Interesting, I would have to re-read the relevant material, but I thought that he only introduced the Uni/polytonal-Uni/polymodal terminology in the counterpoint book. In other words, I thought that it referred more to the vertical juxtaposition of different forms in a counterpoint setting. But I suppose it could be applied to a melodic continuity as well. Great video, as always!
@Master Chain, Thanks for mentioning the polytonality/polymodality aspect in the Schillinger Book 6. Inspecting the index, one does not find a reference to p. 126 in Book 2 where the same aspect of Group 1 pitch-scales is discussed (indeed as a melodic continuity, not the simultaneity case). In general, these books would benefit from a more thorough and complete index.
A couple of comments/questions from the Common Units material around 20:05: (1) I don't see how you've used any of the rhythmic material from the end of the first Melodic Continuity. It appears that you might have, and then made some variations on the rhythm, but it seems like if you don't use the exact rhythm, you're not using the psychology that makes the technique work. (In particular, there are lots of dotted 8ths that seem to come from nowhere.) (2) When using this approach, you say to not use the new key axis in the second MC. This seems wrong to me; if you are modulating to a new tonic, then you should have that new tonic somewhere. IOW, it should be the old key axis that you should avoid, especially if it is a Common Unit.
@Christopher Heckman Thanks for another careful tutorial study and feedback on the melodic modulation technique. For the modulation through common units I quote from p. 129 in the Schillinger books: "produce motifs on common units ... take rhythm material from the theme", and "desirable not to show the axis of the following key" (bottom of page). (1) The source rhythm is in m. 15, at the end of MC1. It is used 3 times, m. 16, m.17|b3 and m. 18|b4 (varied). In the SSOMC example Fig. 21 (p. 130), the 2nd modulation has the same approach (1st modulation indeed is a double repeat of the steady quarter note rhythm). So I conclude that both strict and somewhat more liberal processing of the rhythm is allowed; probably the length of the modulation section dictates the amount of rhythmical freedom, plus there is some personal taste involved. (2) I try and avoid using the new root when it is in the set of common units. However if there are only 2 or 3 common units, then occasionaly I use it briefly (in order to obtain motifs with some 'beauty'). In that case I use short durations in order to prevent establishing the new key before the MC enters (where it then should become the primary axis through maximum cumulative duration).
@@FransAbsil (1) (at time 20:32) Okay, I see it now; the first three beats of bar 15. Maybe I made the mistake of looking at it, instead of listening to it. 8-) and/or it shows how well you (F.A.) can compose, after Schillinger's system gives you the basics. (2) Another way to think about not using the new tonic (root) in the modulation itself is that the modulation is signalling that something's changing, but you're building up suspense as to what the piece is going to change to.
Interesting, I would have to re-read the relevant material, but I thought that he only introduced the Uni/polytonal-Uni/polymodal terminology in the counterpoint book. In other words, I thought that it referred more to the vertical juxtaposition of different forms in a counterpoint setting. But I suppose it could be applied to a melodic continuity as well. Great video, as always!
@Master Chain, Thanks for mentioning the polytonality/polymodality aspect in the Schillinger Book 6. Inspecting the index, one does not find a reference to p. 126 in Book 2 where the same aspect of Group 1 pitch-scales is discussed (indeed as a melodic continuity, not the simultaneity case). In general, these books would benefit from a more thorough and complete index.
A couple of comments/questions from the Common Units material around 20:05:
(1) I don't see how you've used any of the rhythmic material from the end of the first Melodic Continuity. It appears that you might have, and then made some variations on the rhythm, but it seems like if you don't use the exact rhythm, you're not using the psychology that makes the technique work. (In particular, there are lots of dotted 8ths that seem to come from nowhere.)
(2) When using this approach, you say to not use the new key axis in the second MC. This seems wrong to me; if you are modulating to a new tonic, then you should have that new tonic somewhere. IOW, it should be the old key axis that you should avoid, especially if it is a Common Unit.
@Christopher Heckman Thanks for another careful tutorial study and feedback on the melodic modulation technique. For the modulation through common units I quote from p. 129 in the Schillinger books: "produce motifs on common units ... take rhythm material from the theme", and "desirable not to show the axis of the following key" (bottom of page). (1) The source rhythm is in m. 15, at the end of MC1. It is used 3 times, m. 16, m.17|b3 and m. 18|b4 (varied). In the SSOMC example Fig. 21 (p. 130), the 2nd modulation has the same approach (1st modulation indeed is a double repeat of the steady quarter note rhythm). So I conclude that both strict and somewhat more liberal processing of the rhythm is allowed; probably the length of the modulation section dictates the amount of rhythmical freedom, plus there is some personal taste involved. (2) I try and avoid using the new root when it is in the set of common units. However if there are only 2 or 3 common units, then occasionaly I use it briefly (in order to obtain motifs with some 'beauty'). In that case I use short durations in order to prevent establishing the new key before the MC enters (where it then should become the primary axis through maximum cumulative duration).
@@FransAbsil (1) (at time 20:32) Okay, I see it now; the first three beats of bar 15. Maybe I made the mistake of looking at it, instead of listening to it. 8-) and/or it shows how well you (F.A.) can compose, after Schillinger's system gives you the basics.
(2) Another way to think about not using the new tonic (root) in the modulation itself is that the modulation is signalling that something's changing, but you're building up suspense as to what the piece is going to change to.