Hi everyone
This is a subject i opened earlier this morning into the VI-Control forum :
Here a little composition in progress in where i'm trying to justify the alterations of some melodies and chords by an harmonical rule or another that i can keep in the future as potential guidelines
Here is the case :
www.anak-krakatoa.net/~downl/orchestral/13f.mp3
120 bpm 12/8 signature (contradicted by a few, parrallel, binary grooves here and there)
Primarily grounded by Cmajor...with a few obvious modal transpositions (4rth and 5th step) intended to not altered an overall monodic mood excessively
The question appears from 1'11'' (meas. 25) to 1'35'' (Ms. 33) and from 1'57'' till the end
The Woodwinds (from the Kontakt 4 library) are, using a factory Kontakt script, playing a chord chromatically (1-4-6) while the melodic line has been minored (B flat)...just because i liked the slightly blurred colour it gave to the overall harmony
I also arbitrary/intuitively add a brass riff as an answer to the alteration through an "authorised dissonnant interval" (E-F in conformity to the Cmaj scale)...then other appromative effects in regard to a scale conformity !
All i'm asking you is to point at some rules that are here as harmonically/compositional justifications for these alteration and BTW, grounding polytonal compositions like, as far as i can judge, classical music from the early 20th century (Strawinsky, Debussy, Ravel, etc...)
Thanks in advance !
I need some advice to ground harmonical alterations (one example in mp3)
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- KVRAF
- 6504 posts since 25 May, 2002 from Bobo-dioulasso\BF__Geneva/CH
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Hi
there are no rules.
At 1:17.5 or so, you have a lydian line (E F# A B A) that's a *main* motif (ie., that comes back later over a different ground), that's a bit too obscured by stuff below and around it; generally there are spots where *I* think you could carve out some space for the tune.
It's very thick, what I mean is there's a sameness in the texture of primary and secondary lines, and the latter gets in the way of the former. To be specific, there is a lot of activity at around 1:20 that doesn't work well for me, it's very busy and gets in the way of clarity; and it clashes in a way that I wouldn't. But it's dangerous territory IMO, to say that much about someone's piece.
Let me try to elucidate that point:
The clashes in that spot, have the effect of 'this is naive work', ie, you don't appear to have done this before so much. This, theme I guess, if I took it as a whole, is effective and you get in its way all over the place
(It got to be wearing on my ear quite soon, with these saws).
as far as justifying note choices, I don't have the backstory of what you understand about say, modality, or what preferences in other musics... My opinion on the matter is, less is more in some textures. The synths are quite thick sawtoothy things, and for me there's just too much going on. Even with more transparent textures, I might say that in general here. I would venture to say *simpler = stronger*; at least until you have more experience posing lines to counter other lines - and I suggest a class in four-part writing, above all else, NOT books - to do more simple devices such as doubling, reinforcing your main lines and giving solid support UNDERNEATH instead of trying to be too cute.
there are no rules.
At 1:17.5 or so, you have a lydian line (E F# A B A) that's a *main* motif (ie., that comes back later over a different ground), that's a bit too obscured by stuff below and around it; generally there are spots where *I* think you could carve out some space for the tune.
It's very thick, what I mean is there's a sameness in the texture of primary and secondary lines, and the latter gets in the way of the former. To be specific, there is a lot of activity at around 1:20 that doesn't work well for me, it's very busy and gets in the way of clarity; and it clashes in a way that I wouldn't. But it's dangerous territory IMO, to say that much about someone's piece.
Let me try to elucidate that point:
The clashes in that spot, have the effect of 'this is naive work', ie, you don't appear to have done this before so much. This, theme I guess, if I took it as a whole, is effective and you get in its way all over the place
(It got to be wearing on my ear quite soon, with these saws).
as far as justifying note choices, I don't have the backstory of what you understand about say, modality, or what preferences in other musics... My opinion on the matter is, less is more in some textures. The synths are quite thick sawtoothy things, and for me there's just too much going on. Even with more transparent textures, I might say that in general here. I would venture to say *simpler = stronger*; at least until you have more experience posing lines to counter other lines - and I suggest a class in four-part writing, above all else, NOT books - to do more simple devices such as doubling, reinforcing your main lines and giving solid support UNDERNEATH instead of trying to be too cute.