Vilen
2012-05-29 11:45:46 UTC
Already earlier I came to idea that music system must be built in the
way which includes special tools for known perception elements of
music signal:
-melody line, which is determined by places of maximal excitement of
cochlea;
-designation of fundamental frequency for satisfaction of special
function of human brain ( to exclude sensation of subconscious anxiety
in opposite case). I think that such designation must be provided by
low pitch note with harmonic structure of partials;
- securing of horizontal ties of melody. I think that here the
harmonic structure isn't optimal and many other structures may be
tried.
-Horizontal ties are the part of euphony which depends from structure
of the melody note too. I came to conclusion that basic structures of
that melody notes mustn't include clear dissonances and music system
must have special tool for addition of desirable ones. The common
harmonic note structure contains only dissonances of high harmonic
components and another desired dissonances are provided by
interaction with support notes. Different music theories as
contrapoint, general bass and chord progressions give rules to such
interaction but don't give phenomena understanding and for obtaining
of last one conscious control of dissonances is important.
Therefore I suggest several structures of melody notes which don't
contain dissonances can provide significant more power by creation of
horizontal ties. By it dissonances are provided by special tool which
indicates ( by ordinal numerals of overtones) 1 or 2 additional
sinusoidal components which have semitone dissonances with indicated
overtones.
With aim to easy experiment with scores of known works I chose
following basic structures in semitones for melody notes:
0-12-4-3-5-4-3-5-4-3-5......
0-12-7-3-2-7-3-2-7-3-2......
Any of them permits to get 5 other structures with help of
permutations for example 3-4-5 or 3-7-2. Besides I foresee the
possibility to displace all overtones up or down relative root. Both
types of alterations permit to obtain desirable ties between notes
with arbitrary distances between their roots.
May other structures are possible too. For example
0-9-4-3-2-4-3-2-....where another 5 permutations of the sequence
4-3-2 may be applied or 0-10-4-3-3-4-3-3.... or
0-11-4-4-3-4-4-3....where another 2 permutations of the sequences
may be applied and so on. It is easy to understand that by the ways
of displacement of overtones relative note' root and choose of the
their structure there are huge possibilties to vary horizontal ties
and euphony in general.
On the site http://home.arcor.de/yuri.vilenkin/mel-harm-rev.html some
experiments with encoding of known music works on the basis of above
said ideas.
way which includes special tools for known perception elements of
music signal:
-melody line, which is determined by places of maximal excitement of
cochlea;
-designation of fundamental frequency for satisfaction of special
function of human brain ( to exclude sensation of subconscious anxiety
in opposite case). I think that such designation must be provided by
low pitch note with harmonic structure of partials;
- securing of horizontal ties of melody. I think that here the
harmonic structure isn't optimal and many other structures may be
tried.
-Horizontal ties are the part of euphony which depends from structure
of the melody note too. I came to conclusion that basic structures of
that melody notes mustn't include clear dissonances and music system
must have special tool for addition of desirable ones. The common
harmonic note structure contains only dissonances of high harmonic
components and another desired dissonances are provided by
interaction with support notes. Different music theories as
contrapoint, general bass and chord progressions give rules to such
interaction but don't give phenomena understanding and for obtaining
of last one conscious control of dissonances is important.
Therefore I suggest several structures of melody notes which don't
contain dissonances can provide significant more power by creation of
horizontal ties. By it dissonances are provided by special tool which
indicates ( by ordinal numerals of overtones) 1 or 2 additional
sinusoidal components which have semitone dissonances with indicated
overtones.
With aim to easy experiment with scores of known works I chose
following basic structures in semitones for melody notes:
0-12-4-3-5-4-3-5-4-3-5......
0-12-7-3-2-7-3-2-7-3-2......
Any of them permits to get 5 other structures with help of
permutations for example 3-4-5 or 3-7-2. Besides I foresee the
possibility to displace all overtones up or down relative root. Both
types of alterations permit to obtain desirable ties between notes
with arbitrary distances between their roots.
May other structures are possible too. For example
0-9-4-3-2-4-3-2-....where another 5 permutations of the sequence
4-3-2 may be applied or 0-10-4-3-3-4-3-3.... or
0-11-4-4-3-4-4-3....where another 2 permutations of the sequences
may be applied and so on. It is easy to understand that by the ways
of displacement of overtones relative note' root and choose of the
their structure there are huge possibilties to vary horizontal ties
and euphony in general.
On the site http://home.arcor.de/yuri.vilenkin/mel-harm-rev.html some
experiments with encoding of known music works on the basis of above
said ideas.