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scales and sonorities in the twentieth century

Shape of short articles, we will be covering various aspects and resources that have been frequently used by composers in the late nineteenth and twentieth century. One of these resources has been the use of non-traditional scales, or scales that are neither major nor minor. Some of these are:

1. full tonal scale or whole ( whole tone scale )
2. pentatonic scale
3. scale of 8 tones or decreased (also known as octatónica)
4. taken from medieval modes

also find other types of scales and in some cases, scale is created by composers to achieve a particular sound. In this article, we look at the formation and construction of the whole tone scale or whole and also its potential as a compositional resource.

The whole tone scale or whole

This scale consists of 6 tones, only 2nd largest and third decreased [similar enharmonic to a 2nd High]. In terms of content, only have 2 full-tone scales, So any transport or merely duplicate the content of the notes. Some theorists identify in their texts WT0 this scale (whole tone 0) and WT1 (whole tone 1), the difference is that at first the natural notes are Do-Re-Mi and the other with alterations, while the second indication would be the reverse (C #-D #-E # and the rest would be natural).

Example 1:

The enharmonic are irrelevant in the first instance might well have been Solbes-Lab-Sib instead of F #-G #-A #. The whole tone scale is usually related to the period of Impressionism as well as the composer Claude Debussy. This type of scale has its harmonic constraints it is not possible to build major or minor triads and seventh chord can only be that of the 7th dominant (V7) but with the diminished fifth, or the sound of the French augmented sixth or the fifth increased. On the other hand, this ambivalence tonal allows the composer to create blocks of notes that can be used as consistent due to the lack of major and minor chords.

pentatonic scale This scale consists of 5 notes (eighth) and consists only of second major and minor thirds. It is used mostly when you want to achieve an oriental sound, but could also be used outside this context.

Note that this scale is similar to a larger scale in which to omit the 4 and 7 mo grade, grades usually in traditional harmony and counterpoint settled down and bottom respectively. In the smaller scale we omit the 2 and 6 do ^to grade.

Example 1: The pentatonic scale

Example 2: Pentatonic Modes

The tone is do	The tone is re	The tone is my	etc.

can also carry this scale to have:

Example 3:

The scale of 8 notes or diminished (also known as octatónica)

This scale shown in Example 1, consists of 2 ^das alternately higher and lower [for this reason is also known as tone-semitone-tone on this scale] and the vast majority of chords we can find quality is diminished. We can only find 2 modes of this scale: one that began with the 2 gives greater and the other beginning with the 2 gives less and only 3 transports, which is shown in Example 2, the other containing do # re # and and the other containing re and my , any other transport mode or simply duplicate the contents of the material. Example 1

Example 2

taken from medieval modes

During

past months we have taken you several articles on sounds that have been frequently used in twentieth century music, specifically in the area of \u200b\u200bthe scales. As a last item in our collection features the use of the old ways.

modes are not a modern invention but an adaptation of the methods that were used in the music of the Medieval and Renaissance times. For that time there were 8 modes 4 modes and 4 modes plagal authentic (see example no.1). In the authentic modes are assigned odd numbers while plagal modes have even numbers. This is so because each of the modes was related plagal directly to an authentic way. These modes plagal containing the same notes as their way except for your registration began with a fourth interval below the authentic way.

Some theorists use the Greek names Dorian, Phrygian, Lydian and Mixolydian modes for real, I, III, V and VII respectively. At plagal is prefixed hiccups on the name of your true, being the mode II hipodórico mode, the IV hipofrigio , etc.

Example 1:

http://www.teoria.com/articulos/aramirez/indice.htm