peterlopagus

That would make sense that he mentioned these concerns now since the exercises I'm working on at the moment involve connecting 6th chords to regular 4 part triads. Thanks for the feedback its helpful and interesting stuff.

Oh, that makes sense. So he's basically talking about avoiding a transition that would result in a chord with the third doubled. Thanks a bunch my friend that was really helpful and I think I'll be able to continue these exercises now!

Hello, my name is Peter and I am currently studying Arnold Schoenberg's Theory of Harmony and I've come across a bit of confusion which hopefully you may help me out with. At the moment I am working on chord transitions exercises using old voice leading rules that basically forbid the use of parallel fifths and octaves when using parallel motion between two voices. I understand that reasonably well however Schoenberg also mentions doubling of the third in this passage ... "In some cases he will discover parallel octaves and fifths and must discover how to evade them. In some others it will be necessary to dispense, in part, with the sustaining of common tones because otherwise the superfluous doubling of the third would result." (page 71 in the Inversions:Connections of Chords section). I'm pretty sure hes talking about sustaining two voices that are a interval of a third apart during a chord transition. My question is when he mentions doubled thirds, is he only concerned about the third interval between the root and the third or would the interval between the third and the fifth also be considered since that is technically a third interval as well. This might all sound confusing to someone who hasn't read the book and my explanation probably is not that clear in the first place but if anyone can help me out I would really appreciate it. And I can clear up any confusion that might arise. One thing I was also curious about was this whole idea of sustaining thirds in chord transitions and wondering why it used to be considered bad practice in the first place. Thanks for reading this and hopefully I'll hear from you soon.

I guess if you wanted to put a bit of a spin on the folk tunes you could listen to someone like B

Well Jimmy Page used a bow on his electric guitar in the bridge part to "whole lotta love" to get some really nice sound effects out of his guitar. I always wanted to try one out on a bass with flat wound strings on it, I dont know if I could skip strings at all since the bass strings are pretty level with eachother but you might be able to get some nice effects if you stick to one or two strings.

Canonizing your tone row can create some interesting harmonic effects depending on the nature of your tone row. I know Anton Webern did some canonized works, or at least partly canonized.

That violin concerto was one of the main pieces that inspired me to start writing a dodecaphonic piece :toothygrin:

I really enjoyed Exeliksis for Chamber String Orchestra, I love the mix of tension and more consonant harmonies. It gives the music a lot of depth, complex personality and a very unique beauty. I just read through your analysis a couple of time now and I'm gonna need to read it and put some of your mathmatical ideas to practice like using areas of certain shapes. I still don't understand how its applied but Im gonna read through it a bit more before I ask any questions which I'm sure I'll have :horrified: The main thing I'm trying to work on now is a sort of mathematical framework for my composition, I have a lot of ideas connected through my tone row but they just dont seem to have any direction at the moment and using mathematical patterns just seems so exiting to me! Im gonna look into some of the Jim mcNeely you metnioned as well, thankyou

Hello, my name is Peter and I just recently joined this forum. I'm an IB student and I just finished my music higher course. I did three compositions for my music course and have been working on music with other poeple for many years. Right now I am trying to create a composition based on the dodecaphonic system. I have created some melodies that I really like but right now I'm trying to look at a bigger structure and I am a bit stuck. One thing that interested me was the idea of using mathematical structures and patterns but I don't know how I woudl apply it to music. I've been mostly looking at artists like Simon Thomas Simon Thomas Sculpture - Biography and some others, and an intersting jazz artist called Rudresh Mahanthappa www.myspace.com/rudreshm who uses mathematical structures in his album codebook I was just wondering if anybody has had any experience with using mathematics in their compositions or could give me any useful links. I put this in advice and techniques cause I would love to read any dscussion on the subject as well. Thankyou for reading this, Pete.