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Mikrokosmos, BB 105, Vol. 1: No. 17 Contrary Motion (1) - Can't understand the structure
Distinguishing intervalsBartok Mikrokosmos Book 3, no. 70Sun-Ra's harmonies and intervals for the laypersonWhat is the left hand doing in classical music?Why does this tune sound “Bluesy” and yet doesnt belong to the blues scale“The intervals considered dissonant have changed since the 'Middle Ages'”; How so?The sudden switch from C major to C minor in Wake me up when September ends and a Solo Acoustic versionHow to define “simple” when considering consonance and interval ratiosSuper fast scales and octaves, How?Lower interval limits
Can somebody explain how the harmony works in this piece?
It seems that the right hand plays on C key and the left hand alternates between G and D.
Why when played in opposite direction do the intervals sound consonant?
theory scales intervals
edited 1 hour ago
Richard
47.1k7114201
asked 1 hour ago
xvanxvan
2205
add a comment |
Can somebody explain how the harmony works in this piece?
It seems that the right hand plays on C key and the left hand alternates between G and D.
Why when played in opposite direction do the intervals sound consonant?
theory scales intervals
edited 1 hour ago
Richard
47.1k7114201
asked 1 hour ago
xvanxvan
2205
add a comment |
Can somebody explain how the harmony works in this piece?
It seems that the right hand plays on C key and the left hand alternates between G and D.
Why when played in opposite direction do the intervals sound consonant?
theory scales intervals
edited 1 hour ago
Richard
47.1k7114201
asked 1 hour ago
xvanxvan
2205
Can somebody explain how the harmony works in this piece?
It seems that the right hand plays on C key and the left hand alternates between G and D.
Why when played in opposite direction do the intervals sound consonant?
theory scales intervals
theory scales intervals
edited 1 hour ago
Richard
47.1k7114201
asked 1 hour ago
xvanxvan
2205
edited 1 hour ago
Richard
47.1k7114201
asked 1 hour ago
xvanxvan
2205
edited 1 hour ago
Richard
47.1k7114201
edited 1 hour ago
Richard
47.1k7114201
edited 1 hour ago
Richard
47.1k7114201
47.1k7114201
asked 1 hour ago
xvanxvan
2205
asked 1 hour ago
xvanxvan
2205
asked 1 hour ago
xvanxvan
2205
2205
add a comment |
add a comment |
2 Answers
2
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oldest
votes
Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered 1 hour ago
RichardRichard
47.1k7114201
add a comment |
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered 34 mins ago
Laurence PayneLaurence Payne
39k1974
add a comment |
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2 Answers
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2 Answers
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Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered 1 hour ago
RichardRichard
47.1k7114201
add a comment |
Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered 1 hour ago
RichardRichard
47.1k7114201
add a comment |
Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered 1 hour ago
RichardRichard
47.1k7114201
Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered 1 hour ago
RichardRichard
47.1k7114201
answered 1 hour ago
RichardRichard
47.1k7114201
answered 1 hour ago
RichardRichard
47.1k7114201
answered 1 hour ago
RichardRichard
47.1k7114201
47.1k7114201
add a comment |
add a comment |
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered 34 mins ago
Laurence PayneLaurence Payne
39k1974
add a comment |
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered 34 mins ago
Laurence PayneLaurence Payne
39k1974
add a comment |
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered 34 mins ago
Laurence PayneLaurence Payne
39k1974
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered 34 mins ago
Laurence PayneLaurence Payne
39k1974
answered 34 mins ago
Laurence PayneLaurence Payne
39k1974
answered 34 mins ago
Laurence PayneLaurence Payne
39k1974
answered 34 mins ago
Laurence PayneLaurence Payne
39k1974
39k1974
add a comment |
add a comment |
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