How can whole tone melodies sound more interesting? Announcing the arrival of Valued Associate #679: Cesar Manara Planned maintenance scheduled April 17/18, 2019 at 00:00UTC (8:00pm US/Eastern)What's so special about minor and major scales?Can the “music of the spheres” be applied (or projected) to instrumental music?Learning to create melodiesWhy are the natural notes on the staff special?“Tritone” intervals in n-tone equal temperamentDo capable harmony singers sing in just intonation or tempered tuning?Evil Twins? Modes vs MirrorsWhy is the hexatonic scale that can be derived via a chain of perfect fifths so little-known?Motifs in melody writingWhen we play the C mixolydian mode, are we still in the key of C?
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How can whole tone melodies sound more interesting?
Announcing the arrival of Valued Associate #679: Cesar Manara
Planned maintenance scheduled April 17/18, 2019 at 00:00UTC (8:00pm US/Eastern)What's so special about minor and major scales?Can the “music of the spheres” be applied (or projected) to instrumental music?Learning to create melodiesWhy are the natural notes on the staff special?“Tritone” intervals in n-tone equal temperamentDo capable harmony singers sing in just intonation or tempered tuning?Evil Twins? Modes vs MirrorsWhy is the hexatonic scale that can be derived via a chain of perfect fifths so little-known?Motifs in melody writingWhen we play the C mixolydian mode, are we still in the key of C?
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
asked 2 hours ago
GraceGrace
407
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add a comment |
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
asked 2 hours ago
GraceGrace
407
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
1 hour ago
add a comment |
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
asked 2 hours ago
GraceGrace
407
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
theory melody
asked 2 hours ago
GraceGrace
407
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 2 hours ago
GraceGrace
407
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 2 hours ago
GraceGrace
407
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 2 hours ago
GraceGrace
407
asked 2 hours ago
GraceGrace
407
407
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
1 hour ago
add a comment |
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
1 hour ago
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
1 hour ago
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
1 hour ago
add a comment |
3 Answers
3
active
oldest
votes
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 2 hours ago
LSM07LSM07
1,274515
Thank you! I get an idea from the links you've attached
– Grace
57 mins ago
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
6 mins ago
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 1 hour ago
Albrecht HügliAlbrecht Hügli
4,7031320
Hahaha good one!
– Grace
1 hour ago
add a comment |
I don't know that there are a lot of whole-tone scale melodies. It usually seems that the whole-tone scale is used to provide some contrast or texture as part of a larger whole.
Sometimes I use a whole-tone scale over a V7 chord to mark a transition. When used as a substitute in this way, one thing you can do is take a phrase that you would have played over the unaltered V7 chord and transform it to fit the new V7#5 chord. Another thing you can try is to play a long phrase that connects two chords using the whole-tone scale. For example, over a ii - V7 - I, play something that fits over the ii chord, and something that fits over the I chord, but play the whole-tone scale over the V7 chord to connect the two.
answered 2 hours ago
David BowlingDavid Bowling
4,99621338
I have to learn to write whole tone melodies for my music theory exam.
– Grace
59 mins ago
add a comment |
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3 Answers
3
active
oldest
votes
3 Answers
3
active
oldest
votes
active
oldest
votes
active
oldest
votes
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 2 hours ago
LSM07LSM07
1,274515
Thank you! I get an idea from the links you've attached
– Grace
57 mins ago
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
6 mins ago
add a comment |
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 2 hours ago
LSM07LSM07
1,274515
Thank you! I get an idea from the links you've attached
– Grace
57 mins ago
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
6 mins ago
add a comment |
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 2 hours ago
LSM07LSM07
1,274515
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 2 hours ago
LSM07LSM07
1,274515
answered 2 hours ago
LSM07LSM07
1,274515
answered 2 hours ago
LSM07LSM07
1,274515
answered 2 hours ago
LSM07LSM07
1,274515
1,274515
Thank you! I get an idea from the links you've attached
– Grace
57 mins ago
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
6 mins ago
add a comment |
Thank you! I get an idea from the links you've attached
– Grace
57 mins ago
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
6 mins ago
Thank you! I get an idea from the links you've attached
– Grace
57 mins ago
Thank you! I get an idea from the links you've attached
– Grace
57 mins ago
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
6 mins ago
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
6 mins ago
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 1 hour ago
Albrecht HügliAlbrecht Hügli
4,7031320
Hahaha good one!
– Grace
1 hour ago
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 1 hour ago
Albrecht HügliAlbrecht Hügli
4,7031320
Hahaha good one!
– Grace
1 hour ago
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 1 hour ago
Albrecht HügliAlbrecht Hügli
4,7031320
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 1 hour ago
Albrecht HügliAlbrecht Hügli
4,7031320
answered 1 hour ago
Albrecht HügliAlbrecht Hügli
4,7031320
answered 1 hour ago
Albrecht HügliAlbrecht Hügli
4,7031320
answered 1 hour ago
Albrecht HügliAlbrecht Hügli
4,7031320
4,7031320
Hahaha good one!
– Grace
1 hour ago
add a comment |
Hahaha good one!
– Grace
1 hour ago
Hahaha good one!
– Grace
1 hour ago
Hahaha good one!
– Grace
1 hour ago
add a comment |
I don't know that there are a lot of whole-tone scale melodies. It usually seems that the whole-tone scale is used to provide some contrast or texture as part of a larger whole.
Sometimes I use a whole-tone scale over a V7 chord to mark a transition. When used as a substitute in this way, one thing you can do is take a phrase that you would have played over the unaltered V7 chord and transform it to fit the new V7#5 chord. Another thing you can try is to play a long phrase that connects two chords using the whole-tone scale. For example, over a ii - V7 - I, play something that fits over the ii chord, and something that fits over the I chord, but play the whole-tone scale over the V7 chord to connect the two.
answered 2 hours ago
David BowlingDavid Bowling
4,99621338
I have to learn to write whole tone melodies for my music theory exam.
– Grace
59 mins ago
add a comment |
I don't know that there are a lot of whole-tone scale melodies. It usually seems that the whole-tone scale is used to provide some contrast or texture as part of a larger whole.
Sometimes I use a whole-tone scale over a V7 chord to mark a transition. When used as a substitute in this way, one thing you can do is take a phrase that you would have played over the unaltered V7 chord and transform it to fit the new V7#5 chord. Another thing you can try is to play a long phrase that connects two chords using the whole-tone scale. For example, over a ii - V7 - I, play something that fits over the ii chord, and something that fits over the I chord, but play the whole-tone scale over the V7 chord to connect the two.
answered 2 hours ago
David BowlingDavid Bowling
4,99621338
I have to learn to write whole tone melodies for my music theory exam.
– Grace
59 mins ago
add a comment |
I don't know that there are a lot of whole-tone scale melodies. It usually seems that the whole-tone scale is used to provide some contrast or texture as part of a larger whole.
Sometimes I use a whole-tone scale over a V7 chord to mark a transition. When used as a substitute in this way, one thing you can do is take a phrase that you would have played over the unaltered V7 chord and transform it to fit the new V7#5 chord. Another thing you can try is to play a long phrase that connects two chords using the whole-tone scale. For example, over a ii - V7 - I, play something that fits over the ii chord, and something that fits over the I chord, but play the whole-tone scale over the V7 chord to connect the two.
answered 2 hours ago
David BowlingDavid Bowling
4,99621338
I don't know that there are a lot of whole-tone scale melodies. It usually seems that the whole-tone scale is used to provide some contrast or texture as part of a larger whole.
Sometimes I use a whole-tone scale over a V7 chord to mark a transition. When used as a substitute in this way, one thing you can do is take a phrase that you would have played over the unaltered V7 chord and transform it to fit the new V7#5 chord. Another thing you can try is to play a long phrase that connects two chords using the whole-tone scale. For example, over a ii - V7 - I, play something that fits over the ii chord, and something that fits over the I chord, but play the whole-tone scale over the V7 chord to connect the two.
answered 2 hours ago
David BowlingDavid Bowling
4,99621338
edited 2 hours ago
answered 2 hours ago
David BowlingDavid Bowling
4,99621338
answered 2 hours ago
David BowlingDavid Bowling
4,99621338
answered 2 hours ago
David BowlingDavid Bowling
4,99621338
4,99621338
I have to learn to write whole tone melodies for my music theory exam.
– Grace
59 mins ago
add a comment |
I have to learn to write whole tone melodies for my music theory exam.
– Grace
59 mins ago
I have to learn to write whole tone melodies for my music theory exam.
– Grace
59 mins ago
I have to learn to write whole tone melodies for my music theory exam.
– Grace
59 mins ago
add a comment |
Grace is a new contributor. Be nice, and check out our Code of Conduct.
Grace is a new contributor. Be nice, and check out our Code of Conduct.
Grace is a new contributor. Be nice, and check out our Code of Conduct.
Grace is a new contributor. Be nice, and check out our Code of Conduct.
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They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
1 hour ago