Atonality and Serialism - Revision history

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Meambobbo at 04:18, 14 April 2015

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Meambobbo at 03:33, 19 February 2015

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Meambobbo: Created page with "Up to this point, we've mostly been concerned with scales and compositions based around a particular tonic note. Even where the key modulates, we have modulated to and from k..."

2015-01-12T17:17:49Z

Created page with "Up to this point, we've mostly been concerned with scales and compositions based around a particular tonic note. Even where the key modulates, we have modulated to and from k..."

New page

Up to this point, we've mostly been concerned with scales and compositions based around a particular tonic note. Even where the key modulates, we have modulated to and from keys with a tonic note - at any point in time, the composition has ''some'' tonal center, although it is not the same note throughout the composition. Now we will cover scales, and particularly compositions, without a clear tonic note. This is called Atonality.

Atonality is not a strictly-defined term. It is a blanket label that is often applied to any music that is sufficiently difficult to understand in terms of traditional tonal analysis methods. This may mean that the piece contains many chromatic notes outside of the perceived key, or that there are many non-diatonic chords beyond simple tonicizations via secondary chords. It can also apply to pieces that only use diatonic notes within some key, but whose melodies do not tend towards any suspected tonic note, or whose chords do not fit into the harmonic functions that diatonic chords normally represent.

As you can imagine, atonality basically takes a wrecking ball to everything we've learned about music theory. Early atonal music around the early 1900's was pretty chaotic in this respect, known as ''free'' atonality, with the term "atonal" often used as an insult implying its composers didn't understand tonality. Atonal music was later refined and structured through Serialism.

Serialism is a compositional technique that uses ''rows'' of some musical element, such as rhythm or pitch. A row is a set of different elements arranged so that each element is played in sequence with each member element represented. The exact sequence chosen is up to the composer. When talking about pitch, this means that every note in the pitch class is played in every row. Even further, no note is played more than once per row. The most common pitch row is the Twelve-Tone Row, which uses every note from the chromatic scale. Although notes can be different durations, have different dynamics, and fall on different beats, every note is represented, forcing the composition away from any tonality. While serial music is not necessarily atonal, it is highly associated with it. For example, if our row consists of notes strictly from C Major, the piece could have a clear tonic note of C. Yet serialism typically uses a twelve-tone row, abandoning any attempt at tonality.

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 {{Top-Level Crumbs|1}}
 {{Lesson Crumbs|3}}
-{{Advanced Lesson Crumbs|10}}
+{{Advanced Lesson Crumbs|9}}
 Up to this point, we've mostly been concerned with scales and compositions based around a particular tonic note.  Even where the key modulates, we have modulated to and from keys with a tonic note - at any point in time, the composition has ''some'' tonal center, although it is not the same note throughout the composition.  Now we will cover scales, and particularly compositions, without a clear tonic note.  This is called '''Atonality'''.
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 == Chords and Progressions ==
 [[Category:Guitar]]

@@ Line 1: / Line 1: @@
 {{Top-Level Crumbs|1}}
+{{Lesson Crumbs|3}}
 {{Advanced Lesson Crumbs|10}}

@@ Line 9: / Line 9: @@
 Atonality is not a strictly-defined term.  It is a blanket label that is often applied to any music that is sufficiently difficult to understand in terms of traditional tonal analysis methods.  This may mean that the piece contains many chromatic notes outside of the perceived key, or that there are many non-diatonic chords beyond simple tonicizations via secondary chords.  It can also apply to pieces that only use diatonic notes within some key, but whose melodies do not tend towards any suspected tonic note, or whose chords do not fit into the harmonic functions that diatonic chords normally represent.
-As you can imagine, atonality basically takes a wrecking ball to everything we've learned about music theory.  Early atonal music around the early 1900's was pretty chaotic in this respect, known as '''''free'' atonality''', with the term "atonal" often used as an insult implying its composers didn't understand tonality.  Atonal music was later refined and structured through Serialism.
+As you can imagine, atonality basically takes a wrecking ball to everything we've learned about music theory.  Early atonal music around the early 1900's was pretty chaotic in this respect, known as '''''free'' atonality''', with the term "atonal" often used as an insult implying its composers didn't understand tonality.
 == Serialism ==
@@ Line 15: / Line 17: @@
 '''Serialism''' is a compositional technique that uses ''rows'' of some musical element, such as rhythm or pitch.  A '''row''' is a set of different elements arranged so that each element is played in sequence with each member element represented.  The exact sequence chosen is up to the composer.  When talking about pitch, this means that every note in the pitch class is played in every row.
-Even further, no note is played more than once per row.  The most common pitch row is the '''Twelve-Tone Row''', which uses every note from the chromatic scale.  Although notes can be different durations, have different dynamics, and fall on different beats, every note is represented, forcing the composition away from any tonality.  The melody also cannot
+Even further, no note is played more than once per row.  The most common pitch row is the '''Twelve-Tone Row''', which uses every note from the chromatic scale.  Although notes can be different durations, have different dynamics, and fall on different beats, every note is represented, forcing the composition away from any tonality.
 While serial music is not necessarily atonal, it is highly associated with it.  For example, if our row consists of notes strictly from C Major, the piece could have a clear tonic note of C.  Yet serialism typically uses a twelve-tone row, abandoning any attempt at tonality.

@@ Line 4: / Line 4: @@
 Up to this point, we've mostly been concerned with scales and compositions based around a particular tonic note.  Even where the key modulates, we have modulated to and from keys with a tonic note - at any point in time, the composition has ''some'' tonal center, although it is not the same note throughout the composition.  Now we will cover scales, and particularly compositions, without a clear tonic note.  This is called '''Atonality'''.
 Atonality is not a strictly-defined term.  It is a blanket label that is often applied to any music that is sufficiently difficult to understand in terms of traditional tonal analysis methods.  This may mean that the piece contains many chromatic notes outside of the perceived key, or that there are many non-diatonic chords beyond simple tonicizations via secondary chords.  It can also apply to pieces that only use diatonic notes within some key, but whose melodies do not tend towards any suspected tonic note, or whose chords do not fit into the harmonic functions that diatonic chords normally represent.
-As you can imagine, atonality basically takes a wrecking ball to everything we've learned about music theory.  Early atonal music around the early 1900's was pretty chaotic in this respect, known as ''free'' atonality, with the term "atonal" often used as an insult implying its composers didn't understand tonality.  Atonal music was later refined and structured through Serialism.
+As you can imagine, atonality basically takes a wrecking ball to everything we've learned about music theory.  Early atonal music around the early 1900's was pretty chaotic in this respect, known as '''''free'' atonality''', with the term "atonal" often used as an insult implying its composers didn't understand tonality.  Atonal music was later refined and structured through Serialism.
-'''Serialism''' is a compositional technique that uses ''rows'' of some musical element, such as rhythm or pitch.  A '''row''' is a set of different elements arranged so that each element is played in sequence with each member element represented.  The exact sequence chosen is up to the composer.  When talking about pitch, this means that every note in the pitch class is played in every row.  Even further, no note is played more than once per row.  The most common pitch row is the '''Twelve-Tone Row''', which uses every note from the chromatic scale.  Although notes can be different durations, have different dynamics, and fall on different beats, every note is represented, forcing the composition away from any tonality.  While serial music is not necessarily atonal, it is highly associated with it.  For example, if our row consists of notes strictly from C Major, the piece could have a clear tonic note of C.  Yet serialism typically uses a twelve-tone row, abandoning any attempt at tonality.
+== Chords and Progressions ==
 [[Category:Guitar]]

@@ Line 3: / Line 3: @@
 {{Advanced Lesson Crumbs|10}}
-Up to this point, we've mostly been concerned with scales and compositions based around a particular tonic note.  Even where the key modulates, we have modulated to and from keys with a tonic note - at any point in time, the composition has ''some'' tonal center, although it is not the same note throughout the composition.  Now we will cover scales, and particularly compositions, without a clear tonic note.  This is called <u>Atonality</u>.
+Up to this point, we've mostly been concerned with scales and compositions based around a particular tonic note.  Even where the key modulates, we have modulated to and from keys with a tonic note - at any point in time, the composition has ''some'' tonal center, although it is not the same note throughout the composition.  Now we will cover scales, and particularly compositions, without a clear tonic note.  This is called '''Atonality'''.
 Atonality is not a strictly-defined term.  It is a blanket label that is often applied to any music that is sufficiently difficult to understand in terms of traditional tonal analysis methods.  This may mean that the piece contains many chromatic notes outside of the perceived key, or that there are many non-diatonic chords beyond simple tonicizations via secondary chords.  It can also apply to pieces that only use diatonic notes within some key, but whose melodies do not tend towards any suspected tonic note, or whose chords do not fit into the harmonic functions that diatonic chords normally represent.
@@ Line 9: / Line 9: @@
 As you can imagine, atonality basically takes a wrecking ball to everything we've learned about music theory.  Early atonal music around the early 1900's was pretty chaotic in this respect, known as ''free'' atonality, with the term "atonal" often used as an insult implying its composers didn't understand tonality.  Atonal music was later refined and structured through Serialism.
-<u>Serialism</u> is a compositional technique that uses ''rows'' of some musical element, such as rhythm or pitch.  A <u>row</u> is a set of different elements arranged so that each element is played in sequence with each member element represented.  The exact sequence chosen is up to the composer.  When talking about pitch, this means that every note in the pitch class is played in every row.  Even further, no note is played more than once per row.  The most common pitch row is the <u>Twelve-Tone Row</u>, which uses every note from the chromatic scale.  Although notes can be different durations, have different dynamics, and fall on different beats, every note is represented, forcing the composition away from any tonality.  While serial music is not necessarily atonal, it is highly associated with it.  For example, if our row consists of notes strictly from C Major, the piece could have a clear tonic note of C.  Yet serialism typically uses a twelve-tone row, abandoning any attempt at tonality.
+'''Serialism''' is a compositional technique that uses ''rows'' of some musical element, such as rhythm or pitch.  A '''row''' is a set of different elements arranged so that each element is played in sequence with each member element represented.  The exact sequence chosen is up to the composer.  When talking about pitch, this means that every note in the pitch class is played in every row.  Even further, no note is played more than once per row.  The most common pitch row is the '''Twelve-Tone Row''', which uses every note from the chromatic scale.  Although notes can be different durations, have different dynamics, and fall on different beats, every note is represented, forcing the composition away from any tonality.  While serial music is not necessarily atonal, it is highly associated with it.  For example, if our row consists of notes strictly from C Major, the piece could have a clear tonic note of C.  Yet serialism typically uses a twelve-tone row, abandoning any attempt at tonality.
 [[Category:Guitar]]

← Older revision		Revision as of 04:27, 19 February 2015
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	<u>Serialism</u> is a compositional technique that uses ''rows'' of some musical element, such as rhythm or pitch. A <u>row</u> is a set of different elements arranged so that each element is played in sequence with each member element represented. The exact sequence chosen is up to the composer. When talking about pitch, this means that every note in the pitch class is played in every row. Even further, no note is played more than once per row. The most common pitch row is the <u>Twelve-Tone Row</u>, which uses every note from the chromatic scale. Although notes can be different durations, have different dynamics, and fall on different beats, every note is represented, forcing the composition away from any tonality. While serial music is not necessarily atonal, it is highly associated with it. For example, if our row consists of notes strictly from C Major, the piece could have a clear tonic note of C. Yet serialism typically uses a twelve-tone row, abandoning any attempt at tonality.		<u>Serialism</u> is a compositional technique that uses ''rows'' of some musical element, such as rhythm or pitch. A <u>row</u> is a set of different elements arranged so that each element is played in sequence with each member element represented. The exact sequence chosen is up to the composer. When talking about pitch, this means that every note in the pitch class is played in every row. Even further, no note is played more than once per row. The most common pitch row is the <u>Twelve-Tone Row</u>, which uses every note from the chromatic scale. Although notes can be different durations, have different dynamics, and fall on different beats, every note is represented, forcing the composition away from any tonality. While serial music is not necessarily atonal, it is highly associated with it. For example, if our row consists of notes strictly from C Major, the piece could have a clear tonic note of C. Yet serialism typically uses a twelve-tone row, abandoning any attempt at tonality.
		+
		+	[[Category:Guitar]]
		+	[[Category:Lessons]]
		+	[[Category:Advanced]]
		+	[[Category:Harmony]]

← Older revision		Revision as of 03:33, 19 February 2015
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		+	{{Top-Level Crumbs\|1}}
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		+	{{Advanced Lesson Crumbs\|10}}
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	Up to this point, we've mostly been concerned with scales and compositions based around a particular tonic note. Even where the key modulates, we have modulated to and from keys with a tonic note - at any point in time, the composition has ''some'' tonal center, although it is not the same note throughout the composition. Now we will cover scales, and particularly compositions, without a clear tonic note. This is called <u>Atonality</u>.		Up to this point, we've mostly been concerned with scales and compositions based around a particular tonic note. Even where the key modulates, we have modulated to and from keys with a tonic note - at any point in time, the composition has ''some'' tonal center, although it is not the same note throughout the composition. Now we will cover scales, and particularly compositions, without a clear tonic note. This is called <u>Atonality</u>.