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LimpyLoo

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  • 2 weeks later...

these look like some pretty cool links! will check them out when I have time!

Yeah, I bump into cool musicology shit daily so I thought it'd be nice to have a place to share it

 

More on the way, and of course feel free to add to the pile!

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Bartok's Axis System:

http://www.harmonicwheel.com/bartok_axes.pdf

http://www.mi.sanu.ac.rs/vismath/lends/ch1.htm

 

This right here is great shit to know

Essentially, given a key center (e.g. C major), every note of the "chromatic set" serves a dominant, sub-dominant or tonic "function"

 

So in C major:

Tonic = C maj, Eb maj, Gb maj, A maj

Sub-Dominant = F maj, Ab maj, B maj, D maj

Dominant = G maj, Bb maj, Db maj, E maj

 

So if you're sick of Diatonic Harmony, you could try cycling through "Tonic-Subdominant-Dominant" cadences using substitute changes from the Axis System

 

So instead of C-F-G-C-F-G etc

You could do (e.g.) C-Ab-E-A-F-Db-Gb-D-Bb

And get the same sense of movement, albeit with different harmonic "colors"

(Also works with minor chords, but requires some finessing to sound right)

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And here's a sister concept to Bartok's Axis System...

 

The Symmetrical Movement Concept:

http://m-base.com/essays/symmetrical-movement-concept/

 

("As above, so below")

Basically, if you take a chunk of music (melodies, chords, whatever) and invert the directionality of all the intervals (up vs down) then you will get a different-yet-equally good chunk of music

 

So with a melody like:

C-E-G-B A-F-D-G-E

If you invert the direction of the intervals (and start on the same note) you get:

C-Ab-F-Db-Eb-Gb-Bb-F-Ab

And if you wanna transpose it back to C, you get:

B-G-E-C-D-F-A-E-G

 

 

If you are looking for a fucking awesome way to develop your own tonal vocabulary, this is a an indispensable thing to know. You can apply it to entire songs, even. As an expertise I did it to the Beatles' "I Will", "Happy Birthday", and "Twinkle Twinkle" and the results were not only awesome, it sounded completely unlike the usual cliches everyone uses.

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Before he died, Messiaen wrote a massive treatise (~2100 pages) about how he approached composition. It has yet to receive an official translation, but luckily some poor music PhD student translated the first ~400 pages for his dissertation or thesis or whatever:

 

https://shareok.org/bitstream/handle/11244/5762/9914415.PDF?sequence=1&isAllowed=y

 

In the translated bits he talks about the Indian Classical approach to rhythm, how the (ancient) Greeks approached rhythm and scansion, birdsong, some harmonic ideas, and of course Jesus Christ our lord and savior.

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