I've made a bunch of basic assumptions, premises, axioms - call them what-you-may. First, I've settled on using 7-9-11-13/8 for time signatures - I felt that 5/8 would clash too much with 11/8, by virtue of being less than half as long. Now. These meters will next be given their set rhythm patterns, consisting of quarter and eigth notes only (partly in an effort to keep it simple). Once these are set, I can see at what points along the composition all four parts will have simultaneous quarter notes - I postulate that these points will stick out as sore thumbs, and are thus fitting candidates for Schenkenian structural chords.
Now might be a good time to give a short primer on Schenkerian music analysis. At it's most basic, according to Heinrich Schenker (a grumpy old man who is rumoured to have liked Wagner in his youth, until he came up with his analytical scheme and poor Wagner didn't fit anymore), all good music - without exceptions! - are, consciously or not, embellishments of a basic structure. This basic structure, or Ursatz - our good Heiny was German, or possibly Austrian - is a two-part harmony, consisting of the Urlinie (which goes in step-wise motion down the scale from either the third or fifth, or in very rare cases, the octave, to the root of the scale), and the Bassbrechung (a bass movement from the tonic, to the fifth, and back again - when the Urlinie is longer than the standard three notes, it gets a little more complicated, and thus I feel at liberty to make up my own rules a little).
Now. One voice will be the designated melody; two or more voices will be able to trade time signatures (and with that, the repeated melody fragments, of course) with each other whenever the first beat of both/all respective bars coincide. The designated melody voice will contain all the notes I deem shall form the Urlinie - thus, it will need to shift around quite a bit between the time signatures. Further; a voice will be allowed to shift octaves up or down at the start of every bar.
The designated melody voice might be traded back-and-forth between two or more singing voices (I'm sorry if terminology gets muddled around here, I'll try to come up with a consistent naming scheme for the different kinds of constituent parts of the piece in my next post) - I haven't quite decided this yet. If I go that way, I might try to get some of those who knew my friend to help get some lyrics down. (All in all, there'll be about 3000-3500 notes in the designated melody part; and with me being not quite used to writing long-form poetry, to spill out word upon word of meaningful stuff, help in that department would be good. And 3k syllables equals about 300 lines of blank verse - it is a bit. Or to take another example, Poe's "The Raven" consists of just under 1500 syllables - almost half of what I'm aiming for here.)
Coming up in the next post, then: definitions, rhythms, and the basic working order which will lead up to deciding the melodies.
More then.
6/29/2010
Poly-Metric Study, part two: Requiem
A friend killed himself recently. Today was the funeral service. Being in the wrong end of the country, I couldn't attend; as a homage, I will dedicate this project to him.
I feel it might fit on several levels. The Schenkerian structure of it all might hint at a certain inevitability, and the ultimate inevitability is after all death. Then there's the aspect of taking what little information we have - in the case of the music, four bars - and twisting, turning, examining them from every angle possible, trying to make as much sense as possible.
Yes, it will be fitting.
I feel it might fit on several levels. The Schenkerian structure of it all might hint at a certain inevitability, and the ultimate inevitability is after all death. Then there's the aspect of taking what little information we have - in the case of the music, four bars - and twisting, turning, examining them from every angle possible, trying to make as much sense as possible.
Yes, it will be fitting.
5/29/2010
Poly-Metric Study, part one
I had this idea a while back about exploring poly-metric in the strictest sense possible. The idea would be this: four voices, each in its own time signature, with the same bar repeated over and over again. The voices will then phase in and out of each other, at predictable but differing intervals; say you have three voices, in 3/4, 4/4, and 5/4 - the starts of the 3/4 and 4/4 bars will coincide every 12 quarter notes, the 4/4 and 5/4 every 20 quarter notes, the 3/4 and 5/4 every 15, and all three together every 60 quarter notes. One such full repetition of all voices, from being in sync to coming back in sync, seems a good length for the whole composition, as it will include all possible juxtapositions of all voices.
Now, there are some things that must be decided from the start; for instance, which time signatures? Another is that of structure, if there shall be another structural principle at work than just "from sync back to sync". In the latter, I've decided to structure it according to Schenkerian principles, albeit somewhat subverted. While not being a huge fan of Schenker, I am somewhat familiar with it. And, since this is a study on if strict poly-metric can yield pleasing results, it makes sense to structure it in an established framework for what makes pleasing music. (Again, I'm subverting it, in part by handwaving my own criteria for what makes a note structural or not, in part by extending the Schenkerian Urlinie to a tenth or twelfth, rather than the approved third, fifth or octave.)
As for which time signatures, my first trial had 4/4, 5/4, 6/4 and 7/4. I'm not really pleased with the result, so I'm starting over from scratch, this time documenting it. One reason I dislike it is that 4/4 and 6/4 have a common denominator in 2, meaning they have a tighter repetition, and that some juxtapositions between them simply will not occur. Now I'm thinking instead of using either 5/8, 7/8, 9/8, 11/8, or 7/8, 9/8, 11/8, 13/8. More to come.
Now, there are some things that must be decided from the start; for instance, which time signatures? Another is that of structure, if there shall be another structural principle at work than just "from sync back to sync". In the latter, I've decided to structure it according to Schenkerian principles, albeit somewhat subverted. While not being a huge fan of Schenker, I am somewhat familiar with it. And, since this is a study on if strict poly-metric can yield pleasing results, it makes sense to structure it in an established framework for what makes pleasing music. (Again, I'm subverting it, in part by handwaving my own criteria for what makes a note structural or not, in part by extending the Schenkerian Urlinie to a tenth or twelfth, rather than the approved third, fifth or octave.)
As for which time signatures, my first trial had 4/4, 5/4, 6/4 and 7/4. I'm not really pleased with the result, so I'm starting over from scratch, this time documenting it. One reason I dislike it is that 4/4 and 6/4 have a common denominator in 2, meaning they have a tighter repetition, and that some juxtapositions between them simply will not occur. Now I'm thinking instead of using either 5/8, 7/8, 9/8, 11/8, or 7/8, 9/8, 11/8, 13/8. More to come.
11/20/2006
Logic Pro turned out to be a big disapointment when it comes to Bohlen-Pierce tonality; I can't escape the octave. At least I don't think I can. Not with any degree of accuracy, anyway.Anyway, I got most of the yarn for the scarf, and made a few decisions on CtC; now I just hope I can remember them for next time I have time to work on it.
Mental note: must go to the gym tomorrow. Oh - must fix bike first.
Mental note: must go to the gym tomorrow. Oh - must fix bike first.
11/19/2006
Rebooting
Okay then…let’s have another go at this. I’d really like to get into the habit of updating this thing on a somewhat semi-regular basis…think my problem was that I had spent too much time contemplating the topic of that first one, the last one, so it turned out pretty much as I had envisaged it - and that, in turn, set a standard of sorts, that I somewhere inside was kinda reluctant to fail to live up to. Hence my absence.
But away with that. To break the ice, I’ll just list what’s going on in my life right now, broken up into a few different topics.
MUSIC:
Dispelled, I hope, will start rehearsing regularly every other weekend from the coming Saturday on. Of course, I still have no idea whether Per Helsa (or whatever the heir is named - I’ll probably think of it as PH for a while anyway) has officially opened - must call my parents and ask them to snoop for me.
On Tuesday, we might have a first meeting with the new band I might be starting - with me, Mark, and Ceyda. Still a lot of question marks attached to that one, though.
And composing (this one ties in a bit with SCHOOL); I plan to spend a bit of time tomorrow at SOL notating/arranging/composing (yes, in that order, most likely) on Creatorslave to Chaos. Also, I’ve been thinking about a piece of somewhat complex polymetricality; Four voices in different time signatures, repeated over and over again until they all meet up where they started from. I’ll begin with the rhythms, and then assign the pitches to form a large-scale Schenkerian motion - I’ll probably go with an octave-to-root line. And then I’ll assign the drums to accentuate the structural harmonies. And lastly, I’ve also been thinking of making a fugue (though I don’t really have any idea about how it’s done - should be interesting); I’ll probably try the theme I wrote back in Crimson Wall, to that D minor ballad CM wrote. I’ll have to look at it, though; it seems a bit rhythmically awkward (not that that’s necessarily a bad thing, but…anyway).
SCHOOL:
I must, I repeat MUST pay a bill to one of the nations tomorrow. Awi recommended none in particular, but mostly Wermlands - and, considering I’m in the band for their “spex”, that might be as good an idea as any. Yeah, let’s.
Also, I should read the rest of the book we’re having a discussion on this Tuesday. And I’m way behind on writing those reports on it, so that I must get started on this week, too.
As for my thesis, I’ll experiment with comprovising some in the BP scale while I’m at SOL tomorrow. If I decide it’s feasible, I might go with that topic - otherwise I should try and suggest changing to some sort of PoS analysis. Either way, I’ll leave that for next semester mostly, anyway.
MASSAGE:
I plan to attend a seminar on starting a company on Wednesday; after that (or during), I’ll fill out and hand in an application for starting my business, and then I’ll get that going over the winter, hopefully.
KNITTING:
G. is flying to Scotland tomorrow morning, and I’m planning to start knitting my Elemental version of the Inner Truth Scarf as a Christmas (no, make that Yuletide) present for her. Hence, I’ll try to keep it out of her view until then. She has picked out the yarn & colours she wants, though, so it’s just the result I’ll try and keep secret. Guess I’ll have to knit it while commuting or so, but with six active strands of yarn, I don’t know how I’ll manage. At least I can begin it at home, anyway.
But away with that. To break the ice, I’ll just list what’s going on in my life right now, broken up into a few different topics.
MUSIC:
Dispelled, I hope, will start rehearsing regularly every other weekend from the coming Saturday on. Of course, I still have no idea whether Per Helsa (or whatever the heir is named - I’ll probably think of it as PH for a while anyway) has officially opened - must call my parents and ask them to snoop for me.
On Tuesday, we might have a first meeting with the new band I might be starting - with me, Mark, and Ceyda. Still a lot of question marks attached to that one, though.
And composing (this one ties in a bit with SCHOOL); I plan to spend a bit of time tomorrow at SOL notating/arranging/composing (yes, in that order, most likely) on Creatorslave to Chaos. Also, I’ve been thinking about a piece of somewhat complex polymetricality; Four voices in different time signatures, repeated over and over again until they all meet up where they started from. I’ll begin with the rhythms, and then assign the pitches to form a large-scale Schenkerian motion - I’ll probably go with an octave-to-root line. And then I’ll assign the drums to accentuate the structural harmonies. And lastly, I’ve also been thinking of making a fugue (though I don’t really have any idea about how it’s done - should be interesting); I’ll probably try the theme I wrote back in Crimson Wall, to that D minor ballad CM wrote. I’ll have to look at it, though; it seems a bit rhythmically awkward (not that that’s necessarily a bad thing, but…anyway).
SCHOOL:
I must, I repeat MUST pay a bill to one of the nations tomorrow. Awi recommended none in particular, but mostly Wermlands - and, considering I’m in the band for their “spex”, that might be as good an idea as any. Yeah, let’s.
Also, I should read the rest of the book we’re having a discussion on this Tuesday. And I’m way behind on writing those reports on it, so that I must get started on this week, too.
As for my thesis, I’ll experiment with comprovising some in the BP scale while I’m at SOL tomorrow. If I decide it’s feasible, I might go with that topic - otherwise I should try and suggest changing to some sort of PoS analysis. Either way, I’ll leave that for next semester mostly, anyway.
MASSAGE:
I plan to attend a seminar on starting a company on Wednesday; after that (or during), I’ll fill out and hand in an application for starting my business, and then I’ll get that going over the winter, hopefully.
KNITTING:
G. is flying to Scotland tomorrow morning, and I’m planning to start knitting my Elemental version of the Inner Truth Scarf as a Christmas (no, make that Yuletide) present for her. Hence, I’ll try to keep it out of her view until then. She has picked out the yarn & colours she wants, though, so it’s just the result I’ll try and keep secret. Guess I’ll have to knit it while commuting or so, but with six active strands of yarn, I don’t know how I’ll manage. At least I can begin it at home, anyway.
9/13/2006
So, this will be my first foray into the wonderful world of blogging...yay.
As I write this, I'm copying my CD collection - or, at least, the better (in both senses) part of it - to my new iPod. That will be a somewhat complicated process; since the iPod doesn't support FireWire, and my computor doesn't support USB 2.0, I won't want to use the direct route. Instead I'll load the music into the computor, transfer it to the external hard drive, connect THAT to my flatmate's laptop (whose hard drive is too small to store all the music at once - and I want to have to reapeat as few steps in the process as possible), from where, finally, I'll be able to get it to the iPod.
I liked my older one better. What did Apple really gain by taking away the FireWire support from the fifth generation iPods? A few MB of memory space? With a 30 GB drive, that doesn't seem like a good bargain to me.
My previous iPod - a third generation one - I lost during an assault and robbery in July. No, I was the victim. I got a blow to the head, that might've been serious, but didn't turn out to be. Just some blood loss, and a few stitches, that's all. Since, people have often chided me for not handing the iPod over when the robber first asked for it. Why didn't I? Well, for starters, I simply didn't want to lose it. I'm ensured, of course, but there's always the excess part, that I didn't feel like paying just because I was threatened.
Also, I feel somewhere that it's some kind of democratic responsibility to not give in to threat. I don't think the argument is all that clear, but it's something like this; by not giving in, I show my robber that I won't be bullied into submission. In doing so, I raise the stakes; he has to choose between giving it up, or retorting to violence to get it. The theory was working; he didn't WANT to bludgeon me - as he left me, he commented that "that was unneccessary of you, wasn't it?". In practice, however, it failed. But, had I given in directly, I would've contributed to a sense of "this is so easy, everybody should do it", I think. That's not an attitude I want to help to spread in society.
As I write this, I'm copying my CD collection - or, at least, the better (in both senses) part of it - to my new iPod. That will be a somewhat complicated process; since the iPod doesn't support FireWire, and my computor doesn't support USB 2.0, I won't want to use the direct route. Instead I'll load the music into the computor, transfer it to the external hard drive, connect THAT to my flatmate's laptop (whose hard drive is too small to store all the music at once - and I want to have to reapeat as few steps in the process as possible), from where, finally, I'll be able to get it to the iPod.
I liked my older one better. What did Apple really gain by taking away the FireWire support from the fifth generation iPods? A few MB of memory space? With a 30 GB drive, that doesn't seem like a good bargain to me.
My previous iPod - a third generation one - I lost during an assault and robbery in July. No, I was the victim. I got a blow to the head, that might've been serious, but didn't turn out to be. Just some blood loss, and a few stitches, that's all. Since, people have often chided me for not handing the iPod over when the robber first asked for it. Why didn't I? Well, for starters, I simply didn't want to lose it. I'm ensured, of course, but there's always the excess part, that I didn't feel like paying just because I was threatened.
Also, I feel somewhere that it's some kind of democratic responsibility to not give in to threat. I don't think the argument is all that clear, but it's something like this; by not giving in, I show my robber that I won't be bullied into submission. In doing so, I raise the stakes; he has to choose between giving it up, or retorting to violence to get it. The theory was working; he didn't WANT to bludgeon me - as he left me, he commented that "that was unneccessary of you, wasn't it?". In practice, however, it failed. But, had I given in directly, I would've contributed to a sense of "this is so easy, everybody should do it", I think. That's not an attitude I want to help to spread in society.
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