Thank you for your curiosity regarding Pulse Story the music composition. The ideas behind pulse story include first, the development of multiple personas as humans grow older. I call these the wisdom teeth or “interlude” parts in the composition. They are played by the Solo Vox flutish vocal sounds. Second, the shifts in how people form, break, and reform connections and levels of closeness to other people. I call these the quantum jump or “pulse” parts in the composition. They are played by the piano, horn, timpani, and oboe sounds.
I feel that personas develop in response both to primal drives we are born with and demands made on us by the fact that we live with other people. There is an ongoing push and a pull between us and the world and this influences our personal wisdom teeth development and our social connection quantum jumping around. Sometimes these changes are discontinuous and sometimes they are smooth.
These ideas have been on my mind and I’ve been studying, expressing, and sharing them in words and images and I wanted to add an aural expression.
I also wanted something that was holographic, any one part of the composition could represent the entire composition. So if a traditional story or song has a beginning, middle, and an end, for me, pulse story has ongoingness. It is a bunch of so many stories shifting around at such a varying pace that perhaps our awareness can step back and feel the whole. The more I listen to it the more I like it.
I set out to create in sounds ideas I had expressed in words and images in order to get away from expressing them in words. And here I am expressing the sounds back in words, hopefully with a new take on ideas the second time around.
Was this of interest? Hope you enjoyed it :) See you soon.
Introduction: The A2442c Pentatonic Parallel Scales provide a custom set of notes than can be used to bridge compositions in other tonalities and for independent compositions as well.
Basics: Here are the A2442c Pentatonic Parallel Scales:
|A24c Pentatonic Minor||A Bb B D Eb|
|A42c Pentatonic Major||A Bb Db D Eb|
Theory: A24c and A42c are parallel minor and major pentatonic 5-note scales. Written in tone (pitch) notation they are A Bb B D Eb and A Bb Db D Eb. Written in interval (pitch difference) notation they are A11316 and A13116. A24c is minor because its first characteristic interval (root-mode) is smaller (2). A42c is major because its first characteristic interval (root-mode) is larger (4). A is the root tone of both scales, B and Db are the modes, and Eb is neutral. There are no active notes.
Bridge: A2442c is a custom parallel pentatonic scale pair constructed to contain notes bridging two other tonalities. Here are the A2442c notes and the bridged tonalities:
|C3663 <=> A Bb B Db D Eb <=> F2552|
Mirror Scales and Negative Harmony: A24c and A42c are mirror reflections of each other. Mirror reflection is also called Negative Harmony. A note or chord selected from a minor scale can be reflected to a parallel note or chord in the parallel major scale.
Here are the A11316 and A13116 5-note scales shown using Negative Harmony where A reflects to Eb and back, and B reflects to Db and back. (Bb and D also reflect though they have no labeled function.)
Tonality/Borrowing: A note, note progression, chord, or chord progression can be written using a) only the minor scale, b) only the major scale, or c) both. Using chords from both scales together is called borrowing. A composition using both minor and major scales and their chords can be said to be written using their full tonality.
Tonality Benefits: Using minor and major scales together gives additional note (melody) and chord (cadence) options for writing songs while staying within an overall tonal feel.
Chords: The use of trichords can be extended to use paired 2-tone, and paired 1-tone intervals:
|Scale||Scale Tones||Chords||Chord Tones|
|A11316 (A24c)||A Bb B D Eb||A11|
|A Bb B|
A B D
A B Eb
|A13116 (A42c)||A Bb Db D Eb||Db11|
|Db D Eb|
Bb Db Eb
A Db Eb
|Combined||A Bb B Db D Eb||A22|
|A B Db|
B Db Eb
Chord Functions: All A11316, A13116, and A112116 chord functions are Tonic (trichords contain Root and/or Mode notes only). Tonic chords may be considered to represent rest energy.
Cadences: All A11316, A13116, and A112116 cadences are Statences (chord sequences are Tonic-Tonic only). Statence cadences may be considered to represent rest=>rest movement energy.
Additional Scales: C3663 and F2552 are documented separately.
Transposing: The A2442c Pentatonic Parallel Scale Tones and Chords can be moved up or down in pitch to start on / be associated with a different root tone.
Example Composition: Bridge 11 A2442c
Fine Print: This post summarizes work and studies by James G Neville / Sitearm Madonna over the last 20 months. Adaptations and extensions of traditional music theory topics and notation as expressed in this post and associated scores are mine. Comments, questions, corrections are welcome.