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From David Cope, Techniques of theContemporary Composer, p. 27.
Various types of nontonal scales: modes, synthetic, and non-Western scales
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Folk MusicCharacteristics
!
Unusual phrase lengths (not restricted to 2, 4, 8, etc.)
! Metric variety: frequent use of mixed and additive meters
! Temporal fluidity: use of irregular rhythmic subdivisions and tempo changes.
! Modal rather than tonal melodies; not bound to the tyrannical rule of the
major and minor keys (Bartk).
! Not restricted by equal temperament: use of microtonal pitch inflections andscales based on natural tuning systems.
! Free from the expressive pretensions of 19th-century art music.
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Folk tune transcribed by Bla Bartk.
Irregular phrases
Flexible tempoIrregular rhythmic subdivisions
Microtonal pitch inflection
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Diatonic Modes
White note version: Starting on C:Mode name:
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
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Diatonic Modes
Lydian:
Maurice Ravel: String Quartet in F (1903)
Phrygian:
Ralph Vaughn Williams: Variations on a Theme of Thomas Tallis(1910)
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Pentatonic Scales
Derivation from diatonic scale:
The most familiar variety of pentatonic scale is the anhemitonic (I.e., without
semitones); it may be easily realized by playing on the black keys of the piano.
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Pentatonic Scales
Anhemitonic variety:
Claude Debussy: Nuages from Nocturnes(1899)
Maurice Ravel: String Quartet in F (1903)
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Claude Debussy: String Quartet (1893)
Pentatonic Scales
Other varieties:
Igor Stravinsky: Le Sacre du Printemps(1913)
m2 M3
m2P4
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Whole-Tone Scale
Claude Debussy: Canope from PreludesBook II (1913)
A
B
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Octatonic Scale
Three transpositions:
Two versions:
A
B
Major (whole-half)
Minor (half-whole)
1
2
3
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Octatonic Scale
Two nested diminished 7th chords
Structure:
Four overlapping [013] pitch cells
Igor Stravinsky: Octet(1922)
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Bla Bartk:MikrokosmosNo. 99Crossed Hands
Octatonic pentachord 1 (RH):
Octatonic pentachord 2 (LH):
These two octatonic pentachords
combine to form a single octatonic
collection.
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Olivier Messiaen!s Modes of Limited Transposition
From David Cope, Techniques of the
Contemporary Composer, p. 27.
Mode 1: 6 pitches, 2 transpositions(whole tone)
Mode 2: 8 pitches, 3 transpositions(octatonic)
Mode 3: 9 pitches, 4 transpositions Mode 4: 8 pitches, 6 transpositions
Mode 5: 6 pitches, 6 transpositions Mode 6: 8 pitches, 6 transpositions
Mode 7: 10 pitches, 6 transpositions
2 2 2 2 2 2 1 2 1 2 1 2 1 2
2 1 1 2 1 1 2 1 1 1 1 3 1 1 3 1 1
1 1 1 2 1 1 1 1 2 1
1 4 1 1 4 1 2 2 1 1 2 2 1 1