Albert just completed writing his treatise on the future of tonality, and written music as a whole. It unleashes many new possibilities for young composers. You can download the PDF for free here!
Excerpt from the Introduction:
In the 20th century, classical music took a turn for “atonal” music, or music without a key, or often a key signature for that matter. Tonality did prevail, through popular music, as well as in jazz (although free jazz changed this a bit), and several notable contemporary composers, such as Steve Reich or Philip Glass, to name a few. However, some tonal possibilities were overlooked, leaving an entire spectrum of sound unrealized. All music preceding the Baroque era are 0.1,0.2, etc, until we reach a high level of harmonic complexity in polyphonic works, with set rules (the most famous example being “no parallel fifths), and everything within the piece serves a particular harmonic function. The Baroque era is 1.0, and all the way to early 20th century composers gets us to 2.0, barely passing as tonal. What has occurred in the last few decades, with tonal jazz and classical, is the slow departure from specific functions of chords to exploring new and colorful chords and chord changes. We currently stand on the brink of 3.0, and hopefully this document will push composers to this new level of musical composition.
Features:
an historical context and introduction to modes
19 "new" key signatures based on the pythagorean modes and other scales
an introduction to Key Censures
