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Description
This piece of music started with an unusual thought... what if I played a chord (a triad), and then played a new chord by changing only one of the 3 notes, leaving the other two the same. Then I repeat this (change just one other note) to make the next chord, etc. Could I come up with a pleasing chord sequence this way? And could I wind up at the end, where one more note-movement would put me back at the beginning, so I can repeat?
After a number of attempts that made pretty patterns on paper but horrible sounds in my ear, I decided to start over. I chose a root key (F), and tried to get from D minor to A minor, and that helped a lot. I eventually wound up with the following interesting chord sequence. For some reason, the sequence sounded a little better with the Am chord held/repeated in bars 3-4, so you see no change there.
The real motivation I had behind this experiment was this: If two of the notes stayed the same into the next bar, why not tie them together, creating a sliding/interlocking overlap in the music. I was thinking (and hoping) that this overlapping continuity would “blur the lines” between bars, and possibly create an interesting “ambient music” effect.
Looking at the next figure, I have repeated the sequence once, and have tied the notes together, so you can now see the overlapping step-motion more clearly, and can see how it folds back at bar 7 for the repeat.
As I was experimenting with this somber piece and wondering what could possibly be added to give a main melody, Andy Wigzell sent me a note asking if we could work together on a piece specifically written to feature his sax playing. We ran off together and collaborated, and we created a "Sax and Orchestra" piece here. Please feel free to also visit the Behind-theScenes tour where I describe how the sequence experiment progressed.
And now I have returned to finish the original slippery ambient synthesizer idea, and have posted the finished experiment here. I hope you enjoy this dark slow journey into the "sequence 3 dimension." As always, critical feedback is welcomed and encouraged. Special thanks to Kassia for doing a final sanity-check before I posted this.
After a number of attempts that made pretty patterns on paper but horrible sounds in my ear, I decided to start over. I chose a root key (F), and tried to get from D minor to A minor, and that helped a lot. I eventually wound up with the following interesting chord sequence. For some reason, the sequence sounded a little better with the Am chord held/repeated in bars 3-4, so you see no change there.
The real motivation I had behind this experiment was this: If two of the notes stayed the same into the next bar, why not tie them together, creating a sliding/interlocking overlap in the music. I was thinking (and hoping) that this overlapping continuity would “blur the lines” between bars, and possibly create an interesting “ambient music” effect.
Looking at the next figure, I have repeated the sequence once, and have tied the notes together, so you can now see the overlapping step-motion more clearly, and can see how it folds back at bar 7 for the repeat.
As I was experimenting with this somber piece and wondering what could possibly be added to give a main melody, Andy Wigzell sent me a note asking if we could work together on a piece specifically written to feature his sax playing. We ran off together and collaborated, and we created a "Sax and Orchestra" piece here. Please feel free to also visit the Behind-theScenes tour where I describe how the sequence experiment progressed.
And now I have returned to finish the original slippery ambient synthesizer idea, and have posted the finished experiment here. I hope you enjoy this dark slow journey into the "sequence 3 dimension." As always, critical feedback is welcomed and encouraged. Special thanks to Kassia for doing a final sanity-check before I posted this.
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WharmtonRise
Shay is very useful for those 'sanity checks'. Soon she'll be asking for checks for the checks. Anyway, this is just great. Sound choices are excellent. I'm sure I hear an organ or at least a sound made from an organ sample. Organ sounds make some of the best ambient music. Bells are always good but this wouldn't be an Icy piece without the bells. Mix is great. Length is perfect. Very good Mr Eduard.