Neutral and Thematic Melodic Figuration in the Schillinger System of Musical Composition
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- Опубліковано 4 лип 2024
- This is the most versatile form of melodic figuration in the Schillinger System, using suspensions, anticipations, passing and auxiliary tones in a given harmonic continuity.
There are two approaches: neutral and thematic figuration. In neutral melodic figuration you may use preliminary planning of the part sequence. In thematic figuration we discern constant vs. variable chordal functions. All techniques are demonstrated with examples in the diatonic and diatonic-symmetric harmony system.
Companion document (text, diagrams and score fragments, PDF, 22 pp., A4) available on Patreon.
See the catalogue at www.fransabsil.nl/archpdf/Pat...
Contents:
00:00 Opening titles
00:29 Section 1 Introduction: what this video is about
00:59 Section 2 Melodic Figuration in the Schillinger System, leading tones, harmonic continuity
06:17 Section 3 Neutral Melodic Figuration
06:40 Section 3.1 Without preliminary voice sequence planning
07:03 Example in G major, free application of leading tones to harmony, string quartet
08:37 Section 3.2 With preliminary voice sequence planning
08:57 Example in G major with preliminary planning of the sequence of parts, jazz trio
09:56 Section 4 Thematic Melodic Figuration, motif from set of chordal functions
10:17 Section 4.1 Constant chordal function, open position voicing
12:03 Example in C Mixolydian, chordal functions 135, voice leading, wind quintet
13:29 Example in C Mixolydian, chordal functions 1357, ambient, fusion music texture
15:00 Example in C Mixolydian, chordal functions 579, synthesizer, electronic music
16:43 Section 4.2 Variable chordal function
17:20 Example in G Aeolian, single motif, solo piano
20:28 Example diatonic-symmetric harmony in C, two motifs, orchestral
26:33 Summary and conclusion
#SchillingerSystem #MelodicFiguration #harmony
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I've been studying this book for years , this videos are great. Keep up the good work!
@brunorivas7013 Yes, studying the Schillinger System books may take significant amounts of time. But then, for some of us that time spent is rewarding. Thank you for the kind words about the channel content.
It´s working great. Thank you so much for sharing the information
@Alex Ramirez, from your comment I conclude that you have been experimenting with melodic figuration and so far have been satisfied with the results. Although I encourage viewers to try these techniques, I do not get confirmation very often that that is the case. Thanks for the feedback.
Hmm, never heard of this system. I have some questions. At 11:40 you show R-3, R5, R7...in the example. I assume that those reperesent the movement of the root of the chord in relation with the previous one, but cannot really understand how it works.
Also, why is it there R-3 at the begining? We don't have any previous chord...
@Zokonud Archer The Schillinger System was popular in the 1930s-1940s. One of its features is the use of a quasi-mathematical approach (which also makes it infamous), plus a deterministic and generalization approach. There's not very much online information, and my efforts are trying to keep the valuable elements from the system alive. Now to your question: chord progressions are labeled with root-cycle symbols, which indicate root movement in either the diatonic (such as R3, R-5) or the symmetric (chromatic, e.g., R-2i, R7i) system of harmony. A root cycle is written between two consecutive chords, for example, the diatonic connection Cm-Ab would receive label R3 (diatonic 3rd down), the non-diatonic connection E9-G#7/D# would be labeled as R-4i (root moves 4 semitones up). In the tutorial there is a tip: watch the videos Diatonic (Symmetric) Harmony Nomenclature in the Schillinger System of Musical Composition (2017). These should help you understand the notation, that frequently returns in my tutorials. Hopefully this answers your question. Thanks for asking!
You are amazing! I love your tutorials! Love the Schillinger System of Musical Composition...looking at my two volumes on the book shelve. First print versions!
@Dan McGirr glad to hear you like these tutorials. That's not the case for everyone, though. With each Schillinger video upload, there's an immediate peak of unsubscribers, who apparently have reached 'Schillinger Saturation'. It takes about a week to recover. Videos with Riemannian Harmony in the title fare significantly better. Peculiar. Thanks for the kind words!
@@FransAbsil Your books and videos have helped me understand the system greatly. I just enjoy the process of the system. So many ways to create with it. I mean you can combine it with any style and create new outcomes. I'd say composers like Arvo Part used it to come up with some of his earlier ideas. People must remember, Schillinger didn't even get to finish the system due to his early death. Have you created a video on this section of the book: coordination of time structures rhythmic patterns woven through an orchestra? Where he uses the PLI and PLA etc. ua-cam.com/video/WtWQ7j9sCzY/v-deo.html This video touches on it - I'd love to see you explore in your style. I hope you are safe and well during these uncertain days. All the best.
@Dan McGirr Thanks for sharing your experience with the Schillinger System and style/technique similarity discoveries in other composers' work. As to the suggestion for a tutorial about the Coordination of Time Structures: from emails and online lessons I know that this chapter is the real stumbling block in the Theory of Rhythm. Sometimes I do hope I understand this part myself ;-) The text in the original book is lacking clarity and sufficient examples, instead full of confusing notation (plus calculation errors in the examples). Will watch your YT video link, then consider how best to present this aspect in a dedicated video later. Currently safe, yes, and uncertain times for sure. Not convinced that great culture and music will save humanity.
Hey Frans,
I would really love to see a longer form video (maybe even a live stream) of you applying the schillinger system to an original short composition. I love hearing about all of the minutia of individual ideas, but I find it difficult to understand the whole process of going from from blank page to developed piece. Is this something you would ever consider doing?
@June_Birnie Thanks for the suggestion. I will think about how to best present the music composition sketching process within the Schillinger System framework. However, although I covered a significant portion of the SSoMC book set, his Theory of Melody is still missing from my tutorial series. Then, doing live sessions I find scary: music software may suddenly hang, instrument plug-ins will misbehave, etc. But most importantly, the sketching may lead to nothing (imagine a bad day). My tutorials are the result of a filtering process where you in general only see the end result that passed 'quality control'. Yes, presenting the creation process might give additional insight. But would there be an audience for a several hours streaming session? I doubt it. My tutorials usually require additional diagrams, reduced scores, a script: elements that can only be created a posteriori when I have structured the tutorial content in my head. Most of the online composition sessions I watched either I find boring or there is curation and editing involved before the episode is uploaded. I prefer not to improvise or act as the next online clown. So in order to efficiently achieve a teaching goal and create something that is pleasant to watch takes careful prior thinking. To be continued; ideas are welcome.
(1) 12:57 Found the obligatory mistake (8-)): G-Bb is 3-5, not 1-5.
(2) If you are going to replace a 1 or 3, and that part is doubled, only one should be replaced, right? Using some kind of tie-breaker (e.g., the higher voice), I assume.
(3) I suppose you could also break up the monotony by cyclically permuting the motif (if it's amenable to that).
Additional comment: It seems like this is a good way to generate riffs.
@Christopher Heckman in answer to your points: (1) well spotted. Have to admit I found this error myself after the YT upload, but decided to leave it as is. (2) In case of a motif with different starting and closing chordal function (e.g. 3-1) and the starting function is doubled in another part, there is not really a need for replacement. Doubling is more likely for root 1 or 5, least likely for 3 (irregular doubling). Aim for balanced chord voicing throughout the motif playing. I found quite some instances in the Schillinger book, where his own rules are not adhered to consistently (error?). (3) Indeed, this is one of the many options to create motif variation. This tutorial demonstrates strict motif application, however, in order to keep things simple. Thank you for your observations and ideas.
@@FransAbsil And this is a much-appreciated topic. The month was worth the wait! 8-)