Music Theory Project – Scales and Structures

I am more than familiar with most of the material looked at in this project, and am already very comfortable with the minor and minor forms of scale, their technical names, and how they are constructed from tones and semitones. Where I did want to read further is the section on alternate scale types. Most of these aren't a type of scale required for my usual piano studies which derives from music of the common practice period.

I played each of the scales on my piano. I found the pentatonic scales the most pleasing to listen to, and you can definitely hear the world music influences on these scales. I was aware due to my previous work on traditional Chinese music that it used pentatonic scales a great deal, and this is clear to hear.

The octatonic scale I found to be the scale that was the least pleasing to hear when played in order. I find the concept intriguing however, and can imagine that a skilled composer could create some very interesting results from using this scale.

The whole tone scale was fairly pleasant to listen to, and I could definitely detect hints of Debussy’s music in it. It produces, for want of a better word, a ‘wistful’ sound, and again I could imagine (as proved by Debussy) that some great harmonies could be created here.

I found it very helpful and interesting that the paragraphs on modes of limited transposition, quartal harmony and microtonality gave examples of composers using these methods. This will enable me to listen out for these scale types when hearing these composers’ music in the future.

Messiaen – Vingt Regards Sur L’enfant Jesus
This piece is a strange mix that doesn't sound harsh (although it is solemn) in many places. On listening, I’m not sure why Messiaen would use the scales he does, as the piece is contemplation on baby Jesus.  The overall sound of the music is strange, mysterious, with a touch of the surreal. I think the scales used help to create this sound especially to ears which are accustomed to major/minor tonality.

Scriabin – Piano Sonata No.6
For some reason this piece reminded me of a mash up of Debussy and Schoenberg. It sounded to me mostly tonal with some areas of dissonance, and upon further reading it appears that quartal harmony often doesn't replace tertian harmony in a full work, but both co-exist side by side. The last five of Scriabin’s piano sonatas were all composed without a key signature, showing a development in his technique contrasting with the earlier more conventional sonatas.

Ravel – Mother Goose I, III, V
This piece also uses quartal harmony, and the strange tonal/atonal mix is also evident here, although to my ears seemed to lean much more towards tonal than the Scriabin sonata. This piece has lots of character, and I think the quartal harmony helps to evoke the fairy-tale mood of the music.

Tristan Murail – Unanswered Questions
This piece, which uses microtonality, sounds very similar to me to other atonal methods such as serialism. I am not experienced enough with microtonality to full understand what I need to listen to, although I could detect some pitch bends and harmonics being utilised. The piece has an overall strange and surreal sound, another regular element I find in all types of atonal music.

The different types of scales I have explored here include modes of limited transposition, quartal harmony and microtonality. I think all of the methods take a radical departure from traditional harmony in a very obvious way, with quartal harmony retaining more tonality than the others. All of the methods open up avenues for new sounds and harmonies which broadens the musical pallet available to composers a great deal. I can see why certain composers would choose a particular scale type, depending on the mood they were trying to evoke.