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    20 views5 pages

    Modos Sintéticos, Persichetti PDF

    Uploaded by

    Carlos Chimal

    Copyright:

    © All Rights Reserved
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    2) 2 SCALE MATERIALS Lydian writing: Benjamin Buc, Seren Sonpets of Michelangelo, p. 14 (Dorey) Roy Harris Sing Quaret Ne 3, p10 (Mile). Gunirneeco Aalpro, Rispc Sanbott pp. 4 8 (Chester) Dari Mis, Prone (ced, 1 (Durand) Maunze Reve Troi Chanson p12 (Durand) Jean Stun Symphony No. p14 (Beep!) Mixolydian writing: [la Rats, Pano Concerta No 3 (re), p. 3 (Boosey) Hern Rien Sera Op ert ae) (Gauge, Geri, Preludes fr Pano, p. (Bans) Dar ins Sg (ed) pV (De). Ba ase, Gymnoptdie No.2 (Macs) Dag Wirth, Secnate for Sig Orchenra, p. 2 (Gehemane) colin writing: Domingo Sant Graz, Theee Madvgals,p. 3 Peet) Tis Excbar Pino Sonane No. 2p. (Pet) ii Or Coma Beara ile) ‘Groin espa, Paes af Romp (Ricora Ran hae Te Peas P34 (EC Schirmer) Vitel Thomo, Four Sain in Thee Ace (ed). 90 (Arrow) William Wattor, Fags, p81 (Oxford) Loctian writing: és Bac, Mitsokosmoe Val. p28 (Booey) (asin Chivas Preludes for Pint 'pp. 16 (G.Sehiemer) {Ginde Debus, Sonata fo Fae, Wl ad hp, pt (Dornd) ‘las ge Syenpbony No. 1p. 6 (Lyche) Daal nem Lads Toole, 4 (Shox) Gato Pra Magne (ep (Ror) Jean Sidi Syempbony No. & ps 37 Brett) Modal interchange: Alfredo Calla, 1 Pes Infinity p12 (Universal Bru Tndemh Das Marenleben (1948, p. 8 (Scho) ‘itn Kody, Soon tr Sao Caos (Cava Baran Mites Le Pave Mao (ap. eng recht, Cpe ib (etapa) ‘iocen Pech ino Seana ppt Bernard lise “Elkan Voge) ‘Characters trom’ Flag Chetan Andersen, pp SYNTHETIC SCALE FORMATIONS «6 Ned Rorem, A Chimie Cael, pp 3-5 (Elkan-Voge) Igor Seavinity, Uso du Sold. pp. 5-0 (Paiermonia) Polymodalicy: a Bart, String Quart No... 19 (Boose Ge Chaser Stain Tor Vdttend Sane 4 (New Mosc) Raa det, Nie Vine ae 4 (er) thus Honeger, Sep Paces Bere, Giver Mei, Vig Rois pnd, (Bed) Drs Milsd ron (ref) pe (Dufsnd). (Gin Ort Die Bernaverin (red), p 5 (Seon) Kos pe Moreen Pep (Che) Niue Ravel Bang Concerto Ged) p38 (Dur) Tpoe Sram, Ocdpas Rex (e.).p. 7 (Ruse) SYNTHETIC SCALE FORMATIONS Although a single tone, through its overtone series, suggests ‘most obviously the major scale, the formation i pay rationalize, ‘The major isonly one of many sales contained inthe base ewelve- tone chromatic scale that is found inthe upper region of the over- fone series. Free placement of scale steps results in original scale formations beyond the sphere of major and minor modes. ‘Most original seales ate constructed by placing any number of| major, minor, and augmented seconds in any order. The permuta- tion possibilities ae staggering and the muthematical process hat litle crestive connection with composition, It is advisable cha scales be allowed to form asa resale of the impetus of melodic oF Inarmonic patenns; the macerial generated by thematic ideas may then be gathered up and placed into scale formation, Some “original” or synthetic seales are used more often chan others, Thest beter-known seaes often coincide with folk scales tnd are sometimes named a follows: an 2 SCALE MATERIALS SYNTHETIC SCALE FORMATIONS a Bx, 2-22 = tered tine (Gade Doble Hl) om Laing Wine Hargen Mio AThe harmonic wefules of new sales is determined by survey- Bip thes indigenes chordal maciaix Exch tymheic tale Sn als a se of chords within is own itervale make-up. The Primary chords are the tone plus the wo triads tha ince the fee sep or seps containing the most determinable chasceisie flor ofthe ele in queton. Ifa mojor- sae tetachord i preent the calor tones sre those ouside che tetaciord. But ifthe sale fons no msjorkey terachor, the primary chords other than the tonic ae thot triads that are enharmonic spelings oft major ie minor iad If eakarnonically spelled major of minor rtd tho not exis, the characternie cone oF tones ae ound in the noes “forming augmented or diminished intervals with the tonic. The re- iin triad are the secondary formations thet function within the grain of dhe prinary chord “The synthetic seven-tone, ane-oetave seale, like 4 major or minor is made of a pair of four-note groups (strachords) that repeat the tonic at the eighth step. ‘These tetrchords may be similar, asin major and Double Harmonie seales, or diferent, asin harmonic minor und Hungarian Major scales. ‘The modal coastruetion principle that produced the seven latonie modes (dorian, pheygian, ete.) may be applied ea any. scale, creating multiple versions. The fist modal version of any. fea begins on the toni, the second on the supertonie of tha seal 0) 2+ SCALE MATERIALS “This next passage is buile of differenc scales on diferent tonal Bx, 228 aay HBP Ene Mao ew may bs bit with Ss odin each uve bot epee the i ete, We he ona Pee eer he cation ae comin» tatreoare ae Be eer any cr Bx, 229 a be te ate Eat tt) SYNTHETIC SCALE FORMATIONS “ AA second gype of cwo-oerave scale is built by combining two Afferent one-octave scales with common tonics. ee ; a ee SSS ec = ved ‘Eigse Tones 9 through 15 of a rwo-ocave scale are not necesily

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