Perhaps this is tonal in the manner of the later Gesualdo madrigals? or the beginning of Liszt's Faust Symphony?
ajr ---- Christopher Smith <[email protected]> wrote: > > On Thu May 27, at ThursdayMay 27 3:28 PM, John Howell wrote: > > > At 8:11 AM -0400 5/27/10, Christopher Smith wrote: > >> Andrew, I don't get this. I checked the vocal score (took me until > >> this morning) and although all 12 pitches occur at some point in > >> this piece, it is neither twelve-tone (as I understand it) nor > >> atonal. > >> > >> Am I missing something? > > > > My reaction was similar, although I don't have the score handy so > > it's from memory. I suspect that Aaron is counting appoggiaturas > > as notes in a tone row, but the piece IS based on a harmonic > > accompaniment as I recall, a shifting one as is common in all > > recits, and not even the melody ever struck me as being 'atonal.' > > To paraphrase Freud, sometimes a recit is just a recit! > > Well, I know you can write a twelve-tone serial melody and harmonise > it in a way that is totally tonal (Bill Evans did it twice, also Bill > Holman several times, Bob Brookmeyer as well, the rock group Chicago, > and... well, modesty prevents me) but this isn't twelve-tone, unless > Andrew is using some definition that I didn't know. And it certainly > isn't atonal. I'm thinking, as much as it pains me, that Andrew must > be mistaken. > > Christopher > > _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
