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

On May 31, 6:10 pm, Jack Campin - bogus address
<bo...@[EMAIL PROTECTED]
> wrote:
> > Jack, I'm not familiar with the term "oligotonic" and can't find a
> > consistent definition on the web.  Do you mean scales not repeating
> > at the octave?
>
> I got it from Kodaly's "Folk Music in Hungary" - I can't find
> the place just now, but he didn't define it explicitly; he was
> referring to tunes which use very few notes, much less than
> full-octave pentatonic scales.
>
> He claims that most of these children's songs are best seen as
> fitting into a hexachordal scheme, which is what he believed
> was the primitive system of all Indo-European folk music - the
> exceptions being some that he thought were pentatonic and hence
> of proto-Uralic origin.  There isn't much of an argument for
> either in that book - how are you supposed to work out what
> extra notes a song that only uses three notes would have if it
> had more?  (For afters, perhaps he could tell us what song the
> Sirens sang and what name Achilles used when he hid among the
> women).
>
> ==== j a c k  at  c a m p i n . m e . u k  === 
<http://www.campin.me.uk>
====
> Jack Campin, 11 Third St, Newtongrange EH22 4PU, Scotland == mob 07800
739 557
> CD-ROMs and free stuff:  Scottish music, food intolerance, and Mac logic
fonts

I thought that you were referring to Scottish folk tunes. No matter, I
find it interesting that we both were referring to the same basic
source. I have not gone into Kodaly's research the same way that you
have. I will try to look into this. If you have any links that you
like about Proto-Uralic  or how this relates to the hexacordal scheme
and the pentatonic scales. I only know how he uses this research in
his system of teaching musical literacy by using these songs and from
the people that I studied this with and their perception of how it all
fits together. I was just in Finland but did not hear any of this kind
of music. I didn't know that they were what Kodaly considered a source
for his system of education that is based to a very large extent on
the Pentatons.

I also agree that there is no way to really ascertain what notes that
are not there would be if they were! We can make guesses if we
consider a large body of work that all reduces to one tone set if that
tone set is indeed inclusive of the whole body of work. But it is
still a guess. To me, unless we can find evidence otherwise, we can
equally (or even more certainly) venture to guess that the smaller
tone sets that were used as scales came first and then evolved into
the more complex tone sets. But this, again, is still only a guess. (I
think a better guess, but then again, I do like the evolution of
simple to complex as a general rule of thumb even though there may be
unknown complexities inherent in the original simple manifestation of
the early simple ideas that guide the evolution to its inevitable
conclusion at some future point of time.

LJS