Re: Melodies move by step in any form of music?

On May 31, 5:01 pm, "Alain Naigeon" <anaig...@[EMAIL PROTECTED]
> wrote:
> "LJS" <ljsche...@[EMAIL PROTECTED]
> a =E9crit dans le message de news:
> f6ac6d25-1b8d-4478-8d90-2f9e312f0...@[EMAIL PROTECTED]
>
> > That is why I would look at it from the context of the Scale. The
> > scale definition being that a "skip" is the movement from one note to
> > another that skips a note in the scale.
>
> +1 !!
>
> > This would make the Pentatonic
> > scale "sans skip" as well as allowing Alain's example to work,
> > assuming that the notes that he chose would fit the requirements of a
> > scale. His particular choice does have a rather unstable quality, but
> > then again, so does the  whole tone scale.
>
> Of course I won't argue "my" scale is particularly pleasant :-o
> The only reason I gave this example was to illustrate a transition
> greater than a tone between two neighbouring steps, which I
> strongly refuse to call a leap for the reason you've just explained
> above.
>
> --
>
> Fran=E7ais     *=3D=3D>     "Musique renaissance"     <=3D=3D*    
English=

>                midi - facsimiles - ligatures -
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> Alain Naigeon - anaig...@[EMAIL PROTECTED]
 - Oberhoffen/Moder, France

Some may not consider the whole tone scale very pleasant, but one of
our countrymen thought different and didn't listen to them and came up
with some beautiful music. The Afternoon of a Fawn is a truly
beautiful work as are many other works by Debussy. (didn't want to
butcher the French or look it up!)  I am not sure that he did not use
the diminished chord as a scale in some of his works although I can't
cite any specifics. I have played around with is somewhat lately and
the ethereal quality of the diminished intervals give it a texture
that is not unpleasant. Does have a tendency to sound like arpeggios
of the diminished chord to our CPP ears. If however you allow for
modulations to other scales of this type, you have a more varied
choice of textures and change of colors. There are three possible
scales of the Min3 Scale and careful us of these could, in the hands
of a master, find some applications. If you would then allow some
chromatic passing tones, as is allowed in the CPP use of our more
standard major/minor scales, it could keep its character and still
have a more complex set of melodic choices.  Pointalism may also be a
technique that could make use of this scale. But remember, this was a
theoretical scale at its onset in this thread and it does stand up to
the definitions that were given.

LJS