Saturday, November 29, 2008

Deux danses espagnoles, en protus tonus et en gamme tsigane hongroise

Danse espagnole en protus tonus

Danse espagnole en gamme tsigane hongroise

Enfin scannées en Lundi le 14/27 juillet 2009


Hans-Georg Lundahl said...

Written in Provence and in Ardèche. By a Swede. The later one (the first) in company of three Poles. Scanned in Paris in the Internet café of a Mayan Mexican. And rythm in Spanish, scales from the other end of the Pyrenees or even Alps.

Hans-Georg Lundahl said...

Eating a Sandwich from an Algerian (offered, since I could not afford it)and drinking an U S American Coke, offered by the Mayan.

They are nearly as International as Le Barroux and St Nicholas de Chardonnet.

Hans-Georg Lundahl said...

But let us not forget the scans were sponsored by a Frenchman, preparatory work by a German or Austrian ...

Hans-Georg Lundahl said...

Protus tonus has two tetrachord parts:


Each has one half tone in the middle of the tetrachord. They are separated by one whole tone.

The can also be united by pivotal tone D, adding an extra tone on top:


Imagine a tetrachord with two halftones on the ends and a little third in the middle? It is the exact inverse, also the chromatic variant of abovementioned tetrachord, let us make it two to form a whole scale, separating them by a whole tone:




Here the same tetrachords do hang together, sharing tone E, but an extra tone is added below.

These are the major and minor forms of Hungarian gypsy scale.

Both include a "Mozart seventh":

B D# F A in the minor form,
F A B D# in the major form,

the first replacing an ordinary double dominant, the second replacing easily a dominant.

The Hungarian gypsy scale is a learned thing, not spontaneous expression of passion. But music pieces written in it (or any other kind of useful scale) may be used by players to express whatever emotion or passion that comes spontaneously to mind when playing the music piece.

Hans-Georg Lundahl said...

Back to Guitar, Piano, Lute, Bouzouki

Hans-Georg Lundahl said...

This (the comment part) is part of my writings on Musical theory and history with Schenkerian analyses and syntheses.