Polytonality series, part 4 - common ground between Vincent Persichetti and Jerry Bergonzi: https://glennwhite.net/blog/polytonality-4
#music #theory #musictheory #polytonal #polytonality #bitonal #bitonality #multitonic #jazz #improvisation #saxophone
The degree to which polytonality is perceived is often governed by the relationship(s) between the keys that are presented. Vincent Persichetti elaborates: "The fundamental quality of polytonal texture is determined by the key relationship set up by the tonics. In major-key combinations, a polytonal order of tension from consonant to dissonant is secured by combining
Polytonality series, part 3: https://glennwhite.net/blog/polytonality-3
#music #theory #musictheory #polytonal #polytonality #bitonal #bitonality #improv #improvisation #multitonic #saxophone
In the following examples, repeated melodic fragments (motives) factor importantly in how new keys are introduced into an established tonal environment. Further, one of the tonal environments (either the established or the newly introduced) can be purposefully ambiguous, suggesting perhaps two or more tonal possibilities. In what is one of Lennie Tristano’s most widely acclaimed
While Darius Milhaud was the first to use the term “polytonality” as a means of describing his own compositional technique, pointing out the similarities of his techniques with those of more traditional harmonic environments: "It is easy to find the sources of polytonality. From the harmonic point of view, they are found in passing tones,
As an event, polytonality appears to be much easier to recognize than it is to define. Within jazz improvisation pedagogy circles, recent attempts have been made to instruct musicians who are curious about improvising “outside” of a prescribed harmonic framework, while at the same time not playing purely intervallic. And while each author appears eager
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Frédéric Sarter (Peredovitch)