The Schillinger System of Musical Composition
BOOK 1
Theory of RhythmChapter 1
Notation System
A. Graphing Music
B. Forms of Periodicity
Chapter 2
Interferences of Periodicities
A. Binary Synchronization
B. Grouping
Chapter 3
The Techniques of Grouping
Chapter 4
The Techniques of Fractioning
Chapter 5
Composition of Groups by Pairs
Chapter 6
Utilization of Three or More Generators
A. The Technique of Synchronization
Chapter 7
Resultants Applied to Instrumental Forms
A. Instrumental Rhythm
B. Applying the Principles of Interference to Harmony
Chapter 8
Coordination of Time Structures
A. Distribution of a Duration-Group
B. Synchronization of an Attack-Group
C. Distribution of a Synchronized Duration-Group
D. Synchronization of an Instrumental Group
Chapter 9
Homogeneous Simultaneity and Continuity (Variations)
A. General and Circular Permutations
Chapter 10
Generalization of Variation Techniques
A. Permutations of the Higher Order
Chapter 11
Composition of Homogeneous Rhythmic Continuity
Chapter 12
Distributive Powers
A. Continuity of Harmonic Contrasts
B. Composition of Rhythmic Counterthemes
Chapter 13
Evolution of Rhythm Styles (Families)
A. Swing Music
Chapter 14
Rhythms of Variable Velocities
A. Acceleration in Uniform Groups
B. Acceleration in Non-uniform Groups
C. Rubato
D. Fermata
BOOK TWO
Theory of Pitch ScalesChapter 1
Pitch Scales and Equal Temperament
Chapter 2
First Group of Pitch Scales: Diatonic and Related Scales
A. One-unit Scales. Zero Intervals
B. Two-unit Scales. One Interval
C. Three-unit Scales. Two Intervals
D. Four-unit Scales. Three Intervals
E. Scales of Seven Units.
Chapter 3
Evolution of Pitch-scale Styles
A. Relating Pitch-Scales through the Identity of Intervals.
B. Relating Pitch-Scales through the Identity of Pitch-Units
C. Evolving Pitch-Scales through the Selection of Intervals.
D. Evolving Pitch-Scales through the Selection of Intervals.
E. Historical Development of Scales.
Chapter 4
Melodic Modulation and Variable Pitch Axes
A. Primary Axis
B. Key Axis
C. Four Forms of Axis-Relations
D. Modulating through Common Units
E. Modulating through Chromatic Alteration
F. Modulating through Identical Motifs
Chapter 5
Pitch-Scales: The Second Group: Scales in Expansion
A. Methods of Tonal Expansion
B. Translation of Melody into Various Expansions
C. Variable Pitch Axes (Modulation)
D. Technique of Modulation in Scales of the Second Group
Chapter 6
Symmetric Distribution of Pitch-Units
Chapter 7
Pitch-Scales: The Third Group: Symmetrical Scales
A. Table of Symmetric Systems Within 12/2
B. Table of Arithmetical Values
C. Composition of Melodic Continuity in the Third Group
Chapter 8
Pitch-Scales: The Fourth Group: Symmetrical Scales of More Than One Octave in Range
A. Melodic Continuity
B. Directional Units
Chapter 9
Melody-Harmony Relationship in Symmetric Systems
BOOK THREE
Variations of Music By Means of Geometrical ProjectionChapter 1
Geometrical Inversions
Chapter 2
Geometrical Expansions
BOOK FOUR
Theory of MelodyChapter 1
Introduction
A. Semantics
B. Semantics of Melody
C. Intentional Biomechanical Processes
D. Definition of Melody
Chapter 2
Preliminary Discussion of Notation
A. History of Musical Notation
B. Mathematical Notation, General Component
1. Notation of Time
C. Special Components
1. Notation of Pitch
2. Notation of Intensity
3. Notation and Quality
D. Relative and Absolute Standards
E. Geometrical (Graph) Notation
Chapter 3.
The Axes of Melody
A. Primary Axis of Melody
B. Analysis of Three Examples
C. Secondary Axes
D. Examples of Axial Combinations
E. Selective Continuity of the Axial Combinations
F. Time Ratios of the Secondary Axes
G. Pitch Ratios of the Secondary Axes
H. Correlation of Time and Pitch Ratios of the Secondary Axes
Chapter 4
Melody: Climax and Resistance
A. Forms of Resistance Applied to Melodic Trajectories
B. Distribution of Climaxes in Melodic Continuity
Chapter 5
Superimposition of Pitch and Time on the Axes
A. Secondary Axes
B. Forms of Trajectorial Motion
Chapter 6
Composition of Melodic Continuity
Chapter 7
Additional Melodic Techniques
A. Use of Symmetric Scales
B. Technique of Plotting Modulations
Chapter 8
Use of Organic Forms in Melody
BOOK FIVE
Special Theory of HarmonyChapter 1
Introduction
Chapter 2
The Diatonic System of Harmony
A. Diatonic Progressions (Positive Form)
B. Historical Development of Cycle Styles
C. Transformations of S(5)
D. Voice-Leading
E. How Cycles and Transformations are Related
F. The Negative Form
Chapter 3
The Symmetric System of Harmony
A. Structures of S(5)
B. Symmetric Progressions. Symmetric Zero Cycle (C0)
Chapter 4
The Diatonic-Symmetric System of Harmony (Type II)
Chapter 5
The Symmetric System of Harmony (Type III)
A. Two Tonics
B. Three Tonics
C. Four Tonics
D. Six Tonics
E. Twelve Tonics
Chapter 6
Variable Doublings in Harmony
Chapter 7
Inversions of the S(5) Chord
A. Doublings of S(6)
B. Continuity of S(5) and S(6)
Chapter 8
Groups With Passing Chords
A. Passing Sixth Chords
B. Continuity of G6
C. Generalization of G6
D. Continuity of the Generalized G6
E. Generalization of the Passing Third
F. Applications of G6 to Diatonic-Symmetric (Type II) and Symmetric (Type III) Progressions
G. Passing Fourth-sixth Chords: S(6/4)
H. Cycles and Groups Mixed
Chapter 9
The Seventh Chord
A. Diatonic System
B. The Resolution of S(7)
C. With Negative Cycles
D. S(7) in the Symmetric Zero Cycle (C0)
E. Hybrid Five-Part Harmony
Chapter 10
The Ninth Chord
A. S(9) in the Diatonic System
B. S(9) in the Symmetric System
Chapter 11
The Eleventh Chord
A. S(11) in the Diatonic System
B. Preparation of S(11)
C. S(11) in the Symmetric System
D. In Hybrid Four-Part Harmony
Chapter 12
Generalization of Symmetric Progressions
A. Generalized Symmetric Progressions as Applied to Modulation Problems
Chapter 13
The Chromatic System of Harmony
A. Operations from S3(5) and S4(5) bases
B. Chromatic Alterations of the Seventh
C. Parallel Double Chromatics
D. Triple and Quadruple Parallel Chromatics
E. Enharmonic Treatment of the Chromatic System
F. Overlapping Chromatic Groups
G. Coinciding Chromiatic Groups
Chapter 14
Modulations in the Chromatic System
A. Indirect Modulations
Chapter 15
The Passing Seventh Generalized
A. Generalized Passing Seventh in Progressions of Type III
B. Generalization of Passing Chromatic Tones
C. Altered Chords
Chapter 16
Automatic Chromatic Continuities
A. In Four Part Harmony
Chapter 17
Hybrid Harmonic Continuities
Chapter 18
Linking Harmonic Continuities
Chapter 19
A Discussion of Pedal Points
A. Classical Pedal Point
B. Diatonic Pedal Point
C. Chromatic (Modulating) Pedal Point
D. Symmetric Pedal Point
Chapter 20
Melodic Figuration; Preliminary Survey of the Techniques
A. Four Types of Melodic Figuration
Chapter 21
Suspensions, Passing Tones and Anticipations
A. Types of Suspensions
B. Passing Tones
C. Anticipations
Chapter 22
Auxiliary Tones
Chapter 23
Neutral and Thematic Melodic Figuration
Chapter 24
Contrapuntal Variations of Harmony
BOOK SIX
The Correlation of Harmony and MelodyChapter 1
The Melodization of Harmony
A. Diatonic Melodization
B. More than one Attack in Melody per H
Chapter 2
Composing Melodic Attack-Groups
A. How the Durations for Attack-Groups of Melody Are Composed
B. Direct Composition of Durations Correlating Melody and Harmony
C. Chromatic Variation of Diatonic Melodization
D. Symmetric Melodization: The Σ Families
E. Chromatic Variation of a Symmetric Melodization
F. Chromatic Melodization of Harmony
G. Statistical Melodization of Chromatic Progressions
Chapter 3
The Harmonization of Melody
A. Diatonic Harmonization of a Diatonic Melody
B. Chromatic Harmonization of a Diatonic Melody
C. Symmetric Harmonization of a Diatonic Melody
D. Symmetric Harmonization of a Symmetric Melody
E. Chromatic Harmonization of a Symmetric Melody
F. Diatonic Harmonization of a Symmetric Melody
G. Chromatic Harmonization of a Chromatic Melody
H. Diatonic Harmonization of a Chromatic Melody
I. Symmetric Harmonization of a Chromatic Melody
BOOK VII
Theory of CounterpointChapter 1
The Theory of Harmonic Intervals
A. Some Acoustical Fallacies
B. Classification of Harmonic Intervals Within the Equal Temperament of Twelve
C. Resolution of Harmonic Intervals
D. Resolution of Chromatic Intervals
Chapter 2
The Correlation of Two Melodies
A. Two-Part Counterpoint
B. CP/CF = a
C. Forms of Harmonic Correlation
D. CP/CF = 2a
E. CP/CF = 3a
F. CP/CF = 4a
G. CP/CF = 5a
H. CP/CF = 6a
I. CP/CF = 7a
J. CP/CF = 8a
Chapter 4
The Composition of Contrapuntal Continuity
Chapter 5
Correlation of Melodic Forms in Two-Part Counterpoint
A. Use of Monomial Axes
B. Binomial Axes Groups
C. Trinomial Axial Combinations
D. Polynomial Axial Combinations
E. Developing Axial Relations Through Attack-Groups
F. Interference of Axis-Groups
G. Correlation of Pitch-Time Ratios of the Axes
H. Composition of a Counterpoint to a Given Melody by Means of Axial Correlation
Chapter 6
Two-Part Counterpoint With Symmetric Scales
Chapter 7
Canons and Canonic Imitations
A. Temporal Structure of Continuous Imitation
1. Temporal structures composed from the parts of resultants
2. Temporal structures composed from complete resultants
3. Temporal strucres evolved by means of permutations
4. Temporal structures composed from synchronized involution-groups
5. Temporal structures composed from acceleration-groups and their inversions
B. Canons in All Four Types of Harmonic Correlation
C. Composition of Canonic Continuity by means of Geometrical Inversions
Chapter 8
The Art of the Fugue
A. The Form of the Fugue
B. Forms of Imitation Evolved Through Four Quadrants
C. Steps in teh Composition of a Fugue
D. Composition of the Theme
E. Preparation of the Exposition
F. Composition of the Exposition
G. Preparation of the Interludes
H. Non-Modulating Interludes
I. Modulating Interludes
J. Assembly of the Fugue
Chapter 9
Two-Part Contrapuntal Melodization of a Given Harmonic Continuum
A. Melodization of Diatonic Harmony by means of Two-Part Diatonic Counterpoint
B. Chromatization of Two-Part Diatonic Melodization
C. Melodization of Symmetric Harmony
D. Chromatization of a Symmetric Harmony
E. Melodization of Chromatic Harmony by means of Two-Part Counterpoint
Chapter 10
Attack-Groups For Two-Part Melodization
A. Composition of Durations
B. Direct Composition of Durations
C. Composition of Continuity
Chapter 11
Harmonization of Two-Part Counterpoint
A. Diatonic Harmonization
B. Chromatization of Harmony accompanying Two-Part Diatonic Counterpoint (Types I and II)
C. Diatonic Harmonization of Chromatic Counterpoint whose origin is Diatonic (Types I and II)
D. Symmetric Harmonization of Diatonic Two-Part Counterpoint (Types I, II, III, and IV)
E. Symmetric Harmonization of Chromatic Two-Part Counterpoint
F. Symmetric Harmonization of Symmetric Two-Part Counterpoint
Chapter 12
Melodic, Harmonic, and Contrapuntal Ostinato
A. Melodic Ostinato (Basso)
B. Harmonic Ostinato
C. Contrapuntal Ostinato
BOOK EIGHT
Instrumental FormsChapter 1
Multiplication of Attacks
A. Nomenclature
B. Sources of Instrumental Forms
C. Definition of Instrumental Forms
Chapter 2
Strata of One Part
Chapter 3
Strata of Two Parts
A. General Classification of I (S = 2p)
B. Instrumental Forms of S-2p
Chapter 4
Strata of Three Parts
A. General Classification of I (S=3p)
B. Development of Attack-Groups by Means of Coefficients of Recurrence
C. Instrumental Forms of S-3p
Chapter 5
Strata of Four Parts
A. General Classification of I (S=4p)
B. Development of Attack-Groups by Means of Coefficients of Recurrence
C. Instrumental Forms of S=4p
Chapter 6
Composition of Instrumental Strata
A. Identical Octave Positions
B. Acoustical Conditions for Setting the Bass
Chapter 7
Some Instrumental Forms of Accompanied Melody
A. Melody with Harmonic Accompaniment
B. Instrumental Forms of Duet with Harmonic Accompaniment
Chapter 8
The Use of Directional Units in Instrumental Forms of Harmony
Chapter 9
Instrumental Forms of Two-Part Counterpoint
Chapter 10
Instrumental Forms for Piano Composition
A. Position of Hands with Respect to the Keyboard
BOOK NINE
General Theory of Harmony: Strata HarmonyChapter 1
One-Part Harmony
A. One Stratum of One-Part Harmony
Chapter 2
Two-Part Harmony
A. One Stratum of Two-Part Harmony
B. One Two-Part Stratum
C. Two Hybrid Strata
D. Table of Hybrid Three-Part Structures
E. Examples of Hybrid Three-Part Structures
F. Two Strata of Two-Part Harmonies
G. Examples of Progressions in Two Strata
H. Three Hybrid Strata
I. Three, Four, and More Strata of Two-Part Harmonies
J. Diatonic and Symmetric Limits and the Compound Sigmae of Two-Part Strata
K. Compound Sigmae
Chapter 3
Three-Part Harmony
A. One Stratum of Three-Part Harmony
B. Transformations of S-3p
C. Two Strata of Three-Part Harmonies
D. Three Strata of Three-Part Harmonies
E. Four and More Strata of Three-Part Harmonies
F. The Limits of Three-Part Harmonies
1. Diatonic Limit
2. Symmetric Limit
3. Compound Symmetric Limit
Chapter 4
Four-Part Harmony
A. One Stratum of Four-Part Harmony
B. Transformations of S-4p
C. Examples of Progressions of S-4p
Chapter 5
The Harmony of Fourths
Chapter 6
Additional Data on Four-Part Harmony
A. Special Cases of Four-Part Harmonies in Two Strata
1. Reciprocating Strata
2. Hybrid Symmetric Strata
B. Generalization of the E-2S; S-4p
C. Three Strata of Four-Part Harmonies
D. Four and More Strata of Four-Part Harmonies
E. The Limits of Four-Part Harmonies
1. Diatonic Limit
2. Symmetric Limit
3. Compound Symmetric Limit
Chapter 7
Variable Number of Parts in the Different Strata of a Sigma
A. Construction of Sigmae Belonging to one Family
1. Σ=S
2. 1. Σ=4S
B. Progressions with Variable Sigma
C. Distribution of Given Harmonic Continuity Through Strata
Chapter 8
General Theory of Directional Units
A. Directional Units of Sp
B. Directional Units of S2p
C. Directional Units of S3p
D. Directional Units of S4p
E. Strata Composition of Assemblages Containing Directional Units
F. Sequent Groups of Directional Units
APPLICATIONS OF GENERAL HARMONY
Chapter 9
Composition of Melodic Continuity from Strata
A. Melody from one individual part of a stratum
B. Melody from 2p, 3p, 4p of an S
C. Melody from S
D. Melody from 2S, 3S
E. Generalization of the Method
F. Mixed forms
G. Distribution of Auxiliary Units through p, S and Σ
H. Variation of original melodic continuity by means of auxiliary tones
Chapter 10
Composition of Harmonic Continuity from Strata
A. Harmony from one stratum
B. Harmony from 2S, 3S
C. Harmony from Σ
D. Patterns of Distribution
E. Application of Auxiliary Units
F. Variation through Auxiliary Units
Chapter 11
Melody With Harmonic Accompaniment
Chapter 12
Correlated Melodies
Chapter 13
Composition of Canons From Strata Harmony
A. Two-Part Continuous Imitation
B. Three-Part Continuous Imitation
C. Four-Part Continuous Imitation
Chapter 14
Correlated Melodies With Harmonic Accompaniment
Chapter 15
Composition of Density In Its Applications to Strata
A. Technical Premise
B. Composition of Density-groups
C. Permutation of sequent Density-groups
D. Phasic Rotation of Δ and Δ→
E. Practical Applications of Δ→ to Σ→
BOOK TEN
Evolution of Pitch-Families (Style)Chapter 1
Pitch-Scales as a Source of Melody
Chapter 2
Harmony
A. Diatonic Harmony
B. Diatonic-Symmetric Harmony
C. Symmetric Harmony
D. Strata (General) Harmony
E. Melodic Figuration
F. Transposition of Symmetric Roots of Strata
G. Compound Sigma
Chapter 3
Melodization of Harmony
A. Diatonic Melodization
B. Symmetric Melodization
C. Conclusion
BOOK ELEVEN
Theory of CompositionIntroduction
Part I
COMPOSITION OF THEMATIC UNITS
Chapter 1
Components of Thematic Units
Chapter 2
Temporal Rhythm as Major Component
Chapter 3
Pitch-Scale As Major Component
Chapter 4
Melody As Major Component
Chapter 5
Harmony As Major Component
Chapter 6
Melodization As Major Component
Chapter 7
Counterpoint As Major Component
Chapter 8
Density As Major Component
Chapter 9
Instrumental Resources As Major Component
A. Dynamics
B. Tone-Quality
C. Forms of Attack
PART II
COMPOSITION OF THEMATIC CONTINUITY
Chapter 10
Musical Form
Chapter 11
Forms of Thematic Sequence
Chapter 12
Temporal Coordination of Thematic Sequence
A. Using the Resultants of Interference
B. Permutation-Groups
C. Involution-Groups
D. Acceleration-Groups
Chapter 13
Integration of Thematic Continuity
A. Transformation of Thematic Units into Thematic Groups
B. Transformation of Subjects into their Modified Variants
1. Temporal Modification of a Subject
2. Intonational Modification of a Subject
C. Axial Synthesis of Thematic Continuity
Chapter 14
Planning a Composition
A. Clock-Time Duration of a Composition
B. Temporal Saturation of a Composition
C. Selection of the Number of Subjects and Thematic Groups
D. Selection of a Thematic Sequence
E. Temporal Distribution of Thematic Groups
F. Realization of Continuity in Terms of t and t’
G. Composition of Thematic Units
H. Composition of Thematic Groups
I. Composition of Key-Axes
J. Instrumental Composition
Chapter 15
Monothematic Composition
A. “Song” from “The First Airphonic Suite”
B. “Mouvement Electrique et Pathetique”
C. “Funeral March” for Piano
D. “Study in Rhythm I” for Piano
E. “Study in Rhythm II” for Piano
Chapter 16
Polythematic Composition
PART III
SEMANTIC (CONNOTATIVE) COMPOSITION
Chapter 17
Semantic Basis of Music
A. Evolution of Sonic Symbols
B. Configurational Orientation and the Psychological Dial
C. Anticipation-Fulfillment Pattern
D. Translating Response Patterns into Geometrical Configurations
E. Complex Forms of Stimulus-Response Configurations
F. Spatio-Temporal Associations
Chapter 18
Composition of Sonic Symbols
A. Normal (Circle with clock hand at 12) Balance and repose
B. Upper Quadrant of the Negative Zone (Circle with 9 to 12 quadrant dark) Dissatisfaction, Depression and Despari
C. Upper Quadrant of the Positive Zone (Circle with 12 to 3 quadrant dark) Satisfaction, Strength, and Success
D. Lower Quadrant of Both Zones (Circle with 3 to 9 half dark) Association by Contrast: The Humorous and Fantastic
Chapter 19
Composition of Semantic Continuity
A. Modulation of Sonic Symbols
1. Temporal Modulation
2. Intonational Modulation
3. Configurational Modulation
B. Coordination of Sonic Symbols
C. Classification of Stimulus-Response Patterns
BOOK TWELVE
Theory of Orchestration
hello,
I’m an italian music student
I’m interested to download a full pdf of the Schillinger system (1600 pp. and more, I know).
I’m from Italy, and I can’t buy it for studying in my country (over 450 euros from germany or england, i.e. over 570 usd)
I can pay for the pdf, at a raisonable price, obviuosly, via paypal or some other way
could you help me in some way?
(forget my english)
thanks
Aldous