I haven't tried to write anything in whole-tone since first or second year at university. It certainly provides some interesting limitations (definitely worth exploring again). Great video. Thanks!
Once again, brilliantly explained. I wrote many pieces when I was young that imitated Debussy, never knowing about the whole tone scale. I'm now working on a larger piece where I want to incorporate the whole tone scale. And thanks to you, I have a clearer picture of where I'm going with it.
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Hi, I am facinated by through composed music, rhapsodies, any way you could do a topic about it, and some of its more famous examples :-) and maybe how to write one (Iv heard its importent to have a very good melody, one after the other if your writing rhapsodies:)
Gareth it is always nice to see new installments of your instructions. would you consider teaching how to write for piano .. one thing that baffled me during my few years of music study in college was .. the theory classes always dealt with Bach chorales and writing for voices and since I was an instrumentalist I wanted to know how to write for instruments guitar/piano but it was very difficult because no light was shed on the subject. So since your instrument is piano maybe you could share what you know about writing for it, for example a short compositions of 18 bars for classical piano student that may be useful for them and for us as composers.
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Best music channel on RU-vid! Gareth, is there any “harmonic thinking” that goes into composing like this, or is it just “try 3rds and 6ths” and see what sounds good? Are there any counterpoint principles with whole tone?
That’s most kind. The usual harmonic conventions don’t apply and one is not limited to 3rds and 6ths. You can write counterpoint or write homophonically as you wish. Use your ear to create your desired balance of consonance and dissonance.
Great lesson; I’d been racking my brain, on variations of Claire DeLune on Guitar. I ran into a wall when trying to improvise a solo for it. I’m sure this will help me brainstorm some useful ideas.
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You can but taken the number of accidentals you need for both transpositions of the whole tone scale I usually find it easier to write without a key signature.
When it comes to musical topics, this channel is hitting the right notes. The whole tone scale sounds like day dreaming for some reason. I have a question that you might find interesting,Gareth. How do people with large fingers play chords without getting them stuck in between black keys?
Hi Gareth, thanks for your really great video on the topic of writing with the Whole Tone Scale. I noticed that you didn't mention the preparation and resolution of dissonance and neither did you talk about any potential cadential structures. Could this be because the Whole Tone Scale offers a strange kind of timelessness to the listener, and creates not so much a developing progression, as with conventional harmonic language, but more an unfoldment of a single moment?
That’s kind. Because we’re not working in a conventional major/ minor environment there are no real cadential structures and consonance/ dissonance functions in a freer way. Much will be non functional so there is no real need to think of the preparation and resolution of dissonance.
Very interesting sounds. Just found out whole tone supports dom7 (no 5th) chords. So..... we should be able to compose using 12-bar as a basis. Although IV7 and V7 are not in the same transposition as I7.
Do you know of any whole tone based compositions that have used a classical sonata structure? Theme A on one whole tone scale, then theme B (a fifth higher?) on the other whole tone scale, development followed by recapitulation that sticks to one whole tone scale. Surely someone must have thought of doing something like that. An advantage of whole tone is not having to look out for parallel fifths, however without fifths or semitones, I think it is harder to find a sense of resolution in an ending. Although I guess in principle whole tone music is atonal, it is likely to sound as though it contains a lot of minor sevenths looking for a tonic.
@@MusicMattersGB Yes and I am unsure of how much there is a sense of an alternative whole note scale. Transferring from one to the other could easily feel like a resolution (from a 7th for example), but would continuing in the alternative whole note scale feel different? - I am not so sure for the listener, though a performer would be more aware.
One could write a second theme that is distinctively different in character while remaining in the same transposition of the whole tone scale eg different melodic/ rhythmic character, different tempo/ dynamic/ articulation/ texture.
@@MusicMattersGB Indeed. I wrote a short solo violin piece for my daughter that used the whole tone scale, but alternated it with a 9 note scale based on minor thirds to get a more distinctive contrast. It also allows the music to be simultaneously melodic and atonal. Every so often I think about revising it.
Gareth another fantastic lesson thank you. Listening to the course options you have. I’m just trying to compose little silly funk jazz rock type instrumental tunes on my DAW, would you have a course that could help with that?
We haven’t got anything that specifically relates to DAW but our theory courses and composition course will give you loads of resources for composition.
@@MusicMattersGB Hi Mr Green I just had a look on the website and I do fall into the category of having plenty of ideas but can never seem to bring it all together. I have a good grasp on theory but will admit I need help with developing a method of working through to the end. One other thing I only have two hours in the evenings. Would you recommend the composition course? Would this work within the time constraints? Sorry for being a pain!
Could one not simply use a whole-tone "key signature," such as indicating B, A, and G are flatted, so that sharps and flats do not have to be used throughout the score?
Cheers Gareth, very interesting and useful as always. I mainly think of whole-tone scales as a melodic option for dominant chords. Basically lydian +5, usually sounds ... not wrong on b13 dominants.
Except C Lydian #5 would have a major 7 and a 13, neither is in the whole tone scale. There is some similarity so you could borrow chords from one into the other.
@@russelldougherty3054 hey Russell. I'm referring to dominant chords. Whole tone scale yields +4 and +5 (enharmonically = b13)... And the sixth whole tone = b7. To be sure, it's entirely possible that I'm fooling myself when I think it sounds ok 😉
Hey thelonious1234, just because they aren't the same doesn't mean you can't get some good sounds. They do share the root, 2nd, 3rd, #4 and #5. I could also see modulating from the whole tone to the Lydian #5 and back for some harmonic motion. There is a Lydian Dominant Augmented scale (R, 2, 3 #4, #5, 6, b7) which is the 3rd mode of Neopolitan Major. It's also the wholetone with an added 6. I've never used it but might work for you.
I find it hard to write a cohesive song using whole tone scale. I'm not a classical musician, more of a pop/rock guy. I've written a few good " riffs", but I haven't been able to write a whole piece that I'm satisfied with.
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