Theoretical Sketching - Part 3 (Musical Palette)

My first step for this particular sketch was to create a synthetic scale or pitch set through which I can then find my melodic and harmonic material to compose with.

I enjoy using these synthetic scales quite a bit for they always yield many wonderful unique tonal and modal possibilities.

These scales generally contain and are not limited to a unique collection of chords and chord types that are ideal for creating a cue or piece of music.

I have chosen at random to use a minor and major triad separated by a whole step… please refer to my previous blog regarding synthetic scales (http://musiccomptech.blogspot.com/2013/02/synthetic-scales-pitch-sets.html) if any further information is required. 

The two triads I chose were D minor and E major which when combined created the scale pitch order of:
D E F G# A B

                                               (Click once on image for full-size)

The next step was then to analyze the scale for it's harmonic content and available triads… please always remember to check for all enharmonic possibilities... the available chords for this scale were as follows:

D minor, D sus2, Ddim., D lydian (incomplete)

E major, E sus4

F dim,

A sus2, A sus4

B dim.

Please note: Seventh chords are certainly available as well, however I have chosen to use only triads for this composition for the reason that triads generally offer more possibilities within this context. In addition triads can more times than not have a stronger idiomatic presence or possible stylistic use.

After I have derived the chord structures from such a scale I will then always look for unique characteristics within the chord structures that will generally dictate a compositional direction to follow. 

For example: 

1) The suspended chords have a nice open sounding nature to them, so I will intend to use them for sustained long duration notes or chord harmonies within the piece.

2) The three symmetrical diminished triads I will use for connecting sweeps, runs, etc… since they are traditionally used as leading and/or passing chords.

3) The original scale conception triads D minor and E major I will use for my main arpeggiated melodic and harmonic figures.

4) The incomplete D lydian structure I will use for color… for in my opinion lydian has such a wonderful quality of being stable yet it still implies movement.

This particular scale has yielded plenty of raw material in order to help me create my composition example. 

Please stay tuned for my next post when the notes actually start to hit the page in: Theoretical Sketching - Part 4 (Melodic and Harmonic Development).

I also suggest that at this point for those of you following this series of posts... that you also begin your own simultaneous examples. In order to ingrain the process and also to create your own piece of music as we continue together. Thank you!