The rhythmic attack-duration pattern is obtained through binary synchronization, using the fractioning Rf(4,3) pattern, and modified with split-unit groups, augmentation and diminution. You'll see the development of a melodic continuity (MC) with rhythm overlay from the permutation set of melodic forms, based on the cell C-D-Eb. Part 2 demonstrates the application of Schillinger System techniques in the melody and rhythm domain in the example orchestral composition. I'll show how an orchestral composition can be created from a basic element, the 'melodic cell'. The series 'Sketching with Schillinger' was created after receiving tutorial viewer requests to demonstrate working with the Schillinger System of Musical Composition in more detail. Sketching with Schillinger: Orchestral Cue Part 2 Melody and Rhythm (23:25). The combination of melody and harmony in the closing section is discussed in Part 4. Watch Part 2 for a discussion of the sketching process in the melody and rhythm domain. Use Part 1 with the full composition in reduced score as a reference. The latter is based on 5- and 6-part structures, using parallel chords in 5ths (coupling) with counterpoint and contrary motion setting, and extended chromatic mediant chords. You'll see extended chords in thirds, progressions with cadential character, pedal point, chromatic mediants and strata harmony. There is both the diatonic and atonal (Pitch-Class Set) interpretation. In Part 3 the focus is on sketching with harmony derived from the melodic cell source material C-D-Eb.
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