Posted
While I have had very good success with capturing numerous figures melodically, either by MIDI import or playing MIDI phrases, and then using variants of these to build endless melodic figures.
However, I've struggled a bit as I've contemplated how I apply figures to the harmonic progression, whether I use chords or similar melodic figures in the bass line. While I intend to build a large library of phrases targeted at melodic and harmonic progressions, I wonder if I'm "thinking" too much, and not being free enough to just throw some stuff in there and see what Synfire kicks out. I guess as a classically trained composer, I've always had to give such thought to how I use chords or other means as harmony often also dictates the rhythmic cadence.
I would love to hear from many of you who have used Synfire for some time, and how you "think" the application of certain figures to the harmonic progression...and should this be more experimentation on my part.
Please share some experiences or tips as it is much appreciated.
John
Wed, 2009-12-23 - 17:38 Permalink
Indeed. Rhythm and harmony depend on each other, so it is clear that not all phrases work equally well with every possible harmonic progression. In certain cases results are rather random, albeit still ok.
For example, if a progression moves very fast while the figures play some slow adagio, the character of the harmonic movement will be diluted or even disappear entirely, because the changes are likely to happen at places where no instrument is playing what could emphasize the change.
Anyway, in most cases it will still produce a consistent listener experience. Just throwing figures and harmony from different sources together is always worth a try.
Single Chord Textures
Suggestion: Start with a texture built on a single chord only. This will free you from "thinking to much" while you can focus on rhythm, sound and drama.
Add phrases for instruments until you think the sound, interaction and rhythmical patterns work fine. Work out passages of increasing tension and dramatic climaxes here and there, solely based on rhythm and instrument orchestration.
You will notice that Synfire already adds harmonic variety even for a single chord. It does not stick to the chord literally. The resulting texture will sound more refreshing and living than you might expect.
Keep the bass simple
Have the anchors of the bass (magenta symbols) stick to the zero line most of the time. Carefully add ornamentations. It's role is to support the harmonic movement later on when you add harmony, so harmony will make it move anyway. If you want additional contrapuntal voices in the bass register, use the lower playing range of the instrument for horizontal or other type of figures.
This method works best with a rich chord (many extensions) and weak voice leading. Once your texture works, add harmony to emphasize the dramatic structure. Then carefully tweak the interpretation and selected figures to emphasize harmonic changes.
Import a midi file by some classical composer and replace harmony with a single chord only to get a feeling for "bare textures".
Mon, 2010-11-15 - 06:25 Permalink
andre : "You will notice that Synfire already adds harmonic variety even for a single chord. It does not stick to the chord literally. The resulting texture will sound more refreshing and living than you might expect."
can it be constrained to "stick to the chord literally if you so choose?