Tuesday, April 7, 2009

Monday, April 6, 2009

Previously, I've worked with the whole tone scale in ways that avoided the overly-augmented-chord sound. Working "against the grain" so to speak.

In today's canon, I attempt the same with the octatonic (diminished) scale. As I have already demonstrated, this scale can very easily generate diminished seventh chords. This canon is written to cycle through the four major and four minor triads that exist in this scale.

The lower two voices are in an exact canon at one beat temporal distance and a minor third above.

The upper voice can either be though of as a doubling of the comes (starting a fourth above) or as an additional canonic voice that is inexact in intervals because of its position above the dux.

(click on image to enlarge)

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