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Music Discuss specific tunes, the writing of tunes, other questions, concerns, etc. related specifically to the music or music books.

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Old 01-05-2019, 07:50 AM   #1
David
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Default Ratio of Harmony to Melody--Ideas

I cannot imagine a single rule, other than musicality. Good musicians do not always agree on that, either. But ideas, opinions, experiences...?

I have played 1:1 with a strong chanter reed, and a well-set but quieter chanter reed playing harmony or counter melody. I like a strong melody-harmony sound myself. I don't even mind if the combination alters the emphasis of "main notes" and creates a whole new sense of melody.



BEGGAR'S SOUL - audio

This sample is a medium-strong harmony.
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Old 01-05-2019, 09:39 AM   #2
el gaitero
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Default Re: Ratio of Harmony to Melody--Ideas

If there were a steadfast rule there would be no waivering into the potential variables you mention as possibilities....until an upstart scallawag appeared.
The score is in the composers mind and whim, n’est-ce pas?
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Old 01-05-2019, 09:42 AM   #3
Klondike Waldo
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Default Re: Ratio of Harmony to Melody--Ideas

Nice tune, David.
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Old 01-05-2019, 03:46 PM   #4
Pip01
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Default Re: Ratio of Harmony to Melody--Ideas





Lovely, David... simply lovely... :)

Many thanks!











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Old 01-05-2019, 06:33 PM   #5
pancelticpiper
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Default Re: Ratio of Harmony to Melody--Ideas

It's always an issue in pipe bands, how many pipers to assign to a harmony part- and my experience has been that it can sound different outside the circle than inside. I'll listen to a recording and realise that the harmony needs to be louder, sometimes.

In the band I play in I write the harmonies but usually another piper plays them. This allows me to listen to their effect better than when I'm playing them myself.

One issue of course is that the various notes of the chanter scale are at different volume levels. Low G can really honk out even on a quiet chanter, High G and High A can disappear.
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Old 01-05-2019, 06:55 PM   #6
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Default Re: Ratio of Harmony to Melody--Ideas

After listening a few times, I think the melody get lost where the two parts cross in an eighth-note run , 2nd and 6th bars 2nd part- one plays B G, the other G B, what I hear is repeated B as a "burp"in the rhythm. I would think you'd need a louder instrument ( or more instruments)on melody ( or less on the harmony) to bring out the line.

That may be partly due to the timbre of the two lines as well- is it a computer-generated sound?
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Old 01-05-2019, 08:07 PM   #7
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Default Re: Ratio of Harmony to Melody--Ideas

Quote:
Originally Posted by Klondike Waldo View Post
After listening a few times, I think the melody get lost where the two parts cross in an eighth-note run , 2nd and 6th bars 2nd part- one plays B G, the other G B, what I hear is repeated B as a "burp"in the rhythm. I would think you'd need a louder instrument ( or more instruments)on melody ( or less on the harmony) to bring out the line.

That may be partly due to the timbre of the two lines as well- is it a computer-generated sound?
Hah--those Bs and low Gs were selected to give that double low eructus! I often compose melody and harmony together, and in fact let the two voices fall over each other. A complex melody formed of two-voices This being a mild example. Sometimes I'll write a piece with no part that could stand alone effectively. Whether this works for all or some ears is another matter indeed. Glad you spotted that B-low G bit. Both rendered as the same sound by strong note.

We all hear the same differently, and that is a good part of balancing harmony versus two-voiced music. I imagine classical music and jazz are leagues ahead of us in this. I am always searching out multiple voiced melody from any instruments.

B and low G are powerful together. Used to play a B to the long low G in Cockney Jocks, and carried through 5 or 6 melody pipers.
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