Project 7: Exploring Different Scales

PROJECT 7 - Exploring Scales

The Whole Note Scale

‘The (whole note) scale is obtained by taking every other note of the 12-semitone chromatic scale, thus only two full scales are possible, one beginning on C, the other on C# (but since there is no keynote each scale can begin on any note).’  (Kennedy & Kennedy, 2007: 1:4). 

This scale seems to have particular use in the Jazz genre to due its symmetrical nature.

Its use in classical music seems to often have been to give a clumsy and ‘wrong’ feel to the composition.  In Vladimir Rebikov’s: Une Fete Op.38 (1907), whole sections of the piece are written using a whole note scale and reflect the clumsy possibility of this mode.  However, it has been described as giving a dreamlike effect, ‘The Whole Tone scale has a feeling of continuing to rise up and up and up and up, never seeming to resolve even when it returns to the octave of the first note you played.’ (Hodgson, 2013)

I decided to attempt to explore this dream-like quality and have therefore used a flute in my composition due to its light and airy abilities.  To achieve this feel I made use of slurred, high-pitched motifs contrasted by short phrases of semiquavers using the lower range of the stave.  I have used a disjunct motion throughout most of this melody to represent the waves of a dream, with just the last bar containing a descending conjunct motion running down the scale.

In contrast to my last piece I decided to use the bassoon and tried to give the piece a more sinister, nightmare feel.   The bass tones of the instrument give the piece a slightly sinister feel and I have tried to contrast the low conjunct motions of the melody with high staccato notes.  Towards the end of the piece, I have accelerated the tempo slightly and moved to a more random disjunct and dramatic motion to build tension as the piece continues.  Dynamics played a very large part in this composition as the low tones of the bassoon can quite easily be lost if not contrasted well. 

The East European Scales

Although I could not find any exact examples of the scales used, I spent some time exploring the folk music of Eastern Europe and the types of scales used.  I listen to a number of traditional Hungarian and Romanian pieces and tried to explore the use of rhythm in the compositions below. 

I found the gypsy style of Brahms’ Hungarian Dance (1869) an extremely interesting and inspiring piece.  The original four-handed style in which the composition was designed really reflects the complex nature of the Eastern European style of folk music.  When comparing this to the same piece played by a solo pianist, I think that it does maintain its structure and feel, but seems to lose the intricacies and sense of joy and frivolity which the duet pieces contain.  The Orchestral versions of this composition are, however, the true reflection of Brahms’ intention.  The nature and abilities of each instrument in the ensemble is used to its full potential, guiding the listener through a journey of emotionally charges dances. 

This piece was inspired by my previous experiences of travelling in this country, where I enjoyed first hand experience of some of the folk music of Romania.  I chose to use the oboe for this piece as the sound fits well with the traditional sound of the strings in Romania folk music.  Here I have used a quick tempo and phrases containing lots of short and staccato notes to reflect the jolly and upbeat nature of the genre.   I have mainly used a conjunct motion throughout this piece in order to provide a consistent and constant piece which would fit with dance and movement. 

In this piece I tried to reflect the nature of some of Hungary’s folk music.  I have used mainly short phrases of quavers with staccatos to notate the beat of the piece at the beginning.  The melody of this composition is a little more random than I have previously used.  It contains sections of conjunct motions, regularly interspersed with a more dramatic jump to keep the piece varied and interesting. 

The Middle Eastern Scales

Knowing very little about the Middle Eastern styles of music I spent quite a lot of time looking into the traditional music of the Middle East.  The use of different modes and scales is extremely wide and the use of quartertones adds to the complexity of the style.  I found it interesting that the scales using quartertones, demonstrated on instruments such as the Setar, give a very flowing a conjunct feel despite the sharp tones of the instrument.  Alois Haba’s Sonata for Quarter Tone Piano (1947) is an interesting use of the quarter scale on a specially tuned piano.  There is a definite clumsy feel throughout this piece which I feel is due the fact that the quarter tone scale gives the piano an ‘out of tune’ feel.  However, when the quartertone scale is played using traditional instrument the overall feel achieved is completely the opposite.  Today in modern music, the quarter scale is being used experimentally as demonstrated by Japanese musician, Yuichi Onoue, who has developed a specially tuned 24 equal temperament tuned guitar. 

Here I have tried to use the clarinet to play the role of a desert snake hunting for prey.  The trilled notes, which I have placed in just two places, were an obvious choice to reflect the snake’s hiss.  I began the piece using a cascading motion to explore the scale and reflect the snake’s smooth movement, but added a disjunct section in bar 4 to signify the snake quickly darting into position for an attack.  At the end of the piece I have used a simple staccato note to symbolise the snake catching his prey.  I have used very few dynamics and slurred sections during this composition, as I believe this helps to reflect the nature of the piece.

Nightfall on the Desert uses the bassoon to tell the story on the sun setting in the desert.  To fit within the theme of nightfall, I have used soft dynamics throughout.  Each phrase, spread across two bars in this composition, was designed to represent another animal winding down to sleep.   Each time a new motif is heard, it gently rises in pitch to symbolise a smaller and lighter animal.   I have added a staccato to the final note of the piece, thus bringing it to a tidy finish. 

The Nine Note Scales

I spent some time playing around on my piano with the nine notes scale to try to discover its nature and personality.  The main thing I found about using this scale to improvise was the wide range of chord structures that can be used.  Without the use of diminished and suspended chords, the western scales can be somewhat limited in this area. In contrast, the 9-note scale contains many opportunities to experiment with a wide range of styles and moves, exploring both conjunct and disjunct melodic motions. 

The 9-note scales placed in the Jazz and Blues genre made it very difficult not to choose a Blues theme for my melody.  I chose to use the alto saxophone as it is the most popular woodwind instrument used in Jazz and Blues, and its almost melancholic tones fitted perfectly with the theme of this piece.

I wanted to write a very simple, yet mournful piece, exploring the feel of the Blues.  However, having never written or studied Jazz music, I had to use my imagination in this piece to create a rhythm that reflects the genre.   I have used a mostly conjunct motion throughout, with just of a hint of some of the more dramatic disjunct motions to create a contrast and reflect the waves of emotion mourning brings.  I have also used soft dynamics throughout to enable the more melancholic tones of the saxophone to come through. 

I wanted to experiment with composing a melodic line designed for a dance sequence.  Therefore, I have tried to compose this with a melodic motion and rhythm that would reflect the movements of a dance.  When composing this piece, I originally had the Waltz style in my mind, and finally decided to take elements of this style of music and apply it to a more modern 4/4 time signature. 

I have used staccato notes to portray the large stepped movements of the dance, with slurred semiquaver sections to give the feel of a flowing movement between steps.  I experimented a lot with the tempo of this piece, finally deciding to use a Vivace tempo marking to keep a fast paced rhythm throughout.   Despite using a disjunct motion in a number of places, I think this piece has balanced well to create an interesting and dramatic piece, yet with a calm and flowing nature.  

The Chromatic Scale

When using the chromatic scale it is difficult not to explore the hectic and clumsy feel on higher ranges, and sinister feel on the lower ranges. Nikolai Rimsky’s Flight of the Bumblebee (1900) is a fantastic example of the use the chromatic scale to create a tense and suspenseful piece of music. 

According to Needham (2004: 170-171), in ancient Chinese culture the chromatic scale  (gamut) was actually not considered a scale, but a collection of 12 tones on which a scale could be based.  I wonder if the same could be said about the origins of chromatic scale in Western culture?

The hectic nature of the Chromatic scale made a perfect background for this composition.  However, I wanted to explore the unusual tones of the scale without losing the simplicity of the piece.  Therefore, I have used an uncomplicated run up and down the scale from D – B# then back to D.  Then, I sporadically transposed some notes moving up a perfect octave so as to provide variation and drama to the melody, whilst keep the straightforward nature of the piece.  This, teamed with the use of heavily pulsing dynamics and a moderate tempo, help to shape this piece in a hectic and tense style, portraying a character being lost in a maze.