MiltOnNotes Volume One

MILTONOTES
An open-eared exploration of composition in theory & practice.
Volume One
Milton Mermikides m.mermikides@surrey.ac.uk
MILTONOTES
Sound, Music & Technology
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Key Historical Events in Contemporary Computer Music Dawn of Music Notation Iraq:1800BC Cuneiform (melody in 3rds)
Ancient Greece: c.600BC Pitch and rhythm

The representation of music
Key Historical Events in Contemporary Computer Music c. 500BC Acousmatic
Pythagorus, Ionian philosopher, mathematician and musician (c.570-c.495BC)
Teaching behind the veil-readopted by Schaeffer as the veil of speakers The concept of sound as divorced from source The appreciation of sound for its own sake regardless of origin A numerical basis of sound
Key Historical Events in Contemporary Computer Music Development of Music Notation Byzantine Empire : c. 390AD differential pitch
Middle Ages Europe: c.850AD Grid system

The grid
Key Historical Events in Contemporary Computer Music Randomness in Music
Mozarts Dice Game (1787)

http://sunsite.univie.ac.at/Mozart/dice/
A Musical game for composing minuets and trios from dice rolls
Key Historical Events in Contemporary Computer Music 1857 E. Leon Scotts Phonautograph
Sound can now be made permanent, with one slight problem.
Key Historical Events in Contemporary Computer Music 1861 Philip Reis Telephone
Sound can now be transmitted across distances rapidly
Key Historical Events in Contemporary Computer Music 1863 Helmholtz publishes On the Sensation of Tone as a Physiological Basis for the Theory of Music
Basis of additive synthesis Any sound can - in theory - be constructed
Key Historical Events in Contemporary Computer Music 1874 Elisha Grays Musical Telegraph
Transmission of electronic polyphonic music
Key Historical Events in Contemporary Computer Music 1876 Thomas Edisons Phonograph
Sound can be recorded and reproduced
Key Historical Events in Contemporary Computer Music
Solidied sound wave
Key Historical Events in Contemporary Computer Music 1889 Claude Debussy at LExposition Universelle
Ocean of Sound and the birth of Ambient music
Key Historical Events in Contemporary Computer Music 1895 Thaddeus Cahills Telharmonium
The rst synthesiser
Key Historical Events in Contemporary Computer Music 1907 Busonis Sketch of a New Aesthetic of Music
The promise of electronic music
Key Historical Events in Contemporary Computer Music 1913 Russolos The Art of Noises
The democratising of all sound and the destruction of musical elitism
Key Historical Events in Contemporary Computer Music 1913 Russolos The Art of Noises
Wicked noise-makers
Key Historical Events in Contemporary Computer Music 1915 Varse moves to New York in search of a new music
I dream of instruments obedient to my thoughts and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm
Our musical alphabet must be enriched, I refuse to limit myself to sounds that have already been heard...What I am looking for is new mechanical mediums which will lend themselves to every expression of thought and keep up with thought
An organiser of sound
Key Historical Events in Contemporary Computer Music 1915 Lee De Forest patents vacuum tube
Miniaturisation of electronics
Key Historical Events in Contemporary Computer Music 1929 RCA releases the Theremin
Commercialisation of electronic instrument and in the 1930s the Terpsitone and Rhythmicon
Key Historical Events in Contemporary Computer Music 1924 Respighis The Pines of Rome
Blending of live and pre-recorded music
Key Historical Events in Contemporary Computer Music 1930 Hindemith and Tochs Grammophonmusik
Audio manipulation
Key Historical Events in Contemporary Computer Music 1948 Schaeffers Etude aux Chemin de Fer Musique Concrte
Found sound, sampling, looping, ltering reverb and the sound object
Key Historical Events in Contemporary Computer Music 1948 Nancarrows Studies for Player Piano
Bionic virtuosity
Key Historical Events in Contemporary Computer Music 1952 Cages 433
All sound considered
433 live version
Key Historical Events in Contemporary Computer Music 1952 Luening and Ussachevsky
Live effects
Key Historical Events in Contemporary Computer Music 1956 Louis & Bebe Barrons Forbidden Planet score
A working electronic music studio
Key Historical Events in Contemporary Computer Music 1957 The IIliac Suite The Birth of Computer Music
Live effects
Key Historical Events in Contemporary Computer Music 1958 Varses Pome Electronique
Major display of electronic work a graphic score with a familiar look
Key Historical Events in Contemporary Computer Music 1958 Dissevelts Whirling
Birth of pop electronic music
Key Historical Events in Contemporary Computer Music 1959 Cindy Electronium
Raymond Scott (1908-94) was a Jazz musician, jingle writer, electronic artist and inventor, and one of the earliest to fully adopt the music technology as a useful -and protable-part of the composer toolkit rather than esoteric experimentalism - similarly Stevie Wonder in the early 70s embraced the studio to make more efcient the compositional process
Key Historical Events in Contemporary Computer Music 1964 The Moog
The development of synthesis
Key Historical Events in Contemporary Computer Music 1971 NHK rst digital recording
The extraordinary rate of development of processors allows sound to be manipulated beyond physical constraints. And what used to be housed in 200 tons of hardware can be emulated while checking email. If cars developed like computers they would travel at 470,000 mph, get 100,000 miles to the litre, cost 2p, and could balance on a matchstick.
Key Historical Events in Contemporary Computer Music 1983 MIDI patented
A musical language for computers
Key Historical Events in Contemporary Computer Music
Now
Applied vs. Pure Music
How does computer composing differ from composing?
Additional Reading
Holmes, T., (2008) Electronic and Experimental Music, revised 3rd edition. New York: Routledge. Manning, P. (2004) Electronic and Computer Music .Oxford: Clarendon Press. Toop, D. (2001) Ocean of Sound. Serpents Tail.
MILTONOTES
Pulse, Tempo & Metre

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Pulse Musical events in time
All music has some duration, and the occurrence of musical events over timerhythm. When there appears to be some underlying regularity of events this is the pulse or beat. Generally ranging from 20-330bpm
Pulse Tempo
Larghissimo very, very slow (20 bpm and below) Grave slow and solemn (2040 bpm) Lento slowly (4060 bpm) Largo broadly (4060 bpm) Larghetto rather broadly (6066 bpm) Adagio slow and stately (literally, "at ease") (6676 bpm) Adagietto rather slow (7080 bpm) Andante Moderato a bit slower than andante Andante at a walking pace (76108 bpm) Andantino slightly faster than andante Moderato moderately (101110 bpm) Allegretto moderately fast (but less so than allegro) Allegro moderato moderately quick (112124 bpm) Allegro fast, quickly and bright (120139 bpm) Vivace lively and fast (140 bpm) (quicker than allegro) Vivacissimo very fast and lively Allegrissimo very fast Presto very fast (168200 bpm) Prestissimo extremely fast (more than 200bpm)
Pulse Musical events in time
Some pieces or musical moments has no, little or an ambiguous sense of pulse. This will occur when there is insufcient regularity and/or if note events are illdened
Exercise 1: Compose an introduction to a piece where no pulse gives way to ambiguous and then clear pulse
Zero gravitation, John Adams
Pulse Tempo feel Even when pulse exists, it may be experienced at more than one level. This can be exploited as half-time or double-time feel. Where the music moves at the same rate, but the sense of pulse can alter.
Exercise 2: Compose a musical section and arrange it with normal, half and double-time feel.
Ray Charles, Wynton Marsalis
Pulse Tempo Changes

Boulezs conveyor belt
Fixed
Small Natural Fluctuations

During performance, unconscious or not.
Gradual Changes
Direction, shape, extent duration. rubato rallentando ritardendo ritenuto accelerando precipitando etc.
Sudden Shifts
Metronomic
Adjacent tempi can exist in simple rational relationships (double-time, half-time) more complex rational (e.g. 3:4, 5:4) or irrational
Pulse Tempo
Natural uctuations in James Brown, I Got You Millyard SOS
Pulse Tempo Curves

Accelerando speeding up (abbreviation: accel.) Allargando growing broader; decreasing tempo, usually near the end of a piece Calando going slower (and usually also softer) Doppio movimento double speed Meno mosso less movement or slower Mosso movement, more lively, or quicker, much like pi mosso, but not as extreme Pi mosso more movement or faster Precipitando hurrying, going faster/forward Rallentando gradual slowing down (abbreviation: rall.) Ritardando less gradual slowing down (more sudden decrease in tempo than rallentando)(abbreviation: specically, ritard.) Ritenuto slightly slower; temporarily holding back. (Note that the abbreviation for ritenuto can also be rit. specic abbreviation is riten. Also sometimes ritenuto does not reect a tempo change but a character chan Rubato free adjustment of tempo for expressive purposes Stretto in faster tempo, often near the conclusion of a section. Stringendo pressing on faster (literally "tightening")
(From wiki) what curves in terms of shape, duration, extent and direction might be associated with these terms?
Pulse Metric modulation

A shift from one tempo (or meter) to another via a pivotal note value For example
200bpm 100 bpm 2:1 q=e
100bpm 150 bpm 2:3 q=q.
100bpm 150 bpm 2:3 q=q.
100bpm 80 bpm 5:4 qx=q (
Tempo III Tempo I Tempo II

Exercise 3: Construct this tempo map in a short piece. Tempo I,II,III should exist in rational relationships of your choosing, and modulations should be pivotal. Complete with melodic and harmonic elements.
Tempo I
Pulse Metric modulation Exercise 2&3

from String Quartet No.1 Elliot Carter
Exercise 4a: Sequence this metric modulation passage, using melodic and harmonic elements. 4b: Design, notate as above and sequence your own metric modulation sequence
Pulse Polytempo and Xenochrony
It is possible for two or more tempi to exist at once, even if they have a very complex relationship. Charles Ives introduced the idea of polytempo and Zappa coined the term Xenochrony to describe the studio equivalent of superimposing different tempi.
Exercise 5: Create a sequence with two superimposed tempi
Meter
An introduction
Pulses or beats almost always exist in logical groups and in a hierarchy of strengths. This meter or time signature indicates how many beats - and what type of beat exist in each measure. Listening examples. Grouping in 2s and 3s
Exercise 6:Write a 4-bar groove in 4/4 and reinterpret in 5/8 or 5/4 and 7/8 and 7/4 Be fully aware of 2 and 3 groupings
Lecture 1 Compositional Exercises

Exercise 1: Compose an introduction to a piece where no pulse gives way to ambiguous and then clear pulse Exercise 2: Compose a musical section and arrange it with normal, half and double-time feel.
Tempo III Tempo I
Tempo I Tempo II
Exercise 3: Construct this tempo map in a short piece. Tempo I,II,III should exist in rational relationships of your choosing, and modulations should be pivotal. Complete with melodic and harmonic elements.
Exercise 4a: Sequence this metric modulation passage, using melodic and harmonic elements. 4b: Design, notate as above and sequence your own metric modulation sequence Exercise 5: Create a sequence with two superimposed tempi Exercise 6:Write a 4-bar groove in 4/4 and reinterpret in 5/8 or 5/4 and 7/8 and 7/4 Be fully aware of 2 and 3 groupings
MILTONOTES
Meters, Patterns & Polymeter

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The Music There Is
@miltonline
The Music The
The Music Youve Heard
Make it a mission to expand this
Your best moves The Music You Like and Understand The Music You Like but Dont Understand
Educational
Inspiring
The Music You Dont Like But Understand
The Music You Dont Like and Dont Understand
Ideal
Understand = anything from being virtuosic in the idiom to appreciating the mechanics, skill and artistry within it
NB. this circle is a continuum not 4 distinct spaces Theres always more to learn and dont take your musical taste too seriously
.
So make this bigger, and move left and up within it.
@miltonline
Meter A Hierarchy of Pulse
The concept of pulse - an underlying unit of rhythmic regularity - has been established in Lecture 1. This regularity may occur at different levels, a concept that can be exploited in, for example half-time or doubletime feel, but there is usually one predominant tapalong pulse. However, this string of pulses - beats - are rarely entirely equal. There is a hierarchy.
Meter Types of Meters, Beats and Bars

Pulses or beats almost always exist in logical groups and in a hierarchy of strengths. This meter or time signature indicates how many beats - and what type of beat exist in each measure. For example 4/4 120bpm The crotchet is the predominant common pulse and they are grouped in 4 beats. 7/8 would imply that quavers are the common beats and are grouped in 7s
Meter Types of Meters, Beats and Bars

What determines the groups? Dynamic emphasis Rhythmic repetition Harmonic and melodic implications
Meter Listening and transcribing

What determines a bar? What repetition, harmonic and melodic exist? Can the rhythm be broken logically into 2-beat and 3-beat division. Clave 16 examples
Meter Son Clave
Meter Rumba Clave
Meter Bossa Clave
3-2
2-3 ( )
Meter Bulgarian Folk Dance

The exploration of meter in folk music is hugely extensive. In Bulgaria folk music alone, a rich history of dance forms has amassed many metric forms. Many may be considered additive, formed by an extension of beats. Here are 5 to transcribe
Paydushko horo Chetvorno horo Rachenitsa Petrunino horo Yovino Horo
Meter Bulgarian Folk Dance

The exploration of meter in folk music is hugely extensive. In Bulgaria folk music alone, a rich history of dance forms has amassed many metric forms. Here are 5: Transcribe your own.
Paydushko horo (2+3; 5/16 or 5/8) Chetvorno horo 3+2+2 or 3+4; 7/16) Rachenitsa (2+2+3 or 4+3; 7/16) Petrunino horo (3+3+2+3=11/16) Yovino Horo (3+3+ 2+2+3+ 2+2+3+ 2+2+2+2+3+2+2=35/16)
Meter Playing with beat divisions: Hemiola

A meter can stay constant while groupings change. A hemiola is a musical gure where 2 groups of 3 notes are followed or replaced with 3 groups of 2, implying-for example - a 6/8 to 3/4 change
Meter Comps
Here we look at a more complex rhythmic interaction from the Flamenco style
The Flamenco comps is a metric structure There are several types- many of them containing 12 beats. They are fully absorbed by the performers and this anchored, mutually felt rhythmic pattern allows for a high degree of rhythmic sophistication
Meter Comps Soleares
1 2 3 4 5 6 7 8 9 10 11 12
Start This is the basic pattern but there is a huge repertoire of counter-rhythm hand claps, endings and rhythmic devices
Meter Comps Siguriyas
8 9 10 11 12 1 2 3 4 5 6 7
Long Start Short Long Short Short
A rhythmic mode of Soleares
Meter Comps Alegrias
12 + 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 + 10 + 11 +
Start
Exercise 1: Clave/Compas. Select or better still, research/transcribe a metric template (from Bulgarian, South-American, Flamenco or other sources) and construct a groove/piece using the rhythmic structure.
Meter Changing Meter
Meters can change, sometimes this is quite natural and can go unnoticed simply adapting to accommodate a melody. Beatles All you Need is Love. 7/4 (or 4 + 3) bars are used very naturally
An example from the classical repertoire is Mussorgskys Pictures at an Exhibition (Promenade) Notice how a simple melodic motif is developed perfectly accessibly using changing meters.
Exercise 2: Compose or select a clear melodic phrase, and use meters of different lengths to develop and reinterpret the melody into a longer piece.

Meter changes can be extreme lurching the pulse and messing with your musical brain. Dream Theater Erotomania From guitar entry
2x 6x
5/4 (3 bars) + 9/8 (1 bar) 5/4 (3 bars) + 9/8 (1 bar) 5/4 (3 bars) + 3/4 (2 bars) + 2/4 (1 bar) 5/4 (3 bars) + 3/4 (2 bars) + 2/4 (1 bar) repeats 11/8 (3+3+3+2) 10/8 (3+3+2+2) 4/4 (2 bars) Solo in 5/4 etc.

Complex changing meters has a long history, lets look at the Sacricial Dance from Stravinskys seminal 1913 ballet The Rite of Spring
Exercise 3: Using the Sacricial Dance (pick at least 2 consecutive pages) as a metric template, compose meter-specic material, and then compose material that occurs less dependently on the structure. The overall metric implication may well be-for example 4/4 -with Stravinskys meter pattern embedded in some layer, or the meter pattern may be overt.
Polymeter (not polyrhythm)

Multiple meters may be implied at the same time. SImple examples may be a delay set to a triplet or dotted quaver. Often, during solos, a soloist can use phrase that imply different meters over an underlying groove, or rhythmic hits (Hancock -Hang Up Your Hang Ups 5:30 onwards) However many compositional examples exist even from pop music: The Cars Touch and Go has in the verse a 5/4 bass and drum pattern and a simultaneous 4/4 in the vocals and keys. The use of polymeter in 20th Century classical and contemporary metal is wide-spread. For example, Ligetis Arc-en-ciel implies different and changing meters (as well as polyrhythms) in each hand. Here are some more examples.
Polymeter
Hindemith - String Quartet no.3-II (0:05-0:19) analysis by Timothy Daust
Polymeter
Messiaen - La Verbe (2:18-2:23) analysis by Timothy Daust
Polymeter
Meshuggah - Rational Gaze (0:00-0:29) all Meshuggah analyses by Jonathan Pieslak
PolyMeter
Meshuggah - Stengah (0:16-0:48)
PolyMeter
Meshuggah - Humiliative (3:50-4:04)
PolyMeter
Meshuggah - New Millenium Cyanide Christ (0:00-0:25)
Benjamin Britten, Peter Grimes -Interlude IV

All Britten analyses 2008 Timothy Daoust
4+4+3 ostinato
Benjamim Britten, Peter Grimes Interlude IV (1:16)
Benjamim Britten, Peter Grimes Interlude IV (1:16)
Same passage re-scored
Exercise 4: Compose a piece with at least 2 simultaneous metric implications, make sure you understand how it interlocks.

Exercise 1: Clave/Compas. Select or better still, research/transcribe a metric template (from Bulgarian, South-American, Flamenco or other sources) and construct a groove/piece using the rhythmic structure.
Exercise 2: Compose or select a clear melodic phrase, and use meters of different lengths to develop and reinterpret the melody into a longer piece. Exercise 3: Using the Sacricial Dance (pick at least 2 consecutive pages) as a metric template, compose meter-specic material, and then compose material that occurs less dependently on the structure. The overall metric implication may well be-for example 4/4 -with Stravinskys meter pattern embedded in some layer, or the meter pattern may be overt. Exercise 4: Compose a piece with at least 2 simultaneous metric implications, make sure you understand how it interlocks.
MILTONOTES
Elements of Groove
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Elements of Groove Ensemble and feel
Another enormous topic, but we will focus attention on two extraordinary rhythmic ensemble disciplines: Rhythmic patterns of Ashanti people of Ghana Hartigan (1995) and an analysis of several drum/bass/guitar grooves of the James Brown Rhythm Sections (1968-1973) Slutsky & Silverman (1997)
Elements of Groove Swing
Swing will be dened here as the difference in length between an on-beat and off-beat quaver (and on-beat and off-beat semiquaver). Rather than just a straight vs. triplet swung concept of swing.
Elements of Groove Swing
Elements of Groove Latency
Elements of Groove Time-feel
Elements of Groove Syncopation

Syncopation is the emphasis of weaker beats. By weaker beats we generally mean off-beat quavers and semiquavers. Although stressing beats 2 & 4 over 1 & 2 also falls into this category. How can off-beats be relatively more emphasised than an on-beat? No on-beat, or tied on-beat. Louder more articulated offbeat Melodic/Harmonic emphasis
Elements of Groove Identify the syncopated features
Elements of Groove Rhythmic Repetition

An addition to feel, interesting rhythmic/melodic components can sense a groove through repetition. Repeating phrase present a time-feel, and also create a sense of expectation allowing for musical variation.
Notice the repeated and slightly varied rhythmic device
Elements of Groove Rhythmic Displacement

Repeating rhythmic gures tend to occur at 1, 2 or 4 bar intervals. However a rhythmic gure can be repeated on a different beat of the bar. A simple displacement maybe 2 beats, where the beats strength is similar. Three beat displacements also occur as well as at other subdivisions, and create a subtle infectious polymetric feel.
Elements of Groove Rhythmic Displacement
3 - beat (dotted minim) displacement
dotted semi-quaver displacement - disrupting any swing/weighting that may exist
Rhythmic/melodic gures can also be repeated and displaced between instruments
Elements of Groove Elements of Ensemble Groove
Repetition/displacement of gures between instruments Time-feel: What is the overall feel of the ensemble, Is feel (swing etc.) the same between instruments? Are there any moments when a rhythmic gap in some instruments allows another instrument to feature? Is there a rhythmic interplay? Are there moments when more than one instrument synchronise material and play a similar rhythmic/ melodic gure (a sort of tutti)? What are the roles of each instrument? Time-keeping, feel, texture, rhyhmic interest. Do these roles change?
West African Drumming Ashanti People of Ghana
A richly syncopated drum tradition whose inuence may be heard in Cuban Son and Rumba, Haitian Vodun, Merengue of Dominican Republic, Brazilian samba and American Jazz.
West African Drumming Sikyi (Si-chee) Ashanti People of Ghana 1
Sikyi : Ashanti People of Ghana 2
Adowa : Ashanti People of Ghana 1
Adowa : Ashanti People of Ghana 2
Gahu : Ashanti People of Ghana 1
Gahu : Ashanti People of Ghana 2
Akom Style 1: Ashanti People of Ghana
Akom Style 2 (3/4) Metric Illusions
Akom Style 2 (6/8) Metric Illusions
Groove James Brown Rhythm Section (1960-1973) Identify the elements of time-feel, syncopation, repetition, displacement and ensemble techniques in these seminal grooves. Imitate, assimilate, innovate.
Think (1960)
Think (1960)
I Dont Mind (1962)
I Dont Mind (1962)
Out Of Sight (1964)
I Got You (1965)
Dont Be A Dropout (1966)
Cold Sweat Pt. 1 (1967)
Cold Sweat Pt. 1 (1967)
I Cant Stand Myself Pt. 1 (1967)
I Got The Feelin (1968) - Verse
I Got The Feelin (1968) - Bridge
Licking Stick (1968)
Give It Up or Turnit A Loose (1968) - Verse
Give It Up or Turnit A Loose (1968) - Bridge
Mother Popcorn (1969) - Verse
Mother Popcorn (1969) - Bridge
Funky Drummer (1969) - Pattern 1
Funky Drummer (1969) - Pattern 2
Get Up (1970) - Verse
Get Up (1970) - Bridge
Got To Getcha (1970) - Verse
Got To Getcha (1970) - Bridge
Funky Women (1970)
Super Bad Pts. 1 & 2 (1970) - Verse (1/2)
Super Bad Pts. 1 & 2 (1970) - Verse (2/2)
Super Bad Pts. 1 & 2 (1970) - Bridge
Talkin Loud & Sayin Nothing (1970) - Verse
Talkin Loud & Sayin Nothing (1970) - Bridge (1/2)
Talkin Loud & Sayin Nothing (1970) - Bridge (2/2)
Give It Up or Turnit A Loose Live (1970) - Verse
Give It Up or Turnit A Loose Live (1970) - Bridge
Hot Pants Pt. 1 (1971)
Make It Funky Pt. 1 (1971)
Papa Dont Take No Mess Pt. 1 (1973)
The Payback (1973) - Intro
The Payback (1973) - Verse
Exercise 1: Sequence the elements of an Ashanti Time-line of your choice. Make sure you can identify and have absorbed every part. Exercise 2: Create a piece using some (not necessarily all) of the elements from Exercise 1. You may wish to turn one pattern into a bass-line and bind some of the others to other melodic, harmonic and rhythmic instruments. Exercise 3: Recreate as accurately as possible with MIDI one of the sample James Brown grooves, paying particular attention to articulation and swing values. Exercise 4: Using features which you have absorbed from the James Brown templates, create your own 2, 4 or 8 bar groove, paying particular attention to time-feel. syncopation, repetition, displacement and ensemble mechanics.
MILTONOTES
Melodic Structures

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Quick intermission before our scheduled Episode
Conceptualise (or fully compose) pieces based on each of the following images
This species of ant survive oods by hugging each other. The cluster oats but they would drown as individuals
Review
All episodes interlink, so frequent reviewing and re-contextualising of information is highly benecial
Polymeter Use Alignments
When a polymeter appears there will be a point in time when the barlines coincide. The effect of this event may be used musically.
Polymeter Use Break out Clauses

A polymetric phrase may be held indenitely, but often the implications is broken by added or subtracted beats to realign the measures.
Polymeter Use Melodic/Harmonic Adjustments
As polymetric phrases fall out of sync, some phrase can be adjusted at some point in their cycle to accommodate their new harmonic/ melodic environment
Polymeter Use Lateral thinking of polymeter
A single line may embody several musical features subject to meter, and hence polymeter: Note phrasing, dynamic emphasis, melodic emphasis, delay rate, pan rate, lter rate, trem rate and so on.
MILTONOTES
Melodic Structures
Here we look deeply into the construction of melodies from a classical perspective although its implications run beyond stylistic constraints
Arnold Schoenberg (1874-51)
A radical traditionalist
2nd Viennese School, Fundamentals of Composition Harmonielehre
Melodic Structures
The Phrase
The smallest structural unit is the phrase, a kind of musical molecule consisting a number of integrated musical events possessing a certain completeness and well adapted to combination with other similar units. ...a unit approximating what one could sing in a single breath. Its ending suggests a form of punctuation such as a comma. Often some features appear more than once in a phrase. Such motivic characteristics will be discussed [later]
Melodic Structures
The Phrase
Concentrated in one voice, implies an inherent harmony
Melodic Structures
The Phrase
Even with elaborate melodies, harmony (usually I and V) is clear.
Melodic Structures
The Phrase
Length of phrases can vary widely, depending on metre and tempo
Melodic Structures
The Phrase from Chords
Phrases are often derived from skeletal chord forms
Melodic Structures
Simple elaborations of skeletal chord forms
Melodic Structures
Passing notes to chord forms
Melodic Structures
The Phrase from Chords, Elaborated
Passing notes and note repetitions to elaborated chord forms
Melodic Structures
Phrase embellishment
Melodic Structures
Appoggiaturas and changing tones.
Exercise 1a-f Compose 2 different simple phrases using chord tones of 1-3 chords in a major key(1a,1b), a minor key (1c,1d) and the dorian mode (1e,1f). Keep them very simple, clear and memorable. Exercise 2a-c Pick one phrase from each of the major, minor and dorian sets and elaborate using appoggiaturas, upbeats and other available devices.
Melodic Structures
The Motive (Motif)
Melodic Structures
The Motive (Motif)
If a phrase is a molecule, the motif is the atom, the smallest common multiple and greatest common factor providing unity, and through repetition, variation and recombination can form higher structures in the phrase and piece
Melodic Structures
The Motive (Motif)
Often the use of the motif is intuitive, though it neednt be. It forms the invisible musical glue that can unies and forms higher level structures
Melodic Structures
The Motive (Motif)
Usually dened by a simple rhythmic and intervallic structure, a motif is maintained by repetition of which there is: Exact and Modied Variations. Variations preserve some musical features and alter others
Melodic Structures
The Motive (Motif)
Note the simplicity of the motif, and how variations are slight but in different features
Melodic Structures
Motivic Transformations
Melodic Structures
Melodic Structures
Melodic Structures
Melodic Structures
Exercise 3 Write a simple motif, and create 12 variants (using for example, transpositions, elaborations, inversions, retrogrades, retrograde inversions, rhythmic changes, omissions and so on). Exercise 4 Construct a phrase (or 2 or 3) using combined variant forms of your motif from Exercise 3. Try and outline a harmonic sequence.
Melodic Structures
Melodic Structures from Phrases and Motifs
Although it may pain Schoenberg, lets look at phrase and motif construction over the course of a whole piece in the work of the French composer of stunningly progressive minimal work, Erik Satie (1866-1925)
Melodic Analysis
Gnossienne I - P1
2 scales, 3 chords, 1 piece
Melodic Analysis
Gnossienne I - P2
Melodic Analysis
Gnossienne I - P3
Melodic Analysis
Gnossienne I - P4
Exercise 5 Listen to, and examine the score of, Gnossienne I (or any Satie piece) See if you can identify key motifs (and variations) through phrases, as well as phrases and their repetitions and variations are put together to make the whole piece. Exercise 6 From the techniques observed in Exercise 4, choose a scale or 2, 3 or so chords, simple rhythms and limited motivic material, and a series of phrases. Create a short piece with a series of melodic phrases.
Exercise 1a-f Compose 2 different simple phrases using chord tones of 1-3 chords in a major key(1a,1b), a minor key (1c,1d) and the dorian mode (1e,1f). Keep them very simple, clear and memorable. Exercise 2a-c Pick one phrase from each of the major, minor and dorian sets and elaborate using appoggiaturas, upbeats and other available devices. Exercise 3 Write a simple motif, and create 12 variants (using for example, transpositions, elaborations, inversions, retrogrades, retrograde inversions, rhythmic changes, omissions and so on). Exercise 4 Construct a phrase (or 2 or 3) using combined variant forms of your motif from Exercise 3. Try and outline a harmonic sequence Exercise 5 Listen to, and examine the score of, Gnossienne I (or any Satie piece) See if you can identify key motifs (and variations) through phrases, as well as phrases and their repetitions and variations are put together to make the whole piece. Exercise 6 From the techniques observed in Exercise 4, choose a scale or 2, 3 or so chords, simple rhythms and limited motivic material, and a series of phrases. Create a short piece with a series of melodic phrases.
MILTONOTES
Phrase, Contour & Melodic Forms

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Entire series
The concepts of motif and phrase have been dened, as well as principles behind their construction and transformation. Lets see how these manifest to form successful melodies in the real world and how we might use these ideas in composition. Key terms: Motif, Phrase, Endings, Intervals, Phrase Hierarchy, CTs, NCTs, Devices, Range, Contour, Diatonicism, Parallelism, Leaps & Lines, Accel/decceleration, Melodic forms.
Endings
Similar
How a phrase ends is often of particular melodic importance. You may notice that different phrases often have similar endings.
Phrase 1
Phrase 2 has unequal length, different starting material but similar motifs and an identical ending, forming a link with Phrase 1
Endings
Modied
Conversely, a phrase may be repeated with small modications to the ending, to create different degrees of resolution even with similar harmony
Phrase A1.1 Phrase A1.2 Phrase A1.1 Phrase A1.3
Phrase A1
Phrase A2
This introduces the concept of phrase hierarchy Phrases made up of smaller phrases which can be modied and recombined
Endings Major
Degrees of Resolution
Minor
Heres an impression of resolution level of diatonic notes in a major scale devoid of harmony (the same categories work for minor also) Its very dependent on content but is a reasonable starting point. Note that the idea of resolution here is independent from consonance/ dissonance - the sound of a note against the underlying harmony.
Chromaticism
Major
Minor
These are highly context dependent and not hard rules - there are also other settings other than major or minor that can be established, but the idea of varying degrees of melodic resolution is fundamental. Again, this about melodic resolution not consonance/dissonance - the latter being controlled by harmonic context.
Phrase Construction
We can now see how a sense of resolution (from stable to unstable) can be established between phrases giving a longer arc to melodic construction. This is a fundamental concept in 1000s of melodies.
Resolution Unstable #4 Stable Root
Phrase A1
Phrase A2
from Gnossienne 1 - Satie
Endings
Exercise 1 Write two different phrases that share identical resolving endings Exercise 2 Write two phrases with the same (or no) harmony, but with a different note choices at the ending, creating different degrees of resolution.
Phrase Endings & Harmony

Linking phrases with similar or modied endings
Sub-divide into 2 levels of phrases noting areas of stability/instability and how harmony accommodates the melody

from Across the Universe - Beatles
Note that melody notes, melodic rhythm and harmony all combine to create a multi-layer musical experience

from Angel Eyes - Matt Dennis
Note the use of varied phrase endings, motivic editing and transformation with harmony

Note the use of varied phrase endings, motivic editing and transformation with harmony
Phrase Endings & Rhythm

Strength of ending
Rhythm contributes to the sense of nality of a phrase (not that a phrase always needs it). The strength of the beat on which the phrase ends contributes to a sense of continuity or nality.
1 Strong
&
&
&
&
Weak
&
&
&
&
Phrases & Rhythm
Exercise 2a Write 3 similar phrases with different strengths of ending Exercise 2b Write 3 similar phrases but starting on different beats
Melody Contour & Range

Melodic Typology
Although there are millions of possible melodies, analysts have proposed systems to categorise them into various groups. We wont favour one but at least look at the various identifying features. Range (Highest to lowest notes) Contour (Position of highest and lowest notes) Leap & Line (Stepwise motion or intervallic leaps) Long Term Goals (A journey between 2 notes) Chopin Motivic Material (Identifying motifs or articulations) Scale/Diatonicism/Chromaticism (Set of notes used) Consonance/Dissonance (How the melody interacts with harmony)
Melody Contour & Range

Melodic Typology
Exercise 3a-b Write a melody with specic ideas for the features identied previously. Write another melody from the previous by changing. 2 of the features
Melody & Harmony

Consonance & Dissonance
In addition, to melodic resolution, there is another important musical layer: The consonance and dissonance of a melody against the harmony. The most consonant melodic approach is to use only chord tones (CTs)
Melody & Harmony

NCTs of course can be used, and there are techniques for resolving dissonances. Here Passing Tones (PTs), Diatonic Sequences and Chord Tones Pivots.
Melody & Harmony

Melody & Harmony

Melody & Harmony

Melody & Harmony

Melody & Harmony

Melody & Harmony

Melody from a chord sequence. A Theme and Variations concept (Paganini Caprice 24) This allows the creation of certain canonic forms where material that functions of the same harmony can be superimposed
Melody & Harmony

Exercise 4 Write a 4-bar chord sequence, and an accompanying melody using CTs, create 3 subsequent phrases on the chord sequence
Melody & Harmony

NCTs can be left unresolved as part of a melody and will produce a varying amount of dissonance against the underlying harmony, for which the next page give a general impression of this continuum.
Melody & Harmony

Melody & Harmony

This schematic shows the continuum of consonance and dissonance with reference to the chordal context (ie if we are looking at a ii or a iii chord, a I or a IV etc. There are some exceptions to this, for example the use of the b3(aka #9) in a major context, which is a stylistically perfectly accepted dissonance in many AfricanAmerican sourced music forms (Jazz, Blues and by assoiciation Rock, pop, funk etc.)
CTs
Diatonic Non-Clash NCTs
Non-Diatonic Non-Clash NCTs
Diatonic Clash NCTs
Non-Diatonic Clash NCTs
Melody & Harmony

From another perspective we can look at common dissonances - also known as tensions or extensions and have a quick look at what contexts they are accepted, other than a passing tone or other melodic device.
b9 (aka b2)
Melody & Harmony

b9 (aka b2)
This can be sometimes found unresolved when it is a diatonic. Eg. an F against an Eminor in the key of C, or against an E major in A harmonic minor. It is common against the one chord scales with a b2 eg. Phyrgian (F against E minor in E phrygian) or in Spanish Phrygian (F against E major) and the like. (Caravan, Miserlou for example) It also appears on a major or dominant chord that is acting as a primary or secondary dominant, particularly (but not exclusively) when resolving to a minor chord. Other than this it is rare when non-diatonic.
Melody & Harmony

9
This is the most common dissonant non chord tone, and appears freely on a major, minor, dominant, major 7 chord etc. It is only rare when non diatonic e.g. on a iii chord in a major key, but non diatonic examples are found particularly in a parallel context. Every Breath You Take,(Police) or Twin Peaks Theme shows its diatonic usage, while Castles Made of Sand, Come On Pt.1 (1:16) and Little Wing (Hendrix) has parallel non-diatonic examples.
Melody & Harmony

#9
Acting as a blue note on a major or dominant chord is a commonly accepted melodic dissonance on any resolving dominant chord or over any I major or I dominant chord or general tonality. Its use on the IV or IV7 chord is actually quite rare due to the peculiarity of a b6 over b3. Examples of a b3 in major/dominant context abound.
Melody & Harmony

11(4)
Although traditionally a dissonance that requires resolution, the 11th (or 4) is often left unresolved on a I chord a major or dominant context (being diatonic), and is common on minor chord as there is no clash with the 3rd. It is a little more rare, but still heard, in a non-diatonic form (e.g. on the IV chord in major, the IV chord in blues however tolerates it easily due to the pentatonic context). All minor chords (and half-diminished chords) happily accept the 4th melodically although non-diatonic uses are a bit more rare.
Melody & Harmony

#11(#4)
The #11 is a common NCT on major, major7 and dominant chords. The least dissonan use is diatonic e.g. Chord IV in major, Chord I in Lydian or bVImaj in a minor (or borrowed minor) context. It is also often used on tritone-substituted dominant chords. However it is common particular in jazz-tinged styles to include on major, major7 and dominant chords and on minor chords in a Satie-esque exotic moments. (Blue 7 dominant, Satie minor, Blue in Green Major)
Melody & Harmony

b6(b13)
The b6 or b13 with the presence of the 5th is quite a strong dissonance often quickly resolved The exception being on resolving dominant chords (particularly to minor chords) where it is often supported.
Melody & Harmony

6(13)
The 6 or 13 in the melody, unless non-diatonic is readily supported by major, minor and dominant chords alike.
Giant Steps - John Coltrane Notice how accepted NCTs are used alongside to marry a memorable melody and a complex chord sequence
Melody & Harmony

Intervallic Features
Exercise 5 Write a melody devoid of harmony. Harmonise it in 3 ways so that all notes are in example a) All chord tones b) Resolved dissonances c) Accepted NCTs
Melody & Harmony

Intervallic features
Traditional melodies usually have a few leaps using chord tones and devices, and the rest of the material step wise. However it is possible to use less traditional intervals as important melodic motifs.
Melody & Harmony

Melody & Harmony

Melody & Harmony

Melody & Harmony

Melody & Harmony

Exercise 6 Write a melody based on extended intervals (4th,5ths and 7ths) or interval structures ( for example +2,+7,-1) using accepted NCTs
Melody & Harmony

Pedal Tone/Pitch Axis
Youll notice that the more angular examples of intervallic tunes had less (or no chords) Since harmony dictates consonance and dissonance, we can open up melodic possibilities by simplifying the harmonic context. For example a drone permits a wide array of scales to be implied compositionally (or through improvisation). Indian classical music (discussed later) is monophonic and allows an enormous amounts of expressive melodies unconstrained by even temperament. Even limiting ourselves to a 7 note system, even temperament, only one type of degree and no b4, Saties F-minor chord (on which he uses Dorian #4 and Melodic Minor #4) actually has 16 logically accompanying modes and scales.
b2 4 b6 or b3 or 5 or 2 #4 6
b7 or 7
Melody & Harmony

b2 4 b6 or b3 or 5 or 2 #4 6
Phrygian #4 Aeolian #4 Dorian #4
b7 or 7
Dorian b2/#4 Mel. Min b2/#4
Phrygian Aeolian Dorian
Dorian b2 Mel. Min b2
Melodic Minor Harmonic Minor Harmonic Minor b2
Melodic Minor #4 Harmonic Minor #4 Harmonic Minor b2/#4
Melody & Harmony

Ravels Bolero (1928) is an orchestral work based almost exclusively on a bass ostinato (bass loop) which includes only a C and G. This allows the insistent melody to be transformed into several parallel beautiful scales while maintaining musical interest.
French composer Maurice Ravel (1875-1937)
Melody & Harmony

Bolero Modes C Major (R,2,3,4,5,6,7) C Mixolydian b6 (Aeolian Major/Hindustani/Mode 5 of MM) (R,2,3,4,5,b6,b7) C Phrygian (R,b2,b3,4,5,b6,b7) C Phrygian Dominant (R,b2,3,4,5,b6,b7) E Mixolydian b6 E Phrygian
Melody & Harmony

. Take the bridge of Satch Boogie - Joe Satriani for example The A acts as a pivot to a menagerie of exotic scales/harmonies.
Melody & No Harmony
Or no harmony whatsoever as in Debussys Syrinx unpublished in his life time.
my favorite music is those few notes an Egyptian shepherd plays on his ute: he is a part of the landscape around him, and he knows harmonies that arent in our books.
The opening phrase elaborates the notes of a whole-tone scale (Bb, Ab, Gb, E). The whole-tone scale is incompatible with common-practice harmony, because it contains no 5ths and no half steps, making traditional cadences impossible and eliminating tonic-dominant polarity. Debussy used whole-tone scales in many works as a way to confound his listeners tonal expectations and to explore new harmonic possibilities. Here, though, he does not limit himself to the whole-tone scale. He decorates it with chromatic neighbors and passing tones in the first two measures (A,B,G, F). In measure 4 he exchanges it for an ascending chromatic scale (Bb, B, C, Db).
In measure 11 he turns to a pentatonic scale (Gb, Ab, Bb, Db, Eb) with an added note (F). In measure 15, which begins the middle section of the piece, he uses a fully chromatic scale.
At measure 26 (the recapitulation) he returns to the initial whole- tone scale. Then in the very last measure he switches to the other possible whole-tone scale (B, A, G, F, Eb, Db), which is how the piece ends. In this very short piece Debussy exchanges pitch materials almost compulsively, but he steadfastly avoids the major- minor diatonic scale.
Melody & Harmony

Exercise 7 Write a melody over a 2, 1 or 0 note ostinato, exploring scales which the harmony allows.
Exercise 1 Write two different phrases that share identical resolving endings Exercise 2 Write two phrases with the same (or no) harmony, but with a different note choices at the ending, creating different degrees of resolution. Exercise 3a-b Write a melody with specic ideas for the features identied previously. Write another melody from the previous by changing. 2 of the features Exercise 4 Write a 4-bar chord sequence, and an accompanying melody using CTs, create 3 subsequent phrases on the chord sequence Exercise 5 Write a melody devoid of harmony. Harmonise it in 3 ways so that all notes are in example a) All chord tones b) Resolved dissonances c) Accepted NCTs Exercise 6 Write a melody based on extended intervals (4th,5ths and 7ths) or interval structures ( for example +2,+7,-1) using accepted NCTs Exercise 7 Write a melody over a 2, 1 or 0 note ostinato, exploring scales which the harmony allows.
MILTONOTES
Chance & Translation

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Entire series
This episode we look at approaches to composition, that in some way have delegated decisions to outside inuences such as the use of chance and indeterminacy in composition, cryptograms and the sonication of nonmusical data and physical processes.
Why?
Indeterminacy (like improvisation) and chance could be a component (big of small) of composition. From making a series of randomised chords, or predetermined motif work or the effective use of a noise wave-form LFO.
The transfer of non-musical data (for example someones initials converted to a motif, or a key from another piece) can act as a form of tribute, signature or aesthetic link. It can also act as a compositional challenge and selfimposed to enhance creativity and encourage new musical ideas.
The delegation of compositional control, has a philosophical implication. Can a composer create a piece that includes elements out of her control? At what degree of uncertainty, white noise LFO or level of improvisation does it no longer become the piece? Can we just point at a sound (like 433) and claim it as a piece? Which parts are important? Cadenza to Jazz to Electronica
Chance and Aleatoric Music
Chance
The use of chance in composition has a varied and long heritage. Dening chance or aleatoric music as music in which some element of the composition is left to chance would imply many types and degrees of chance music.
Chance
Types of randomness Range Step Dotted or Drunk
Chance
Ockeghems Missa Culuvsis Toni

A composition by Johannes Ockeghem (1410-97) which allows a choice of modal interpretations. One composition: multiple realisations.
Chance
Determined
Left to chance/ Indeterminant
Using this very simple system allows a more nuanced and useful understanding of chance music
Chance
Determined
Melodic contour, rhythms, structure, text etc.
Indeterminate
Which 1 of 4 Modes
Chance
Mozarts Dice Game (1787)

http://sunsite.univie.ac.at/Mozart/dice/
A Musical game for composing minuets and trios from dice rolls
Chance
Mozarts Dice Game Determined

Harmonic structure Form Set of motifs
Left to chance
Which of the set of motifs are selected
Chance
DuChamps Erratum Musical (1913)

Composition by the dadaist artist Marcel DuChamp. A xed number of pre-determined notes (and words in the vocal version) from a set of possibilities are randomly selected to form the work.
Chance
Duchamps Erratum Musical Determined

Prepared materials Number of events
Left to chance
The order and which of the musical fragments are selected
Chance
Cages Williams Mix (1952)

Environmental sounds collected over 9 months by the Barrons, then tape-spliced according to a set of rules determined by coin tosses.
Chance
Cages Williams Mix Determined

Prepared environmental materials Length of piece Operations
Left to chance
Which operations on which tracks
Chance
Cages 433 (1952)

Measured Silence Focusing attention on unintended sound
Chance
Cages 433 Determined

Duration(s) Time Place
Left to chance
Everything else
Chance
The Use of Randomness in Synthesis

Noise wave as tone Noise wave as LFO (with continuous and step values)
Chance
1 Layer of Randomness
Chance
2 Layers of Randomness
Chance
3 Layers of Randomness
Chance
Randomness and Creativity

The forcing of new ideas
Random Word Generator
Chance
Exercise 1 Write a musical passage which divides various musical features into determined, and randomly generated. Render some versions. Exercise 2 Alter which of the features in Exercise 1 are determined or random and render some versions. Exercise 3 Create a synth line (or several layers) experimenting with controlling LFOs with step and/or continuous noise functions. Exercise 4 Randomly generate an adjective and noun, and create the opening (or all) of a work based on the phrase. Repeat with a different randomly generated phrase.
So compositions can allow areas and degrees of randomness and indeterminacy. From interpretation, cadenzas, jazz to extremely random. Pockets of chaos But they can also include pre-determined material, (overt or hidden).
Translation Cryptogram
The BACH motif

(B = Bb H=B S= Eb)
Acting as a tribute, or a test of compositional skill, the Bach motif has appeared in 100s of works since the 17th century.
The BACH motif
Contrapunctus V (2:20)
Contrapunctus IV
The BACH motif
The unnished Contrapunctus XIV, C.P.E. Bachs

("At the point where the composer introduces the name BACH [for which the English notation would be B-A-C-B ] in the countersubject to this fugue, the composer died."
The BACH motif
Schumann: Sechs Fugen ber den Namen: Bach No. 4 & 5 (1845)
The BACH motif
Webern Tone Row String Quartet Op. 28
The BACH motif

1845 Robert Schumann: Sechs Fugen ber den Namen: Bach, for organ, pedal piano, or harmonium, Op. 60 1855 Franz Liszt: Fantasy and Fugue on the Theme B-A-C-H, for organ (later revised, 1870, and arranged, 1871, for piano) 1878 Nikolai Rimsky-Korsakov: Variations on BACH, for piano 1900 Max Reger: Fantasia and Fugue on B-A-C-H for organ 1910 Ferruccio Busoni: Fantasia contrappuntistica for piano (rst version; later versions 1912 and 1922) 192628 Arnold Schoenberg: Variations for Orchestra, Op. 31 193738 Anton Webern: String Quartet (the tone row is based on the BACH motif) 1968 - Alfred Schnittke: Quasi Una Sonata 1981 - Schnittke: Symphony No. 3 - used alongside the monograms of several other composers. 1856 - Johannes Brahms: Fugue in A-at minor for organ, WoO 8 1930 - Marios Varvoglis: Canon, Chorale and Fugue on BACH 1932 - Alfredo Casella: Due Ricercari sul nome B-A-C-H, Op. 52 1932 - Francis Poulenc: Valse-improvisation sur le nom Bach for piano 1934 - Hanns Eisler: Prelude and Fugue on B-A-C-H, Op. 46 for string trio 1937 - Marios Varvoglis: Prelude, Chorale and Fugue on BACH 1942-46 - Charles Koechlin: Offrande musicale sur le nom de B-A-C-H, Op. 187 1952 - Jean Coulthard: Variations on BACH for piano 1952 - Luigi Dallapiccola: Quaderno musicale di Annalibera for piano 1954 - Dallapiccola: Variazioni ("Variations", orchestral version of Quaderno musicale di Annalibera) 1951-55 - Dallapiccola: "Canti di liberazione" 1964 - Arvo Prt: Collage over B-A-C-H for strings, oboe, harpsichord and piano 1974 - Rudolf Brucci: Metamorfosis B-A-C-H for strings 1993 - Ron Nelson: Passacaglia (Homage on B-A-C-H) for concert band
What about other letters/notes?
German System
A=A B = Bb C=C D=D E=E F=F G=G H=B M=E L=A R(e) = D S (Es) = Eb T(i) = B As = Ab Ignore the rest
French System A H (or B) O V B

(or Bb)
C J Q X
D K R Y
E L S Z
F M T
G N U
I P W
Alban Berg/Hanna Fuchs-Robettin
A, Bb, B, F
Bergs Lyric Suite
Arnold Schoenberg
A, Eb, C, B, Bb, E, G
Schoenbergs Seraphita
Brahms
Bb, A, B, Eb
Schnittkes Quasi Una Sonata
Haydn
B, A, D, D, G
Ravels Menuet sur le nom dHaydn
Bla Brtok
Bb, E, B, A
Cage
C, A, G, E
Pauline Oliveros and Simon Jeffes of PCO in Cage Dead
Dimitri Schostakovich
D, Eb, C, B
In many of Schostakovichs work, and tributes to him. String Quartet No. 8
Sacher Hexachord
Eb, A, C, B, E, D
Swiss conductor and patron Paul Sacher, used by Babbitt and Boulez (Messagequisses)
Robert Schumann
Eb, C, B, A
Used in Schumanns Carnaval (in SCHA, ASCH and AsCH forms)
Niels Gade
G, A, D, E
The monogram for Danish composer Niels Gade (1817-1890) is used in Schumanns Nordische Lied No.41, Op.68
Cross Motif Symbol from Gregorian Melodies
Franz Lizst (1811-86)
Cross Motive Crucixion and star-crossed lovers
Tchaikovsky (1840-93) mm1-2 of Pathtique Symphony
Exercise 5 Create your own monogram using the German or French system. Compose a phrase/passage/piece of your signature. Experiment with motivic transformations (R, I, RI), phrase constructions, harmonisations etc. Exercise 6 Generate another cryptogram for someone (or something) else. Compose a phrase/passage/piece interweaving this, and your monogram.
Translation Other Mappings
Amusical
Musical
Letters in a name
Note names
Amusical
Musical
Letters from anywhere
Any pitch
ASCII to midi note conversion
DNA ASCII MIDI
A 65 F3
C 67 G3
T 84 C5
G 71 B3
DNA to midi note conversion

AAA AAC AAT AAG ACA ACC ACT ACG ATA ATC ATT ATG AGA AGC AGT AGG CAA CAC CAT CAG CCA CCC CCT CCG CTA CTC CTT CTG CGA CGC CGT CGG TAA TAC TAT TAG TCA TCC TCT TCG TTA TTC TTT TTG TGA TGC TGT TGG GAA GAC GAT GAG GCA GCC GCT GCG GTA GTC GTT GTG GGA GGC GGT GGG
Codon permutations
Amusical
Musical
Letters from anywhere
Rhythm
ee
xxe xex exx
xx x
.x
A L W
B M X
C N Y
D O Z
E P
F Q
G R
H S
I T
J U
K V
One of countless letter to rhythm mapping templates Letter frequency and rhythmic sets will play a compositional role
Translation Rhythmic Mapping
Exercise 7 Create a rhythmic pattern from the given - or your own - mapping template using your name, initials or somesuch.
Exercise 8 Combine a rhythmic with a melodic mapping template, you may want to use two source names so that for example all As arent the same length.
Translation Types of Mappings
Discrete/Continuous One to One One to Many Many to One Parallel
Translation Villa-Lobos (1857-1959)
Brazilian Composer
Translation Villa-Lobos millimetrization
New York Skyline
Translation Villa-Lobos millimetrization
New York Skyline Melody (1939) and more
Translation Mapping
Exercise 9 Create a melody from an image. Harmonise.
Amusical
Musical
Vertical Horizontal
Pitch Time/Rhythm
Translation Data Soniciation
Why stop at 2 discrete dimensions? How much can be extracted? What data can be used?
Primal Sound (2004,2007)

The coronal suture of the skull (which should now be chiey investigated) has let us assume a certain similarity to the closely wound line that the needle of a phonograph cuts into the receptive, revolving cylinder of the machine. Suppose, for instance, one played a trick on this needle and caused it to retrace a path not made by the graphic translation of a sound, but selfsufcing and existing in nature good, let us say it boldly, if it were (e.g.) even the coronal suture what would happen? A sound must come into being, a sequence of sounds, musicFeelings of what sort? Incredulity, awe, fear, reverence yes, which of all these feelings prevents me from proposing a name for the primal sound that would then come to birth? Ur-Gerusch (Rilke 1919, p 1087)
Image 2004 Palmer
Image 2005 Supranowitz
Angela Palmers Inside Out exhibition ! Ruskin Gallery, Oxford University, UK. 2 February 2004. ! Royal College of Surgeons, Hunterian Museum, UK. 29 January 19 May 2007. Music of the Body exhibition !Science Circus, Guildford, Surrey, UK. 20 September 2008.
Head Music (2004)
Microcosmos (2007)
Generative Composition Emergent Music
Translation Mapping
Exercise 10 Create your own mapping system from a data source and realise it compositionally.
Exercise 1 Write a musical passage which divides various musical features into determined, and randomly generated. Render some versions. Exercise 2 Alter which of the features in Exercise 1 are determined or random and render some versions. Exercise 3 Create a synth line (or several layers) experimenting with controlling LFOs with step and/or continuous noise functions. Exercise 4 Randomly generate an adjective and noun, and create the opening (or all) of a work based on the phrase. Repeat with a different randomly generated phrase. Exercise 5 Create your own monogram using the German or French system. Compose a phrase/passage/piece of your signature. Experiment with motivic transformations (R, I, RI), phrase constructions, harmonisations etc. Exercise 6 Generate another cryptogram for someone (or something) else. Compose a phrase/passage/piece interweaving this, and your monogram. Exercise 7 Create a rhythmic pattern from the given - or your own - mapping template using your name, initials or somesuch. Exercise 8 Combine a rhythmic with a melodic mapping template, you may want to use two source names so that for example all As arent the same length. Exercise 9 Create a melody from an image. Harmonise. Exercise 10 Create your own mapping system from a data source and realise it compositionally.
MILTONOTES
Process

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Entire series
Process
This episode deals with the use of compositional systems from the simple to highly complex, and using physical and algorithmic processes. Compositional systems may be used quite freely to introduce creative options, or at the furthest extreme as a hands-off process that might be heard clearly by the listener.
Process
Joseph Schillenger System of Musical Composition (1946)
Comprehensive system on many musical aspects beyond prevailing tutor books - an attempt at scientic unication
Process
Schillinger System: Permutations in melody and pitch scales
Process
Schillinger System: Permutations in scales, modulation and harmony
Process
Schillinger System: Rhythmic permutation (3+1)+(2+2)+(1+3)
Process
4:3 (3+1)+(2+2)+(1+3) 6:5 (5+1)+(4+2)+(3+3)+(2+4)+(1+5)
Realise in terms of rhythm, melody, harmony etc.
Process
Exercises
Exercise 1 Write a passage of music using the Schillinger system on rhythm, melody and/or harmony.
Process
Score for Metastasis (1953-54) Iannis Xenakis (1922-2001) deep mathematical and music connection.
Process
La Monte Young - Poem (1960)
Avant-Garde composer. Predetermined dragging of chairs and benches as well as drone music and minimalism
Process
Ligetis Poeme Mechanique (1962)

Simultaneous tempi and wind down.
Process
Exercises
Exercise 2 Simulate musically a physical process (e.g. metronomes, drips, popcorn, tides, orbits etc.
Process
Terry Rileys In C (1964)
Superimposition of 53 randomly started musical fragments First minimal piece.
Process
Steve Reich - Its Going to Rain (1965)
Tape piece for phased vocal phrase. Slow technological phasing. Aural examination of a preachers voice and pigeon. South Bank Show documentary (Rain) http://www.youtube.com/watch? v=q0DQRfm0uL8 or start watching entire documentary here (recommended): http:// www.youtube.com/watch?v=e_pR1sHHeQU&feature=related Complete piece http://www.dailymotion.com/video/x90h1r_steve-reich-its-gonna-rainpart-1_music
Process
Ligetis Lux Aeterna (1966)
Canonic structures and superimpositions that dont t traditional harmony, but form powerful compelling textures
Process
Ligetis Lux Aeterna (1966)
analysis Jarviepp
Process
Process
Process
Steve Reich - Piano Phase (1967) Violin Phase (1967) Phase Patterns (1970)
Algorithmic cyclical process whereby motifs are micro-rhythmically transformed to rhythmic displacements. 12-note, 8-note, 4-note phase
"I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music. What I'm interested in is a compositional process and a sounding music that are one and the same thing" - Steve Reich
Process
Steve Reich - Pendulum Music (1968)
Piece formed by the gravitational pull of swinging microphones and feedback responses
Process
Frederic Rzewski - Les Moutons des Panurge
(1968)
Carter & Rzewski Written for any number of musicians playing melody instruments, plus any number of nonmusicians playing anything, contains a 65-note melody in F played in a cumulative sequence (1, 1-2, 1-2-3, and so on) by the entire ensemble in unison; once the entire melody is played, the sequence is reversed with the melody continued, but with notes from the beginning shed with each repetition (2-3-...65, 3-4-...65, and so on), until only one note remains. That nal note is held until all the players have reached it, at which point all begin improvising. Rzewskis instructions are: Always play loud, never stop or falter, stay together as long as you can, but if you get lost, stay lost. Do not try to nd your way back into the fold. Continue to follow the rules strictly.
Process
Karlheinz Stockhausen - Spiral (1968)
A composition as a series of xed transformations rather than a xed structure.
Process
James Tenney - For Ann (Rising) (1969)
Shepperd Tone piece http://www.youtube.com/watch?v=RqRd555v0Hg
Process
Steve Reich - Clapping Music (1972)
Piece for 2 performers formed by 12-point displacement of rhythmic motif.
Process
Alvin Lucier - I Am Sitting In a Room (1974)
Degradation through room resonance
Process
Brian Eno - Discreet Music (1975)
With delay and varying EQ a motivic phrase automatically generates an ambient soundworld. Album also includes pieces derived from fragments of Pachelbels Canon in D
Process
Alvin Lucier - Music on a Long Thin Wire (1979)
Oscillations and interferences on a wire
Process
James Tenney - Chromatic Canon (1980)
Tone Row slowly unfolded then collapsed
Process
Steve Reich - Electric Counterpoint (1987)
Process Principles attached to longer scale harmonic form (See New York, and Cello Counterpoint)
Process
Exercises
Exercise 3 Write a piece of music based on an overt Reichian process.
Process
Algorithmic Construction
Thomas Tallis (1505-1585) Spem in Alium
Process
Process
5,8 OMNIA558
Process
Process
Process
Process
Process
Process
Digital Technology and Process
Computer processing has been harnessed since the 50s in order to provide composers with new ideas as well as algorithmically generated pieces. Even creating millions of version of the same piece.
Process
Digital Technology and Process

Computer processing has been harnessed since the 50s in order to provide composers with new ideas as well as algorithmically generated pieces. Even creating millions of version of the same piece.
Process
http://vimeo.com/25041544
Process
Iannix - software that harnesses computer processing to musical algorithms
Process
Exercises
Exercise 4 Construct an algorithm for a piece (with or without computer assistance) operating on more than one musical layer
Process
Exercises
Exercise 1 Write a passage of music using the Schillinger system on rhythm, melody and/or harmony Exercise 2 Simulate musically a physical process (e.g. metronomes, drips, popcorn, tides, orbits etc.). Exercise 3 Write a piece of music based on an overt Reichian process. Exercise 4 Construct an algorithm for a piece (with or without computer assistance) operating on more than one musical layer
MILTONOTES
Tuning

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Entire series
Tuning
This episode deals with the scientic principles and creative possibilities of tuning from concepts of just intervals, expressive intonation and electronic realisation of microtones.
Tuning
Wavelength & Frequency Hz. The Frequency of Human Hearing The Law of Octave Equivalence Harmonic Series
Tuning
How many octaves from 20Hz-20,000Hz?
Tuning
A reference pitch
Pitch ination and variation for centuries. In 1939 a standardised system of 440Hz was agreed although some European schoolhs go up to 442Hz or 443Hz
Tuning Harmonic Series
Wavelength:
What division of the string?
!2/3
1/2
1/4
1/1
How much faster does the string oscillate?
Frequency:
!3/2
2/1
4/1
1/1
Note that frets (and pitch steps) are based on division rather than absolute length of a string. Hence, pitch is a logarithmic function with the perception of steps based on multiplications (and divisions). We can however use the handy cent with using a logarithmic function turns the octave into 1200 equal steps, with 100 cents equalling a 12th of the octave (equal semitone).
Note that frets (and pitch steps) are based on division rather than absolute length of a string (e.g. Frets are !5.61% of the remaining string). Hence, pitch is a logarithmic function with the perception of steps based on multiplications (and divisions) of frequency (or wavelength). We can however use the handy cent with using a logarithmic function turns the octave into 1200 equal steps, with 100 cents equalling a 12th of the octave (equal semitone), and 600 cents dividing the octave.
Tuning
Harmonic
1/1 1/2 1/3 1/4 1/5 1/6 1/7 1/8 1/9
Nearest Pitch
Harmonic Series
1 2 3 4 5 6 7 8 9 10
1/1 C 2/1 C 3/1 G
4/1 C 5/1 E 6/1 G
7/1 Bb 8/1 C
9/1 D
1/10 10/1 E
String players can touch the string at any of these nodes to reveal the harmonic.
Cent deviation from Equal temperament
+2
-14
+2
-32
+4
-14
-49
+2
+41
-32
-12
Memorise this pattern up to the 11th harmonic including cent discrepancies. Observe the narrowing of the intervals. Chord voicings respond well to a similar pattern which will be looked at in more detail in Voicings.

If we imagine that the harmonic series tells us something about the nature of music - although one doesnt have to believe that - then we can propose some natural outcomes.
+2
-14
+2
-32
+4
-14
-49
+2
+41
-32
-12

The rst triad to emerge is a major triad. (With a major 3rd 14c atter and a 5th 2c sharper than ET (Equal Temperament). The rst seventh chord to emerge is a dominant 7th (with a signicantly atter 7th (-32c) than ET) Natural voicings are large in the bass register and progressively closer at higher registers The rst heptatonic scale is Lydian Dominant (aka Lydian b7, Mixolydian #11, or the Overtone or Harmonic scale). The 3rd, b7 and especially the #11 (-49c) signically atter than ET The rst common pentatonic scale to emerge is the major pentatonic
Tuning Exercise
Exercise 1 Electronically realise the rst 16 notes of the harmonic series. You can create these with cent deviations from Equal temperament or by generating tones as multiples of a fundamental frequency. Listen to each harmonic against a drone to appreciate its sonority. Sketch an opening of a piece that is somehow linked to the harmonic series.
Tuning Acoustic Purity
The Pythagorean concept of Acoustic Purity: Intervals from simple ratios Selecting notes and constructing scales from the Harmonic Series
Tuning The Just 5th
1/1
3/2
2/1
3/1
Struck
Tuning The 3-Limit Scale
1/1 C Root
9/8 81/64 4/3 D E F Maj 2nd Maj 3rd 4th 2 4 -1
3/2 27/16 G A 5th Maj 6th 1 3
2/1 C 8ve
Tuning The Pure 5th vs. Even Tempered
700 E.T. 5th

2 cents
3/2 G 5th 702
Tuning The Pure 5th vs. Even Tempered
200 E.T. 2nd

4 cents
400 E.T. 2nd

8 cents
500 E.T. 2nd

-2 cents
700 E.T. 5th

2 cents
900 E.T. 5th

6 cents
9/8 81/64 D E Maj 2nd Maj 3rd 204 408
4/3 F 4th 498
3/2 G 5th 702
27/16 A Maj 6th 906
Tuning 3-Limit Concept
+2
-14
Tuning The 3-Limit Major Scale (Pythagorean)
Pitch C D E F G A B C
Ratio 1/1 9/8 81/64 4/3 3/2 27/16 243/128 2/1
Cent 0 204 408 498 702 906 1110 1200
+/0 +4 +8 -2 +2 +6 +10 0
Ascending Pure 5ths (except F)
Tuning The 3-Limit Locrian Scale (going down pure 5ths)
Pitch C Db Eb F Gb Ab Bb C
Ratio 1/1 256/243 32/27 4/3 1024/729 128/81 16/9 2/1
Cent 0 90 294 498 588 792 996 1200
+/0 -10 -6 -2 -12 -8 -4 0
Tuning The Pure 5th From the 5th Harmonic
5/4
Tuning The Pure 5th vs. Even Tempered vs. Pythagorean
400 E.T. 5th

-14 cents +8 cents
5/4 81/64 G E 5th Maj 3rd 386 408

22 cents ! 81/80 Syntonic Comma ! 22 cents
Tuning The Pure Major Triad
3/2 5/4 1/1
ET + 2 cents
ET - 14 cents
Tuning Exercise
Exercise 2 Construct a major triad with a clear electronic tone and using cent discrepancies (-14 cents on major third) (+2 cents on fth)
Tuning 5-Limit Concept
+2
-14
Tuning 5-limit chromatic scale
1/3
-2c
1
+0c
3
+2c
9
+4c
3rds from 5th Harm.
5
-14c
A 5/3 884c F 4/3 498c Db 16/15 112c
E 5/4 386c C 1/1 0c Ab 8/5 814c
B 15/8 1088c G 3/2 702c Eb 6/5 316c
F# 45/32 590c D 9/8 204c Bb 9/5 1018c
1 1/5
+14c
5ths from 3rd Harm.
Tuning 5-limit chromatic scale
1/3
-2c
1
+0c
3
+2c
9
+4c
Pure major triad
5
-14c
A 5/3 884c F 4/3 498c Db 16/15 112c
E 5/4 386c C 1/1 0c Ab 8/5 814c
B 15/8 1088c G 3/2 702c Eb 6/5 316c
F# 45/32 590c D 9/8 204c Bb 9/5 1018c
Pure minor triad
1 1/5
+14c
Pure major 7th
Pure minor 7th
Tuning Exercise
Exercise 3 Alongside the major triad, construct a minor triad, and other triads, 7ths and other chords using just intonation using cent discrepancies from the previous page. Create a chord sequence using carefully tuned chords. Compare to an even-tempered rendition. Consider if the moving bass line skips to even tempered or just intonated scale degrees.
Pure major triad
Pure minor triad
Pure major 7th
Pure minor 7th
Tuning Types of Degrees
As we saw with the major 3rd, different routes are available to get to closely related scale degrees, and so there are different types of pitches depending on which harmonics are used. Even limiting to the the 5th harmonic a large array of scale degrees emerge.
5-Limit Chromatic Palette
1/27
-6c
1/9
-4c Bb-125/72 954c
1/3
-2c F-125/96 458c Db-25/24 884c A 5/3 884c F 4/3 498c Db 16/15 112c A++ 128/75 924c F++ 512/375 540c
1
+0c C-125/64 1158c Ab25/16 772c E 5/4 386c C 1/1 0c Ab+ 8/5 814c E++ 32/25 428c C++ 128/125 42c
3
+2c G-375/128 640c Eb75/64 274c B 15/8 1088c G 3/2 702c Eb+ 6/5 316c B++ 48/25 1130c G++ 192/125 744c
9
+4c
27
+6c
81
+8c
125
-42c
25
-28c
B50/27 1066c G40/27 280c Eb 32/27 294c
F#-25/18 182c D10/9 182c Bb 16/9 996c F# 64/45 610c D+ 256/225 224c
Bb45/32 590c F#45/32 590c D 9/8 204c Bb+ 9/5 1018c F#+ 36/25 632c
F135/128 82c C#135/128 92c A+ 27/16 906c F+ 27/20 520c Db+ 27/25 134c
C405/256 794c
5
-14c
1 1/5
+14c
E+ 81/64 408c C+ 81/80 82c
1/25
+28c
1/125
+42c
A fraction of the scale degrees which emerge from harmonics 3 & 5, the yellow block are the most common. Warmer & cooler colours represent sharper & atter groups. The cream colour is the most common just intonated scale.
Tuning 5-Limit Chromatic Palette
Even limiting to the rst 5 harmonics, an indenite number of degrees may be generated.
1/729 -12c 625 -55c 125 -41c 25 -27c 5 -14c 1 1/5 +14c 1/25 +27c 1/125 +41c 1/625 +55c
Bb. 1250/729 934c F#. 1000/729 547c D--800/729 161c Bb1280/729 974c F#< 512/729 588c D-/
4096/3645
1/243 -10c
F. 625/485 435c Db. 250/243 49c A400/243 863c F320/243 476c Db< 256/243 90c A+<
2048/1215
1/81 1/27 -8c -6c

C. 625/324 1137c Ab-125/81 751c E100/81 365c C160/81 1118c Ab 128/81 792c E+< 512/405 406c C+< G. 625/432 639c Eb-125/108 253c B50/27 1067c G40/27 640c Eb 32/27 294c B+< 256/135 1108c
1/9 -4c
D. 625/576 141c Bb-125/72 955c F#-25/18 569c D10/9 182c Bb 16/9 996c F# 64/45 610c D+ 256/225 223c
Bb++ 2048/1125 1037c Bb++ 2048/1875 651c
1/3 -2c
A-625/384 843c F-125/96 456c Db-25/24 71c A 5/3 884c F 4/3 498c Db 16/15 112c A++ 128/75 925c F++ 512/375 539c Db++ 16/15 153c
1 +0c
E-625/512 345c C-125/64 1159c Ab25/16 773c E 5/4 386c C 1/1 0c Ab+ 8/5 814c E++ 32/25 427c C++ 128/125 41c Ab+> 1024/625 855c
3 +2c
B-1875/1024
9 +4c
F#+
5625/4096
27 +6c
Db+
16875/16384
81 243 729 +8c +10c +12c

Ab>
50625/32768
Eb>
youdontwant
Bb>
toknowsrsly
1047c
549c D--
51c A
3375/2048
753c E
10125/8192
255c B 135/128 1069c

G 6075/4096 682c Eb> 1215/1024
957c F#> 729/512 571c

D
G-375/256 661c Eb75/64 275c B 15/8 1088c G 3/2 702c Eb+ 6/5 316c B++ 48/25 1129c G++ 192/125 743c Eb+> 768/625 357c
1125/1024
163c Bb225/128 977c F#45/32 590c D 9/8 204c Bb+ 9/5 1018c F#+ 36/25 631c D++ 144/125 245c Bb+> 1152/625 1059c
865c F675/512 478c C#135/128 92c A+ 27/16 906c F+ 27/20 520c Db+ 27/25 133c A+> 216/125 947c F+> 864/625 561c
367c
C2025/1024 1180c
18225/26384
184c
Ab> 405/64 792c E+ 81/64 408c C+ 81/80 22c Ab> 81/50 835c E+> 162/125 449c C+> 648/625 63c
294c B+ 243/128 1110 G+ 243/160 723c Eb> 243/200 337c B+> 243/125 1151c G+> 972/625 765c
Bb> 3645/256 998c F#> 729/512 612 D+> 729/640 225c Bb> 729/400 1039c F#> 729/500 653c D+> 729/625 266c
202c Bb+<
32768/18225
904c F+<
1016c F#+<
silliness
G+< 8192/6075 2048/2025 1024/675 518c 20c 722c Db+<

32768/30375
Ab++
16384/1125
629c D/
dont ask 243c
131c A++<
long
833c
Eb++ 4096/3375 335c
E++<
65536/50625
B++<
32768/16875 1149c
945c
447c
Shrutis
C
1/1
Db-25/24
Db256/243
Db
16/15
Db+
27/25
D10/9
D
9/8
D+
256/225
Eb75/64
Eb
32/27
Eb+
6/5
E100/81
E
5/4
Pitch Name
Ratio
70
90
112
133
182
204
223
275
294
316
365
386
Cents (rounded)
E+
81/64
F320/243
F
4/3
F+
27/20
F#45/32
F#
64/65
F#+
36/25
G40/27
G
3/2
G+
243/160
Ab25/16
Ab
128/81
Ab+
8/5
408
477
498
520
590
610
631
680
702
723
773
792
814
A400/243
A
5/3
A+
27/16
Bb225/128
Bb
16/9
Bb+
9/5
B50/27
B
15/8
B+
243/128
B++
48/25
C
2/1
863
884
906
977
996
1018
1067
1088
1110
1129
1200
Tuning Shrutis and Ragas A Raga is a an Indian Classical Music form that includes specic rhythms, feels, motifs and microtonal scale forms. Well concentrate on the latter here. Since they occur over a drone and are essentially monophonic this allows for very specic and expressive tuning
Tuning Suha Raga Second quarter of the night Expression: Graceful, loving, night
Descending only
C 1/1 0
Tonic
D 9/8 204
Condent, joyful
Eb+ 9/5 316

Tender, loving
F 4/3 498
Moonlight, peace
G 3/2 702
Joy
Bb+ 9/5 1018

Desire
C 2/1 1200
Octave
(Tonic Bb on recording)
Tuning Bhairav Raga Late Morning Raga Expression: Calm and Loving
C 1/1 0
Tonic
Db256/243
90
Tender
E 5/4 316
Calm
F 4/3 498
Peace
G 3/2 702
Sun
Ab
128/81
792
Desire
B 15/8 1088
Pleasure
C 2/1 1200
Octave
(Tonic E on recording)
Tuning Sohini Raga
Deep into the night before dawn Expression: Effort to remain

Descending Only Descending Only
C 1/1 0
Tonic
Db256/243
90
Tender
E 5/4 316
Conscious, effort to stay awake
F 4/3 498
Moonlight, peace
F# 64/45 498
Intense, mysterious
A 5/3 1018
Soft, Callm
B+
243/128
1110
Active, sensuous
C 2/1 1200
Octave
Tuning Exercise
Exercise 4 Render one of these ragas (or research and invent one), carefully tune the shrutis - building a virtual instrument or set of instruments to achieve this. Play to a drone and compare to ET counterparts. Compose an opening of a piece in an alap style, slowly introducing and enjoying each of the shrutis and revealing the character of the raga.
Tuning 11-Limit What of the other harmonics? We can reach other divisions by using the 7th and 11th Harmonic, again from ET.
+2
-14
+2
-32
+4
-14
-49
Tuning 11-Limit
Harry Partchs (1901-74) 43-note universe
Tuning 11-Limit
Harry Partchs microtonal dissonance
Tuning Polyphonic Tuning Systems
Tuning The Spiral of Fifths
(3/2)12=129.746 27=128
Pythagorean Comma 129.746/128
!23.5 cents
Tuning Temperament
Temper, temper
Tuning
C Db D Eb E F F# G Ab A Bb B C 0 90 192 294 390 496 588 696 792 888 996 1092 1200
Quarter Comma purer 3rd

696c -6c -6c -6c
!24cents over 4 5ths 4 quarter commas Pure 5th= 702c Tempered= 696c
purer 3rd
-6c 702c
Tuning
C Db D Eb 0 94 196 298 392 502 592 698 796 894 1000 1090 1200 -4c -4c -4c -4c -4c
Sixth Comma 3rd

698c
3rd
E F F# G Ab
!24cents over 6 5ths 6 1/6 commas

More 3rds tempered, to a lesser degree than 1/4 comma
3rd
A Bb B C
3rd
702c
-4c
Tuning Bachs Well Tempered Clavier
Tuning Bachs Well Tempered Clavier
Tuning
C Db D Eb E F F# G Ab A Bb B C 0 100 200 300 400 500 600 700 800 900 1000 1100 1200 700c 700c 700c -2c -2c -2c -2c 700c -2c 700c 700c -2c -2c -2c -2c -2c -2c 700c -2c 700c 700c 700c 700c 700c
Equal Temperament (ET) 12-TET

!24cents over 12 5ths 12 twelfth commas -2c
Tuning Equal Temperament makes Cents
Cents = 1200 * log(ratio) log(2)
Ratio = 2
(Cents/1200)
Tuning Another Solution
Tuning Mozarts semitones
Tuning Splitting Accidentals
Clockwise from left: Campagnolis ngerboard diagram (1797) Woldermars Violin Method (1803) and Split key harpsichord 1715
Tuning 55-division tuning
111.1cents
88.8cents
100cents
1/9=22.2cents
Tuning 55-division tuning

C C# D D# E F F# G G# A A# B C 0 88.9 Db 200 288.9 Eb 311.1 400 500 588.9 Gb 700 788.9 Ab 900 988.9 Bb 1100 1200 1011.1 811.1 611.1 111.1
E-G# 388.9c 3rd (Pure is 386c)
Ab-C 388.9c 3rd (Pure is 386c)
Tuning Exercise
Exercise 5 Recreate or invent a 7-note (or split accidental) tuning system using cent discrepancies. Write a passage of music that exploits the vertical possibilities.
Tuning Where did it go?
Complexity of Instrument Design Challenges of pedagogy and wider interest in performing music, owning a piano The drive through romantic harmony into 12-tone serialism Filtered out of the system
Tuning Vertical vs. Horizontal
Consideration of the vertical and the horizontal. A time for harmonic sonority, and a time for expressive intonation. Microtonal infection, bends, glides, dips, portamento, vibrato etc. are hugely expressive devices but their extensive discussion will be saved for another episode. Here we concentrate on the destinations of such motions, but here is a brief overview of ideas.
Tuning Expressive intonation: Bends
Direction Contour & Pattern Duration Start/End/Stopping Points
Tuning Expressive intonation: Vibrato
Shape Width Frequency
Tuning Expressive intonation: Vibrato
Tuning Other divisions
+50c
+100c
+150c
-50c
-100c
-150c
or
-150c
24-TET 24 quarter-tones 50 cents each
48-TET 48 eighth-tones 25 cents each
7-TET 14-TET n-TET Each 1200/n cents
Tuning Other Divisions
Tuning Exercise
Exercise 6 Recreate or invent an atypical ET system, and compose a passage of music exploiting the intonation possibilities. Experiment with expressive intonation.
Tuning Blues microtones
C7
F7
G7
C7
Tuning Technology and Microtones
Busoni (1866-1924) In response to Cahills Telharmonium "Let us take thought," he exulted, "how music may be restored to its primitive, natural essence; [...] let it follow the line of the rainbow and vie with the clouds in breaking sunbeams.
Corrective technology (Pristine vs. sterile) Timbral expression Non equal-tempered auto-tuning?
Tuning Exercise
Exercise 7 Compose a passage of music using autoned vocals to a non 12-TET system.
Tuning Compositional Exercises

Exercise 1 Electronically realise the rst 16 notes of the harmonic series. You can create these with cent deviations from Equal temperament or by generating tones as multiples of a fundamental frequency. Listen to each harmonic against a drone to appreciate its sonority. Sketch an opening of a piece that is somehow linked to the harmonic series. Exercise 2 Construct a major triad with a clear electronic tone and using cent discrepancies (-14 cents on major third) Exercise 3 Alongside the major triad, construct a minor triad, and other triads, 7ths and other chords using just intonation using cent discrepancies from the previous page. Create a chord sequence using carefully tuned chords. Compare to an even-tempered rendition. Consider if the moving bass line skips to even tempered or just intonated scale degrees. Exercise 4 Render one of these ragas (or research and invent one), carefully tune the shrutis - building a virtual instrument or set of instruments to achieve this. Play to a drone and compare to ET counterparts. Compose an opening of a piece in an alap style, slowly introducing and enjoying each of the shrutis and revealing the character of the raga. Exercise 5 Recreate or invent a 7-note (or split accidental) tuning system using cent discrepancies. Write a passage of music that exploits the vertical possibilities. Exercise 6 Recreate or invent an atypical ET system, and compose a passage of music exploiting the intonation possibilities. Exercise 7 Compose a passage of music using autoned vocals to a non 12-TET system.
MILTONOTES
Structure

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Entire series
This episode looks at concepts of structure (and form) in composition. By looking at examples of folk and popular songs, jazz charts, classical forms, electronic pieces and indeterminate and process works, well build a catalogue of structures and structural concepts for analysis and compositional application.
Structure
Levels Firstly we need to address what factors contribute to our perception of structure. In fact as we saw in Pulse and Meter, Melodic Structures and Phrase, Contour and Melodic forms there are several levels on which structure is based. On the following simple example you can see the different levels of motif/phrase/section/piece
Structure
Levels
Structure is achieved by the repetition of similar events, as well as the disruption of repeated events.
Structure
Levels
Structure
Meter Level
Structure
Motif Level
Structure
Phrase Level
Structure
Passage (Higher Phrase) Level
Structure
Section Level
Structure
Levels
In this episode we will look at the higher level structure of sections, but we should always be aware that structure is achieved by the repetition of similar events, as well as the disruption of repeated events.
Melodic Analysis
Gnossienne I - P1
A
2 scales, 3 chords, 1 piece
Melodic Analysis
Gnossienne I - P2
B C
Melodic Analysis
Gnossienne I - P3
A
Melodic Analysis
Gnossienne I - P4
B
Structure
Form
A B Three sections, the most famous A only occuring at two points. The ending is given an effective poignancy by omitting the last bar. B has three versions (B is quieter, and B is quieter and shortened). C B A B C B A B C B A B C B 8x2 4x2 6x2 4x2 8x2 4x2 6x2 4+3
Structure
Levels of Organisation
Pulse Accented Beats Meter Motif/Figure Phrase Passage Section Piece Cycle/Album/Set/ Symphony
Structure
Forms
Charles Keil divides all musical forms into 3 types Sectional Developmental Variational
Structure
Form
Well look at some specic forms but will open up the idea that sections can be created not just by traditional melodic structures but by timbre, texture and feel
Structure
Sectional Clear cut sectional units (A, B, C, Verse, Middle 8, coda etc.)
Structure
Sectional Strophic Form Unrelieved repetition, chain, medley. AAAAAAAA
Unrelieved repetition
ABCDEFG(A)
Unrelieved variation Medley e.g. Blue Danube - Strauss
Unrelieved variation with repeats
AABBCCDDEE
Structure
Sectional Binary Form
A piece made up 2 sections A & B complementary and of roughly similar lengths. Traditionally major binary forms have A in the tonic key B in dominant key, ending in tonic Traditionally minor binary forms have A in the tonic key B in relative major key, ending in tonic
AB or AABB
Structure
Sectional Ternary Form
ABA
De Capo operatic aria form
or AABA
e.g. 32-bar form with middle eight
Structure
Sectional Rondo form
A recurring theme with contrasting episodes
ABACABAC
Symettrical
ABACADAE
Asymettrical
ABCBA
Arch form Special case of symettrical rondo without intermediate themes See Mozart examples
Structure
Sectional Palindromic
Rondo forms can be palindromic on a sectional level
ABACABA
But palindromes neednt be rondo forms
ABCADEDACBA
Palindromes can even exist on the note level...
Structure
Sectional Palindromic
Haydn Symphony No. 47
Structure
Sectional Palindromic rhythms
The Afro-Cuban rhythm Cscara x0xx 0x0x x0x0 xx0x

2-3 Cuban Son
Structure
Sectional Crab/Table Canon
Structure
Dammit Im mad. Evil is a deed as I live. God, am I reviled? I rise, my bed on a sun, I melt. To be not one man emanating is sad. I piss. Alas, it is so late. Who stops to help? Man, it is hot. Im in it. I tell. I am not a devil. I level Mad Dog. Ah, say burning is, as a deied gulp, !In my halo of a mired rum tin. I erase many men. Oh, to be man, a sin. Is evil in a clam? In a trap? No. It is open. On it I was stuck. Rats peed on hope. Elsewhere dips a web. Be still if I ll its ebb. Ew, a spider eh? We sleep. Oh no! Deep, stark cuts saw it in one position. Part animal, can I live? Sin is a name. Both, one my names are in it. Murder? Im a fool. A hymn I plug, deied as a sign in ruby ash. A Goddam level I lived at. On mail let it in. Im it. Oh, sit in ample hot spots. Oh wet! A loss it is alas (sip). Id assign it a name.N ame not one bottle minus an ode by me: Sir, I deliver. Im a dog Evil is a deed as I live. Dammit Im mad.
Structure
Variational Theme and Variations
A theme with related variations traditionally based on the harmonic progression and motivic material
A A1 A2 A3 A4 A5 A6
e.g. Theme and Variations on a Theme by Mozart - Sor Note that each section may itself have an internal structure (AABB) and the whole form may have an intro/outro and/or elaborated outro/coda. See also Paganini - Caprice 24 and many others. The Rondo may also include intermediate variations:
A B A1 C A2 D A3
Structure
Variational Theme and Variations further ideas
Brittens Young Persons Guide to the Orchestra has each variation showcasing a different section of the orchestra, and his Nocturnal for Solo Guitar, starts with the variations, only revealing the Dowlands underlying theme in the last section. Elgars Enigma Variations is a set of 14 variations on an original theme - each a musical portrait, capturing the personality of his close circle of friends. Variations include rhythmic, harmonic & melodic references and even a Dorabellas stutter, W.N.s laugh and particular experiences they shared. Elgar claimed all a based on a hidden theme that is not played and took the secret to the grave.
Structure
Variational
The Enigma theme - note the motivic variants. Pi?
Structure
Stylistic Variational
The common Blues and Jazz forms involving improvisation may be considered a special type of theme and variation. Typically a melody is played over a specic harmonic structure (A, AB, ABAC, AABA etc.) and then that harmonic form (and perhaps some motivic and rhythmic material from the melody are used for improvised solos, and another realisation of the melody is used to end the piece. The whole form may be topped and tailed by an intro, outro or intermediate sections (see All Blues). The stylistic forms you need to know are a 12-bar blues (sometimes interpreted as a 24-bar blues), an 8, 16-bar blues (Need Your Love So Bad) or other (Come On Pt. 1), and a rhythm changes (many examples)
Structure
12-Bar Blues (major)
I7 IV7 V7
IV7 IV7 IV7
I7 I7 I7
I7 I7 V7
Note this form wasnt decided a priori it evolved, and still many structures have an indenite length on the I chord, moving to the IV on cue
Structure
12-Bar Blues (minor)
i7 iv7(IV7) bVImaj7 V7 i7 i7 V7
Structure
8-Bar Blues (major)
I7 V7
IV7 I7 IV7
#IV7 I7 V7
I V7/II ii7
Rhythm Changes
Structure I V7/II ii7 A A B A I I7 IV V7 iv V7 iv iii V7/II ii7 iii V7/II ii7 iii V7/II ii7 V7 V7 V7
I V7/II ii7 I I7 IV
iii V7/II ii7V7 I V7/II V7
V7/VI V7/V I V7/II ii7 I I7 IV V7 iv
iii V7/II ii7
V7
iii V7/II ii7V7 I
Structure
Developmental
Built directly from smaller units - the most established in Western Art music being the Sonata form. This is beyond the scope of this episode. However the idea of a structure that is through-composed an unfurling stream of consciousness with no clear sectional delineations is well established in ambient electronic music
Structure
Structural Components
Here are some of the devices that through repetition and variation starting with the most common Melody Lyrics Key Harmony Orchestration/Instrumentation Meter Rhythmic Subdivision/Groove/Feel Dynamics Timbre/Texture
Structure
Popular Song Form - Building Blocks Intro Verse Prechorus Chorus Bridge Collision Solo Interlude Vamp Outro
Note that features may be shared - an intro can use the choruss chords for example
Structure
Wind Cries Mary Hendrix Intro Verse Prechorus
ends with material and similar to
Solo Verse Prechorus Chorus

Cries
Verse Prechorus Chorus

Screams

Cries
Chorus
Whispers
Outro
based on intro
Structure
Better Be Home Soon Crowded House

(short)
Verse Prechorus Chorus Bridge Solo Interlude
Verse Prechorus Chorus Chorus
Structure
Grow Your Own Intro Bridge Vamp Interlude Collision Solo Outro Chorus Prechorus
Verse
Structure
Electronic Structural Components
In the absence of traditional key areas, melodic and harmonic expectations, lyrics and forms, electronic dance music and IDM has developed structural components and forms based more directly on instrumentation, rhythmic components and feel, dynamic changes and timbre
Intro Hook Break Mid-8 Key Sample Build Arhythmic Outro Drop Solo
Structure
Introductions Sectional
A unique section that only appears once such as the original jazz form arrangements. Starting directly on a section that features throughout the track. Or an adapted (usually thinned and/or shortened) variation of a later important section or components
Fade
Duration, curve
or...
Structure
Endings Sectional (New)
A modied section breaking expectation, new material or a logical conclusion
e.g. Syrinx ends with the other whole tone scale
Sectional (Recap)
A repeat of an earlier section with minimal alteration
Fade
Duration, curve
or...
Exercise 1 Take an existing piece/section of yours (or write a new one) and rewrite in 7 different structures (including at least one from each of the 3 categories of sectional, variational and developmental).

MiltOnNotes Volume One

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MILTONOTES

An open-eared exploration of composition in theory & practice.

Milton Mermikides m.mermikides@surrey.ac.uk

Sound, Music & Technology

Milton Mermikides m.mermikides@surrey.ac.uk

Listening list: This episode

Ancient Greece: c.600BC Pitch and rhythm

Key Historical Events in Contemporary Computer Music c. 500BC Acousmatic

Pythagorus, Ionian philosopher, mathematician and musician (c.570-c.495BC)

Middle Ages Europe: c.850AD Grid system

Key Historical Events in Contemporary Computer Music Randomness in Music

Mozarts Dice Game (1787)

Sound can now be made permanent, with one slight problem.

Sound can now be transmitted across distances rapidly

Basis of additive synthesis Any sound can - in theory - be constructed

Transmission of electronic polyphonic music

Sound can be recorded and reproduced

Key Historical Events in Contemporary Computer Music

Solidied sound wave

Ocean of Sound and the birth of Ambient music

The rst synthesiser

The promise of electronic music

The democratising of all sound and the destruction of musical elitism

Blending of live and pre-recorded music

Key Historical Events in Contemporary Computer Music 1952 Cages 433

All sound considered

433 live version

A working electronic music studio

Major display of electronic work a graphic score with a familiar look

Key Historical Events in Contemporary Computer Music 1958 Dissevelts Whirling

Birth of pop electronic music

Key Historical Events in Contemporary Computer Music 1959 Cindy Electronium

Key Historical Events in Contemporary Computer Music 1964 The Moog

The development of synthesis

Key Historical Events in Contemporary Computer Music 1983 MIDI patented

A musical language for computers

Key Historical Events in Contemporary Computer Music

Applied vs. Pure Music

How does computer composing differ from composing?

Pulse, Tempo & Metre

Milton Mermikides m.mermikides@surrey.ac.uk

Listening list: This episode

Pulse Musical events in time

Pulse Musical events in time

Zero gravitation, John Adams

Ray Charles, Wynton Marsalis

Pulse Tempo Changes

Small Natural Fluctuations

Natural uctuations in James Brown, I Got You Millyard SOS

Pulse Tempo Curves

Pulse Metric modulation

200bpm 100 bpm 2:1 q=e

Pulse Metric modulation

100bpm 150 bpm 2:3 q=q.

Pulse Metric modulation

100bpm 150 bpm 2:3 q=q.

Pulse Metric modulation

100bpm 80 bpm 5:4 qx=q (

Pulse Metric modulation

Tempo III Tempo I Tempo II

Pulse Metric modulation Exercise 2&3

Pulse Polytempo and Xenochrony

Exercise 5: Create a sequence with two superimposed tempi

Lecture 1 Compositional Exercises