group sourcing music theory
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- Banned
- 12367 posts since 30 Apr, 2002 from i might peeramid
recently mentioned the deficit of design by consensus,
it's early here. i'm working on another generative project and currently have no advent intended for the harmony model. i thought i'd describe the current form and see if anyone manages to stimulate me to build on it.
currently, one of several dozen scales (and one of a dozen temperaments) is chosen.
a triad is selected with a space between intervals, eg. 1 3 5, 7 2 4, et c.
all chords, sustained notes are selected from the triads, with octave adjustments. safe, minimal.
non sustained notes are selected based on rhythm: rhythms use a concatenated system like classical notations, being typically phrases of 2, 3, or 4 steps.
if a melodic note is on an emphasised ("strong") rhythmic step, it is selected from the triad. otherwise it can be any note in scale, though typically it is selected with some melodic patterning to progress from/to notes that are on emphasised steps to connect them.
the scope of this build works pretty well for me as i don't harbour complex considerations about harmony. the next evolution i can foresee would be augmented/diminished chords where a note is adjusted after checking that doing so doesn't produce discord with adjacency.
any thoughts in simple words to encourage a more stimulating experience here?
it's early here. i'm working on another generative project and currently have no advent intended for the harmony model. i thought i'd describe the current form and see if anyone manages to stimulate me to build on it.
currently, one of several dozen scales (and one of a dozen temperaments) is chosen.
a triad is selected with a space between intervals, eg. 1 3 5, 7 2 4, et c.
all chords, sustained notes are selected from the triads, with octave adjustments. safe, minimal.
non sustained notes are selected based on rhythm: rhythms use a concatenated system like classical notations, being typically phrases of 2, 3, or 4 steps.
if a melodic note is on an emphasised ("strong") rhythmic step, it is selected from the triad. otherwise it can be any note in scale, though typically it is selected with some melodic patterning to progress from/to notes that are on emphasised steps to connect them.
the scope of this build works pretty well for me as i don't harbour complex considerations about harmony. the next evolution i can foresee would be augmented/diminished chords where a note is adjusted after checking that doing so doesn't produce discord with adjacency.
any thoughts in simple words to encourage a more stimulating experience here?
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
- KVRAF
- 5381 posts since 25 Jan, 2014 from The End of The World as We Knowit
Perhaps also modulate between two or more keys, say after the Nth time a triad was played.
The second key could be selected based on matching intervals in that triad.
Many scales share a triad, so it can bridge from one to another.
The second key could be selected based on matching intervals in that triad.
Many scales share a triad, so it can bridge from one to another.
F E E D
Y O U R
F L O W
Y O U R
F L O W
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- Banned
- Topic Starter
- 12367 posts since 30 Apr, 2002 from i might peeramid
thanks for breaking it down for me 
i've usually done compartmentalised "song" structures and i'm instead intending a continuous, evolving format, so this is very fitting. group sourcing success.
i've usually done compartmentalised "song" structures and i'm instead intending a continuous, evolving format, so this is very fitting. group sourcing success.
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
- KVRAF
- 5381 posts since 25 Jan, 2014 from The End of The World as We Knowit
Good!
A software that does generative sequencing in a somewhat related way is Numerology. (I am not a user yet, due to a fear of commitment). You might want to look at pp 48+ in the 14.4 MB manual,eg:
Many of the generator algorithms are based on the notion of “Cells”. A cell is a very short musical phrase,perhaps 2 to 5 notes long, sometimes longer, that is repeated and transformed in some way to make a melodic line.
http://files.five12.com/Numerology4Manual.pdf
A software that does generative sequencing in a somewhat related way is Numerology. (I am not a user yet, due to a fear of commitment). You might want to look at pp 48+ in the 14.4 MB manual,eg:
Many of the generator algorithms are based on the notion of “Cells”. A cell is a very short musical phrase,perhaps 2 to 5 notes long, sometimes longer, that is repeated and transformed in some way to make a melodic line.
http://files.five12.com/Numerology4Manual.pdf
F E E D
Y O U R
F L O W
Y O U R
F L O W
- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Yeah. That all strong beats must be a triad member is sure to result in boring me.xoxos wrote: if a melodic note is on an emphasised ("strong") rhythmic step, it is selected from the triad.
any thoughts in simple words to encourage a more stimulating experience here?
- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
study this. Verse: note all the downbeats are non-chord tones
https://www.schooltube.com/video/658af9 ... s%20Lovers
https://www.schooltube.com/video/658af9 ... s%20Lovers