Density Control of Strata Harmony
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- Опубліковано 17 лип 2024
- Chord progressions using strata harmony from the Schillinger System of Musical Composition, General Theory of Harmony. The density pattern determines the number of simultaneous parts or strata. Synchronize the density pattern with the harmony rhythm. Orchestral example.
Contents:
00:00 What this video is about
00:18 Introduction. Schillinger Strata Harmony. Density mask
00:30 Step 1. Chord progression using strata harmony, 4 layers, tension pattern
01:48 Step 2. Design density mask pattern. Variable number of parts, duration series
02:22 Step 3. Synchronize chord and density pattern
02:34 Step 4. Orchestration example 1. 3/4 meter, synths
02:46 Ex 1. Ambient synthesizer texture. Audio and annotated condensed score
04:13 Step 4. Orchestration example 2, version 1. 4/4 meter, orchestral
04:39 Ex 2. Orchestral version 1. Audio and annotated condensed score
05:34 Step 4. Orchestration example 2, version 2. Quasi-counterpoint, improved
05:46 Ex 2. Orchestral version 2. Audio and annotated condensed score
06:41 Step 4. Orchestration example 2, version 3. Development, climax
06:53 Ex 2. Orchestral version 2. Audio and annotated condensed score
07:49 Variations on a density theme
08:03 Where to go next
#SchillingerSystemOfMusicalComposition #CompositionTechnique
#StrataHarmony
I've gone through each book in Schillinger's system, and his thoughts on composing with density groups in Books IX and XI were my favorite. I agree with Schillinger in Density as a Major Component, "It is not difficult for an experienced composer to conceive one density-group as a thematic unit; but the instantaneous composition of melodies and harmonies as textural thematic groups in a considerable temporal extension cannot be solved satisfactorily except by the scientific method." Then, at the end of the chapter, "It is easy to see that the effort required in orchestration can be reduced to a minimum by making a density-group the major component of thematic continuity." I like the idea of pre-composing with textural density groups, strata harmony, and rhythmic counterpoint and then using the result of that process as low-level limitations to compose, editing things on the surface level as I see fit. The pitch-based density pattern is an excellent idea - another fun layer to add to the process. Thanks!
@patcupo Thanks for sharing your experience with and opinion on the Schillinger System. Had to reread Book XI, Theory of Composition, Chapter 8, Density as a Major Component to find the source of the two quotes: p. 1314 and p. 1321. Indeed, combining density control with strata harmony opens up another direction for musical composition; would love to have time to experiment with that in an electronic music idiom. Although, I always get a bit nervous when the man claims "cannot be solved satisfactorily except by the scientific method". Depends somewhat on the definition of science, but still. Thanks for the comment!
Thanks for this.
Thanks for the comment. Density control may be applied as a variation or collage technique for creating a continuity from a multipart musical nucleus. It also fits nicely in the serialist toolbox. It is not a development technique in the classical sonata movement sense, though. Hopefully the video is useful for learning the technique.
Will you have books on The Schillinger System of Musical Composition, with a focus harmony and composition. Thanks again.
I have the two volumes of Schillinger System but it's hard going.
At some point I might provide guides to the complete SSoMC Harmony Books, as is the case for Theory of Rhythm e-book. Respecting the copyright on the source material, I present my understanding, an alternative quasi-mathematical symbol notation (the obvious hurdle for new readers) and describe the application process with practical examples. Currently, a limited set of composition techniques is demonstrated in these videos and in my website articles.
Agree. My SSoMC copies are full of pencil annotations, margin notes, cross-references, arrows and text labels in the musical staff examples, question and error marks. The mathematical symbols are puzzling, there is redundancy in the numerous combination and permutation sections. But for the pragmatic reader these volumes contain a treasure of creative ideas. Articles in music theory and computer music journals frequently reveal analogies, albeit in a more scientific and even more complicated mathematical notation.
If there's anything wrong with your videos (other than the lack of narration on these early ones), it's that so many ideas are thrown at the viewer at once. I get the feeling that I should be watching these in some order (probably chronological), because you present ideas and then skip to orchestration without showing the intermediate steps (like are shown here), and I can get the idea but not put it to use right away.
I probably should have started with this one. 8-)
@Christopher Heckman It is not unlikely that starting with the later videos and then playing the 4-5 year old episodes causes puzzlement, wonder, and/or irritation. I started the channel with 'slide shows', without voiceover, and with high information density. Only later I used better tools and decided on a more didactic approach.