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Old 10-02-2011, 04:36 AM
TwoToneshuzz TwoToneshuzz is offline
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Default Harmony Control at a global level.

I often use a harmony stack containing 3 or more interval sequencers running at for example 4 whole note Clock division playing a harmony. The output gets routed out to all mono note sequecers in a project 5 10, 30,50 so they have central harmonic control..

This trick is to work the harmonies until you are happy with them. Pull out your harmony books. Do a study this is your genetic material. Harmony equals structure, Harmony is melody writ large.

A polynote sequencer would of course take it's input from the base or main root tone of the harmony.

I use the CV outputs on the CV nterval sequencers.

When I want to change what happens in an arrangement harmonically I can go to my harmony stack change the rate of the harmonic progression, the content. simplify things by slowing it down take a smaller section of the progression or letting it move the circle of fifths it for fast passages, whatever. I use presets to change between variations of the harmonic progression from it's own playlist mode or controlled from a central Scene control stack that changesl presets on several stacks all at once. . Lots of control. I could even use the trigger inputs from the mono notes trigger stack to trigger the Harmony stacks Interval sequencer so phrases in the various sequencers line up with the start step of the Harmonies, I don't do it at the present but the possiblity is there...

Additionally you can have long range control and transpose the harmonies as a group a dedicated interval sequencer, the Transposer that sends it's output to all note sequencers in the project. A " global root" sequencer running at slower rate than the Harmony by tie-ing several notes together. with a 32 note sequencer in 4 whole note clock division you can easily achieve a varieated Harmonic progression lasting 96 bars. Then use a remote stack it change it's presets.. Harmony writ large on a symphonic scale..

For this to work you have to also think about how the mono notes that listen to the main harmonic stack material are built up.

Mellisma, ornament, variation form, sequence, trills, discant, obbligato, ostinato. pivot tones appogiatura, arabesque, passing tones.

Need I say more? Check back living post.

Wade

I've corrected some inaccuracies, glaring I might add on the 16 Oct 2011

Last edited by TwoToneshuzz; 10-15-2011 at 06:10 PM.
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Old 10-15-2011, 12:07 AM
seamusblake seamusblake is offline
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Have you posted a stack? I'm working on building a harmonizer stack.
Numerology is born to find new relationships of intervals and harmony.
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  #3  
Old 10-15-2011, 07:03 AM
TwoToneshuzz TwoToneshuzz is offline
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Quote:
Originally Posted by seamusblake View Post
Have you posted a stack? I'm working on building a harmonizer stack.
Numerology is born to find new relationships of intervals and harmony.
I posted a Project in the next post..

It is pretty simple to set the stack up.

I think in single lines, what I mean by that is I don't use chords to build up my harmonies.

I start by making a basic or grounding type line. Build the secondary line up in tight referral to the ground. Then the third line has more freedom, and so on. A tip when working out the harmonies using the three or more Interval sequences is to set the start and end steps to say 5 or so steps and focus on getting the sections to work and move through the progression. Otherwise it's too time consuming and wearing on the ears to listen to the whole progression everytime you need to tweek a tone or two.

Mostly I keep the harmonies strong and simple.

This allows for much more freedom in movement in the voices that derive their back bone from one of these main lines.

I set up the Harmony stack with three voices that move at a slow pace 2x4 beats. And a fourth voice that is basically a global transposer for all sequencers in the project.

Three interval sequencers routed each to it's own CV bus. One transposer interval sequencer routed to it's own bus.

I use the CV input and output modules (found in; modules/Input output) instead of the stacks own input and ouput modules..

This makes it easier if you for example want some sequencers to switch to listening to only one of the voices for tutti sections. Or only to the transposer voice. For big sweeping lines of arpeggios, These variations can be called up using presets one preset could be setup as a unison, one with all three voices playing, and so on. This can be done on the sending Harmony stack, or at the receiving end. I also like to have a dedicated CV input module for every sequencer for allowing maximum flexibilty.

I hook up all the sequencers that are going to listen to the Harmony stack to one of the CV outputs into their interval in inputs..

Polynote and Matrix sequencers usually get their input from the bass or root line.

This is easy to setup. And a Harmony stack isn't that useful alone. What's time consuming is hooking the harmony CV inputs up to each individual sequencer..

I suggest for a start to just make a scale pattern at a slow rate in a mono note that's hooked up to a single line of the harmony feed. To get a feel for how this all works.

Sometime I use the Harmony stack in combination with another interval sequencer within a sequencer stack to make a variation at just one voice, say if I want to make some type of movement that really sticks out. Like a wider register scale pattern.

I keep all of the recieving mono notes in Chromatic mode, it allows for the most flexiblity. The interval relationships remain the same no matter where they are being transposed within a Harmonic matrix, which is basically where you set the key or tonal center.

Good luck..

Lots of fun experimenting with this. Use some time getting a clean and stable harmonic structure it leaves more room for experimentation than something that is too spicy from the start. Oh yeah don't need to make the pattern too long either 10 or so steps , this because you are using this harmonic framework as a behind the scenes type of force. For local harmonic color you will work at the bar or sub bar level using the mono notes pitch adjustments.

Wade

Last edited by TwoToneshuzz; 10-15-2011 at 06:20 PM.
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  #4  
Old 10-15-2011, 01:42 PM
TwoToneshuzz TwoToneshuzz is offline
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Default I post a harmony project example

Wild and Wooly example of the Harmony stack it has three interval sequencers Soprano Tenor and Bass, and a transposer interval sequencer. They are routed to a Sequencer stack containing three mono note sequencers..

This project Uses the Apple DLS synth. I broke all my fine rules about harmonic purity.. But it still sounds good. The sequencers have note length variation and a few tones have been divided. Just those two extra parameters in the mono note make it an extremely expressive tool that combined with the GateLen sliders and Velocity sliders makes the mono note very flexible, in short a perfect setup.

Wade
Attached Files
File Type: zip Harmony©WadeMattson.nmp.zip (16.2 KB, 29 views)

Last edited by TwoToneshuzz; 10-15-2011 at 06:21 PM.
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