Os dejo un texto que cambió la música para siempre, a much@s os he hablado de él. Es un texto de Andreas Werckmeister, autor de "El buen temperamento", libro que inspiró a Bach para crear su partitura "El clave bien temperado".
Después de mucho investigar en el tema conseguí llegar a este texto.
En este texto que os adjunto podemos ver claramente el paso de la música modal propia de toda la música previa al barroco, que dio paso al sistema tonal basado en las escalas jónica (mayor) y eólica (menor), y que perduró durante todo el barroco, clasicismo y parte del romanticismo. Bach siguió con un pie en cada mundo. Él siguió haciendo música modal pero también se adaptó a los nuevos tiempos. Pero durante 200 años predominó el sistema tonal basado en la escala jónica (mayor) y la eólica (menor).
Beethoven, Chopin y otros músicos del Romanticismo tienen algún tema en modo lidio, pero no es hasta finales del siglo XIX cuando el modalismo volvió a resurgir de mano de autores como Faurè, Debussy o Falla.
Miles Davis los introdujo en el jazz, y más tarde en el rock, lo cual nos hizo devolver la mirada a las músicas populares como el flamenco, o la música india, donde siempre han permanecido vivos.
Os lo dejo en inglés, pero podéis traducirlo fácilmente con el traductor de Google.
“Today’s
music is entirely different (as noted above), and only some four
modes are in use: Ionian mixed with Mixolydian and Dorian mixed with
Aeolian, mostly in the range of the fourth (that is, these modes
differ only in the semitote placement within the upper fourth of the
modal octave). Thus no more than two modes can now be established.
And that is not so unnatural if we use them with the proper order. If
we take Lydian, on account of the tritone or falsetto
there is such an unnatural progression in it that even the ancients
themselves never or hardly ever used it. Who uses Phrygian in today’s
music? Nobody. Who Mixolydian? Hardly any.
Therefore
on behalf of a better order according to today’s style of
composition, we want to maintain only
two modes. But because these can take
their names neither from the Dorians, the Ionians, nor from any other
nations (because they did not have our present style of music),
therefore we want to name them according
to their nature and character, so that
they can be differentiated. The first can be named the
natural mode, because it always
maintains the major third in the beginning over the fundamental note,
according to the natural order of the proportional numbers 4,5 6, 8
as in the notes c e g c or d f-sharp a d, etc. The second can be
named the less natural mode,
because the root numbers in its natura progression are further
removed from perfection, and therefore do not establish such a happy
harmony as the preceding. The natural progression of this mode is 10,
12, 15, 20, which is further from unity than the first…
We can
also name one mode perfect and the other less perfect. Some
performers name them dur
and moll;
e. g., C E G is C dur,
C Eb G is C moll,
D F# A is D dur, D
F A is D moll.
We are not happy with these names,
because the word dur
does not correspond with the harmony; for when something is sad, one
says “that is rather dur”,
yet this triad is more joyful and perfect than anything else.
Neverthless, because these terms are now used so commonly, they will
probably persist.” Musicae
Mathematicae Hodegus Cursiosus… (1687) pp. 124-125. Andreas
Werckmeister
SANTIAGO PIGMALIÓN
¿Te ha gustado este artículo? Por favor, ¡¡compártelo en tus redes sociales para que otros músicos lo puedan disfrutar!! :D
No hay comentarios :
Publicar un comentario