# Synthetic modes, chords, Polychords, Polytonality and Polymodality.



## Richannes Wrahms

Wiki defines them as:

A *synthetic mode* is a mode that cannot be derived from the diatonic scale by starting on a different note.

A *synthetic chord* is a made-up or non-traditional (synthetic) chord (collection of pitches) which cannot be analyzed in terms of traditional harmonic structures,[inconsistent with] such as the triad or seventh chord.

I'm talking about the good old Whole-Tone scale, Octatonic scale, the rest of Messiaen's modes of limited transpositions, Prometheus chord etc.

Examples in use:

Whole-Tone scale - Debussy - Images Book 2 No. 4: Cloches à travers les feuilles 
Octatonic scale - Mussorgsky - Boris Godunov: Coronation scene
Prometheus Chord - Scriabin - Prometheus, the Poem of Fire
Farben Chord- Schoenberg - Five pieces for Orchestra: Colours

A few notable composers here include: Rimsky-Korsakov, Mussorgsky, Debussy, Stravisnky, Schoenberg, Bartok, Frank Martin, Scriabin, Roslavets, Messiaen, Takemitsu, Hosokawa.

Wiki again: A *polychord* consists of two or more (known) chords, one on top of the other.

Examples: Elekrta chord and Petrushka chord.

Notable pioneers: Debussy, Mahler, Strauss, Stravinsky, Ravel.

Wiki: *Polytonality* (also polyharmony) is the musical use of more than one key simultaneously. Bitonality is the use of only two different keys at the same time. Polyvalence is the use of more than one harmonic function, from the same key, at the same time.

Notable composers: Stravinsky, Milhaud, Holst.

*Polymodality* is the simultaneous use of two or more (usually old church but also can be expanded to any) modes on the same tonic.

Wiki: *Polymodal chromaticism* is the use of any and all musical modes sharing the same tonic simultaneously or in succession and thus creating a texture involving all twelve notes of the chromatic scale (total chromatic). Alternately it is the free alteration of the other notes in a mode once its tonic has been established.

Notable composers: Bartok, Messiaen, Ligeti.

*This thread is for discussing the nature of these concepts but also your favourite passages or works with them.*


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## mikeh375

I'm quite happy making up vertical shapes from unusual modes and subjecting them to other technical procedures. I'll even make up my own scales (although most will have been catalogued somewhere no doubt). Creating this way can be very fertile and lead to good ideas.


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## Gargamel

I was thinking which composers use synthetic modes to compose music, rather than just using it for their themes? (What kinds of synthetic modes are there, other than those of the melodic minor and harmonic minor scales ?)


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## mikeh375

Modes are used to create harmony too Gargamel. In short they are used to compose with and can even be functional in the traditional meaning of the word.


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## Richannes Wrahms

There is the (Alexander) Tcherepnin scale, for a lesser known composer.


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## Torkelburger

There is a lot here to comment on.

I can start with the synthetic scale. We can just do one. I'll comment on the Overtone Scale. Sometimes also called the Acoustic Scale.

https://en.wikipedia.org/wiki/Acoustic_scale

It was used occasionally by Debussy. Here is an example (as well as other synthetic scales). But the Overtone/Acoustic Scale appears at 4:35 to 4:56. The root is Eb (scale is Eb-F-G-A-Bb-C-Db) and then the phrase is sequenced on F (scale is F-G-A-B-C-D-Eb). It is purely the scale and no chromatic notes.






Then, of course, following suit, Stravinsky picked it up from Debussy and used it quite a bit. Here it is in _Petrouchka_ at 1:28 through 1:35 (rehearsal #7, the 3/8 bar), and it's corresponding repeated sections. The scale is C-D-E-F#-G-A-Bb. It is purely the scale and no chromatic notes.






Then, of course, following suit to that, is myself. I was one of several winners to a little mini-contest nine years ago with a miniature piece I wrote for solo clarinet. I strictly used the Overtone/Acoustic Scale. The score is attached to this post.






View attachment romance_20220127120057.pdf


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## Torkelburger

Gargamel said:


> I was thinking which composers use synthetic modes to compose music, rather than just using it for their themes? (What kinds of synthetic modes are there, other than those of the melodic minor and harmonic minor scales ?)


Check this out. It is an excerpt from Persichetti's book that explains this subject extremely well. Scroll down until you see the synthetic scales listed. These are quite frequently used.

https://theoryslapd.wordpress.com/2017/06/06/twentieth-century-harmony-chapter-2-scales/

Persichetti lists many composers who used synthetic scales, namely:

Bartok
Britten
Griffes
Honegger
Hovhaness
Messiaen
Ravel
Sibelius
Stravinsky


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## Richannes Wrahms

Bartok uses the Acoustic scale to a magical effect in the opening of the Wooden Prince.


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## Torkelburger

Synthetic Chords

Octatonic Structures can be found in the following examples:

At 10:47 (the third movement) the composer uses harmonies that are based strictly on the octatonic scale but are arranged as secundal clusters.






This piece uses the same scale in the first movement (about 90% of it or so). Structures are varied (not triadic, but structured in a compounded manner).


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## Bwv 1080

good stuff, although I question defining the common practice raised 6th and 7th scale alterations to minor as 'synthetic', its also maybe iffy to refer to scales integral to non-western traditions as 'synthetic'.

There are some others in Indian music, the first six are diatonic modes (no Locrian) then you get some unusual scales


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## Torkelburger

Some polychord examples. I may add to some of this as there is a lot to add. You can get pretty creative with it, really.

Right at the start of this:






Right at the start of this of this too:






This uses almost everything discussed in the OP, and done REALLY well:


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## arpeggio

^^^^^^^^^^^
Thanks for mentioning Schuman.

Thanks for the link about the Canzona. It is programmed for out next concert with the National Concert Band of America.


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## arpeggio

Does anybody know about the methods used by Elliott Carter?


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## Torkelburger

arpeggio said:


> Does anybody know about the methods used by Elliott Carter?


You just mean the pitch content? He was fairly particular and unique in both pitch and rhythm. And it changed drastically throughout his career. It would take a long time to explain either one.


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## Torkelburger

ETA: The Schuman was the 2nd Mvt, but I'm sure you guys found it.


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## Bwv 1080

arpeggio said:


> Does anybody know about the methods used by Elliott Carter?


the main ones are the all-interval tetrachords 0137 and 0146, the all-triad hexachord 012478 and all-interval 12-note chords, which are vertical arrangements of the chromatic scale where there is a different, unique interval between each note and the one above it

https://alantheisen.com/ait-ath

http://johnlinkmusic.com/JohnLinkSonusPaper.pdf


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## arpeggio

^^^^^^^^^^^
Thanks.


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## Richannes Wrahms

A little video on polytonality doing the work for us.






If you really want to get into this stuff get that excellent book: 
*Twentieth-Century Harmony: Creative Aspects and Practice by Persichetti. *


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## Bwv 1080

Richannes Wrahms said:


> A little video on polytonality doing the work for us.
> 
> 
> 
> 
> 
> 
> If you really want to get into this stuff get that excellent book:
> *Twentieth-Century Harmony: Creative Aspects and Practice by Persichetti. *


 to my ears it sounds like Jazz with wrong notes


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## Richannes Wrahms

Listen harder!!


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## BrahmsWasAGreatMelodist

Jazz with wrong notes is a tautology.


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