Hey! I really enjoy your music. Just wanted to share an idea with you. In traditional Turkish music, some makams (sort of equivalent to modes or scales in western music) have this behaviour to change according to which way the melody is going. It would be one note going half sharp on the way up and half flat on the way down while other notes stay the same for example. Don't know the exact specifics of it but I guess it gives a lot of character to certain makams. It might be fun experiment to add this innate rule to microtonal scales in pure data.
that's an interesting thing to hear about, I'm often trying to distinguish what the purposes of each note is and put them into categories not sure if this will make sense, here are some of the categories I put notes into harmonic folding = notes that scale up and down based on some sort of "simple harmonics" ( like a major chord is based on the harmonic "folding" of the string ) rub = notes that sit near or rub against consonant intervals ( like the minor second, major 7th, and diminished 5th ) approach notes = notes you run into on the way to another note and so maybe the makam's would be paying extra attentions to the "approach notes" so that they're "rubbing" against the previously anchored notes in the scale? I try not to steer into being a musicologist though, I study music that I like but I'm a luddite in terms of technical music theory I just press buttons to make cool sounds
BTW I heard that in ragas (Indian mode analog this time) (at least some of them) some notes are prescribed to be sung plain and others with vibrato, every time such note is encountered. (Though I can remember it wrong to some degree.) Interesting that this is a similar idea of notes in a set having extra properties compared to just their relation with melody and harmony. Maybe those “note heterogeneity” ideas can be led into a completely new direction not rooted in world traditions. But I have no ideas as of yet what it could be.
Hey! I really enjoy your music. Just wanted to share an idea with you. In traditional Turkish music, some makams (sort of equivalent to modes or scales in western music) have this behaviour to change according to which way the melody is going. It would be one note going half sharp on the way up and half flat on the way down while other notes stay the same for example. Don't know the exact specifics of it but I guess it gives a lot of character to certain makams. It might be fun experiment to add this innate rule to microtonal scales in pure data.
that's an interesting thing to hear about, I'm often trying to distinguish what the purposes of each note is and put them into categories
not sure if this will make sense, here are some of the categories I put notes into
harmonic folding = notes that scale up and down based on some sort of "simple harmonics" ( like a major chord is based on the harmonic "folding" of the string )
rub = notes that sit near or rub against consonant intervals ( like the minor second, major 7th, and diminished 5th )
approach notes = notes you run into on the way to another note
and so maybe the makam's would be paying extra attentions to the "approach notes" so that they're "rubbing" against the previously anchored notes in the scale?
I try not to steer into being a musicologist though, I study music that I like but I'm a luddite in terms of technical music theory
I just press buttons to make cool sounds
BTW I heard that in ragas (Indian mode analog this time) (at least some of them) some notes are prescribed to be sung plain and others with vibrato, every time such note is encountered. (Though I can remember it wrong to some degree.) Interesting that this is a similar idea of notes in a set having extra properties compared to just their relation with melody and harmony.
Maybe those “note heterogeneity” ideas can be led into a completely new direction not rooted in world traditions. But I have no ideas as of yet what it could be.