Re: [MMM] Re: Odd impressions -- shall we compare notes?

In Erv Wilson's papers on the Moment of Symmetry he goes into these secondary scales (scales formed of subset of a scale) and shows how these scale form an important part in Japanese music , both in theory and practice.
http://anaphoria.com/mos.PDF

This approach is extremely useful in working with scales that are unequal in size steps where the same sub pattern will produce many variations, often organized in very fruitful and musically interesting ways. Such material comprises maybe 99 per cent of what i work with

J.Smith wrote:
>
> Thanks, Margo. I think others here have commented on the
> scale-within-the-scale concept as well. What is most Western music, if
> not mostly 7 out of 12? Many (though perhaps not all) traditional musics
> with an extended gamut tend to use various intervallic subsets to build
> melodies and modes. It is a very effective method of organizing coherent
> music from microtonal chaos. Shaahin, Yahya or Ozan could speak far more
> competently on this than I.
>
> I would say that Schoenberg's use of the row strikes me as a
> particularly dastgah-like approach to using all the tones of 12-edo --
> the pitches arranged to form a "mode" from which the rest of the
> composition evolves. Even more so the works of Josef Hauer, who
> organized 12-edo into two 6-tone "modes". In my serial experiments, I
> frequently constructed and treated my rows as rags or
> ascending-descending melodic patterns:
>
> C - Db - E - F - G# - A - B - A# - G - F# - Eb - D
>
> for example.
>
>
>
> -- Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
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