Vilen
2011-05-17 10:39:50 UTC
New melodic harmonic system-cadences
Debussy said that basis of music is unity of many forces which work
interactive. Apparently these "forces" are loudness,dissonance,
repetition, euphony, attraction to known (repeated) partials of the
partials from near previous time intervals if their pitches are
different on small intervals ca one semitone from following ones. Also
apparent is importance of time intervals during which these "forces"
work.
Cadences are most important places in structure of a music work and
these forces are used in them in most explicit form. In order not to
make the matter too complicated let us consider cadences which
includes only 2 time intervals.
The second interval must have essential bigger duration . It follows
from understanding cadence as point of rest. After begin of last
interval brain adopts at first to new situation and then arrives in
state of the rest if new situation is already known. It is possible
that duration of last melody note and its previous use is more
important as harmonies on cadence intervals, although common music
theory spares the maximal attention to harmony aspects.
If we consider cadences of common music theory then we see that they
include same notes, notes with relative fourth and fifth intervals,
notes with semitone inervals and notes with tritone intervals. If
notes are same it means that their partials are same, if notes are on
fourth or fifth distance then essential parts of their partials are
same. Analogous if notes are on semitone distances their partials
repeat that. The ear's cochlea perceives not notes but their partials
therefore it is logical to suppose that essence of harmonic cadences
isn't chords but structures of partials which they posses. The new
melodic harmonic system which I suggest has in this respect far more
possibilities. I present on the site http://home.arcor.de/yuri.vilenkin/experiments
several examples from innumerable cadence structures which may be
built.
Yuri Vilenkin
P.S. I present interesting experiments with alteration of work's
central pitch as well.
Debussy said that basis of music is unity of many forces which work
interactive. Apparently these "forces" are loudness,dissonance,
repetition, euphony, attraction to known (repeated) partials of the
partials from near previous time intervals if their pitches are
different on small intervals ca one semitone from following ones. Also
apparent is importance of time intervals during which these "forces"
work.
Cadences are most important places in structure of a music work and
these forces are used in them in most explicit form. In order not to
make the matter too complicated let us consider cadences which
includes only 2 time intervals.
The second interval must have essential bigger duration . It follows
from understanding cadence as point of rest. After begin of last
interval brain adopts at first to new situation and then arrives in
state of the rest if new situation is already known. It is possible
that duration of last melody note and its previous use is more
important as harmonies on cadence intervals, although common music
theory spares the maximal attention to harmony aspects.
If we consider cadences of common music theory then we see that they
include same notes, notes with relative fourth and fifth intervals,
notes with semitone inervals and notes with tritone intervals. If
notes are same it means that their partials are same, if notes are on
fourth or fifth distance then essential parts of their partials are
same. Analogous if notes are on semitone distances their partials
repeat that. The ear's cochlea perceives not notes but their partials
therefore it is logical to suppose that essence of harmonic cadences
isn't chords but structures of partials which they posses. The new
melodic harmonic system which I suggest has in this respect far more
possibilities. I present on the site http://home.arcor.de/yuri.vilenkin/experiments
several examples from innumerable cadence structures which may be
built.
Yuri Vilenkin
P.S. I present interesting experiments with alteration of work's
central pitch as well.