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NTTS_Preface and Introduction, Vol. I
Read how this book came about and how we proceed towards setting up a methodology of non-tonal technique.
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Applications (Vol. I)
NTTS-tetratonic-pattern-1.pdf
The patterns of the second Chromatic section have similar characteristics to the those in the first section, the main difference is that they’re made up of wider intervals. Here we attempt a merging of the two. This won’t shed new light on possible applications (yet) but will rather show a way to further expand the possibility to systematically generate new patterns from the basic ones.
1.24 MB
NTTS-tetratonic-pattern-2.pdf
In this examples we break the linearity of the original exercise by using any of the allowed permutation s of the four notes at each new step of the chromatic scale. Then we adapt the newly found sequence to being contained within an octave therefore giving it a sense of somewhat “static” mobility. Finally we go a step further into creating a more complex syntax by breaking the melodic sequence into a breathing phrase and by stressing its harmonic valence with the use of chords, the same chords that would form the underline harmonic fabric of the original pattern if one were to play the four notes together. The pairing of the “static” melodic phrase with the chromatically ascending sequence of chords gives an interesting result.
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NTTS-tetratonic-pattern-3.pdf
The second section of NTTS Vol. I applies the same ideas implemented in Section I, though the primary pattern generating the permutations comprises larger intervals spanning overall an augmented octave (or enharmonically a minor 9th). Here we propose a strategy for creative development. We present the bare pattern (a) and we go on knitting a set of possible harmonic and melodic relationships. This will give us material to then organize compositionally or as the basis of non-tonal improvisation.
b ) We write (a) as a chord and build the same chord on all the four notes of the pattern.
c) This will generate two new notes (D, G#) that we’ll add to the previous four to get a new scale.
d) From this new scale we conceive a new set of six-note chords that we then set them on the original four notes.
e) As expected this will give us two extra notes (D#, A) and a new eight-note scale.
f) This is an example of how we could creatively articulate the material collected so far. I have put the scale on the top voice as the leading element.
g) Here I have generated a new pattern in the leading voice based on the same scale and proceeded in harmonizing it making sure I would only use what is available so far and organize the voices in a choral type distribution. 23.4 KB
b ) We write (a) as a chord and build the same chord on all the four notes of the pattern.
c) This will generate two new notes (D, G#) that we’ll add to the previous four to get a new scale.
d) From this new scale we conceive a new set of six-note chords that we then set them on the original four notes.
e) As expected this will give us two extra notes (D#, A) and a new eight-note scale.
f) This is an example of how we could creatively articulate the material collected so far. I have put the scale on the top voice as the leading element.
g) Here I have generated a new pattern in the leading voice based on the same scale and proceeded in harmonizing it making sure I would only use what is available so far and organize the voices in a choral type distribution. 23.4 KB
NTTS-tetratonic-pattern-4.pdf
A way to exploit the symmetrical properties of a newly formed pattern and morph it into a contrary motion study.
28.9 KB
NTTS-tetratonic-pattern-5.pdf
This application is about fitting the pattern onto a dominant chord. Once established which configuration works, we set out on our quest to articulate our technical competence in yet another creative way.
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NTTS-tetratonic-pattern-6.pdf
Here we seek out a strategy that leads to further develop some possible melodic and harmonic implications of such pattern in a way that enhances its non-tonal qualities.
370 KB
Dyads.pdf
The Chromatic unit of Vol.I contains a section on dyads. The primary focus is to familiarize with them in a most common scenario. “Wedges" are one of them, where the voices are spreading outward or inward. In the book I lay them out in order of increasing interval, three at the time. The first of the series is the following example (major 2nd to augmented 4th). As usual these studies hold a lot of potential for creative experimentation; here I’d like to offer a simple expanded version that yields some interesting harmonies, and that those of you that have the book already might find valuable.
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