Techniques of Non-Tonal Music
Part I - Atonality
In some aspects, the impressionists paved the way for the next generation of composers in the twentieth century.In their music, they cast aside many of the conventions of tonal music. The terms Atonal, non-tonal, and post-tonal can all be used interchangeably as they all refer to the same style of music.
Atonality its self has many forms and techniques. Some of these techniques include, Pandiatonicism, Pointillism, and Bichordality/Polychordality.
Atonality its self has many forms and techniques. Some of these techniques include, Pandiatonicism, Pointillism, and Bichordality/Polychordality.
Part II - The Octatonic Scale
In addition to the scales discussed in the previous lesson, Several other new scales. One such scale is the Octatonic scale. The octatonic scale is an alteration of the Whole-tone scale. Put simply, the octatonic scale is al alternation of whole and half steps. Here are two iterations of the octatonic scale. First, the Half step-Whole step pattern. Secondly the Whole step-Half Step pattern. Using the Octatonic scale, a triad built on any pitch will yield a diminished triad, and a seventh chord will yield a fully diminished seventh.
Octatonic On C
Part III - Other scales
Of course, compositions can be written on scales other than those previously mentioned. One such scale is the Gypsy scale. This is a scale where not only Major and minor seconds are used, but also minor thirds. Here is the Gypsy scale on C:
Note the intervals are:Hole step, Half step, minor third, Half step, Half step, minor third, half step.
Finally, composers were free to simply make up a scale if they wanted! This is called a synthetic scale. A synthetic scale could have as many pitches as the composer wanted. Here is an example of a synthetic scale with nine separate distinct pitches. Of course, one could have more!
Part IV - Pandiatonicism
This is a technique of using the pitch resources of a major scale without regard to the typical harmonic relationships that are found in tonal music. This is often called non-functional harmony. A very famous example of pandiatonicism is Stravinsky's "Petrushka." All of the chords can be named in the C Major scale, however, they are not used in a way that can be associated with the C Major scale.
Another example of pandiatonicism comes from Samuel Barber in the piece, "Excursions." In the third movement, He uses the Key signature and pitch resources of the G flat major scale, But the chord relationships are not tonal therefore it is incorrect to analyze these pieces in their respective key signatures.
Another example of pandiatonicism comes from Samuel Barber in the piece, "Excursions." In the third movement, He uses the Key signature and pitch resources of the G flat major scale, But the chord relationships are not tonal therefore it is incorrect to analyze these pieces in their respective key signatures.
Part V - Pointillism
In the visual arts, pointillism os a technique where individual dots of color are placed next to each other in order to create a full image. Pointillism in music uses the same technique of "points" in this case notes spaced out very widely often separated by time and register. Instead of thick textures and full lush chords, a pointillistic composition is often austere, since a minimum of material is used in the composition process. An example of a pointillistic piece is Webern's "Piano variations Op.27 #3"
Part VI - Bichordality and Polychordality
Another harmonic technique of the early twentieth century is Bichordality, or Polychordality. This is the sounding of two or more distinct triads. Thus intentionally avoiding a key center. Each horizontal chordal sequence is non-functional. Here is the begining of William Schumann's "A three score set" Measures 1-4. Notice the use of apparently unrelated chords in each of the two registers.
