Very beautiful chord progression

Everyone should listen to
http://sites.netscape.net/thryomanes/PorcupineOverture.ra!

Herman Miller wrote,

>Okay. For the purposes of this analysis I'll use this notation for the
>15-note scale:

>C C# Db D Eb E F F# Gb G Ab A A# Bb B C

>This is a convenient notation since the note names without sharps or flats
>are a subset of Blackwood's decatonic scale, and most of the notated
>intervals end up being similar to traditional notation. Which note to
>notate as "D" is an issue that can be argued either way, but the others
>easily fall into place.

>So the main harmonic progression goes like this:

>Eb Eb Gb Bb (Eb minor)
>Bb Eb Gb Bb
>Ab Eb Ab Cb (Ab minor)
>Eb Eb Gb Bb (Eb minor)
>E E Fx A C (A minor + 7th harmonic)
>A E Fx A C
>E E G# B (E major)
>G D G B (G major)
>Eb Eb Gb Bb (Eb minor)

>Note that Fx is the same note as Gb, and G# is the same note as Ab.

Thanks Herman. See the subject line. Dante, I'd say this is a great example
of "familiar-ish harmonic progressions recast/morphed with detailed
microtonal nuance." The "A minor + 7th harmonic" is actually the way the
utonal tetrad comes out in 15-tET, since 7/8 and 6/7 are both represented by
3 degrees of 15-tET.

Herman, can you spell out the main melody (which occurs over this
progression) for us?

On Thu, 23 Dec 1999 17:17:12 -0500, "Paul H. Erlich"
<PErlich@Acadian-Asset.com> wrote:

>Thanks Herman. See the subject line. Dante, I'd say this is a great example
>of "familiar-ish harmonic progressions recast/morphed with detailed
>microtonal nuance." The "A minor + 7th harmonic" is actually the way the
>utonal tetrad comes out in 15-tET, since 7/8 and 6/7 are both represented by
>3 degrees of 15-tET.

Yes, I think the utonal tetrad makes more sense. I'll change the spelling
to Gb.

>Herman, can you spell out the main melody (which occurs over this
>progression) for us?

harmony melody
Eb Eb Gb Bb Bb---- Ab Gb-
Bb Eb Gb Bb Bb---- Ab Gb-
Ab Eb Ab Cb Cb- Bb Ab----
Eb Eb Gb Bb Bb---- Ab Gb-
E E Gb A C Fb---- Gb Ab-
A E Gb A C Gb---- Eb-
E E G# B Fb---- Gb Fb-
G D G B Gb- Fb Db----
Eb Eb Gb Bb Eb-------

C C# Db D Eb E=Fb F F# Gb G G#=Ab A A# Bb B=Cb C
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Hmm, I guess this notation doesn't work all that well for the melody and
harmony both at the same time, at least not in this key. But you can see
that the melody is a more or less diatonic one, at least as closely as you
can get a diatonic scale in 15TET. The harmony is the more interesting
part.
--
see my music page ---> +--<http://www.io.com/~hmiller/music/music.html>--
Thryomanes /"If all Printers were determin'd not to print any
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>>Herman, can you spell out the main melody (which occurs over this
>>progression) for us?

>harmony melody
>Eb Eb Gb Bb Bb---- Ab Gb-
>Bb Eb Gb Bb Bb---- Ab Gb-
>Ab Eb Ab Cb Cb- Bb Ab----
>Eb Eb Gb Bb Bb---- Ab Gb-
>E E Gb A C Fb---- Gb Ab-
>A E Gb A C Gb---- Eb-
>E E G# B Fb---- Gb Fb-
>G D G B Gb- Fb Db----
>Eb Eb Gb Bb Eb-------

>C C# Db D Eb E=Fb F F# Gb G G#=Ab A A# Bb B=Cb C
>0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Thanks, Herman. I asked because I heard the Db over the "G major" chord, and
it sounded oddly "right", despite the fact that it should clash with the D.
But I think a D would sound wimpy in the melody. I love it!