Henrik Norbeck writes: >Yes, but even if you set "strangeness" in AbcMus to 100% at least >one of the notes in the chord must also be in the beat or bar it is >set to, so for instance (in key of G) |GABG| could only have the >following chords (I think): >G major, E minor, C major, B minor, D major, D minor, A major, >A minor, F major, F# minor, C minor, Eb major, G minor, B major, >E major, G# minor (the last ones are indeed pretty strange though) >But it could not have an F minor chord set to it, since none of the >notes in that chord (F Ab c) are in the music it should be set to. >
I play the pipes, so, apart from the elementary chords one can get from the regulators, harmony is Someone Else's Problem; and something that seems ordinary to someone else might seem strange to me. But it's more the overall sound than the individual chords. When you crank up the strangeness on a simple Irish polka and it comes out sounding like a fugitive from the Rites of Spring, what else can you call it? I'm still grinning. Obligatory abc content: The R: field is only supposed to go in the header, according to the 1.6 spec. Now that some playback programs use this field for their stress programs, I think it should be allowed in the tune. By coincidence, the tunes I checked before posting this were in a medley: slide/polka/slip jig/polka, a bit of a joke, the joke being that the rhythm changes a couple of bars before the tune changes, e.g. the last two bars of the slide are in 2/4, the last two bars of the polka are in 9/8, etc. I'd like to use the R: field there to get the rhythm change to sound right on playback. Cheers, John Walsh P.S. For those of you who don't have Abcmus and wonder what we're talking about, (hope you don't mind, Henrik) here's Tommy Reck's Polka, with chords set by Henrik's Cyberbacker, 2 chords/bar and strangeness = 100%. (100% is overkill---you can get a number of different effects at much smaller settings, which is practical, since it suggests alternate chords to use---but we're testing the limits here.) Listen three times before making up your mind. But beware: if you listen to it too much, the ordinary accompaniment may begin to sound vapid. X:4 T:Tommy Reck's R:polka Z:J Walsh S:T. Reck M:2/4 K:D "A#"A2d2 "D#"fgfe|"D#m"d2F2 "A#"A3d|"A#m"c2E2 "G#m"G3B|"A#"A2D2 "F"F2A2|\ "A#"A2d2 "D#"fgfe|"D#m"d2F2 "A#"A3d|"F"c2A2 "D#"G2E2|"A#"F2D2 "A#"D4:| "A#"f2d2 "A#"d4|"G#m"c2B2 "G#m"B4|"G#m"e2B2 "G#m"c2B2|"F"B2A2 "F"F2A2|\ "A#"f2d2 "A#"d4|"G#m"c2B2 "G#m"B4|"G#m"B2e2 "A#m"B2c2|"F"d6 z2:| For comparison, here it is with strangeness = 0%, still 2 chords/bar. It's actually the same tune... X:4 T:Tommy Reck's R:polka S:T. Reck M:2/4 K:D "D"A2d2 "D"fgfe|"D"d2F2 "D"A3d|"A"c2E2 "G"G3B|"D"A2D2 "D"F2A2|\ "D"A2d2 "D"fgfe|"D"d2F2 "D"A3d|"F#m"c2A2 "Em"G2E2|"D"F2D2 "D"D4:| "D"f2d2 "D"d4|"F#m"c2B2 "Bm"B4|"Em"e2B2 "F#m"c2B2|"Bm"B2A2 "D"F2A2|\ "D"f2d2 "D"d4|"F#m"c2B2 "Bm"B4|"Em"B2e2 "Bm"B2c2|"D"d6 z2:| To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html