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Iterative Music Theory: Paint by numbers...

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Re: Iterative Music Theory: Paint by numbers...

Postby merlyn » Sun Jun 14, 2020 6:47 pm

Hi Ryhad. I had some thoughts on your original post.

>> 1st Process - Determine Chord Choices:

The natural minor is a mode of the major scale, so it has the same chords in a different order. The other two minor scales do produce different chords. You can also use the three different scales to build 7th chords and you would get most chords in common usage.

>> 3rd process - Arrage scale degrees for chords

I didn't get that. You already have all the triads from the 1st process.

>> 6. Sus2 - R,2,5

Worth knowing sus2 is an inversion of sus4. Csus2 - C,D,G = Gsus4 - G,C,D

>> 7th Chords:

You'd be better thinking on these as 'four note chords' as you also have 6th chords. You could also include add9 here - R,3,5,9.

>> 16. Maj7b5 - R,3,b5,7 ( also maj7(#11) )

Those two chords are different. maj7b5 - R,3,b5,7 maj7#11 - R,3,5,7,#11. A maj7b5 is a III chord from the melodic minor. A maj7#11 is a IV chord from the major. If you play e.g. Emaj7b5 it has a dominant sound because of the tritone and it can be used as a dominant. Emaj7b5 = C7#9 (no root) = F#13 (no root). The first chord of Frank Zappa's Zoot Allures is Amaj7#11, and it has a lydian sound if you want to check it out.

>> Extended Chords:
>> This is where i'm getting stuck with voicings, sound can get real muddy
>> and my understanding of the theory lets me down.

I had a look at the link and I didn't find it simplified anything :) It took two paragraphs to tell us not to use a major 3rd and a 4th in the same chord. Extended chords start with five note chords. Good ones are maj9 - R,3,5,7,9 min9 - R,b3,5,b7,9, dom9 - R,3,5,b7,9.

I think voice leading is something that could be implemented with an algorithm. The basic principle is 'go to the nearest note'. I had a listen to your video and it sounded like the voicings skipped about, so voice leading would improve that. I think it would be good if you implemented voice leading on triads, then deal with four, five, six and even seven note chords.
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Re: Iterative Music Theory: Paint by numbers...

Postby Ryhad Laurentus » Sun Jun 21, 2020 9:48 pm

Hey Merlyn! Thanks for your time :D

I know right?! Simplifying music really didn't do that at all..

Re: 1st process.
I discovered!
Which is wonderful, as I can simply shift the array to fit the current mode.
I'm still a little confused with the Harmonic minor, but otherwise it seems to work for triads and 7ths :D

3rd process... probably doesn't make sense sorry!
Looks like this, literally how the current notes in the scale degrees are voiced, which would have been a better way to describe whats happening - learning quickly.

Hey, thanks for pointing that out! That'll change how I use sus chords in substitution options :) appreciated.

the next two points really cleaned up my lack of knowledge, thanks.
The point about the tritone in a maj7b5 especially interests me, i'll experiment with including it in the substitution options.
New updated chord list - and the Zappa song for anyone reading ;)

I will continue as you and our friends prior recommend - understanding counterpoint, mapping "available tensions" and making the arps correct their decisions depending on the voicing of the chords. starting with triads and working from there .. No small task ahead.. But I'm excited to hear the results.

Quick video of the progress so far:

Thanks all again!
Ryhad Laurentus
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Joined: Sat May 23, 2020 3:28 pm