I had created Jazz rule sets a while back, and have seen others contributing rules sets as well. Would be interesting to develop this further.Thanks
Forrest
Chord rules progressions
-
- KVRist
- 102 posts since 6 May, 2014
Nice discussion. I had created Jazz rule sets a while back, and have seen others contributing rules sets as well. Would be interesting to develop this further.
Thanks
Forrest
I had created Jazz rule sets a while back, and have seen others contributing rules sets as well. Would be interesting to develop this further.Thanks
Forrest
-
PeteInNeedOfABeat PeteInNeedOfABeat https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=381708
- KVRist
- 32 posts since 28 Jun, 2016 from Germany
Just for inspiration, here's how "Progressive" by J74 handels borrowed chords and non-diatonic progressions:
From the manual:
"Colors follow a “spectrum of energy or temperature”-logic to represent the magnitude of the tension level:
- Green is used to represents the lowest tension (applicable to chords in the Diatonic region).
- Moving counterclockwise increases tension (adds flats b's), with colors gradually changing from green to
cyan, blue, purple and finally red (the highest tension level), to signify the increased tension.
- Moving clockwise also increases tension but on the opposite direction (adding #'s instead of b's). Colors
gradually change from green to yellow, orange and red again (this time reached from the other direction)."
Progressive is also able to turn every scale into a set of chords.
Until now I used the more "exotic" scales only for riffs and single-tone melodies but it's an interesting idea to get a set of chords in f phrygian and start with that.
Sunny greetings,
Pete
From the manual:
"Colors follow a “spectrum of energy or temperature”-logic to represent the magnitude of the tension level:
- Green is used to represents the lowest tension (applicable to chords in the Diatonic region).
- Moving counterclockwise increases tension (adds flats b's), with colors gradually changing from green to
cyan, blue, purple and finally red (the highest tension level), to signify the increased tension.
- Moving clockwise also increases tension but on the opposite direction (adding #'s instead of b's). Colors
gradually change from green to yellow, orange and red again (this time reached from the other direction)."
Progressive is also able to turn every scale into a set of chords.
Until now I used the more "exotic" scales only for riffs and single-tone melodies but it's an interesting idea to get a set of chords in f phrygian and start with that.
Sunny greetings,
Pete
-
musicdevelopments musicdevelopments https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=223336 - KVRAF
- 6014 posts since 9 Jan, 2010
Thanks, Pete, interesting!
-
- KVRer
- 5 posts since 19 Mar, 2017
Dewdman hit on a lot of important ideas. I just want to echo them. Neo-Riemannian theory is very useful to film composers and Romantic-era classical composition. I can't wait to see the Tonnetz in RC! As far as workflow goes, it's helpful to see traditional diatonic songwriting and this other system as two different paths that we can switch between at any time.
For example, if RC has a key center programmed on the Master Track, recommended chord choices (and popular substitutions, like bVII, bVI, iv, etc.) should reflect that key center. But if I want to start modulating into different pan-triadic chords using the second system, RC could have a button that suspends the key center on the Master Track until I program it to grab onto a key center again. During this key center suspension, an alternate chord palette offers a Tonnetz grid. I can then click on the Tonnetz graphic and compose more chromatically, until I'm ready to jump back into a more traditional key center.
This type of workflow sort of emulates the composition style. Much of the time will be spent with key centers, but at any time we can drift the modulations without an overriding key bullying us and getting in the way. To me, the ability to tell RC, "Hey, I need a time out on the key for a while, just help me cycle through some interesting chords now," mirrors the way I compose on paper.
Check out Richard Cohn's book, Audacious Euphony, which unifies a couple of different chromatic theories in a beautiful way. https://www.amazon.com/Audacious-Euphon ... 019977269X
You'll see that this method isn't hard at all. It's actually some of the easier music theory I've learned. It's just a mental shift, but the procedures are elegant and simple. I have to imagine it'll be pretty easy for you to code, compared to the traditional harmony stuff.
Also, I have to say that I've never seen another developer so open with his customers, tireless in his product's improvements, and passionate about his subject matter. I have a lot of trust in you, and am recommending RC to everyone I know. Thanks for all you do.
For example, if RC has a key center programmed on the Master Track, recommended chord choices (and popular substitutions, like bVII, bVI, iv, etc.) should reflect that key center. But if I want to start modulating into different pan-triadic chords using the second system, RC could have a button that suspends the key center on the Master Track until I program it to grab onto a key center again. During this key center suspension, an alternate chord palette offers a Tonnetz grid. I can then click on the Tonnetz graphic and compose more chromatically, until I'm ready to jump back into a more traditional key center.
This type of workflow sort of emulates the composition style. Much of the time will be spent with key centers, but at any time we can drift the modulations without an overriding key bullying us and getting in the way. To me, the ability to tell RC, "Hey, I need a time out on the key for a while, just help me cycle through some interesting chords now," mirrors the way I compose on paper.
Check out Richard Cohn's book, Audacious Euphony, which unifies a couple of different chromatic theories in a beautiful way. https://www.amazon.com/Audacious-Euphon ... 019977269X
You'll see that this method isn't hard at all. It's actually some of the easier music theory I've learned. It's just a mental shift, but the procedures are elegant and simple. I have to imagine it'll be pretty easy for you to code, compared to the traditional harmony stuff.
Also, I have to say that I've never seen another developer so open with his customers, tireless in his product's improvements, and passionate about his subject matter. I have a lot of trust in you, and am recommending RC to everyone I know. Thanks for all you do.
-
- KVRAF
- 1753 posts since 30 Nov, 2013
+1 !
I would really like to see the third line on the master track chords...
1.Quick Suggestions
2.Borrowed Chords
3.Suggestions for chord substitutions (All kinds of Jazz chord substitutions)
I would really like to see the third line on the master track chords...
1.Quick Suggestions
2.Borrowed Chords
3.Suggestions for chord substitutions (All kinds of Jazz chord substitutions)
-
musicdevelopments musicdevelopments https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=223336
- KVRAF
- 6014 posts since 9 Jan, 2010
Hello snapeye,
thanks for sharing your thoughts with me. I have ordered Audacious Euphony a minute ago. I am excited to improve RC with its contents; I hope I will understand it...
Thank you for your kind words
Attila
thanks for sharing your thoughts with me. I have ordered Audacious Euphony a minute ago. I am excited to improve RC with its contents; I hope I will understand it...
Thank you for your kind words
Attila
-
musicdevelopments musicdevelopments https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=223336
- KVRAF
- 6014 posts since 9 Jan, 2010
Believe it or not, lulukom, I wanted to add EXACTLY this as the next feature.lulukom wrote:+1 !
I would really like to see the third line on the master track chords...
1.Quick Suggestions
2.Borrowed Chords
3.Suggestions for chord substitutions (All kinds of Jazz chord substitutions)
-
- KVRist
- 102 posts since 6 May, 2014
Fantastic news, Attila!