Mikrokosmos, BB 105, Vol. 1: No. 17 Contrary Motion (1) - Can't understand the structureDistinguishing intervalsBartok Mikrokosmos Book 3, no. 70Sun-Ra's harmonies and intervals for the laypersonWhat is the left hand doing in classical music?Why does this tune sound “Bluesy” and yet doesnt belong to the blues scale“The intervals considered dissonant have changed since the 'Middle Ages'”; How so?The sudden switch from C major to C minor in Wake me up when September ends and a Solo Acoustic versionHow to define “simple” when considering consonance and interval ratiosSuper fast scales and octaves, How?Lower interval limits
Is there an online tool which supports shared writing?
Count rotary dial pulses in a phone number (including letters)
How to politely tell someone they did not hit "reply to all" in an email?
What is a fully qualified name?
Specifying background color seen through semi-transparent surface
Using credit/debit card details vs swiping a card in a payment (credit card) terminal
Why does Mjolnir fall down in Age of Ultron but not in Endgame?
How to let other coworkers know that I don't share my coworker's political views?
Remove CiviCRM and Drupal links / banner on profile form
Where have Brexit voters gone?
What was the idiom for something that we take without a doubt?
Sankey diagram: not getting the hang of it
Why does this if-statement combining assignment and an equality check return true?
Is it truly impossible to tell what a CPU is doing?
Is Jon Snow the last of his House?
Have 1.5% of all nuclear reactors ever built melted down?
Best material to absorb as much light as possible
Is the Indo-European language family made up?
Do photons bend spacetime or not?
How can I tell if I'm being too picky as a referee?
How to reverse input order?
Why would Ryanair allow me to book this journey through a third party, but not through their own website?
Efficient Algorithm for the boundary of a set of tiles
Does pair production happen even when the photon is around a neutron?
Mikrokosmos, BB 105, Vol. 1: No. 17 Contrary Motion (1) - Can't understand the structure
Distinguishing intervalsBartok Mikrokosmos Book 3, no. 70Sun-Ra's harmonies and intervals for the laypersonWhat is the left hand doing in classical music?Why does this tune sound “Bluesy” and yet doesnt belong to the blues scale“The intervals considered dissonant have changed since the 'Middle Ages'”; How so?The sudden switch from C major to C minor in Wake me up when September ends and a Solo Acoustic versionHow to define “simple” when considering consonance and interval ratiosSuper fast scales and octaves, How?Lower interval limits
Can somebody explain how the harmony works in this piece?
It seems that the right hand plays on C key and the left hand alternates between G and D.
Why when played in opposite direction do the intervals sound consonant?
theory scales intervals
edited May 18 at 23:11
Richard
47.4k7115202
asked May 18 at 22:49
xvanxvan
2305
add a comment |
Can somebody explain how the harmony works in this piece?
It seems that the right hand plays on C key and the left hand alternates between G and D.
Why when played in opposite direction do the intervals sound consonant?
theory scales intervals
edited May 18 at 23:11
Richard
47.4k7115202
asked May 18 at 22:49
xvanxvan
2305
add a comment |
Can somebody explain how the harmony works in this piece?
It seems that the right hand plays on C key and the left hand alternates between G and D.
Why when played in opposite direction do the intervals sound consonant?
theory scales intervals
edited May 18 at 23:11
Richard
47.4k7115202
asked May 18 at 22:49
xvanxvan
2305
Can somebody explain how the harmony works in this piece?
It seems that the right hand plays on C key and the left hand alternates between G and D.
Why when played in opposite direction do the intervals sound consonant?
theory scales intervals
theory scales intervals
edited May 18 at 23:11
Richard
47.4k7115202
asked May 18 at 22:49
xvanxvan
2305
edited May 18 at 23:11
Richard
47.4k7115202
asked May 18 at 22:49
xvanxvan
2305
edited May 18 at 23:11
Richard
47.4k7115202
edited May 18 at 23:11
Richard
47.4k7115202
edited May 18 at 23:11
Richard
47.4k7115202
47.4k7115202
asked May 18 at 22:49
xvanxvan
2305
asked May 18 at 22:49
xvanxvan
2305
asked May 18 at 22:49
xvanxvan
2305
2305
add a comment |
add a comment |
3 Answers
3
active
oldest
votes
Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered May 18 at 23:11
RichardRichard
47.4k7115202
add a comment |
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered May 19 at 0:01
Laurence PayneLaurence Payne
39.2k2074
add a comment |
Can somebody explain how the harmony works in this piece?
There's is nothing to explain. The harmony is the result of the counterpoint of 2 contrary parts. This is a teaching example:
The goal of this interval study is to demonstrate - or to find out by the pupils themselves - which intervals we will become by starting of a certain pitch and two parts are playing in contrary movement. (As they are notated in octavas you can play them as well close together). And then notate the results you get:
start: unisono
1) one tone up and one down: 3rd
2) two tones up and two tones down: 5th
.
.
.
etc. you can complete the liste and also consider the specific intervals:
It seems that the right hand plays on C key and the left hand alternates between G and D.
I don't agree with this point and with other answers. Both hands are playing in C, while the 2nd phrase (i.e. the middle part measure 5-12) is in G.
Why when played in opposite direction do the intervals sound consonant?
- They are not all consonant. Why shouldn't they not be what they are? It's really senseful to write the intervals and also the relative names of doremi and memorize which pairs are consonant and which dissonant and listen to it by playing them very slowly.
answered May 19 at 13:13
Albrecht HügliAlbrecht Hügli
6,2461524
add a comment |
Your Answer
StackExchange.ready(function()
var channelOptions =
tags: "".split(" "),
id: "240"
;
initTagRenderer("".split(" "), "".split(" "), channelOptions);
StackExchange.using("externalEditor", function()
// Have to fire editor after snippets, if snippets enabled
if (StackExchange.settings.snippets.snippetsEnabled)
StackExchange.using("snippets", function()
createEditor();
);
else
createEditor();
);
function createEditor()
StackExchange.prepareEditor(
heartbeatType: 'answer',
autoActivateHeartbeat: false,
convertImagesToLinks: false,
noModals: true,
showLowRepImageUploadWarning: true,
reputationToPostImages: null,
bindNavPrevention: true,
postfix: "",
imageUploader:
brandingHtml: "Powered by u003ca class="icon-imgur-white" href="https://imgur.com/"u003eu003c/au003e",
contentPolicyHtml: "User contributions licensed under u003ca href="https://creativecommons.org/licenses/by-sa/3.0/"u003ecc by-sa 3.0 with attribution requiredu003c/au003e u003ca href="https://stackoverflow.com/legal/content-policy"u003e(content policy)u003c/au003e",
allowUrls: true
,
noCode: true, onDemand: true,
discardSelector: ".discard-answer"
,immediatelyShowMarkdownHelp:true
);
);
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
StackExchange.ready(
function ()
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f84992%2fmikrokosmos-bb-105-vol-1-no-17-contrary-motion-1-cant-understand-the-s%23new-answer', 'question_page');
);
Post as a guest
Required, but never shown
3 Answers
3
active
oldest
votes
3 Answers
3
active
oldest
votes
active
oldest
votes
active
oldest
votes
Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered May 18 at 23:11
RichardRichard
47.4k7115202
add a comment |
Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered May 18 at 23:11
RichardRichard
47.4k7115202
add a comment |
Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered May 18 at 23:11
RichardRichard
47.4k7115202
Try to think of this piece less in terms of harmony and more in terms of counterpoint. In other words, try to think of this piece more in terms of the horizontal musical lines that are written instead of the vertical harmonies that are the byproducts.
You'll notice that the "keys" of each hand are related by fifth. The right hand at the start is "in C," but the left hand, on account of the F♯, is "in G," a key a fifth higher than the right hand's C. In my opinion, the right hand in m. 5 is now "in G" (even though there's no F♯) because it's an exact transposition up a perfect fifth of the first four measures; now, the left hand is "in D."
And notice that the intervals aren't always consonant. The first two beats of m. 2, for instance, are a dissonant seventh and dissonant ninth!
answered May 18 at 23:11
RichardRichard
47.4k7115202
answered May 18 at 23:11
RichardRichard
47.4k7115202
answered May 18 at 23:11
RichardRichard
47.4k7115202
answered May 18 at 23:11
RichardRichard
47.4k7115202
47.4k7115202
add a comment |
add a comment |
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered May 19 at 0:01
Laurence PayneLaurence Payne
39.2k2074
add a comment |
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered May 19 at 0:01
Laurence PayneLaurence Payne
39.2k2074
add a comment |
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered May 19 at 0:01
Laurence PayneLaurence Payne
39.2k2074
Maybe 'sound consonant' is the wrong description. If you linger on many of the intervals in this piece - the 4th, 5th and 6th notes, and their equivalents in the next phrase for instance, they are demonstrably dissonant. But Bartok is demonstrating that strong melodic lines can make dissonances acceptable - or, rather, irrelevant. He's not abandoned tonality, there are definite tonal centres of C, G then C again. But he's exploring structures not based on tonal harmony.
Bartok (and Stravinsky) avoided complete atonality and demonstrated that music could enter the 20th century without discarding EVERYTHING that had gone before. For which I admire and salute them.
answered May 19 at 0:01
Laurence PayneLaurence Payne
39.2k2074
answered May 19 at 0:01
Laurence PayneLaurence Payne
39.2k2074
answered May 19 at 0:01
Laurence PayneLaurence Payne
39.2k2074
answered May 19 at 0:01
Laurence PayneLaurence Payne
39.2k2074
39.2k2074
add a comment |
add a comment |
Can somebody explain how the harmony works in this piece?
There's is nothing to explain. The harmony is the result of the counterpoint of 2 contrary parts. This is a teaching example:
The goal of this interval study is to demonstrate - or to find out by the pupils themselves - which intervals we will become by starting of a certain pitch and two parts are playing in contrary movement. (As they are notated in octavas you can play them as well close together). And then notate the results you get:
start: unisono
1) one tone up and one down: 3rd
2) two tones up and two tones down: 5th
.
.
.
etc. you can complete the liste and also consider the specific intervals:
It seems that the right hand plays on C key and the left hand alternates between G and D.
I don't agree with this point and with other answers. Both hands are playing in C, while the 2nd phrase (i.e. the middle part measure 5-12) is in G.
Why when played in opposite direction do the intervals sound consonant?
- They are not all consonant. Why shouldn't they not be what they are? It's really senseful to write the intervals and also the relative names of doremi and memorize which pairs are consonant and which dissonant and listen to it by playing them very slowly.
answered May 19 at 13:13
Albrecht HügliAlbrecht Hügli
6,2461524
add a comment |
Can somebody explain how the harmony works in this piece?
There's is nothing to explain. The harmony is the result of the counterpoint of 2 contrary parts. This is a teaching example:
The goal of this interval study is to demonstrate - or to find out by the pupils themselves - which intervals we will become by starting of a certain pitch and two parts are playing in contrary movement. (As they are notated in octavas you can play them as well close together). And then notate the results you get:
start: unisono
1) one tone up and one down: 3rd
2) two tones up and two tones down: 5th
.
.
.
etc. you can complete the liste and also consider the specific intervals:
It seems that the right hand plays on C key and the left hand alternates between G and D.
I don't agree with this point and with other answers. Both hands are playing in C, while the 2nd phrase (i.e. the middle part measure 5-12) is in G.
Why when played in opposite direction do the intervals sound consonant?
- They are not all consonant. Why shouldn't they not be what they are? It's really senseful to write the intervals and also the relative names of doremi and memorize which pairs are consonant and which dissonant and listen to it by playing them very slowly.
answered May 19 at 13:13
Albrecht HügliAlbrecht Hügli
6,2461524
add a comment |
Can somebody explain how the harmony works in this piece?
There's is nothing to explain. The harmony is the result of the counterpoint of 2 contrary parts. This is a teaching example:
The goal of this interval study is to demonstrate - or to find out by the pupils themselves - which intervals we will become by starting of a certain pitch and two parts are playing in contrary movement. (As they are notated in octavas you can play them as well close together). And then notate the results you get:
start: unisono
1) one tone up and one down: 3rd
2) two tones up and two tones down: 5th
.
.
.
etc. you can complete the liste and also consider the specific intervals:
It seems that the right hand plays on C key and the left hand alternates between G and D.
I don't agree with this point and with other answers. Both hands are playing in C, while the 2nd phrase (i.e. the middle part measure 5-12) is in G.
Why when played in opposite direction do the intervals sound consonant?
- They are not all consonant. Why shouldn't they not be what they are? It's really senseful to write the intervals and also the relative names of doremi and memorize which pairs are consonant and which dissonant and listen to it by playing them very slowly.
answered May 19 at 13:13
Albrecht HügliAlbrecht Hügli
6,2461524
Can somebody explain how the harmony works in this piece?
There's is nothing to explain. The harmony is the result of the counterpoint of 2 contrary parts. This is a teaching example:
The goal of this interval study is to demonstrate - or to find out by the pupils themselves - which intervals we will become by starting of a certain pitch and two parts are playing in contrary movement. (As they are notated in octavas you can play them as well close together). And then notate the results you get:
start: unisono
1) one tone up and one down: 3rd
2) two tones up and two tones down: 5th
.
.
.
etc. you can complete the liste and also consider the specific intervals:
It seems that the right hand plays on C key and the left hand alternates between G and D.
I don't agree with this point and with other answers. Both hands are playing in C, while the 2nd phrase (i.e. the middle part measure 5-12) is in G.
Why when played in opposite direction do the intervals sound consonant?
- They are not all consonant. Why shouldn't they not be what they are? It's really senseful to write the intervals and also the relative names of doremi and memorize which pairs are consonant and which dissonant and listen to it by playing them very slowly.
answered May 19 at 13:13
Albrecht HügliAlbrecht Hügli
6,2461524
edited May 20 at 5:02
answered May 19 at 13:13
Albrecht HügliAlbrecht Hügli
6,2461524
answered May 19 at 13:13
Albrecht HügliAlbrecht Hügli
6,2461524
answered May 19 at 13:13
Albrecht HügliAlbrecht Hügli
6,2461524
6,2461524
add a comment |
add a comment |
Thanks for contributing an answer to Music: Practice & Theory Stack Exchange!
- Please be sure to answer the question. Provide details and share your research!
But avoid …
- Asking for help, clarification, or responding to other answers.
- Making statements based on opinion; back them up with references or personal experience.
To learn more, see our tips on writing great answers.
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
StackExchange.ready(
function ()
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f84992%2fmikrokosmos-bb-105-vol-1-no-17-contrary-motion-1-cant-understand-the-s%23new-answer', 'question_page');
);
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
