Music Composition Treaty: The Journey of a Notice | Francisco Zornoza Díez

Bitonality is a form of composition to various shades creating a semicromátismo
and increasing chromatic harmony vertically and horizontally
It can be used in several ways: Eg making harmonic progressions two with two shades
C and G, using as a tonic harmonic spot two two two dominant and subdominant
Also it used by adding the sounds of the two keys making a harmonic progression
areas with altered harmonic.

In this example we will analyze and compose with various shades of orchestral form
for example on a chord C7M is divided into:

C E G + E G B two triads C and E: Ionian C7M

1 3 5 + 3 5 7M

C Ionian harmonizes with section ropes with a solid rhythmic accompaniment and E Phrygian
with the woodwind section with a melody and bitonality C-7M913 Doric Melodic
on the harp with accompaniment arpergiado

C_*_D_*__E_F_*_G_*_A_*_B_C : C7M Ionian

C_*_D_Eb_*_F_*_G_*_A_*_B_C : C-7M Doric Melodic

C_*_D_Eb_E_F_*_G_*_A_*_B_C : C7M99#1311 Bitonal

*** In this way we bitonality in the III ° C7M9

C7M9 for the chord is divided into different sections of the orchestra for example
string section C and E notes on stubbornly at a rate two
metal bars for wind section E and G notes as accompaniment
solid for the woodwind section B and D notes fragmented rhythmic accompaniment
forming to the three chord orchestral sections indicated C7M9
Ionian E7M bitonality on vibes as scale

C_*__D_*__E_F_*__G_*__A_*_B_C : C7M Ionian

*_C#_*_D#_E_*_F#_*_G#_A_*_B_* : E7M Ionian

C_C#_D_D#_E_F_F#_G_G#_A_*_B_C : C7M9b9#5b5#1311 Bitonal

*** In this example we have two Bitonalidades

For C7M913 chord we divide it into triads

C E G + G B D + A C E: C7M913

1 3 5 + 5 7M 9 + 6 1 3

C Ionian harmonizes section shape strings melodic line

G Mixolydian is replaced by G Ionian bitonality harmonizing with the metal section

as fragmented rhythm and A- Wind is replaced by bitonality A harmonizing Ionian

in woodwind melody shaped section

C_*__D_*_E_F_*__G_*__A_*_B_C : C7M Ionian

*_C#_D_*_E_*_F#_*_G#_A_*_B_* : A7M Ionian

C_C#_D_*_E_F_F#_G_G#_A_*_B_C : C7M9b95b5#13 Bitonal

C_*_D_*_E_F_*__G_*_A_*_B_C : C7M Ionian

C_*_D_*_E_*_F#_G_*_A_*_B_C : G7M Ionian

C_*_D_*_E_F_F#_G_*_A_*_B_C : C7M95b1311 Bitonal

C_*__D_*_E_F_*__G_*__A_*_B_C : C7M Ionian

*_C#_D_*_E_*_F#_*_G#_A_*_B_* : A7M Ionian

C_*__D_*_E_*_F#_G_*__A_*_B_C : G7M Ionian

C_C#_D_*_E_F_F#_G_G#_A_*_B_C : C7M9b95b5#1311 Bitonal

http://fzornoza.wix.com/composicionmusical

Author: James McQuiston

Ph.D. in Political Science, Kent State University.

I have been the editor at NeuFutur / neufutur.com since I was 15. Looking for new staff members all the time; email me if you are interested. Thanks!

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