Some other misappropriation of mine. Shall I boldly add to know them intimately ?

 

So I think it was worth exploring. Took me out of my comfort zone.



This is ONLY about Phrygian/Lydian Polymodal Chromaticism
and it is only a bit of hands-on theory exploration - it is NOT about composing!
AND it is all subjective opinion only, so don't trust me; I'm a million miles away from being a Bartok scholar.

Source:- Bartok's Seven Sketches - Sketch 2 - "See-Saw, Dickory-Daw" a very short piece
Bartok maybe wrote this for kids - I think

www.youtube.com/watch?v=Yuy9V-vpXNI
see the section from 2:45 - 3.40

What I've done.... as a tiny-hands-on exploration...

• I can confirm that analysing this tiny piece seems to be best done by explicitly thinking about what Phrygian-Lydian Polymodal means. In fact I can't see any other tidy way of viewing this.
• I have stolen the first 5 bars from the above piece
• I mutilated it - but without damaging its Phrygian-Lydian Polymodal features.
• I added 8 bars at the front to explicitly and pedantically exaggerate and spell out the Phrygian-Lydian Polymodal features.

The result is here https://www.mediafire.com/file/gcnlzg5g9cko4rv/Bartrock_Phryg-Lyd-Poly.mp3

It would take a mini essay to explain how I see this working (correctly or incorrectly).
I doubt if I'll bother writing that mini essay unless anyone else gets interested enough to be also wading into it.

DISCLAIMER: If anyone is hearing this as their first exposure to Bartok, I sincerely apologise.
Essential that you explore elsewhere.
His work is vastly more interesting than this very tiny theoretical exploration of Phrygian-Lydian Polymodal Chromaticism.



Update: I just discovered some strange behaviour.
Clicking on the mediafire link above generates a download error...
"The file you requested has been blocked for a violation of our Terms of Service."
Copying and pasting the link to a separate browser tab does NOT generate the error.
Ii seems like mediafire is blocking when it detects the request coming from AudioSex.
Is that true? does anyone else experience that? does anyone know anything about that?

 

Last edited: Jul 1, 2021

Where I can find all symbols used in this kind of notation?

 

Hopefully these 2 videos may address your question much better than I could (also very telling human wise - any bells' ringing?)

wrap-up: common-sense is also relative when it comes down to notation. I've used Ø hoping to reach out most of you but...

Cheers


*** The way I personally label/notate diminished chords:

whole-diminished - °6 [ m6(b5) ] e.g. C°6
half-diminished - °7 [ m7(b5) ] e.g. C°7​

This can be noticed on my last post regarding diminished tetrachords chromaticism.

 

Last edited by a moderator: Jul 1, 2021

In the fonts installed in Finale and Sibelius most likely

Yes the link is definitely blocked as a violation of their terms of service if you click it and definitely if you copy it as text and open in another browser, it works. It certainly seems they have blocked this site. Additionally. nearly every major music school has it blocked in their firewalls as of early last year courtesy of MMJ teaching people the wrong way to learn music.

 

Last edited: Jul 1, 2021

sure, there is always a counter example.

but if we are honest we have to admit that 98% of music and musical instrument building happened after pythagoras, when the cavemen were long obsolete. and before pythagoras, polyphonic and heterophonic music was - as far as we know today - the absolute exception.

that someone did not learn things in school and doesnt know the mathematics by heart, does not mean he would work completely off "theory."

in fact, most theories were developed by trial and error or by conincidence.

so i dont agree but i also dont disagree with your caveman story: theory and practice belong to each other and depend on each other.

btw. unless it is a fretless, some theory was already given to that guy.

 

I avoided commenting on the recent squabbles over chord labelling.
Those videos do an excellent job of highlighting why.
I discussed my attitude to this in the link I made in my first comment in this thread
i.e., https://audiosex.pro/threads/recreating-melody-by-ear.45195/page-3#post-412391
where I was discussing "getting to know a diatonic space".
In that post, I expressed my disdain for the carnage of the labelling systems used in music and was doing my best to encourage beginners to see the music spaces directly while avoiding all the confusing horrors of conventional messy arbitrary and contentious labelling systems.

As we all do, I realised ages ago that I needed to understand the weird labelling systems and be able to read what other people write; but there's no way I will pollute my music brain by thinking with those labelling systems. I always prefer to just take a direct route to seeing the musical spaces instead of using labels, which for me personally means visualising on fretboards and keyboards.

When I first saw @Freetobestolen's fretboard diagrams of parallel modes layed out as neighbouring modes, that's what I saw, just by seeing the fretboards. I actually didn't bother reading his labels, the fretboards said what they said - unambiguously.

 

Last edited: Jul 2, 2021

@Ad Heesive If a musician is on a stage and relying on a massive 10-page chart and their theoretical knowledge to get through as well as a chord structure for improvising, and a gust of wind blows the chart off the stand, all the theoretical knowledge in the world will not save them from looking stupid. Only their ears will (if trained in recognition) or an amazing photographic memory to snapshot 10 full pages.
They can always do a Salsa as long as someone brought burritos and chilli.

 

Which is one of the reasons why I made this nuanced concessional comment

 

that is why I passed this critical comment

Do you think if you could solve all your problems with hands, feet, eyes and ears, then why was language and writing invented? Does man need language to think at all? What's the use of language and writing in music? Are they extra stuff?

 

What's the use of GPS and before GPS, road maps?
Same answer. It's a fabulous guide but it won't drive the car for you.

 

So what?

 

Bad example lol

 

Not really. No sensible person would let a GPS drive a car or let Sibelius drive their music

 

Just a not germane ophthalmological issue, yet mournful.

They indeed do.

I haven't forgotten and commented back. Respectful and zealous content.

Absolutely, mnemonic no less: visualising the intervallic structures, then internalizing the resulting sound.

If somehow proven useful to someone, I'm glad in knowing it. The intention is to share-display my take over a given subject beforehand, in the simplest way I can conceive communicating it.

However, labelling will keep its haunting further down, once I still intend approaching harmonization for all those infame 6 scales. I'm sure you can grasp troublesome times ahead and a considerable noisy-spoofing-bar-raising.

 

No, you misunderstood my question, I am not trying to make sense of your specific personal notation or what are you sharing in your posts, as you seems to know these notations systems, what I am asking is where I can find a compressible list of all those notations symbols used in music theory in general, the problem is that I am working with a "music theory" library, TonalJs and that symbols is specially hard to type so wonder if there are other rare symbols that I should include, or works around, personally I never saw before that symbol in a musical context so I guess it's not a standard one.

Was this necessary? >>> "I've used Ø hoping to reach out most of you but..." You are acting like you created these images with that specific symbol, while it's known that you just copy pasted it from somewhere else. no wonder why people get mad at you.

 

I am not looking for the font, but a compressive list of those symbols and if there are more, for example:

 

I understood your question but, what I meant to say in this case, thus the first video, is that there is no such thing as common-sense regarding chord notation so, the more you get acquainted to (research), the better, given your purpose.

I've just mentioned the way I do as an example of variation, but is comprehensible and used, at least in my surroundings.

My answer to that (compressible list of symbols) is: unfortunately I don't know, not even if exists.

Sure, I'm aware of your work from your previous post. I've used the notation for half-diminished (Ø) supposing to be fairly known, but you brought to my attention that is not quite the case, which reinforces the video thesis even more.

Finishing the sentence may amend the case then: " I've used Ø hoping to reach out most of you but... you see the havoc it caused, especially because someone didn't pay close attention to the notation, or interpreted otherwise for pure obtuse delight, presuming all wrong "

I haven't copied and pasted, instead just held RIGHT ALT + L on my keyboard. It's an ASCII character.

 

This symbols are from two areas and yes they are a font. They are in Sibelius and Finale in the chord symbols and the arrows etc symbols are in MSWORD symbols and also additional ones in your computer being ASCII symbols e.g. things like © (Alt+0,1,6,9) They actually are a font called symbols in MSWORD for arrows etc.

I am not trying to give you a bum steer e.g..
https://support.microsoft.com/en-us...-in-word-2a061ae9-5a6c-4407-b618-8dc3c9fd4f44

 

Intentioning not to leave behind any knots untied, attached I share my take on Dorian (F#) and its qualitative sound, thus being harmonized throughout the fretboard.

PS.: Some may not agree with the chords/triads labelling so, in that case, feel free to submit your opinions/corrections.

Have a good weekend