Analysis of Excerpts of Representative Composers
As mentioned earlier in this chapter, polymodality can be traced back to the baroque period. Figure 1.3 shows an excerpt of J. S. Bach’s Four Duets No. 2 BWV 303, measures 43-46. This is an example of contrapuntal writing, where Bach creates a canon a perfect fourth lower from the top voice. The upper melody is composed in a D melodic minor scale, and the lower voice is written in A melodic minor. Mosco Carner states that “Bach in contrast to most modern composers, is here as much concerned with the vertical factor as he is with the horizontal.”
In the previous example, the key relationship of an ascending perfect fifth creates a euphonic sound because there is only one conflicting scale degree. …show more content…
44 (1927). Most of the movement is constructed in the form of a double canon between violin I and II, and viola and cello (the cello is doubled by the upright bass). The first theme is played by violin II and imitated by violin I, at a rhythmic distance of an eighth note; the viola plays the second theme that is imitated by the cello also an eighth note apart. Each one of the instruments is composed in the Ionian mode in a different key with very few alterations. Figure 1.8 illustrates an excerpt of this movement corresponding to measures 16-19, where Hindemith achieves to use five tonal centers at a time: F Ionian, D Ionian, C Ionian, A Ionian and Bb Ionian. The contradictory aspect of Hindemith, is that more than a decade later he will discredit polymodality as something futile that exists only on paper, as mentioned …show more content…
Besides the conventional superimposing of two or more keys, he developed a way of creating chromaticism by intertwining modes. John Vinton writes, “Bartók developed this spontaneous use of polymodality into a more complex harmonic procedure, which he called ‘polymodal chromaticism’ or, more simply, ‘modal chromaticism’”. Figure 1.9 shows the first six measures of Bartók’s Mikrokosmos No. 59, where polymodality is achieved by combining C Aeolian on the right hand and C Ionian on the left. In contrast to previous examples, this piece uses the same tonal centricity with different modes. The combination of C Aeolian and C Ionian creates three conflicting notes and adds ten pitch
As mentioned earlier in this chapter, polymodality can be traced back to the baroque period. Figure 1.3 shows an excerpt of J. S. Bach’s Four Duets No. 2 BWV 303, measures 43-46. This is an example of contrapuntal writing, where Bach creates a canon a perfect fourth lower from the top voice. The upper melody is composed in a D melodic minor scale, and the lower voice is written in A melodic minor. Mosco Carner states that “Bach in contrast to most modern composers, is here as much concerned with the vertical factor as he is with the horizontal.”
In the previous example, the key relationship of an ascending perfect fifth creates a euphonic sound because there is only one conflicting scale degree. …show more content…
44 (1927). Most of the movement is constructed in the form of a double canon between violin I and II, and viola and cello (the cello is doubled by the upright bass). The first theme is played by violin II and imitated by violin I, at a rhythmic distance of an eighth note; the viola plays the second theme that is imitated by the cello also an eighth note apart. Each one of the instruments is composed in the Ionian mode in a different key with very few alterations. Figure 1.8 illustrates an excerpt of this movement corresponding to measures 16-19, where Hindemith achieves to use five tonal centers at a time: F Ionian, D Ionian, C Ionian, A Ionian and Bb Ionian. The contradictory aspect of Hindemith, is that more than a decade later he will discredit polymodality as something futile that exists only on paper, as mentioned …show more content…
Besides the conventional superimposing of two or more keys, he developed a way of creating chromaticism by intertwining modes. John Vinton writes, “Bartók developed this spontaneous use of polymodality into a more complex harmonic procedure, which he called ‘polymodal chromaticism’ or, more simply, ‘modal chromaticism’”. Figure 1.9 shows the first six measures of Bartók’s Mikrokosmos No. 59, where polymodality is achieved by combining C Aeolian on the right hand and C Ionian on the left. In contrast to previous examples, this piece uses the same tonal centricity with different modes. The combination of C Aeolian and C Ionian creates three conflicting notes and adds ten pitch