![]() The order of notes in a series remains fixed, without reordering.Ī twelve-tone series is also commonly called a twelve-tone “row,” and we will use the term “row” throughout this chapter. The series can be inverted, retrograded, and the inversion can be retrograded No note can be repeated in the series until the other 11 notes of the chromatic scale have occurred (exceptions include direct repetition of a note, trills, and tremolos) The basic premises of twelve-tone music are as follows:Īll twelve notes of the chromatic scale must occur Additionally, a twelve-tone series is a repository of intervals and can be seen as an outgrowth of atonal music with its emphasis on interval over chord or scale. In a twelve-tone composition, every note can be accounted for as being a member of the original series or one of its permutations, providing unity to the piece as a whole. How to Determine Chord-Scale Relationshipsįigure 34.1.1.Adding Non-Chord Tones to a Chord Progression.The Deceptive Cadence with ♭\(\left.\text\right.\)).Harmonization of Borrowed Scale Degrees.Secondary Diminished Chords in Major and Minor.Irregular Resolutions of Secondary Chords.The Subtonic VII Chord in Popular Music.Exceptions Created by Harmonic Sequences.Shorter Progressions from the Circle of Fifths.9 Harmonic Progression and Harmonic Function.Roman Numerals of Diatonic Seventh Chords.How to Write Perfect, Major, and Minor Intervals.How to Identify Perfect, Major, and Minor Intervals.Music for the Off-Key is distinctively British in its materials, black in a number of senses, and a thoroughly entertaining and sometimes shocking break-out from limiting expectations. In an afterword to these stories, Newland writes of his frustration with the narrow limits imposed by mainstream publishing expectations on Black British fiction, trapped between the immigrant ‘Windrush’ novel and the Yardie gangster novel with its American borrowings. Drawing inspiration from everything from traditional horror movies to the contemporary sophistication of Japanese works in this genre, Newland brings together the literary and the popular in a uniquely Black British mix. But what is important here is not the sociology, but the form, in particular Courttia Newland’s reinvigoration of the classic, popular short story form with its play with narrative twists and the unexpected. ![]() These are communities (and stories) in which crime, violence and drugs are part of the realities of life. As Courttia Newland’s previous books have led us to expect, he is a meticulous, insightful observer of West London’s Black communities, of their patterns of speech, fashions, their pleasures and the pressures of racism and exclusion they seek to escape. ![]() In each of the stories most of the characters are Black, and it both does and doesn’t matter that this is so. In these and the other stories in this collection, there is a delight in the dark, the grotesque and the uncanny. A middle-aged man with a guilty taste for schoolgirls looks for a way to end his shame a hotel receptionist begins a sexual adventure with shattering consequences a young man is troubled by a persistent itch behind his shoulder-blades a young African boy confronts his bullying class-mates in a surprising way a sculptor is asked to make a realistic life-size woman by a Japanese client.
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