General question concerning the theory of melody. I'm writing a piece that has 9 key axes & 73 pitch axes (already worked out), with rhythm also defined. I'm looking for a logical way to apply secondary pitch axes to what I have so far. This is where I get jumbled up & start to make drawings.
Chris, In the Theory of Orchestration Schillinger describes different arrangements of instruments he calls Sigma. In the Composing with Sonic Symbols he talks about timbre and density which can gives us some Orchestrational ideas.
Food for thought/discussion: I'm looking at some (orchestral) arrangement presets in Sibelius 7, and I'm trying to visualize what Schillinger would have said about choosing & arranging various arrangement patterns as a theory of instrumentation. Perhaps incorporating the psychological dial. Or maybe he did this already or started to... Comments anyone?