In a last effort, you decide to start your 3 beat cycle in the same instance as she starts her 2 beat cycle-you synchronize with her and discover you can make pseudo-won't kill the wildlife-beautiful music together. This little story illustrates the effect of a interference. You generate a non-uniform rhythm by interacting two uniform rhythms.
Schillinger first introduces it in "Instrumental Forms". Let's say you have a 3 note pattern you like and 2 duration rhythm. When you synchronize these 2 sequences, you generate a new sequence. Rather than getting lost in the weeds trying to define this term, I will point you to some references and make an analogy. Let's say you live in a valley and occassionally you like to walk up the mountain to some tree or picnic spot.
Initially you may try one path and then another but eventually you settle down to using one basic path. You go up, you go down, you make stops along the way, and occasionally you even get completely off the path.
Nevertheless you eventually find your way back to the original path. The path functions to provide a known stable way to your destination, anchor you to a similar experience on each of your trips, AND as a jumping off point for exploring new scenes or even changes to the path.
Much music is similar-it even has "stepping stones" along the way to more fully mark the path. Often a scale is defined with respect to its structure the pattern of intervals between adjacent pitches and a root note on which that patten is anchored.
StrataSynch generates a harmonic progression which acts as a template for the other stratum. The Instrumental Form determines the final octave position of derived strata. In the context of StrataSynch, a stratum strata for plural is an octave duplication as in the example below. Chords are conceived according to some rule. Schillinger derives them from scale expansions.
Standard theory builds chords from various flavors of the interval of a 3rd e. A C-major triad is a major third followed by a minor third. After such pristine conception, practice and the demands of creativity rearrange the members of chords in various tortuous ways called voicings.
Below is 4 part C major triad along with various 4 part voicings. Each rhythmic value is the product of power series values and values entered via the numeric keypad on the right.
Selection of values from the power series buttons are automatically multiplied into the final product. Values entered from the keypad must be finished by pressing "Enter". So for example with a determinant of 4. At the very least, you can save the continuity. Normally, as a musician, you simply find a chord progression you like thru trial and error.
With StrataSynch, a progression is generated from rules that you enter. Scale, structural continuity, root motion, and voiceleading continuity define a resulting progression. There is still trial and error, but the search is systematic, offers more choice, and is quicker with the computer.
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