New answers tagged composition
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I originally posted in the comments, but since time has passed, I think it more appropriate to be shown below:
Hexachords are chords or pitch-class sets that contain six notes.
A hexachordal system refers to exactly what you outlined: use of the first six modes of the diatonic scale - which had been established long before Fux came and wrote his text. The ...
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In traditional four-part harmony, adjacent voices may be up to a major-tenth apart at the widest possible range. It is preferential for them to remain an octave or less in distance, but octaves themselves are perfectly acceptable. The Tenor and Bass voice may be up to a perfect-twelfth part, though Bach certainly has broken this rule.
There are some Bach ...
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Fux does allow them in counterpoint. As I pointed out in one of my comments, confusion comes from voice-relationships:
A minor-sixth is of course allowable between two voices because it is an imperfect consonant interval.
A minor-sixth is not allowable within the same voice because it is a leap greater than a perfect-fifth and is therefore inexcusable ...
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Chris - you have many questions in a row, so I thought it easier to submit an answer rather than post several comments. To moderators, I apologize if this is cluttersome.
Here we go:
1.) You are correct, you did not in fact make that statement - I did not realize that you were quoting Cuthbert. I will expand upon this answer momentarily.
2.) The term ...
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In the older hexachordal system, mi refers to a note below a half step (like E below F or B below C) and fa refers to a note above a half step (like F or C in a white note system). So by changing F (which is a Fa) to F# he is temporarily making it a Mi. Think of Mi as like a leading tone with a tendency to move upwards. Fa had a tendency to move down, ...
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First and last chords usually designate the key of a piece - start from home, end back at home after the journey. This way even a non-musical listener will feel a proper trip out and back.
Songs in a key will use the same chords whether they are in maj. or relative min. BUT often the min. will use a major fifth in order to return to the root. Thus - in ...
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Theoretical characteristics and harmonic treatment are specific to each musical period. Armed with this knowledge, you can interpret when a piece was written by only studying the music. You must remember this when you are comparing other composers' works with your studies. Your last couple questions concerned Baroque counterpoint, and in this question you ...
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You've already given an example where the progression is handled differently, and from one of the great masters of history at that. (Granted, one who was famous for saying "Not allowed? Then I'll allow it!", but still... Beethoven!)
"Must follow" can only be true or false within the framework of a particular theory of harmony, and since there is no such ...
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In equal temperament it can be either, depending on the context. If you're writing a descending D#-minor triad it's a minor third. If you're writing a descending harmonic G-minor scale it's an augmented second. You should actually write it as F#-Eb then although it will sound just the same on a piano, for example. But even pianists may play the interval ...
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I seem to remember (far too many years ago) my theory teacher stating flatly that the names of the notes define the interval, e.g. C-Ebb is dim3 but C-D is major2 .
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I've always used the lower note as a base to count from.Thus, D# to F# (or even Eb to Gb) is a minor third.If it was to be called an augmented second it could be, but it may depend on the key the piece is in.An example of that section of tune may make it easier to explain.
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Your confusion concerning this issue stems from your incorrect voice leading. In the scenario you provided, you have parallel octaves between the first and second chord, which not only makes awkward voice leading for the third chord, but also leads to incorrect doubling for the second chord.
When using a diminished chord, it is better to double the third ...
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It's actually just a minor third. D# to F## would be a major third, therefore, D# to F# is a minor third. A diminished third would be D# to F. Besides, you wouldn't hardly ever use an augmented interval to descend in a voice, but ascending would be more likely.
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You don't have to learn to play the instrument, but you should definately learn about the instrument and it's possibilities and limitations!
If you don't learn about the instrument you run the risk of
writing music that is technically unnecessarily difficult, or impossible, to play. For example: making bad keys selections; writing note sequences that ...
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jjmusicnotes' answer is a good answer, and I'd like to make a special plea for the percussion section. I know many musicians don't have much time for percussionists, but as a composer the section can be your ally. It can keep the ensemble together (whether there's a conductor or not); it can give you a lot of support for dynamic changes; and it can help make ...
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As a composer, you mostly end up writing for instruments that you yourself don't play. Apart from Hindemith, it is fairly impossible to maintain a high level of proficiency on every instrument - there just isn't that much time and it is not feasible.
However, that does not excuse having a working knowledge of the instrument. Though it might seem silly to ...
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