In most of popular music that we refers a chord changes, as a harmony modulation, is given every times that something big happens…in other words. moving from your kitchen to living room has less perceived changes ‘cause you know where are you going. If you don’t know, your excitement is near to zero. If from your bedroom you’re literally kicked out in the space self-excitement speed up even if you’re already been there.
It’s quite the same…
Users can have the control of the kind of experience, but if you haven’s a shuttle you cannot pretend to go in space.
Just deciding some rules, and this harmonic rules I think has to follow the music theory, ‘if not is like cooking a pizza with the chemistry manual.
From the down of time the most successful musical forms has a standard structure and I totally agree with Laurent on moving on that.
My solution to the problem:
– Forma sonata: (XVIII-XIX) —> esposizione, sviluppo, ripresa
– Blues progression —> 12 bars progression on I – IV – V
– Pop music structure —> made of verse, chorus, special
– Electronic music —> verse, chorus, breakdown (or bridge)
– Italian tarantella —> I (4 bars), V(4 bars x2), I (instr.)
bla bla bla
So people’s musical attention are more concentrated in a tropical structure that reflect our daily life: wake up—> tension —> sleep.
We must think in 3.
Basic AI structures provides 3 kind of articulations that starts from a point zero to create some tension and come back in point zero again but with the heritage of all the mess in which we was before. Like my useless life more or less.
Starting point is always the “beginning” of the story and it comes again after a period of tension.
The level of tension is given by the sensors but basically nothing happens.
In other words, let’s try an example:
CASE 1, life is boring and nothing happens: 1 —> 2 —> 3 (1 updated)
CASE 2, much more tension: 1 (let’s add a transition here) —> 2 (maybe in two parts) —> 3 (1 updated again)
CASE 3, lots of tension. Barak Obama switches on AI: 1 (with 6-7 transitions and new updated repetitions) —> 2 (it last for almost 7 hours and move in all the fuckin’ tonalities) —> 1 again (some kind of peace, but the devil is at your shoulders).
So, the point is to create for each theme these kind of features (maybe more than one series for each theme):
Event 1 – point zero
Event 2 – tension
Event 3 – conclusion
For each theme provide other extra part to be added in base of the sensor to create a level of tension:
each of theme made of beats, pads, bass, leads of course.
Tonality changes will be related to the fuckin’ holy circle of fifths:
the more tension the more it goes far from the original tune.