Excellence in Music and Worship
Original Musical Compositions and Thoughts on Worship
Melody
This is a single melodic line, stretching over the span of a several-octave overtone scale. Using the melody canonically in R40, R60, R120, R160, and R200, the lines create counterpoint against each other.
R60 and R40 are related. R40, in this instance represents tonic and R60 represents Dominant.
(For more information, please see my article, Integrated Frequency)
Harmony
In this experiment I took a traditional harmonic progression derived from a single overtone scale, in an arpeggiated pattern, and distributed it to other related overtone scales, in their corresponding tempo families.
I used R40, R120, R160, and R200 in their tempo family of 75BPM and 150BMP. I used R60 and R120 in their tempo family of 112.5BPM.
The corresponding relationships created by the harmonic progression in multiple overtone scales and corresponding tempos creates polytonality and polytempo.
I kept R60 in 75BPM to experiment with a Tonic/Dominant relationship between the two instances of R40, then R60. R60 is derived from the 3rd overtone of the root frequency of .3125Hz. The third overtone is the ‘fifth’ scale degree. So, the chord progression was played in R40 (Tonic), then it was played in R60 (Dominant) in the same tempo, then finally back to R40 (Tonic).