newbie tonality diamond question

Ok, I understand the row in one direction is major chords, and one
direction is minor chords, but is there a pattern to mixing cells from
both directions? And the melody can come from any cell?

7-limit tonality diamond
7/4
3/2 7/5
5/4 6/5 7/6
1/1 1/1 1/1 1/1
8/5 5/3 12/7
4/3 10/7
8/7

A pattern to mixing cells -- could you be more specific?
Melodies can come from anywhere you like, but one obvious
approach is to treat each row (in either direction) as a
scale. IOW, the major chords played melodically become
major scales, and the same with the minor chords.

-Carl

At 07:52 PM 10/3/2006, you wrote:
>Ok, I understand the row in one direction is major chords, and one
>direction is minor chords, but is there a pattern to mixing cells from
>both directions? And the melody can come from any cell?
>
>7-limit tonality diamond
> 7/4
> 3/2 7/5
> 5/4 6/5 7/6
>1/1 1/1 1/1 1/1
> 8/5 5/3 12/7
> 4/3 10/7
> 8/7

> Ok, I understand the row in one direction is major chords, and one
> direction is minor chords, but is there a pattern to mixing cells from
> both directions? And the melody can come from any cell?

One approach would be to derive the melody by other means (such as
picking a subset of the diamond and treating it linearly), then use
the pitches in the melody to suggest appropriate accompanying chords.

In my personal experience, I was only able to create harmonic
progressions I really found interesting when I considered combining
the rows and columns of the diamond into "L"-shaped triads and
box-shaped tetrads.

Good luck, and don't forget to post the results! :)

-Chris Bryan

At 07:20 AM 10/4/2006, you wrote:
>> Ok, I understand the row in one direction is major chords, and one
>> direction is minor chords, but is there a pattern to mixing cells
>> from both directions? And the melody can come from any cell?
>
>One approach would be to derive the melody by other means (such as
>picking a subset of the diamond and treating it linearly), then use
>the pitches in the melody to suggest appropriate accompanying chords.
>
>In my personal experience, I was only able to create harmonic
>progressions I really found interesting when I considered combining
>the rows and columns of the diamond into "L"-shaped triads and
>box-shaped tetrads.
>
>Good luck, and don't forget to post the results! :)
>
>-Chris Bryan

Denny Genovese found he could get better melodic material out
of a modified diamond -- harmonics 8-16 crossed with
subharmonics 6-12.

-Carl

> Denny Genovese found he could get better melodic material out
> of a modified diamond -- harmonics 8-16 crossed with
> subharmonics 6-12.

Ok, that just blew my mind.

Recovering,

-cb

I have always preferred the idea of two diamonds a 3/2 or 4/3 apart that way you get repeating tetrachords.

c.m.bryan wrote:
>> Denny Genovese found he could get better melodic material out
>> of a modified diamond -- harmonics 8-16 crossed with
>> subharmonics 6-12.
>> >
>
> Ok, that just blew my mind.
>
> Recovering,
>
> -cb
>
>
> > Yahoo! Groups Links
>
>
>
>
>
>
>
>
>
>
>
> -- Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles