Melodies, Harmonies, Tone Systems

   
 

In the area of nature tones, the part from the 8 to 16 contains 8 pitches, one more than in the common melodic scale. Musicians, versed in overtone-music, are well acquainted with this fact, but a conventionally educated listener will have to get accustomed to it. It is not a surprise, that one's hearing will adjust quickly to the new pitches, and how to handle it, soon will come quite naturally.

On The New Keyboard, overtone melodies are built using the white and coloured keys. Their intervals are nearly without any dissonant tension, as they are completely part of harmonic series. So these pitches (8 - 16) can be excellently adapted to construct new harmonies.

In the same way, the construction of melodies is not limited to the white and coloured keys: with the addition of the black chromatic keys many more attractive melodies can be invented, caused by colorations ("chroma") and development of suspense. This leads to an up and down of tension, such as arising sharp intervals striving to be solved or to be continued by other chords full of tension..

Especially the alteration of the basic tone ( technique of playing /programs) offers endless opportunities to compose new music by creating new harmonies and exciting new melodies, by playing with new sounds and mixtures that were not imaginable before!

Tonsysteme

The New Keyboard has been developed in analogy to the nature-tone system. Besides nature-tone music (see: "www.naturton-musik.de") The New Keyboard enables one to play in European musical terms as well as in tone systems of extra-European cultures simply by key-adjustment (you can tune each key independently).

It is even possible to play in other tone systems without any alteration of the pitches. For instance, the Javaian "slendro" (and "pelog") can be performed by combination of an overtone scale and a corresponding undertone scale. You only have to hit the coloured harmony-keys like that:

 
 

 

 

And there are new technical possibilities to play the Blues - only the F-key ( -52 Cent) and A-key ( +43 Cent) have to be adjusted:

(to be continued)

 

 

 

 

Naturtone System (see: www.naturton-musik.de)

In fundamental contrast to the common occidental tone system and its technique of composition, nature-tone music offers a huge number of different intervals, as a consequence of its non-equal steps in the scale. As<a result, completely different and novel chords are becoming reality, nature-tone-playing actually opens up a new universe of music!
Composing nature-tone music
Actually, there is a considerable simplification in the nature-tone technique of composition: chords and all pitches can be depicted precisely as numbers instead of notes - as a sequence of small whole numbers - and easily worked with.
For instance, the sequence 8-11-14 represents a triad, containing the intervals 11/8, 14/11 and the framing 7/4 ( in the spelling of proportions ). Very soon you will get acquainted with the fact, that this is a matter of the 11th nature-tone (11/8-interval), of a third (14/11) and the interval 7/4 of a nature seventh. By fixing the basic tone (in the following example it is a "C"), the whole chord is exactly defined , and when the basic tone's frequency is determined, f. e. 32 Hz, the frequencies of the tones of the triad 8-1-14 can be calculated as 8x32, 11x 32 and 14x 32 Hz.


Composing in nature-tone music includes all conventional techniques as well as entirely new ones and experimental forms. For instance, chain-constructions will become attractive by the constantly declining (or increasing) size of intervals; likewise, elements of electronic music may be transferred into this new form.
Techniques of modulation are available. As in diatonic modulations you can change to the fifths or to the thirds in the same way. But to reverse it, it is necessary to use undertone constructions. (You will find more about that in "www.naturton-musik.de") Such tricks and many others allow an unlimited movement in the universe of tones.

 

 

Spelling of notation:

The representation of pitches in numbers certainly will be a simplification in composing, but a musician may find it hard to handle, as he is acquainted to the common notation. As the steps of nature-tone scales are more differentiated than in the common scale, it is necessary to put down differentiated instructions to the size of the pitches. A special spelling proposed by Prof.Dr. Horst-Peter Hesse, Salzburg, has proved to be worthwhile in musical practice - it only needs an additional sign to the sharp or flat sign, an arrow:

 

 

Those few signs provide a sufficient indication of all pitches of a nature-tone scale.