"I listened "History of the Primates". Wonderful! Great technique of musical texture."
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Nick Capocci's Discussions
Fugue on Parry's "Jerusalem"
Started this discussion. Last reply by Nick Capocci Jun 16, 2012. 4 Replies 0 Likes
2nd try! - I can't believe *nobody* is interested in fugue!Continue
ATONALITY MADE EASY!
Started Aug 30, 2011 0 Replies 0 Likes
Hi all! Someone – I don’t remember who exactly - commented a while back on one of my posts that my technique/theory didn’t have enough musical examples, making it difficult to understand. In the…Continue
Tags: newtonality, capocci, tonality, atonality
Newtonal fugue (thomic) score with explanatory notes
Started this discussion. Last reply by Nick Capocci Sep 11, 2010. 11 Replies 0 Likes
Contemporary counterpoint - a rich subject. here is the link to the score of the thomic - the Newtonal version of fugue. For those unable to access Scorch/Sibelius I've supplied the pdf file. I would…Continue
Newtonal Fugue: Thomic
Started this discussion. Last reply by Nick Capocci Sep 18, 2010. 29 Replies 0 Likes
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…Continue
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Nick Capocci posted a discussionFugue on Parry's "Jerusalem"
2nd try! - I can't believe *nobody* is interested in fugue!See More
Nick Capocci posted a blog postLATE BEETHOVEN: the apotheosis of counterpoint
Suffering from what I call “contrapunctitis” (you won’t find it in the medical dictionary) I am naturally biased, but I believe free counterpoint to be one of mankind’s greatest achievements. As an expressive device, it is without parallel in any other language with the possible exception of mathematics – its nearest relative. Of all its practitioners, Beethoven pips the others to the post. From the simplest diatonic devices of the earlier works through to the late fugues, no other composer,…See More
Nick Capocci posted a blog postNeither Schoenberg nor Hindemith really understood atonality. Did they?
A general thought dating from about 30 years ago, connected with musings on the nature of the "evolution" of musical language.
Nick Capocci posted a discussionATONALITY MADE EASY!
Hi all! Someone – I don’t remember who exactly - commented a while back on one of my posts that my technique/theory didn’t have enough musical examples, making it difficult to understand. In the enclosed sample composition – Sacrobosco- the phases are clearly marked, and I’ve included the original material and thome sets on which the piece is based. If anyone feels like having a go at reworking this material, it would be interesting to see/hear the result. The beauty of this technique lies in…See More
Nick Capocci replied to Chris Merritt's discussion Leave your Suggestions Here".. how about people using ONLY their real identities?... with a minimun download of, say, three original compositions!?...
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Nick Capocci replied to Sylvester Wager's discussion The Composer as an Expensive Hobby"Passion is free - and the basis of life, including music.
If it doesn't light a fire in one's gut, what's the point anyway?
Personally, I never saw a reason to give up pen and manuscript. (and probably never will)"
Nick Capocci replied to Nick Capocci's discussion Newtonal Fugue: Thomic"Your comment seems to come from a deeper understanding.
The *ideal* of all newtonal composition – especially thomic – is to arrive at a seamless structure in which the listener is not actively conscious of either tonality or atonality,…"
Nick Capocci replied to Nick Capocci's discussion Newtonal Fugue: Thomic"Thank you again, Sylvester, for your intelligent comments.
I take your point about the “rules” which I follow being impossible to discern by ear. I also take it as a compliment, since the “rules” of tonal counterpoint are…"
Michael Tauben replied to Nick Capocci's discussion Newtonal Fugue: Thomic"I think it is a more of an aid to composition. I haven't had time to explore it yet but to compare it to serialism, it is not necessary for the listener to be able to hear the note row in it's permutations is it?
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Sylvester Wager replied to Nick Capocci's discussion Newtonal Fugue: Thomic"I played your Thomic, read your explanation, which was not critical to have to enjoy the notes.
You are a gifted composer, so you can take criticism. Your fugue sounds fine: there is no method of deconstructing your own, private fugual…"
Nick Capocci replied to Nick Capocci's discussion Newtonal Fugue: Thomic"Many thanks, Sylvester. I enjoyed ALL your observations. (This is one piece of theory, however, I feel particularly strongly about!)
Thought you might like this to look at - or throw things at!
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Nick Capocci replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?"There are qualitative aspects to this thread that would probably take pages to tease out. I don’t have pages, but here goes.
First of all, a computer – no mater how powerful – is basically a machine. The protocols – the…"
Simon Godden replied to Nick Capocci's discussion Newtonal Fugue: Thomic"Sylvester, there's a bit of a fugue battle going on in the music dissection forum. Your intellligent contribution would make for interesting reading
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Sylvester Wager replied to Nick Capocci's discussion Newtonal Fugue: Thomic"The piece has attractions. The use of Baroque rhythms is a reference to you-know-who. I am not sure composers need yet more theory... but if you are brought to inspiration by systematic thinking, then I am glad for you.
The rules, for someone who…"
Nick Capocci replied to Nick Capocci's discussion Newtonal Fugue: Thomic"Thank you for your comments. As you expressed an interest, here’s the score version with explanatory notes.
http://composersforum.ning.com/forum/topics/newtonal-fugue-thomic-score
"
Profile Information
- What have you composed for? Or what medium do you work around?
- Orchestra, Small Ensemble, Big Ensemble, Contemporary Ensembles, Other
- What is your favorite genre or style of music?
- contemporary classical
- Is music your main income source?
- Yes!
- Where do you live?
- Westgate, Kent
- About Me (MUST be more than 10 words to be approved):
- Pupil of Humphrey Searle - seminal force in contemporary British classical composition. From Humphrey Searle inherited deep respect for atonal serial technique and Second Viennese School, leading to formulation of radical compositional technique, Thomes & Phases. Subsequently developed theory of Newtonality in order to explore the origins and wider implications surrounding emergence of atonality in Western music.
- Website:
- http://nickcapocci.co.uk
Nick Capocci's Blog
LATE BEETHOVEN: the apotheosis of counterpoint
Posted on September 23, 2011 at 3:25pm 0 Comments 2 Likes
Suffering from what I call “contrapunctitis” (you won’t find it in the medical dictionary) I am naturally biased, but I believe free counterpoint to be one of mankind’s greatest achievements. As an expressive device, it is without parallel in any other language with the possible exception of mathematics – its nearest relative. Of all its practitioners, Beethoven pips the others to the post. From the simplest diatonic devices of the earlier works through to the late fugues, no other…
Continue Neither Schoenberg nor Hindemith really understood atonality. Did they?
Posted on September 8, 2011 at 4:20pm 5 Comments 0 Likes
A general thought dating from about 30 years ago, connected with musings on the nature of the "evolution" of musical language.
Comment Wall (6 comments)
- At 4:16pm on June 13, 2012,
Nobuyoshi Tanaka said… I listened "History of the Primates". Wonderful! Great technique of musical texture.
- At 6:22pm on August 16, 2010,
Edward Schaffer said… - Hi Nick -
I uploaded `Before the Big Bang, There Was only God, Op 162` to my page. If you are interested in giving it a listen....
Edward S.
- At 2:19pm on August 16, 2010, Edward Schaffer said…
- I have actually written a piece, `Before the Big Bang there was only God`, which incorporates the Doxology theme at the point of the big bang...
- At 2:30pm on August 14, 2010,
Andrew Gleibman said… - Very fun and interesting fugato you presente here Nick!
- At 4:45pm on August 13, 2010,
Ario said… - May I ask a few Q's on your thesis?
1) Why Thomes? Why not melody... Phase I can only translate by "style", but your word is better : )
2) Why A, B and D? They seem to me, they are examples, rather than actual definitions...
3) The "coincidence"-chapter listed all possibilities of connection between Thomes and Phases (but the orders of the relativity, allow more possibilites).
4) Would you mind, sending me the Tanto Meglio score for study? I really need to understand your/your theacher's theory upon a concrete example.
I can send you a signed (+scanned) piece of paper, explaining that I will not misuse any copyright issues on your original work - As a proof for of my 'fair' purpose.
If I manage, I will send you a small piece of *my* original work, with the newtonal theory applied... (Alot of my friends, musicians and non-musicians, strive for a modern piece sounding less like Schönberg!).
I am very fond of your ideas, I do not approve 100%, but it seems to be a progress which I could not find the last time I was at our main library (in Vienna!)...
Ario
- At 2:58pm on August 13, 2010, Ario said…
- I like your work... Nice discussion you provoked back there.
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