Lifeforce Of Musiotics

In before he says that the whole-tone and/or chromatic scale is Mephistopheles' scale, or the unison is Jesus' favourite interval or something.

Understanding Post-Tonal Music

Miguel A. Roig-Francoli - University of Cincinnati

McGraw-Hill, New York, NY 2008

Chapter 2 - Pitch Centricity and Symmetry [excerpt]

Various types of symmetrical pitch structures (as well as other types of musical symmetry) have been used by composers of post-tonal music throughout the twentieth century. We begin this chapter by examining several types of post-tonal symmetrical structures, including equal divisions of the octave, symmetrical motivic cells, and spatial symmetry around an axis.

...

Interval cycles and Equal Divisions of the Scale

An interval cycle is a succession of repeated, equal intervals. In Figure 2.1 the complete chromatic space is represented as a clock face, with the twelve "hours" now representing the twelve pitch classes. We will use a system of notating pitch classes with integers, comparable to "fixed-do." By convention, in the "fixed-do" system we will always assign integer 0 to pitch-class C, and go up the chromatic set of pitch classes, counting half steps up from C. Thus, integer and pitch-class equivalences are as follows (enharmonically equivalent pitch classes, such as F sharp and G flat, are represented by the same integer):

C-0, C sharp-1, D-2, D sharp-3, E-4, F-5, F sharp-6, G-7, G sharp-8, A-9, A sharp-10, B-11

Following this convention, you can think of the hours in the clock face as pitch classes, with C placed at the twelve o'clock spot. If we label intervals with an integer representing the number of semitones contained in the interval, then we refer to the semitone as interval 1, the whole tone as interval 2, the minor 3rd as interval 3, the major 3rd as interval 4, the perfect fourth as interval 5, and the tritone as interval 6. Six interval cycles are represented in figure 2.1. Each interval cycle is identical to the interval cycle generated by the interval's complement or intervallic inversion (the complement or intervallic inversion of the semitone, interval 1, is the major 7th, interval 11; the complement of the whole tone interval 2 is the minor seventh, interval 10, etc.). For instance, interval cycle 3 (Figure 2.1c), generated by the minor 3rd, is the same as interval cycle 9, generated by the minor 3rd's inversion, the major 6th. If you read Figure 2.1c clockwise you are reading interval cycle 3, whereas if you read it counterclockwise, you are reading interval cycle 9. Thus, we can label the six interval cycles as 1/11, 2/10, 3/9, 4/8, 5/7, and 6, respectively.

The six interval cycles represented in Figure 2.1 in pitch-class space are as follows:

1. A cycle of semitones (the 1/11 cycle) divides the octave into twelve equal segments (the chromatic scale). There is only one chromatic scale (Example 2.1a). Figure 2.1a shows the cycle of semitones dividing the octave into twelve equal segments.

2. A cycle of whole tones (the 2/10 scale) divides the octave into six equal segments (the whole-tone scale, Example 2.1b). There are only two possible whole-tone scales using different pitches. Figure 2.1b shows the two whole-tone cycles, each dividing the octave into six equal segments.

3. A cycle of minor thirds (the 3/9 cycle) divides the octave into four equal segments (the fully diminished seventh chord, Example 2.1c). There are only three possible different fully diminished seventh chords. The three cycles of minor thirds dividing the octave into equal segments are shown in Figure 2.1c.

4. A cycle of major thirds (the 4/8 cycle) divides the octave into three equal segments (the augmented triad, example 2.1d). There are only four possible different augmented-triad chords. The four cycles of major thirds dividing the octave into equal segments are shwon in Figure 2.1d.

5. A cycle of tritones (the 6 cycle) divides the octave into two equal segments (Example 2.1e). There are six possible different tritones, as shown in Figure 2.1e.

6. A cycle of perfect fourths (The 5/7 cycle) divides the octave into twelve equal segments. There is only one 5/7 cycle (this is the familiar "circle of fifths"), because, as is the case with the 1/11 cycle, we need to go through all twelve pitch classes before we get back to the initial pitch class. Both the diatonic scale and the pentatonic scale are segments of the 5/7 cycle.

The diatonic scale, on which functional tonality is based, divides the octave unequally into some combination of tones and semitones. In pitch-class space, all six interval cycles divide the octave equall, as we can see in Figure 2.1. In pitch space, however, one cycle, the 5/7 cycle (the circle of fifths), does not divide the octave equally. Each of the five remaining interval cycles divides the octave into equal segments both in pitch and pitch-class spaces. All of these equal divisions are non-diatonic and symmetrical (that is, we can read the pitch-class collections that result from these divisions forward or backward, and in both cases still end up with the same intervals). The five equal divisions are illustrated as pitch collections in Example 2.1

Thank you much, this study is very intricately informative, my confirmation is definitive that this numerically symmetrical phenomenae is only 5-fold or 6-fold possible(either one or the other but absolutely unconfirmed as yet), similar to the five polyhedra in geometry, though i cannot easily align them together in parallel as legitimate science. It seems to stop at the wholetone with anything higher is outstanding in context &/or mere multiples of the previous integers. Good study! :D

http://www.mathsisfun.com/tables.html

This idea of equal divisions was popular among composers beginning about 100-120 years ago. Bela Bartok is a great example of a composer that used symmetry effectively, two pieces come to mind of his.

- "Whole-tone Scale," No. 136 from Mikrokosmos, vol. 5 (1932-39)

- "Diminished Fifth," No. 101 from Mikrokosmos, vol. 4 (1932-39)

Starts at 6:55

The Bliss of Poulenc

The Ecstacy of Lemare

The Fire of Beethoven

The Complexity of Scriabin

The Harmonic Genius of Satie

The Haughtiness of Bach

The Virtuosity of Paganini

The Jubilence of Mozart

The Rapture of Lizst

The Passion of Rachmaninoff

The Brilliance of Scarlatti

The Awe of Kabalevsky

The Transcendence of Buxtehude

The Articulation of Debussy

The Emotion of Vivaldi

The Eccentricity of Stravinsky

The Power of Khatachurian

The Colors of Ravel

The Glory of Handel

The Darkness of Ligeti

The Boldness of Shumann

The Unphantomableness of Prokofiev

The Grace of Hayden

The Systematics of Xenakis

The Fecundity of Mahler

The Sweet Melodies of Tchaikovsky

The Integrity of Clementi

The Intricate Depth of Bartok

The Haunting of Chopin

All these enunciations are meant to capture or emphasize the most outstanding emination or character from each kompozer & his works as the dominant denominator not to mention the persona of his musical signature. :D Any one have more worth ones to add?

The Irony of Shostakovich...

The Inventive of Schubert...

The Structure of Schoenberg...

The Drunkness of Mussorgsky...

Well, we could actually ramble on describing major composers in a single phrase. (Heck, we used to have a thread describing Young Composers in a single short phrase as well)...

Yeah, although that isn't complete either. Notable absences include,

The Androgyny of Max Castillo

The Homo-Eroticism of Composer Phil and Voce

The General Awesomeness of wayne-scales

The Complete and Utter Idiocy of Marzique Bordex

Yeah, although that isn't complete either. Notable absences include,

The Androgyny of Max Castillo

The Homo-Eroticism of Composer Phil and Voce

The General Awesomeness of wayne-scales

The Complete and Utter Idiocy of Marzique Bordex

Better yet, THE MONUMENTAL GENIUS OF MARZIQUE! lol

As long as i am talking about musiotics, i want to discuss dreams & music. I once like had a dream of Satan coming towards me & then i somehow turned into a bonafide Priest where for a brief time i was able to preach as if from religious text & then the devil backed away due to the effective content of my complicated prayers that only a preacher could execute. I once also constructed an intangible metaphysical device in order to achieve an objective in dreamland, in this case to become aware in my dream in order to have more control over the dimensional parameters thus more fun. Nonetheless, in music similar to Tartini i composed a very good composition from a to z on an astral piano though nothing to due with Mephistopheles but when i woke up i had forgotten it unlike Tartini who wrote it down. This has not been the only time i have done this but certainly the best one. I suppose if i had been into physics instead of music, i probably would be working out equations with Albert Einstein in my dreams. Any one else care to converse on their most unique experiences of dreams & musical composition? I am curious about them though i think i should be skeptical as to their credability as some people partially post untrue events for whatever their reasons. I await your reply. :nod:

I once also constructed an intangible metaphysical device in order to achieve an objective in dreamland, in this case to become aware in my dream in order to have more control over the dimensional parameters thus more fun.

That's Idiotspeak for 'I made a habit of looking at my watch or in the mirror [or something] so that I could realize when I'm dreaming and make it lucid.'

That does work...

That does work...

http://www.youngcomposers.com/music/2626/fugue-pandorum-diatone/

Thank you! Since you are familiar with dream tech, i thought you might like this post of mine. Tell me what you think!

Yeah, although that isn't complete either. Notable absences include,

The Androgyny of Max Castillo

The Homo-Eroticism of Composer Phil and Voce

The General Awesomeness of wayne-scales

The Complete and Utter Idiocy of Marzique Bordex

Wait, this is too much fun to abandon this soon...

The kazoo-ness of Flanders and Swan

The Python-ness of Monti (yeah, see what I done there, huh? HUH!? Yeah, A-grade, yo kids can't touch dis shiz)

The Repetition of Philip Glass

The Prokofiev-ness of John Williams

The Rotary-Wing Aviation of Karlheinz Stockhausen

The Repetition of Philip Glass

The Sequinned Glasses-ness of Elton John

The atonal serial technique of Schoenberg. Schoenberg of technique serial atonal the. eht lanota euqinhcet fo grebneohcS. grebneohcS fo euqinhcet lanota eht.

T shtnss o Wbern

The (almost) certain dead-ness of Elvis

The Siderial rocking of Bill Hailey

The Repetition of Philip Glass

Wait, this is too much fun to abandon this soon...

The kazoo-ness of Flanders and Swan

The Python-ness of Monti (yeah, see what I done there, huh? HUH!? Yeah, A-grade, yo kids can't touch dis shiz)

The Repetition of Philip Glass

The Prokofiev-ness of John Williams

The Rotary-Wing Aviation of Karlheinz Stockhausen

The Repetition of Philip Glass

The Sequinned Glasses-ness of Elton John

The atonal serial technique of Schoenberg. Schoenberg of technique serial atonal the. eht lanota euqinhcet fo grebneohcS. grebneohcS fo euqinhcet lanota eht.

T shtnss o Wbern

The (almost) certain dead-ness of Elvis

The Siderial rocking of Bill Hailey

The Repetition of Philip Glass

In this little music quest or Musiotics, i would like to discuss within the genre of Neo-Baroque music which i compose, something new that i have discovered that can add spice to keyboard works specifically. The concept of " Double Trills In One Hand " in order to augment the intensity of the piece but one must be careful that in that augmentation one does not jeopardize the overall motif & harmony of the composition. You can play around with new embellishments such as double trills in the left hand by the alternation margin of augmented primes,seconds,thirds,fourths,fifths,& sixths. On the most complicated & difficult to play level, more complicated combinations such as a double trill alternating between the augmented prime & the tritone or the fourth & the fifth & etc. I will be posting a new composition in the keyboard solo section momentarily regarding the application of in this case a double trill in sixths in the left hand measure 28 which presented a technical problem at first= That the trill alternating between c & b was missing the harmony component, so i constructed the double trill which the bottom trill sustains harmony while the top trill adds an effective color in this case a color of heightened emotion while the other complex double trills i mentioned above can serve not emotion but darkness, comedy, or etc. use your imagination as to what purpose they serve thus classified under certain catagories. The composition is " Little Prelude In E Minor. I hope you enjoy it & i await your views. The link is below: :shiftyninja:

http://www.youngcomp...ium-in-e-minor/

I think the question we're all asking is, Does this constitute spam?

No, you don't.

I think the question we're all asking is, Does this constitute spam?

Dunno...spam is generally intended to sell things: Marzique I think is doing the opposite for his music.

Speaking of which, Schnittke's my favourite old-Baroque composer.

" Plato's Boring Essay "

( Diabolus et Musica )

Plato denounced music bad & effeminate music even way back then in his antique era. I can account for his analysis with an essay of my own: Evil in music is indivisible with sacred music to komplex interrelashionships unless the kompozer were to maintain the process free of impurities & finely & concretely divided excluding all the elements of one from the other in composition which ofcourse would sound very lame & constricted more than Bach's works were. Where the harmony can be kept holy, if one is not too careful or otherwise reckless, the rhythm can become haughty & indecent to contrapoint sacredness with indecent elements or pollution permeating subliminaly which one may refer to as secular infestation which easily dwells with interdictoric criteria because of it's free form & freedom & liberty that knows no boundaries of moral strictness or dicipline of the classic forms. Though a libretto or lyrical criteria may contain vulgarity, perversion, or malevolence, it is only the most bluntly outspoken undulations from the instrumental vexations as probably Plato might have concluded in his study of ethics in music as to what it is & what it will ever mean, it's definitive criteria, original meaning, & ultimate origin. Thus the 3 main known forms of all music: 1-Secular, 2-Secular Demonic, & 3-Sacred Angelic are equal in scientific power of the fundamentals & complexities thus all three indivisible as diciplined artform formulas none more creditable than the other. If one for instance aims at composing a sacred work in the scale of C Major, the devil might seep beneath it with unnoticable haughty interdictoric rhythms & thus the infestation of the impurities is still present subconsciously permeating without the awareness of the listener or performer thus planting seeds of malevolence. Surely this evil stealth is present even in the S.D.G. works of bach, his strange harmonies & haughty rhythmic patterns that the people of arnstadt,Germany complained about & the great Bach was severely reprimanded by the local authorities. :horrified: :sith: :jedi:

Why are there people this stupid?

Why are there people this stupid?

Please explain stupid. Do indeed post an essay of your own to confirm " The awesomeness of wayne-scales " , something worth reading i assume. Both Plato & Bach where brilliant minds & this essay journals their facts in my interpretation. I await your civilized reply. This argument is open to anyone's contribution not retribution. Transmission Concluded. 06282012 3:23AM

I hereby affirm the Aweomeness of Wayne-scales and the Complete and Utter Idiocy of Marzique.

I hereby affirm the Aweomeness of Wayne-scales and the Complete and Utter Idiocy of Marzique.