Everyone usually has an idea about harmony.
Something that sounds good, in the groove, or just blends well,..this is different for some but generally “we” might agree on interesting intervals like fifths making that pleasurable sound experience.


After I had been studying with him for two years, Schoenberg said, “In order to write music, you must have a feeling for harmony.” I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, ‘In that case I will devote my life to beating my head against that wall.’ ~from silence by John Cage.


With each member here comes the harmony that they like either from experience in playing or listening or yet simply being exposed to something that at the time was enjoyable.

Mixing harmonies can get intangibly monotonous or just difficult to everyone participating BUT


Creating a new harmony is a kind of paradigm with sounds in a syntax and format we are making now.

  1. Bill says:

    Bill Newbold- wirk-birk-5.mp3

    A new animoog construction with less layers and more focused, mostly recorded in mobile garage band with the effects in play there.

    I guess to be on theme I should need to harmonize inter-variably with some one or something else, a different instrument perhaps.

  2. Paul Muller says:

    Paul H. Muller TR2 11-30-17

    Harmony for indeterminate music is a special challenge – you have to provide for all possible combinations of the source material.  I’ve found that pentatonic scales use tones that generally work together in any combination, although it can sometimes stray into that cliche faux Asian feel.  This piece uses the F major pentatonic scale and was created today by software.

    I’ve downloaded a copy of the score for In C, looking at the intervals that are present among the various cells.  Looks like thirds, fourths, fifths and sevenths predominate, but there are some others that I’m trying to figure out how they fit.


    • Bill says:

      Invention to Motion with new models in harmony might include the in-between intervals as transits behind their harmonies.

      How far in between is left to the makers and composers. -but. With what we do creating with the intervals you have, into a type of mixture with Chris Vaisvil’s. 17 edo should and can lead us to new kinds of harmonies…17edo × pentatonics at 12edo..

      The computer is crunching a video and I need to wait for it to finish but then I will attempt this idea..

    • Shane W. Cadman says:

      Try experimenting with flat 7 and/or sharp 4. They imply movement to IV or V, respectively. Plus they just sound cool. I’m a big fan of flat 7, from a drone perspective. I don’t need it to move to IV. I’m happy just where it is. 🙂

  3. Steven Layton says:

    Happy Birthday Bill! In honor of that, here’s a mix that’s just made out of manipulations of your track. 🙂

    Bill Newbold (mix Steve Layton) – The Penitents


    • Bill says:

      I am unsure of your style here or genre or mode… or mmm  what is occurring… but more then not I like this … it seems … so — blunt and un-pretentiously … === developed well not that .. developing or un-developing was going on but it seems to = relax some of the experimentation “goings ons” such that they were a kind of pretense on my part that was — maybe unevolved till you reworded it … thanks for “The Penitents” I know we all have Penitents we can enjoy, or at least explore when we get lost in fluidic spaces —

  4. Jim Goodin says:

    Jim Goodin – Adjustment

    Track updated to stereo…thanks for catching Bill!

    Happy birthday Bill! Getting late to this weekends party but just did this violin piece on theme.  3 parts improvised violin harmony without listening to the other trax.

    The title in response to my first ever Chiropractor visit this morn.  Went well.

    • Bill says:

      thanks for the birthday wishes much of my day was spent in honor of a person that was retiring after a long — long set of years in service to the community ..

      yeah- Jim did you loose the right === side to the sounds or was it mono or ?  ahhhh you didn’t listen to this? but just put it out there. in record… not that at some point I as well have done that without equalized levels or just raw feeds while I was adjusting the spots   — so yes it is on theme, I hear the three … parts in the left ear only … — although as music goes this is not a problem and kind of includes the j-cage piece ‘silence’ on the right side of the stereo 🙂   my concern is that it was not intended — and that was made with out knowing.

      • Jim Goodin says:

        Bill I’m glad it’s a good day for you. Thanks for letting me know.  Was not intended actually.  They wrrr mono sources going in and audacity captured left ch stereo as I didnt anticipat. I split and made monos but were made left monos so the mp3 was stereo and makes sense. I’m at work now so will fix later.

        • Bill says:

          great day indeed… 🙂 I am glad I mentioned that — I was and am not one to criticize what is posted… just making sure that the post was intended as that — I too will post without listening to my work over again – and only a week or so later during the doldrums of time I will hear what I had not intended and feel embarrassed for not catching it sooner but then not being able to recreate the corrected work.  —

          if this is not able to post now I will post it in a Personal Message.. 🙂 do we do that and stop posts at a time limit or mmmmm just ?

  5. Kavin. says:

    Well. I missed out this weekend, just back from Austin and the John McLaughlin show. But wanted to say hi and wish Bill a happy birthday! And great sounds here as every week!

  6. Paul Muller says:

    Paul H. Muller TR2 12-2-17

    New version just produced this AM.  Used completely new source cells that were limited to intervals of 3ds, 4ths, 5ths and 7ths – like the first 14 cells of In C, but transposed to F major key.   This has much more of the Terry Riley vibe to it.

    Took me about 2 hours to notate the 16 source cells and convert them audio for processing – the rest was automated and takes about 3 to 4 hours.  Point is, I am doing just the minimum and the software does the rest.  Big productivity improvement.  More tweaking needed but this sounds like I’m on the right track.



  7. James Bailey says:

    James Bailey – Screaming Kids

    Another tenor piece – though not so’s you’d know it; pressing the reed with bottom teeth to get the squealing sound. Inspired by the kids in the unit across the hall.

    And, though I’ve done it on FB already, a happy birthday to Bill here as well!!

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