User talk:Rperlner: Difference between revisions

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:::: Okay, so scale structure is a more significant predictor of the resolution of tritone-like intervals. I've done polyphony before, but when I do so, it mostly centers around melodies and countermelodies. The accompaniment would be much the same style as in other pieces of mine, however, for something like a fugue, I guess that means I'll have to make more transitions, and make them closer together to see how it works. At this point, I don't seem to have a good inspiration for such a song. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 15:02, 15 December 2020 (UTC)

:::: So, I'm reworking one of my other pieces, but it seems to me that the more extensive harmonic development seen in Baroque-style pieces registers to me as a series of rapid-fire key changes. Furthermore, they seem to provide a sense of being unmoored- that is, they create such instability as to express a sense of disorientation, and that to the point where a resolution doesn't really feel like a resolution without careful setup. Therefore, my approach would involved trying to make the destination more clear towards the end of the song especially. What's more, as I ~~work in~~ the rapid-fire key changes using Xenharmonic intervals, I find that these key changes are significantly more difficult to work out- though you do reap some interesting rewards for doing this correctly. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:44, 17 December 2020 (UTC)

:::: So, I'm reworking one of my other pieces, but it seems to me that the more extensive harmonic development seen in Baroque-style pieces registers to me as a series of rapid-fire key changes. Furthermore, they seem to provide a sense of being unmoored- that is, they create such instability as to express a sense of disorientation, and that to the point where a resolution doesn't really feel like a resolution without careful setup. Therefore, my approach would involved trying to make the destination more clear towards the end of the song especially. What's more, as I incorporate the rapid-fire key changes using Xenharmonic intervals, I find that these key changes are significantly more difficult to work out- though you do reap some interesting rewards for doing this correctly. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:44, 17 December 2020 (UTC)

:: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality. Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality. Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC)

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 :::: Okay, so scale structure is a more significant predictor of the resolution of tritone-like intervals.  I've done polyphony before, but when I do so, it mostly centers around melodies and countermelodies.  The accompaniment would be much the same style as in other pieces of mine, however, for something like a fugue, I guess that means I'll have to make more transitions, and make them closer together to see how it works.  At this point, I don't seem to have a good inspiration for such a song. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 15:02, 15 December 2020 (UTC)
-:::: So, I'm reworking one of my other pieces, but it seems to me that the more extensive harmonic development seen in Baroque-style pieces registers to me as a series of rapid-fire key changes.  Furthermore, they seem to provide a sense of being unmoored- that is, they create such instability as to express a sense of disorientation, and that to the point where a resolution doesn't really feel like a resolution without careful setup.  Therefore, my approach would involved trying to make the destination more clear towards the end of the song especially.  What's more, as I work in the rapid-fire key changes using Xenharmonic intervals, I find that these key changes are significantly more difficult to work out- though you do reap some interesting rewards for doing this correctly. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:44, 17 December 2020 (UTC)
+:::: So, I'm reworking one of my other pieces, but it seems to me that the more extensive harmonic development seen in Baroque-style pieces registers to me as a series of rapid-fire key changes.  Furthermore, they seem to provide a sense of being unmoored- that is, they create such instability as to express a sense of disorientation, and that to the point where a resolution doesn't really feel like a resolution without careful setup.  Therefore, my approach would involved trying to make the destination more clear towards the end of the song especially.  What's more, as I incorporate the rapid-fire key changes using Xenharmonic intervals, I find that these key changes are significantly more difficult to work out- though you do reap some interesting rewards for doing this correctly. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:44, 17 December 2020 (UTC)
 :: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality.  Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality.  Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC)