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NEWTONAL FUGUE: THOMIC
The thomic is, in some ways, the most rewarding of the Thomes & Phases techniques. In the same way that tonal music (the interplay and flux between consonance and dissonance) fulfils its profoundest potential using contrapuntal textures, so Newtonal music finds its greatest potential for expression in the application of the phase principle to the purely melodic treatment of the thome material. In fact, in this type of composition, the phase structure virtually disappears as the various combinations of the thomes are examined and explored.
Most interesting is the continuity between tonal fugue and Newtonal thomic. This continuity is, of course, not unique to Newtonal thinking. However, in addition to (for example, and most obviously) Schoenberg’s use of diminution, augmentation, inversion and retrogression when applied to the atonal tone-row, one may add, in the specific context of the thomic; stretto, false entry and other devices associated with tonal fugue.
When experimenting with the combinations of thomes, the degree to which such combinations reflect either a predominantly tonal or an atonal bias is entirely a matter of choice and musical preference.
I offer this piece as proof positive that the theory of Newtonality and the techniques of Thomes & Phases can be considered as a continuous development of and from the techniques of the tonal era. If free counterpoint, the most demanding of all tonal textures, can be rendered in Newtonal terms, then anything else is child’s play. Indeed, I have proved this to be true many times in both large and small scale compositions.
(I will be engraving the ms score with Sibelius, so it will be viewable/downloadable shortly)
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In my admittedly narrowly focused compositional viewpoint, this is what writing is all about. And I appreciate that this was not so turgid and mired in overproduced gimmickry that I could actually discern notes and lines and what's happening (imagine that!). One of the most satisfying pieces I've heard in some time.
Please forward a score if possible, and some instruction on methods of the Thomic. I'm eager to try my hand at it.
Really nice work Nick.
I'm not really a fan of atonality but I liked this. I'd actually really like to meet up in person and discuss your newtonality face-to-face.
Have you looked into coming along to the next Composium?
??? . . . or, "Watchu talkin' 'bout Willis?"
The piece is nice enough, though.
sounds Hindemith-esque. TBH, all the 'theory' talk (a verbal argument to support some music) is just a kind of marketing to me.
Hey Nick, thanks for your comments. I'm assuming from your reply that you're a concert composer rather than a film composer (I read your profile and although it says you make your living from music it doesn't say what you actually do).
Personally I see classical music has swung massively back towards tonality with atonality being a self-conscious aspect of the 20th Century style. This has probably been down to the enormous influence of film music in the orchestral world for a variety of reasons such as: -
- Money: recording films is one of the last areas where orchestras can still get paid regularly
- Audience: film (and videogame) music concerts regularly pack massive concert halls that are normally half-empty
Having said that, atonality is present in film music (just not the big themes that most of the audience remembers) and the devices are useful.
The next Composium is being held in London on Saturday, October 16th. You'd certainly have a lot of composers around to discuss your Newtonality ideas with.
Nick, I think the process you are describing has been an ongoing and tacit, perhaps even unconscious, one among post common practice contrapuntists, and I agree that there is a glaring vacancy in the form of a unified, rigorous theoretical system by which to analyze its progress.
Unless we are aiming for precise, historically accurate simulation of a particular practice (and in that I for one have no interest), almost all, intentionally or not, will inevitably adopt or reject practices from a broad palette of historical ones, and hopefully devise a few signatures of our own.
For instance, you know already how highly I esteem the repertoire of the Renaissance, and yet I find the avoidance of the tritone relationship not only an irrational dogma, but in fact very much an impediment to good counterpoint. There are few more versatile a vertical relationships, and its neutrality and ambiguity as a transitional element which can diverge in countless directions is unsurpassed. Not to mention, it sounds good too, in the right context.
Nick Capocci said:Thank you for your reply and observations. I guessed this would intrigue you.
What you have discerned, in listening, is the presence of adapted tonal contrapuntal devices which I know you are very familiar with. This, as I have previously intimated, is the key to Newtonality; with adjustments and adaptations, there is unbroken continuity with tonal techniques. Some “rules” have to go, of course. This process of pruning, trimming and re-inventing always occurs with the introduction of new techniques and theories. The “rules” of strict counterpoint, for example, were evolved to suit a relatively simple, modal view of tonality; they were completely inappropriate in the context of the more complex tonal environment of equal temperament. So, they were either discarded or adapted.
I am engraving the score with Sibelius. So, hopefully, it should be available as a free download quite soon. (I will endeavour to add some explanatory notes to the score)
I am also working on another thomic right now, and making detailed notes on methods and construction as work progresses, but I doubt this will be available for a while yet.
Kristofer Emerig said:In my admittedly narrowly focused compositional viewpoint, this is what writing is all about. And I appreciate that this was not so turgid and mired in overproduced gimmickry that I could actually discern notes and lines and what's happening (imagine that!). One of the most satisfying pieces I've heard in some time.
Please forward a score if possible, and some instruction on methods of the Thomic. I'm eager to try my hand at it.
Really nice work Nick.
Hi James
I don't composes for money. I'm just a hack pianist/teacher.
Thank you for taking the trouble to reply inteligently. If I can get to the next composium I will, though work comes first.
James Semple said:Hey Nick, thanks for your comments. I'm assuming from your reply that you're a concert composer rather than a film composer (I read your profile and although it says you make your living from music it doesn't say what you actually do).
Personally I see classical music has swung massively back towards tonality with atonality being a self-conscious aspect of the 20th Century style. This has probably been down to the enormous influence of film music in the orchestral world for a variety of reasons such as: -
- Money: recording films is one of the last areas where orchestras can still get paid regularly
- Audience: film (and videogame) music concerts regularly pack massive concert halls that are normally half-empty
Having said that, atonality is present in film music (just not the big themes that most of the audience remembers) and the devices are useful.
The next Composium is being held in London on Saturday, October 16th. You'd certainly have a lot of composers around to discuss your Newtonality ideas with.
Hi Nick, it would really be great if you could come along on the 16th. We bring together a lot of composers from quite different backgrounds but the conversations are entirely ego-free. It's simply a lot of fun. I genuinely think you'd have an interested group of people with which to discuss your Newtonality. I'm a big theory guy myself so I'd love to chat about it.
cheers
James
Nick Capocci said:Hi James
I don't composes for money. I'm just a hack pianist/teacher.
Thank you for taking the trouble to reply inteligently. If I can get to the next composium I will, though work comes first.
James Semple said:Hey Nick, thanks for your comments. I'm assuming from your reply that you're a concert composer rather than a film composer (I read your profile and although it says you make your living from music it doesn't say what you actually do).
Personally I see classical music has swung massively back towards tonality with atonality being a self-conscious aspect of the 20th Century style. This has probably been down to the enormous influence of film music in the orchestral world for a variety of reasons such as: -
- Money: recording films is one of the last areas where orchestras can still get paid regularly
- Audience: film (and videogame) music concerts regularly pack massive concert halls that are normally half-empty
Having said that, atonality is present in film music (just not the big themes that most of the audience remembers) and the devices are useful.
The next Composium is being held in London on Saturday, October 16th. You'd certainly have a lot of composers around to discuss your Newtonality ideas with.
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