Mikrokosmos, BB 105, Vol. 1: No. 17 Contrary Motion (1) - Can't understand the structureDistinguishing 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
Best practice for printing and evaluating formulas with the minimal coding
Is there a word for pant sleeves?
Story about encounter with hostile aliens
How to add a low pass filter to this non-inverting amplifier circuit?
pwaS eht tirsf dna tasl setterl fo hace dorw
How could Dwarves prevent sand from filling up their settlements
What does it mean for a program to be 32 or 64 bit?
How do you cope with rejection?
How can I use 400 ASA film in a Leica IIIf, which does not have options higher than 100?
How would a physicist explain this starship engine?
Why does an injection from a set to a countable set imply that set is countable?
Keeping the dodos out of the field
How could the B-29 bomber back up under its own power?
Separate the element after every 2nd ',' and push into next row in bash
How can sister protect herself from impulse purchases with a credit card?
How does the +1 Keen Composite Longbow (+2 Str) work?
why "American-born", not "America-born"?
Is it wise to pay off mortgage with 401k?
Parse a C++14 integer literal
Is presenting a play showing Military characters in a bad light a crime in the US?
Do most Taxis give Receipts in London?
Are CTRL+C and <esc> the same?
How to tease a romance without a cat and mouse chase?
Vehemently against code formatting
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 2 hours 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 2 hours 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 2 hours 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 2 hours ago
xvanxvan
2205
edited 1 hour ago
Richard
47.1k7114201
asked 2 hours 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 2 hours ago
xvanxvan
2205
asked 2 hours ago
xvanxvan
2205
asked 2 hours ago
xvanxvan
2205
2205
add a comment |
add a comment |
2 Answers
2
active
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 1 hour ago
Laurence PayneLaurence Payne
39k1974
add a comment |
Your Answer
StackExchange.ready(function()
var channelOptions =
tags: "".split(" "),
id: "240"
;
initTagRenderer("".split(" "), "".split(" "), channelOptions);
StackExchange.using("externalEditor", function()
// Have to fire editor after snippets, if snippets enabled
if (StackExchange.settings.snippets.snippetsEnabled)
StackExchange.using("snippets", function()
createEditor();
);
else
createEditor();
);
function createEditor()
StackExchange.prepareEditor(
heartbeatType: 'answer',
autoActivateHeartbeat: false,
convertImagesToLinks: false,
noModals: true,
showLowRepImageUploadWarning: true,
reputationToPostImages: null,
bindNavPrevention: true,
postfix: "",
imageUploader:
brandingHtml: "Powered by u003ca class="icon-imgur-white" href="https://imgur.com/"u003eu003c/au003e",
contentPolicyHtml: "User contributions licensed under u003ca href="https://creativecommons.org/licenses/by-sa/3.0/"u003ecc by-sa 3.0 with attribution requiredu003c/au003e u003ca href="https://stackoverflow.com/legal/content-policy"u003e(content policy)u003c/au003e",
allowUrls: true
,
noCode: true, onDemand: true,
discardSelector: ".discard-answer"
,immediatelyShowMarkdownHelp:true
);
);
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
StackExchange.ready(
function ()
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f84992%2fmikrokosmos-bb-105-vol-1-no-17-contrary-motion-1-cant-understand-the-s%23new-answer', 'question_page');
);
Post as a guest
Required, but never shown
2 Answers
2
active
oldest
votes
2 Answers
2
active
oldest
votes
active
oldest
votes
active
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 |
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 1 hour 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 1 hour 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 1 hour 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 1 hour ago
Laurence PayneLaurence Payne
39k1974
answered 1 hour ago
Laurence PayneLaurence Payne
39k1974
answered 1 hour ago
Laurence PayneLaurence Payne
39k1974
answered 1 hour ago
Laurence PayneLaurence Payne
39k1974
39k1974
add a comment |
add a comment |
Thanks for contributing an answer to Music: Practice & Theory Stack Exchange!
- Please be sure to answer the question. Provide details and share your research!
But avoid …
- Asking for help, clarification, or responding to other answers.
- Making statements based on opinion; back them up with references or personal experience.
To learn more, see our tips on writing great answers.
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
StackExchange.ready(
function ()
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f84992%2fmikrokosmos-bb-105-vol-1-no-17-contrary-motion-1-cant-understand-the-s%23new-answer', 'question_page');
);
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
