music theory for musicians and normal people by toby w. rush

globe theatre london, england oil on canvas oil oil on canvas oil claude monet, 1875 claude monet, claude monet, ca 1898 claude monet, “water lilies and japanese bridge” lilies and japanese “water like monet and her son” - madame “woman with a parasol impressionism, neoclassicism is a movement Neoclassicism that occurred in a lot of different disciplines.

in architecture, for example, neoclassicism involved a return to the forms and ideals of classical greece.

Ἀριστοτέλης in the early twentieth century, composers were also hearkening to the past. after the intensity and emotion of the romantic period, they were looking to the order and restraint of ancient greece, or more recently, the classical era.

neoclassicism in music took on a lot of different forms, WOLFGANG varying from country to country and even from composer to composer. However, there are a few compositional techniques that were pretty unique to music of the time!

as it happens, the techniques below can be grouped to show the favored styles of the two most well-known neoclassicists: and ! pantriadicism

hin stra demith combining chords which are dissonant vinsky to one another... or playing in œ #œ multiple keys simultaneously! the use of major & bœ n œ bœ and minor triads, œ b œ #œ n umœ the more juxtaposed to f?: i III...ish? VII no # !!!!!!!!!!!! dissonant... bmaybe # œ ˙ D MAJOR deliberately avoid & ‰ œ œ ˙ the better! any sense of :VS: avoid tritone > A FLAT MAJOR traditional chords... too TWO TRIADS ENTER harmonic much > ONE TRIAD LEAVES baggage. well togethertend to work ? ˙ TUESDAY OCTOBER 20 function. bb b ‰ œ œ œ ˙ DANBURY FAIRGROUNDS b ˙ !!!!!!!!!!!!

tend to work well together quartal rhythmic primitivism

pow! kapow! ˙ boom!

iigor stravinsky Le Sacre du printemps [the rite of spring] 1913 ˙ ˙ chords built using & ˙ b˙ perfect fourths b ˙ or perfect fifths. zing! blam! Gq E b Q (as opposed to tertial harmony, where chords use of intense, unpredictable accents, are built using major evocative of unbridled primal energy. it can quartal quintal and minor thirds.) include complex meters and even polymeters: chord chord conflicting meters played simultaneously!

twentieth-century pandiatonicism combining diatonic major melodies in multiple lines with unlike the counterpoint of the sixteenth and no consideration of harmony. eighteenth centuries, neoclassicists used dissonance freely, focusing more on C œ ‰ ‰ œ œ œ œ ‰ œ ‰ ‰ œ œ melodic lines and rhythmic independence. & œ œ œ œ œ œ œ œ œ œ œ

ack — no! œ œ œ œ œ œ wait WHAT? C ‰ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ ‰ œ œ Rampant dissona back, & œ œ œ palestrina! tend to work well together C œ œ œ œ œ œ ‰ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ

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