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)