How can whole tone melodies sound more interesting?
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
asked 11 hours ago
GraceGrace
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add a comment |
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
asked 11 hours ago
GraceGrace
607
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
10 hours ago
add a comment |
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
asked 11 hours ago
GraceGrace
607
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
How can one make melodies made from whole tone scales sound more interesting & appealing? Unlike melodies based in a certain mode or a key, whole tone scales use only tones as the intervals. This is something which our ears are not normally attuned to. How do I write whole tone melodies more better?
theory melody
theory melody
asked 11 hours ago
GraceGrace
607
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 11 hours ago
GraceGrace
607
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 11 hours ago
GraceGrace
607
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 11 hours ago
GraceGrace
607
asked 11 hours ago
GraceGrace
607
607
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
New contributor
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
Grace is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
10 hours ago
add a comment |
1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
10 hours ago
1
1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
10 hours ago
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
10 hours ago
add a comment |
2 Answers
2
active
oldest
votes
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 11 hours ago
LSM07LSM07
1,274516
1
Thank you! I get an idea from the links you've attached
– Grace
10 hours ago
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
9 hours ago
Thank you @Andy! I will definitely hear the piece.
– Grace
5 mins ago
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 10 hours ago
Albrecht HügliAlbrecht Hügli
4,7131320
Hahaha good one!
– Grace
10 hours ago
add a comment |
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2 Answers
2
active
oldest
votes
2 Answers
2
active
oldest
votes
active
oldest
votes
active
oldest
votes
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 11 hours ago
LSM07LSM07
1,274516
1
Thank you! I get an idea from the links you've attached
– Grace
10 hours ago
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
9 hours ago
Thank you @Andy! I will definitely hear the piece.
– Grace
5 mins ago
add a comment |
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 11 hours ago
LSM07LSM07
1,274516
1
Thank you! I get an idea from the links you've attached
– Grace
10 hours ago
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
9 hours ago
Thank you @Andy! I will definitely hear the piece.
– Grace
5 mins ago
add a comment |
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 11 hours ago
LSM07LSM07
1,274516
This is more of an extended comment as opposed to an answer.
Whole tone scales are difficult because they do seem to wear out their uniqueness quickly, for whatever reason (I'm not so sure why).
General tip for learning composition: find works that make use of the material you want to know better and internalize them, analyze them, and try to understand them from your own point of view. Take a look at these two pieces:
Both of these composers are, of course, absolute giants, but you'll notice that nobody really can just stay in a single whole-tone scale, and have to juxtapose it against other sounds or other whole tone scales. I'm not so sure why this is (perhaps it's too symmetrical to create sufficient variation?), so it is often juxtaposed against other scales or melodic/harmonic material. See the following for a very good example of this:
The A section of this tune is heavily whole-tone, juxtaposed against other harmonies in the B section for contrast (and release). All this being said, you might have to add contrast to make your whole tone melodies more salient and listenable.
answered 11 hours ago
LSM07LSM07
1,274516
answered 11 hours ago
LSM07LSM07
1,274516
answered 11 hours ago
LSM07LSM07
1,274516
answered 11 hours ago
LSM07LSM07
1,274516
1,274516
1
Thank you! I get an idea from the links you've attached
– Grace
10 hours ago
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
9 hours ago
Thank you @Andy! I will definitely hear the piece.
– Grace
5 mins ago
add a comment |
1
Thank you! I get an idea from the links you've attached
– Grace
10 hours ago
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
9 hours ago
Thank you @Andy! I will definitely hear the piece.
– Grace
5 mins ago
1
1
Thank you! I get an idea from the links you've attached
– Grace
10 hours ago
Thank you! I get an idea from the links you've attached
– Grace
10 hours ago
1
1
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
9 hours ago
As a slightly different example, Bartok's 10 Easy Piano Pieces, BB 51: IX. It constantly shifts between the two different whole tone scales (i.e. ignoring any root note, one is a half-step offset from the other) rather than relying on as much juxtaposition. However the whole tone scales are used more as a texture and the melody played over them is not always whole tone (for instance you can hear major sevenths at one point)
– Andy
9 hours ago
Thank you @Andy! I will definitely hear the piece.
– Grace
5 mins ago
Thank you @Andy! I will definitely hear the piece.
– Grace
5 mins ago
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 10 hours ago
Albrecht HügliAlbrecht Hügli
4,7131320
Hahaha good one!
– Grace
10 hours ago
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 10 hours ago
Albrecht HügliAlbrecht Hügli
4,7131320
Hahaha good one!
– Grace
10 hours ago
add a comment |
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 10 hours ago
Albrecht HügliAlbrecht Hügli
4,7131320
As the given examples show the whole tone scale can't be made much more interesting. The exciting element is the rhythm!
I don't know why Bartok and Debussy are stuck to the scale lines, could be in respect to the performers who maybe beginners). I also used whole tone lines in a V7b5 chord and only once in a quartet as in parallels of thirds. If I knew a better answer I wouldn't tell it as I would like to keep this secret like a cooking recept for myself.
answered 10 hours ago
Albrecht HügliAlbrecht Hügli
4,7131320
answered 10 hours ago
Albrecht HügliAlbrecht Hügli
4,7131320
answered 10 hours ago
Albrecht HügliAlbrecht Hügli
4,7131320
answered 10 hours ago
Albrecht HügliAlbrecht Hügli
4,7131320
4,7131320
Hahaha good one!
– Grace
10 hours ago
add a comment |
Hahaha good one!
– Grace
10 hours ago
Hahaha good one!
– Grace
10 hours ago
Hahaha good one!
– Grace
10 hours ago
add a comment |
Grace is a new contributor. Be nice, and check out our Code of Conduct.
Grace is a new contributor. Be nice, and check out our Code of Conduct.
Grace is a new contributor. Be nice, and check out our Code of Conduct.
Grace is a new contributor. Be nice, and check out our Code of Conduct.
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1
They do sound interesting if done well but more intiguing and out of place usually. However, in place of a long melody, shorter riffs on electric guitars and bass, that are whole tone sound great especially in the right songs.
– Tarun
10 hours ago