Schillinger's Theory of Pitch-Scales: First Group Part 1
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- Опубліковано 7 лип 2024
- In the Schillinger System of Musical Composition Book 2 discusses pitch-scales. In the first group we find the scales with a single root and a total range of less than one octave. The generalized approach finds all possible scales through combinations and permutations of interval-units. A scale is an ordered series of between 1 and 12 pitch-units, and this video looks at the characteristics of the First Group scales with 2, 3 and 5 pitch-units. The approach to diatonic 7-pitch scales is based on the combination of tetrachord types. Application examples demonstrate the construction of a melodic continuity from a series of melodic forms and the superimposition of an attack-duration rhythm pattern.
Contents:
00:00 What this video is about
00:33 Section 1 Introduction
00:59 Section 2 Fundamentals of Group 1 Pitch-Scales
01:03 Section 2.1 Schillinger System Context. Books 1-5 in the System of Musical Composition.
02:28 Section 2.2 Pitch-Scale Groups. Characteristics of Group 1, single root and octave limit.
03:42 Section 2.3 Group 1 scale numbers. The total number for given number of pitch-units.
04:42 Section 2.4 Working with pitch-scales. Melodic forms. Continuity with rhythm superimposition.
05:44 Section 3 Group 1 Pitch-Scale Examples
05:50 Section 3.1 Three-unit pitch-scales. Options and melodic forms.
07:46 Example 1. Scales with common pitch. Expanding group rhythm. Solo Strings and synths.
12:05 Section 3.2 Five-unit pitch-scales. Total number, melodic forms.
12:24 Example 2. Three scales, common pitches, permutations of attack-duration pattern.
15:56 Section 3.3 Seven-unit pitch-scales. Combination of tetrachords, diatonic major and minor.
19:14 Example 3. Six scales, melodic forms, rhythm family, grouping. Orchestral setting.
23:53 Summary and conclusion
More information on or purchase the Guide to Schillinger's Theory of Rhythm ebook at
www.fransabsil.nl/htm/rhythmb...
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Great video. I'm in grad school for composition just starting to study schillinger. I'm still pretty confused by aspects of it but videos like these are helpful. I'm just gonna embrace being confused for a while.
@SybilGrace Thanks for the feedback. In case your school is promoting studying the Schillinger System of Musical Composition, I would say that it is rather noteworthy. I hope you'll find lots of useful videos on this channel. In case you have any questions, don't hesitate to ask. Good luck with developing your creative talent!
Frans, thank you for the excellent videos! I purchased your Schillinger rhythm book many years ago and it was a great help for my undergrad degree work. I'm working my way through schillinger again with a focus on actually CREATING music like you do here and these tutorials are indispensable! I wish I had you as one of my professors in my undergrad! 🙂
@Austin Poorbaugh, pleased to hear that you are still happy with the Schillinger Rhythm e-book. Yes, I do remember your name. As to my professorship; be careful what you wish for ;-) Good luck with writing music in your own personal style!
Sensacional!!!
@Paulo Luis de Moraes Pereira Pereira thank you and welcome to the channel.
Thank you. 19:02 im experimenting with permutations of blues microtuning 👍
24:33 great long ways to get books appreciate your streaming endeavors
@Nathan Brydn hopefully I do understand your feedback correctly. Although the scales are based on equal-tempered tuning (the chromatic scale), at 19:03 indeed nothing should stop you from experimenting with other tuning systems. As long as you find the results useful and inspiring. The remark about the statement at 24:33 is puzzling. I only wanted to caution the viewer and clarify the limitations of the creation of melodic continuities from pitch-unit scales; the later Schillinger book on melody discusses other aspects that contribute to a 'beautiful' melody.
10:36 Is a huge statement. So much of the dismissive nature towards the SSMoC comes from this misunderstanding that it is an 'answer' to composition when in reality it is simply an eye-opening set of tools and methods to allow for total compositional freedom. The two volumes are not waiting to compose your next masterwork but rather sit filled with powerful and shapeable concepts.
@Austin Poorbaugh, The 'huge' statement at 10:36 into the video is only a warning that the current technique overlays a Schillinger rhythm on an ordered series of pitches from a diatonic scale. It does not change the octave of the original pitches and therefore a melodic continuity lacks characteristic of a 'fully-fledged' melody. Such melodies are the subject of a specific Schillinger System book. I wanted to get this clear at this point; indeed to avoid criticism about the melody creation potential of the system. Thanks for adding your nuanced view.
(1) Technically, the augmented 3-unit scale (at 6:54) isn't symmetric, because it only has one tonic/root. You only get a symmetric scale when you allow for more than one tonic/root.
(2) 14:51 But C(omit3) is not a triad ... And it appears that you just choose chords randomly.
(3) 16:11 That's a weird misspelling of "Schillinger." 8-)
(4) 18:06 Writing "Not (Mixolydian mode)" is a bit misleading; "Mixolydian mode (not in book)" would probably be better.
(5) 19:58 "The obligatory error" 8-)
(6) 21:04 What is R_i ?
@Christopher Heckman Many thanks for the detailed comments! (1) Correct (I guess you're familiar with Schillinger scale classification). How to differentiate between single/multiple roots when composing with the {0,4,8} scale? The number of units is most limiting; I would use the Primary Axis concept to stress the root(s). (2) Correct, the staff shows a dyad; in a chord progression this may become a triad by doubling root 1 or 5. The chord types demonstrate how to obtain familiar structures from the scales (incomplete set, indeed).(3) Welcome to the QC team; creating long error-free videos within a short timeframe obviously is beyond my capabilities. (4) Agreed. (5) Some errors are being noticed at the final video creation stage, but require going back to the source material. Signalling these is my emergency solution. (6) Schillinger uses the root cycle concept in the Diatonic and Symmetric Harmony system. I replace C(=Cycle) by R(=Root) for easier reading. R{3,5,7} are diatonic root movements (multiples of the 3rd), R_ni are n semitones root movement in the symmetric system. I feel humbled by this carefully compiled feedback; will try and do better in the future.
@@FransAbsil I've been working with the Schillinger system on and off for about six years now and found your videos about a week ago, so I'm starting to fill in some of the gaps where things are unclear to me.
As for #6, I know what your R notation is, but you've used R_0 and R_3 and R_5, and I know what those mean, but what happens when the subscript is the letter i? Maybe i is an abbreviation for a half-step, since you're going from A to A flat?
@Christopher Heckman Indeed i=half-step/semitone. It is mentioned in the video at 2:40, and defined in my videos on nomenclature. In the symmetric system Schillinger uses the sqrt(2) notation for root movement, but since that mathematical symbol is missing in music software, I prefer the simpler i. In the Schillinger books the symbol is used on p. 168, 584, 1064 and 1169 (the result of my quick scan).