Music which conforms mostly to the diatonic system of tones.

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How to make C lydian not sound like G ionian?

What are some concrete melodic and harmonic tools to establish the correct tonic center in a lydian melody? The reason for asking about lydian specifically is that there is no minor seventh for the ...
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2answers
112 views

Do non-tonic ear training exercises hurt music students?

I've always had a problem with some of the songs that are used to remember what an interval sounds like. Particularly, the ones whose melodies don't start on the tonic. For example, Here Comes The ...
12
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1answer
200 views

What are the significant schools of 20th century music theory?

I'm reading the following paper, Lerdahl, F. (1988). Tonal pitch space. Music Perception, 315-349. I'm interested in comparing what is written here with other equivalent theories. Some of these ...
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3answers
301 views

General procedure for determining the name of an interval given a major key / diatonic collection

I'm attempting to program a library that lets one make use of concepts from Peter Westergaard's tonal theory. The current problem I'm trying to solve is to determine the specific name of an interval ...
2
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1answer
362 views

How do you construct a musical motive?

I was wondering if I could get a second opinion on methods for constructing a musical motive. I have been creating melodies for quite some time, mainly without taking harmonic progression into ...
11
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4answers
239 views

What are the benefits of determining form before composing?

I've heard time and time again of composers who say "It is better [for beginners] to know your form, and have a general idea of important chord progressions before you begin thinking seriously about ...
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4answers
1k views

Chord progressions

I know these kinds of question are asked a thousand different ways in every forum, but I've read many of them and they seem to be lacking in certain respects, so I'll cross my fingers and hope for the ...
7
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1answer
112 views

Why Orlando Gibbons is considered “the end of modality, the beginning of tonality”?

According to Glenn Gould (minute 28:20), Orlando Gibbons represents the end of modality, the beginning of tonality Can anyone deepen the meaning of this? Could you please point to a specific ...