Take an existing piece/section of yours (or write a new one) and rewrite in 7 different structures (including at least one from each of the 3 categories of sectional, variational and developmental).

MiltOnNotes Volume One

Recommend Documents