This marvellous work for cello and orchestra dates from the high maturity of Dallapiccola (1960). He uses fully the writing principles that he developed at the end of the 40's and beginning of the 50's. The form is concise but perfectly shaped. The interpretation is excellent.
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14 Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)] These are the Tonal Scales growing from f (by cycles of fifths): All Scales build from the first mode: equivalent to Lydian f White keys are = & Black keys are | 12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are| 7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are| 5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are| Now evolving up the other end 5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is| 9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are| 14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are| Joseph Yasser is the actual originator of the realization, that scales develop by cycles of fifths. www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser www.musanim.com/Yasser/ The chromatic scale we use today is divided by 2^(1/12) twelfth root of two Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two I decided to go all the way down and back up the other end: So 12 - 7 is 5 & 7 - 5 is 2 & 5 - 2 is 3 Now we enter to the other side: 2 - 3 is (-1)* & 3 - (-1) is 4* & (-1) - 4 is (-5)* & 4 - (-5) is 9* & (-5) - 9 is (-14)* ignoring the negatives we have * 1 4 5 9 14 Just follow the cycles how each scale is weaved together, as shown above. Each scale has its own division within the frequency doubling, therefore the 14 tone scale is 2^(1/14) fourteenth root of two
I hate to burst your enthusiasm, but it's cycles of fourths, not fifths. LD told me so himself. But don't stop listening! You'll get it one of these days. Oh -- I forgot. There are only twelve tones, not fourteen. But it is a nice piece, the Dialoghi, if a bit slow. LD's tempi are naturally slow. He had some antipathy towards fast tempi because the conflicting musical interests were harder to articulate.
This marvellous work for cello and orchestra dates from the high maturity of Dallapiccola (1960). He uses fully the writing principles that he developed at the end of the 40's and beginning of the 50's. The form is concise but perfectly shaped. The interpretation is excellent.
Thank you for this beautiful piece.
What an amazing work, and so beautifully performed!
Thank you for sharing this beautiful work, Oren. The piece is so sensitively crafted, and your playing is elegantly shaped and voiced.
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14
Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)]
These are the Tonal Scales growing from f (by cycles of fifths):
All Scales build from the first mode: equivalent to Lydian f
White keys are = & Black keys are |
12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6}
1thru7are= 8thru12are|
7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are|
5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are|
Now evolving up the other end
5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is|
9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are|
14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10}
1thru9are= 10thru14are|
Joseph Yasser is the actual originator of the realization,
that scales develop by cycles of fifths.
www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html
www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser
www.musanim.com/Yasser/
The chromatic scale we use today is divided by 2^(1/12) twelfth root of two
Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two
I decided to go all the way down and back up the other end:
So 12 - 7 is 5 & 7 - 5 is 2 & 5 - 2 is 3
Now we enter to the other side:
2 - 3 is (-1)* & 3 - (-1) is 4* & (-1) - 4 is (-5)* & 4 - (-5) is 9* & (-5) - 9 is (-14)*
ignoring the negatives we have * 1 4 5 9 14
Just follow the cycles how each scale is weaved together, as shown above.
Each scale has its own division within the frequency doubling,
therefore the 14 tone scale is 2^(1/14) fourteenth root of two
Wow, that's one helluva comment!
I hate to burst your enthusiasm, but it's cycles of fourths, not fifths. LD told me so himself. But don't stop listening! You'll get it one of these days. Oh -- I forgot. There are only twelve tones, not fourteen. But it is a nice piece, the Dialoghi, if a bit slow. LD's tempi are naturally slow. He had some antipathy towards fast tempi because the conflicting musical interests were harder to articulate.