Another fugue an using all 12 tones but as 7 ,11 and then twelve tones. My kind of thing. What many people don't understand about polyphony is that it's about the overall "texture" as we polyphonists describe it. Also, the intermixing of dissonant harmony with functional tonal harmony. Well done, my friend. Otra fuga usa los 12 tonos pero como 7, 11 y luego doce tonos. Mi tipo de cosas. Lo que mucha gente no entiende sobre la polifonía es que se trata de la "textura" general, como la describimos los polifonistas. También, la mezcla de la armonía disonante con la armonía tonal funcional. Bien hecho, amigo mío. By the way, I'm getting better at Spanish. I understood the other comment without translating. Love the language. "Tambien" "mezcla", "luego doce" new words for me. Thanks.
You are extremely intelligent and very lucid in your analysis of the first movement of my last Suite, so you deserve a precise explanation that confirms your great intuition. If you look carefully you will see that like many of my "Enneadic-Suites" my themes are nine tones within the chromatic tridecade (old "octave"), in several of my latest Suites I have proposed to put amodal twelve-tone technyque on track within the Modal System that I have defined in my "Modal Theory" ("Temperate Modes") es. scribd.com/document/658887605/Tempered-Modes there you can practice your Spanish and you can read the New Theory duly founded, more specifically I point out on a page at the end that as a preferential and exclusive use of Enneadic Modes or Heptadic Modes you can always establish a complementarity between 9 + 4 = 13 tones (12 intervals) or 7 + 6 Tones (12 intervals), I consider within the Modality that they are not 12 Tones but rather 12 intervals and that the Tridecade is the containing interval, I do not think like Schönberg in terms of tones but of intervals and I do not think like him that the "octave" ("Tridecada) simply generates another series of twelve tones but is the interval containing the other twelve, all of this can be reported in detail in my previously cited "Mode Theory (Temperate Modes) so I fervently invite you to read it at the complete because there is no one better and more prepared to understand the modal bases that I consider to be of critical importance at the current moment to overcome a certain historical phase that I consider to be already obsolete and also wrongly founded. Specifically, note that the theme of the subject of my first fugue is 9 tones extracted from one of the Enneadic Modes mentioned, and that the following four tones that begin the countersubject accompanying the subject's response are the 4 complementary tones of total chromaticism but no longer understood as twelve-tone but as a pure modal system that I have reissued in my Modal Theory so I "tame" the cacophonous twelve-tone system with my Modal Theory. Thank you very much for your interest and for your comments.
Another fugue an using all 12 tones but as 7 ,11 and then twelve tones. My kind of thing. What many people don't understand about polyphony is that it's about the overall "texture" as we polyphonists describe it. Also, the intermixing of dissonant harmony with functional tonal harmony. Well done, my friend.
Otra fuga usa los 12 tonos pero como 7, 11 y luego doce tonos. Mi tipo de cosas. Lo que mucha gente no entiende sobre la polifonía es que se trata de la "textura" general, como la describimos los polifonistas. También, la mezcla de la armonía disonante con la armonía tonal funcional. Bien hecho, amigo mío.
By the way, I'm getting better at Spanish. I understood the other comment without translating. Love the language. "Tambien" "mezcla", "luego doce" new words for me. Thanks.
You are extremely intelligent and very lucid in your analysis of the first movement of my last Suite,
so you deserve a precise explanation that confirms your great intuition.
If you look carefully you will see that like many of my "Enneadic-Suites" my themes are nine tones
within the chromatic tridecade (old "octave"), in several of my latest Suites
I have proposed to put amodal twelve-tone technyque on track within the Modal System
that I have defined in my "Modal Theory" ("Temperate Modes") es. scribd.com/document/658887605/Tempered-Modes
there you can practice your Spanish and you can read the New Theory duly founded,
more specifically I point out on a page at the end that as a preferential and exclusive use of Enneadic Modes or Heptadic Modes
you can always establish a complementarity between 9 + 4 = 13 tones (12 intervals) or 7 + 6 Tones (12 intervals),
I consider within the Modality that they are not 12 Tones but rather 12 intervals and that the Tridecade is the containing interval,
I do not think like Schönberg in terms of tones but of intervals and I do not think like him that the "octave" ("Tridecada)
simply generates another series of twelve tones but is the interval containing the other twelve,
all of this can be reported in detail in my previously cited "Mode Theory (Temperate Modes)
so I fervently invite you to read it at the complete because there is no one better and more prepared to understand the modal bases
that I consider to be of critical importance at the current moment to overcome a certain historical phase
that I consider to be already obsolete and also wrongly founded.
Specifically, note that the theme of the subject of my first fugue is 9 tones extracted from one of the Enneadic Modes mentioned,
and that the following four tones that begin the countersubject accompanying the subject's response
are the 4 complementary tones of total chromaticism but no longer understood as twelve-tone but
as a pure modal system that I have reissued in my Modal Theory
so I "tame" the cacophonous twelve-tone system with my Modal Theory.
Thank you very much for your interest and for your comments.
@conchir.farina4483
ha comentado:
Una Suite Apasionada, con un segundo movimiento Sensual hasta el estremecimiento...
Muchas Gracias