Tools for Composers

Nicolas Slonimsky's Thesaurus Of Scales And Melodic Patterns

Automated

As an example of how the plugins work, we'll focus on the CAL programs that write, transpose and harmonize any pattern of the celebrated Slonimsky's 'Scales And Melodic Patterns'.

You can find here:

First, let's see how to make interpolations, ultrapolations, infrapolations or any combination of notes.

For example, let's take from Slonimsky's book the pattern 14 – interpolation of three notes for C and F#.

We'll write the notes in a range of two octaves and select them. We'll run CAL, select the folder 'Patterns' and run the program '1 to 12 Divided Intervals' then we'll choose to add 3 intervals: a semitone on top of the selected notes, 2 semitones on top, 3 semitones on top and then the program runs.

Another example: from the sesquitone progression – C, E flat, F sharp, A – let's have an infra–interpolation, pattern 485:

we run again '1 to 12 Divided Intervals', choose 2 notes to add: minus 2 semitones, 2 semitones.

From the sesquiquintetone progression, we'll avoid the unrealistic range - we'll choose the notes C, B, Bb, A and G# only and for pattern 1030, we choose two intervals to add: 3 semitones and 8 semitones:

We can also harmonize any pattern skipping one note. Run 'Autochordal Analysis' from the folder 'Harmony, choose the measure where you want the chords to be written, then choose the number of voices.

Many musicians will want to transpose Slonimsky's patterns. An easy way to do this is to use '1 to 11 Transpositions'. We'll choose the heptatonic scale 1037. Run the program. Choose the number of transpositions (three, for example). Then, we'll be asked to choose each transposition: -5, 5, 10.

Unlike Slonimsky, we can approach the notes of an arpeggio or any other kind of chord adding intervals in front of the notes. Let's have a dominant triad: G, B, F. We select the notes. We run '1 to 12 Divided Intervals Directed', we choose to add two intervals in front (29): 2 semitones and -1 semitone.

From Slonimsky's book again, we can also get pandiatonic counterpoint and general counterpoint:

And cadences:

Slonimsky also gives us a few methods of harmonization. For harmonization in major triads, use the programs 'Position 1. Octave', 'Position 2. Tertian' and Position 3. Quintian'.

We can also use 'Auto Major Triads' to generate quick harmony on selected notes:

Exactly like major chords, for harmonization in sevenths, ninths and whole-tone chords, we have 'Dominant Seventh', 'Major Ninth', 'Minor Ninth', 'Whole-Tone 1' and 'Whole-Tone 2' for a dissonant harmony:

Various kinds of triads may sound interesting, that's why I wrote a program that will ask you to choose the kind of triad for each selected note:

And again, from Slonimsky's book, we have exclusive triads, with all twelve different notes. We'll use, as an example, 'augm major minor dim 1'. We choose the note to start with and the measure where we want the triads to be written.

If we want to have the triads as separated notes, we select them, then run the program 'Spread'.

In the 'Harmony' - 'Chords' folder, we can find any of the chords from the list called 'Synopsis Of Chords' in Slonimsky's book. For example, the "Mother" chord.