Tonal Center in Tonal Atonality, f3

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Form `3
Preparatory publication on the terminology and theoretical framework of the Tonal Atonality concept





The concept of the ‘Tonal Centre’ in the Tonal Atonality system
Using the example of Vyacheslav Kazarin’s violin concerto
‘From the Heart to the Sun’

Video
https://youtu.be/A5p3HoWWH1Q




1. The soloist as the source of the Tonal Centre [the initial stage towards clarifying the concept of the Acoustic Centre in the Tonal Atonality system]

• Here, tonality = structure

In V. Kazarin’s work, tonality is not expressed through chords, cadences or functional relationships. It arises from the soloist’s line.

Soloist:

- maintains stable intervals [fourth, fifth, third],
- often relies on open strings [A, D, G],
- repeats key notes,
- creates a ‘vector’ of movement.

This is the structure upon which the entire work rests.

The orchestra may be entirely atonal, but if the soloist holds the centre — the ear perceives the music as directional and meaningful.



2. The soloist sets the direction of the form

• Here, form = the development of the line

In classical music, form is built on:

- themes,
- phrases,
- cadences.

With Kazarin, it is different. Form arises from:

- changes in the soloist’s character,
- changes in their registers,
- changes in the density of the orchestral texture around them,
- energetic ‘flashes’ and ‘moments of clarity’.

The soloist is the heart that sets the rhythm for the whole organism.



3. The soloist initiates polyphony

• Here, polyphony = a mechanism of integration

In Kazarin’s work, polyphony is not thematic but energetic.

The soloist:

- sets the movement in motion,
- the orchestra picks up on his rhythmic or intervallic gestures,
- the layers begin to ‘breathe’ together,
- micro-polyphony emerges.

This is not imitation in the classical sense — it is the propagation of energy.



4. The soloist forms the vertical

• Here, the vertical = a cross-section of movement

In Kazarin’s music, chords are not written as chords. They arise as the result of intersecting lines.

Soloist:

- sets the interval,
- the orchestra responds,
- a vertical line emerges,
- but it is not functional — it is energetic.

This makes the harmony alive, rather than mechanical.



5. The soloist creates a contrast between structure and texture

• Here, atonality = a radiance surrounding the structure

The orchestra often plays:

- sul tasto,
- pp–ppp,
- divisi in 3–4,
- micropolyphony,
- polyrhythm.

This creates an atonal environment.

But the soloist:

- "sings",
- leads the line,
- holds the centre,
- creates clarity.

This is precisely why the music sounds natural, even when the texture is incredibly complex.


In summary:
- the orchestra creates a gentle atonal micro-polyphony,
- the soloist holds the tonal centre,
- polyphony binds the layers together,
- the structure emerges from the soloist’s line,
- the texture — from the orchestra.

This is a perfect example of the construct of Tonal Atonality.



Why does the soloist sound so natural?

Because his line is:

- singing,
- direct,
- intonationally clear,
- based on natural intervals,
- does not jar the ear,
- does not clash with the orchestra.

It is a human voice within the cosmos.



Conclusion: The Role of the Soloist in a Violin Concerto
V. Kazarin

The soloist:

- establishes the key,
- shapes the structure,
- defines the form,
- initiates the polyphony,
- organises the vertical texture,
- holds the centre,
- guides the listener,
- illuminates the atonal environment.


He is the source of light – the tonal centre – the anchor from which the entire work is born.



Arina Ryazantseva, art historian and biographer of composer Vyacheslav Kazarin
Russia, Moscow 2026

` A-CVK