How can whole tone melodies sound more interesting? Announcing the arrival of Valued Associate #679: Cesar Manara Planned maintenance scheduled April 23, 2019 at 23:30 UTC (7:30pm US/Eastern)What's so special about minor and major scales?Can the “music of the spheres” be applied (or projected) to instrumental music?Learning to create melodiesWhy are the natural notes on the staff special?“Tritone” intervals in n-tone equal temperamentDo capable harmony singers sing in just intonation or tempered tuning?Evil Twins? Modes vs MirrorsWhy is the hexatonic scale that can be derived via a chain of perfect fifths so little-known?Motifs in melody writingWhen we play the C mixolydian mode, are we still in the key of C?
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How can whole tone melodies sound more interesting?
Announcing the arrival of Valued Associate #679: Cesar Manara
Planned maintenance scheduled April 23, 2019 at 23:30 UTC (7:30pm US/Eastern)What's so special about minor and major scales?Can the “music of the spheres” be applied (or projected) to instrumental music?Learning to create melodiesWhy are the natural notes on the staff special?“Tritone” intervals in n-tone equal temperamentDo capable harmony singers sing in just intonation or tempered tuning?Evil Twins? Modes vs MirrorsWhy is the hexatonic scale that can be derived via a chain of perfect fifths so little-known?Motifs in melody writingWhen we play the C mixolydian mode, are we still in the key of C?
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
asked Apr 15 at 14:38
GraceGrace
958
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Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
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add a comment |
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
asked Apr 15 at 14:38
GraceGrace
958
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
Apr 15 at 15:41
add a comment |
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
asked Apr 15 at 14:38
GraceGrace
958
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
theory melody
asked Apr 15 at 14:38
GraceGrace
958
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked Apr 15 at 14:38
GraceGrace
958
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked Apr 15 at 14:38
GraceGrace
958
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked Apr 15 at 14:38
GraceGrace
958
asked Apr 15 at 14:38
GraceGrace
958
958
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
Apr 15 at 15:41
add a comment |
1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
Apr 15 at 15:41
1
1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
Apr 15 at 15:41
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
Apr 15 at 15:41
add a comment |
2 Answers
2
active
oldest
votes
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered Apr 15 at 15:03
LSM07LSM07
1,284516
1
Thank you! I get an idea from the links you've attached
– Grace
Apr 15 at 16:15
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
Apr 15 at 17:07
Thank you @Andy! I will definitely hear the piece.
– Grace
Apr 16 at 2:20
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered Apr 15 at 15:34
Albrecht HügliAlbrecht Hügli
4,8761320
Hahaha good one!
– Grace
Apr 15 at 16:12
add a comment |
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2 Answers
2
active
oldest
votes
2 Answers
2
active
oldest
votes
active
oldest
votes
active
oldest
votes
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered Apr 15 at 15:03
LSM07LSM07
1,284516
1
Thank you! I get an idea from the links you've attached
– Grace
Apr 15 at 16:15
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
Apr 15 at 17:07
Thank you @Andy! I will definitely hear the piece.
– Grace
Apr 16 at 2:20
add a comment |
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered Apr 15 at 15:03
LSM07LSM07
1,284516
1
Thank you! I get an idea from the links you've attached
– Grace
Apr 15 at 16:15
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
Apr 15 at 17:07
Thank you @Andy! I will definitely hear the piece.
– Grace
Apr 16 at 2:20
add a comment |
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered Apr 15 at 15:03
LSM07LSM07
1,284516
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered Apr 15 at 15:03
LSM07LSM07
1,284516
answered Apr 15 at 15:03
LSM07LSM07
1,284516
answered Apr 15 at 15:03
LSM07LSM07
1,284516
answered Apr 15 at 15:03
LSM07LSM07
1,284516
1,284516
1
Thank you! I get an idea from the links you've attached
– Grace
Apr 15 at 16:15
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
Apr 15 at 17:07
Thank you @Andy! I will definitely hear the piece.
– Grace
Apr 16 at 2:20
add a comment |
1
Thank you! I get an idea from the links you've attached
– Grace
Apr 15 at 16:15
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
Apr 15 at 17:07
Thank you @Andy! I will definitely hear the piece.
– Grace
Apr 16 at 2:20
1
1
Thank you! I get an idea from the links you've attached
– Grace
Apr 15 at 16:15
Thank you! I get an idea from the links you've attached
– Grace
Apr 15 at 16:15
1
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
Apr 15 at 17:07
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
Apr 15 at 17:07
Thank you @Andy! I will definitely hear the piece.
– Grace
Apr 16 at 2:20
Thank you @Andy! I will definitely hear the piece.
– Grace
Apr 16 at 2:20
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered Apr 15 at 15:34
Albrecht HügliAlbrecht Hügli
4,8761320
Hahaha good one!
– Grace
Apr 15 at 16:12
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered Apr 15 at 15:34
Albrecht HügliAlbrecht Hügli
4,8761320
Hahaha good one!
– Grace
Apr 15 at 16:12
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered Apr 15 at 15:34
Albrecht HügliAlbrecht Hügli
4,8761320
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered Apr 15 at 15:34
Albrecht HügliAlbrecht Hügli
4,8761320
answered Apr 15 at 15:34
Albrecht HügliAlbrecht Hügli
4,8761320
answered Apr 15 at 15:34
Albrecht HügliAlbrecht Hügli
4,8761320
answered Apr 15 at 15:34
Albrecht HügliAlbrecht Hügli
4,8761320
4,8761320
Hahaha good one!
– Grace
Apr 15 at 16:12
add a comment |
Hahaha good one!
– Grace
Apr 15 at 16:12
Hahaha good one!
– Grace
Apr 15 at 16:12
Hahaha good one!
– Grace
Apr 15 at 16:12
add a comment |
Grace is a new contributor. Be nice, and check out our Code of Conduct.
Grace is a new contributor. Be nice, and check out our Code of Conduct.
Grace is a new contributor. Be nice, and check out our Code of Conduct.
Grace is a new contributor. Be nice, and check out our Code of Conduct.
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1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
Apr 15 at 15:41