4 part-writing exercise - need evaluation
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- Banned
- 3946 posts since 25 Jan, 2009
A happy ending then. Like a perfect V-I progression
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
right now it's just mysterious and eastern over a drone. I'm using ROLI Seaboard controller and it's blowing my mind. What this Equator instrument is capable of (all of the parameters can be modulated with multiple layers of the dimensions) and the expressiveness of the controller, OMG.
This is going to be a really different track. I have such unbelievable toys now.
This is going to be a really different track. I have such unbelievable toys now.
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- Banned
- 3946 posts since 25 Jan, 2009
Sounds like a tool for harmonic planing, Yeahjancivil wrote: ↑Sat Oct 27, 2018 6:47 am right now it's just mysterious and eastern over a drone. I'm using ROLI Seaboard controller and it's blowing my mind. What this Equator instrument is capable of (all of the parameters can be modulated with multiple layers of the dimensions) and the expressiveness of the controller, OMG.
Guess it wouldn’t be something for Joseph (though right now I feel like beating him up with it; reading his testament just to find out he forgot to tell why these fifths should be avoided in the first place, senile old fool) This far I have thought of these boards as way too expensive controllers for me. But as more of you get on the wagon, my couriosity grows. Lets hear then, when the drone is ready for exposure. I understand there is a version with few octaves not that expensive, yes?-
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
Well, you can make the things go in the opposite direction too. Such as you slide up the key or glide one of the two ways and set it to invert this, ie, you can set the dimension to do that or the patch to go both ways.
But as to planing, yes, you can make say the resonance follow the glide in pitch or whatever.
I got interested in MPE when I saw AR Rahman, an Indian composer, in a Youtube performing on the Continuum, which is 5 thousand bucks (but it has its own sound banks, and is huge) or something. I think it's the immediate predecessor to the ROLI and the Linnstrument.
This one I have is 24 keys, and cost 300 bucks, another 79 for the instrument, which is currently still bundled this way.
I'm really into bending notes and you just slide your finger to the next note, and you can just dwell in between; and as you press to get more out of other elements of the patch. Also something like an expressive trill I could NEVER GET NEAR with a keyboard just happens, graces and all of this. This patch uses a 'bansuri breath' sample for one oscillator and the 'strike' dimension is just amazing, you hit it hard and it's shockingly real, the blast of the flute attack. It's an AR Rahman patch, in fact. Extremely sensitive. It's mushy and soft.
It's kind of sexual. :8
But as to planing, yes, you can make say the resonance follow the glide in pitch or whatever.
I got interested in MPE when I saw AR Rahman, an Indian composer, in a Youtube performing on the Continuum, which is 5 thousand bucks (but it has its own sound banks, and is huge) or something. I think it's the immediate predecessor to the ROLI and the Linnstrument.
This one I have is 24 keys, and cost 300 bucks, another 79 for the instrument, which is currently still bundled this way.
I'm really into bending notes and you just slide your finger to the next note, and you can just dwell in between; and as you press to get more out of other elements of the patch. Also something like an expressive trill I could NEVER GET NEAR with a keyboard just happens, graces and all of this. This patch uses a 'bansuri breath' sample for one oscillator and the 'strike' dimension is just amazing, you hit it hard and it's shockingly real, the blast of the flute attack. It's an AR Rahman patch, in fact. Extremely sensitive. It's mushy and soft.
It's kind of sexual. :8
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- Banned
- 3946 posts since 25 Jan, 2009
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- Banned
- 3946 posts since 25 Jan, 2009
Sorry for the necro reviving but yesterday I found a good short entry about the differences between Palestrina and Fux style as to the question of parallel fifths. As expected, Fux style is more restrictive. Seems like a lot of the heat in this debate was due to the usual mixup between these traditions, but given the author of this entry got it right (derived from Knud Jeppesen’s and Shoenberg’s books about counterpoint), the deal with parallel fifths and octaves is this:
https://www.fransabsil.nl/archpdf/schvsjep.pdf
Parallel fifths or octaves
Knud Jeppesen (Palestrina style)
Not too much concerned with (consecutive) intermittent octaves (8) and fifths (5) after suspensions or cambiata.
Schoenberg (Fux style)
Very careful with intermittent octaves and fifths.
Hidden fifths (5) and octaves (8)
Knud Jeppesen (Palestrina)
Allowed in 3-part between outer voices, if step-wise motion in upper voice occurs. Hidden 8s allowed in 4-part (again, for stepward moving upper voice).
Leaps: downward leaps up to a fifth ( 5), upward leap up to a minor sixth ( ♭6).
Changing notes: lower (dissonant) changing note allowed in 3rd species, upper changing note allowed in 5th species.
Arpeggio chords: in the melody (upper voice) 2 consecutive leaps of each a third (3) are allowed.
Both hidden 5s and 8s allowed between outer voices in 3-part, but preferrably with stepwise motion in upper voice.
Schoenberg (Fux style)
Allowed in 3- and 4-part in the inner voices and between inner and outer voices (in general, not between outer voices).
No leaps>5.
No dissonant changing tones allowed.
No arpeggio chords allowed in any voice.
So that’s that, basically, if the author got it right, but seems plausible to me. And here is an extract from Glen Haydon’s foreword to an english translation of Knud Jeppesen’s book as to Jeppesen’s focus on one period only (1600th century):
Oops
The thoughtful ones, yes. We should indeed distinguish sharply between modal and tonal counterpoint if we want to avoid a mess discussing this in the future. One shouldn’t start from memory like we did but reconsult the sources or someone who has the overview like above. I take my part of the blame and will do the mea culpa with my whip later. 
https://www.fransabsil.nl/archpdf/schvsjep.pdf
Parallel fifths or octaves
Knud Jeppesen (Palestrina style)
Not too much concerned with (consecutive) intermittent octaves (8) and fifths (5) after suspensions or cambiata.
Schoenberg (Fux style)
Very careful with intermittent octaves and fifths.
Hidden fifths (5) and octaves (8)
Knud Jeppesen (Palestrina)
Allowed in 3-part between outer voices, if step-wise motion in upper voice occurs. Hidden 8s allowed in 4-part (again, for stepward moving upper voice).
Leaps: downward leaps up to a fifth ( 5), upward leap up to a minor sixth ( ♭6).
Changing notes: lower (dissonant) changing note allowed in 3rd species, upper changing note allowed in 5th species.
Arpeggio chords: in the melody (upper voice) 2 consecutive leaps of each a third (3) are allowed.
Both hidden 5s and 8s allowed between outer voices in 3-part, but preferrably with stepwise motion in upper voice.
Schoenberg (Fux style)
Allowed in 3- and 4-part in the inner voices and between inner and outer voices (in general, not between outer voices).
No leaps>5.
No dissonant changing tones allowed.
No arpeggio chords allowed in any voice.
So that’s that, basically, if the author got it right, but seems plausible to me. And here is an extract from Glen Haydon’s foreword to an english translation of Knud Jeppesen’s book as to Jeppesen’s focus on one period only (1600th century):
https://ia801707.us.archive.org/2/items ... 00jepp.pdfMore and more, thoughtful musicians have come to realize that one cannot teach counterpoint "in general" without inviting endless controversy as to what is permissible and what is not
Oops
The thoughtful ones, yes. We should indeed distinguish sharply between modal and tonal counterpoint if we want to avoid a mess discussing this in the future. One shouldn’t start from memory like we did but reconsult the sources or someone who has the overview like above. I take my part of the blame and will do the mea culpa with my whip later. 
