RockISdead420
07-08-2005, 12:51 PM
I have recently been very interested in synesthesia and how it can relate to music. After doing some research I find that a French composer named Olivier Messiaen has synesthesia and has come up with his own musical modes. I dont know if this has been talked about but it seems interesting. I just recently heard of these modes. You should really look up info on this stuff. Its very interesting.
The modes of limited transposition are musical modes discovered by the French composer Olivier Messiaen. His music is rife with a variety of idiosyncratic sound-structures that he dubbed "special chords" (''accords speciaux''). His scores sometimes contain indications of particular colors; Messiaen experienced a condition known as synaesthesia that caused him to see colors whenever he heard music.
synesthesia definition - http://faculty.washington.edu/chudler/syne.html
Oliver Messiaen bio - http://www.bbc.co.uk/music/profiles/messiaen.shtml
Based on our chromatic system of twelve notes, these modes are made up of several symmetrical groups, the last note of each group being the first note of the next. After a certain number of chromatic transpositions (ie up or down a semitone) each mode cannot be transposed further - the next transposition resulting in exactly the same notes as the first.
For example, the first mode contains notes C, D, E, F#, G#, A#, C; transposing this mode up a semitone gives C#, D#, F, G, A, B, C#. Transposing this up another semitone would give D, E, F#, G#, A#, C, D which is exactly what we started with.
Messiaen found ways of employing all of these modes both harmonically and melodically.
The first mode is divided into six groups of two notes each. It is transposable once. This is the whole-tone scale, quite widespread since Debussy.
C, D, E, F#, G#, A#, C
The second mode, also called octatonic scale, is divided into four groups of three notes each. It is transposable twice times, like the diminished-seventh chord. Here it is, expressed melodically:
C, Db, Eb, E, F#, G, A, Bb, C
The third mode is divided into three groups of four notes each. It is transposable three times, like the augmented triad. Here it is, expressed melodically:
C, D, Eb, E, F#, G, Ab, Bb, B, C
Here are two modes of the fourth type, divided into two groups of five notes each, transposable six times, like the augmented fourth.
C, Db, D, F, F#, G, Bb, B, C
C, D, E, F, F#, G#, A#, B, C
C, Db, D, Eb, F, F#, G, Ab, A, B, C
The symmetry inherent in these modes (meaning no note can be percieved as the tonic), together with certain rhythmic devices, Messiaen described as containing "the charm of impossibilities."
The modes of limited transposition are musical modes discovered by the French composer Olivier Messiaen. His music is rife with a variety of idiosyncratic sound-structures that he dubbed "special chords" (''accords speciaux''). His scores sometimes contain indications of particular colors; Messiaen experienced a condition known as synaesthesia that caused him to see colors whenever he heard music.
synesthesia definition - http://faculty.washington.edu/chudler/syne.html
Oliver Messiaen bio - http://www.bbc.co.uk/music/profiles/messiaen.shtml
Based on our chromatic system of twelve notes, these modes are made up of several symmetrical groups, the last note of each group being the first note of the next. After a certain number of chromatic transpositions (ie up or down a semitone) each mode cannot be transposed further - the next transposition resulting in exactly the same notes as the first.
For example, the first mode contains notes C, D, E, F#, G#, A#, C; transposing this mode up a semitone gives C#, D#, F, G, A, B, C#. Transposing this up another semitone would give D, E, F#, G#, A#, C, D which is exactly what we started with.
Messiaen found ways of employing all of these modes both harmonically and melodically.
The first mode is divided into six groups of two notes each. It is transposable once. This is the whole-tone scale, quite widespread since Debussy.
C, D, E, F#, G#, A#, C
The second mode, also called octatonic scale, is divided into four groups of three notes each. It is transposable twice times, like the diminished-seventh chord. Here it is, expressed melodically:
C, Db, Eb, E, F#, G, A, Bb, C
The third mode is divided into three groups of four notes each. It is transposable three times, like the augmented triad. Here it is, expressed melodically:
C, D, Eb, E, F#, G, Ab, Bb, B, C
Here are two modes of the fourth type, divided into two groups of five notes each, transposable six times, like the augmented fourth.
C, Db, D, F, F#, G, Bb, B, C
C, D, E, F, F#, G#, A#, B, C
C, Db, D, Eb, F, F#, G, Ab, A, B, C
The symmetry inherent in these modes (meaning no note can be percieved as the tonic), together with certain rhythmic devices, Messiaen described as containing "the charm of impossibilities."