This
work began with a study into the 12 "family Groups" of
the I ching (see
the scans from my note books) The use of the family
groups supplied me with the scales and tonal center. Plus there
was some uses of modes within the scales as affected by the keys
of the other scales in the group.
I then used the triads from each scale as I have them organized
in relationship to the tonic of the scale. Organized from lowest
in the overtone series to highest. For example the major triad
on the tonic would be a 1 - 5 - 3 triad therefor it would be
classified as a 9 triad. A diminished triad on the major seventh
of a major scale would be a 15-9-21 therefore it would be classified
as a 45 triad etc.
These triads were then give to each horn in the speed of the
vibration of the key. This the was organized and written out
in a somewhat logical way. With the contrasting tempos organized
into a common denominator.
The bells were then figured from the relationship of the tones
of the two horn parts based on the resultant overtones.
Then when a consonant occurred it is repeated. Each consonant
is repeated one more time than the preceding one.
This to me depicts a conversation
where two people find things in common and
"click" this clicking is part of falling in love.
Richard Burdick
11-17-2004 |