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Re: [ambient harmony]Voice-of-Eye example.

Date1998-06-27 21:47
FromRichard Dobson
SubjectRe: [ambient harmony]Voice-of-Eye example.
This sound suspiciously like a classic 'melody and harmony' phenomenon! Even
apparently random superimpositions of textures could be composed in the
traditional way, to ensure melodic lines, foreground-shifting pitches, etc (
a.k.a. 'voice-leading') all work ...well, in harmony. Sometimes,
paper-and-pencil is the best way to do it. :-)

Richard Dobson

David Schuyeteneer wrote:
> 
> Thanks to all of you who have answered my question about
> harmony of ambient tones !! I'll continue my intagible quest for that
> particular sound ;-))  hehe...
> 
> I noticed that most the answers deal with the phenomena of sinusoidal
> partials...or something. Note that my question was actually rather
> about the overall pitch of (very) complex textures used in dronal
> electro-acoustic/ambient music. For example: recently I heard a
> track made by Voice-of-Eye, called "flotsam suspended in solar wind".
> That track has a huge sound with slooow, very rich textures...As the
> sound progresses, other sounds can be heard (ethereal processed voices
> etc..) fading in and co-altering on pitch with the sounds that are
> on the foreground at that moment. Of course I'm aware that the whole
> sound is not mathematically perfect harmonic (fund *2, *3, *4, etc...),
> but with many noise components and inharmonic partials, but that's not
> the point. The point is that *all* those textures plus the huge reverb
> in that Voice-of-Eye track *STILL* and *ALWAYS* sounds very delightful,
> typically ambient harmonically in the ear. When I layer textures, too
> much
> sounds NOT delightfully harmonic in the ear (doesn't mean that I dislike
> atonal, ugly noise, but when I want harmonic sound, then I want harmonic
> sound, not inharmonic sound. And vice-versa of course ;-))) )
> 
> David.