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Old 12-04-2011, 04:54 PM
TwoToneshuzz TwoToneshuzz is offline
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Join Date: Dec 2009
Location: Copenhagen
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Default Harmony control really this time!!

I have refined and expanded the Harmony control concept.. *Note I have added an example in the last post of this thread as of Dec 7 2011

When I think other how I've setup my harmony control stack previously, I have to admit I am biased, shackled, freed, by my specielized way of thinking about harmony based on Paul Hindemiths two and three part writing books, This has a great many advantages, but on the otherhand I can't deny that you lose out on the normal usage of basic classical popular and jazz harmony..Out with old in with the "New" is not always what is wanted..

The idea of modulation through a set of keys, major to minor, gets lost in the mix..The idea of antiquated early music style using Church Modes gets lost. The idea of ethnic extend scales gets lost.. So for that pan historical, anything that works is relevant style of the modern composer is traded for a total freedom from past assoiative music that a systemic approach to Harmony that the Hindemith school or others like it bring.. Freedom as opposed to tradition bound, the cliché, wonderfully comfortingly familiar, maddeningly resilient..

Read up on Hindemiths theories and you will understand.. By getting absolute freedom of choice of tones through controlling the root progression and how the 2nd and 3rd voices fit in, you can develop uncannily cohesive many voiced soundscapes, where smoothness, and the sense of weighted direction is so melded with the material that it can become harmonically flat and amorphous in unskilled hands, I admit I know enough about it to get myself in trouble, but how to get out, damn! Fascinating and difficult area of study..

Anyways my harmony stack was based on this thinking, as such it lacks the familiar landmarks of "normal usage" harmony, change of keys the major and minor, the church modes. Western ears percieve this series of tones scale tones say the Major scale as basic building blocks of song structures and our reactions to these scales, how they are weighted to slant the tonatlity to the tonal center and the dynamic opposite of rest the Dominant are so ingrained that as soon as they appear the brain just slots into the modus the scales way of leading the listener, the harmonic map, we hear a scale and are "keyed in" and can follow all sorts of modulations and harmonicly spiced variation As long as the main characteristic of a scale are allowed to dominate..

The keys, and the scales!

On a side note I've improvised since I was 8 years old, and now 42 years later I improvise without thinking scale or structure, like a stream of consious James Joyce, madness you say, well, Ja, in a way but if I'm and organic being, let that being oscillate to it's own key and rythme..It's free improvisation after all, means you don't often get paid for it, but boy it's a lovely way to spend time.. My point with this is to give a nod to empirical experience, in developing a sound, based on what sounds right within a freeform frame, without either Hindemith or classical harmony in the driver seat.


Anyways I've made a extension to my harmony stack.

Two Veloctiy sequencers

A paramod.

The following has to be repeated for every sequencer in the project. It is Global control!!

Velocity sequencer into parmod slot one destination module mononote sequencer, destination parameter Quantize Mode, the range is 1-15

Velocity sequencer 2 into parmod slot two destination module mononote sequencer, destination parameter, Key. the range is 1 to 12, this doesn't exist in the range panel of the Veloctiy sequencer but choose range 1-16 and just dont use 13-16 and it works..

Now this combined with the old elements from the Origanal Harmony Control stack gives the whole concept a completeness.


The original Root Interval sequence moves the basic progression through the period of the phrase it's not sure that it works as root, that the Key takes that role, but I don't see any reason to drop the sense of one weighted center moving through the phrase even thoough doesn't define the key..

The two or three part framework interval sequencers gives the intervoice interval relationships, the voice leading sense of the local layout of the chords root, 1st and 2nd inversion.

The Mode Quantize chooser "Velocity sequencer 1" Quanitizes the output to the chosen mode or scale.

The key "Velocity sequencer 2" Quantizes the notes to a specific tonal center. A flat for example.

Six sequencers making up a total harmonic matrix, where everything gets quantized at 5 or six different levels.. A root/voiceleading/Skale type/Key quanitzer which frees the user/composer when working with mononote sequencers to basically think about scale degree, and phrase shape..rythmic variation, range, phrase length, accents, repeats divisions, note length, hey that's still quite alot left to think about! And that before making instrumental choices, and adding effects..

Lining up the timing of the Root and the Key as well as the Quantize Mode reinforces in the timing of the phrase a "sense of direction" that at least is my first experiences with working with this super quantized modus.. With use there's sure to come new levels of understanding and working, suspentions and anticipations and polytonality comes to mind..


Wade

Last edited by TwoToneshuzz; 12-07-2011 at 12:08 PM.
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