Quote:
Originally Posted by gms5287
Then don't use straight forward triads. You can put in non-harmonic tones to keep the overall color consistent, transition more easily have better voice leading. You have to develop a language that's consistent otherwise you'll sound all over the shop. Nothing sounds worse than a piece using an "atonal" approach and then it ends with a major triad, boooo! So yeah, don't do that.
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Pffh, nothing sounds worse than someone giving off axiomatic rules of what music should sound like! We're no longer living in the fifties. You
can end an atonal piece on a major triad.
Which also reminds me: I'm just using Stravinsky's "L'histoire du soldat" as a an exercise for playing from the score, and while it certainly isn't atonal in the sense of the second Vienna school, the dissonant harmonies don't follow a tonal progression for the most part, yet all phrases still tend to end on a minor or major triad, especially in the last piece, the "Grand Chorale". I think this would be a good example to study for entering and leaving different "tonalities". It's absolutely gorgeous too.