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% Percentage of Music %
By Baran Güleşen
This study is composed of assorting the sounds based on percentage calculations and playing them according to percentage values determined by the time flow.
The purpose is to create music with the total and simultaneous existence percentages and proportions of the instruments within a standard musical work that “may sound nice”. Within the literature, it is called the algorithmic music.
In this context, the instruments which I used to form the main system are drum parts (kick, trumpet and cymbals). The other instruments, bass guitar and piano pitches are attached to drum parts (kicks for bass guitar and, cymbals for piano).
The algorithm I used to form the musical piece is the percentage values within the time flow I gave to drum parts.
Establishment of Rhythmical Structure by Proportions
Establishment of the System;
If we say that there are;
4 beat of cymbals,
1 beat of trumpet,
1 beat of kick; within a simple 4/4 drum rhythm;
If we double the cymbal beats of this rhythm (2/4), we can say that the percentage values within the flow will be like this:
· 30% open cymbals
· 30% closed cymbals
· 10% trumpet
· 10% kick
If I double the number of trumpets too (ghost beats) and if I use the cymbal once open once closed, I can animate the sound and tension of the drum.
And when I add the time within which the noise is made, I can name it noiselessness and reconsider the proportions of the system, I’ll have 5 data.
To establish the rhythmical structure, I can use these percentage values:
· o- hihats 30%
· c- hihats 30%
· snare 20%
· kick 10%
· space 10%
The musical colors of my system are drums, bass and piano. If I change these colors (Guitar instead of piano, trombones instead of bass, piano instead of drums) and if I want to augment or reduce their number of existence within time, the only thing I have to do is to augment or reduce the percentage values of the system elements and to change the colors of the instruments.
Harmonic Structure
To establish the harmonic structure, I took up the octave starting from DO to the next DO. This means that; to form the musical scale I want, I picked the sounds which do not belong to the musical scale within the 13 notes.
In this context, if we count 13 notes respectively starting from Do and we extract the sounds not belonging to major scale, we can achieve the sounds within do major scale as follows.
Example
l C – C# - D – D# - E – F - F# - G – G# - A – Bb – B – C
l 1 2 3 4 5 6 7 8 9 10 11 12 13
When we extract the notes not used numerically, we will have,
l C - D - E - F - G - A - B
l 1 3 5 6 8 10 12 notes, in other words, their numbers.
So, we’ll have piano and bass guitar percentages rambling within do major scale or la minor scale and triggered off by percentage values.
I can establish the other model scales in this way. Thus, we’ll have the possibility to conduct simultaneously the harmonic algorithms written separately for bass guitar and for piano.
In the same time, whilst I play C Ionian with piano, I can play C Dorian or mixolydian with the bass guitar, however in this study I played and registered all the scales separately, to handle just one frame, just like in the picture.
Interrelations of Rhythmic, Harmonic and Chord Structures
To make the combination of three systems, I used the rhythmic structure, which is the main body.
The kick by 10% plays the 10% bass guitar
And the open hi-hat beats by 30% play the 30% piano beats.
In this context, among the textural instruments I had, the determined one was just the chord transitions flowing in accordance with rhythmic structure.
For example, whilst C Ionian algorithm is going on,
C, D- , E- , F, G, A-, Bdim ... circle
Whilst C Dorian algorithm is going on,
C-, Ddim, E+ , F- , G, Ab, Bdim ... circle...
Drum, piano and bass guitar notes appearing are determined by the percentage values, so I wrote their notations as percentages.
In this context, the percentage values within this study are as follows:
30% piano + open hi-hat
30% close hi-hat
10% bass + kick
20% snare + chords
10% space
ex.of harmonicminor
Spring 2009, Baran Güleşen
% Percentage of Music %
By Baran Güleşen
The purpose is to create music with the total and simultaneous existence percentages and proportions of the instruments within a standard musical work that “may sound nice”. Within the literature, it is called the algorithmic music.
In this context, the instruments which I used to form the main system are drum parts (kick, trumpet and cymbals). The other instruments, bass guitar and piano pitches are attached to drum parts (kicks for bass guitar and, cymbals for piano).
The algorithm I used to form the musical piece is the percentage values within the time flow I gave to drum parts.
Establishment of Rhythmical Structure by Proportions
Establishment of the System;
If we say that there are;
4 beat of cymbals,
1 beat of trumpet,
1 beat of kick; within a simple 4/4 drum rhythm;
If we double the cymbal beats of this rhythm (2/4), we can say that the percentage values within the flow will be like this:
· 30% open cymbals
· 30% closed cymbals
· 10% trumpet
· 10% kick
If I double the number of trumpets too (ghost beats) and if I use the cymbal once open once closed, I can animate the sound and tension of the drum.
And when I add the time within which the noise is made, I can name it noiselessness and reconsider the proportions of the system, I’ll have 5 data.
To establish the rhythmical structure, I can use these percentage values:
· o- hihats 30%
· c- hihats 30%
· snare 20%
· kick 10%
· space 10%
The musical colors of my system are drums, bass and piano. If I change these colors (Guitar instead of piano, trombones instead of bass, piano instead of drums) and if I want to augment or reduce their number of existence within time, the only thing I have to do is to augment or reduce the percentage values of the system elements and to change the colors of the instruments.
Harmonic Structure
To establish the harmonic structure, I took up the octave starting from DO to the next DO. This means that; to form the musical scale I want, I picked the sounds which do not belong to the musical scale within the 13 notes.
In this context, if we count 13 notes respectively starting from Do and we extract the sounds not belonging to major scale, we can achieve the sounds within do major scale as follows.
Example
l C – C# - D – D# - E – F - F# - G – G# - A – Bb – B – C
l 1 2 3 4 5 6 7 8 9 10 11 12 13
When we extract the notes not used numerically, we will have,
l C - D - E - F - G - A - B
l 1 3 5 6 8 10 12 notes, in other words, their numbers.
So, we’ll have piano and bass guitar percentages rambling within do major scale or la minor scale and triggered off by percentage values.
I can establish the other model scales in this way. Thus, we’ll have the possibility to conduct simultaneously the harmonic algorithms written separately for bass guitar and for piano.
In the same time, whilst I play C Ionian with piano, I can play C Dorian or mixolydian with the bass guitar, however in this study I played and registered all the scales separately, to handle just one frame, just like in the picture.
Interrelations of Rhythmic, Harmonic and Chord Structures
To make the combination of three systems, I used the rhythmic structure, which is the main body.
The kick by 10% plays the 10% bass guitar
And the open hi-hat beats by 30% play the 30% piano beats.
In this context, among the textural instruments I had, the determined one was just the chord transitions flowing in accordance with rhythmic structure.
For example, whilst C Ionian algorithm is going on,
C, D- , E- , F, G, A-, Bdim ... circle
Whilst C Dorian algorithm is going on,
C-, Ddim, E+ , F- , G, Ab, Bdim ... circle...
Drum, piano and bass guitar notes appearing are determined by the percentage values, so I wrote their notations as percentages.
In this context, the percentage values within this study are as follows:
30% piano + open hi-hat
30% close hi-hat
10% bass + kick
20% snare + chords
10% space
ex.of harmonicminor
Spring 2009, Baran Güleşen
