Schillinger Instrumental Forms: An Introduction
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- čas přidán 27. 07. 2024
- This video is about Book 8, Instrumental Forms, in the Schillinger System of Musical Composition. Create instrumental parts from a given melody or harmony layer. Attack multiplication in the time domain yields rhythmic and arpeggio patterns, with shorter durations. Pitch domain multiplication implies melody coupling and harmony layer doubling. Various approaches are demonstrated in an example. Companion document (text, diagrams and score fragments) and source material available on Patreon.
See the catalogue at www.fransabsil.nl/archpdf/Pat...
Contents:
00:00 What this video is about
00:29 Section 1 Introduction
00:58 Section 2 Schillinger Instrumental Forms, overview and principles
01:58 Section 3 Strata Harmony source example, 3 layers, melody and harmony, 2 phrases
03:14 Section 3.1 Setting with flute, piano lead and sustained strings background
04:05 Section 4 Instrumental Form Examples
04:10 Section 4.1 Bass pedal point. Uniform rhythm
05:20 Section 4.2 Arpeggio patterns. Harmony layer, single and multipart patterns
09:05 Section 4.3 Melody coupling. Exact parallel additional part. Instrumental form.
10:13 Section 5 Combined Instrumental Forms
10:18 Section 5.1 Studio Orchestra. Ballad setting, multipart arpeggio, pedal point
12:02 Section 5.2 Orchestral Setting 1. Various time units, attack-duration patterns
15:46 Section 5.3 Orchestral Setting 2. Woodwinds, strings and brass, interlocking
19:09 Section 5.4 Synthesizer Setting. Coupling, doubling, interlocking 16ths.
21:33 Summary and conclusion
Companion booklet (PDF, A4, 11 pp.) on Patreon:
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thanks!
@joebvelez52 you're welcome.
Thank you so much! Thanks to you I discovered Schillinger system and I started reading the books. But because of the vastity of the subject I heavily relied on your videos...and I was just wondering how useful would it be one of your videos on this specific subject. Really appreciate your job. Thanks again
@Alessandro D'Acconti glad to learn that the videos have been stimulating you to learn the Schillinger System from the books. And apparently the timing of this subject was right. Good luck with your studies and thanks for the feedback!
Oh my god this is the exact topic I need!!! Thank you!
@Adam J not the congressman Schiff. Somehow the timing of this video tutorial on Instrumental Forms turns out to be appropriate. Thanks for letting me know you liked it.
Thank you that was excellent. Riemann chromatic modulation is new to me 👍
@Nathan Brydn thanks for the positive feedback. For more on Riemannian Transformations and chromatic mediants watch the 4 part series that was uploaded Feb-Jun 2020.
"Schillinger spends two thirds of his Book 8 on listing all combination and permutation options for one- to four- part harmony layers."
There's lots of stuff like this in his books, and I think part of the reason is that this was before computer programming became popular. I continually regret that he hadn't lived a couple of decades later, when someone could have directed him o an explicit algorithm approach (which he actually does sometimes, but not nearly enough).
@Christopher Heckman thanks for clarifying the historic context of the many lists of combinations/permutations in the Schillinger books. Indeed first generation electronic computers saw other applications, and the popularity of algorithms with musicians must have been most limited. So I assume the lists serve as lookup tables for the practical composer. Sometimes he publishes incomplete lists though and encourages the student to generate the remaining options.
do you think you’ll explore the musical language of Elliott Carter in one of your future videos? I’m really into the stuff on your channel, would love to see something on Carter …
@Isaac Been thanks for asking. I've read the 1983 book by David Schiff on The Music of Elliott Carter, in my CD collection there are chamber and orchestral music pieces. To me the use (poly)rhythm and parallel variable tempos are the most outspoken characteristics (it is hard to imagine a place for that level of sophistication in today's functional music). But, I have to admit that his music is beyond my expertise. So the short answer is: sorry, I have no plans in that direction.
@@FransAbsil I think his exploration of Z-related pitch class sets has great utility in a broader tonal music … for instance Carter explores the relationship between the two all-interval tetrachords, the only two z-related tetrachords … you’ve presented many different ways of analysing pitch class sets and delineating their relationship to one and other through several different hierarchical systems of analysis, I thought this would be right up your street? but it’s only a thought … thanks for all the great work you’ve done, and I really like your music too …
@Isaac Been Thanks for pointing out the aspect of the Z-related, all-interval tetrachords: I briefly paged through Chapter 3 from the Schiff book. Indeed there is a section about those tetrachords, and the all-triad hexachord. Will reread the relevant chapter(s) and then decide if I can turn this into something practical, not just copying the book on Carter's music.