<div><br></div>Dear Jonathan,<div><br></div><div>I happened to have a copy of the Slonimsky Thesaurus lying around when I saw this email and checked to see if the scale is there - his category of "diapente progressions" features a variety of scales that replicate their interval patterns at successive perfect fifths. The specific scale you mention doesn't appear - here Slonimsky stops short of the "interpolation of four notes" between the P5 nodes that would be needed to generate the complete pattern - but he does have several partial matches on pages 127-129 within his three-note interpolations: </div>
<div><br></div><div>scale 947 (C C# D E G G# A B D etc.)</div><div>scale 948 (C C# D F G G# A C D etc.)</div><div>scale 958 (C D E F G A B C D etc.) </div><div><br></div><div>(only this latter gets a name, not surprisingly - the "Disjunct Major Polytetrachord.")</div>
<div><br></div><div>Given this, had Slonimsky gone on to compile four-note interpolations replicating every P5, I imagine that the mode you describe would have appeared.<br><br>I don't know if Lindberg talks about Slonimsky anywhere, and of course he could well have developed the scale independently; Lindberg could also have come to Slonimsky through encounters with various works of John Adams.<br>
<br>In any case, I'll be very interested to see what you find out about the prehistory (if any) of the mode and Lindberg's use of it.</div><div><br></div><div>Anton Vishio</div><div>University of San Francisco (part-time)<br>
<br><div class="gmail_quote">On Fri, Jan 18, 2013 at 11:12 AM, Daphne Leong <span dir="ltr"><<a href="mailto:daphne.leong@colorado.edu" target="_blank">daphne.leong@colorado.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
<div style="font-size:16px;font-family:Calibri,sans-serif;word-wrap:break-word"><div><div><br></div><div><br></div><div>I'm forwarding the following query at the request of my colleague Jonathan Leathwood:</div><div>
<br></div><span><blockquote style="border-left-color:rgb(181,196,223);border-left-width:5px;border-left-style:solid;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:5px;margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:5px">
<div><div style="word-wrap:break-word"><div>I'm currently working on a long guitar piece by Magnus Lindberg from 2004 called <i>Mano a Mano</i>. I have a little familiarity with some of his earlier music and the influence of the spectralists is very obvious to the ear, and there is some literature about that. So far, however, I don't see much in the guitar piece in common with those works: in fact, I would never have guessed they were by the same composer. Instead, I see that the guitar piece it is mostly based on a curious mode that runs (in semitones) <11212…>, repeating the pattern every perfect fifth. For example: <C, C#, D, E, F, G, G#, A, B, c, d, eb, e, f#, g, a…>. </div>
<div><br></div><div>Lindberg often uses common segments with other more common modes to switch back and forth. It turns out that the repeating pattern yields all pcs of the aggregate within a span of 22 semitones, and so he sometimes suggests other modes by selecting only the relevant pcs while allowing the governing mode to constrain the spacing. Finally, the mode is rich enough that you can write interesting music by choosing only the common tones between two of its transpositions, something I've noted in one passage so far.</div>
<div><br></div><div>My question is simply whether you have encountered this mode -- perhaps it's quite well known and I just haven't seen it before. One thing I wished I had was a good labeling convention for it.</div>
</div></div></blockquote></span><div><div><div><div><div><br></div><div><br></div><div>__________________________________________________________________________</div><div><br></div><div>Daphne Leong <span style="white-space:pre-wrap"> </span><a href="mailto:Daphne.Leong@colorado.edu" target="_blank">Daphne.Leong@colorado.edu</a></div>
<div>Associate Professor, Music Theory<span style="white-space:pre-wrap"> </span>tel: <a href="tel:%28303%29%20492-4337" value="+13034924337" target="_blank">(303) 492-4337</a></div><div>Chair, Theory and Composition<span style="white-space:pre-wrap"> </span>fax: <a href="tel:%28303%29%20492-5619" value="+13034925619" target="_blank">(303) 492-5619</a></div>
<div>University of Colorado at Boulder</div><div>College of Music, 301 UCB</div><div>Boulder, CO 80309-0301</div></div></div></div></div></div></div>
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