Some of you may have noticed that I post on multiple groups depending on the relevance of the content. However, I do post exclusive content to this group only, including some of the posts already on this page but also some of the forthcoming posts which will be complex, in depth analyses of pieces of music by composers including some of my own compositions and as such will be too specific and complicated for the general public.
I also intend to post content on the specific ways M3 can be used in composing and improvising. So to start, I have attached an analysis of an interesting piece by Bach called Chromatic Fantasia and Fugue in D minor BWV 903 as an illustration of the use of the Modal Method and the techniques involved.
Scales used in BWV 903.
Fantasia
The Fantasia contains modulations utilising 17 scales. These are listed in the order that they occur, along with their formulae:
Major (1 2 3 4 5 6 7)
Melodic (1 2 b3 4 5 6 7)
Harmonic minor (1 2 b3 4 5 b6 7)
Neapolitan minor (1 b2 b3 4 5 b6 7)
Hungarian minor (1 2 b3 #4 5 b6 7)
Harmonic Major (1 2 3 4 5 b6 7)
Harmonic minor b5 (1 2 b3 4 b5 b6 7)
Melodic b5 (1 2 b3 4 b5 6 7)
Neapolitan Major b5 (1 b2 b3 4 b5 6 7)
Persian (1 b2 3 4 b5 b6 7)
Persian natural 6 (1 b2 3 4 b5 6 7)
Locrian natural 7 (1 b2 b3 4 b5 b6 7)
Ionian b5 (1 2 3 4 b5 6 7)
Harmonic Major b5 (1 2 3 4 b5 b6 7)
Phlegmatic (1 b2 bb3 b4 b5 b6 7)
Neapolitan Major (1 b2 b3 4 5 6 7)
Analysis of modal alterations contained in page 1:
1. C Major: Bb Lydian (+1) = B Locrian
2. D Melodic: C Ionian (+1) = C# Altered
3. C Major: C# Altered (-1) = C Ionian
4. F Major: B Locrian (-1) = Bb Lydian
5. D Harmonic minor: C Mixolydian (+1) = C# Alt bb7
6. D Melodic: Bb Lydian #2 (+1) = B Aeolian b5
7. D Harmonic minor: B Aeolian b5 (-1) = Bb Lydian #2
8. F Major: C# Alt bb7 (-1) = C Mixolydian
9. D Harmonic minor: C Mixolydian (+1) = C# Alt bb7
10. D Neapolitan minor: E Locrian nat 6 (-1) = Eb Lydian #6
11. D Harmonic minor: Eb Lydian #6 (+1) = E Locrian nat6
12. D Hungarian minor: G Dorian #4 (+1) = G#Locrian bb7
13. A Harmonic Major: Bb Lydian #26 (+1) = B Dorian b5
14. A Harmonic minor: C# Phrygian b4 (-1) = C Ionian +
15. A Harmonic minor b5: E Phrygian Major (-1) = Eb Lydian +#3
16. A Melodic b5: F Hungarian Major (+1) = F# Aeolian b5bb7
17. A Neapolitan Major b5: B Dorian b24 (-1) = Bb Ionian +#6
18. G Harmonic minor: G# Alt bb36 (-1) = G Harmonic minor
19. Bb Major: F# Alt bb7 (-1) = F Mixolydian
20. F Major: Eb Lydian (+1) = E Locrian
21. A Neapolitan minor: G Dorian (+1) = G# Alt bb37
22. A Harmonic minor: Bb Lydian #6 (+1) = B Locrian nat6
23. A Harmonic Major: C Ionian (+1) = C# Phrygian b4
24. A Harmonic minor: C# Phrygian b4 (-1) = C Ionian +
25. A Hungarian minor: D Dorian #4 (+1) = D# Locrian bb37
26. E Harmonic Major: F Lydian #26 (+1) = F# Dorian b5
27. E Harmonic minor: G# Phrygian b4 (-1) = G Ionian +
28. E Harmonic minor b5: B Phrygian Major (-1) = Bb Lydian +#3
29. E Melodic b5: C Hungarian Major (+1) = C# Aeolian b5bb7
30. D Harmonic Major: D# Alt bb6 (-1) = D Harmonic Major
31. D Major: Bb Lydian +#2 (+1) = B Aeolian
32. A Major: G Lydian (+1) = G# Locrian
33. A Harmonic Major: F# Aeolian (-1) = F Lydian +#2
34. D Melodic: G# Locrian bb7 (-1) = G Lydian 7
35. C Major: C# Altered (-1) = C Ionian
36. G Major: F Lydian (+1) = F# Locrian
37. G Harmonic Major: E Aeolian (-1) = Eb Lydian +#2
38. G Harmonic minor: B Phrygian b4 (-1) = Bb Ionian +
39. G Hungarian minor: C Dorian #4 (+1) = C# Locrian bb37
40. D Harmonic Major: Eb Lydian #26 (+1) = E Dorian b5
41. D Harmonic minor: F# Phrygian b4 (-1) = F Ionian +
42. D Neapolitan minor: E Locrian nat6 (-1) = Eb Lydian #6
43. A Persian: G Aeolian #4 (+1) = G# Locrian bb367
44. D Hungarian minor: Eb Lydian #36 (+1) = E Oriental
45. D Harmonic Major #4: F Ionian +#2 (+1) = F# Aeolian b4
46. A Persian nat6: E Dominant b5 (-1) = Eb Lydian #236
47. A Neapolitan Major b5: C# Locrian nat5bb37 (-1) = C Lydian 7+b3
48. A Melodic b5: Bb Ionian +#6 (+1) = B Dorian b24
49. G Harmonic Major: G# Alt bb6 (-1) = G Harmonic Major
50. G Major: Eb Lydian +#2 (+1) = E Aeolian
51. D Major: C Lydian (+1) = C# Locrian
52. D Harmonic Major: B Aeolian (-1) = Bb Lydian +#2
53. D Harmonic minor: F# Phrygian b4 (-1) = F Ionian +
54. D Melodic: Bb Lydian #2 (+1) = B Aeolian b5
55. D Melodic b5: A Mixolydian b6 (-1) = Ab Lydian +#23
56. C Harmonic Major: C# Alt bb6 (-1) = C Harmonic Major
57. C Harmonic minor: E Phrygian b4 (-1) = Eb Ionian +
58. Eb Major: B Alt bb7 (-1) = Bb Mixolydian
59. D Locrian nat7: C Aeolian (+1) = C# Alt bb367
60. D Harmonic minor b5: Eb Ionian #6 (+1) = E Alt nat6
Now as you can see, the 60 modulations in the above analysis are contained within just page 1 of the score. The complexity of this music now becomes apparent, and if the changes are studied then the sequence of alterations may be understood and utilised in one's own music without fear of plagiarism or mimicry as it is only the principles that are used, not the note selection or melodic material. Also, repeated patterns of sequencies become obvious when this method is used, dismissing the idea that music like this is composed without any concept of technical, sequential music theory and purely down to the creative genius of the mind at work. It's maths, patterns and a knowledge of the two that goes into making a piece pf music like this.
I have attached the score from page 1 below, the notes in red are sharpened while the blue are flattened.
I would also like to add that I don't intend to post scores of analysis on any other sites for copyright reasons so if anyone has a specific reason why they would wish to post somewhere else could they please contact me first.
コメント