Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


ComposerMITA last won the day on December 3 2018

ComposerMITA had the most liked content!

Community Reputation

1 Neutral

1 Follower

About ComposerMITA

  • Rank
    Starving Musician

Profile Information

  • Gender

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Hi Gustav just listened to your piece! I'm not really into atonal sounding pieces (except if it used as an effect) so i will not comment on the piece itself. I just want to react to what you wrote in the description to clarify the method i described before: Yeah that's true, however while the aim with this method that every line on one hand should be independent and should stand on its own as good as possible on the other hand it should sound good together also (one should be able to synchronize their vertical and horizontal writing and balance them). Your free lines are your horizontal lines but the resulting chords are your vertical structure and one should keep attention to this also how you leading voices or how your chord progression sounds. It's not an easy task i know i try to learn this as well, just wanted to point out that if you were to aim for a atonal sound that's perfectly fine, but one can write 'diatonic sounding pieces' with this technique also or write in any style really. So don't think about it as mixing modes randomly to generate random results. One can pick scales that are close to each other also, point is to have a logic in your mind and aim and to learn not only to start writing music by writing block chords first (vertical structure), but one can start with free lines (melody and countermelodies, free lines etc- your horizontal structure) as well. If one are able to balance these two really good results can be achieved.
  2. Nice! Please share what you would came up with! I would like to listen to it! : )
  3. Well you are right that the piece is not entirely modal! Occasionally there are some notes that not part of the given mode or scale : ) Ok i'll try to give a little bit of context here, because your confusion is actually perfectly valid: You can see in my name the word "MITA" that stands for "Music Interval Theory Academy" which teaches a system similar to Spud Murphy's EIS (Equal Interval System) method. (First of all I want to make clear that I DO NOT COME HERE TO ADVERTISE ANY ORGANIZATION OR SYSTEM! I am just trying to give a little bit of context how this piece came to be! So I hope this post and thread will not banned to infinity by the mods just because i mentioned this) The point is both systems have a kind of intervallic aproach to music composition meaning they focus more on the distance between different notes and intervallic formulas instead of thinking in strict tonal centers and scale degrees while also teaching a mindset and giving tools that actually generate music. There are some free courses online you can check it out if you interested and also some YT videos explaining the basics... ---------------------------------------- Now more about the guidelines: So this was originally an assignment about Combining Modes using a set of rules. It goes like this: 1. First write the melody for the soprano part from bar 1 to 16 (line writing) paying attention to choose every second bar a new tonal center and a new mode! 2. Next write a counter melody in the tenor part (without thinking in vertically or in chord structures (!) only horizontally!) doing the same as the soprano choosing every two bar a new tonal center and mode (different from the soprano part)! 3. Now write the alto part using the same modes/tonic as the soprano 4. Do the same with the bass using the same modes/tonic as the tenor 5. Profit (???) ---------------------------------------- Now how i applied the concepts? 1. First i came up with a LOGIC how i will choose my tonal centers and scales: 1a. Tonal centers: - In the Soprano/Alto: Mostly following the Circle of Fifth (It's called a Root Cycle 5 in MITA or just RC5) except the last two bars: D - A - E - B - F# - C# - Ab - D(!) - A(!) - In the Tenor/Bass: It's more complicated, but basically its a combination of different RCs (there are more than just your basic Circle of Fifth - actually there are 6 different RCs in an octave that you can combine freely) 1b. Modes: Random (but paying attention to always choose one not used before and use only scales with 7 notes) 2. Second i wrote the melody first in the soprano paying attention to all the mode changes, then wrote all the other parts afterwards Now here comes the source of your confusion basically (at least what i assume): - The melody is not your usual 8 bar period with two half periods, so it seems like it doesn't have a structure (even though it literally has) - The scale/mode changing picked randomly which result in not the smoothest transitions possible (if someone wants to achieve that one can choose neighbouring scales that's close together only differing in 1 scale tone at once - like Ionian/Lydian etc.) - Third source of confusion come from that on top of that i added some out of scale notes sparingly (that adds to the more cromatic/chaotic feeling to it, which is a nice technique to hide or mask your original ideas/scales, but also it can confuse the hell out of people in some cases i guess) - Also in the final score I rearranged the the whole score to more fit to the tempo changes i applied to them in my DAW (because originally i felt some notes should held longer in the melody, or should be quicker, I marked these places with fermatas) This results in what you mentioned that at the same bar there is a C# and a C which originally occured in two different bars. All in all i can easily understand why you felt confused, and thanks for your clarification also! See the attached original sketch i made the final score from posted above, maybe it can clear up some things. (Also I'm still learning to use this technique btw, this was my first attempt, never wrote polytonal/polymodal pieces before, but this can be a very powerful tool to came up with interesting new musical ideas for writing freely while applying logic and rules at the same time that guide you in the process) I know it sounds confusing so, if someone has a question just ask!
  4. This piece is based on the simple logic of switching both tonic centers and scales every two bars with the twist of the soprano/alto and tenor/bass always using different scales/tonic. So it's both polytonal and polymodal at the same time. (The scales were picked randomly, but that was the challange part of it) But why was it hard for you to follow it? Please elaborate.
  5. A short experimental composition excercise using various modalities.
  • Create New...