Centennial Variations
Sometimes I may describe a piece as being symetritonal - meaning that there is
a vertical balance (or symmetry) between the parts. And, yes, I know that the
word "symmetry" has two "m's". I spell with one "m", because the word has
twelve letters - and that is important to me for no sensible reason.
Basic Principles of SYMETRITONIX
As anyone with musical training will know, there are two whole tone scales; (1) C
D E F# G# A# (2) Db Eb F G A B
In basic two-part writing I balance the tones in the upper voice with those in the
lower voice. At any given moment the upper voice will contain a tone from the
first whole tone scale, and the lower voice will contain a tone from the second
whole tone scale, or vice-versa.
In three-part writing it is obvious that no balance of this type can occur, because
there would always be two parts from one of the whole tone scales and a third
from the other whole tone scale, or it is possible that all three might be from the
same whole tone scale.
In four part writing this method does not stand out as radical, because if your
intent is to create tonal harmony, that is still very possible within the bounds of
symetritonix. Some doubling of voices occurs that is not according to the "rules"
of Bach chorales, but since the intent is to break new ground and avoid cliches,
that is not necessarily a bad thing.
In five part writing one of the parts is usually doubled, so what I have said about
four parts would apply. As in the case of three parts, it is obvious that there is
no way to achieve a perfect vertical balance among five parts.
Six part writing, which I have only begun to explore, seems to have a lot of
possibilities for creativity. It is three separate parts from one whole tone scale
balanced against three separate parts from the other whole tone scale. In my
writing thus far I have discovered that when the six parts are balanced and
working well, you can insert an additional familiar tonal melody, and it can be
heard in its independence and its blend with the whole. This concept is shown in
my Passacaglia. You may listen here by clicking on the title.
If have read this far, it is possible that you have some interest in this topic. To
begin our exploration I encourage you to consider some two part examples of
Symetritonix that I have written. What I can say about these is that without
this principle in mind, I would have never written these combinations of two
voices. For me the result is liberating.
Example Number One:
Example Number Two:
There are several other examples of two part writing that I will post when time
permits. In these one may see the "original" concept.
I was very surprised to find that a piece for piano that I wrote in the fifties is
almost 100% symetritonic. It was written at a time that I had never even
thought about exploring this compositional technique. In the link that follows,
Centennial Variations, the opening theme is a direct statement of the piano piece.
A few years ago I wrote a piece for wind ensemble called Symetritonix #1. It is
mostly conceived with the these principles, but I remember taking some liberties
before the piece was finished. It was premiered by the TWU Wind Ensemble in
2005.
In a piece for organ entitled Chorale and Fugue the chorale is symetritonic, but
the fugue that follows does not strictly adhere to these principles. Here is an
electronic version of the piece.