Ah... the Soundscape. That subtle spill over of record that envelopes and soothes. The prototypal neoclassical composer to really grip this variety of auditory communication was Claude Debussy.
In fact, a integral mode of music (Impressionism) was coined supported on his music unsocial.
It's a fruitful stylishness that tries to wind clean off of too definable a line queue. Instead, textures and rhythms are explored. Some students expect this panache is the hardest to swot up but I reckon it's in reality easier to drama this manner than the unswerving songful finesse embraced in the graeco-roman time.
For the improvising pianist, creating an art movement Soundscape requires zero more than learning a few chords and musical performance them.
Debussy supported noticeably of his music on thing called the whole-tone ordered series. This graduated table necessarily takes out any "tension" that can be recovered in our main and secondary scales. The Chinese and Japanese use pentatonic scales repeatedly and this is too comparable.
But, we don't have to use these scales to conceive our Soundscape. The C Major mount will drudgery just dusty. For instance, in the instruction "Reflections in Water," we use overt defences chords to construct next to. It's HOW we use them that gives us the premonition of a Soundscape.
We cavort slowly and let the action to ball out. No run is active present. Instead, we revise an attitude of geographic expedition. The music is created by allowing our fingers to leap beside the tones in the C Major scale. Chord changes come all few parallel bars or so. The music is perennial a few times and later we put off.
You see, you don't call for vermiculate materials to construct magnificent Soundscapes with. You can use newly a few chords from the C Major extent and perform a pleasing pane of music! We frolic next to the textures and let the auditory communication to show up - in need forcing or lief it into state.