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If you're composing harmonies that are not, in the strictest sense, tonal. how do you choose the notes to use.
I'm pretty familiar with the tonal world and all that jazz. So, if you have any ideas, thoughts or methods you have found to be inspiring and working. please enlighten me...
Also, I'm interested in hearing about different resources (books and such) on the subject, if you know any.

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Hi Jonathan, here are a couple of links. I was interested in your comments regarding Hindemith.

(I'll shortly be re-loading a discussion about my own theory - with mp3, vid link and explanatory score.) Anyway, I'd be interested in your opinion. Best wishes, nick

Jonathan Metz said:

Sure, send it along, would love to see it. I too am a theorist.

Nick Capocci said:

just a thought, have you read my thesis on this subject - ie.tonality/atonality? will send link if interested. cheers nick

Jonathan Metz said:

Someone said it above, but in a similar way an approach I use is keeping the intervals and/or sonorities uniform in some way, but it really depends on what I want to communicate. My approach changes every time. A fun thing to try that my composition teacher challenged me to do: write a piece that uses only three intervals. You can only repeat the use of the same interval once before you must move on to another of your three intervals. 


Most of the time though I do not like to distinguish between tonality or atonality as I think that perceived differences between the two break down as you compare them on more fundamental levels. Not to mention the fact that there are way more options out there than just tonality and atonality. Consider: pantonality, bi-tonality, poly-tonality, micro-tonality, tonality based on drone, "regional" tonality, and neo-tonality (which is probably more the name of a movement rather than a type of tonality). Of course, you probably already know this.

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