 |
Welcome to the Piano World Piano Forums
Over 3 million posts about pianos, digital pianos, and all types of keyboard instruments.
Over 100,000 members from around the world.
Join the World's Largest Community of Piano Lovers
(it's free)
It's Fun to Play the Piano ... Please Pass It On!
|
|
|
|
70 members (AndyOnThePiano2, APianistHasNoName, AlkansBookcase, Charles Cohen, BillS728, Colin Miles, 36251, 12 invisible),
2,158
guests, and
339
robots. |
|
Key:
Admin,
Global Mod,
Mod
|
|
|
|
Joined: Aug 2010
Posts: 652
500 Post Club Member
|
500 Post Club Member
Joined: Aug 2010
Posts: 652 |
1.) Could someone give examples of such passages? 2.) How does the use of modes work together with the use of ("traditional") harmony? There is a good example by J.S.Bach. The 24th Prelude of the Well Tempered Clavier Book 1. I analyzed it. Here is the result; http://www.geocities.jp/imyfujita/#wtcpage1241 Modes don't work together with traditional harmony. Traditional harmony is tonal (IV-V-I). Modal music isn't simply a case of starting on different scale degrees. Modal music has its own chord vocabulary, and each mode is different. Modal music tends to be non-classical music, and most of your examples fall into the ethnic category: Turkish, Celtic, Slavic, to name a few cultures. The modes used by Bach and Vivaldi are often skipped over in Harmony class. The (stupid) reason given is that there's no place in a traditional harmony class for mention of an archaic, non-tonal system that existed only in a vestigial manner in the music of Bach and Vivaldi.
|
|
|
|
|
Joined: Nov 2010
Posts: 91
Full Member
|
|
Full Member
Joined: Nov 2010
Posts: 91 |
What is the stupid reason?
|
|
|
|
|
Joined: Mar 2013
Posts: 9,328
9000 Post Club Member
|
|
9000 Post Club Member
Joined: Mar 2013
Posts: 9,328 |
There is definitely a language issue going on here.
Regards,
Polyphonist
|
|
|
|
|
Joined: Nov 2010
Posts: 91
Full Member
|
|
Full Member
Joined: Nov 2010
Posts: 91 |
The Well Tempered Clavier Book 1 No.24 Prelude Base line! transposed! ![[Linked Image]](http://www.geocities.jp/imyfujita/wtc1241d.gif)
Last edited by Iori Fujita; 08/12/14 09:13 PM.
|
|
|
|
|
Joined: Aug 2010
Posts: 652
500 Post Club Member
|
|
500 Post Club Member
Joined: Aug 2010
Posts: 652 |
There is definitely a language issue going on here. Fifty years ago, words failed people. Today, people fail words.
|
|
|
|
|
Joined: Nov 2010
Posts: 91
Full Member
|
|
Full Member
Joined: Nov 2010
Posts: 91 |
Dear gismonks,
You should talk about music.
Iori Fujita
|
|
|
|
|
Joined: Aug 2010
Posts: 652
500 Post Club Member
|
|
500 Post Club Member
Joined: Aug 2010
Posts: 652 |
Dear gismonks,
You should talk about music.
Iori Fujita I was. That you missed the point proves Polyphonist's point.
|
|
|
|
|
Joined: Feb 2005
Posts: 3,652
3000 Post Club Member
|
|
3000 Post Club Member
Joined: Feb 2005
Posts: 3,652 |
Dear gismonks,
You should talk about music.
Iori Fujita I was. That you missed the point proves Polyphonist's point. I believe it would be more helpful if you explained. I agree there's a language issue, but that won't go away unless someone explains themselves.
|
|
|
|
|
Joined: Aug 2010
Posts: 652
500 Post Club Member
|
|
500 Post Club Member
Joined: Aug 2010
Posts: 652 |
Dear gismonks,
You should talk about music.
Iori Fujita I was. That you missed the point proves Polyphonist's point. I believe it would be more helpful if you explained. I agree there's a language issue, but that won't go away unless someone explains themselves. All righty. The stupid reason, as I said, was the one provided in the same sentence. Getting back to modes vs Harmony: it's useless to talk about modes unless, in the same breath, you're also addressing the matter of the Harmony that goes with those self-same modes. As stated before, modal music is not tonal music. The "pillars of tonality" are IV-V-I. Modal music doesn't work that way. Each mode has its own chord vocabulary and set of rules. There are several approaches to studying modes. The first is to analyse music that uses modes, and that generally entails the study of ethnic music. The second is to examine the treatment various composers have employed, down through the centuries. The third is to take each mode and come up with your own tone palate.
|
|
|
|
|
Joined: Aug 2010
Posts: 652
500 Post Club Member
|
|
500 Post Club Member
Joined: Aug 2010
Posts: 652 |
Speaking of Debussy's Clair De Lune, how did Debussy get away with just playing chords in the left hand?
Most piano stuff has a rhythm in the left hand, but Debussy's Clair De Lune doesn't. The rhythm is in the right hand. In this case it's referred to as "melodic rhythm".
|
|
|
|
Forums43
Topics223,387
Posts3,349,212
Members111,632
| |
Most Online15,252
Mar 21st, 2010
|
|
|
|
|
|
|
