In my last post I raised the idea that the consonance of an interval is not just one thing, but has two distinct parts: The sensation created by the sound of the two notes played together — smooth or rough, pleasant or unpleasant The sense of stability of the note — does it feel restful,…
I just passed the 10,000 photo mark on the stop motion animations, good thing I’m not hand-drawing them like Winsor McCay! The one I’m working on, Real Girl, has a lot of dissonant notes in it. The melody ranges far from the roots and makes some slightly dizzying harmonic jumps. I want to use it…
In yesterday’s post I mentioned matchstick harmony. This concept is from Mathieu’s book Harmonic Experience, which I’ve discussed a lot on this blog. Matchstick harmony is governed by a rule: It’s easiest for the ear to follow harmonies that move short distances on the lattice. Imagine that the lines of the lattice are matchsticks. The…
My favorite style of vacation is a balance between planned and unplanned. I like to have a few things sketched in, with a lot of time in between for random stuff to happen. If the entire vacation is planned out, there is no opportunity for “tripendipity,” my son’s word for that unexpected travel magic. Then…
I’ve been quiet lately because I’ve been working on an animation of my song Real Girl. It’s a complicated one, a dance of harmonic tension and resolution. The bass and melody chase each other around the lattice like courting butterflies. Meanwhile, there’s more to be extracted from the Be Love video. A mode is a…
Here’s a different version of my song, The Cove. The original recording is on the Flying Dream CD. I sang this one in a lower key, to leave room for two harmonies above. I found some adventurous harmonies, especially ninth intervals. I’d like to make a movie of this one; it lives deep in the…
At the very end of the chorus, Be Love showcases one of my favorite notes, the 7b3. Most of the notes of the inner lattice can be approximated on the piano, but not the septimal minor third. It’s in between the keys. Blues pianists can evoke it by trilling between 2 and b3, but only variable-pitch instruments…
The chorus of Be Love is solidly in major territory. The chords are I, V, IV, the classic backbone chords of the major scale. The verse, however, is going to be back in the Northwest — I, bVII-, IV. I have to get back over there somehow, and I want to lead the ear strongly so…
The V chord, the major chord based on the 5, is a powerful compositional tool. It points, very clearly and with a lot of tension, directly at the tonic. If you want to lead the ear to the I, the V chord is the top-of-the-line triad. Why this is so is still a bit mysterious…
Be Love was written and arranged on the lattice. I consciously used the lattice as a tool to make the music do what I wanted it to do. Working with this song has taught me a lot about leading the ear. Different parts of the lattice have different sounds. The upper right, the northeast, is…