Christmas song

Canción de Navidad, based on schemata. I have found and learned some beautiful patterns from Mozart (the Jupiter, the Morte), although he didn't invented them, they were used many many years before him.

That's expansion on your usage of schematas! Personally I just find the F natural in the pastorella schemata a little bit off, and I think changing that to F# doesn't change the schemata at all. But overall a great study piece. I read in your site and wiki and it's really resourceful. That Jupiter schemata is already used Josquin in his Missa Pange Lingua's christie eleison though.

Henry

Hi again Luis, I happened to listen to this xmas song a minute after it came in your channel or so, lol. As always, this is a good and solid composition but what it lately is fascinating me is your use of schematas and how didactic your video gets just by putting each one over the staff line. Really good content if you ask me, you deserve more subs.

Looking forward to check and listen some more of these schemata-based pieces.

Kind regards,
Daniel–Ømicrón.
 

First of all, clicked because of the cat. You got me.

Wonderful music as always, Luis. So what's the "Meyer" progression? I can't quite read the symbol next to F#m..I'm assuming a 6 for first inversion maybe? So it's i-#vii6-V7-i ? I only ask because it's my last name, so I feel like I should know it lol

Thanks for sharing!

9 minutes ago, Thatguy v2.0 said:

I only ask because it's my last name, so I feel like I should know it lol

LOL! There's no way my last name will be named though as it's so hard to pronounce!

I search through Wikipedia and it says: The Meyer features four events presented in pairs of two. The melody features a first descent from scale degree 1 to scale degree 7 in the first pair of events, and then a second descent from scale degree 4 to scale degree 3 in the second pair. The bassline features a stepwise ascent from scale degree 1 to scale degree 2 in the first pair and another stepwise ascent from scale degree 7 to scale degree 1 in the second pair of events. This establishes a tonic function to dominant function "opening" of the harmonic progression in the first pair of events, and then a dominant function to tonic function "closing" of the phrase in the second pair.

So I guess the "Meyer" concerns both melodic and harmonic content. As long as the top is 1-7, 4-3 and bass 1-2,7-1, and fulfill the tonic-dominant, dominant-tonic function will be ok? Even though in the third chord here the bass is not a 7, which F#, but D here, I guess it's fine?

Henry

15 hours ago, Henry Ng said:

That's expansion on your usage of schematas! Personally I just find the F natural in the pastorella schemata a little bit off, and I think changing that to F# doesn't change the schemata at all. But overall a great study piece. I read in your site and wiki and it's really resourceful. That Jupiter schemata is already used Josquin in his Missa Pange Lingua's christie eleison though.

Henry

 

That's interesting. I'm sure the F# would work fine here, surely it would sound more "round", more what our "tonal" ears would expect. However, the combination of natural minor and harmonic (or melodic) minor is often seen in the baroque period. The raised 7 was reserved for the dominant or when the scale is ascending. Besides, an F# would clash with the G in the base, mor than the F natural.

Another point of "trouble" was this: coming from Dm (as tonality) and going to Gm, when should the E natural be changed to E flat? This is a solution, but not the only one. Also, the leap from F# to Eb is not "the rule" (mayor second), but it can be used.

12 hours ago, Omicronrg9 said:

Hi again Luis, I happened to listen to this xmas song a minute after it came in your channel or so, lol. As always, this is a good and solid composition but what it lately is fascinating me is your use of schematas and how didactic your video gets just by putting each one over the staff line. Really good content if you ask me, you deserve more subs.

Looking forward to check and listen some more of these schemata-based pieces.

Kind regards,
Daniel–Ømicrón.
 

 

Thanks! The most interesting thing here is that these schemata were used in the classical and romantic period....

10 hours ago, Henry Ng said:

LOL! There's no way my last name will be named though as it's so hard to pronounce!

I search through Wikipedia and it says: The Meyer features four events presented in pairs of two. The melody features a first descent from scale degree 1 to scale degree 7 in the first pair of events, and then a second descent from scale degree 4 to scale degree 3 in the second pair. The bassline features a stepwise ascent from scale degree 1 to scale degree 2 in the first pair and another stepwise ascent from scale degree 7 to scale degree 1 in the second pair of events. This establishes a tonic function to dominant function "opening" of the harmonic progression in the first pair of events, and then a dominant function to tonic function "closing" of the phrase in the second pair.

So I guess the "Meyer" concerns both melodic and harmonic content. As long as the top is 1-7, 4-3 and bass 1-2,7-1, and fulfill the tonic-dominant, dominant-tonic function will be ok? Even though in the third chord here the bass is not a 7, which F#, but D here, I guess it's fine?

Henry

 

Yes, that's the Meyer. But have in mind that schemata are just "patterns" that admit many variations, for example in the third chord you can use a 5 in the bass. This is the beauty of schemata, that you can use them and combine them in many ways. I think they were born as frames to compose.

10 hours ago, Thatguy v2.0 said:

First of all, clicked because of the cat. You got me.

Wonderful music as always, Luis. So what's the "Meyer" progression? I can't quite read the symbol next to F#m..I'm assuming a 6 for first inversion maybe? So it's i-#vii6-V7-i ? I only ask because it's my last name, so I feel like I should know it lol

Thanks for sharing!

 

The cat is Keshy, a big Maine Coon. He passed away some weeks ago.... I have with me several cats and dogs.

The name of The Meyer was given after Leonard B. Meyer (1918-2007), who recognized this schemata.

7 hours ago, Luis Hernández said:

Besides, an F# would clash with the G in the base, mor than the F natural.

I actually love that clashing sound, but seems that I have too much Bach in my conception so that's just my preference.

7 hours ago, Luis Hernández said:

Another point of "trouble" was this: coming from Dm (as tonality) and going to Gm, when should the E natural be changed to E flat? This is a solution, but not the only one.

I will just add one dominant seventh chord in the melodic minor with the melody rising, so that the E natrual can still be retained

F#-G-A-Bb-C-A

D-E natural-F#-G-A-F#

But that's really justcmy preference, since I am notvall familiar with the schematas!

7 hours ago, Luis Hernández said:

The name of The Meyer was given after Leonard B. Meyer (1918-2007), who recognized this schemata.

I've read his "Rhythmic Structure of Music" but never know that!

7 hours ago, Luis Hernández said:

Yes, that's the Meyer. But have in mind that schemata are just "patterns" that admit many variations, for example in the third chord you can use a 5 in the bass. This is the beauty of schemata, that you can use them and combine them in many ways. I think they were born as frames to compose.

Yeah should definitely try that one day!

Really educational here, thank you so much!

Henry