Hello dear sir! I don't know what kind of witchcraft you are applying here, but after many years of hearing about modes and never understanding exactly what "brightness" meant, after watching your videos (this one and also the previous about set theory) I finally "heard the light". I always understood the concept, intellectually speaking, but now I realized what it means in sound. I don't know if being visually impaired is a help or a hinderance, but there is that to consider. Thanks for the enlightment!
In Stravinsky"s case since the note is in certain octave I would see that as a bass displacement and give you straight away the Bartok example ,C Eb C E to illustrate the point, in Jazz is a very common chord which is C7 #9 that doesn't have the same function but has the same type of conflict. It's also very used in Blues, and Ravel uses it in the concert in G if I recollect. Very good video
Hi Milton, I saw you were going to make a version for Logic. Is that possible ? Do you like strawberries or Jeruselem artichokes ? I have sack loads growing in my garden in Surrey :)
Super interesting. I did something similar once in writing a string quartet based on respiratory data relating to anxiety attacks and recovery breathing patterns. I did find, eventually, that being too strict with the data as I initially applied it limited the dramatic effect of the music a bit too much. However, the data structure provided a marvelous organizing principle and generated a lot of compelling material. From the experiments I’ve undertaken with data and math, I’ve found that combining a respect for the data with a dash of “prejudicial” intervention yields the most satisfying works :).
I'm not super clear on how the sets in Psalom affect the variation. Is each set supposed to represent the notes you play and their order? As in {2 3 0 2 1} {EFBCD} would mean play E twice , then play F, skip B, play C twice, and D once? Or is it more like a set of parameters to then use for constructing the melody for that length of time?
Something sounds weird about your voice and it seems like you need to do voice excersizes or something, your voice sounds weak. You sound like me and I'm recovering from corona right now... 😅
i can barely hear any of the musical example from 14:58 onwards. is that a sound issue my end?! except for a few bars, the entire piece was silent, although i could hear all the voice over. feel like i'm missing something
Thank you so much i am in the final year of my degree doing my dissertation, i struggled to wrap my head around some of these topics as i found the text too academic, but this has made every part understandable and allowed me to utalize it, thank you!! :^)
Glad it was helpful! a more recent, longer and higher production values is available here. In the description there’s a link to an essay with bibliography which you may find useful. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-z3vjjHy7gV4.htmlsi=nw04crSpW03K5ff0
There's a nice way to use color that turns out to be a compelling metaphor to the primary and secondary colors in color theory: C, A, F#, and Eb are yellow notes; G, E, C#, and Bb are red notes; and B, Ab, F, and D are blue notes. Major and minor triads can be given the secondary colors of orange, purple, and green based upon the mixing of their constituent notes. These secondary colors correspond to the S, T, and D functions. This coloring has been called "Metaharmony" by Tom Glazebrook, who uses it in the context of the teachings of Barry Harris, but one could use it for Axis theory as well. They're isomorphic.
I had a dream last night that I was speaking to a professor about music and the heroes journey. He started to give me a lecture on Bartok just before I woke up. So I found this video today and I have to say that I really love how you explain it and makes sense. Also, the song you created at the end is so cool I love how you showed the practical application and I can’t wait to create my own composition using this method. Thank you so much for making this video.93
I got through about 3/4 of this video and I’m more confused than when I started. Isn’t there a “Cole’s notes” condensed version of this in plain English?
Thank you, Milton! I am studying Arvo Pärt's and other minimalist compositional techniques, especially from your presentations. This tool helps greatly with understanding tintinnabulation.
@@miltonline this is a wonderful device. As an experiment to create random assignments of positions, I included an LFO device, mapped the LFO device to the position section of Tintinnabulator, then set the wave form to random. If I were to be playing quarter notes, I adjusted the randomization rate to 1/4 notes in the LFO device. Interesting!
