fever dream
dream series #1
this description will be slightly longer than my usual descriptions
--
ive been making a series of tone poems recently, and none of them were serious/large scale pieces that i spent multiple days on
this one, however, took me some time, mostly because i was trying to experiment with a few musical features
1) this piece is through composed, which is different from most of my previous pieces
2) there are fingering notations and playing instructions in this piece for anyone who wants to try it
3) this is probably the most important point: in terms of tonality, this piece is not atonal. it combines the whole tone scale with an augmented f major scale.
when we talk about major scales, we typically think of:
C D E F G A B - 7 notes arranged at specific intervals of semitones and tones.
in a normal 7 note major scale, there are no consecutive semitone intervals, however:
ive been experimenting with an augmented major scale recently, and im not aware of there being any theory on this. the c major version looks like this:
C C# D E F G G# A B - 9 notes in one octave, with the addition of notes one semitone above the tonic and dominant.
the amount of possibilities this scale gives is insane. for a normal 7 note C major scale, you can make, without accidentals, the basic chords of Cmaj, Amin, F maj, D min, G maj, Emin.
with the 9 notes scale, you can make all that, plus: C#min, C#maj, Amaj, Emin, Fmin, but thats not its most impressive use - it opens up a whole world of complex harmonies involving tritones and dissonance.
the specific augmented scale ive used in this piece is as follows: F Gb G A Bb C Db D E (using flats for consistency). its interactions with other scales and its own use of accidentals is very interesting, especially since ive noticed how Ab seems to be an especially important missing link in the scale. but then again, im essentially trying to figure out the complexities of this scale without any legit theoretical basis, so it is subject to change
--
ive been making a series of tone poems recently, and none of them were serious/large scale pieces that i spent multiple days on
this one, however, took me some time, mostly because i was trying to experiment with a few musical features
1) this piece is through composed, which is different from most of my previous pieces
2) there are fingering notations and playing instructions in this piece for anyone who wants to try it
3) this is probably the most important point: in terms of tonality, this piece is not atonal. it combines the whole tone scale with an augmented f major scale.
when we talk about major scales, we typically think of:
C D E F G A B - 7 notes arranged at specific intervals of semitones and tones.
in a normal 7 note major scale, there are no consecutive semitone intervals, however:
ive been experimenting with an augmented major scale recently, and im not aware of there being any theory on this. the c major version looks like this:
C C# D E F G G# A B - 9 notes in one octave, with the addition of notes one semitone above the tonic and dominant.
the amount of possibilities this scale gives is insane. for a normal 7 note C major scale, you can make, without accidentals, the basic chords of Cmaj, Amin, F maj, D min, G maj, Emin.
with the 9 notes scale, you can make all that, plus: C#min, C#maj, Amaj, Emin, Fmin, but thats not its most impressive use - it opens up a whole world of complex harmonies involving tritones and dissonance.
the specific augmented scale ive used in this piece is as follows: F Gb G A Bb C Db D E (using flats for consistency). its interactions with other scales and its own use of accidentals is very interesting, especially since ive noticed how Ab seems to be an especially important missing link in the scale. but then again, im essentially trying to figure out the complexities of this scale without any legit theoretical basis, so it is subject to change
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