"Mother of Tongues" (pt.2): sonic migration

[guitarjazz]

Love it...now to study it.

[leigh]

Hey ML!

I just found this site today and when I listened to your sonic migration examples, I was really excited! I think I understand some of the basics now. As you say, the blocks are the essence of the chord and the Lydian Tonics are what provide the context appropriate to the melody. Your "Rainbow" example was very helpful to me in figuring this out. As I understand it, the functional tonal harmony is replaced by a kind of TG modal harmony.

I sketched out an idea to see what it's like to use the blocks. I have an D Lydian melody harmonized originally with DMA7, Emi7, Eb7 DMA7 which I reharmonized with your technique. Here's what it sounds like:

http://minormodemusic.com/prv/LCC/Island_Light.mp3

And Here's the score:

http://minormodemusic.com/prv/LCC/Island_Light.pdf

Let me know what you think of the sketch.

I'm going to have to dig into how to create the blocks. It sounds like they are based on the LC intervals.

One question I have is: how do you do contrapuntal line writing with the sonic migration voicings?

Thanks so much for posting this technique!

**Leigh

[leigh]

The color in these blocks reminds me of Messiaen's "Des Canyons aux Étoiles".

[leigh]

If your reference to the clarinet being inside the piano refers to Messiaen's "Quartet For The End Of Time", I'll listen to it again with the score because I will hear it now with fresh ears. Thanks!

If you ever get the chance to hear "Des Canyons aux Étoiles" (commissioned by Alice Tully for the US bicentennial) performed by a good orchestra in a good hall, you will be amazed. He really expresses the majesty, grandeur and color of Bryce and Zion parks. Recording doesn't come close to capturing the warmth and resonance. The Hamburg Symphony played it here last winter and—Oh My!

Is it possible for you to upload the three parts of "Mother Of Tongues" in MusicXML format? I want to experiment with it using many different instruments. I could enter it but would rather spend my time being curious and creative instead of mechanical.

**Leigh

[leigh]

Motherlode

I'm always interested in feedback.

I like it that you gave part of the line to the piano; I learn something new every day. I agree with you that the Eb7 seems out of character and the (sort of) A7 is a better fit.

I'm still trying to understand how you derive the Sonic Migrations, specifically the Consonant Nucleus Blocks. I'm guessing it is based on the intervals of both the Mother Chord and the Tonal Gravity chart. Is that right? I'll keep plugging away at this because I have a strong sense that the color choices provided by the Migrations are what I am wanting. It's really exciting to have that sense of a new door opening and it's not open enough yet to see and hear what's on the other side but only enough to make me really want to open it up all the way.

Do you know if GR and Herbie Nichols knew each other?

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I am not a student here now. I am one of those people who went to school here and never left. 35 years ago I studied composition at U. of M. and got a BA in it but not from the Music School. I didn't go into music then because, with the acuity of hindsight, I was too afraid of the criticism. About 12 years ago I decided I didn't care what anyone else thought about me and my music so I started writing and playing my bass again.


**Leigh

[leigh]

Motherlode,

I am coming from the functional harmony approach to harmonizing melodies and I seem to be trying to make the Migrations just a system of chord substitutions. That doesn't feel right. If the chord-substitution approach isn't right, how should I be thinking about it?

**Leigh

[bobappleton]

I was reminded of this yesterday in an email from Chesper Nevins... These insights into the LCC deserve to be published in a book of insights. Chesper has another new way of thinking about the concept – maybe he'll share it here..? In any case it looks in my simple mind (imsm) like something a kid could understand – and whoever does that project will make a major contribution to George's legacy )

b