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the 8-tone quatro-modes concept
Description
The 8-Tone Quarto-Modes Concept is a special study into the diminished and its application for mainstream jazz players, advanced improvisators, and notational composers. Ten years in development, and written by an internationally acclaimed musician for musicians already familiar with standard scaletone harmony, it is a new paradigm for further possibilities in jazz and improvisational music.
jazz, music theory, improvised music.
8-Tone Quarto-Modes Concept by G. F. Mlely, new music theory for
jazz improvisator.
jazz, music theory, improvised music.
8-Tone Quarto-Modes Concept by G. F. Mlely, new music theory for
jazz improvisator.
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Date
Apr 30, 2005
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8123
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Microtonalismo y Afinaciones alternativas:
Articulo de musica sobre microtonalismo y afinaciones alternativas, por Henzo Lafuente, con ejemplos en Flash.
La música contemporánea actual tiene una gran riqueza. Existe un sinnúmero de estilos y corrientes: Pop, New Age, Trip-hop, Electrónica, Jazz, etc. Y con el tiempo cada uno de ellos se van ramificando vetas artísticas por explotar. Esto está muy bien, pero sin embargo, se han olvidado, o bien se omiten por comodidad, ciertos tipos de estructuras que son igualmente válidas y que están desperdiciándose. Si bien es cierto, corrientes clásicas como el dodecafonismo, la música estocástica de Iannis Xenakis, la música aleatoria de John Cage, el minimalismo de Philip Glass, se han mantenido en un ámbito más bien restringido, de academia o bien se han contemplado como curiosidad.
Sin embargo, uno de los elementos fundamentales de la música, lo que parece establecido e inamovible, se han dejado muertas. Nos referimos a las notas musicales.
Se llegó a la convención de que existen doce semitonos en una octava y se acabó. Es decir, do, do#("# " significa sostenido), re, re#, mi, fa, fa#, sol, sol#, la, la#, y si. Atrás quedó Alois Hába, con su sistema de cuartos de tono, quien hizo algunas obras que eran más manifiestos de su pensamiento, que música propiamente tal ...
Articulo de musica sobre microtonalismo y afinaciones alternativas, por Henzo Lafuente, con ejemplos en Flash.
La música contemporánea actual tiene una gran riqueza. Existe un sinnúmero de estilos y corrientes: Pop, New Age, Trip-hop, Electrónica, Jazz, etc. Y con el tiempo cada uno de ellos se van ramificando vetas artísticas por explotar. Esto está muy bien, pero sin embargo, se han olvidado, o bien se omiten por comodidad, ciertos tipos de estructuras que son igualmente válidas y que están desperdiciándose. Si bien es cierto, corrientes clásicas como el dodecafonismo, la música estocástica de Iannis Xenakis, la música aleatoria de John Cage, el minimalismo de Philip Glass, se han mantenido en un ámbito más bien restringido, de academia o bien se han contemplado como curiosidad.
Sin embargo, uno de los elementos fundamentales de la música, lo que parece establecido e inamovible, se han dejado muertas. Nos referimos a las notas musicales.
Se llegó a la convención de que existen doce semitonos en una octava y se acabó. Es decir, do, do#("# " significa sostenido), re, re#, mi, fa, fa#, sol, sol#, la, la#, y si. Atrás quedó Alois Hába, con su sistema de cuartos de tono, quien hizo algunas obras que eran más manifiestos de su pensamiento, que música propiamente tal ...
Category:
Music (and Music Theory):
I graduated from Washington University in St. Louis in 1988 with a bachelor's degree in music. I play (in decreasing order of skill) cello, violin, and keyboards, but primarily I am a singer. I am currently involved in music in the following ways:
I work at Wash. U.'s Gaylord Music Library,
I sing in the Saint Louis Symphony Chorus,
Until we had a falling-out in 1996, I conducted the Saint Louis Taiwanese Youth Chamber Orchestra (STYCO),
I sing in Offbeat, a vocal jazz ensemble, which unfortunately is currently on hiatus. (What can I say--we weren't getting gigs.)
I also lurk in and occasionally post to various music-related newsgroups and mailing lists.
I believe I have discovered an interesting result in the theory of well-temperaments.
The following will only make sense/be of interest if you are conversant with microtonal terminology for equal-tempered scales and harmonic limits.
N-TET is level-P consistent at the M-limit IFF:
For any triad whose three intervals can each be expressed as a product of P or fewer primary (or "consonant") M-limit intervals, the sum of the N-TET approximations of the two smaller intervals equals the (N-TET) approximation of their sum (the larger interval) ...
I graduated from Washington University in St. Louis in 1988 with a bachelor's degree in music. I play (in decreasing order of skill) cello, violin, and keyboards, but primarily I am a singer. I am currently involved in music in the following ways:
I work at Wash. U.'s Gaylord Music Library,
I sing in the Saint Louis Symphony Chorus,
Until we had a falling-out in 1996, I conducted the Saint Louis Taiwanese Youth Chamber Orchestra (STYCO),
I sing in Offbeat, a vocal jazz ensemble, which unfortunately is currently on hiatus. (What can I say--we weren't getting gigs.)
I also lurk in and occasionally post to various music-related newsgroups and mailing lists.
I believe I have discovered an interesting result in the theory of well-temperaments.
The following will only make sense/be of interest if you are conversant with microtonal terminology for equal-tempered scales and harmonic limits.
N-TET is level-P consistent at the M-limit IFF:
For any triad whose three intervals can each be expressed as a product of P or fewer primary (or "consonant") M-limit intervals, the sum of the N-TET approximations of the two smaller intervals equals the (N-TET) approximation of their sum (the larger interval) ...
Category:
Atonality is a musical system that avoids creating a feeling of key or tonality. This feeling can best be described as a sense that all notes in a melody or composition "belong" to each other, more or less, and also gives us a feeling there is a beginning, middle and end to a composition....
atonality, atonal, serial, tone row, 12-tone, 12 tone, twelve tone, chromatic, modern, Webern, Berg, noise, toanl, tonality, scale, scales, diatonic, pentatonic, Schoenberg, Stravinsky, composing, composition, composer, composers, 20th century, modernist, natural, artificial, invention, popular, science, unscientific, acoustics, physiology, archaeology, biology, hearing, hear, ear, tones, overtones, harmonic series, harmonic, harmony, consonance, dissonance, esthetics, evolution, natural selection, Darwin, evolutionary, music, musical, unpopular, books, ancient music, oldest, musical, instrument, antiquity, anthropology, archaeology, archeology, aulos, double flutes, gymel, bagpipes, scottish, irish, counterpoint, organum, brain, classical sheet music, mass psychology, crowd behavior, collective organism, earliest music,early music, ethnomusicology, physics, relativity, conditioning, habit, social, history, anthropology, art music, predictions, sheetmusic
atonality, atonal, serial, tone row, 12-tone, 12 tone, twelve tone, chromatic, modern, Webern, Berg, noise, toanl, tonality, scale, scales, diatonic, pentatonic, Schoenberg, Stravinsky, composing, composition, composer, composers, 20th century, modernist, natural, artificial, invention, popular, science, unscientific, acoustics, physiology, archaeology, biology, hearing, hear, ear, tones, overtones, harmonic series, harmonic, harmony, consonance, dissonance, esthetics, evolution, natural selection, Darwin, evolutionary, music, musical, unpopular, books, ancient music, oldest, musical, instrument, antiquity, anthropology, archaeology, archeology, aulos, double flutes, gymel, bagpipes, scottish, irish, counterpoint, organum, brain, classical sheet music, mass psychology, crowd behavior, collective organism, earliest music,early music, ethnomusicology, physics, relativity, conditioning, habit, social, history, anthropology, art music, predictions, sheetmusic
Category:
The biological calendar that predicts the season for birth is a lunar calendar that, in humans, has somehow become the diatonic scale of music. A four-way correlation will be shown between the Meton lunar calendar, Fibonacci’s rabbit sequence, coral spawning record and both major and natural minor diatonic scales of music....
Category:
Tritones in early music:
Were they always prohibited?
Although the entry for "tritone" in the New Grove Dictionary of Music and Musicians[1] traces the tradition of this interval as the "devil in music" (diabolus in musica) to "medieval" times, I'm not sure just how far back this usage goes. J. J. Fux (1725), in his famous counterpoint treatise Gradus ad Parnassum, gives the traditional rule against a direct melodic leap of a tritone under the more general axiom Mi contra fa diabolus est diabolus in musica[2] -- this general maxim showing a disinclination not only for the augmented fourth or dimnished fifth, but for other "mi contra fa" combinations such as the diminished fourth and the augmented or diminished octave.
As modern writers have suggested, in a context of early organum around the 9th-10th centuries with parallel fifths and fourths predominating, an augmented fourth or diminished fifth might be heard as a kind of a "Wolf" -- that is, an interval which seems an "out-of-tune" variant on an expected concord.
I experienced this directly and vividly around the end of 1966, after taking a music survey course in high school (happily in effect a music history course) which led me to fall in love first with Renaissance, and soon thereafter also with medieval.
I was just learning a bit of music theory and sight-singing as a result of this excitement, when I discovered that I could play the two notes of a fourth simultaneously on a piano, and produce one of the most delightful sounds I could imagine. Sitting down and playing parallel fourths or fifths at a keyboard became my great pastime.
Then I noticed that one such interval sounded horribly out of tune, and asked if the instrument might need retuning. At this point, someone obligingly explained to me what a tritone was ...
Were they always prohibited?
Although the entry for "tritone" in the New Grove Dictionary of Music and Musicians[1] traces the tradition of this interval as the "devil in music" (diabolus in musica) to "medieval" times, I'm not sure just how far back this usage goes. J. J. Fux (1725), in his famous counterpoint treatise Gradus ad Parnassum, gives the traditional rule against a direct melodic leap of a tritone under the more general axiom Mi contra fa diabolus est diabolus in musica[2] -- this general maxim showing a disinclination not only for the augmented fourth or dimnished fifth, but for other "mi contra fa" combinations such as the diminished fourth and the augmented or diminished octave.
As modern writers have suggested, in a context of early organum around the 9th-10th centuries with parallel fifths and fourths predominating, an augmented fourth or diminished fifth might be heard as a kind of a "Wolf" -- that is, an interval which seems an "out-of-tune" variant on an expected concord.
I experienced this directly and vividly around the end of 1966, after taking a music survey course in high school (happily in effect a music history course) which led me to fall in love first with Renaissance, and soon thereafter also with medieval.
I was just learning a bit of music theory and sight-singing as a result of this excitement, when I discovered that I could play the two notes of a fourth simultaneously on a piano, and produce one of the most delightful sounds I could imagine. Sitting down and playing parallel fourths or fifths at a keyboard became my great pastime.
Then I noticed that one such interval sounded horribly out of tune, and asked if the instrument might need retuning. At this point, someone obligingly explained to me what a tritone was ...
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