C 2002This lesson is a continuation of lesson #3381: Classical Modern
Music Or Out Of The Box #1
The notes were selected at random in the previous lesson for the first Row. Subsequent Rows were developed. Once the rows were established they were transposed to the same starting pitch. That in turn gives the feeling of a tonal center, a sort of "glue", or feeling of home. Thus a tonal relationship was created between the five different rows.
Conventional harmony is constructed by selecting every other note in the scale to form the notes of the chords. The starting intervals are known as thirds. Thirds superimposed upon each other form the chords. C scale is composed of the notes C, D, E, F, G, A, B, and continuing to C, D, E, F, G, A, B, C.again. ect. the notes forming the tonic, or chord based on the first scale degree, we get C, E, G. Second degree = D, F, A. ect.
The rows were unconventional as the notes used were obtain via random selection of notes from the major and/or chormatic scale.
We may use all of the notes in a row to form a single tonal cluster.
Or we may form different tonal clusters derived from each specific row in a similar manner as that used in conventional harmony... using every other tone for the specific tonal clusters being created.
It is the latter process that will be used in this lesson for developing the tonal clusters.
Each row will be used in the same manner for comparison. The process is at best a mechanical device for obtaining unusual results. If you utilize the same processes for composition and something jars your inner creativity, break off and go with that aspect. You can always come back to something your working out in this method.
This is a method in utilization of abstract music via ROW selection. I have kept the ROWS that were slected in the prior lesson constant to show the viewer how they are developed in this entire lesson series on the same subject.
If I were creating a composition using the aspect of ROWS I would break off at any time I felt something interesting starting to develop.
If that happens to you, use everything at your disposal.. including the unconventional aspect of ROWS and/or conventional SCALES using what ever tonal clusters or harmonies that come to mind. C 2002
