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0:47 Tonality; 1:39 Scales; 2:05 Major Tonality; 3:33 Minor Tonality; 4:51 Lesson Summary; Save Save Save. Want to watch this again later? You are viewing lesson Lesson 3 in chapter 1 of the. Atonality in its broadest sense is music that lacks a tonal center, or key. Atonality, in this sense, usually describes compositions written from about 1908 to the present day, where a hierarchy of pitches focusing on a single, central tone is not used, and the notes of the chromatic scale function independently of one another (Kennedy 1994).More narrowly, the term atonality describes music.
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Composers are keen to do novel and interesting things with tonality, and Opusmodus has three powerful tonality functions to realise mapping to chords and scales. The Opusmodus system carries within it an extensive list of pre-defined tonalities, but in this piece we're going to create tonalities from the pitch-class-set PCS4-9 and its complementary form: Swinsian 2 1 2 – music manager and player salaries.
First, let's use CREATE-TONALITY to make two scales made from the intervals of PCS4-9 and its complement.
The aim is to map a stream of integers on to each of the tonalities (scale-1 and scale-2). Here is the integer stream:
Now we can use TONALITY-MAP to map the tonality on to the stream. Dxo photolab elite edition 1 1 1 58 download free.
Let's do the same with scale-2:
To get the complementary pitches we have to fix a :rootd4:
Now to structure the rhythm of the piece:
Later we'll see why we need to know just how many beats there are in the collection of bar-lengths. But for now, we use the function FIND-SUM to find out. If we SPANstream-1 and stream-2 with rhy-a we get a list in sequence:
Moving to Section B let's use the function HARMONIC-PATH. This is like one of those simple electronic keyboard arpeggiators (!) only written into a software function.
Notice the pattern repeating in the list.
This section uses the CHORD-INTERVAL-ADD function to harmonise notes in both hands, but only on selected sections:
In Section C the chordal material moves to the right hand. We use the third tonality function - TONALITY-SERIES. This is a little similar to what we did in Section A, sequencing one tonality after an other, only we could use any number of tonalities 'as a series'. The source for the pitch material (to be mapped to our scale tonalities) is quite complex:
The right hand makes chords whilst the left hand plays a stream of pitches in the bass, always corresponding with the changes in tonality at every bar.
Finally, something quite unusual happens at the end. Evaluate and Play and wait for the final bars of the piece to see/hear for yourself:
This :start and :end feature of COMPILE-SCORE lets the composer play with the ordering and sequencing of a score-script. And this is the tip of the iceberg, as we'll discover in Lesson 27.
Tonality 1 3 0 7
Next page Lesson 25. Tonality 2
1/3 Symbol
Moving to Section B let's use the function HARMONIC-PATH. This is like one of those simple electronic keyboard arpeggiators (!) only written into a software function.
Notice the pattern repeating in the list.
This section uses the CHORD-INTERVAL-ADD function to harmonise notes in both hands, but only on selected sections:
In Section C the chordal material moves to the right hand. We use the third tonality function - TONALITY-SERIES. This is a little similar to what we did in Section A, sequencing one tonality after an other, only we could use any number of tonalities 'as a series'. The source for the pitch material (to be mapped to our scale tonalities) is quite complex:
The right hand makes chords whilst the left hand plays a stream of pitches in the bass, always corresponding with the changes in tonality at every bar.
Finally, something quite unusual happens at the end. Evaluate and Play and wait for the final bars of the piece to see/hear for yourself:
This :start and :end feature of COMPILE-SCORE lets the composer play with the ordering and sequencing of a score-script. And this is the tip of the iceberg, as we'll discover in Lesson 27.
Tonality 1 3 0 7
Next page Lesson 25. Tonality 2
1/3 Symbol
1/3 As A Decimal
Go back to Reference page.
