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Old 07-21-2012, 01:59 AM
TwoToneshuzz TwoToneshuzz is offline
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Join Date: Dec 2009
Location: Copenhagen
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Default Harmony and Scale stack

Harmony and scale stack.

This setup is clarified in detail in two posts in the Tips and Tricks stack.

So I'll spend more time discussing some general issues I have with this functionality.

This is perhaps the most difficult central control element to reign in and control for me for several reasons..

The original idea of using a 3 voiced framework means that when you look at your mono note sequencers your not actually seeing whats' being played, it's being transposed up to three different times!! :
1 each mono notes is being transposed by one of the man voices of the Harmony progression Soprano, Bass, Tenor. These homophonic progressions aren't music in themselves more like a type of harmonic current or flow regulator. These create a flow where the progress doesn't jostle sharply between voices and from step to step, they basically give a ground framework that allows space for the mono notes to move. to play the dissonant tones, step wise within each individual voice. Things just sound right and open when they gyrate around this rather colorless centering "chords". It's allow the individual melodic elements plenty of room to move as they always a related to a stable platform..

The next level of transposition comes from the "Root" Interval sequencer. As the Base framework is only up to 12 tones long to create harmonic interest over longer passages I transpose the whole base frame over long time periods. So this obscures even more what notes are actually playing by looking at the mono notes pitch sliders...

This is the setup I've used for over a year. I'm not consciously muddling with these sequences structural elements as yet it's more used as a safety net so that I can get on with the other areas of interests such as the Time, texture, and arrangement/instrumentation. So it's an area that needs to be developed honed and it's ramifications need to be worked with in order to be fully understood. Harmony books on the table please!.

I can easily use a day or even a week to work out a useful harmonic framework scheme if i should so choose because once it is done I've got a framework that I can build on for months. Think the Art of the Fugue!

Now this way of working has been supplemented by the use of the Scale=Mode Quantize and the Key parameters this adds extra spice and sort of goes against the more purest three part framework with Root transposition I had used earlier.

Scale Quantization and Key transposition gives very marked color and contrast to the Harmonic progression, but also can muddy the waters as well when combined with the three part frame work with Root transposition. Root transpostion gets usurped by modulating the key parameter on the mono note. The Scale modulation usurps the three part harmony, so perhaps I need to consider using either Scale and Modes or the original 3 part model with Root transposition but not both!

Modulating the Start and Stop steps of the progression is a way I've begun using to create variations in the type of harmonic flow.

This is directed to the three part progression so I can create arrested field where the harmony is frozen within a short subsection of the progression, this combined with the root transposition would create sequential movement similar to circle of fifth progressions or augmented or diminished progressions... Again this is something I set up using my background knowledge of baroque and classical, jazz harmony, it's a cerebral thing but I have to admit it's also an area I need to do much work in to make it real, more deeply significant and potent..

So for the setup read the Tips and tricks posts on Harmony on a Global scale..

Last edited by TwoToneshuzz; 07-23-2012 at 01:27 AM.
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