Schillinger's Theory of Pitch-Scales: First Group Part 3
Summary
TLDREste tutorial presenta aspectos adicionales de escalas de tonos en el sistema de composición musical de Schillinger, enfocándose en la continuidad melodica, relaciones de eje principal y técnicas de modulación melodica. Se ilustran principios y técnicas con ejemplos de aplicación, mostrando cómo identificar el eje principal, manejar relaciones de eje clave y aplicar técnicas de modulación para conectar frases musicales en diferentes tonos y modos.
Takeaways
- 🎼 El tutorial cubre aspectos nuevos del sistema Schillinger de composición musical, enfocándose en la continuidad melodica y las relaciones de eje principal.
- 📚 Se ilustran principios y técnicas con ejemplos de aplicación, basándose en el libro 2 del sistema Schillinger sobre teoría de escalas de tono.
- 🎹 Se define el eje principal como la unidad de tono que corresponde al valor máximo en la función de densidad de probabilidad, sirviendo como punto de anclaje para la escala.
- 🔄 Se muestra que el eje principal puede ser igual o diferente al grado fundamental de la escala, y cómo esto puede afectar la construcción de temas musicales.
- 🚀 Se discuten técnicas para la evolución de estilos de escala, como permutación, suma y selección de subconjuntos, para crear escalas con un número variable de unidades de tono.
- 🎶 Se exploran las relaciones de eje principal y eje de clave, y cómo estas pueden ser unitonales, multitonales, unimodales o multimodales en la continuidad melodica.
- 🔄 Se presenta la modulación melodica como una técnica para conectar frases en claves diferentes, y se explican tres métodos para lograr una transición fluida.
- 👂 Se enfatiza la importancia de la elección del ritmo temporal al crear continuidades melodicas, ya que puede influir en la determinación del eje principal.
- 🔑 Se resalta que las técnicas y principios del sistema Schillinger son herramientas valiosas para diseñar y crear transiciones musicales significativas.
- 📈 Se ilustran con ejemplos cómo las decisiones en la composición, como la elección de escalas derivadas y la aplicación de ritmos, pueden influir en la percepción del eje principal y la clave.
- 🌟 Se invita a los espectadores a dar like y suscribirse para seguir aprendiendo sobre el sistema Schillinger y otros temas relacionados con la composición musical.
Q & A
¿Qué es el sistema de composición musical de Schillinger y qué se enseña en este tutorial?
-El sistema de composición musical de Schillinger es un método de enseñanza avanzado de teoría musical que cubre una amplia gama de técnicas y conceptos. En este tutorial, se presenta otro conjunto de aspectos de escalas de tonos dentro del sistema, incluyendo el eje principal de una melodía continua, las relaciones del eje clave y las técnicas de modulación melodica.
¿Cuál es el propósito de la 'melodía continua' en el sistema de Schillinger?
-La 'melodía continua' es una secuencia ordenada de tonos con duraciones que se crea a partir de formas melódicas derivadas de una escala de tonos. Sirve como base para desarrollar una melodía completa, y se puede superponer con un patrón rítmico para crear una pieza más rica y compleja.
¿Qué es el 'eje principal' de una melodía y cómo se determina?
-El 'eje principal' es la unidad de tono que corresponde al valor máximo en la función de densidad de probabilidad acumulada de duración. Se determina al analizar la duración acumulada de cada tono en una melodía y es como un punto de anclaje para la escala.
¿Cómo se relaciona el 'eje principal' con la 'eje clave' en el sistema de Schillinger?
-El 'eje clave' se vuelve relevante cuando se trata de melodías más largas que implican un cambio de tonalidad o se mueven a través de diferentes variantes de escalas modales. Cuando no hay armonía presente, el 'eje principal' también es el 'eje clave'.
¿Cuáles son las cuatro relaciones de eje posibles que se pueden discernir en una melodía con múltiples frases?
-Las cuatro relaciones de eje posibles son: unítono unimodal, poco modal, politonal unimodal y politonal polimodal. Estas relaciones se determinan por si hay un cambio de clave o si se utilizan diferentes variantes de escalas modales.
¿Qué son las 'escalas derivadas' y cómo se relacionan con la evolución de estilos de escalas?
-Las 'escalas derivadas' son escalas que se crean a partir de una escala original utilizando técnicas como permutación, suma y selección de subconjuntos. Estas técnicas permiten evolucionar las escalas con un número creciente, constante o disminuyendo de unidades de tono.
¿Cómo se utiliza la técnica de 'modulación melodica' para conectar frases en claves diferentes?
-La 'modulación melodica' implica la inserción de una sección de transición entre dos frases de una melodía que están en claves diferentes. Hay tres técnicas principales para realizar esta modulación: utilizando unidades comunes, alteraciones cromáticas o a través de motivos idénticos.
¿Qué es una 'unidad de tono' y cómo se utiliza en la construcción de una melodía?
-Una 'unidad de tono' es un componente básico de una escala que puede ser utilizado para construir una melodía. Se utilizan en combinaciones y permutaciones para crear una variedad de patrones melódicos dentro de una pieza musical.
¿Cómo se pueden identificar y utilizar los 'motivos' en la técnica de 'modulación melodica'?
-Los 'motivos' son patrones característicos que se seleccionan del final de una continuidad melodica. Durante la transición, se desarrollan variantes de estos motivos, que pueden incluir tonos alterados de la escala de destino o repetir un motivo en un grado más bajo o más alto en la nueva escala.
¿Por qué es importante la identificación del 'eje principal' al crear una melodía?
-La identificación del 'eje principal' es importante porque actúa como un punto de anclaje para la melodía, ayudando a establecer la tonalidad y la dirección de la melodía. También puede afectar la elección de la armonía y el desarrollo de la pieza.
¿Cómo se puede utilizar la 'permutación de intervalos' en la evolución de escalas de tonos?
-La 'permutación de intervalos' es una técnica que implica cambiar el orden de los intervalos dentro de una escala, lo que puede resultar en nuevas escalas con características y sonidos diferentes, y se puede utilizar para crear una variedad de estilos y emociones en la música.
Outlines
🎼 Introducción a la Teoría de Escalas de Tono en el Sistema Schillinger
Este tutorial, tercero de la serie, se enfoca en aspectos adicionales de escalas de tono dentro del sistema de composición musical de Schillinger. Se discuten temas como el eje principal de la continuidad melodiosa, las relaciones del eje clave determinadas por la tonalidad y la modalidad, y las modulaciones melodiosas. Se ilustran principios y técnicas con ejemplos de aplicación, y se resumen los conceptos clave de los volúmenes anteriores, enfocándose en la primera parte de las escalas con una sola raíz y un rango de hasta un octavo. Se presentan ejemplos de continuidad melodiosa y se exploran las propiedades de una buena melodía, así como técnicas para la evolución de estilos de escalas.
🎵 Identificación del Eje Principal y Ejemplos de Continuidad Melódica
Se profundiza en la noción del eje principal, que es el punto de anclaje de una escala y que puede coincidir o no con la raíz. Se presentan ejemplos de continuidad melodiosa que muestran cómo el eje principal se determina a través de la duración acumulada de cada tono. Se muestra cómo las elecciones en el ritmo temporal pueden afectar al tono del eje principal, lo que es un parámetro de diseño al crear temas. Se revisan ejemplos de la serie anterior, identificando el eje principal y se explora cómo la ambigüedad tonal puede ser manejada en la composición.
🎶 Relaciones del Eje Clave y Ejemplos de Modulación Melódica
Se aborda la importancia del eje clave y sus relaciones con el eje principal, especialmente en melodías más largas que implican cambios de tonalidad o modalidad. Se ilustran cuatro posibles relaciones del eje, utilizando ejemplos sencillos para demostrar cómo se relacionan los tonos y cómo se selecciona el eje principal en función de la relación entre los intervalos. Se presentan ejemplos de modulación melodica, que es el proceso de conectar frases en diferentes claves utilizando técnicas como la utilización de tonos comunes, alteraciones cromáticas o motivos idénticos.
🎹 Técnicas de Modulación Melódica y Aplicaciones en la Composición
Se concluye el tutorial explorando las técnicas de modulación melodica en profundidad. Se presentan tres métodos para realizar transiciones entre frases en claves diferentes: utilizando tonos comunes, alteraciones cromáticas o motivos idénticos. Se proporciona un ejemplo detallado de cómo aplicar cada técnica, y se discute cómo estas herramientas pueden ser utilizadas en el proceso de composición personal. Se enfatiza la importancia de la experimentación y la elección consciente de los parámetros de diseño en la creación de transiciones musicales efectivas.
📚 Conclusión de la Serie y Recursos Adicionales
Se resume la serie de tutoriales sobre las escalas de tono del grupo 1 en el sistema Schillinger, destacando la relevancia de los aspectos específicos para la creación de continuidades melodiosas más largas y la conexión de frases. Se animan a los espectadores a dar like y suscribirse al canal, y se ofrecen enlaces a tutoriales adicionales y recursos educativos en la descripción del video. Se invita a la audiencia a apoyar los esfuerzos de educación en línea del canal, ya sea a través de donaciones o la compra de libros electrónicos.
Mindmap
Keywords
💡Sistema Schillinger
💡Escalas de tonos
💡Eje principal
💡Relaciones del eje de tono
💡Modulación melodiosa
💡Continuidad melodiosa
💡Permutación
💡Sumación
💡Selección de subconjunto
💡Armonía
💡Transición
Highlights
Introduction to the Schillinger system's pitch scale aspects for musical composition.
Exploration of primary axis in melodic continuity and its role as an anchoring point.
Understanding key axis relations through tonality and modality.
Techniques for melodic modulation between different keys in a composition.
Illustration of principles and techniques with application examples.
Summary of essentials from previous parts of the Schillinger system series.
Discussion on the evolution of pitch scale styles and the creation of scale families.
Explanation of how to create melodic continuities from pitch scales and rhythmical patterns.
Identification of the primary axis as the pitch unit with the maximum value in the distribution profile.
Examples of how the primary axis may differ from the root degree in a scale.
Demonstration of how time rhythm affects the identification of the primary axis.
Analysis of pitch duration and its impact on the design of musical themes.
Introduction to key axis and the possible axis relations in melodic composition.
Clarification of the confusion between primary axis, tonic degree, and key axis in the Schillinger system.
Examples illustrating the four possible axis relations in polytonal compositions.
Techniques for melodic modulation using common pitch units, chromatic alterations, and identical motifs.
Practical application of Schillinger's toolbox for creating meaningful transitions in music.
Conclusion summarizing the importance of the Schillinger system for creating longer melodic continuities.
Transcripts
hello the third tutorial in this series
presents another set of pitch scale
aspects in the schillinger system of
musical composition
you'll learn about the primary axis of a
melodic continuity
key axis relations as determined by the
tonality and modality
and about melodic modulations i'll
illustrate principles and techniques
with application examples
[Music]
this episode is part of a series on the
theory of pitch scales from the
schillings system of musical composition
we are looking at the first group of
scales with a single root and the total
range of
up to one octave this tutorial covers
new aspects
such as the primary axis of a melodic
continuity
key axis relations and techniques for
melodic modulation
there will be more original examples
i'll summarize the essentials from part
1 and
2 in this series the two shilling of
volumes on musical composition
consist of a number of books and you're
now watching the theory of pitch scales
covered in book 2.
this tutorial covers chapter 4 from that
book
we're still in the domain of the group
one pitch scales
characterized by the single root and the
compass of less than one octave
these scales typically have between
three and nine pitch units
and the first example shows the
traditional seven pitch diatonic scale
on root c
the example at the bottom shows three
permutations of a four pitch unit scale
in part one we created a melodic
continuity from a set of melodic forms
derived from the pitch scale and then
overlaying a rhythmical pattern
these continuities lack several
properties of a real and good melody
a topic covered in a separate schilling
book
here's an example continuity from part
two based
on the combination of melodic forms it
has an implicit melodic pitch curve
but there's limited potential for
obtaining a beautiful melody
part 2 in the series was about the
evolution of pitch scale styles
starting from an original scale we have
several options for the evolution method
scale families derivative and partial
scales involve techniques
such as permutation summation and subset
selection and will evolve into scales
with increasing
constant or decreasing pitch unit
numbers
the diagram on the right illustrates the
process for obtaining a pitch scale
family from a parent generation
with the result in staff notation below
where we see
child generations with increasing
numbers of pitch units
we continue with chapter 4 from the book
and you learn new aspects
first is the notion of a primary axis
i'll show examples in a minute
but let's start with the definition
consider a melodic continuity an ordered
sequence of pitches with
durations now for each pitch determine
the cumulative total duration
you will obtain a pitch probability
density function
where the primary axis is the pitch unit
that corresponds to the maximum value in
the distribution profile
as shown here in the diagram it acts
as a sort of tonic an anchoring point
for the scale
note that the primary axis may be equal
to or different from
the root degree i'll show you first
example in detail
it is based on a minor pentatonic scale
on root c
the melodic continuity uses three
melodic forms
each an ordered set of all pitch units
in the scale
each melodic form is used only once in
this example but you may compose
any combination and include multiple
occurrences
here you see the melodic continuity
after applying a time
rhythm and we'll identify the primary
axis
after first constructing the
distribution profile on the right
start with the cumulative duration of
the lowest pitch
unit in the scale here the root degree c
the time unit is the eighth note and we
find a total of
15 t for this pitch shown as a bar in
the diagram
repeat the process for the other four
pitches in the pentatonic scale
starting with e flat and stopping at the
highest pitch
b flat the distribution pattern has a
maximum for
c so the root degree also is the primary
axis of this musical theme
in the next example we use the same
scale but modify the three melodic forms
and continuity
overlaying and attack duration series we
obtain
a gentle walls played here by english
[Music]
horn
again we look at the cumulative duration
of each pitch in the scale and this time
the distribution is different
the clear winner is the pitch unit g not
the root degree
it is the fifth above the root that acts
as the primary axis the predominant
pitch
we'll revisit a number of melodic
continuity examples from part 2 in the
series
and identify the primary axis this
melodic continuity in 6
8 meter was created from a pitch scale
family
and has a total of 6 pitch units
[Music]
doing the cumulative pitch duration
calculations we obtain a distribution
profile
with a 16th note as the time unit
the maximum value is for pitch f which
therefore is the primary axis of this
phrase it is followed in second position
by the root degree
c using a different generation
combination from the same scale family
yields this allegro in 4-4
[Music]
the pitch time distribution for the
seven pitches in the diagram on the
right
shows the predominant position of the
pitch g
this and the previous example illustrate
how a choice of the appropriate
time rhythm that is superimposed on the
melodic continuity
will affect the primary axis pitch it
therefore is a design parameter when
creating
themes this andantino in 3 4 time
signature is the last example based on
the scale family
as stated in part 2 i was aiming for a
key ambiguity
b flat major versus minor
the primary axis as identified from the
pitch duration diagram however
is the root degree c in second position
we find
the f the fifth above the apparent root
b flat which comes in the third in the
duration ranking
this agitato melodic continuity uses a
set of
five derivative scales on the next
higher degree
and has a total of five pitch units
[Music]
with the 16th note time unit the
cumulative
duration puts pitch b flat on top as the
primary axis
summing the durations over two octaves
once again this is
not the root degree of the original
scale
also created in part two this march
theme is based on a set of derivative
modal scales
and uses all chromatic scale pitch
[Music]
classes
[Music]
the design of this team more or less
hints at the key of c minor
effect confirmed by the duration counts
in the diagram
that indicate the root degree as the
primary axis
using the interval permutation approach
to pitch scale evolution
yields this melodic continuity with a
total of 10 different
pitch units
the primary axis clearly is pitch g not
strange taking into account that most
phrases
end on a long duration note on the other
hand
this is in contrast with the many blue
notes e flat
g flat and b flat in this theme where we
would expect a more predominant role for
the root degree
c if you prefer this pitch more in the
foreground
a modification of the time rhythm is
appropriate asking for
a redesign this continuity
an allegro de chiso with key ambiguity
was created from a set of partial scales
through
interval summation
[Music]
inspecting the pitch duration profile
confirms that this time the designated
key route a
stands out as the primary axis with the
major
and minor third c sharp and c natural
x aqua in second position
the final example from part two is this
longer continuity
elento tranquilo in three four again
with a combination of partial scales
as was the case for the previous example
a simple tripod harmony
for strings has been added to the
foreground melody
[Music]
from the cumulative pitch duration plot
we conclude that
the pitch unit f is the primary axis
confirming
the design of discontinuity around key
route f
the distribution is fairly flat with all
pitches being used more or less equally
long
except for the wrong note e natural
which is an error on my side as i
reported in the previous episode
all pitches may be interpreted as a
specific degree of function
in the key of f minor let's move on to
the next aspect
of the key axis and more importantly the
possible axis relations
to be honest i find the schillinger
system definitions of
root degree tonic degree primary axis
versus key axis somewhat confusing there
is
a single line definition of the key axis
without much
explanation it says that when we are
dealing with a melody only
harmony being absent the primary axis
also is the key axis the key axis
becomes
relevant when longer melodic
continuities also involve
a change of either tonality that is a
key change or move through
different modal scale variants or a
combination of both
and therefore we may discern four
possible axis relations
a concept that i will now illustrate
with a simple example
let's start with an original six pitch
unit scale from group one
and two modal variants starting on
degrees d
and g and there you have it my
inevitable episode error
pitch d5 should have been c
apologies
[Music]
the continuity is based on a single
occurrence of two melodic forms
mf1 and mf2 applied to the scale on root
degree c the total number of pitches is
12.
the basic rhythm pattern is three plus
one plus two plus two quarter notes
we synchronize this with the pitch
sequence and therefore need
three statements of the attack duration
series
this is the example quasimelody for
demonstrating
axis relations just for the fun of it
identify the theme's primary axis the
distribution
shows peak duration for both c and g
in this case i use the interval relation
between these two
and select c since c g
implies a one five a tonic dominant
degree relation
listen to this sarah bond theme for
french horn
[Music]
[Music]
and here is the reasoning when deciding
on the axis relation type
both phrases use the same scale on root
degree c
the modal character is constant we do
not
change the key and use the same set of
pitch units throughout the continuity
therefore this team is labeled as
unitonal
unimodal let's use a modal derivative
scale variant
psd1 for melodic form 2.
this means that the axis relation
becomes
poorly modal the key has not changed
since we used the same set of six pitch
units from the original scale
that's the change in the primary axis
the distribution
shows the same peak value for b flat and
d
and forgive me for the wrong pitch in
mf2
so now again i use the root third
property
of the b flat d interval in order to
label the b
flat as the predominant pitch the sarah
bond
is seen here with the key change for
melodic form mf2
which is the original pitch scale psd 0
transposed to root
degree e flat so the modality remains
constant
while there is a change of key and the
axis relation
therefore is polytonal unimodal
final relation type is shown here where
we use the modal derivative scale
psg3 transposed to the key of e flat
for the second melodic form this is a
polytonal
polymodal example the fourth option
[Music]
as the final subject of this tutorial
let's turn our attention to melodic
modulation
which is relevant for polytonal axis
relations
melodic modulation implies that we
insert a transition
section between two phrases of a melodic
continuity
that are in different keys there are
three techniques for moving from the
source to the destination key
again i will demonstrate these with a
single example
but on my channel there is an older
tutorial dedicated exclusively to
melodic modulation
let's design the example using this six
fish unit scale
where root degree c is the starting
point and we transpose this scale
up by three semitones to the target key
of e flat
the melodic continuity uses a
combination of
four melodic forms all as single
occurrence
i'll use the pitch class diagram for
illustrating melodic modulation
techniques
taking into account that the original
scale corresponds to pitch class
set 625 shown here
both scales are depicted as white inner
ring circles on root c
and as yellow pitch class dots on the
outer ring
for the destination key e flat the first
modulation technique uses the common
pitch units between the scales
inspect the diagram and you'll easily
detect the overlapping pitches
c d and a marked with a green ellipse
and shown here in staff notation
here's the full example for the common
unit modulation technique
after overlaying a rhythm we use the
same continuity in the source
and destination key although in the
audio example you'll
notice the different orchestration we
insert a transition phrase to achieve
a smooth modulation in case of a common
unit modulation approach
you should create motifs from the
overlapping pitches
use a rhythmic pattern from near the end
of the continuity
make the transition long enough to
disassociate from the starting e
root and if the new root is part of the
common unit set
avoid its use that is not the case here
since e flat is not an
overlapping pitch listen to the result
[Music]
ah
[Music]
the second method is based on a set of
chromatic alterations
that may be identified when comparing
the source and
destination key this set has been marked
in the pitch class diagram with arrows
and is shown here in staff notation
where d
moves to e flat f sharp to f natural
and b natural to b flat
[Music]
we create a different transition section
using the following
schilling recipe use combinations from
the chromatic alteration pitch pairs
use long durations exposing each
alteration
continue from the final chromatic
alteration by proceeding stepwise
to the next pitch unit in the
destination scale
in our example we move from b natural
through b
flat and then to a listen to this
alternative modulation solution
[Music]
beauty
[Music]
note that the transitions are based on
melodic material only
there is no harmony involved schillinger
provides this unique
and valuable toolbox for creating
meaningful transitions
his final method uses identical motifs
this means that we select a
characteristic motif from the end of the
source continuity
it is marked here with an orange colored
frame
during the transition we develop a set
of motif variants
this implies that the variation
incorporates an
altered pitch from the destination scale
or we repeat a motive at the next lower
or higher degree in the new scale the
transitory motifs are shown here as
green
frames listen to this third melodic
modulation approach
and notice that i've used frequent
octave transposition
of individual phrases in discontinuity
[Music]
in summary this tutorial is about
specific aspects of
group one pitch scales in the
schillinger system of musical
composition
that are relevant when creating longer
melodic continuities
and connecting phrases you saw the
method for
identifying the primary axis degree of a
skill
use this as an awareness or design tool
when implementing a time rhythm in the
melodic continuity
and obtaining the predominant pitch it
may be different from the scale
root a longer melodic continuity with
multiple phrases may involve a key
change or a combination of different
modal derivative scales
therefore we may discern four possible
key
axis relations in case of a polytonal
continuity
you may connect phrases in different
keys more or less smoothly with the
melodic modulation section
schillinger provides three alternative
methods
that use either common units that is
overlapping pitches between
source and destination key chromatic
alterations
or through identical motifs the numerous
original examples
not found in the schilling of books will
help you incorporating these techniques
in your personal composition process
which concludes this series on group 1
pitch
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